Originally Posted by ToD_
Thanks, Ted. I was aware of the complications of using a 3D LUT for HDR, which is why I mentioned "HDR bypass". I probably wasn't clear in my message. That said, I appreciate the level of detail you provided. I gained a better understanding what problems arise if a 3D LUT is used with HDR.
I would like what the Lumagen PRO does but with it passing HDR and DV untouched - and more affordable like the eeColor. I'd get the eeColor but its use is becoming limited with an increasing amount of sources outputting at greater than 1080p.
Hi, you can't pass Dolby Vision signal from Lumagen PRO, this will never be supported because there internal processing of the signal which can't be bypassed (you can't alter DV signal, it's not a simple signal, its 8bit RGB called data wrapper which internally it has a YCbCr 4:2:2 12bit HDR signal with dynamic per frame metadata).
A Movie gets a different mastering for 1080p SDR home release from HDR Home release. It's not all the times an HDR release of a movie better from the SDR, most of the times if you looking popular review sites, the SDR release has better ratings from HDR, it's not that HDR is such bad, the end results are very different when you will watch the same movie from 3-4 different consumer TV's.
The same movie will look so different using different displays because of differences in tone mapping, peak output and gamut coverage of displays used for mastering vs. the ones consumers can buy. So it's impossible to see what director wanted to show you for the HDR release of a movie, unless you watch the same movie some years later when the displays will have 1000/4000 nits and DCI-P3 100% coverage (but that time the mastering will have moved to larger gamut coverage from DCI-P3, so we always we will try to follow the mastering specs of mastering studios (which will always be higher from consumer models capabilities)
For SDR release, all post production studios are using a REC.709 (100% coverage) @ 100-120 nits calibrated with 3D LUT monitor and any modern consumer TV can cover 100% the REC.709 at these luminance levels with 3D LUT calibration also, so if you want to watch the movies as supposed to look, you have to invest in 3D LUT for SDR.
At these Luminance levels (100-120 nits) the OLED's are more stable, than higher nits even to SDR mode, see for example how much the drifting is reduced when you will reduce the Panasonic OLED Peak Output at the following example, when the peak output is high, is more unstable during the time of working, now imagine what is happening in HDR mode where the luminance levels are very higher.
This is the LightSpace's drift plot of White patch measured every 30 seconds (axis are +-3 nits), when Klein K-10A used for measurements of 17-Point Cube for SDR Mode with Peak output 255 nits, of Panasonic EZ1000 which is using LG 2017 panel but Panasonic is not driving the panel to it's limits (like the LG do):
This is the LightSpace's drift plot of White patch measured every 30 seconds (axis are +-3 nits), when Klein K-10A used for measurements of 17-Point Cube for SDR Mode with Peak output 132 nits:
This is the LightSpace's drift plot of White patch measured every 30 seconds (axis are +-3 nits), when Klein K-10A used for measurements of 17-Point Cube for SDR Mode with Peak output 109 nits:
Now look what is happening to HDR mode using 2% patterns (trying to not trigger ABL and load) this is the LightSpace's drift plot of White patch measured every 30 seconds (axis are +-3 nits), when Klein K-10A used for measurements of 17-Point Cube for HDR Mode with Peak output 796 nits:
As you can see the 3D LUT HDR calibration is impossible when the panel is so unstable.
Coming back to SDR 3D LUT, because the Gamma SDR movies are mastered, it varies from years-to-years, it's unknown what gamma each studio was used, currently most of the studios are using 2.4, before some years it was 2.35 (per EBU...now EBU has changed it to 2.4), older movies were 2.2. With 3D LUT you can have different calibrated gamma's to 3 different slots, to swap real-time to see how it's affecting you picture and select the one that you satisfied most...since we are don't know what gamma each studio is using for SDR.
The good news with HDR is that all are using the same transfer function to studios but it's existing a problem in home reproduction of PQ due to different approaches each display is using, different peaks/gamut coverage etc.. so you have more problems.
If you have UHD player and you need to have the same time 2 outputs without changing cables (one for DV/HDR10 and another one for 1080p), then you can add to your UHD player output the HD Fury Integral or Vertex which can work as 1 Input -> 2 Output Spliter.
The top output of HD Intergral is HDCP2.2, so from there you will use an HDMI cable to go to your TV for DV/HDR10 signaling, and to that input of your TV you will have adjust the settings for HDR calibration.
The bottom port of HD Intergral is HDCP 1.4 (SDR using HDCP 1.4 while HDR HDCP 2.2), there you can connect the SDR 3D LUT Box and then the TV...so to that input you will have the settings for 3D LUT. (native gamut colorspace and pre-calibration only of 100% White required for 3D LUT pre-calibration, not parametric adjustments)
You will configure your UHD player to have play at native resolution, so when you will load a BD Movie it will output 1080p24/50/60 (according to each title framing) and TV will do the upscale to 2160p.