Originally Posted by madshi
I think the screenshot in Mori's last comment has 3 good ones. There may be more.
Yes. But I just found a little bug which will be fixed in the next build.
I tried the 3 curves in
's screenshot tonight: yours and Mori's and mine, which we should call
Linear because I merely fine-tuned their efforts to my personal taste/needs. I just stuck to linear when they moved on to fancier curves but it's still mostly their work, so let's call it 80-L to dissociate it from me. I used the same settings as the last ones I posted except that I disabled dynamic clipping to take that out of the equation tonight.
I watched a variety of content in Lucy, Mad Max, Pacific Rim, The Meg, The Shallows.
Most of the time, I'd be happy with any of these curves. I find them fairly close.
However, when there is a more significant difference, for example in The Meg (control room) or Lucy (Morgan Freeman in his hotel room), I tend to prefer 80-L. More contrast, more depth and brighter. If I had the time I might try to slightly reduce the strength (gap between steps), but I really can't right now.
, I tried the shot you mentioned in Lucy with 80-L and a strength of 100, it's unwatchable, all the details in the hat go, so yes strength of 50 please and there would probably be other adjustments to make because I have 110 real nits (almost 50% more brightness than you), so a lot more headroom for highlights than you do at the same nominal brightness, which might also explain why I don't have an issue with shadow details either.
My curve/settings are tailored for my environment / peak brightness / taste, so I would only advise to use the settings I posted [EDIT: test setttings used in 109 attached] if you have around 110nits in a bat cave with a P3 projector and like a contrasty but not overcooked picture. Otherwise, there are probably better choices. I know that Neo has 150 nits and tonemaps to rec709, but madshi isn't sharing his details so I have no idea what they are tuned for. *Mori* has around 80nits, so fairly dim with limited headroom for highlights. Not sure if he tonemaps to rec709 or P3.
Overall, I feel like we're splitting hair. Apart from what they do in The Meg (control room), which I think is significantly worse here, or in Lucy (Freeman hotel) where I think they leave some performance on the table here, I don't have any objection with the other curves (strength of 50 for all). Unfortunately I don't have the time at the moment to do any extended testing, so not sure if The Meg is a one off or not, probably given the extreme way it's mastered. Lucy I could only see the difference in A/B, so not a big deal. I might prefer either of the other two if I was able to watch more content.
I leave it to you guys to pick the best curve. I trust everyone to make a good collective choice, and I'm confident I'll like the result if we can adjust the strength.
If anyone wants to provide precise timecodes where they think that 80-L with a 50 strength stinks, or where the others really shine compared to it, I'll take another look, but right now I won't lose any sleep over this.
, if you have a clear personal preference, go for it, there are enough settings to fine-tune and adjust to taste, and no option is bad. All of them make HSTM on clearly better than HSTM off, that's all that counts. Keep up the good work!
EDIT: I've attached my setttings used when testing 109, I had disabled dynamic clipping but it should be fine to enable it up to 50 (no more). I had sky detection and shadow boost disabled because I didn't have the time to test these properly and in the past I didn't like their effect, but that doesn't mean they can't work with the proper parameters. I haven't had a chance to test the new shadow boost parameter either, which might solve some of the issues I had previoulsy.