It’s been almost exactly four years since Apple released the 5K Studio Display that so many wanted, even if it didn’t really deliver as a high-end display. Apple has now revamped the Studio Display lineup, sort of, with another Studio Display and the Studio Display XDR. They’re both 27-inch 5K (5,120 x 2,880) displays with the 12MP Center Stage camera — which is a significant upgrade over the old camera and looks clear with minimal noise — and six-speaker spatial audio system built in, and two Thunderbolt 5 ports alongside two USB-C.
The new Studio Display looks like the same panel from four years ago, just with the upgraded camera, speakers, and ports. It has the same peak brightness of 600 nits and is only capable of SDR, like the old model. Even the pricing is the same, at $1,599, or an extra $300 if you include nano-texture glass. Now you can also add a tilt- and height-adjustable stand — for an extra $400. Cool, I guess.
The Studio Display XDR, on the other hand, is far more interesting. It’s replacing the 32-inch 6K Pro Display XDR, which cost $5,000 and was released in 2020. The Studio Display XDR uses a completely new mini-LED display with 2,304 local dimming zones, has a max brightness of 2,000 nits, has adaptive refresh rate up to 120Hz (although you’ll need a newer Mac to support it), and supports HDR. It has a bunch of accurate reference picture modes, native support for both P3 and Adobe RGB color spaces, and two general picture modes calibrated to Apple CMF 2026 — a new display standard Apple has developed. It’s a lot of attractive specs for creative professionals, but it also has a very Apple typical starting price of $3,299 — twice as much as the regular Studio Display. It had better be good.
$3299
The Good
- Excellent reference picture modes
- Much improved camera
- 120Hz support on newer Macs
The Bad
- Expensive
- Meant only for Macs
The Studio Display XDR’s panel is the most advanced we’ve seen on a standalone Apple monitor, utilizing mini-LEDs with a quantum dot-based optical stack and IPS LCD panel — like recent Macbook Pros, but with higher resolution and peak brightness. Images and text are crisp and clear. Dimming control is able to tame light bleed from bright images next to dark areas pretty well, although it still doesn’t compete with OLED. And since it’s an LCD, its viewing angles aren’t as wide as an OLED’s, but I was still able to get far off-axis before seeing any significant changes to color or saturation — something its predecessor struggled with.
There are a total of 16 presets, including two general use presets and 14 reference modes to cover a wide range of professional uses from HDR video to digital cinema editing to photography. Each preset lists its color space (such as P3, BT.709, or Adobe RGB) as well as another detail, which could be the target gamma, peak brightness, or target white point. For professionals, this is a really nice touch so you know the monitor is properly set for whatever content you’re working on. Later this year, Apple will also add two DICOM presets — which are needed for reading medical imaging such as CT scan, MRIs, and X-rays properly — and a medical imaging calibrator. The two modes are expected in April (the medical imaging calibrator is currently under FDA review).
The reference presets are all highly accurate. For my testing, I used a Colorimetry Research CR-300 spectroradiometer with Calman calibration software and Pattern for Mac pattern generator from Portrait Displays. The brightness of each reference mode was consistently on target from the smallest window size to a full white screen — for instance, the Digital Cinema (P3-D65) mode has a peak luminance target of 48 nits and its measurements ranged from 47 to 47.8 nits. Color and grayscale accuracy across the board are also impressive with most in the range where any discrepancies are considered imperceptible. Saturation and hue (the intensity and color family coordinates) are nearly perfect for grayscale and many of the standard test colors. Luminance is where some things start to stray.
And that’s the one flaw I encountered while measuring. Brightness at the lower end of the grayscale was too high, so shadows aren’t as deep as they should be, and some darker colors are too bright. But this is with the factory calibration. You’ll also be able to calibrate the Studio Display XDR, which I fully expect every professional or studio to do. Right now there’s only fine-tune calibration adjustment available (for only white point and luminance), but full calibration (which covers white point, color primaries, luminance, and gamma) will be enabled with a later update.
Perhaps the most interesting modes are the two general-use presets — named Apple XDR Display (P3-2000 nits) and Apple XDR Display (P3 + Adobe RGB-2000 nits) — which allow the display to reach 2,000 nits of brightness in highlights and 1,000 nits with a full white screen. I confirmed the brightness in my testing, with the XDR maintaining 2,000 nits peak brightness up to a 25 percent window before decreasing as the window size got bigger, down to just under 1,000 nits at full white. It’s very bright at a normal desk sitting distance, and I never used it at close to the max brightness. While the first preset is only for the P3 color space, the second general preset supports both P3 and Adobe RGB color primaries, allowing you to easily switch between video editing work that uses P3 and print/photography work that requires Adobe RGB without needing to change the display mode.
As with the Pro Display XDR, there are two ambient light sensors — one on the rear of the display and one on the front — that let the monitor dynamically adjust brightness depending on the lighting conditions in your room. If you have True Tone enabled, the white point will also be adjusted. When the display uses any of the reference modes, the ambient adjust option is grayed out.
Now, I wasn’t able to test the accuracy of these two general presets yet. That’s because they both use the new Apple CMF 2026 color-matching function. Proper measurement requires tools capable of measuring within that specification — and Apple didn’t provide me the necessary Calman workflow until 23 minutes before embargo time.
A CMF, or color matching function, attempts to mathematically represent how our eyes perceive color. The most commonly used specification is CIE 1931, developed by the International Commission on Illumination (CIE) in, as the name suggests, 1931. (The reference modes are calibrated with CIE 1931, which is why I was able to measure those.) We’ve learned a lot about color science in the past century, and CIE 1931 has drawbacks, including the fact that the same colors can render differently depending on the type of display you’re using. Apple is aiming to solve that with Apple CMF 2026.
Apple hasn’t said much about the new CMF, but I came across a white paper about the Studio Display XDR that briefly talks about it and says “Apple is engaged in standardization efforts through the International Commission on Illumination (CIE) to develop and define an industry-wide standard, improving visual consistency regardless of which manufacturer’s display a customer is viewing.” It’s an exciting possibility — for color nerds, at least.
The overall image quality on the Studio Display XDR is fantastic. It’s sharp, clean, and bright with vibrant colors. Accurate reference picture modes are great when used in the ideal atmosphere (like a properly light-controlled room), and the general-use modes allow for day-to-day work in any environment.
Like the base Studio Display, and unlike the Pro Display XDR, the Studio Display XDR has speakers and a webcam built in. The six-speaker system includes four force-cancelling woofers and two tweeters, which deliver the best sound I’ve heard from a computer display. Granted, that’s not a particularly high standard, and I’d still recommend headphones or a nice set of desktop speakers, but the speakers work well for regular music or video listening. They’re still focused more on vocals and the higher frequencies, but there’s some low-end support that helps fill out the sound. The speakers can also get loud, far more volume than I ever needed (I kept the volume at 60 percent or below whenever listening).
The 12MP built-in camera, as mentioned earlier, is a welcome improvement to the one that came with the Studio Display from a few years ago. It seems to be the same one Apple rolled out on the MacBooks last year. The image is clear and there’s a long depth of field without a lot of added noise. The camera also uses Apple’s Center Stage, which follows faces, keeping them centered.
As with the Pro Display XDR and the 2022 Studio Display, there are zero controls on the display itself. Everything is controlled in macOS, including presets, refresh rate selection, brightness (and adaptive brightness), and resolution. The display shuts off when the attached Mac shuts off or goes to sleep, or if the display is disconnected. There’s only one upstream port, so if you want to use a different Mac, you have to swap the cable to it.
On the back are four ports — two Thunderbolt 5 and two 10-Gbps USB-C. The upstream Thunderbolt 5 port, marked with a lightning bolt and dot, delivers 5K 120Hz video and up to 140W of power. The second Thunderbolt 5 port can be used to daisy-chain additional displays (even another Studio Display XDR), or other Thunderbolt device, like a storage array. I just wish the included cable was just a little bit longer. I have always kept my laptop to the left of my second monitor, but the cable doesn’t let me move it quite as far as I want without putting stress on both the display’s and my laptop’s port.
$3,300 is a lot of money for a monitor, but you can spend more. That price goes up by $300 if you choose to add nano-texture glass, which does a great job minimizing rainbow and spread caused by direct reflected light. But unless you plan on using the display in a room with direct sunlight or interior lights you can’t move for some reason — which probably isn’t the case for most photo or video editors — I don’t think the extra cost is worth it. The regular glass is fine if lights aren’t directly behind you.
The XDR also comes with either the height and tilt adjustable stand or a VESA mount adapter. You need to decide when you order it, because the stand isn’t removable like most other decent monitors on the market. The adjustable stand is solidly built and moves smoothly, although it doesn’t get low enough for my setup — in the lowest position the top of the screen is 19 inches from my desk and four inches above my eye level. The VESA mount option will give you more flexibility, especially if you already have a monitor arm.
The Studio Display XDR is a great improvement over the previous Pro Display XDR, just for the mini-LED backlight alone. The sheer number of accurate reference modes, the P3 color space coverage (which hits 100 percent in the modes that support it), high refresh rate, resolution, and the brightness capability all set the XDR apart from other professional monitors. If you’re a pro who uses exactly one Mac at a time for color-sensitive production work, and you know you need this kind of accuracy, the plug-and-play ease of the Studio Display XDR makes sense, even if it’s also more expensive than the other options (apart from reference monitors from the likes of Sony and Flanders, compared to which it’s an absolute steal). Especially if your work will pay for it.
For everyone else — especially if you use non-Macs too, or want more than one computer plugged into your monitor — you can get a stunning high-refresh-rate 4K OLED panel or a solid 5K IPS monitor for a third of the price, or a 5K Asus monitor for a quarter of the price. And sometime this year. LG even has a 27-inch 5K gaming monitor coming out with what looks remarkably similar to the Studio Display XDR, though without all the Apple-specific tuning.
The Studio Display XDR is for two types of people: professionals that use Macs and people that will buy a $3,300 display because Apple made one. If you’re the first, take a close look. If you’re an Apple fan, it doesn’t matter because you won’t listen to me anyway.
Photography by John Higgins / The Verge
