Originally Posted by venkatesh_m
Can you pls explain this again as if I read this as written, I seem to understand that use the Panny 820, send a SDR709 out from a HDR BT2020 source, but make adjustments at the HT9060 to remap that back to P3 ... and that does not sound right to me as I thought you cannot select a wider colourspace on the HT9060 easily and why would you want to convert from BT2020 to BT709 then expand it again...
I'm confused...so I'm sure I am reading it wrong
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1. Extended Dynamic Dimming
. The HT9060's native sequential contrast is weak when compared to the likes of Epson's UB line or JVC's/Sony's Lcos. However, its dynamic dimming brings the contrast ratio to a more acceptable c. 5,000:1. Extending the dimming to scale across more ADL ranges will lower brightness but will give the image more depth until the machine's better performing upper ADL and simultaneous contrast can take over. For UHD content, the way to do this is through external tone-mapping.
2. External Tone-Mapping
. Another weakness this projector has, at least for now, is that it will not default to HDR-related wider color without receiving an HDR signal/"flag." This is a problem because I also find the tone-mapping of dark and light in the projector to be sub-optimal. The way to improve mapping is to use an external source tuned to 400 nits, which should cover most 4K/UHD content. However, if you set the source to SDR BT2020 to get the wider (P3) color space, the projector (not receiving the HDR trigger) will default to one of its rec709 picture modes. This phenomenon will cause a coloration mismatch where the image will look washed out.
So, the way around it all is to send SDR Rec/BT709 for a match. Then you could tune the projector to get to a slightly wider color than rec709. While you won't get the full P3 gamut, at least if you want the image to look correct, the image still, overall, will look better with external tone-mapping.
Yes, over-saturation is a concern, but you are just calibrating it closer to P3. And keep in mind that while the signal is being down-converted to rec 709, the source content itself still would be mastered to display in P3.