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That's the video I cite as proof that nut compensation is necessary Without it, the best you can do is sacrifice some accuracy on the open B to reduce problems elsewhere.

I use a variation on the 'rod' approach. I make a saddle that is wide enough to allow for needed adjustment, and start out with the saddle top flat. Each string is brought up to pitch separately, with a short cutoff length of B string under it, across the top of the saddle. I move the break point back and forth until I get the correct intonation, and mark it. Once all of the string offsets have been determined the saddle is removed and the top filed to get the peak to run along that line. I use a pre-determined set of offsets at the nut when doing this: I have found less variation in nut offsets than saddles. Most of the variation is due to the influence of top resonances, which seems to be greater at the saddle end, as you might expect.