Divergence of Content and Display Technology
Author - Mark Anderson
Current and emerging TV technologies have the capability to display a color gamut far beyond that available in consumer content. Movie studios are not delivering better content that takes advantage of these new technologies and the world seems to be rushing headlong towards lower quality streaming as the preferred deliver method. Surely there's something wrong with this picture?
TV Display Technology
If we look at today's major TV technologies, there's no doubt that Plasma and LED Backlit LCD lead the field in terms of color quality. Emerging standards such as 4K, OLED and QDEF (we'll be covering QDEF next month) are pushing the capabilities of displays even further. Yet all content is still authored to a Dickensian standard known as Rec. 709 standard, which dates back to the early nineties (and is actually based on standards from the sixties). In contrast, digital movies for the theater are authored to the DCI P3 standard, which has a significantly larger gamut than than Rec. 709 (more on this later).
Many colors found in real life fall outside the boundaries of the Rec. 709 gamut, so why don't the movie studios choose a lager gamut (such as P3) for consumer content? Before we attempt to answer this, we'll take a closer look at color gamut and gamut mapping.
Read the complete article at the Newly Renovated HomeToys.com
Author - Mark Anderson

Current and emerging TV technologies have the capability to display a color gamut far beyond that available in consumer content. Movie studios are not delivering better content that takes advantage of these new technologies and the world seems to be rushing headlong towards lower quality streaming as the preferred deliver method. Surely there's something wrong with this picture?
TV Display Technology
If we look at today's major TV technologies, there's no doubt that Plasma and LED Backlit LCD lead the field in terms of color quality. Emerging standards such as 4K, OLED and QDEF (we'll be covering QDEF next month) are pushing the capabilities of displays even further. Yet all content is still authored to a Dickensian standard known as Rec. 709 standard, which dates back to the early nineties (and is actually based on standards from the sixties). In contrast, digital movies for the theater are authored to the DCI P3 standard, which has a significantly larger gamut than than Rec. 709 (more on this later).
Many colors found in real life fall outside the boundaries of the Rec. 709 gamut, so why don't the movie studios choose a lager gamut (such as P3) for consumer content? Before we attempt to answer this, we'll take a closer look at color gamut and gamut mapping.
Read the complete article at the Newly Renovated HomeToys.com






















