Not to get too personal here, but you may wish for a bigger one .......... The age-old adage "Bigger is Better" has been debated ad infinitum. I get on the PRO side when the topic is automotive engine cubic inches, the size of a slab of B-B-Q ribs or light output from a Home Theatre projector. I'm on the NAY side of that same assertion when the topic is number of girlfriends in the same room, inch-columns of print media given to the antics of the Kardashians and the number of primary colors some display manufactures use beyond Red, Green and Blue. The "bigger is better" argument, taken to a current hot topic in OUR world (HDMI cable bandwidth) is definitely a resounding YES! You may have read elsewhere, as we did, from some otherwise credible Industry "Experts" that most any decent (read that not out of the bargain bin) HDMI cable will see you through the current crop of UHD TVs, and that the notion that you might need something new, was "Nonsense". Folks, that statement is, well ... NONSENSE! Begin to digest the chart below. Before we get into the "whys" of the reason this bad advise should go unheeded, there are some fundamentals of not just HDMI cables but ALL cables you should be aware of. These aren't A/B comparisons or some subjective observations from a sample size of three - these are immutable facts of cable physics. In CableWorld there is a thing called distributed capacitance. In a simple coaxial cable, it's the capacitance between the center conductor and the shield. This capacitance is "distributed" all along the length of the cable - longer cable, more "C". This "C" is also heavily influenced by the "Impedance" or insulating strength of the dielectric (material between wire and shield). The culprit "C" here will shunt the strength of the original signal. Yes, it's more complex when there are 19 wires bundled into one cable (HDMI), but the principals are the same. And, yes, bits are just 1's and 0's, but as these bits have to travel closer and faster down the line, some strange things can happen. There is attenuation (lower voltage) of the original signal (due to "C"), external noise injection, a very weird phenomenon called "return loss" and a host of other high frequency anomalies. Many of these can be minimized by careful manufacturing techniques controlling wire size and spacing, dielectric thickness and material. Read those as added cost! A comprehensive description of these effects as a function of frequency would require a tomb thicker than the magazine you are holding and would put you to sleep quicker than an Adam Sandler movie. All we want you to take away from this mini-treatise is the idea that as more and more data has to move faster and faster down a cable, a different kind of physical behavior has to be dealt with or your image will not get from UHD player to display unmolested! So why the sudden need for speed? Now comes the TV you asked Santa for. If it's UHD Alliance approved, it's likely to have; 4 times as many pixels as its predecessor Frame rates to 60 pps Enhanced bit depth and at least a doubling of color resolution (4-4-4 12-bit color requires far more bandwidth than your decades old 8-bit Rec 709 SDR HDTV) and, oh yeah, HDR ... much more on that later The good news is that a Wider Color Gamut comes with no bandwidth premium! All of these features require sending more bits per second than your current set. Said differently, your HDMI cable that worked fine dealing with 24 frame 2K may or may not (...uh, probably not) deliver the goods to a 60 frame 4K set with 10-bit or 12-bit 4:4:4 HDR. Due to the variances in manufacturing tolerances, even two packages with the same skew off the shelf at Best Buy might give you one that does and one that doesn't put the right image on your screen. If your system is connected with category cables and expenders you are out of the UHD/HDR game entirely until another generation of chipsets arrive for next generation with expensive extenders using yet a new compression trick. Your CAT pipeline is currently limited to 10.2 Gbps and even 24 frame rate content is 13.35 Gbps. If we take bit depth down to 10-bit the signal is still 11.14 Gbps which breaks the HDMI 1.4 "bank" so your system still fails to deliver HDR. Review the above chart again - pay attention to the data rate column. At the ISF, we get reports daily from calibrators and install techs chronicling set-up troubles in the field. Recently, we've seen a near epidemic of UHD Blu-ray HDR picture delivery failures which leads us to ... .... A funny thing happened to my HDR on the way to my TV. HDR is arguably the "hottest" of the new features being offered to us. As you can see from the chart below it has a vastly higher luminosity range - each single "F stop" improvement is actually doubling the luminosity or a 2X improvement! While none of these things are particularly "funny", especially to the client who paid for an HDR capable TV and an HDR source signal and gets neither on screen. The problems currently happening in the field include a wide range of multiple failures occurring in the same system. Reported "fails" include: UHD TV on screen set-up menu not configured to accept HDR signal. UHD BD player's set-up menu not configured properly to send HDR. Systems video pipelines force player to send an 8-bit component SDR 4:2:0 signal instead of 12-bit RGB 4:4:4 HDR signal to sync the connection - remember, making a picture happen is HDMI's job one! The HDMI cable is not in the correct TV or AVR input. Not all inputs in all 4K sets and AVRs are capable of full UHD functionality - expect cost budgets to make that a reality for quite some time. Flat panel or projector's inputs cannot handle the bandwidth. AVR bandwidth is insufficient in all the inputs. Matrix switcher has insufficient bandwidth. No HDMI signal analyzer available on site to see which box or cable failed. Major retailer showrooms are showing HDR failures. Of course the chipset that sends the data stream and the chipset that receives and decodes the data stream could be outdated and therefore culpable! A Tip from Terry. At the risk of offering a self-serving tip, insuring maximum HDR delivery is not for the meek or well intended DIY aficionado. Hire a competent installer or calibrator who has the right test equipment. Terry has a bin of various length HDMI cables from various manufactures, all alleging to be "premium" quality. We tested two dozen of these with the help of a Murideo signal generator on one end and a Murideo video analyzer on the other. Only one 6 footer achieved 18Gbps performance. Another test set of two dozen may well have achieved zero good guys and our bet is that NONE over 9 feet would pass. Notice the HDR fail on the Murideo readout below. Bottom line is we can't even get to "fully spec'ed HDR" (10,000 or 4,000 nits) on any consumer set yet. The highest measurement circa 2016 was a little over 1500 nits, and 600 to 1,000 nits are common maximum readings. Also, 4K 60 4-4-4 10-bit HDR is not yet supported. Don't be surprised to see the 18Gbps anti be raised in upcoming HDMI documents.
Such is the price for a best-that-it-can-be "Immaculate Image". The amazing good news, and the very reason for this column's existence, is that when I personally saw HDR WCG high-bit depth pictures on my own installs I was downright awestruck! If you get it right, this is a quantum step forward and by a huge margin the very best consumer TV pictures of all time!
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Murideo has just started partnering with OneAV to increase its international operation and presence. OneAV will be Master Distributor for all Murideo Products.
Sioux Falls, S.D. (November 21, 2016) - Murideo is excited to announce OneAV as it’s Master Distributor for all of EMEA. This partnership will provide better support to Murideo’s international customer base. AV System Integrators and Video Professionals from EMEA will have expanding easier access to the Murideo line of testing and troubleshooting products (see www.murideo.com), and in country Support for the Murideo Line Up. Chris Pinder Managing Director of OneAV had this to say about the partnership: “Murideo has quickly established itself as the leading HDMI troubleshooting, calibration and testing device for integrators and home technology professionals. The world of HDMI continues to evolve and grow in complexity at an exponential rate. For an integrator to truly regard themselves as a professional, they need professional testing equipment as part of their toolkit. OneAV is excited to have been appointed as master distributor for the EMEA region and we look forward to supplying AV professionals across Europe with this awesome tool.” The partnership has already begun with easy ordering and support at http://oneav.co.uk/ (+44 1684 576 348) and warehouses located in the UK and central Europe. Many additional locations in EMEA are underway and will be announced as they come online. About OneAV: OneAV is a pan-European specialist supplier of digital AV connectivity brands, supplying professional installers in residential and commercial markets. With offices, training and fulfilment centers in the UK and Germany, OneAV is more than than your average distributor, proving localized marketing, education and support for all stocked brands. OneAV prides itself on being able to provide the highest quality connectivity solutions for any AV project, backed up with first-class technical knowledge and support, that only a focused connectivity specialist can offer. UK One AV Ltd Link Business Centre Malvern Worcestershire WR14 1UQ +44 1684 576 348 oneav.co.uk Germany One AV GmbH Von-Liebig-Str. 10 D-48432 Rheine 05971 800 299 -0 oneav.eu Netherlands One AV BV Nieuwegein 05971 800 299 -0 oneav.eu About Murideo: Murideo was created out of the need to bring more modern tools to the Custom Integrator market. With a depth of knowledge brought on from years of experience in the electronics industry, we are hell bent on bringing cutting edge tools to the world at large that were previously only available to select groups. Our Pledges Are Simple: 1. Focus On Technology 2. Focus On Design 3. Focus On User's For more information visit www.murideo.com or call (877) 886-5112. Press Contact: Tom Devine, (605) 782-2471, tom@murideo.com ISF NYC will debut HDR10 and Dolby Vision Hands On Calibration Labs for the first time. HDR10 and Dolby Vision Calibration Labs with be live, be amongst the first people to experience them. Tools are being launched in the upcoming weeks including test patterns that will be available for you to use early at this seminar. Be ahead of the curve and the competition and learn HDR10 and Dolby Vision calibration. You also get:
NOVEMBER 2-4, 2016 Location: Holiday Inn, 300 Plaza Dr, Secaucus NJ Call AVProStore today 605-274-6055 By Terry Paullin
Out with the New, In with the New(er), I'm still Amazed, and other matters ... Seems like just yesterday (or maybe a year or so ago) that we were all getting Blu-rayed up. New players, new receivers, new cables and, of course, new discs. Ahh, but as in many other aspects of the new millennium, technology is moving at a logarithmic rate. I started to open with a borrowed line from Dylan - "times, they are a changin" but I've used that a time or two before (when times, indeed, WERE a changin'). What I want to convey is, in our comfy little world of Home Theatre, things are changing at light speed - so try to keep up :-) The biggest change, of course, is the move to UHD displays and all the attendant benefits that come with it - HDR, 10-bit color, Rec. 2020 color gamut and, oh yeah, higher resolution. I recently read in a blog somewhere that something close to 20% of those surveyed said that they would skip this (UHD) increment of video technology all together, citing too many iterations, too fast and they "really didn't need it anyway" What a huge mistake that would be. Sure, waiting for initial prices to come down and early-on s/w bug fixes and updates to subside makes sense, but NOT planning to usher THIS iteration into your living room is to miss what this readership holds dear - making your video environment "the best that it can be". Do what you will with Atmos and the eleventeen Amp channels and speakers that go with it, but don't you dare touch that piggybank that's earmarked for real video improvement. Yes, you may need a new display (look for the HDR compliant sticker), probably new cables, maybe a new receiver (as I found in my theatre) and certainly a UHD BD player. The good news is that players, cables and even full featured receivers are more affordable than ever and with mortgage rates still low, financing can be found for that 77" HDR ready 4K OLED panel. Sorry. Some of the aforementioned reluctance to move to UHD was the oft-cited, "there is not enough content yet". That complaint has been lodged every time a new technology format has been launched and every time ( uh ... except for D-VHS) the content, clearly waiting for player capacity to be present to accept the content, has caught up. There are over 75 UHD titles as I write and probably twice that by the time this reaches your coffee table. As with all first issues, some are worthy, some not so much. Come on in, the water's fine! B-T-W, think you are going to get the same images from Amazon or Netflix? They will stream to you at about 15% of the data rate required by fully featured UHD. Bit starvation will be epidemic ... and very visible! Yup, some things still amaze me. As much as I try to stay abreast of trends and things going on around me in my A/V centric world, events occur that defy my sense of logic and "what ought to be". Having come from a Silicon Valley background I have seen, and indeed been part of, rapid fire corporate acquisitions and sell-offs. It's a way of life out West. Still, when I learned a few months ago of the shutting down of the Runco brand by parent Planar, I was not only surprised but deeply saddened. Many in our industry shed a figurative tear. Aside from trying to keep up in the flat panel arena, Runco, as far as I'm concerned, built the finest front projectors in the world. The build quality, support and overall finished product performance equaled and in most cases bettered all competitors .... but the real differentiator was the spirit and passion everywhere in the company for bringing clients a superior viewing experience. I guess it may not be so surprising that in the acquisition of Runco by Planar and then Planar by Chinese LED manufacture Leyard, the magic was lost. I remain somewhat amazed by the alleged number of cord-cutters. There has never been a time when the variety and quality of cable and network programming have been better (I would pay $50/mo. just for HBO!). One of the things at work here is simply inexposure. The old adage is true, you don't know what you are missing until you get it. When I asks friends and clients what they think of specific prime time programs, many didn't know they existed - what a shame. Although they may not admit it, most families watch about 4 to 5 hours of television a day - maybe a little less during the week, probably a lot more on weekends. Let's call it 140 hours a month. Their $200/mo. cable bill likely includes land-line phone, internet access and high speed modems. Let's call the "pure entertainment" portion $125/mo. That works out to less than 90 cents an hour for a huge variety of choices for a diverse audience (read that, modern family). Match that value with any other form of entertainment ..... good luck with that! Finally, there is the DVD. I predicted its demise about two years ago. I was wrong - and I remain surprised. This Christmas, shelf space for UHD displays will occupy 3/4 of available room down at "Big Barn Video". Studios are now focusing on UHD/HDR media distribution. We are two evolutions away from DVD. Yes, I get that there are still a lot of players out there, but it can't be long before the DVD goes the way of the VHS ..... uh, maybe next year ?!? We calibrators often leave a "reference" disc behind with our clients ... something to show off to friends and family and verify, from time to time, that the excellent calibration is "still in there". As we sit with them and watch it for the first time, we remind them that if they see any lesser images on screen (and they will, i.e. QVC) and they haven't fiddled with the calibration (we try as hard as we can to lock them out), that the problem is the SOURCE, not the display. Most get that. In our old, worn out, outmoded, obsolete, plain Jane (O.K., enough already) 1080 world, the reference disc I gave out was the particularly well mastered "Art of Flight". Filmed with then state-of-the- art cameras, portions of it could pass for 3D. In our emerging UHD world it's been difficult, and clearly premature, to find a similar disc ... but until something comes along to replace it, I'm now handing out "Rocky Mountain Express" ($25 at Amazon - be sure to get the 4K/HDR version) It is, at once, great food for train lovers, imagery and sound, at times, worthy of the "reference" tag and an interesting history lesson on the building of the Canadian Trans-Continental railroad. This time, with respect to UHD, HDR, et. al., I'll borrow a title from Carly Simon ............. "It's the Right Thing To Do" Tout d'abord que sont les spécifications de l'ultra hd prénium qui pour rappel ne sont pas des normes L'Alliance UHD (UHDA) qui est un consortium mondial comprenant certains des plus grands noms de l'industrie de l'électronique grand public, y compris les fabricants tels que LG, Panasonic, Samsung et Sony, ainsi que les créateurs de contenu comme Netflix, Walt Disney et 20th Century Fox ,qui ont publié des spécifications minimales qui définissent l'ultra-haute définition (UHD) pour le consommateur .Les Produits et services qui répondent aux cahiers des charges seront admissibles à la licence d'un logo "Ultra HD Premium" du UHDA à des fins promotionnelles et de marketing. Quelles sont ces spécifications ? Annoncé à la conférence de presse de l'Alliance UHD au Consumer Electronics Show (CES) 2016 à Las Vegas, voici les spécifications requises pour un téléviseur pour avoir la certification "Ultra HD Premium":
“The newest source devices on the market including UHD players from Philips, Panasonic, Microsoft and Samsung are all capable of and output between 13 and 17.5 GBPS when setup for optimal configuration. This is a problem AND an opportunity” ~Jeff Murray, CEO AVPro Global Hldgs 4K UHD – Ultra High Definition Television Let me start by saying the 2016 Olympics in Rio were spectacular in 4K HDR (here's why - see: http://www.sportsvideo.org/blogs/?blog=rio-2016&news=nbc-olympics-embraces-hdr-for-opening-ceremony-coverage&print=1). Especially awesome were the closing ceremonies that included out of normal gamut colors (or WCG) I had never seen before on a consumer TV. As an SI I would think if nothing else, this is the best thing to come out of the video department in years and is definitely something that your customers will buy once exposed to the technology and once we figure out how to properly distribute it. Considerations for a 4K environment include overall system bandwidth, signal timing & resolution, source material & hardware, connectivity & switching devices, connection (cable) lengths, and copy guard. Let’s begin with a review of the numbers, and specifically system backbone bandwidth requirements. In the chart below we show various HDMI timings for consumer electronics. Key take-away is at the point we exceed 10.2 GBPS data rate - we explain this in the article: Considerations #1 & #2 – Bandwidth and Maximum Resolution & Timing – In the world of Custom AV we have not typically been required to think too much about bandwidth in the past. We specify a system based on the HD video signal with a maximum resolution of 1920x1080 60 fps (frames per second) 4:4:4 Chroma sub sampling (a form of color compression) or a computer derivative and we have plenty of headroom left in the system. As you can see from the chart above a 1080P signal only requires about 4.45 GBPS of overall system bandwidth. Let’s break this down more and apply some well-known sources of content playing out for 2 hours (typical movie length): The need for compression - Without MPEG (Motion Picture Experts Group) compression the ability to get high definition content, let alone ultra-high definition content to your home or phone would be impossible. We have to compress the signal for transmission over various means, of which several are listed above under media. Once the signal is decompressed it is sent to the display for viewing. In the chart above from the top left to right we start with raw footage and uncompressed 8K or 4K. We compress to reduce the size for transmission. The goal is to get as close to the original signal that we started out with at the TV. Note, connectivity components that could be inserted into this scenario must be able to handle the full bandwidth required by the source – this includes AVRs, Matrices, Switches and Splitters. Obviously, when a signal is compressed and then decompressed pixels can be lost thus causing artifacts (anything that is not supposed to be in the picture). Once the media is output into the path ultimately leading to the TV all data is uncompressed. As we see in the chart above MPEG-2 compression can display a watchable picture (without visible artifacts) while compressing the signal approximately 100:1. You will also notice from the chart that once you get to a 4K 60 signal with 4:4:4 sub-sampling and 8-bit (per pixel – displayed as 24 above – Red, Green, and Blue) you will have now exceeded almost all common AV infrastructure in the installed base. The newest source devices on the market including UHD players from Philips, Panasonic and Samsung are all capable of and output between 13 and 17.5 GBPS when setup for optimal configuration. This is a problem AND an opportunity. Many integrators we run into in the field struggle with this – having to go to the client/end user with the news that their entire infrastructure will need to be scrapped in order to enjoy the new high value content rapidly coming to market The point where things get dicey is when the source signal exceeds 10.2 GBPS – this is the maximum throughput for HDBaseT extenders, switches and splitters – and we in Custom AV love HDBaseT – with its 5-play capability to carry control, Ethernet and power, along with audio and video – but for the best possible picture – for future proof infrastructure – it just won’t do! That’s why we have been saying for years – where ever possible install conduit – big conduit – so you can pull the next iteration of cable when it’s time to upgrade. Instead of this being a problem we see it as an opportunity and suggest using this analogy during the client interview – “Mr. Customer, we can do this on the cheap, make the system work now and come in under competitor “X”, but you won’t be happy in the long run. Think about it another way – how many times have you replaced a computer in the last 10 years? Why? It’s all about speed and bandwidth – the speed of the chips doubles regularly and the bandwidth or pipeline to the Internet increases every year as consumers demand more data for their ever hungry applications. We live in interesting times – and you need to let us install conduit, knowing that we will be converting you over to fiber within the next 2-4 years….” Talk about customer service – the cost on new construction will be minimal, retrofit more challenging, but a good open and honest conversation to have with your client – and planting a seed for the next project down the road. Bandwidth Summary – 18 GBPS is in the HDMI 2.0 specification, new sources are commonly exceeding the 10.2 GBPS output. Make sure your entire system – source – sink – repeater and the connectivity in between is capable of supporting customer and system requirements. Consideration # 3 – Source Material and Hardware – As of this writing (late August 2016) more and more source material and hardware devices are coming to market every week: UHD Players are now available from Panasonic (from Canada at the moment - but USA soon), Philips and Samsung - these players all are capable of outputting 2160P60 4:4:4 8-bit, but generally output 2160P24 4:2:2 10 or 12-bit w/HDR and therefore require a direct connection to the TV with a short (2-3 meter) cable or a distribution system that can handle 13-14 GBPS bandwidth. UHD Streamers are built in to the above players and are also available standalone and include Roku 4K, NVIDIA Shield, Amazon Fire TV 4K and X-Box One S. All of them are capable of streaming Netflix and Amazon. The Shield stands out because it is capable of full 18 GBPS signal processing...the X-Box One S stands out because it has a UHD player built-in. Satellite - Both DirecTV and Dish now have 4K options and HDR options. At this writing the output from both in under 9 GBPS with 2160P24 4:2:0 8-Bit seen commonly. Content is available on several UHD Discs with over 100 titles available through 2016. Netflix and Amazon both have additional 4K content in documentaries and TV series' including favorites like Marco Polo, Mozart in the Jungle, Breaking Bad, House of Cards and many more. For up to date info on sources and content check here regularly: http://4k.com/movies/ All of these sources of 4K content are not created equal. 4K content streaming means your Internet connection speed is important to ensure high quality, non-buffered playback. Speeds in excess of 25 MBPS are desired. This is the same for the internal SMART TV decoder. These use Variable Bitrate Compression, meaning you can push a movie through a small pipeline, but increase the risk of picture artifacts. Sources & Content Summary - It just keeps getting better every day! More movies are being released, HDR is stabilizing and the source devices are available and shipping today. Consideration # 4 - Connectivity & Switching Devices - workarounds, what ifs, EDID management and scaling oh my... In the world of Custom AV and Systems Integration we are hell bent on finding a solution no matter how the cards are stacked against us. What gets frustrating is trying to decide what will work and what won't work. Here is a real world example of what you are up against: The setup/environment - We have several 4K UHD TVs and monitors in our lab from the last two years - we are not going down the path of referencing them by name, but 90% of the market is represented in our samples (by brand - we don't have every model, but we do have mostly the mid to higher end models represented - and that also does make a difference.) The higher end models tend to have the features we seek - they are mostly all "Smart" - beyond that terminology and "features" vary widely. For sources we used Quantum Data 780C generators (HDMI 1.4x) and DVDO TPGs (HDMI 2.0) and others as reference sources. We also used players - FMP-X10, Samsung, Panasonic, and Philips UHD Players, NVidia Shield, Smart TVs, Android equipped USB players, etc. We also have EDID readers, so we know what the display says it wants and will do... For cabling we use various lengths (.5 M to 5 M) from various manufacturers some rated 10.2 GBP/sec, some rated over 20 GBP/sec. We also have extenders that use HDBaseT technology and H.264 (HD over IP) technology (encode/decode). In testing our newest 18 GBP/sec products (switches and distribution amplifiers) we wanted to make sure the TV's locked on the highest bandwidth signal they are capable of reproducing - in this case 2160P60 8-bit, 4:4:4. Additionally, we wanted to verify compliance with HDCP 2.2 and 1.4. So, in no particular order here is what we found out when we first started "testing" before we actually wrote a process for testing & documentation. 1.The displays don't always do what they say they do - what it says in the manual, what they say on the phone when you call the manufacturer, and even in some cases what is stamped on the HDMI port - doesn't work. What we resorted to was the Internet - we searched by model number to determine if others were seeing the same thing, and sure enough they were. There are more early adopters out there - that really care about this stuff than I had imagined. In some cases, we found work arounds to "force the TV into a 2.0 mode or in some cases UHD 2160P60 4:4:4 mode - like renaming the HDMI port type to PC and selecting the menu option for UHD Expanded Color. In other cases, there was only 1 port that was setup for UHD and the rest limited out at 1080P. Even in some cases, where we did all the turn-on tricks the displays still didn't lock on to anything above 30 fps, meaning to us a souped up 1.4a version of HDMI. HDCP is also an issue that it's hard to find reliable information on - some ports do HDCP 2.2 and others do not - according to the powers that be, to view 4K protected content (Hollywood movies) you have to have HDCP 2.2. Further we found that HDCP 2.2 may work at 2160P60 4:2:0 and not at 2160P60 4:4:4 (in the same port) leading to more confusion. 2. Cable length matters and it doesn't matter...at first we really were not paying much attention to cables and cable length - most likely because at first they all worked out to the 3 meters we were using. The thing of it is, at first we were only testing to the limits of our sources, which meant 2160P60 4:2:0 and 2160P30/24 4:4:4 and everything worked great. The Nvidia Shield that we picked up only a few weeks ago does do 2160P60 @ 4:4:4, but it is not a setting you can force - it reads the EDID and sends a 4K signal that will lock on - meaning we got tricked into thinking everything was all warm and fuzzy and working great. When we actually got to the point where we were able to actually force a 2160P60 4:4:4 signal (>17 GBP/sec TMDS throughput) cable length began to matter - in our testing last weekend we could not pass 2160P60 4:4:4 signal more than 6 feet (around 2 meters) - admittedly, we didn't test a thousand different cables, but the results were consistent across 5 major brands. We also did not test powered cables or cable booster boxes. When the cables got longer than 6 feet the picture started to blink - sometimes every 5 seconds and sometimes every 60 seconds. Cable length appears to matter a lot at high bandwidth. 3. Extenders work and don't work...this is already well documented so no surprises here 2160P60 4:4:4 8-bit NOGO, 2160P60 4:2:0 8-bit GO HDBaseT is limited by bandwidth to 10.2 GBP/sec and it works perfectly well up to that point and handles HDCP 2.2 fine also. I'm not spending a lot of time on extenders in this article as we were really focusing more on the displays. HDIP is also limited to 4:2:0 8-bit, but HDCP 2.2 works well there also. 4. Sources are tricky and HDMI 2.0 reminds me of 5-Play when HDBaseT came out - the spec is there, but some items are optional and not required to call yourself 4K UHD 2.0 - depending on who you are (or more so, who your customer is and what they want to watch) the devil is in the details. Most consumer devices - and for good reason - lock on to the preferred format from the TVs EDID to make sure there is always a picture. They also handle passing HDCP 2.2 keys for encrypted content. Generators are the trick for forcing signals through systems - problem is, there is not a low cost option to do everything we wanted to do. 5. Robust EDID Management – There are several ways to manage communication and connection between devices using EDID. You can use EDID to force the output of a source to 4K60 4:2:0 8-Bit so it can fit through a 9G pipeline – thing is, in that case everyone gets 9G – valid for 4K, but highly compressed and requires special handling to get HDR through the same pipeline. EDID also allows you to direct the audio codec you need for your system (2-channel PCM vs 5.1 is an example). 6. Scaling – Is back – for existing infrastructure and new builds you will likely need a means for scaling the output either up or down depending on system requirements. We use scalers all the time to trick the switch into thinking a display is 4K when it’s really 1080P – that way, all the other 4K TVs in the system get full 4K – the scaler gets 4K and down-scales it to 1080P to the HD display or sink device. The chart below shows common devices for extending HDMI Consideration #5 – Copy Protection Mandated by Hollywood HDCP or High Bandwidth Digital Content Protection - a copy protection scheme to eliminate the possibility of intercepting digital data midstream between the source to the display. For HD and some UHD this was version 1.4, now, for all UHD movies via streamers, players, gaming consoles, set top boxes and the like HDCP 2.2 is required. So, therefore, on top of having a pipeline of connectivity components that can handle uncompressed 18 GBPS data all components must also be HDCP 2.2 compliant. We run into issues all the time where one component or connection was overlooked and the result – no picture. If you are distributing high value protected content make sure all components meet the requirement for HDCP 2.2 handling. Conclusions When selecting vendors, partners and products keep in mind overall system bandwidth requirements – know the numbers! Knowing the numbers also makes you a stronger advocate for your customer in explaining the technology and challenges, and along the way may just help you to upsell better and more robust systems. Use of EDID management and scalers will be necessary in the near future – know what they are and how to use them. Ask for 18 GBPS tested components on all new 4K installs and install conduit where possible. Understanding HDCP 2.2 and asking vendors if they support it is a must. With new technology comes new opportunities and this is a big opportunity! 18GBPS is a reality, and it's here now. AVProConnect has the worlds first full 18GBPS 4K(4:4:4) Bandwidth line of connectivity products for residential A/V installations. While at CEDIA stop by our booth to see the most modern sources outputting a 18GBPS signal, view the difference our Matrix's, Distribution Amplifier's, Scaler, and our other AUHD products make in order to give your customer the highest quality of picture available all over their house. An 8x8 Matrix that is ready for 18GBPS.
This isn't you old man's Matrix, with built in scalers, built in audio delay and the fact it can handle 18GBPS becomes only one of the great features it has. Check out full specs with the link: AC-MX88-AUHD UHD Bluray, XBOX One, Nvdia Shield, Dish TV Hopper, Roku 4K. These are only some of the products out today that are outputting a true 18GBPS signal, and if you want to make sure your doesn't lose picture quality then you need to be looking to the AVProConnect AUHD line of products. Get info on the AVProConnect CEDIA booth so you don't miss anything here. For our press contacts for CEDIA, we have a couple press releases that could be useful to you below. Thanks for taking a look at AVProConnect, we can't wait to see you at CEDIA. Many people do the wiring for a home theater installation by first running a lot of conduit in walls, and then pulling cable in as needed. As often as not, this turns out rather badly. It's easy to underestimate the size of conduit required, and we have had countless calls from people who suddenly, at the peak of their installation work, need to pull a large amount of cable through an undersized conduit. If you're going to use conduit, we recommend installing the largest conduit your wall cavity will accommodate; 3/4 inch conduit will give you lots of grief unless your cabling needs are exceedingly modest.
The best use of conduit in most home theater installations is as a future-proofing device rather than as a primary means of installing cable. Rather than installing cable in conduit, consider installing cable and conduit. As long as you have access to the space where the conduit will go, it's generally easier to install the cable alongside, and the conduit then provides some assurance that, in the event that you need to run new types, or duplicate runs, of cable, you'll have a convenient way to get them in. If, however, you need to run conduit and then pull cable through it, there are a few tips that will make life easier: (1) Again: install the largest conduit your wall cavity will accommodate. If you're having this work done by an electrician, and he balks, assure him that this is what you want. Electricians rarely, in residential work, need to install large conduit, and are often skeptical of the need for it -- but they're usually not dealing with cables with limited pull strength, large dimensions, and pre-installed connectors. (2) Don't use bundled cables if you can avoid it. Cables like the "structured wiring" products found in home improvement stores, or the multi-coax bundles from Belden (e.g. 7710A) aren't flexible enough to be installed in conduit, especially if there are bends in the line. (3) When pulling cable, be sure to stagger connectors, so that there isn't one wide "blob" of connector bodies at the leading edge of the pull. (4) Always have someone able to "feed" the cable at the source as it's being pulled. Coaxial cables won't twist easily, and so it's important to be sure that they're being fed straight into the entry rather than, say, being left in a coil on the floor and being pulled through the conduit in a twisted fashion. Thanks for checking out this AVPro TECH Tip. Out with the New, In with the New(er), I'm still Amazed, and other matters ...
Seems like just yesterday (or maybe a year or so ago) that we were all getting Blu-rayed up. New players, new receivers, new cables and, of course, new discs. Ahh, but as in many other aspects of the new millennium, technology is moving at a logarithmic rate. I started to open with a borrowed line from Dylan - "times, they are a changin" but I've used that a time or two before (when times, indeed, WERE a changin'). What I want to convey is, in our comfy little world of Home Theatre, things are changing at light speed - so try to keep up :-) The biggest change, of course, is the move to UHD displays and all the attendant benefits that come with it - HDR, 10-bit color, Rec. 2020 color gamut and, oh yeah, higher resolution. I recently read in a blog somewhere that something close to 20% of those surveyed said that they would skip this (UHD) increment of video technology all together, citing too many iterations, too fast and they "really didn't need it anyway" What a huge mistake that would be. Sure, waiting for initial prices to come down and early-on s/w bug fixes and updates to subside makes sense, but NOT planning to usher THIS iteration into your living room is to miss what this readership holds dear - making your video environment "the best that it can be". Do what you will with Atmos and the eleventeen Amp channels and speakers that go with it, but don't you dare touch that piggybank that's earmarked for real video improvement. Yes, you may need a new display (look for the HDR compliant sticker), probably new cables, maybe a new receiver (as I found in my theatre) and certainly a UHD BD player. The good news is that players, cables and even full featured receivers are more affordable than ever and with mortgage rates still low, financing can be found for that 77" HDR ready 4K OLED panel. Sorry. Some of the aforementioned reluctance to move to UHD was the oft-cited, "there is not enough content yet". That complaint has been lodged every time a new technology format has been launched and every time ( uh ... except for D-VHS) the content, clearly waiting for player capacity to be present to accept the content, has caught up. There are over 75 UHD titles as I write and probably twice that by the time this reaches your coffee table. As with all first issues, some are worthy, some not so much. Come on in, the water's fine! B-T-W, think you are going to get the same images from Amazon or Netflix? They will stream to you at about 15% of the data rate required by fully featured UHD. Bit starvation will be epidemic ... and very visible! Yup, some things still amaze me. As much as I try to stay abreast of trends and things going on around me in my A/V centric world, events occur that defy my sense of logic and "what ought to be". Having come from a Silicon Valley background I have seen, and indeed been part of, rapid fire corporate acquisitions and sell-offs. It's a way of life out West. Still, when I learned a few months ago of the shutting down of the Runco brand by parent Planar, I was not only surprised but deeply saddened. Many in our industry shed a figurative tear. Aside from trying to keep up in the flat panel arena, Runco, as far as I'm concerned, built the finest front projectors in the world. The build quality, support and overall finished product performance equaled and in most cases bettered all competitors .... but the real differentiator was the spirit and passion everywhere in the company for bringing clients a superior viewing experience. I guess it may not be so surprising that in the acquisition of Runco by Planar and then Planar by Chinese LED manufacture Leyard, the magic was lost. I remain somewhat amazed by the alleged number of cord-cutters. There has never been a time when the variety and quality of cable and network programming have been better (I would pay $50/mo. just for HBO!). One of the things at work here is simply inexposure. The old adage is true, you don't know what you are missing until you get it. When I asks friends and clients what they think of specific prime time programs, many didn't know they existed - what a shame. Although they may not admit it, most families watch about 4 to 5 hours of television a day - maybe a little less during the week, probably a lot more on weekends. Let's call it 140 hours a month. Their $200/mo. cable bill likely includes land-line phone, internet access and high speed modems. Let's call the "pure entertainment" portion $125/mo. That works out to less than 90 cents an hour for a huge variety of choices for a diverse audience (read that, modern family). Match that value with any other form of entertainment ..... good luck with that! Finally, there is the DVD. I predicted its demise about two years ago. I was wrong - and I remain surprised. This Christmas, shelf space for UHD displays will occupy 3/4 of available room down at "Big Barn Video". Studios are now focusing on UHD/HDR media distribution. We are two evolutions away from DVD. Yes, I get that there are still a lot of players out there, but it can't be long before the DVD goes the way of the VHS ..... uh, maybe next year ?!? We calibrators often leave a "reference" disc behind with our clients ... something to show off to friends and family and verify, from time to time, that the excellent calibration is "still in there". As we sit with them and watch it for the first time, we remind them that if they see any lesser images on screen (and they will, i.e. QVC) and they haven't fiddled with the calibration (we try as hard as we can to lock them out), that the problem is the SOURCE, not the display. Most get that. In our old, worn out, outmoded, obsolete, plain Jane (O.K., enough already) 1080 world, the reference disc I gave out was the particularly well mastered "Art of Flight". Filmed with then state-of-the- art cameras, portions of it could pass for 3D. In our emerging UHD world it's been difficult, and clearly premature, to find a similar disc ... but until something comes along to replace it, I'm now handing out "Rocky Mountain Express" ($25 at Amazon - be sure to get the 4K/HDR version) It is, at once, great food for train lovers, imagery and sound, at times, worthy of the "reference" tag and an interesting history lesson on the building of the Canadian Trans-Continental railroad. This time, with respect to UHD, HDR, et. al., I'll borrow a title from Carly Simon ............. "It's the Right Thing To Do" written by Steve Shaw from Light Illusion Understanding UHDTV Displays with HDR, LLG, and WCG. UHDTV, combining HDR (High Dynamic Range) or HLG (Hybrid Log-Gamma) with WCG (Wide Colour Gamut) imagery is gaining momentum as the next enhancement to our viewing experience. However, the whole UHDTV concept, using HDR/HLG/WCG is as yet very undefined, and even the basics can be very difficult to get to grips with. UHDTV UHDTV (Ultra High Definition TV) has had something of a difficult birth, with different display manufacturers effectively defining their own 'Ultra HD' specifications. In response, the UHD Alliance has released a definitive (for now) Ultra HD specification, linking together all the display parameters required to be accepted as UHDTV, although the individual aspects of the UHDTV specification can, and often are, used in isolation. There is nothing to stop a standard gamut display (Rec709), with standard HD or even SD resolution, working with HDR/HLG contrast, for example. To read more regarding the UHD Alliance, and their specifications, see: www.uhdalliance.org. Within this tech page we are focusing specifically on HDR/HLG, and WCG, and what they mean for display calibration, image workflows and the end image viewing experience. HDR & HLG HDR and HLG are not just about brighter displays, they about using the greater available display brightness to enable extended detail within the brighter highlights. As such, the gamma curve needs to be set differently for displays with different peak brightness levels, and for different HDR standards, such as SMPTE's ST2084 (as used with Dolby Vision ands HDR10) and the BBC's suggested WHP-283 Hybrid Log-Gamma (HLG) format. Note: It is also worth noting that Dolby Vision specifies 12 bit imagery, while HDR10 and HLG are 10 bit based. As a result, no 10 bit HDR/UHDTV material can be considered as being true Dolby Vision. ST2084 HDR ST2084 defines the EOTF (Gamma) for the Dolby Vision and HDR10 HDR formats. Within LightSpace the ST2084 HDR EOTF is available as a preset for Rec709, P3 and Rec2020 colour gamuts. ST2084 is based on a theoretical 'Golden Reference' display with 10,000 nits max luminance capability, with all 'real world' displays referenced to this theoretical display, and has a gamma curve (EOTF - Electro Optical Transfer Function) as follows. This shows that only a small portion of the image DR would use the extended brightness capability, with the majority of the image being held very low. (These are relative display gammas, not conversions from different image sources to different displays!) The ST2084 HDR specification "aims to define an EOTF that is intended to enable the creation of video images with an increased luminance range, not for the creation of video images with overall higher luminance levels". This means that reference white (normal diffuse white) remains at 100 nits, which is exactly the same as for SDR displays (Standard Dynamic Range). Above 100 nits are spectral highlights only. This shows that the Average Picture Level (APL) of a ST2084 HDR display will not be significantly different to a SDR display (see the Histogram diagram below) If you compare this to a standard Rec709 gamma curve the difference is obvious. However, different HDR displays have different peak brightness levels and therefore require modified gamma curves, such as for Dolby's 4000 nit Pulsar monitor, which requires a HDR gamma curve that peaks at around 90% of the ST2084 standard. And the following ST2084 HDR gamma curve shows by comparison what a 100 Nit monitor would display. ST2084 HDR - What does it really mean?The biggest confusion with regard to ST2084 HDR is that it is not attempting to make the whole image brighter, which unfortunately seems to be the way most people think of HDR, but aim to provide additional brightness headroom for spectral highlight detail - such as chrome reflections, sun illuminated clouds, fire, explosions, lamp bulb filaments, etc. ST2084 EOTF - What it really means for picture levels The following is taken directly from the ST2084 specification. This EOTF (ST2084) is intended to enable the creation of video images with an increased luminance range; not for creation of video images with overall higher luminance levels. For consistency of presentation across devices with different output brightness, average picture levels in content would likely remain similar to current luminance levels; i.e. mid-range scene exposures would produce currently expected luminance levels appropriate to video or cinema. The ST2084 HDR specification defines reference white (normal diffuse white) as being 100 nits, which is exactly the same as for SDR displays (Standard Dynamic Range). Above 100 nits is for spectral highlight detail only. This shows that the Average Picture Level (APL) of a ST2084 HDR display will not be significantly different to a SDR display. So the reality is that ST2084 HDR should just ADD to the existing brightness range of SDR displays, meaning that more detail can be seen in the brighter areas of the image, where existing displays simply clip, or at least roll-off, the image detail. The following histogram is a simplified view of the difference between a SDR (Standard Dynamic Range) image, and its ST2084 HDR equivalent. Note that the APL (Average Picture Level) remains approximately consistent between the SDR and ST2084 HDR images, with just the contrast range and specular highlight levels increasing. Note: It is worth noting that no matter what is said elsewhere, no HDR standard can produce 'darker blacks', as they are set by the min black level the display technology can attain, and the present day SDR (Standard Dynamic Range) Rec709 standard already uses the minimum black attainable on any given display. HDR - The Reality of Black The following statement is taken from Dolby's own 'Dolby Vision for the Home' white paper. "The current TV and Blu-ray standards limit maximum brightness to 100 nits and minimum brightness to 0.117 nits..." Unfortunately, at best this is an inaccurate statement, at worse it is marketing hyperbole, as the Blu-ray format has no such limits for min or max brightness levels, as these values are defined by the display's set-up. The minimum level (the black level) is usually just the minimum the display can attain, and can range from very dark (0.0001 nits for example) on OLED displays to higher levels (around 0.3 nits or even higher) on cheap LCD displays. The maximum brightness is often set far higher on home TVs to overcome surrounding room light levels, with many home TVs set to 300 nits, or more. Note: The statement that 'The minimum level (the black level) is usually just the minimum the display can attain' refers to the fact that often OLED black can be too low, and users often chose to lift it to prevent shadow detail clipping. When the original Blu-ray material is graded, the displays used will be calibrated to 80-120 nits (100 nits being the common average value), within a controlled grading environment (a dark environment), with the black level being from around 0.001-0.03 nits, depending on the display used (although the higher value is often used to maintain 'pleasant' images when viewed on the wider range of home TVs, with variable black levels!). And as mentioned above, when the Blu-ray is viewed in a home environment it is often necessary to set the TV to brighter levels to overcome surrounding room light levels. The reality is HDR does nothing for black levels - no matter what certain 'marketing material' may say. (Note: we are not discussing bit depth: we are discussing the relative image black levels. HDR's 12 bit or 10 bit vs. SDR's present 8 bit is a different discussion, and there is no reason SDR can't be 12 bit or 10 bit, and also gain the benefits that brings...) The following images simulate the comparison of an SDR image with its ST2084 HDR equivalent. (Obviously, as your display can not adjust its peak brightness this simulation is rather compromised! But, it does show the main body of the image remains consistent in brightness, with the extended dynamic range allowing additional detail to be seen in the highlights.) And if we 'normalise' the images, we can see the SDR/HDR difference in a more simplified way. Unfortunately, most ST2084 HDR demonstrations do not map the contrast range correctly, with the result that the overall image is simply much, much brighter, which is not the main intent of ST2084 HDR, as shown above. Obviously, in the real world the extra dynamic range available with HDR would be used to re-grade the image creatively to benefit from the additional dynamic range - but extended highlight detail is the true reality of ST2084 HDR. Different Displays & ST2084 HDRObviously, different HDR displays will have different peak luminance capabilities, and so the displayed image will need to clip to the peak nits value available, as defined by the above ST2084 EOTF graphs. This 'peak luma clip' is controlled by meta-data within the signal, defining the peak luma of the display used to perform grading, which is used by the presentation display to set the correct 'clip' level. How this clip is performed - a hard clip, as per the above EOTF curves - or a soft clip, with roll-off, has not been defined. The reality therefore, is that it is unlikely two displays will present the same image in the same way, even if they have the exact same peak nits capability, as the process used for peak luma clipping will not be identical. Peak Luminance & Bit LevelsAs the ST2084 standard is an absolute standard, not relative, each and every luminance level has an equivalent bit level. For a 10 bit signal the levels are as follows. The alternative HLG standard is a relative standard, so always uses the full bit levels. BBC HLG HDR Within LightSpace the BBC HLG HDR standard is available as a preset for Rec709, P3 and Rec2020 colour gamuts. Unlike ST2084, the BBC HLG HDR standard is not based on a reference display with a specified max luminance value; instead the standard changes the EOTF gamma curve based on any given display's actual peak Luma value, as well as the display's Surround illumination. The BBC HLG standard has a gamma curve (EOTF - Electro Optical Transfer Function) as follows, and again shows that only a small portion of the image DR would use the extended brightness capability, with the majority of the image being held relatively low. (Again, these are relative display gamma graphs, not conversions from different image sources to different displays!) The BBC HLG standard doesn't use a specified reference white point in nits, but instead places it at 0.5 (50%) of the peak luminance. The BBC HLG standard is designed for displays up to approximately 5,000 nits, so lower than the ST2084 standard's 10,000 nits, but with the reality of what peak brightness levels HDR displays will actually be capable of is more than enough. While the above HLG curve is for a 5000 nits display, the below curve is for a 1000 nits display. And the following curve is for a 100 nits display. All the above BBC HLG curves are based on a low 'Surround' illumination of 10 nits. It is this 'Surround' value that is important, as in addition to using the display's peak Luma value to calculate the EOTF, the BBC's HLG standard also uses the display's surround illumination to alter the system gamma, as shown below for a 1000 Nit display. Different Displays & HLG As the HLG format has no reliance on meta-data there is a far better level of likely image consistency across different displays. Additionally, the use of the display's surround illumination to alter the system gamma attempts to adjust display calibration to counter for differing viewing environments. A first real attempt to offer 'viewing consistency' across differing viewing environments. This is an area where ST2084 based HDR will struggle - see 'Viewing Environment Considerations' below. HDR - The Reality & Associated Issues The biggest issue with HDR displays is they can actually be painful to watch, due to what is often termed as excessive eye fatigue... The problem is the difference between the human eye's huge Dynamic Range, which has a dynamic contrast ratio of around 1,000,000:1, or about 24 stops. It is this dynamic adaptation that enables us to see detail in dark environments, as well as in bright sunlight. However, at any single given time the human visual system is only capable of operating at a fraction of this huge range. It is this static dynamic range, which occurs when the human visual system is in a state of full adaptation, and it is this that is active when watching home TV and some theatrical presentations at 'normal' viewing distances. While there are few exact figures for the human eye's static dynamic range, many agree it is around 10,000:1, for average viewing environments, which is around 12 Stops.
Do you really sit this close to your TV? What all this really means is a display with an excessive HDR will potentially cause real eye fatigue at normal viewing distances, and will very likely be be painful to watch. HDR - Incorrect Assumptions?An example of the way HDR is often portrayed is by using a diagram similar to the following, showing how the wide dynamic range of the real world is presently reduced to the limited dynamic range of SDR TV (Standard Dynamic Range TV), and how HDR will maintain more of the original scene range. The above image has been widely distributed on the internet, although it seems the image originated with an AMD presentation, and is used to show the assumed benefits of HDR vs. SDR. But, the image contains a number of errors and incorrect assumptions.
HDR - Black LevelsIt is worth reiterating again that no matter what is said elsewhere, no HDR standard can produce 'darker blacks', as they are set by the max black level the display technology can attain, and the present day SDR (Standard Dynamic Range) Rec709 standard already uses the minimum black attainable on any given display. In the reality of the real world, an excessive HDR display would be one with a peak brightness over around 650 to 1000 nits. (The darker the viewing environment the lower the peak value before eye fatigue occurs, which causes another issue for HDR - see 'Viewing Environment Considerations' below.) The Ultra HD Alliance seems to be aware of this, and actually has two different specifications for today's HDR displays:
HDR - White LevelsIt is worth pointing out that due to the logarithmic response of the human eye to changes in light levels, the present day SDR (Standard Dynamic Range) Rec709 'standard' of 100 nits is actually around 50% of the peak HDR 10,000 nits level. (Note: 'standard' is in commas as Rec709 is a relative standard, and so scaling the peak luma levels to overcome environmental light issues is an acceptable approach, while HDR ST2084 is an absolute nits based standard, and so cannot be scaled) The following image shows the reality of this when referenced to different peak white levels. Brightness LimitingAnother of the often overlooked potential issues with HDR has to do with the need to limit the power requirement of the display, as obviously extreme brightness causes excessive power consumption. That in itself is a cause for concern, based both on the power costs, and potential environmental issues. Hopefully, both those can be overcome with more efficient display backlighting technologies. However, in an attempt to overcome extreme power requirements, all HDR displays use one form or another of ABL (Auto Brightness Limiting - called Power Limiting in HDR terminology). In very simple terms ABL reduces the power to the screen dependant on the percentage screen area that goes over a predetermined brightness level, so reducing the overall brightness of the scene. The ST2084/86 specifications define what is known as MaxCLL (Maximum Content Light Level) and MaxFALL (Maximum Frame-Average Light Level) which are intended to be part of the HDR mastering metadata, from which the viewing display will calculate how to show the image, limiting potentially high power requirements. Obviously, this causes the same image to be viewed differently on different displays, with different shots of the same scene, with different framing, to also be seen differently on the same display as the average picture brightness level will be different depending on the shot framing, potentially causing different power limiting to be applied by the display in an almost perceptually random way. Such variations cause serious issues with accurate display calibration and image playback. Viewing Environment ConsiderationsOne of the often overlooked potential issues with ST2084 based HDR for home viewing is that because the display's various brightness (backlight and contrast) controls are already maxed out on HDR TVs there is no way to increase the display's light output to overcome surrounding room light levels - as is often done with SDR home TVs to enable different configurations for Day/Night viewing. This is an issue as UHDTV/HDR as the ST2084 standard is intended to enable the creation of images with an increased spectral highlight range, not to generate images with overall higher luminance levels. As has been stated previously, this means that for most scenes the Average Picture Level (APL) of HDR material will match that of regular SDR (standard dynamic range) imagery. The result is that in less than ideal viewing environments, where the surrounding room brightness level is relatively high, the bulk of the HDR image will appear very dark, with shadow detail becoming very difficult to see, as the eye's constricted pupil will just not be able to discern shadow detail. To be able to view HDR imagery environmental light levels will have to be very carefully controlled. Far more so than for SDR viewing. WCG - Wide Colour GamutAs part of the evolving UHDTV standard, WCG is being combined with HDR to add greater differentiation from the existing HDTV standards, using the Rec2020 colour gamut as the target colour space. The problem is that no (realistically) commercially available display can achieve Rec2020, meaning different UHDTV displays will have to 'adjust' the displayed image gamut based on the actual gamut capabilities of the display. This is provided for by the use of embedded meta-data within the UHDTV signal (associated with HDR meta-data, mentioned above) defining the source image gamut, aiming to allow the display to 'intelligently' re-map to the available gamut of the display. The issue is that once again, and as with HDR meta-data and peak luma clipping, there is no set gamut re-mapping technique proposed. The result is that different displays will manage the required gamut re-mapping in different ways, generating differing end image results. The above image shows the issue with attempting to display a wide gamut on a display with a smaller gamut. In this instance the display has a gamut similar to, but not identical to, DCI-P3, which is the stated 'preference' for smallest gamut for UHDTV displays (the smaller internal gamut triangle), while the larger gamut triangle shows Rec2020. The display has been calibrated to Rec2020, within the constraints of its available gamut, as shown by the gamut sweep plots (the measured crosses match with the target circles). However, the de-saturated area outside the display's available gamut, and within Rec2020, shows colours that will not be displayed correctly, with any colour within this area being effectively pulled-back to the gamut edge of the display. Obviously, the wider the display's actual gamut capability the less the clipping, and the less the different gamut capability will be visible, especially as within the real world that are few colours that get anywhere near the edges of Rec2020 gamut. To reduce the hardness of gamut clipping, gamut re-mapping can be used to 'soften' the crossover from in-gamut, to out-of-gamut. In the above diagram, the area between the new, smaller inner triangle, and the actual display gamut triangle shows an area where the display calibration is 'rolled-off' to better preserve image colour detail, at the cost of colour inaccuracy, effectively compressing all the colours in the de-saturated area into the smaller area between the display's max gamut and the reduced gamut inner triangle. In reality, gamut re-mapping needs to be far more complex, taking into account the fact that human colour perception reacts differently to different colours, so the re-mapping really needs to take this into account. The problem is that the UHDTV specifications do not specify the gamut re-mapping to use. However, from this it can be seen that in the real world no two Ultra HD displays will ever look the same when displaying the same images... Additionally, the Ultra HD specification, while using Rec2020 as the target (envelope) colours space, actually specifies that any Ultra HD display only has to reach 90% of DCI-P3 to be accepted as a UHDTV display - and 90% of DCI-P3 is not not much larger than Rec709. The above CIEuv diagram (CIEuv has been used as it is more perceptually uniform than CIExy) shows the gamut difference between 100% DCI-P3 and Rec709, as well as showing Rec2020. As can be seen, 90% DCI-P3 is not much larger than Rec709... Colour PerceptionAnd to end, a question regarding colour perception, for those of you Home Cinema enthusiasts... You watch a new film release in the cinema, in digital projection, using a DCI-XYZ colour space envelope for projection, containing DCI-P3 imagery. You then purchase the same film on Bluray, and watch it on your Rec709/BT1886 calibrated Home Cinema environment. Do you perceive any loss in image colour fidelity, assuming the Bluray master has been generated correctly? The reality is there are few colours in the natural world that exist outside of the Rec709/BT1886 gamut. Colours that do exist outside Rec709/BT1886 gamut tend to be man-made colours, such as neon signs, and the like... UHD ResolutionAnother component of UHD is the increase in resolution to 4K (3840x2160). While at first glance such an increase in resolution would appear to be a real benefit of UHD, it actually brings with it the question of the benefits can be appreciated? Resolution vs. Viewing DistanceThe higher the resolution, the shorter the viewing distance needs to be from the screen. Conversely, the greater the viewing distance, the lower the actual display resolution can be for the same apparent image resolution/quality. What this means in very simple terms is that a 'large' 55" 4K UHD screen will require the viewer to sit no further than 4 feet from the screen to gain benefit over a 55" HD resolution screen... This is shown in the following Screen Size & Resolution vs. Viewing Distance chart. Thanks for reading!
The original article was posted here: http://www.lightillusion.com/uhdtv.html It was written by Steve Shaw from Light Illusion. For any and all your Calibration tools please head to AVProStore.com Value Electronics 12th Annual Television Shootout in NYC June 22-23, 2016 at CE Week. Value Electronics Robert Zohn has grown his annual TV Shootout into an international event that is highly anticipated every year as the most unbiased review of the worlds top televisions. In this, the 12th year, the shootout was held in conjunction with the New York City CE Week activities and drew over 100 invited TV experts, reviewers, and calibrators from around the globe. The moderator this year was none other than Joel Silver, the founder and president of The Imaging Science Foundation. Mr Silver added commentary and advice to the attendees on the critical points of TV evaluation, with a focus on the very new and incredible high dynamic range (HDR), and wide color gamut (WCG) featured in these flagship TVs. Evaluation categories included: Black quality Perceived contrast Color accuracy Moving resolution (sharpness) Off-axis performance Screen uniformity HDR/WCG Overall day (high ambient light) Overall night (low ambient light) Unique Challenges in 2016 The challenge going into the event for organizer Robert Zohn was, and likely is every year - how to keep it fair and unbiased. Robert, a retailer and AV integrator doing business in Scarsdale New York, keeps it fair by not taking any samples for free (he buys every television in the shootout), checks for altered sets - golden/reference samples hand picked for the competition (all TVs are off the shelf and purchased via open market channels the same way a consumer would buy any one of these TVs). What was particularly challenging this year was dealing with distributing the same signal to each TV in HD, UHD and UHD with HDR so that the experts could make unbiased decisions. Plus verifying that the signals distributed to each TV were in the proper format, timing, bit depth, color space, and proper HDR signal (Dolby Vision or HDR-10) and verification of the actual signal bandwidth in GBP/Sec. for each signal sent to the TVs. Panasonic provided 5 of their new UHD players (not available in the US yet) for review of UHD movie content in UHD SDR and HDR, Murideo provided reference test signal generators to produce test patterns required for several of the categories being evaluated and for a source to calibrate/touch up the displays during the event. Additionally, the Murideo generators and analyzers were used to turn on HDR and to validate and review Dolby Vision and HDR-10 capabilities. Distributing HDR in UHD above the 10.2 GBP/Sec Threshold Robert reached out to several major connectivity manufacturers to provide a matrix/distribution system for the shootout and was told it was not possible and would not be possible until the 2017 shootout. This worried Robert, and as an alternative he was prepared to place a Murideo generator and a Panasonic UHD player on each display directly - this would have worked, but would have required significantly more manpower and uncoordinated comparisons, and reviews to the TVs under test. To make it fair and unbiased, the same exact content in the same exact frame is needed for side-by-side comparison. Enter AVProConnect and Metra Home Theater - at the recommendation of Joel Silver (ISF Founder) Robert reached out to little known startup AVProConnect, who had been working with Joel on developing an 18 GBP/Sec solution for his own high-end clientele, and for distributing high value HDR content at his popular ISF Seminars. The new UHD/HDR 18 GBP/Sec matrix had never before been used in public, so to be honest there was not a lot of confidence that this could be pulled off. Robert had several backup plans in place that ultimately were not needed. The AVProConnect SUHD 8x8 matrix distributed high value UHD/HDR content from multiple sources and went into and out of HDR flawlessly in both Dolby Vision and HDR-10. With it's built in up/down scalers and EDID management functions on each output port it, was even easy to send signals to yesterdays reference HDTV (Roberts own Pioneer Kuro, which by the way is now for sale :)) that was used as a reference to show just how incredibly awesome HDR and WCG impact the customer experience.
AVProConnect of course wanted to be sure that the HDMI cables would also be able to support the full 18 GBP/Sec of the Matrix so they in turn suggested the Metra Home Theater Groups Velox series of Active HDMI cable and the GA1 Gigabit Accelerator for the longest Passive cable runs. AVProConnect had seen and tested these cables at both CES and ISE, so there was a high level of confidence that they were up to the challenge. The event went off without a hitch and a winner was crowned at the end of day 2. Here are the results and I must say I agree and will hopefully be putting one of these in my living room soon! More info on this event is below: Value Electronics: http://www.valueelectronics.com/ Original Press Release: http://www.prnewswire.com/news-releases/value-electronics-to-host-13th-annual-flat-panel-tv-shootout-at-ce-week-nyc-june-22-23-300237360.html TVs in the competition: Sony XBR-75X940D - LCD w/Local Area Dimming Samsung UN78KS9800 - LCD w/Local Area Dimming LG OLED65G6P OLED - OLED Vizio 65" R series - LCD w/Local Area Dimming Cables: 18 GBP/Sec Cables provided by Metra (https://metrahometheater.com/ethereal/cables.html) Signals & Switching: 18 GBP/Sec Switching, Reference Signal Generator and Analyzer by Murideo (http://www.murideo.com) and AVPro Connect (http://www.avproconnect.com) Calibration: Minolta CS-2000, Klein K-10, CalMAN And the winner is (article in Digital Trends): http://www.digitaltrends.com/home-theater/annual-tv-shootout-winner-announced-at-ce-week/ Media Contact: Tom Devine | AVProStore | tom@avprostore.com | 605-782-2471 Every year at all the big gathering you find rAVe Publications making sure the cover every booth of ISE, CEDIA, and of course InfoComm. Well right now its InfoComm season and rAVe has been putting out an array of podcasts, videos, pictures, tweets, posts and anything else you can think of. Well we really appreciate the coverage of an industry that isn't covered enough even thought it's integrated(see what I did there) into every aspect of a humans life. So without further ado, here are the great videos rAVe did on the AVProConnect line of products, Murideos sister company.
Give each video a watch and if you need any more information don't hesitate to call us at 877-886-5112
AVProStore is having a MASSIVE 18GBPS true 4K Launch Party!
This year, InfoComm will be a historic one for AVProStore. We are having our biggest launch ever! If you want to see something NEW then you cant afford to miss this booth C9549 (Central Hall). We will be showing ACTUAL 18GBPS 4K HDMI connectivity equipment. Here is just a taste of what we are showing this year: Murideo Fresco SIX-A ~ 18GBPS HDMI Analyzer, field test tool AVProConnect AC-DA18-SUHD ~ 18GBPS Distribution Amplifiers (1x2, 1x4 & 1x8) AVProConnect AC-MX88-SUHD ~ 18GBPS 8x8 Matrix w/ dual audio de-embedding (Balanced/Toslink), audio delay control, and built in 4K up/down scalers!!! AVProConnect AC-SC1-SUHD ~ 18GBPS up/down scaler with audio de-embedding, EDID correction, and image enhancement AVProConnect AC-SW411-SUHD ~ 18GBPS 4x1 Switch w/ mirrored HDBaseT output (100 Meters) We are also unveiling a totally new technology in the word of large scale distribution the AC-MX9X! It is a 9xUNLIMITED Matrix with ACTUAL instant switching and multiview (tiling) ability, you have to see this one. So stop down today if you are in Las Vegas, but if your not just give us a call anytime, we love talking about our products. Thanks, Tom Devine AVProStore | Murideo | AVProConnect Testing has never been so fun!
18 GBPS Signals Analyze any HDMI/DVI signals up to 18 GBPS (4096x2160P60 4:4:4). Test HDMI/DVI Cables up to 18GBPS, giving you the ability for full TMDS testing. Handheld Device Because this powerhouse comes in a handheld device you have the ability to use it very easily in the field. With it's own battery there is no need to have it plugged into a power source, just make sure you charge it before using. Analyze Over Time With the Fresco SIX-A Analyzer you can analyze and report HDMI Distribution over time. You choose minutes, hours, days, and you are testing down to the pixel. HDR, Metadata, EDIDand more With the Murideo Fresco SIX-A Analyzer you can test HDR signals, metadata, infoframes, and 2-channel and multi-channel Audio Confidence Tests. As well as read and write EDID's with our Advanced EDID analysis and tools. You Need HDR TVs With Both Power and Finesse No, you can't get the TV you want You can't always get the TV you want But if you try sometime you find, You can get the TV you need OK - Forgive the play on the Rolling Stones - but High Dynamic Range and Wide Color Gamut are finally here. So what TV should I buy now? That question was an easy one in the old days - like last year! The TV you wanted last year was simply one that performed just like the Studio Monitor that was used to create content you watch. In tech terms, that was one that could be calibrated to closely match REC 709 color standards and BT.1886 EOTF. For the last five or six years that was not only possible, but downright affordable. Those days are over. You cannot buy a consumer TV that will even come close to matching the light output capability of the professional monitors used for High Dynamic Range. Power? Not nearly enough….. In Pre-HDR days, and by design, professional monitors had the light output capability of the old CRTs. That was about 100 Nits (a short term for the Luminance specification Candelas Per Meter Squared). Consumer TVs easily met and exceeded that performance spec, and we could get great images even in bright normally lit rooms. In this HDR era, light output for HDR professional monitors ranges from a current 4000 Nits to a proposed 10,000 Nits. You cannot buy anywhere near that kind of power for your home. This year's consumer HDR TVs will range from 400 to hopefully 1000 Nits. So you absolutely must buy the most powerful TV so you can get even remotely close to content creation's pictures. HDR sources will "Map the Color Volume" of HDR content down to the limited capability of your TV, so buying TVs with more power will get you better HDR pictures! Historically, specifications for TV light output have been far from accurate. We strongly suggest you measure light output power yourself, or at the very least find a review where measurements from credible reviewers are clearly documented so you will have a clue what you are actually buying. Finesse? Not anywhere near enough….. The terms "Local Area Dimming" and "Full Array LEDs" have been part of TV marketing for years now. With HDR, we can add "Local Area Blasting" since HDR will dim select areas and also blast more light and more colors in other select areas of your screen - all according to digital instructions coming along with HDR programs called "Metadata". Consider this simply the video equivalent of how content creation already controls multiple channels of surround sound. With HDR, content creation will now control color and light in select pixels on your screen. How "select" will the areas of your screen be? An older 2013 HDR Studio monitor already had over 1800 distinct areas of RGB that were individually controlled to go bright or dark. Don't expect your LED TVs to have anywhere near that amount of "Finesse". We are currently seeing a tenth of that considered OK for consumer LED, and a sixth of that considered very good. For OLED 4K TVs, there are potentially 8,000,000 select areas, but do not expect consumer content Metadata streams to have that level of Finesse in control. Self illuminating screens like OLED will have superb Finesse - as well as amazing blacks, but will not match the power of the brightest LEDs. OLEDs easily outperform LEDs when it comes to their finesse in black levels. LEDs easily outperform OLEDs in sheer light output. For HDR you want both, but you will have to choose for quite a while. Your choices should be based on how well you can control ambient light in your room. Brightly lit rooms may require the light output of the best LEDs, and bright light will ruin the look of your blacks with reflections. Reasonably well light controlled rooms will enable OLED's blacks and reasonable power levels to display superb dynamic range. So - What TV Do I buy? The answer is only a little different than past year's advice. In years past, we aimed to get as close as possible to the monitors used for content creation. Over the years in Pre-HDR days, we actually got there and succeeded! Right now you can merely approach professional monitor performance from afar. You will need to look for the best of both Power and Finesse for HDR viewing. For now, the very best of the HDR TV offerings will be your only logical choices for superior HDR viewing. With whatever brand and technology you end up buying - buy their top of their line model! Dolby Vision: http://www.dolby.com/us/en/technologies/dolby-vision/dolby-vision-white-paper.pdf SMPTE HDR https://www.smpte.org/sites/default/files/Study%20Group%20On%20High-Dynamic-Range-HDR-Ecosystem.pdf Written by Joel Silver Firmware (Most current rev is 1.71) - 1.68 and up have HDR enabled and should work with CalMAN 5.7 (the Generator still works with Previous versions from 5.5, but will not support HDR). There are THREE ways to use HDR on this product (Including with CalMAN) and you can see how those work here http://www.murideo.com/uploads/5/2/9/0/ ... ndix_a.pdf
Any metadata can be used with this device, so the possibilities are really endless... What's missing? 10BIT (in 4K) and BT2020 - while these items are missing from the current firmware they are in the final stages of being added. We anticipate a new firmware release that adds these functions to be publicly available by 05/20/2016. This will also correct any incorrect AVI Infoframe tags when sending HDR (this was due to the lack of BT2020, and address another issue on an earlier discussion) Can't get HDR to activate the display/projector? If you are using Calman 5.7 in HDR, this should not happen as the metadata is generated from the software - Alternately, if you are not using this please see the HDR Appendix listed above for help, the Metadata needs to be applied in the Murideo SIX-G PC Control software first. - Additionally, we have found that the default HDR Metadata in Firmware 1.68 - 1.71 does not work on all displays as the string was created when HDR was very much in its infancy. If you are having difficulty activating HDR on a display we have a small library of various Metadata Infoframes that we can provide as requested via email. We have verified compatibility with the following manufacturers - Sony, Samsung, LG, Hisense, JVC, Vizio What is coming? There are a few new things happening with the Murideo SIX-G. First and foremost you will now be able to do 4K 4:2:0 8-16 Bit. BT2020 will be enabled. Additionally you will have storage for up to 8 HDR Metadata Infoframes instead of 2. This will allow you much greater versatility in the field. In addition to this we are in the latter stages of releasing a custom "Pattern Uploader" so you can upload your own custom images to the generator. SIX-A - The SIX-A Analyzer is releasing very shortly (Appx 5/20/2016) and this will further enhance your ability to evaluate systems. You will be able to analyze an inbound signal from a source like a blu-ray to see your colorspace, HDR presence, Bit depth and more - in addition this will have a pixel level color checker, so when you do final confirmations using a blue ray you can see how accurate the desired color is coming from that pattern is. You can see what the playback device is doing to the image. Things to know/be prepared for - Once the new SIX-G firmware is released it will be a field update for 90% of you...the only exception is if you have version 1.68. If you have 1.68 firmware we will need to bring it into the shop. This is ONLY for 1.68 not prior or post version of that firmware, just contact info@murideo.com to make arrangements. DolbyVision - The new firmware also adds a new version of the Window pattern. This pattern has true DolbyVision support, enabling performance measuring and calibration on a DV display. This will require software support from CalMAN. The new window pattern will also allow window colors to be specified in YCbCr 444 or 422 formats and have zero colorspace changes until the data gets to the downstream device (display, processor, etc). This will of course depend on the output settings of the generator, and will also require software support to fully support. The previous Window pattern is still available and all existing software and workflows will continue to work as before. That's all for now on the Six-G but our Six-A will be here in mere days!!! NAB Attendees!
The show is going well so come check out our slim line extenders, our generator and analyzer. Our most impactfull product has to be the Prisma! Several (almost all) dailies are screened on plasmas (1080P) and this will be the case for years to come - the Prisma is PERFECT for making these plasmas PERFECT according to top dog at Technicolor, Disney, NBC, Panasonic, Cannon and many others. So if you are interested in checking it out and you are at NAB come on by. Classes today at the Atomos booth are at: 10:30 AM 3:00 PM Let everyone know, these classes are on calibration with HDR . See you at the show! Join us @ 3:00 PM Today for a FREE Calibration Class! W/ HDR. Booth #C8925
Murideo & Atomos are teaming up to bring you the latest in the calibration world. This quick course will cover what you need to know when reproducing images for mastering and demonstrate the end consumer experience. Questions? Or want to schedule and appointment? Contact myself (contact info below) or email Jeff (On-site contact) at jeff.murray@avprostore.com. We do have show specials going on. Over the past few years, UHD TVs have been a mix of HDCP 2.2 and 1.4, 300MHz and 600MHz — even to the point of varying by port.
Now Murideo has developed a new test tool, the Fresco SIX-G, for the display & video integration market to confirm HDMI 2.0 and HDCP 2.2 compliance at the 18 GBP/sec level. Additionally the SIX-G is an excellent troubleshooting tool for distributed HDMI systems and a reference source for video calibration-- and is compatible with CalMAN. One of the biggest challenges for integrators today is determining what infrastructure to put in the systems they design and further verifying that all of the components will work together. A partial list of features includes:
Eric (an AVPro and Murideo Engineer) made the news last night for his Prisma Video Processor. Check it out here.
http://www.kdlt.com/news/local-news/man-develops-device-to-help-the-colorlind-watch-tv-in-true-color/38776078 It's always fun to be at home watching TV and see your company on the news. We have found that the colorblind part of the Prisma is really interesting for everyone that hears about it. But we have only have a few people that are interested in using it at home. We hope with the buzz around the HDR capabilities of the Prisma that we can get the word out about all the different uses the Prisma has. As Eric likes to say, "It's like Photoshop in a box". New uses are coming all the time. Click the different Prisma options at the top of the site under Processors to learn more. On 3-23-16 Matt Murray and Eric Hernes joined the crew at AV Glue a cool podcast from rAVe publications. Give the podcast a listen by subscribing to rAVe on itunes or sticher, Or you can just follow this link. Here is the breakdown from AV Glue: "This time on AV Glue, we feature a little-known company called Murideo. Murideo (a division of the AVPro Company) was created out of the need to bring fix-it tools to the integration market focusing on high-quality images. Their product, PRISMA, is a box that allows you to watch everything in HDR on any HDR TV. Don’t know hat HDR is? What HDR does to a movie is to take advantage of new technologies being developed in TVs to get closer to reproducing content that we – humans – see in nature (expanded color gamut), and improves and enhances contrast ratio – specifically targeting human rod receptors ability to discern and enjoy deep blacks in movies like The Dark Night and Gladiator and enhanced luminance (brightness) in movies like Jurassic Park and Your Breaking Point when panning to a shot of the sun or late night lighting scenes that give extra pop and sensation to the movie." Let us know what you think.
Over 8% of the population suffers from some sort of colorblindness or deficiency. That’s where Eric steps in.
Eric has made a little box that can take any HDMI signal and alter it so that people with color deficiencies are able to see more detail and perceive more colors in real time. We are looking for help in bringing this technology to the masses. Right now you can purchase a video processor that does just that but at a much higher cost then we would like to offer. The current video processor costs $1000.00. If we can raise the $40,000.00 then we would be able to use this existing technology and put it in a new unit that would cost much less, around $250.00. So weather it be at home watching sports, tv shows, movies, playing video games or designers and digital artist working on a computer, This product would be great for anyone that looks at a screen. Big News From AVPro and Murideo: Color Vision Deficient Individuals Can Now Enjoy Color Perception! For Entertainment, Gaming, Workstations and More!
Prisma Sight Inventor Video Overview Prisma "Sight" The Inventor & Engineer behind the Murideo-Prisma has a son who is color blind. An expert in color science who designed several products over the past twenty years for several video-centric companies, decided to find a mathematical solution to the problem. With an extreme depth of knowledge and a collection of color math developed through the years the resulting technology is now available in the Murido-Prisma video processor. The “Prisma” was originally developed for studios, integrators and videophiles for enhancing the picture quality in digital displays to match industry requirements and specifications for production, post production and reproduction of movies and digital video. The key components of hardware do not need modification – the firmware – or instructions/code is the only change needed to gain access to the new functionality today. Background on Color Blindness - Color blindness (or, more accurately, color vision deficiency) is an inherited condition that affects males more frequently than females. According to Prevent Blindness America, an estimated 8 percent of males and less than 1 percent of females have color vision problems. Red-green color deficiency is the most common form of color vision deficiency. Much more rarely, a person may inherit a trait that reduces the ability to see blue and yellow hues. This blue-yellow color deficiency usually affects men and women equally. Normal vision vs. colorblind vision. The term "color blindness" is misleading, because most "colorblind" people see colors, but their color perception is limited and inaccurate. The most common form of color vision deficiency causes inaccurate perception of the colors red and green, making it easy to confuse them. Contrary to popular belief, it is rare for a color blind person to see only in shades of gray. Most people who are considered "color blind" can see colors, but certain colors appear washed out and are easily confused with other colors, depending on the type of color vision deficiency they have. What causes color vision deficiency? Color vision deficiency occurs when light-sensitive cells in the retina fail to respond appropriately to variations in wavelengths of light that enable people to see an array of colors. Photoreceptors in the retina are called rods and cones. Rods are more plentiful (there are approximately 100 million rods in the human retina) and they are more sensitive to light, but rods are incapable of perceiving color. The 6 to 7 million cones in the human retina are responsible for color vision, and these photoreceptors are concentrated in the central zone of the retina called the macula. The center of the macula is called the fovea, and this tiny (0.3 mm diameter) area contains the highest concentration of cones in the retina and is responsible for our most acute color vision. Inherited forms of color blindness often are related to deficiencies in certain types of cones or outright absence of these cones. The three types of cones translate into tree main types of color vision deficiency:
In each of these cases, the affected cones can either be mutated or defective. A mutated cone causes a slight shift and a defective cone causes bigger shift in the color perception. The Solution?? New 3D LUT files are now available for the Murideo Prisma in firmware revision prisma-v1.06-1407.mcu and is available at www.murideo.com/prisma-sight to address all three: Conclusion & moving forward – All of you who are systems integrators and are reading this have color blind customers – 8% of the male population has some issue with color vision. Now, you can address it – and not with a lot of additional test tools and software required by the core users of this product. We are modifying and have inventory of units pre-installed with the new firmware to address color blindness – these are available to ship today – but supplies are limited and the next manufacturing run is scheduled for February – so act fact to lock in your Prisma. Simulation: Note the simulation below - this is a look at how the Prisma Sight Technology would effect a color vision deficient person. This simulation is for demonstration purposes. For more info or to see this technology, contact us or stay tuned for more! For More Info Contact: Matt Murray
AVProStore 3518 N Casco Ave Sioux Falls, SD 57104 Toll Free: 877-886-5112 ext 2462 Direct: 605-782-2462 matt@avprostore.com
Read the full review at AVForums.com HERE
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