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"It is also worth bearing in mind that the traditional lift, gamma, and gain operators are particularly unsuitable for acting on ST 2084 image data, where 0-1 represent zero to 10 000 cd/m2. Highlights, in particular, can swing uncontrollably into extreme values as a result of small changes. Modern grading systems offer alternate grading operators... Continue Reading →
The current metric for evaluating displays, ΔE2000, has been under-predicting perceptual color differences, particularly when used for the evaluation of HDR and WCG displays. Charles Poynton argues that the industry should transition from CIE L* and CIE LAB to ΔE ITP. Poynton writes: A proposal has been made to use CIE LAB to quantify HDR gamut.... Continue Reading →
Polly Morgan, who recounts how she ‘fought tooth and nail’ with Sony to be able to add grain to the excessively clean, digital looking Alexa Mini LF footage, was evidently very proud of herself for being able to collaborate on the Dolby Vision master of the excruciatingly dull Where the Crawdads Sing (Netflix), whose HDR, with highlights... Continue Reading →
"I used to embrace the romantic idea of a dramatic underexposure and very thin negative and I have gone the other way." Filmmaker Magazine: With the early Red cameras—back in the Epic days—I remember people talking about how you needed to expose to the right on the histogram because if you underexposed you were in... Continue Reading →
Update: Dolby changes stance on DRTs. We asked Nate McFarlin, Senior Content Engineer, Dolby Laboratories, a couple questions that have been troubling us for a while now: (1) Why exactly is it that Dolby insists on input and output DRTs being set to NONE in a Resolve Color Managed workflow; and (2) When mastering Rec2020... Continue Reading →
First, we had a prominent colorist proclaim, "That's the conventional wisdom that I hear a lot, like, the conventional wisdom would be like, 'oh, if you're doing a 1000-nit master, your brightest stuff in your image should be a thousand nits, you should have plenty of like speculars and highlights and things in your grade... Continue Reading →
A member over at avsforum shared gamut rings color volume results for Panasonic, Sony, LG and Samsung TVs from Italian tech website DDay.
“The average observer preference for dark luminance is 0.1 cd/m2 and diffusive white luminance 650cd/m2 (contrast of 6500:1). Note that state-of-the-art consumer TVs exhibit a peak luminance and contrast range close to the average observer preference. However, the 90-percentile observer preferred a dark luminance of 0.005 cd/m2 and a diffusive luminance of 3 800 cd/m2... Continue Reading →
Just the other day, Nate McFarlin, Senior Content Engineer, Dolby Laboratories, NY, wrote: "Dolby doesn't approve specific displays for content creation/grading. We'll always recommend you use the highest quality (reference-grade) display as possible, but we have plenty of clients and partners that use other display options for their work (including LG TVs). Ultimately, it's up to... Continue Reading →
Reiji Asakura visited LG Display in Korea in September of last year and took the opportunity to ask CTO Yoon Soo-young whether he felt RGBW OLED was inferior to QD-OLED. “The problem is not whether the light source is white or RGB, but whether the spectrum of light emitted from the display is finally the... Continue Reading →
Vincent Teoh compares the LG G2 and LG G3. Shot with the Sony a7s III and graded in DaVinci Resolve using an M1 Max MacBook Pro and LG 32EP950. The monitoring setup looks awfully familiar! https://youtu.be/ppxGIU18Cx8
The TCL X11G Smart TV is sold exclusively in China and is available in 75-in ($2,905), 85-in ($4,067) and 98-in ($6,537) sizes. The 4K television boasts 5,184 zones, a whopping 5,000 nits of HDR goodness and supports Dolby Vision IQ, HDR10+ and HLG. No word yet whether it will be available in other countries.
Just five days ago, HDTVTest was the first to report that LG had overhauled the service menu on their 2023 lineup of OLED TVs, preventing consumers from disabling TPC and GSR in order to stop unnecessary auto-dimming. In response to HDTVTest's video, as well as to outcry from the online community, LG hastily released a... Continue Reading →
Toshiyuki Gura, Chief Distinguished Engineer, Sony, declared at the 2018 IEEE Broadcast Symposium that external metadata isn’t necessary to preserve creative intent. https://youtu.be/CfNatefiAP8 Which isn’t all that surprising, given that SMPTE defines HDR10 metadata, but not what televisions should do with it. Other manufacturers also ignore static metadata, applying instead their own tone mapping on... Continue Reading →
The Liquid Retina XDR miniLED display of the MacBook Pro (2021) has greater brightness and something like double the color volume of the LG CX, making it possible to see details in highlights and color differences that are indiscernible on the OLED display. On the other hand, the larger size of the TV makes it... Continue Reading →
Can't say how much we appreciate the HDR Palette and customizable zones in DaVinci Resolve. In the screenshot, we targeted the tiny bit of light outdoors. You've still got to watch the waveform monitor when making adjustments though, since even when it looks like an area has been isolated in the viewer, the actual coverage... Continue Reading →
While testing out the new LG C3, Vincent Teoh discovered that enabling 4:4:4 pass-through has been simplified with the latest lineup of LG OLEDs. "Delving into the user menu, I saw a number of changes from what's found on last year's LG C2. One, if you go into the general submenu, scroll down and click... Continue Reading →
Colorist Asa Shoul, on more than one occasion, including during an interview with Variety, counsels cinematographers, “When discussing the dos and don’ts of HDR, I would advise not placing actors in front of windows as the extra brightness that can be seen in the sky might make the actor appear less visible.” Which is among... Continue Reading →
Pupillometry of HDR Video Viewing. Scott Daly, Evan Gittermana, and Grant Mulliken. Dolby Laboratories, Inc., San Francisco, CA, USA Apple, Cupertino, CA, USA An excellent study by researchers from Apple and Dolby Laboratories investigates a common assumption that increased pupil variability causes discomfort while consuming HDR content. https://youtu.be/zl31JrOWiEg SDR version of the short film ‘Telescope’... Continue Reading →
“Unfortunately, for HDR10, there is no reference implementation, like everyone does its own kind of HDR10, so some TVs do clipping, some TVs do their own kind of tone mapping, and in fact, if you mess up with the static metadata, like MaxFALL and MaxCLL, nothing happens in the picture, so trust me, you can... Continue Reading →
The Daejeon Chronicles 