4K Blu-ray Confirmed, Coming in

[raygendreau]

Which is more convenient for the home theater and the content creator? It seems to me the answer is DTS-X rather than Dolby Atmos.

These days, average CE consumers are more likely to buy a sound bar and a sub. For the more discerning minority, already sitting with 5.1 surround and the even smaller subset with 7.1 speaker layouts, there is a certain appeal to using those existing layouts to enjoy DTS-X. Perhaps they can get away with adding front heights to the mix. The only other outlay would be a new AVR or converter and they are good to go.

On the authoring side of the equation, DTS-X open source without licensing must have some appeal, right?

Currently, DTS-HD MA/Dolby TrueHD ratio on BD releases is around 80/10 with the other 10% PCM and other lossless. (bluraystats.com)

While Dolby Atmos has an early lead over DTS-X (15 to 1 according to blu-raystats.com), by 2018 it will probably look like this: DTS-HD MA + DTS-X 80%; Dolby TrueHD+Dolby Atmos 10%; other 10%.

On the other hand, Dolby will probably maintain their dominance for cinema audio.

http://mesalliance.org/blog/me-daily...-x-in-the-u-s/

[dvdmike]

The choice is what I want, I want comparison

[PeterTHX]

Originally Posted by raygendreau

Which is more convenient for the home theater and the content creator? It seems to me the answer is DTS-X rather than Dolby Atmos.

So far reality hasn't borne this out.

These days, average CE consumers are more likely to buy a sound bar and a sub. For the more discerning minority, already sitting with 5.1 surround and the even smaller subset with 7.1 speaker layouts, there is a certain appeal to using those existing layouts to enjoy DTS-X. Perhaps they can get away with adding front heights to the mix. The only other outlay would be a new AVR or converter and they are good to go.

Atmos is just as flexible. They are adding it to *tablets* and other portable devices. Atmos will be everywhere.

On the authoring side of the equation, DTS-X open source without licensing must have some appeal, right?

Linux vs. Windows in the workplace. Dolby's support from mixing board to home speaker is top notch. That's what companies want.

Currently, DTS-HD MA/Dolby TrueHD ratio on BD releases is around 80/10 with the other 10% PCM and other lossless. (bluraystats.com)

Again, since UHD requires new authoring software and object based audio isn't a matter of just compressing existing studio masters the advantage is moot, just as Dolby having 95% of the DVD market was.

[Spike M.]

Speaking of audio authoring, what was with some of the earlier TrueHD tracks? Movies like Iron Man and Star Trek always seem like the louder action scenes had their volume lowered. For those movies my options are basically either turn the volume up for every action scene or setting the volume so that dialogue is almost painfully loud just so the action has even an ounce of power. Both are Paramount, which could mean something.

Is this just some bad compressing or?

[PeterTHX]

Originally Posted by Spike M.

Speaking of audio authoring, what was with some of the earlier TrueHD tracks? Movies like Iron Man and Star Trek always seem like the louder action scenes had their volume lowered. For those movies my options are basically either turn the volume up for every action scene or setting the volume so that dialogue is almost painfully loud just so the action has even an ounce of power. Both are Paramount, which could mean something.

Is this just some bad compressing or?

Sounds like a wrong dynamic range (Night Mode) setting. A lot of receivers default to AUTO and not OFF.

[dvdmike]

Originally Posted by Spike M.

Speaking of audio authoring, what was with some of the earlier TrueHD tracks? Movies like Iron Man and Star Trek always seem like the louder action scenes had their volume lowered. For those movies my options are basically either turn the volume up for every action scene or setting the volume so that dialogue is almost painfully loud just so the action has even an ounce of power. Both are Paramount, which could mean something.

Is this just some bad compressing or?

Don't forget the issues with things like Total Recall

[Penton-Man]

https://forum.blu-ray.com/showthread...7#post11264987

Originally Posted by dvdmike

I have used HDR on photos and video, and that is a presumptuous thing to say

Mike, there’s a new Adobe editing tool out there for your HDR media which should be helpful for showing us your work….

High Dynamic Range Workflows | Adobe Creative Cloud - YouTube

[Penton-Man]

Originally Posted by ronjones

FYI - although they got almost no press coverage....

In that regard, there were also SoC supplier news/updates from Sigma and MediaTek regarding advanced chipsets to support HDR content, which received relatively little coverage during IFA week.

[dvdmike]

Originally Posted by Penton-Man

https://forum.blu-ray.com/showthread...7#post11264987

Mike, there’s a new Adobe editing tool out there for your HDR media which should be helpful for showing us your work….
High Dynamic Range Workflows | Adobe Creative Cloud - YouTube

What are you fishing at? I have now seen the Pi and the Exodus HDR clips and I still don't like it.
You will never convince me

[Penton-Man]

Originally Posted by raygendreau

Panasonic comments on their prototype UHD BR player in this new article from Whathifi:

https://forum.blu-ray.com/showpost.p...4&postcount=50

Ray, good interview about their 4K/UHD OLED tv and regarding that endeavor, Panasonic should be commended (along with their good signal processing, i.e. guts ), as to the revelation in the interview about the panels picked by Panasonic being “selected out of the production run particularly to take the very best quality” …..although I’m not quite sure how LG OLED owners will take to that information.

For those unaware of the concept of *selecting*, I can inform you that with regards to the runs for pro model (be it critical color correction or broadcasting) monitors, although this is not such a big issue with RGB OLEDs as the reject rate there is very low, but more so with regards to pro-level LCD/LEDs, it not unusual for there to be a binning process (rating the panels as Grade A or 1, Grade B or 2, etc.) on either (or both) the supply side (panel producer) and the manufacturer (be it Panasonic, Sony, FSI, whomever) side.

Agreed upon pre-defined conditions with the supplier (in this case it would be LG Display) in terms of what is considered within the acceptable threshold can be difficult to negotiate < meaning kudos to Panasonic for going the extra mile to bring videophiles the best quality possible….but of course they have to pass on some of that cost to the consumer.

[Penton-Man]

Originally Posted by harpolini

I'm starting to feel in the minority of those excited for 4K. Maybe an exaggeration, but alot of people are treating this like its dead in the water.

Knocking it, one way or another, does appears to have become rather fashionable.

Originally Posted by harpolini

Imagine if the first two releases were True Lies and The Abyss. Everyone would be all over 4K.

Brings back fine memories of good ‘ol times with friends …..a shoutout to Emmy award winner Al Giddings, this is an address which will forever be etched in my mind.

R/V Eagle
Pier 40
San Francisco, Ca.

[Penton-Man]

Originally Posted by dvdmike

What are you fishing at?...

Nothing….except perhaps for accountability. The editing tool is a way for you to show us or others how you first came to that conclusion with your own material.

[Penton-Man]

Originally Posted by Geoff D

"My HDR's better than your HDR" etc etc. Oh joy...

Hey, you’ve given me an idea for a new T-shirt slogan to replace thee old…https://forum.blu-ray.com/showthread...rt#post9633340

Seriously, in the case with HDR solutions, I think competition is good as it promotes better quality of whichever solution and offers consumers choice(s)…..not to mention that after all the years and $$ that Dolby has invested in R&D for extended image dynamic range, I think it only fair that they at least get a chance at some reimbursement for their troubles.

No system is perfect, but look at it this way, there would be little or no financial incentive for innovative pharmaceutical companies to develop new drugs if equally effective generic equivalents could be marketed and sold soon thereafter.

[Penton-Man]

Originally Posted by 2themax

Your 12bit answer lies here in section 2.2.3.3.5.2.
http://www.blu-raydisc.com/assets/Do...per_150724.pdf

As an aside, unlike the mandatory Blu-ray HDR base layer (BDMV HDR), Dolby Vision can also work with H.264 codec, which is a nice consideration for portable and cost constrained use cases.

[Penton-Man]

Originally Posted by Geoff D

A logical assumption. With Sony's just-announced DV tie-in they'd surely have reason more than most to produce genuine 12-bit displays, so I wonder what CES 2016 will bring. Sony being Sony though we'll probably have to wait until the year after that.

In the meantime, native (true) 10 bit panels plus 2 bit frame rate control should serve consumers just fine….and keep costs down. With the *extra 2 bits of video processing*, it aids in reducing the higher source bit precision to that the panel can accept rather than in previous use cases (esp. with pro monitors) in which the dithering has mainly been used to add additional tones to the image.

[Penton-Man]

Originally Posted by Geoff D

....hell, actual 4K 2D content still seems to be something of a rarity unless your company's name happens to rhyme with bony.

I've heard of 'em. They've got good taste, let's just take a look back ....https://www.youtube.com/watch?v=ZqFa...utu.be&t=9m17s

[Penton-Man]

Follow-up from August regarding Indigo Ultra™

Originally Posted by Penton-Man

No title talk from me. Last time I did that was back in '06 with leaking Happy Madison’s Click (on another forum) as the scheduled-to-be first BD50 title…and a couple people got irritated as I stole a tiny bit of their marketing announcement thunder. All I can tell you is that, with regards to tools for dem titles, the beta version of Indigo Ultra™ has been available for content creators since July…… http://www.prweb.com/releases/2015/07/prweb12851998.htm

And although not mentioned in the ^ press release, Version 1.0 is scheduled for release next month.

Out of Amsterdam...http://www.prweb.com/releases/2015/09/prweb12951972.htm

[Geoff D]

Originally Posted by Spike M.

Speaking of audio authoring, what was with some of the earlier TrueHD tracks? Movies like Iron Man and Star Trek always seem like the louder action scenes had their volume lowered. For those movies my options are basically either turn the volume up for every action scene or setting the volume so that dialogue is almost painfully loud just so the action has even an ounce of power. Both are Paramount, which could mean something.

Is this just some bad compressing or?

IIRC Iron Man was actually mastered with the DRC flag on or whatever the techsplanation was, so it triggered the DRC on people's gear if DRC was set to Auto instead of Off. DTS has no such thing, or so I've heard it said.

[Geoff D]

Originally Posted by Penton-Man

In the meantime, native (true) 10 bit panels plus 2 bit frame rate control should serve consumers just fine….and keep costs down. With the *extra 2 bits of video processing*, it aids in reducing the higher source bit precision to that the panel can accept rather than in previous use cases (esp. with pro monitors) in which the dithering has mainly been used to add additional tones to the image.

Heh, no sooner do we gets true 10-bit panels (or so the manufacturers say ) then we're getting "12-bit" 10-bit + FRC panels. Still, I gots no beef with FRC because it works rather well.

[Penton-Man]

Originally Posted by dvdmike

You will never convince me

But it can be fun trying ....https://blog.sony.com/press/31617/