4K Movies Releases

[PeterTHX]

Originally Posted by dvdmike

Progress does not mean changing the last to make it more "modern"

Except that's not what HDR does. Being able to capture the entire dynamic range of the original film is not a "gimmick". A higher fidelity image is not a "gimmick".

[Penton-Man]

Originally Posted by Richard Paul

.At the last HEVC meeting Movielabs took a stab at HLG and the BBC provided an explanation for how HLG can be converted to ACES.

as well as participating in this thread, good group for you to sign up on - https://www.linkedin.com/grps/HEVC-H...*1_*1_*1_*1_*1

[Penton-Man]

Originally Posted by dvdmike

Did they only use doby vision equipment to master and render inside out?

a metamerism-proof viewing device for the theatrical master

Photorealistic RenderMan (http://renderman.pixar.com/view/renderman-products ) is not a Dolby Vision product

[Penton-Man]

Originally Posted by PeterTHX

Don't know why you're against progress. If the industry was like you we'd be still stuck with VHS on B&W TVs and 1 speaker.

not to worry Peter, i think little-by-little, we’re wearing him down

[Penton-Man]

Originally Posted by Opips3

1080p to 4k upscaling on suhd tv? My collection bd movies are 1080p

with the major tv brands, you're fine

[singhcr]

Originally Posted by Penton-Man

i know . good to see insider tibits



getting out to the audio/video press corps.

Very nice.

Then the image shifts so drastically an entire audience of A/V enthusiasts audibly gasps. The white dot now shining a bright 31 fL. As for the screen? Seemingly gone. Perfectly black. The auditorium plunged into total darkness. The contrast ratio a staggering million to one.

Very, very nice.

[Geoff D]

Originally Posted by Penton-Man

correcto-mundo, a definite hurdle, dynamic metadata is preferable a la DG Project ST 2094

Silly old me, worrying about such things, right? Sure, it won't really matter in the long run as people phase out their SDR 4K sets and replace them with new HDR TVs anyway (dvdmike not included), but for me, now, I'm steering well clear as a new TV isn't on my horizon for a good long while, and I don't want to pay a premium for a bodged transform to SDR.

[Richard Paul]

Originally Posted by Penton-Man

correcto-mundo, a definite hurdle, dynamic metadata is preferable a la DG Project ST 2094

I had hoped that Ultra HD Blu-ray would support dynamic metadata for the mandatory HDR system. I guess this might be one of the reasons why the BDA decided to add the optional HDR systems.

[elwaylite]

I hope there is an ON/OFF switch for HDR until calibrators figure out calibrating for it.

[Steedeel]

Originally Posted by Penton-Man

correcto-mundo, a definite hurdle, dynamic metadata is preferable a la DG Project ST 2094

Could you translate for this future 4K fanboy please?

[dvdmike]

Originally Posted by PeterTHX

Except that's not what HDR does. Being able to capture the entire dynamic range of the original film is not a "gimmick". A higher fidelity image is not a "gimmick".

You know that is PR rubbish right?
When they are hireing people to retime movies then this is total rubbish.
You have no proof a new version of the wizard of oz would look the same and accurately represent what was shown in 39, nor is anyone alive to prove this.

[singhcr]

Originally Posted by dvdmike

You know that is PR rubbish right?
When they are hireing people to retime movies then this is total rubbish.
You have no proof a new version of the wizard of oz would look the same and accurately represent what was shown in 39, nor is anyone alive to prove this.

You know, you could just view a Technicolor IB print and/or the high color gamut scans of the negatives with a 12-bit display and use that as a reference. I believe Dolby already has 12-bit monitors for this exact purpose. What color space/bit depth is typically used for scanning film these days?

After a time a restorer can understand intuitively what kind of look a certain film stock/technology has and that will also help a lot with restoration.

I shoot Fuji Velvia 100 film and it's getting to the point where I know pretty well what it should look like if I expose it properly. Even if I didn't, I would just use a slide and match it to that.

The mindset utilized when restoring a film for a SDR Blu-ray is no different when going for HDR 4KBD. You just have an additional tool to work with. People screw up the color timing of older films for current BD releases now, and many do not. Nothing will change with HDR.

[dvdmike]

Originally Posted by singhcr

You know, you could just view a Technicolor IB print and/or the high color gamut scans of the negatives with a 12-bit display and use that as a reference. I believe Dolby already has 12-bit monitors for this exact purpose. What color space/bit depth is typically used for scanning film these days?

After a time a restorer can understand intuitively what kind of look a certain film stock/technology has and that will also help a lot with restoration.

I shoot Fuji Velvia 100 film and it's getting to the point where I know pretty well what it should look like if I expose it properly. Even if I didn't, I would just use a slide and match it to that.

The mindset utilized when restoring a film for a SDR Blu-ray is no different when going for HDR 4KBD. You just have an additional tool to work with. People screw up the color timing of older films for current BD releases now, and many do not. Nothing will change with HDR.

The colour on the neg is not the colour of a release print, nor were many ib prints struck both in number or of many films.

[PeterTHX]

Originally Posted by dvdmike

You know that is PR rubbish right?

The fact that someone would think a current (non-HDR) video signal can capture the entire dynamic range of a filmed image is rubbish.


We already know REC 709 isn't up to the task color wise. So why you need convincing is beyond me.

[dvdmike]

Originally Posted by PeterTHX

The fact that someone would think a current (non-HDR) video signal can capture the entire dynamic range of a filmed image is rubbish.


We already know REC 709 isn't up to the task color wise. So why you need convincing is beyond me.

When did I say it did? I am saying if you think that is where they stop you have rocks in your head.
Also do they account for bulbs of the vintage? Colours that existed?

People on here having conversations with themselves again

[Teazle]

Are the only HDR-capable projectors right now the Christie laser models (of which only 6 or 7 have been installed worldwide in commercial theaters IIRC)? Or can HDR be displayed with conventional bulbs?

I'd like to see an HDR demo sitting real close (<1.5 PHs) to a projected image in the dark. Also I'd like not to go blind in the process. But it might be 5 yrs or more before a laser PJ gets installed anywhere close to me.

[PeterTHX]

Originally Posted by dvdmike

When did I say it did? I am saying if you think that is where they stop you have rocks in your head.

Oh, so NOW you support HDR?


Because in all your other posts you're saying you DON'T want it.

[singhcr]

Originally Posted by dvdmike

The colour on the neg is not the colour of a release print, nor were many ib prints struck both in number or of many films.

Yes, that is true. But you get the idea. You use a color reference of some sort if it is available just as people do now with SDR grading.

[dvdmike]

Originally Posted by PeterTHX

Oh, so NOW you support HDR?


Because in all your other posts you're saying you DON'T want it.

Stop being inflammatory, its making you look silly.

Originally Posted by singhcr

Yes, that is true. But you get the idea. You use a color reference of some sort if it is available just as people do now with SDR grading.

This is the issue, they rarely actually use reference they just make it look modern
In some way or another, these is no respect for originality

[singhcr]

Originally Posted by dvdmike

This is the issue, they rarely actually use reference they just make it look modern
In some way or another, these is no respect for originality

I totally understand and can relate to that. I am not a fan of revisionist color grading either. My point is that a restoration can look faithful or awful in SDR and the same is true of HDR. HDR has the potential to make the final home release even more faithful to the original film precisely because it captures more of the dynamic range that was present on the film that you can't see with SDR grading.