HDR Discussion Thread

[FilmFreakosaurus]

Originally Posted by Penton-Man

I hope the Ultra HD Blu-ray sells well….if only to increase peoples’ awareness of the animal kingdom and perhaps be more inclined/proactive to protect it.

Sadly, it hasn't helped yet.

Agent Smith's description of us humans is quite apt.

[batman2000]

So so true only we would destroy life and are own resources etc.

[DanBa]

"We’re talking about digital formats here, that are not tied tightly to physical formats. Decoding the content is a matter of software, and there’s nothing that bars a manufacturer from supporting multiple formats. – they’re in no way mutually exclusive."
http://www.avsforum.com/forum/465-hi...l#post51042225

[DanBa]

Originally Posted by batman2000

So so true only we would destroy life and are own resources etc.

"I wish no animal is hungry or thirsty, just happy,"
"This world is not just for people."
[Şebnem Ilhan]
https://www.thedodo.com/cat-ladder-i...283274823.html

[Atomic4877]

[QUOTE=DanBa;13273568]"We’re talking about digital formats here, that are not tied tightly to physical formats. Decoding the content is a matter of software, and there’s nothing that bars a manufacturer from supporting multiple formats. – they’re in no way mutually exclusive."
http://www.avsforum.com/forum/465-hi...l#post51042225



Heres to hoping Vizio can add HLG support to their 2016 P series.

[Penton-Man]

Originally Posted by Penton-Man

here's an upcoming....

So as not to leave out a heads-up to our Londoners for next week, “Day in the Life of a Planet Earth II Cameraman”…..http://www.bvexpo.com/Seminar/Day-in...II-Cameraman-1

[Penton-Man]

And speaking of any BBC personnel….
http://www.bvexpo.com/page.cfm/Actio.../VisitorID=802 ,

they are always welcome here on Blu-ray.com unlike with that of the White House ….
http://www.independent.co.uk/news/wo...-a7598641.html

[Penton-Man]

Originally Posted by DanBa

Don’t mention the HDR format war

"We’re talking about digital formats here, that are not tied tightly to physical formats. Decoding the content is a matter of software, and there’s nothing that bars a manufacturer from supporting multiple formats. – they’re in no way mutually exclusive."
http://www.avsforum.com/forum/465-hi...l#post51042225

Shoot Dan, that’s not even close to a stinkin war.
This was war….https://en.wikipedia.org/wiki/High-d...Forum_shutdown

[LordoftheRings]

Some more Planet Earth II - BBC in HD (HDR):

Iguana vs Snakes - Planet Earth II - YouTube

Iguana vs Snakes - Behind the Scenes - Planet Earth II - YouTube

Searching For Snow Leopards - Behind the Scenes 360° - Planet Earth II - YouTube

Bonus ↓

How to fix a round cage - YouTube

[LordoftheRings]

♦ http://advanced-television.tv/index....lanet-earth-2/

♠ http://www.trustedreviews.com/news/n...-4k-here-s-how

♥ https://www.youtube.com/embed/c8aFcHFu8QM?rel=0

[Geoff D]

Originally Posted by Penton-Man

Shoot Dan, that’s not even close to a stinkin war.
This was war….https://en.wikipedia.org/wiki/High-d...Forum_shutdown

Yeah, I've gotta agree that this is nothing like the bad old days, it's all been quite civilised...although I think some myopic Dolby fanboyism will certainly appear once DV UHD discs become a reality.

[Penton-Man]

Originally Posted by Geoff D

...although I think some myopic Dolby fanboyism will certainly appear once DV UHD discs become a reality.

AV device or software fanboyism always cracks me up for you’d think that these people owned stock in the respective company or their parents actually worked in some of the involved departments.

In so much as what the future holds, especially for more level headed sports fans, I do have to give another tip of the hat though to LG for their cutting edge demos at IFA and IBC .

When you already have a TV that can support 100/120Hz input, it’s a different perspective from the slo-mo samples available to the public on YouTube…..

Originally Posted by Penton-Man

https://www.youtube.com/watch?v=fymFca940Eg#t=36s

[Penton-Man]

Originally Posted by Richard Paul

Colorfront had a demo for HDR10PLUS at the HPA Tech Retreat though I haven't been able to find any articles about it.

http://colorfront.com/email_hpa2017.html....

Unless you visit their US office a little ways due east from here …..



I think they’d prefer to save the detailed thunder for NAB 2017. If memory serves I believe it was fellow bike rider and digital intermediate dude gochya (https://twitter.com/gochya) who interviewed Aron from CF last year at NAB regarding Transkoder 2016.

[Penton-Man]

Originally Posted by LordoftheRings

♥ https://www.youtube.com/embed/c8aFcHFu8QM?rel=0

My wife loved the bear rubbing its back in the forest scene.

[DanBa]

Originally Posted by Penton-Man

Unless you visit their US office a little ways due east from here …..

I think they’d prefer to save the detailed thunder for NAB 2017. If memory serves I believe it was fellow bike rider and digital intermediate dude gochya (https://twitter.com/gochya) who interviewed Aron from CF last year at NAB regarding Transkoder 2016.

Bruno Munger, living in LA, apparently has some info.
https://twitter.com/brunomunger/stat...60778135547904


I asked Suzie Hyun the following question:

I would like to know
if a HDR10Plus-compliant TV requires a full featured HDMI 2.1 interface, or a HDMI 2.0a/2.0b interface with SMPTE ST 2094 dynamic metadata transport capabilities (i.e. a faux HDMI 2.1)
and
if HDR10plus and Dolby Vision have roughly the same post-production framework generating dynamic metadata: an automatic data-driven color volume mapping and optional manual color correction controls.

[Penton-Man]

Originally Posted by DanBa

I asked Suzie Hyun the following question:
the post-production framework generating dynamic metadata.....

Or, in a nutshell, ask her about the capabilities for Samsung’s tone mapping tool and the mastered video file…

[DanBa]

"A user, such as a colorist (C), color grades an original video file 205 at, for example, a studio. The original video file 205 is input into a color grading tool 210, which generates a color graded output that is fed into a quantizer (Q) block 215 and encoding block (e.g., an H.265 codec) for encoding. The output of the Q block (315) is connected to a mastering monitor 220 to provide the user visual feedback of the color graded adjustments. In certain embodiments, the mastering monitor can be a high contrast display, such as a display capable of 4,000 nit peak luminance. However, the mastering monitor 220 may have very high contrast in comparison with a number of consumer display device (e.g., consumer-grade television sets having peak luminance of about 150 nits to about 750 nits or more). As a result, the mastered video 225 displayed on the mastering monitor 220 may look different than displayed on a home television set if the mastered video 225 is not adjusted. For example, because the mastering monitor 220 can display brighter images than a home television set, the bright portions of the mastered video displayed on the home television set may clip or saturate and, thus, image details may be lost.

To account for differences in display technologies, the user operates the tone mastering module (TMM) 230 to generate creative intent data (CIm) 235 that can be used with the mastered video file 225 for proper display on lower contrast devices. For example, the TMM 230 receives as input the mastered video file 225 and control parameters from the colorist. The TMM 230 provides a tone mapped version 240 of the mastered file 225 to a second target monitor 245 to generate visual feedback for the colorist. For example, the target monitor 245 can have a lower peak luminance level compared to the mastering monitor 220. In one example aspect, the target monitor 245 can model display devices that are more similar to what the end user might use to watch the video file 205 than compared to the mastering monitor 220. For example, the original video file 205 can be mastered using a mastering display 220 having a peak luminance of 4,000 nits. The colorists can remaster the mastered video file 225 using the TMM 230 for a target monitor of 1,000 nits. Based on the way in which the colorist tone maps the mastered video file 225 for the lower peak luminance target monitor, the TMM 230 automatically generates and output CIm data 235 that is indicative of the colorist's tone mapping choices in way that the CIm data 235 is usable to tone map the mastered video 225 for a number of target monitors 245 having different peak luminance values. Moreover, it will be appreciated that the TMM 230 can also use the CIm data 235 directly to generate pre-generated remastered video files. It will also be appreciated that CIm data 235 can be used to remaster video files for display on devices having a variety of color spaces (e.g., sRGB, Adobe RGB 1998, DCI-P3, NTSC, rec.709, rec.2020, and the like)."

[mzupeman]

Originally Posted by Geoff D

Yeah, I've gotta agree that this is nothing like the bad old days, it's all been quite civilised...although I think some myopic Dolby fanboyism will certainly appear once DV UHD discs become a reality.

Me, personally, I don't care about how I get my HDR, as long as I get it

[Penton-Man]

Late reminder to the post at the top of this page, again, attendance is free….
https://www.eventbrite.com/e/laser-p...ts-32053754643

[Penton-Man]

Originally Posted by DanBa

"A user, such as a colorist (C), color grades an original video file 205 at, for example, a studio. The original video file 205 is input into a color grading tool....

Credit for the flow chart pic came to me courtesy of Li (of whom Ray is apparently also fond of )…. https://forum.blu-ray.com/showthread...i#post12582945