Here are a few different spins on settings. Notice, OLED level is like 30 out of 50 on the back light. 50 is a lot more bleed. Watching with a light on helps.
https://www.rtings.com/tv/reviews/samsu ... 8/settings
https://reviews.lcdtvbuyingguide.com/sa ... -q7fn.html
There is talk here about how to jazz up your display, and color correcting for post 10k white point. It's worth reading into other pages on the thread to find what people found:
https://www.avsforum.com/forum/166-lcd- ... html?amp=1
My own personal favorites jazzed look is something like:
Back light 30-50 to taste.
brightness 0 to -2 to -5 depending on room brightness and back light level. These maintain black better at high backlight and increase saturation. I tried this on the season 1 lost in Space Trailer intro, to get the star field black while the dynamic back light is blooming out the sky due to the spaceship. But the star field my well be meant to be grey to represent the sea of minor stars too small to see (from earth we don't see much) rather than be black between the main stars. This along with -2 gamma, works makes a nice look anyway, but will crush low tones. So, its up to you to set it how you prefer. Some cases, the -gamma etc will detract from the scene.
Contrast 45-50 out of 50.
Depending on mode (like hdr+ simulated HDR) High contrast enhancer will take away from scene brightness, others it will add. Low works on the low end, high works on the high end as well.
High local dimming.
Color, 25 is regular, 30 pop a bit, but once you get to 36/37 colors will suddenly start blowing out. On some scenes 36/37 will still look on, some stuff won't, like skin tones. So 30-35 is my recommendation.
Color tone. Cool is just overblown bluish, and standard is still a bit bluish but I use it. Warm1 and warm2 just looks too yellow etc. Problem is, some people make their films this way. Warm2 is normally recommended as most accurate in the calibration links. I Don't like it, but gives a rosey yellow picture to me.
HDR+ just doesn't look as popy as dynamic etc when using these settings. By adjusting all modes, dynamic is most poppy, followed by the third mode in the list, followed by the second mode, followed by the forth mode, movie, which seems to be designed to track the picture values better. So, if you want a more authentic jazzed up look, you should try different levels of the settings here in movie or the second mode (can't remember the name).
Some poppy content to try out looks:
Startrek Discovery trailer season 1:
A contrasty colorful ride with use of some poppy colors.
New Shaft movie, trailer:
Some poppy color, especially the titles, the Brazilian dance fighting scene, and the skyscraper swinging scene. This is a good test, because the intro car scene just looks too gleamy if things are too bright. It also has some strong overhead city night and day scenes, with blacks, lights, strong colours.
Luke Cage, season 2 trailer:
Par excellence for opening scenes with a contrasty look with excellent color usage. Here Luke cones out of a burning exploding truck. He has an excellent crisp skin contrast showing off his skin texture and the flame brightness texture and color are beautifully rendered. If you look through the rest if it, it is a stunning look with some strong color key light and blue flame color usage.
Lost in Space, season 1 trailer:
As mentioned before, these settings make the intro star field look blacker when the shine of the ship causes the auto dimmed full strength backlight to washout things. Shifting the brightness down reduced this by making the brightest parts of the ship less bright. Gamma helped this, but you can play with the back light too. 5, about 100 nits is about as black as you will get, but is not worth it, as everything else is then dark. 14 or so is good, but 19-26 is much preferable. 30 to 40 is desirable and seems to be OK. Normal scenes have enough brightness to make backlight glow deepen and blend in. But you get to a point where the glow cones through normal scenes and colors, visibly desaturating them. I think I noticed thus around 40 in a distinctly visible scenes. It might be noticeable at 30, but I would have to check. The problem is with the way these black filters are working, or is a balance between the ratios of glow pass through to general real image values and how much you perceive black of light pollution. Its a matter if physics. I've tried to cone up with my own black filter solutions to get around this over the years, but haven't heard of anybody using that range of techniques. The movies has a crisp look on these settings, with some strong or glowing colors. The explosion near the beginning, the robots face and body, the red lit internal ship scene, the eerily blue night snow landscape. You can see crispness in the exploding landscape scene, the snow night landscape etc. It gives a bit of a three dimensional pop. But, the aforementioned film clips give more color pop, detail and contrast look.
Beats, movie trailer:
A difficult one. Yellow cast, just accept it. The initial scene looks great with the above settings, stunningly great contrasty glowing mild colors. Notice the contrast in the scene, in the PC and his hand, and the skin on the back of his neck and the yellow speaker cone, yummy. We move to the outside scenes. Take notice of the greens (especially the latter scene of the kids playing ball down in the park). The scene of him walking outside, just looks yellow and wrong (get used to it). The buys in the hood next to the orange wall will look OK, or overblown, depending on the setting, but some occasional sacrifices must be made to get most things up. We move past the orange cupboards down the hall. You can notice big shifts in the red notice hung up on the pin board in the principles office, as you play with settings and modes (as with the takeaway menu board latter). The blue night club light, just doesn't look blue enough, but this is likely the camera and or grading of the picture used, don't sweat it, you can't compensate for these things, you will just put other correct things out, don't sweat it, just make it look a better firm of the crazy blue, as with the crazy yellow look (which is something you often get with certain cameras, or as a trend with grading cinema camera "raw" footage). We move over to the scenes progressing to the recording studio. Here we see excellent yellow cast usage in silky smooth deep golden tones. The vibrancy of the toning s d contrast really sets it off). Now, there is a scene with red bed apparel showing what bright red looks like. By the end you get a good contrasty look at the main characters face with colorful purple key light on it, giving an excellent colorful contrasty effect. In this trailer, is a second clip of the boy in his bed room studio, where it flashes over the dial face of his volume read out. Check out the yellow white vibrancy of the dial face with these settings, its stunning. The guys filming here certainly had an eye for it.
Finale Space cartoon, season 1 trailer:
Some bright color. The initial cabin wakeup scene is a difficult one to get good at the same time as the rest of the clip. Some strong colors used. The green main character is a good one, to get vibrant green, but in one main scene he is actually yellow lit (on a cartoon mind you) don't sweat it, it was meant to be that way.