4K Movies Releases

[Penton-Man]

Originally Posted by jono3000

...I would think this to be a good bet for one of the first Disney UHD Blu-rays

Indeed.

When I get more time, someday maybe we can get into a discussion of dynamic vs. static metadata in regards to HDR for the home.

[Penton-Man]

Trying to get out of here by 12:30 to beat the Holiday traffic for a long Memorial Day getaway, but before I do, I notice this 4K Movies Releases thread unceremoniously blasted through the 1,000,000 viewership mark.

Humbly, that deserves an emoticon from the Blu-ray.com emoticon list, ergo

To all those in the USA:
Have a fun Memorial Day Holiday, however don’t forget, never forget…http://www.nbcnews.com/news/us-news/...al-day-n363051

[Penton-Man]

Originally Posted by jono3000

Write up on Tomorrowland Dolby Vision showing
http://m.highdefdigest.com/news/show...y-vision/23076

Originally Posted by Teazle

I wonder about false positives here...

There can be many reasons for *false positives* as member FilmFreakosaurus wisely…
noted

Which is why it’s always best to see and hear things with your own eyes and ears to determine how good something really is and not rely upon those bloggers who may have financial or even subtle, non-financial incentive in promoting some A/V experience or product beyond its true value.

Although I didn’t believe there would be, I’m just glad that so far, there’ve been no complaints here of eye discomfort caused by the higher theatrical luminance of T-land as raygendreau once feared…..or that of increased visibility of image artifacts such as judder, which HDR can be more prone to reveal than that of SDR exhibition.

[Penton-Man]

Tomorrowland follow-up from Claudio (see previous page of this thread) and Company 3 -

http://www.hollywoodreporter.com/beh...a-talks-797681

[Richard Paul]

Originally Posted by Teazle

I wonder about false positives here. How much of that wow-factor is just the result of higher contrast due to deeper black level consistent with SDR? (Better PJ; turning off ambient light e.g. exit signs?)

A laser projector would have a higher contrast ratio and the brightness was higher at 31 fL (which is 106 nits). If the same brightness level is used for HDR movies than I will be alright with HDR but my concern is what happens when HDR movies are graded for home release. There will be a desire to turn up the brightness in order to make HDR movies look good in bright show rooms. Still the reviews of Tomorrowland are a good indication that HDR is looking good for movie theaters.

[raygendreau]

“When we first travel to Tomorrowland, I gave a little more glorious color to it,” Miranda explained. “When Casey holds the pin and first sees Tomorrowland (the sequence that appears in the trailer), there’s adventure and hope and light. It’s warm and inviting and exciting. There’s a present day that’s more muted, a little more bleak. … but there are also different versions of how we approached Tomorrowland [driven by what is happening in the story]."

“You also want to be careful not to use the whole gamut all the time or it gets slightly abusive for the eyes,” Miranda added.

(Hollywood Reporter) We'll see what audiences have to say over the next couple of weeks.

[Richard Paul]

ATSC has uploaded several videos from their recent ATSC 3.0 conference and here is a link to the presentations. The speaker for the ATSC 3.0 video system does a good job of explaining it though the video camera is on the podium the entire time so you never see any of the presentation slides. To summarize ATSC 3.0 will use the Main 10 profile of HEVC and they plan to support resolutions from 480i60 all the way up to 4K at 120 fps. The standard will support wide color gamut (he mentions that they are still deciding on whether to use DCI P3 or BT.2020) and they are currently deciding on the HDR system (which EOTF to use, what dynamic/static metadata to use, single layer vs dual layer, etc...). HDR and wide color gamut won't be in the candidate standard, which will be released this July, but they are planning to have them in the final standard. A commentator at the end of the video gave a fairly accurate criticism that the process is going to be a mess since the standard is effectively going to be completed twice.

[Penton-Man]

Originally Posted by Richard Paul

120 fps

Although not quite as good as 240fps, I think the Blu-ray.com Mod Team would concur it be better than 60fps…

Originally Posted by Penton-Man

Fig.3….http://www.sbjtvd.org.br/2010/anais/..._3d_system.pdf

so I’d settle with 120fps…without 3D.Thanks for the link.

[Penton-Man]

Originally Posted by raygendreau

“When we first travel to Tomorrowland, I gave a little more glorious color to it,” Miranda explained. “When Casey holds the pin and first sees Tomorrowland (the sequence that appears in the trailer), there’s adventure and hope and light. It’s warm and inviting and exciting. There’s a present day that’s more muted, a little more bleak. … but there are also different versions of how we approached Tomorrowland [driven by what is happening in the story]."

“You also want to be careful not to use the whole gamut all the time or it gets slightly abusive for the eyes,” Miranda added.

(Hollywood Reporter) We'll see what audiences have to say over the next couple of weeks.

I remain confident , as mentioned from about a month ago, meaning Company 3’s colorist (under the supervision of the filmmakers, of course)……did it right -

Originally Posted by Penton-Man

^ They all (not just Company 3) can subscribe to a philosophy of less = more in regards to abrupt changes in luminance between scenes, because even though the human visual system has great dynamic range, dark/light (and vice versa) adaptation is not instantaneous. It takes the iris on the order of second(s) to adapt and the rod/cone mechanism on the order of minutes(s) to do so.

Best not *overdo it* for the sake of making HDR images really *pop* and thusly get into a situation of viewer discomfort, like that of some early 3D releases which caused eye fatigue for yet another overly aggressive practice, namely….large, rapid changes in parallax.

What’s left unanswered to those of us who used to regularly go out to movie theaters, but have slowly evolved over the years to become home theater enthusiasts for a number of reasons last couple paragraphs - https://forum.blu-ray.com/showthread...c#post10790697 )

is when will consumers see LG OLEDs having HDR (thru hdmi, of course) capability?

[Penton-Man]

Shot on film and mastered through digital intermediate pipeline for a D-Cinema deliverable:

4K DCP (still interop)

Image Format: 3996x2160 (Flat)
Audio Format: 5.1
Feature Run Time: 1:44:29
File Size: ~ 126 GB

[Penton-Man]

Originally Posted by Teazle

I wonder about false positives here. How much of that wow-factor is just the result of higher contrast due to deeper black level consistent with SDR? (Better PJ; turning off ambient light e.g. exit signs?)

safety FIRST

https://www.youtube.com/watch?v=RCJ-...utu.be&t=3m38s

[Penton-Man]

Originally Posted by raygendreau

(Hollywood Reporter) http://www.hollywoodreporter.com/beh...a-talks-797681

That ^ article by Carolyn can serve as an entrée to a more advanced technical posting…

Ergo….some members who don’t own a new-fangled HDR tv, and don’t plan on doing so for awhile, might ponder….‘how do dey do dat Dolby mastering stuff in order for dem movies to play out well on my *lowly* standard dynamic range television in the meantime?

Well…..the standard dynamic image is managed through a Dolby Vision device (box). While grading the content, think of the signal path as going from the post house’s color correction system -> a Dolby mastering monitor -> Dolby’s magic box -> a standard dynamic range monitor. While color grading, both images are updated on each monitor at the same time so you can color grade both the HDR version and SDR version simultaneously with both monitors placed together (filmmakers will like this).

The tonal range of the standard dynamic image is managed by basic lift, gamma, gain as well as other controls of your color correcting system….which essentially talks to the intermediate Dolby box/device…which sets the image on the SDR display.

And that’s how it works.

[Penton-Man]

Originally Posted by Penton-Man

Carolyn (from THR)

And Carolyn just keeps on truckin strong to this day as a moderator or co-moderator for Hollywood panels (the good stuff in the Super Session starts at about 4min. 30sec. mark, after the lead-in commercial and panelist introductions) for ‘Hollywood Preview: The Next Generation of Consumer Experience is Now’ -
http://link.brightcove.com/services/...=4173329641001

[Penton-Man]

Originally Posted by Penton-Man

Well…..the standard dynamic image is managed through a Dolby Vision device (box). While grading the content, think of the signal path as going from the post house’s color correction system -> a Dolby mastering monitor -> Dolby’s magic box -> a standard dynamic range monitor. While color grading, both images are updated on each monitor at the same time so you can color grade both the HDR version and SDR version simultaneously with both monitors placed together (filmmakers will like this).

The tonal range of the standard dynamic image is managed by basic lift, gamma, gain as well as other controls of your color correcting system….which essentially talks to the intermediate Dolby box/device…which sets the image on the SDR display.

And that’s how it works.

b.t.w, that ^ somewhat detailed Dolby plug information is not included in the above linked video clip from NAB 2015 on ‘The Next Generation of Consumer Experience is Now’ as the Hollywood heavyweight panel consisted of no one from, for instance Dolby, Filmlight or Blackmagic to enlighten as such.....in case some were desiring hearing more on 'how stuff works'.

Now, back to the salt mines for me.

[Penton-Man]

Oops, forgot one thing for the Mod Team…Sky D broadcasting a live event in UHD to Samsung Ultra HD TV sets….http://www.broadbandtvnews.com/2015/...l-in-ultra-hd/

[Penton-Man]

For those wanting more (than even 4K), depending on where one lives, try checking out one of these freebie even higher spatial rez NHK/FIFA presentations-
http://www.broadbandtvnews.com/2015/...blic-viewings/

P.S.
As an aside, big FIFA news today - http://www.espnfc.us/fifa-world-cup/...ent-of-justice

[Geoff D]

Careful Penton, the complaints are no doubt flooding the mods' inboxes as I type this...

[Penton-Man]

Originally Posted by Penton-Man

the Hollywood heavyweight panel consisted of

Left ->Right (http://link.brightcove.com/services/...=4173329641001 )

Michael DeValue (co-moderator) Director of Advanced Technology - Walt Disney Studios
Bryan Barber Vice President Digital Initiatives - Warner Bros.
Hanno Basse Chief Technology Officer - 20th Century Fox Film Corp.
JoDee Freck Senior Vice President Mastering & Technical Services - Lionsgate Entertainment
Jim Mainard Head of Digital Strategy & New Business Development - DreamWorks Animation
Jim Helman - Chief Technology Officer – MovieLabs

To expound a little more upon one of the things which Carolyn asked the panel, for new readers to the Tech forum, we discussed the very same thing 4 months prior to the NAB conference here at Blu-ray.com, last Dec. –

Originally Posted by Penton-Man

high or extended (as Dolby actually prefers calling it) dynamic range is even less forgiving than shooting in 4K which, in terms of the cost issue which you bring up, could potentially push make-up, set design, etc. to *up their game*. Additionally, I would say that in order to get ‘the full effect’ or the best effect out of Dolby Vision or any high dynamic range solution will be to light the scene in a way that would make the most out of an HDR finish…which could contribute additional cost. And the best way to check the lighting of a scene would be with the use of an HDR on-set monitor, of which, as of now, there is no practical product available for D.P.’s.

So, in summary, especially with live action motion pictures, in order to harvest the fullest potential out of production intended from the get-go as an HDR release, what elements will need to *up their game* in comparison to that of shooting for an SDR production?

Answer -
1. Lighting
2. Makeup
3. Production Design
4. Costume Design

along with the filmmakers capturing their imagery with the help of an HDR on-set display for monitoring the production.

[Penton-Man]

So, inquiring minds desiring to learn of an example of HDR done wrong or poorly?....i.e. something filmmakers should avoid doing with the HDR toolset when people view their movies on displays capable of higher luminance as compared to that of Dolby Vision’s theatrical presentations?

Well, there was an example at a recent trade show which caused me and others some eye discomfort and which I posted the video somewhere on this thread in the past to firstly demonstrate the merits of HDR…with the other scenes done right. When I have more time to contribute, I’ll find that video and subsequently point out the poorly created portion of the exhibited HDR live action movie which, to be honest, caused momentary eye strain.

[Penton-Man]

Originally Posted by Geoff D

Careful Penton, the complaints are no doubt flooding the mods' inboxes as I type this...

Well after they're finished complaining they can attend

Originally Posted by Penton-Man

Musings from Cinegear 2013….and alas, soon it be time for Cinegear 2015….

And contribute to the thread by informing us of what they saw at this year's upcoming Cinegear. For registration is free until midnight, May 30th…..https://www.speedbadge.com/sreg2.php?s=cinegear
and there will be 4K movie stuff on that lot.