Comments

videoITguy wrote on 9/21/2014, 10:02 AM
Previous remark-
Subject: RE: push the envelope, bleed on the edge.
Reply by: wwjd
Date: 7/5/2014 8:25:01 PM

I kinda agree with that, but this is more experiment than worrying about current distributions. I'm just a hobbyist, and not concerned with how or if anyone will ever see it. Worst case I can always render it normally also.



Dolby Vision aims to bypass and exceed at dispalying colors, dynamic range, brightness etc instead of sticking with the old school thought "This is what we have to work with now". I think this will be game changing, no longer having to work within the limits of decades old technology. Now, my camera is not an Arri or Red or anything, but I aim to push what I have to it's absolute limits.

I need to rephrase my question I think: Can VEGAS keep up? Will it render more color, higher framerates, larger resolutions?
Last time I tried to Render something under the pixel format 32-bit video or full, I got odd blue washouts in the highlighted areas. Not sure why something like that even happens, sort of seeking advice from anyone who has done some extending setting rendering beyond the normal kind.
VMP wrote on 9/21/2014, 10:18 AM
Changing the setting from 8 to 32 bit does indeed give strange results.
I have seen this with colorgraded projects within Vegas.
Sometime all the video SFX have to be tweaked to a different setting after switching to 32 from 8.

Especially with layered tracks with add/screen compositing modes.

VMP
astar wrote on 9/21/2014, 9:01 PM
Dolby has a reference monitor on their site. It looks like it will support 12-bit color, and the backside view is crazy with the airflow filters. That thing must produce some serious heat if they are moving so much air they need to filter with a furnace filter.

http://www.dolby.com/us/en/professional/cinema/products/prm-4220.html
riredale wrote on 9/21/2014, 11:44 PM
Wow, gotta say that from a cursory look, I'm really surprised at Dolby.

The index page is written with a strong dose of hype, aimed at people who probably couldn't adjust their sets if their life depended on it. OF COURSE one could deliver a wider-contrast-ratio image. That is, if the typical set could deliver a white brightness that rivals the sun. OF COURSE one could create a delivery mechanism wider than 8 bits. But if the viewer can't see the difference, what's the point? OF COURSE one could set the black level far lower. But who is going to watch TV in a totally-blacked-out room?

Anyway, I reserve the right to change my mind, based upon further analysis, but to these eyes it's just marketing bull excrement.

Perhaps someone can explain to me what is new and revolutionary here. Or perhaps it will be more obvious to me tomorrow morning after I've had my cups of coffee.
ushere wrote on 9/22/2014, 4:19 AM
We gotta install microwave ovens

simpler to get a spyder and calibrate an 'affordable' good quality monitor
mdindestin wrote on 9/22/2014, 11:57 AM
What I'm hearing from experienced DPs is that 4k is much more marketing hype than raw 1080p with 20 stops of dynamic range. https://vimeo.com/106153701
wwjd wrote on 9/22/2014, 12:22 PM
but we hear that with every decades-old media technology that gets updated, every time.
why NOT embrace the newer/better, IF it offers more color or range?
astar wrote on 9/23/2014, 12:58 AM
I question DPs that say 1080p is all that is needed, when 4k is more about h.256 & Rec2020 vs 709. What DP would not want their content in 2020 over 709? What good is all that dynamic range if it does not reach the masses and still crammed into 709? Sure they can use h.256 to cram extra info into the same bandwidth as h.264 for HDR 1080. Unfortunately hollywood does not dictate consumer display resolution, the display manufacturer with assembly lines pretty much dictate consumer resolution. When they decide 4k processes are cheaper to produce than 1080, or they need the space, then 1080 will fade fast. Production types always like to have the newest brightest, most resolved cameras, and mans quest for "ohhh thats shiney" will always be the death of the old format.

I believe Dolby is demonstrating this tech in 1080p because of bandwidth reasons, and 4k or maybe even 8k versions for really large venues is on the drawing board. There needs to be a display format that will actually show HDR content, and not just squeeze HDR into a box.
riredale wrote on 9/23/2014, 12:11 PM
You might be right.

One famous example was the TV show "I Love Lucy" back in the 1950s. The decision was made to use 35mm movie film rather than kinescope because, among other reasons, the 35mm image quality was significantly better.

But there might be a point where an improvement in "quality" might go unrewarded. Going from 4k to DVD probably won't make much of an improvement over 2k to DVD.

Big-budget film production has had 70mm and IMAX avaliable for many decades, yet most productions don't use them.
farss wrote on 9/23/2014, 2:44 PM
The Dolby reference monitor is certainly a nice bit of kit if you're in the colour grading business. At the push of a button you can see what it'll look like in a cinema as DCI P3 and then how it'll look as Rec 709 for DVD or on TV.

People mixing music have had that kind of capability for decades so they can make the same kind of comparisons. How does it sound on a HiFi, how does it sound on a car radio, you want it to sound great on both just as you want vision to look as good as it can in the cinema and in the home from the one master.

Bob.
wwjd wrote on 9/24/2014, 9:21 PM
Can Vegas even "do" REC 2020?
astar wrote on 9/25/2014, 3:25 PM
I do not think it has support directly for it yet, but in 32-bit mode it supports various log modes and ACES. ACES is larger than rec2020, so in theory you would be able to have an RRT for rec2020. This is why when you shoot RAW on say an F65, you work the master in EXR/ACES and then make bumps to formats below it.

http://www.boacinema.com/projects/2012/for_forum_posts/brucecolorprimaries_compared_overlay.jpg
wwjd wrote on 9/25/2014, 7:15 PM
this is making the rounds, but applies here and is interesting

http://vimeo.com/106153701

http://vimeo.com/106153701