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Excerpted from Definition Magazine, July/Aug 2025
INTERVIEW NICOLA FOLEY
QDEFINITION: Before we get into it, can you sum up what quantum dot OLED (QD-OLED) actually is and how it differs from other display technologies filmmakers might be familiar with?
ABRAM DESMET: QD-OLED is an emissive display technology that builds on the strengths of traditional OLED while delivering several key performance enhancements. At its core, it combines a highly efficient blue electroluminescent OLED layer with a quantum dot colour conversion layer. Each subpixel begins with blue light emitted from the OLED stack. For red and green subpixels, that blue light is absorbed by quantum dots and re-emitted as red or green light respectively, while the blue light passes through unchanged. This RGB conversion system enables exceptional brightness and colour performance, offering a truly unique and high-fidelity display solution unlike any others on the market.
QDEF: What does this bring to the table that previous display technologies haven't?
ABD: QD-OLED offers a compelling set of advantages that, taken together, are unmatched by any single display technology to date. Standouts include HDR luminance capability, delivering peak luminance of 1000+ nits; something many older OLED options struggle with. It also offers exceptional off-axis viewing with a measurably industry-leading performance, ensuring consistent image fidelity no matter where you're standing. Unlike WOLED, which uses a white subpixel that can cause colour volume collapse, QD-OLED maintains full-colour fidelity at high brightness levels by using true RGB additive mixing, plus it gives perfect per-pixel control without any of the limitations or artefacts associated with local or global dimming found in other HDR technologies. Finally, QD-OLED is available across a broad range of use cases - from consumer TVs to reference monitors - creating a rare opportunity for consistent viewing from on-set through post to home delivery. This helps to bridge the gap between creator intent and viewer experience; its increasing ubiquity also drives down cost.
QDEF: OLED has long been popular for grading, but it's not without its challenges. How does QD-OLED address those, and are there any new trade-offs creatives should be aware of?
ABD: The majority of OLED solutions were either not bright enough for use in HDR applications, would suffer from colour volume collapse or, if bright enough, were hyper-expensive. QD-OLED gives users HDR luminance levels and a truly additive colour volume, all at a fraction of the cost of many traditional mastering monitors.
NEW HORIZON
Flanders Scientific's XMP series monitors
will be the future of display tech,
streamlining the filmmaking process
from set to screen
QDEF: For colourists working in HDR and wide-gamut spaces, what practical advantages are offered by QD-OLED?
ABD: Many colourists have used WOLED displays, which can work well for SDR, but struggle in HDR due to their non-additive behaviour. WOLEDs use a fourth white subpixel to boost brightness, so they can't maintain both luminance and saturation for bright, saturated colours - this results in colour volume collapse. In contrast, QD-OLED is RGB-additive. This means, if a display is rated for a certain peak white output, you can reliably expect corresponding peak outputs for red, green and blue - essential for maintaining creative intent in HDR. QD-OLED helps colourists achieve reference-level HDR colour volume and contrast without compromise.
QDEF: From a calibration and reliability standpoint, how well does QD-OLED hold up over time in a colour-critical environment?
ABD: QD-OLED panels use blue OLED materials enhanced with deuterium, a heavy hydrogen isotope that significantly extends lifespan and improves efficiency. Combined with excellent linearity and stability, QD OLED makes for a highly reliable display solution. In our own XMP series monitors, we've paired QD-OLED with our GaiaColor AutoCal system, which enables accurate calibration without the need for external software or computers. The result is a display that not only performs exceptionally, but is also easy to keep in specification over time.
QDEF: How are you seeing QD OLED tech used in the field - are DITs/editors/post houses adopting it differently, and what kind of feedback are you hearing?
ABD: We've seen strong adoption of our 31.5in XMP310 QD-OLED monitor in production environments, particularly among DITs. Previously, HDR adoption on-set was limited by three common obstacles: high costs (often $30,000+), extreme weight (60lb or more) and high power draw requirements that made battery or DC operation impractical. The XMP310 changed that - it's roughly a third the weight and cost of similar monitors and supports battery power, making HDR monitoring on-set far more accessible. However, its size could still be a challenge for compact DIT carts, especially where multiple monitors are needed on the same cart.
That's why we have been particularly excited to introduce the XMP270 this year - a 26.5in QD-OLED with a footprint closer to traditional 24in monitors. It brings all the benefits of QD-OLED into an even more portable package. Both of these units are enabling HDR to be monitored earlier in the creative process, giving filmmakers greater control over the look and feel of their work from the outset. And because QD-OLED is also used in post, the continuity between set and post has never been stronger.
QDEF: Looking to the future, where is QD-OLED technology heading - and what are your predictions for the future of professional colour monitoring more generally?
ABD: QD-OLED continues to evolve rapidly, with significant investment driving improvements in peak brightness, as well as expanded size and format options. I expect these trends to continue over the next few years. Looking further ahead, electroluminescent quantum dot (EL-QD) technology - which replaces the OLED layer entirely by directly exciting quantum dots with electrons - could be the next leap forward, although likely not for at least another four or five years. It promises many of the same benefits as QD-OLED, with even greater efficiency and durability.
While EL-QD isn't ready for widespread adoption just yet, its use of quantum dot materials similar to QD-OLED suggests it might be a smooth evolutionary path when the time comes.
QD-OLED IS AVAILABLE across a broad range OF USE CASES, creating a RARE OPPORTUNITY"
Excerpted from Definition Magazine, July/Aug 2025. Joshua Ighodaro worked with the XMP270 QD-OLED.
ONE FOR THE TOOLKIT Great for lighting reference and DIT, the XMP270 proves itself to be a worthy investment for the studio
Tested in pre-production for a feature film, this monitor proves its mettle in studio and controlled environments
While prepping for my next feature, I had the opportunity to test a Flanders Scientific reference monitor as part of a comprehensive lens and workflow trial. The set-up was split between an indoor test room, with tungsten and LED fixtures, and natural daylight exteriors. Gear included an ARRI ALEXA Mini running 3.2K ProRes 4444 XQ at 24fps, feeding video out via 3G SDI to the monitor, which was powered by a standard block battery. I cycled through a solid range of Cooke S4/i primes (14 through 150mm) and ZEISS Super Speeds Mk III (25, 35, 50, 85mm), ensuring I tested the monitor across a variety of looks and optical characteristics.
Straight out of the box, the monitor makes a strong case for quality, with a build that feels premium. The buttons are tactile and satisfying, and it ships with a handy screen protector. Boot-up time is a quick ten seconds, and I was viewing a colour-accurate image in under 20. The menus are clean and intuitive, requiring no manual diving just to get rolling.
The large screen real estate made studio viewing a breeze, and inclusion of both a stand-mounting bracket and tabletop feet was appreciated – though I’d opt for a stand. While clearly robust in build, I’d hesitate to throw it into rugged, on-location work without investing in a flight case. It isn’t flimsy, but it’s not quite throw-it-in-a-bag rugged either.
The monitor’s colour accuracy was spot on – impressive – and fully confirmed by the included factory calibration report. For lighting reference, exposure judging and overall colour fidelity, it’s rock solid, while for UHD monitoring, sharpness is spot on, as it’s mapped pixel for pixel without scaling. However, sharpness was somewhat lacking when monitoring an HD signal full screen. If you’re pulling critical focus in HD, activating the monitor’s 1:1 pixel mapping shows you the exact HD signal for focus-critical applications. If you’re monitoring HD exclusively, you might want to consider a native HD monitor like FSI’s 16in DM160 OLED.
At 1000 nits, it handled interior work comfortably. But outside – especially under direct sun with only light cloud cover – it wasn’t as bright as I would like it to be. Flanders Scientific has a custom snap-on hood for the XMP270 coming out very soon, but it wasn’t available yet during my testing. For prolonged outdoor use, the new custom hood, a tent or a courtesy flag will be essential.
In terms of on-board tools, the monitor ticks most boxes. The vectorscope and waveform were reliable and helped reinforce lighting and exposure decisions. False colour, monochromatic view and RGB channel isolation are also present – though in my workflow, I tend to defer to the camera’s built-in tools for those tasks. Still, it’s good to know these options are there and well-implemented.
One of the more forward-thinking features is its array of I/O options: 4x 12Gbps SDI in/out and monitor out. While I didn’t use them all during testing, I could immediately see the potential for multicamera shoots, where quick source switching becomes vital. This makes workflow integration seamless, whether you’re on a traditional single-camera shoot or a multicamera behemoth.
Compared to other reference monitors I’ve worked with – TVLogic, SmallHD and Sony – the Flanders sits comfortably in the DIT and lighting reference lane. It’s not trying to be everything for everyone. It’s a professional-grade exposure and colour tool; not a director’s preview monitor or a 1st AC’s sharpness check. And in this lane, it truly excels.
Heat management is excellent. It remained cool through an eight-hour day and made no noise thanks to a fanless design. It ships with a three-pin 24v XLR cable and AC adapter, letting you power it from block batteries or mains with no fuss. There’s also support for adding battery plates, making it semi-viable for run-and-gun scenarios.
That said, it’s a little bit cumbersome. While it’s lighter than similar high-end HDR monitors, the size and lack of top handle do make it harder to transport solo. You’ll want to plan for dedicated cases and mounting set-ups, like FSI’s MRTPlate, if you’re frequently moving locations.
The Flanders Scientific XMP270 won’t win awards for versatility or compactness, but that’s not what it’s for. This is a solid tool for lighting, exposure and DIT work in controlled environments. If you’re working with a crew that understands its strengths, it’s a worthy investment. For any DOP, gaffer or DIT wanting dependable, colour-accurate performance in studio or tented set-ups, this monitor will excel.
An interview from the 2025 Cine Gear Expo in Los Angeles with Bram Desmet of Flanders Scientific.
Want to learn about Flanders Scientific's most recent HDR monitors, the importance of Quantum Dot screens for high-quality color, and get a long look at where HDR is heading? This conversation between Larry Jordan and Flanders Scientific's Bram Desmet reveals all. As well as, why Rec. 2020 may not be the best option for HDR monitors.
The first EVER review of the Brand New XMP310 31.5" Reference Grading monitor from Flanders Scientific by a UK broadcast colourist. Is this the best Pro Grading monitor in 2024?
Interviews from the FSI booth at NAB 2024.
Bram shares his comments on the future of HDR displays, new monitor announcements from FSI and thoughts on the challenges of monitoring 12K video with Larry Jordan.
Bram meets with postPerspective at NAB 2024.
CFA x NFS stop by Flanders Scientific next at NAB 2024.
Production Hub Interview with Flanders Scientific at NAB 2024.
After 20+ years of using CRT, LCD/LED, Plasma, RGB OLED, W-RGB OLED, LMCL, and probably a few other display technologies we're forgetting about - Is QD OLED (Quantum Dot OLED) the display technology we've all been waiting for?
In this installment of The Offset Podcast, Robbie & Joey sit down with our good friend, display technology guru, and CEO of Flanders Scientific, Bram Desmet to discuss if quantum physics actually has anything to do with this display technology, the massive improvements that QD OLED provides over other display tech and some key features of QD OLED that you'll want to consider before your next reference monitor purchase.
The XMP550 QD OLED mastering monitor from Flanders Scientific is here and it's incredible.
In this IABM TV interview, Bram Desmet, CEO and General Manager of Flanders Scientific, discusses QD-OLED technology and its application in Reference Grade HDR monitoring.
Visit IABM to view - Registration is free.
The Future of Displays - iColorist Color Space Cadets livestream, Ep12
In this episode Kevin Shaw will be joined by Robbie Carman, Joey D'Anna and Bram Desmet, to discuss advancements in display technology.
FSI's NEW Quantum Dot OLED 2000nit Pro Display
Flanders Scientific XMP550 55" QD-OLED HDR Mastering Monitor First Look at Cine Gear 2023
IABM - In conversation with Flanders Scientific's Bram Desmet
01.15.2020
FSI's Bram Desmet talks to Patrick Inhofer of MixingLight.com about the state of professional displays in 2020.
06.15.2018
FSI's Bram Desmet talks to Robbie Carman of MixingLight.com about HDR and FSI's XM series monitors.
FSI's Bram Desmet discusses what's new for 2017 with District Digital Creatives
FSI's Bram Desmet introduces ScopeStream, BoxIO 12G, and the XM55U to FinnerKnowsBest.
FSI's Bram Desmet announces latest Professional Broadcast Monitors range with InBroadcast's Kalee Hewlett at NAB 2017.
Robbie Carman of MixingLight.com sits down and talks about the new BoxIO Dual Channel LUT Box with Bram Desmet of FSI.
Read it here.
Hear from some Flanders Scientific customers about our monitors and our company.
Robbie Carman of MixingLight.com sits down and talks about the newest models for 2013 with Bram Desmet of FSI.
Marco Solorio of OneRiver Media and Bram Desmet of FSI run down new features available on the all new BM and CM series monitors including live side by side viewing of 2 inputs and custom LUT import.
Also highlighted is the Black Magic Cinema Camera Log modes.
The LM-2461W is discontinued, but the new CM240 uses the same panel and has even more features packed in at the same price.
Los Angeles-based DP and cameraman Helmut Kobler details his setup HERE using the Flanders Scientific CM171.
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