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Old 06-22-2022, 03:46 PM   #1101
Robert Zohn Robert Zohn is offline
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Here's an excellent video presentation of Sony's new flagship Z9K 8K TV filmed in our store and our new Broadcast Studio.

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Panson (06-22-2022)
Old 06-22-2022, 04:29 PM   #1102
Panson Panson is offline
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^^^^^^^
Early Z9K 75" impressions: Above 1000 nits blown out; X95K 75" may be a better buy, $3800 vs $7000.
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Old 06-22-2022, 06:38 PM   #1103
batman2000 batman2000 is offline
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Quote:
Originally Posted by MisterXDTV View Post
Probably because for people that prefer contrast to brightness there's OLED technology

LCDs are now used to push brightness because it's much easier than implementing a perfect local dimming algorithm (with good viewing angles on top of that)

If you want BOTH perfect contrast and super peak brightness, then you will have to wait for Micro-LED probably...
Call me when micro led will be below either $2,000 or $1,000 other wise Iíll wait
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Old 06-22-2022, 06:42 PM   #1104
lgans316 lgans316 is offline
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https://www.flatpanelshd.com/review....&id=1655879889
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Panson (06-23-2022)
Old 06-23-2022, 07:02 PM   #1105
Panson Panson is offline
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^^^^^^^^^
"The fact that Sony X95K uses the same SoC as last year's models also explains why it is running Android 10 rather than Android 11 or 12."

" It is a little baffling how relatively cheap media boxes like Apple TV can come bundled with a sleek and premium aluminum remote control while much more expensive TVs come bundled with cheap plastic remotes. In our opinion it is not a good place to cut costs as the remote control is how you interact with the TV on a daily basis."

"We are not fans of Sony's X-Wide Angle system as it makes the VA LCD panel (medium-high contrast, narrow viewing angles) look more like an IPS LCD panel (low contrast, wide viewing angles)."

Last edited by Panson; 06-23-2022 at 07:27 PM.
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Old 06-23-2022, 08:56 PM   #1106
Penton-Man Penton-Man is offline
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Quote:
Originally Posted by Penton-Man View Post
....it is far, far more difficult to shoot and deliver HDR content for live linear workflows than it is for file-based post produced approaches, e.g. movies.
Thatís ^ not to say that continuing education directed to creators and refinement of file-based post produced content capture practices has stalled. For example, from just last week at the Clubhouse in Hollywood Ė https://imago.org/event/internationa...y-summit-2022/


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Old Yesterday, 11:10 PM   #1107
Penton-Man Penton-Man is offline
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Quote:
Originally Posted by Geoff D View Post
Given that HLG is a relative luminance system whereby the end display already has the responsibility of applying the OOTF, instead of PQís absolute assumption of OOTF, then what does the DV metadata thatís present in 8.4 do that the HLG rendering does not?
Geoff, at least theoretically and broadly speaking, the DV metadata should take advantage of the sophisticated display mapping present in Dolby Vision supported devices so as to ensure that the content is optimally mapped for the current display conditions, suggesting that Dolby feels it may be superior to simply the HLG base layer by itself.

For this to be proven beyond doubt to consumers, you would have to set up something like a blind (to observers) independent shootout of the two (full profile 8.4 utilization vs. HLG base layer only, so to speak) from the live sporting event under various ambient lighting conditions, i.e. one way being a Sony or other Dolby Vision capable TV placed next to a Samsung TV showing the streamed content. I was hoping that somewhere in DaBaís French speaking forum that a member there, out of curiosity, had done something like that, but in my quick translation of the discussion, from my understanding it seems the only comparisons made were between the 4K non-HDR vs. the HDR (full profile 8.4 utilization) content,

All that said, regardless of what is best or how advantageous the DV metadata mapping actually is as additive to the HLG layer with regards to the best dynamic range and color fidelity of the picture in various lighting conditions as opposed to just having the HLG by itself (vis-ŗ-vis Dolby Vision Profile 8.4 for non-Dolby Vision supported devices) 8.4 is a significant plus, not to mention given the history of competition between absolute (PQ) vs. relative (HLG) HDR systems - https://forum.blu-ray.com/showthread...y#post12671964 <- As you can see, Richardís linked pdf from back in the day is no longer available as the two HDR approaches are now friends .

P.S.
Thatís not to say there has been some behind the scenes (perhaps unaware to consumers) animosity between display manufacturers and Dolby, for instance - https://dockets.justia.com/docket/ne...cv00042/572718

IMO, fortunately , the case ^ was dismissed with prejudice - https://www.law.cornell.edu/wex/with...20that%20court

Last edited by Penton-Man; Yesterday at 11:15 PM. Reason: added a P.S.
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Old Today, 12:42 AM   #1108
Geoff D Geoff D is online now
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Quote:
Originally Posted by Penton-Man View Post
Geoff, at least theoretically and broadly speaking, the DV metadata should take advantage of the sophisticated display mapping present in Dolby Vision supported devices so as to ensure that the content is optimally mapped for the current display conditions, suggesting that Dolby feels it may be superior to simply the HLG base layer by itself.

For this to be proven beyond doubt to consumers, you would have to set up something like a blind (to observers) independent shootout of the two (full profile 8.4 utilization vs. HLG base layer only, so to speak) from the live sporting event under various ambient lighting conditions, i.e. one way being a Sony or other Dolby Vision capable TV placed next to a Samsung TV showing the streamed content. I was hoping that somewhere in DaBaís French speaking forum that a member there, out of curiosity, had done something like that, but in my quick translation of the discussion, from my understanding it seems the only comparisons made were between the 4K non-HDR vs. the HDR (full profile 8.4 utilization) content,

All that said, regardless of what is best or how advantageous the DV metadata mapping actually is as additive to the HLG layer with regards to the best dynamic range and color fidelity of the picture in various lighting conditions as opposed to just having the HLG by itself (vis-ŗ-vis Dolby Vision Profile 8.4 for non-Dolby Vision supported devices) 8.4 is a significant plus, not to mention given the history of competition between absolute (PQ) vs. relative (HLG) HDR systems - https://forum.blu-ray.com/showthread...y#post12671964 <- As you can see, Richardís linked pdf from back in the day is no longer available as the two HDR approaches are now friends .

P.S.
Thatís not to say there has been some behind the scenes (perhaps unaware to consumers) animosity between display manufacturers and Dolby, for instance - https://dockets.justia.com/docket/ne...cv00042/572718

IMO, fortunately , the case ^ was dismissed with prejudice - https://www.law.cornell.edu/wex/with...20that%20court
Speaking purely for my own limited experience of DV vs HLG, using the Montage on Spears & Munsil UHD Benchmark and bearing in mind the hobbled DV performance of the ZD9, the HLG was by far the best representation of a very challenging source. A better comparison would of coursh be a TV-led DV option without the player inducing odd clipping but even so, would it just draw it level with the HLG? I hope to find out at some point but it's looking like I'm gonna have to wait until the ZD9 literally dies on me.
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