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Approximate width of the display. If the manufacturer does not provide such information, the width is calculated from the diagonal and the aspect ratio. Information about the maximum vertical viewing angle, within which the image on the screen is of acceptable quality. DCI P3 is a color space, introduced in 2007 by the SMPTE. It is used in digital cinema and has a much wider gamut than the sRGB. The ratio between the horizontal and the vertical side of the display. Some of the standard and widely used aspect ratios are 4:3, 5:4, 16:9 and 16:10. The operating temperature shows the safe temperature range (from minimum to maximum), within which the display will function flawlessly. Outside this range it might operate improperly and/or fail entirely.
Information about whether there is a possibility for wall mounting according to the VESA Mounting Interface Standard (MIS). The greyscale gradient appeared smooth without obvious banding or dithering. Close inspection revealed some well-masked temporal dithering.
Similar observations were made on Shadow of the Tomb Raider. There was certainly extra vibrancy and saturation overall, though it was not as extreme as on models with an even more generous gamut. The reddish push to earthy browns was also apparent on some skin tones, such as that of the lady herself Lara Croft. She appeared a bit too tanned or perhaps a little ‘sun kissed’, but this was fairly constrained oversaturation compared to what we sometimes see. There was extra vividness to some green shades as well, so some patches of vegetation appeared livelier than intended. Though there were some quite lush-looking forest green shades as well which fitted the aesthetic of some scenes well. On both titles the monitor demonstrated good colour consistency, with shades appearing fairly similar regardless of where on the screen they’re displayed. It was certainly stronger in this respect than non-IPS LCD panels, with only minor saturation shifts in comparison. It was also superior in this respect to the older 24G2(U) we tested, which could’ve been partly due to uniformity issues on that sample – but perhaps also some improvements made to the newer panel. The storage altitude shows the maximum possible altitude for secure storing of the display. Storing it above this limit may result in damaging the display. There are various panel technologies. Each has its own specific features - viewing angles, color reproduction, response time, brightness/contrast, production cost, etc. The image quality depends directly on the type of the display panel used.
Note that these images are designed to show strobe crosstalk behaviour and don’t accurately show how distinct details on the main object appear. The wide color gamut is one of the main things that made the AOC 24G2 stand out from the other 24″ 1080p high refresh rate IPS gaming models. As noted previously and as highlighted in Nvidia Control Panel, this model has been specifically tested and validated as ‘G-SYNC Compatible’ by Nvidia. On our RTX 3090 the experience was very similar to what we described with FreeSync. With the technology getting rid of tearing and stuttering from what would otherwise be frame and refresh rate mismatches, within the VRR range. The floor of operation again seemed to be 55Hz or slightly below. An LFC-like frame to refresh multiplication technology was employed below that to keep tearing and stuttering from frame and refresh rate mismatches at bay. There was again a subtle momentary stuttering as the boundary was crossed, as we observed with our AMD GPU as well. Our suggestions regarding use of VSync also apply, but you’re using Nvidia Control Panel rather than AMD Software to control this. The setting is found in ‘Manage 3D settings’ under ‘Vertical sync’, where the final option (‘Fast’) is equivalent to AMD’s ‘Enhanced Sync’ setting. You’ll also notice ‘G-SYNC Compatible’ listed under ‘Monitor Technology’ in this section, as shown below. Make sure this is selected (it should be if you’ve set everything up correctly in ‘Set up G-SYNC’.The percentage of the approximate area, taken by the active part of the screen, to the total front area. The maximum number of colors, which the display is able to reproduce, depends on the type of the panel in use and color enhancing technologies like FRC. Information about whether the stand can be dismounted. Usually, this is required for wall mounting. Whilst Nvidia doesn’t have a similar option in their graphics driver, a third party tool called ‘novideo_srgb’ can be used. This provides a similarly effective GPU-side gamut clamp to the AMD driver option. The resulting gamut was very similar to that shown above with the AMD tweak – this is expected given it uses the same data from the EDID of the monitor. The tool and its usage is covered in our sRGB emulation article.
A fairly effective LBL setting, with the blue channel now weakened significantly and a corresponding reduction in blue light output. The image appears warm and somewhat green, though our eyes adjusted to an extent over time. The most widely used panels are those with 6, 8, and 10 bits for each of the RGB components of the pixel. They provide 18-, 24-, and 30-bit color, respectively. On various Battlefield titles, at a frame rate keeping up with the 165Hz refresh rate, the monitor provided decent fluidity. Compared to a 60Hz monitor or the AOC running at 60Hz (or 60fps), 2.75 times as much visual information is displayed every second. This significantly enhances the ‘connected feel’, describing the precision and fluidity felt when interacting with your character on the game. The low input lag of the monitor is also beneficial in this respect and complements the high frame and high refresh rate combination nicely. The high frame rate and high refresh rate combination also decreases perceived blur due to eye movement, as demonstrated earlier using Test UFO. As also demonstrated, the bump up from 144Hz to 165Hz is hardly dramatic in that respect – though the extra refresh rate is still a bonus, if you have the frame rate to match.Though white point is slightly lower than factory defaults and blue light output is marginally reduced, this does not have the effect that a Low Blue Light (LBL) setting should. Information about the minimum amount of time, in which the pixels change from one color to another. Very often the manufacturer provides the response time for transition from grey-to-grey (G2G). Note that the ‘Overdrive’ setting can be adjusted under MBR. Our preference was for ‘Medium’ for similar reasons to with ‘MBR’ disabled and that’s what we use for this analysis. ‘Strong’ didn’t provide a significant improvement in our view but introduced some rather eye-catching bright overshoot in places. ‘Weak’ and ‘Off’ were too slow overall, adding some conventional trailing and ‘strobe crosstalk’. Also be aware that setting the ‘Overdrive’ to ‘Boost’ is equivalent to using the ‘Strong’ setting and setting ‘MBR’ to ‘20’. The stand of the monitor is quite sturdy and offers a good range of ergonomics, including up to 130mm height adjustment, +/- 30° swivel, -5°/23° tilt, 90° pivot and 100x100mm VESA mount compatibility, while the screen has a matte anti-glare coating against reflections.
Well-priced with decent build quality for a budget offering, good ergonomic flexibility and decent range of OSD adjustments Input lag amounts to around 4ms, which makes for imperceptible delay between your actions and the result you see on the screen. The Lagom text appeared quite a blended grey throughout the screen, with a dark red striping to the text introduced further down and a bit towards the left side. There were no clear shifts between saturated red, orange and green across the screen or with a bit of head movement. This indicates a relatively low viewing angle dependency to the gamma curve of the monitor, as expected for an IPS-type panel.
We also made observations using TV series Futurama. This is a particularly unforgiving test for colour consistency, highlighting weaknesses there very prominently due to many large patches of individual shade. The monitor provided a good performance in that respect. There were shifts for some shades, such as the red of Dr Zoidberg and also some pastel shades appearing slightly darker towards the extreme side edges. And some shades such as certain purples appeared more pinkish towards the extreme edges. But these shifts were quite minor really and certainly less apparent than the saturation shifts observed on TN or VA models. They were also less noticeable than on the predecessor to this model, as noted with respect to the game titles just above. Our observations in games were echoed here with respect to saturation levels. Extra vibrancy and saturation, which made pastel shades look somewhat deeper or more eye-catching than intended for example. But which also made for some rather eye-catching neon shades, such as bright pinks, greens and purples. The deviations from the developers intentions and what was presented weren’t as great here as with models with even more generous colour gamuts, but clearly ‘beyond sRGB’. The operating altitude shows the maximum admissible altitude, at which the display will function flawlessly. Above this level it might not operate properly and/or might seize to function. Moving on, just like the older version, the AOC 24G2SP has a strong peak brightness and a static contrast ratio that exceeds the specified values. It can reach over 400-nits, while the contrast ratio amounts to around 1,400:1.
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