I didn’t find that I was that worried about the toe in general. I was always looking at the highlights, particularly in contrasty situations, so the way that we had the the LUTs built, especially in the black and white version, was when the monitor clipped, the waveform clipped, and the sensor, the camera, told us we were clipped, so I knew empirically that if there wasn’t detail on the monitor, there wasn’t detail in the sensor, which was incredibly empowering as a DP.
On Mindhunter, and then on Mank, we did both on the Canon 2411, which is a field monitor [with a] a 600-nit display. It doesn’t have the blacks, it’s something like a [Sony BVM] X300 but it’s a little bit more field-ready and cheaper, so it was easier on the pocketbook for the producers. I didn’t find that I was that worried about the toe in general. I was always looking at the highlights, particularly in contrasty situations, so the way that we had the LUTs built, especially in the black and white version, was when the monitor clipped, the waveform clipped, and the sensor, the camera, told us we were clipped, so I knew empirically that if there wasn’t detail on the monitor, there wasn’t detail in the sensor, which was incredibly empowering as a DP. You know, I really understood where the exposure curve was and I could work quite comfortably in the mid-tones and in the shadows, knowing that I had all that room up top. I think as much as we want to romanticize the light meter and romanticize the mysticism of it, we all work off the monitor and David Fincher definitely does; and the confidence it brings him to look at the monitor and feel like it’s extremely close to the the image that he’s going to see when Eric [Weidt] pulls it up in the suite – has become very important for our process.
Erik Messerschmidt
The Daejeon Chronicles 
Yes👍