Very nice interview. (I particularly enjoyed the "Manpacks" segment. Sort of the webcasting equivalent of the old soap ads.) Great questions and answers, esp. on the difference between Rec. 709 (2K) and the new Rec. 2020 (4K) wide gamut spec, and how those may (or may not) be implemented on future TVs. (Maybe I'll have a reason to upgrade my old 2002 Sony XBR CRT after all.)
If Rec. 2020 is deployed for home video (which would be a good thing imo), hopefully it doesn't produce the same color-twisting issues as the Rec. 601 to Rec. 709 conversion. The Rec. 2020 gamut appears much wider than 709 though, so I'm guessin those differences would be easier to spot and fix than the comparatively small differences between 601 and 709.
I completely concur with Eric though that Rec. 709 can look very colorful indeed on a properly-calibrated display. When it's done right, the calibration process shouldn't necessarily make colors more saturated, but it should improve the definition of colors in video making the various hues in an image more distinct from one another (which may make them appear better saturated than on a poorly-adjusted display).
Some good thoughts on sharpness and uniformity as well. I'd been wondering about the differences between edge-lit and full-array LEDs after encountering those terms in recent AVS discussions, and Eric covered the subject beautifully.
A couple thoughts on the issue of Sharpness... Turning it all the way down may work ok on some displays, but it's definitely not the best strategy on all TVs, because many will begin to smooth-over the details at lower settings (my CRT certainly does). IMO, you want sharpness set high enough to clarify the detail that's there, but not to embellish or enhance it.
A good test case I've found for that is the recent Blu-ray release of The Spy Who Loved Me, which has very fine detail, and virtually no edge-enhancement (that I can see anyway) in the image. If you see any EE on a film like that, chances are that it's coming from your display (or possibly the player), rather than the actual encode of the film on the disc. The fine cel edges in some recent traditionally animated features can also be a good test, because those will pick up any EE in the display quite easily. These are sort of ideal scenarios though. And in some rare cases you may actually want a little smoothing to tone down the EE in a particularly bad transfer.
1:1 pixel mapping really should have eliminated the need for the Sharpness control (on 1080p sources like Blu-ray anyway). But most TVs do some scaling which can introduce unwanted artifacts or smoothing. Even 1080p TVs with no overscan may scale 1080p content on a subpixel level.
IMO, the detail is actually a bit "cleaner" in TSWLM (some might even say too clean or "Lowry-ed") than in the recent BD release of Lawrence of Arabia, which also has an impressively high level of detail, but with a slight impression of edginess. Maybe others here can offer some other suggestions along similar lines.
Edited by ADU - 4/5/13 at 9:11pm