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The guy responsible for the iso has done the error, we have checked real disks.
The guy was me, and I don't think so. I just went through half a dozen similarly done titles, and their metadata matches those listed in that Google spreadsheet. I see no reason why BR2049 would be different, nor why only MaxFALL/CLL would change while other metadata remains the same. No biggie, just thought I'd mention my Vertex reports something else.
 

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The guy was me, and I don't think so. I just went through half a dozen similarly done titles, and their metadata matches those listed in that Google spreadsheet. I see no reason why BR2049 would be different, nor why only MaxFALL/CLL would change while other metadata remains the same. No biggie, just thought I'd mention my Vertex reports something else.
I mean the guy who ripped the disk. We have checked the real disk with Vertex and Linker also.
 

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The guy was me, and I don't think so. I just went through half a dozen similarly done titles, and their metadata matches those listed in that Google spreadsheet. I see no reason why BR2049 would be different, nor why only MaxFALL/CLL would change while other metadata remains the same. No biggie, just thought I'd mention my Vertex reports something else.
Does Vertex reporting the primaries as REC.2020?
 

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I mean the guy who ripped the disk. We have checked the real disk with Vertex and Linker also.
Hey, you know what? Vertex is buggy. I played Leon The Professional just now (from disc), and Vertex reported MaxFALL/CLL that differed from the ones listed in the Google spreadsheet. I viewed the film for approx a minute (Vertex OSD disappeared), then skipped to next chapter - and suddenly Vertex re-displayed the metadata OSD, this time with same values as the Google spreadsheet.

I believe correct values for BR2049 are 500/200 because that's what listed in the m2ts file itself. Looks like Vertex, at least, can't be fully trusted at the moment.
 

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Hey, you know what? Vertex is buggy. I played Leon The Professional just now (from disc), and Vertex reported MaxFALL/CLL that differed from the ones listed in the Google spreadsheet. I viewed the film for approx a minute (Vertex OSD disappeared), then skipped to next chapter - and suddenly Vertex re-displayed the metadata OSD, this time with same values as the Google spreadsheet.

I believe correct values for BR2049 are 500/200 because that's what listed in the m2ts file itself. Looks like Vertex, at least, can't be fully trusted at the moment.
Leon The Professional has multiple files with different metadata, the extended scenes have different metadata from theatrical release. Basically it has 2 sets of metadata, they are changing per scene.

It has happened with other titles also.

There many differences between regions also.

The list I have is huge, it has 414 titles checked right now.

Some times Vertex report inaccurate results, we do multiple checks with all HD Fury models.
 

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Leon The Professional has multiple files with different metadata, the extended scenes have different metadata from theatrical release. Basically it has 2 sets of metadata, they are changing per scene.
Ah, that explains it, thank you.
 

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Since you're no longer tied to SDR peak limits 100 cd/m2, we should have more headroom to tweak peak white and adjust contrast. Assuming you can adjust the lower end of the EOTF PQ.

Sent from my XR6P10 using Tapatalk
Unfortunately, HDR maintains the limit for "diffuse white" (such as a white wall, paper, etc.) at 100 nits. This is the same as for SDR. Luminance above 100 nits is restricted to highlights. This is the case for both DV (which promulgated the PQ EOTF) and HDR10.
 

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Unfortunately, HDR maintains the limit for "diffuse white" (such as a white wall, paper, etc.) at 100 nits. This is the same as for SDR. Luminance above 100 nits is restricted to highlights. This is the case for both DV (which promulgated the PQ EOTF) and HDR10.
I learned through some efforts by a fellow Vizio P Series owner, that increasing Contrast on our displays changes where the DV roll-off begins, and that is sooner than 80%-85% of the EOTF PQ curve.

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Is there an update to ConnecTEDDD's chart for recent releases including Saving Private Ryan?
 

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Is there an update to ConnecTEDDD's chart for recent releases including Saving Private Ryan?
Hi, unfortunately I haven't found the required time to write all the explanation related with static metadata, while I'm still updating it internally.

About Saving Private Ryan (US):

Mastering Display Color Primaries : DCI-P3 / D65 White Point
Mastering Display Luminance: Min: 0.0001 cd/m2, Max: 1000 cd/m2
 

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Leon The Professional has multiple files with different metadata, the extended scenes have different metadata from theatrical release. Basically it has 2 sets of metadata, they are changing per scene.

It has happened with other titles also.

There many differences between regions also.

The list I have is huge, it has 414 titles checked right now.

Some times Vertex report inaccurate results, we do multiple checks with all HD Fury models.
Where can we see that list with 400+ titles?
 

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Where can we see that list with 400+ titles?
Hi, I have not published it yet, it has 565 checked titles currently, I will publish once I will have complete explanation also about how metadata works etc. (no ETA) :(
 

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Hi, I have not published it yet, it has 565 checked titles currently, I will publish once I will have complete explanation also about how metadata works etc. (no ETA) :(
Awesome, I'm curious. Even though we don't know how these movies should look like I think anything above 1000-1500 nits are not relevant to the plot just eye candy so sky details, explosions etc.
These readings are useful, probably MaxFALL is the more important number to look, Sony and 2018 LG OLEDs are following the reference curve as long possible before clipping and maybe they are right since those extra bright details are rare in most movies. I mean, dimming the whole movie to show those few bright effects is not worth it for most people so I guess MaxCLL is less important with current display tech. But LG gives the option with Dynamic Tone Mapping to show as much detail possible.
 

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Awesome, I'm curious. Even though we don't know how these movies should look like I think anything above 1000-1500 nits are not relevant to the plot just eye candy so sky details, explosions etc.
These readings are useful, probably MaxFALL is the more important number to look, Sony and 2018 LG OLEDs are following the reference curve as long possible before clipping and maybe they are right since those extra bright details are rare in most movies. I mean, dimming the whole movie to show those few bright effects is not worth it for most people so I guess MaxCLL is less important with current display tech. But LG gives the option with Dynamic Tone Mapping to show as much detail possible.
The reality is that all these stuff with dynamic processing of each frame the manufacturers are adding, Dynamic Tone Mapping etc. all these are destroying the communication of the director's intent in any kind of authentic way.

To preserve as much of the intent as possible, displays have to follow very tight the PQ until the levels they can display, not to re-adjust their tone mapping according each movie metadata, ignoring the metadata is the best approach for me.

If you want to see how accurate picture with WRGB OLED's you get see there: 2018 LG OLED Calibration and User Settings (No price talk)

The WRGB OLEDs due to the introduction of the 'white' sub-pixel, this distorts the standard RGB color channel relationship - excessively at HDR brightness levels. (if you sum the Y of 100% patch of R+G+B primaries you get 400nits while the same time if you display a 100% White patch you get 800nit...so your color gamut is limited to 400 nits... this means that WRGB OLED's can never be calibrated accurately for HDR... ...but can be calibrated with 3D LUT in SDR mode, the recommendation is up 105-110 nits, there will be to ABL limiting and displays are more stable overs the time at these nits levels.
 

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The reality is that all these stuff with dynamic processing of each frame the manufacturers are adding, Dynamic Tone Mapping etc. all these are destroying the communication of the director's intent in any kind of authentic way.

To preserve as much of the intent as possible, displays have to follow very tight the PQ until the levels they can display, not to re-adjust their tone mapping according each movie metadata, ignoring the metadata is the best approach for me.

If you want to see how accurate picture with WRGB OLED's you get see there: 2018 LG OLED Calibration and User Settings (No price talk)

The WRGB OLEDs due to the introduction of the 'white' sub-pixel, this distorts the standard RGB color channel relationship - excessively at HDR brightness levels. (if you sum the Y of 100% patch of R+G+B primaries you get 400nits while the same time if you display a 100% White patch you get 800nit...so your color gamut is limited to 400 nits... this means that WRGB OLED's can never be calibrated accurately for HDR... ...but can be calibrated with 3D LUT in SDR mode, the recommendation is up 105-110 nits, there will be to ABL limiting and displays are more stable overs the time at these nits levels.
Well if it's optional then I don't see these features harmful. You just turn it off if you don't want to.
This is why I like Sony's (and now LG's) approach, they won't roll off before 700 or so nits. But they are not the best, here in Europe we also have Panasonic and the 2018 Panasonic is probably doing the best job. Here's a polish test, with Google Translate you can get the point, at least I could understand it :D

HDR10 performance is the most important, DV is so problematic that the more I know about it the less I care about it before 12-bit 10000 nit panels... I really like how Panasonic handling HDR10. But even if we will have 4000 nits displays, HDR10 will look outstanding. Actually I don't even know when they will start to master movies at more than 4000 nits. HDR is in very early stages, current content will be outdated in 5 years.

Great post, long and I barely understand it because I'm just a simple person, I don't know much about video signal :D But more or less I understand the limitations of the WRGB
 

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Hi, the US version of Blad Runner 2049 has 10000 nits metadata, the UK (and probably other EU version) have 4000 nits.

OPPO is not reporting the Primaries/White Point cordinates of the mastering monitor or MaxCLL / MaxFALL also.

US Blade Runner 2049 mastering monitor had REC.2020 Primaries while UK had DCI-P3 primaries (always REC.2020 is used as container and it's the colorspace you aim as target when you calibrate for HDR10/DV)

See a quick example of what differences some movies (and a lot of others will have when the list will be available) have between regions (while UHD don't have region code restriction)....interesting differences:



Looks like Blade Runner 2049 is the first movie mastered with 10000nits monitor using REC.2020 primaries.

Blade Runner 2049 is the second title which has REC.2020 primaries, there is another one from BBC US: Wild Africa/ Tiny Giants (but mastered using a 4000 nit monitor).

There 2 ways to calibrated a Studio Mastering Monitor, one is to calibrated it for DCI-P3 with REC.2020 D65 and at the end to put these data to a REC.2020 container and the other way is to calibrated the monitor to REC.2020 directly; to take advance a monitor which has higher coverage from DCI-P3.

When we say ''4000 nits monitor used'' doesn't mean that the movie will have up to 4000 nits levels, it can have much lower or much higher, look examples below:






Mastering using 1000/4000 nits capable monitor a lot of times can contain brighter content from 1000/4000nits, just the colorist look the waveform and RGB histogram and leave un-clipped content above 1000/4000nits.

Greetings Ted. Thanks for compiling the list. Has the complete list been published?
Many thanks and best regards,
 
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