A few notes on DolbyPQ & the new 4k AppleTV and TV High Dynamic Range.

STOP PRESS! 27th Sept. 2017 Update;

So it turns out that the new AppleTV does support HLG.

- Why did it take somebody hacking around with a firmware update to discover it; perhaps big corporations (Apple and Dolby) talk and would rather not highlight the fact?


HDR is half my life at the moment; the distinction between "Display Referred" and "Scene Referred" video is lost on most people, but is pretty central to understanding why the BBC/NHK "Hybrid Log Gamma" system is ten times more appropriate for television (non-theatrical video) vs anything based on the SMPTE 2084 (AKA Dolby/HDR10 etc) curve.

For my presentation on "intro to HDR for TV" download here.

1. Display Referred HDR makes no sense for TV (when I say TV I mean all non theatrical video). DolbyPQ makes video dimensioned (so code values actually represent light levels) which makes a lot of sense when you have complete control over the environment you're viewing in - a theatre. To define where black and white sit (and actually assign light-levels to them) is problematic for TV workflows. Remember, you have to give the colourist/racks-engineer/domestic-viewer the liberty to set black according to the room. Although BT.1886 is commonly accepted to mean 100Cdm^-2 peak white a lot of colourists drive their rooms at 80Cdm^-2 and at least one film guy I know prefers to work at 60Cdm^-2. Also - what happens in three years when everyone is selling TVs with specular highlights that can hit 2,000Cdm^-2 and people can see the difference between PQ content mastered with peaks at 1,000Cdm^-2 ( the current standard) and new content? The same will be true all the way up to Dolby's max light level of 10,000Cdm^-2. Dolby at least has the benefit of dynamic metadata to allow or this, but HDR10 is static metadata and so has all the problems of display-referred HDR with none of the DolbyPQ benefits.
2. BBC/NHK HLG is a much more pragmatic solution as it doesn't assign code-value to light-levels (when has that ever been a thing in TV?!) and allows HDR content to look good on all devices capable of displaying it; tablets, TVs, laptops etc. It also allows the broadcasters to make a gradual change to HDR. None of the broadcasters I've spoken to have any appetite for having Dolby CMUs all over the place to manage the metadata (which, being a licensed format, they would be obliged to have). HLG also tracks 1886 for most of the curve (to around 65%) which means conversion to/from is easier and even when you get it wrong the pictures look OK. It's why scene-referred video makes sense for TV.
3. Having seen the same SLog3 (so camera HDR gamma) played out from Transkoder in both DolbyPQ (mastered at 1,000Cdm^-2) next to the same machine converting to HLG with two Sony X300 monitors set for the appropriate gamma curves and the same Rec.2020 colour calibration you could not tell them apart in a blind viewing. 
4. It's typical Dolby - they are trying to dominate the domestic space by shoe-horning their theatrical format into TVs. Broadcasters get hobbled with licensing costs, onerous upgrade requirements and pictures that are locked to whatever version of PQ/HDR10/HDR10+ they were mastered for rather than allowing the display to make the best of what it's given; scene referred pictures.
5. The good thing about HLG is that rec.2100 ratifies it, the DVB have too. It's also trivial to upgrade HDR10-capable sets to support it (unlike PQ). I imagine it'll be the case that broadcasters will deliver HDR (for the reasons mentioned) and either you have to upgrade your TV (but pretty much all the current ones support it out of the box) OR your STB will do the conversion.

Which is why the new 4k AppleTV is a damp-squib...   

Canon's 4k Native IPS television monitors

I had an excellent half day with Canon's UK imaging display guys to look at their DP-V series 4k native displays. To my shame I had assumed that they would be like the HP Dreamcolor or Eizo ColorEdge series monitors which are advertised as being suitable for film and TV work but as I've often said; "..an SDi BNC and a preset called Rec.709 does not a broadcast monitor make"!

In the case of those two manufacturers they assume that taking their print-prep graphics display and making it SDi capable is all that's needed; forget proper RGB linearity and a controlled white-point. In the case of the HP they still advertise it at 250Cd/m² for white (four times what it should be - you can't grade with that) and every time I've had an Eizo to play with I've found the same. Even employing a LUT to tame something like that is a bad idea as having to take 250Cd/m² down to a more sensible 80Cd/m² means you've lost two stops (12dBs, two significant bits) of dynamic range; not what anyone wants.

So - native 4k displays using LED-backlit IPS-LCD and not OLED. Every display technology suffers issues and although I think the poor inherent RGB tracking of OLEDs is entirely addressable in a LUT (which is why I love the Boland BVB25 for colour-accurate TV work) OLEDs are noisy once you get very close to black thus limiting their dynamic range (fine for 10-bit TV work; but for 16-bit HDR film imagery, not so much - yet!). Canon has consequently chosen IPS-style LCDs (with a level-modulated LED backlight). The LED backlight is the same technology as that used in the Dolby PRM-4220 grading monitor which is how they achieve the high dynamic range with a possibility of >1000Cd/m² for specular highlights in HDR 16-bit video. I got to see the originators of this technology, Brightside, back in 2005. 

So, proof of the pudding etc - I profiled the 24" edit suite variant and it was very close to the Rec.709 spec (the fact that I left LightSpace set for a 2.2 gamma whilst the monitor has a true BT.1886 gamma for HD rasters may be to blame). With 4k source material the results look great.

 I started at 2k to see how it did

 At 4k I can only manage 25 FPS at best!

Zooming in on the frequency grating shows aliasing, but only on the camera pics, I couldn't photograph it with my 10Mpix camera without catching aliases in the camera's OTF.

Getting closer gets a bit better, but to the eye the resolution is astounding

 

The Sarnoff ladies at true-4K

 

I profiled the display at 17-points so 5,000 measurements take around two hours with the Klein

 

Looks pretty good for greyscale performance, and I suspect if I set LightSpace's gamma correctly it would be better

The coloured dots are rec.709 and the big cube is the gamut of the display; it covers the colour space nicely.

 

 

Colourimetry and Boland broadcast monitors

I have been so busy that (to my shame) I haven't been able to blog for two months now. This morning I did a presentation for the Root6 Tech Breakfast series entitled “Colourimetry, Calibration and Monitoring” - 

http://www.root6.com/news/tech-breakfast-colourimetry-calibration-monitoring/

You can grab my notes here;
http://www.engineersbench.com/phil/Public/Root6-misc/Colourimetry_TechBreakfast_July2015.pdf

This is all to promote the new US manufacturer we've taken on; for my money their BVB25-OLED monitor is the best TV display for under £10k.

Article in Broadcast Film & Video magazine

This is an article in Broadcast Film & Video which was a re-write of a presentation I did over the summer. You can see it as a PDF here.

File access problems in VidChecker v 5.7.2

I'm a big fan of VidChecker for file-based worksflows. Having demo'ed both Intera Systems Baton and Tektronix Cerify in the past I find VidChecker to be the better solution (who thought Crawley would put Tektronix in second place in any area?!). Hugh and I did a podcast on file-based QC last year.

So I keep a copy of VidChecker server on my laptop running in a VM for demo purposes. On Monday I got v.5.7.2 which brings the following;

1. Test and correction of multiple loudness modes concurrently (I-mode, S-mode and M-mode) 
2. Multiple mono audio track detection 
3. Update of DPP templates to DPP spec 4.1 
4. Additional visual drop-out detections 
5. Test for breaks in 2:3 cadence pattern 
6. MXF timecode continuity check 
7. Minor improvements to UI (e.g. report options) 

However, when I ran the server up I found I couldn't process any files.

I would never have figured out the solution, but apparently a recent Windows update means that if you ever use "localhost" assuming it will translate to either 127.0.0.1 (local loopback IP address) OR your local IP address you'll be out of luck (unless your DNS does the right thing, but I think that's unlikely!). So edit the hosts file;

C:\Windows\System32\drivers\etc 

Once in the file remove the hash from the line below and save;

# 127.0.0.1 localhost 

Which begs the question; why is it hash'ed out by default?

  
That's better!

Technologies that made the difference in Television

Will Strauss (writing for Broadcast Magazine) asked me for a couple of ideas for an article he was putting together; you can read it here. My Engineer's Bench collaborator Hugh Waters got in with SMPTE timecode.

The original ideas I sent to him were;

1. The Mostek MK4096 Dynamic RAM chip (and subsequent MK4196 16k DRAM) was the enabling technology that allowed construction of all early digital video devices in the seventies; TBCs, Framestore Synchronisers and Digital Video Effects (ADO, Quantel 5000, Squeeze-Zoom etc) - being dynamic memory these chips required constant refreshing but the nature of video is that the store is constantly being read to make the next line or frame of video. The chips were fast enough that once multiplexed in banks of (typically eight) video pixels at around 75nS clock could be stored. Without DRAM there would have been no picture-in-picture, no timebase correction, no standards conversion, no digital video effects and no digiscan telecines.
2. The Discrete Cosine Transform - as a mathematical technique for transforming pixels into frequency distributions the DCT doesn't actually provide any reduction in data for digital TV signals but it does then allow all manner of compression to take place. MPEG2 in the nineties allowed DVD, Transmission servers and DVB-T and DVB-S powering the first wave of standard-definition digital television. In the noughties MPEG4 and later variants (H.264, AVC etc) allowed HD pictures to be compressed to data rates unthought-of previously. Most contemporary video compression starts with the DCT.
3. Pixel and even frame-free video(!) - this will be the enabling technology of the next decade that will usher in ultra-high-definition TV. Prof Phil Willis of Bath University is pioneering work that will make video a descriptive object technology rather than pixels, lines and frames. Once divorced from set resolutions and framerates it will be up to the display device to render the vectors, contours and shaders at whatever resolution and framerate the device supports.

Engineer's Bench "Ultra High Definition - 4k & 8k Television" next podcast

Hugh and Phil go into the emerging standards for Ultra High Definition television.

Find it on iTunes, vanilla RSS, YouTube or the show notes website. My notes for this episode (with relevant URLs)

After 'Beyond HD Masters 2013' - some notes, pixel-free and even frame-free video!

This video was shown in one of the sessions; the speaker was Professor Philip Willis of The University of Bath's Computer Science department.

It shows various pieces of video that have been converted to a contour/vector representation where instead of using pixels in a raster to represent video they use contours (which also have shading associated with them) and vectors (which dictate how the contours are moving). This is not an effort to compress the data load; although Prof. Willis was at pains to point out that they have not made any efforts to optimise or do any bit-rate reduction calculations on the data, rather it is a way of representing high resolution video in a pixel-free manner. This might provide a useful transport/mezzanine format for moving 4k and 8k television around, rendering the pictures at the resolution of the target display device. 

The upshot of this is that rendering at a higher resolution than the material was shot at shows none of the aliasing that you'd expect from pixel-based video. Although you can't get more detail than was there originally the codec fails gracefully such that the images are not unpleasant to look at (unlike the low-res YouTube clip above!).

Prof. Willis gave a tantalizing little extra in the Q&A sessions - he implied that they are looking to give the contours/vectors a time-based element so that they move not only in X-Y space, but along the t-axis such that the pixel-free video now becomes frame free! You can render the resulting data as easily at 1920x1080 @60FPS as you could 720x576 @59.98 fields without any aliasing in the spacial dimensions OR temporally; say goodbye to standards conversion!

The original paper is a bit heavyweight but if your happy with vector maths it is understandable.

After 'Beyond HD Masters 2013' - some notes, cable interfaces and frame-rates.

Today you can buy equipment that works at the TV "4k" resolution which is also referred to as "quad-HD" because it has twice the number of pixels horizontally and twice the number of active lines; 3,980 x 2,160. Blackmagic have already implemented what they call 6G SDi - i.e. 4 x 1.5Gbit/sec 1920x1080 @30FPS (max) with 4:2:2 colour sampling. If you want 50 or 60P at 4:2:2 you'd need 12G and should you want to go to 4:4:4 RGB at 12bit then you're looking at >20G! 

Whilst a coax interface still (just!) works at 6G (and I'd point you towards some research I did in 2009) it seems like single-mode fibre is the only sensible interface that we'll have for synchronous video as 4K starts to be used for live production.

Richard Salmon from the BBC showed that with the huge amount of resolution that 4k brings the human brain recoils if there isn't enough temporal resolution to make moving images look as good as static images. Imagine a rapid pan across the crowd at a football stadium. At sub 100 frames per sec you don't see enough detail in the picture (each pixel is smeared so as to make it look like a much lower resolution image) but when the camera stops the pan you suddenly notice the huge amount of detail. That difference in static and dynamic resolution can, in extreme cases, cause nausea.  With this in mind it seems that the standard for live TV will be 4:2:2 colour encoding at 120 FPS! Anyone for 24Gbit/sec video?! v1.4 HDMI currently only supports sub-8 Gigabits/sec. So - it seems like we're going to have to wait for cable standards to catch up and when it does it'll probably be 9/125µ fibre.

Take this to 8k (which is the second half of the proposed UHD TV standard) then we're looking at 96Gbits/sec! Even current standard fibre struggles with that! So - the other interesting technology that may well form the mezzanine format for moving over cables and networks is pixel-free video; but that's for another blog post!

After 'Beyond HD Masters 2013' - some notes, 4k TV colourimetry

I had a day at BAFTA listening to various speakers from the industry talking about 4K (quad-HD, UltraHD, etc etc) and the surrounding standards.

ITU Rec.2020 is the document that covers 4k TV (in fact it defines two resolutions - 3840 × 2160 and 7680 × 4320 - which I'll refer to as 4k and 8k television, but these aren't the same as the 4096 pixels and 8192 wide resolutions used in digital film).

• The colour space is monstrous! The 2020 triangle is even bigger than the P3 colour space (as defined by the DCI) - take that Mr. Dolby! It'll be a while before ANY displace device can faithfully reproduce that gamut. Thankfully we stay with D65 for white (well, 6504k to be strictly correct - Planck's was re-calculated in the 70s) and the primaries are;

• red: 0.708, 0.292
• green: 0.170, 0.797
• blue: 0.131, 0.046
• white: 0.3127, 0.3290

• The new luma transfer function is: Y'= 0.2627 R = 0.6780 G + 0.0593 B and for the first time ever in television an allowance for constant luminance has been allowed. There is an almost philosophical argument by Charles Poynton and others that constant luminance is the way to go. Essentially the gamma response should be applied only to the derived luminance rather than the three colour components. I suppose your feeling on that comes down on whether you think gamma is correcting for the camera response (that's what I was always taught at the Beeb in analogue SD days) OR if gamma is a tool to give better dynamic range in the dark areas of the picture. I expect that constant luminance (proper Y as opposed to Y' / "luma") should best be constant in the case of 12-bit video (where you have so much more dynamic range anyway) but remain pre-corrected RGB in the case of 10 and 8 bit 4k.
• Frame rates are defined up to 120FPS with no interlaced framerates - unfortunately non-integer (23.98, 29.97, 59.94) are still hanging around like bad smell! The Beeb's Richard Salmon showed a very convincing argument for >100FPS for sports footage. Essentially as you have more resolution the difference between detail in static pictures and moving scenes become objectionable. The problem is that currently HDMI 1.4 only supports a maximum of 30 FPS at 4k and so we're waiting for HDMI 2.0.

Ad-funded TV is dead, they just don't know it yet.

Sarah and I have recently been enjoying The Killing; Danish crime-noir with some very compelling knitwear! We started when we saw BBC4 was showing season three a few months ago so we set the PVR to record them. We thought we should probably start at season one and so we watched them on LoveFilm. They didn't have season two, but iTunes did (for around a tenner). My point is that here is a show that contains brilliant story-telling and we watch it when and where we want - on the TV, the iPad (in bed) etc, without commercials. It is what television was made for. I don't need to be loyal to whoever delivered it to me; LoveFilm is part of my ISP's package, iTunes charged me a bit and the BBC is paid for by my TV license.

House of cards on Netflix is unique in that it hasn't (and won't) be available on any over-the-air television platforms. It is big-budget TV drama with the following differences;

• They aren't tied to 26 or 48 minute episode lengths to cope with the requirements of the network and the advertisers; the writer and director get to decide if this is a 35 minute or 1 hour and 15 min story,
• All episodes are available at launch time and forever; how's that for giving users the choice of how they want to watch?!
• The story needn't be cut with cliffhangers or with ad-breaks in mind.

I think in years to come this will be considered the seminal moment when all the old-media platforms who merely exist to provide a conduit to consumers were disinter-mediated.  If you think about a commercial broadcaster, what is their business model? Advert sales - and in that you have to realise that the programmes really are the loss-leader on the adverts. They don't really care if you watch Downton Abbey, well, only in that it drives you to watch the advert breaks. The BBC is of course different in that they have no commercial interest in anything other than retaining their charter which means they have to make good programmes. 

Until the last few years you had to be a big media organisation to deliver adverts into people's homes before you could afford to deliver programmes, but now that's not the case. Have you ever wondered why ITV, Channel Four and Channel Five's on demand services are so hopeless next to the BBC iPlayer? It's because the new model scares them silly. 

I think that increasingly LoveFilm, Netflix, iPlayer etc etc will be the method people choose to consume tele with only a bit of live watching for sports and news. The few pounds a month all of those on-demand services cost is tiny next to what Sky charge you directly and what ITV charge you indirectly (remember, the average family pays around £600 per anum on top of the goods they buy to pay for commercially funded television - and you have no choice over it; it's more of a tax than the TV license).

FrameRate on the TWiT network had a good discussion on the matter;

Fifteen years of HD displays in one morning!

I had to visit a new client to calibrate four different display devices and it struck me that they represented the gamut(!) of HD displays since the mid-90s. They didn't have an OLED display for me, but a Sony BVM-D24, a VuTrix Pro-24, an AutoCue G-series and a JVC D-ILA 2k projector.

The CIE 1931 chromaticity chart shows the extents of human vision with the RGB primaries mapped onto a pair of X-Y primaries that represent the colour content only and says nothing about the illumination of a colour. In the centre of the triangle is an "equal mix" of red, green and blue which is the very definition of white light. The various standards for the white-point used in different territories and applications is shown as a curved line. In TV pretty much the whole world now regards 6500k (actually, 6504k - had to be updated in the seventies when physicists realised they'd got Planck's constant wrong!). When I test myself I can only just discern the difference between 6500 and 6600k colour temperature.

Anyhow, metamerism aside (and that's another blog post!) you can't use the same probe to calibrate different display technologies. My venerable old CRT probe is no good for LCDs and vice versa (and that's before you consider plasma and OLED displays). That's why the £200 Huey-type probes you can buy on Tottenham Court Road are worse than useless.

• Sony BVM-D24 - Old faithful, the HD display we've all been using forever. I'm starting to notice that the '24s I see now are in the autumn of their tube's lives. They are still the gold-standard for colour and unless the EHT is wrong or the tube is really knackered it's a nice and easy to job to get a D24 correct in the blacks and the whites and generally they track splendidly. As ever they look best when the white point is set below 100Cd/m2
• VuTrix Pro-24 - These could be could be considered first generation broadcast LCDs as they are rear-illuminated with fluorescent strips. This particular one had to be really wound out from it's factory defaults to get it even near standard. They also have no sensible way of setting the colour in dark areas of the picture ("bias" on a Sony monitor). These have poor off-axis black performance as well.
• AutoCue G-series - This was a new monitor, the G-series are their best ones with LED backlit LCD panel and a really nice look. Easy to get it looking correct from a colour point of view and it's factory preset was pretty darn close to illuminant-D. They must have some sort of fancy dichroic glass on the front because the off-axis performance is pretty good.
• JVC D-ILA projector - because I don't have a spectral-radiometer (a wide band colour analyser), only photometers (colour probes that rely on having the same metameristic failure as the the device being analysed) I have to eye-match projectors to a know calibrated LCD or CRT. This is the bit of the job I like the best. Since I spent a decent amount of the nineties racking studios cameras I'm used to colour matching. I don't have a good colour memory (I'm always surprised how milky D6500 white is compared to what I've remembered).

Once I've got the probe happy with the light coming from the front of each display I do an eye-match as a final tweak. BBC test-card F is perfect for this as it has lots of grey-scale and real pictures. It's always nice to give Carole an outing; she's the person who's been on TV the most in the whole world, ever!

You can see here the monitor on the floor is a bit redder in the whites than the projector; since I'd got the monitor correct I eye-matched the projector as best I could; but it's always a struggle because different display technologies just look different because they make colour in different way.

Colourimetry 2 - Calibrating monitors for TV

After the intro to colourimetry Hugh and I talk about calibrating monitors for film and TV use. Find it on iTunes, vanilla RSS, YouTube or the show notes website.

TV Colour - the next podcast

Hugh and I lay the groundwork for the next podcast about monitor calibration. This episode concerns perception of colour in TV. Find it on iTunes, vanilla RSS, YouTube or the show notes website.

What's in your rucksack?

Phil and High go over the basic set of tools and test kit that broadcast engineers on the hoof need! Find it on iTunes, vanilla RSS, YouTube or the show notes website.

Save us from Media Studies students!

I was on the train on the way up to Manchester this morning - on the next table along were four undergraduates on the way to the BBC for a recruitment day out and clearly part of their day was to propose potential new programme formats. Well - they spoke very loudly and earnestly about their ideas for radical new television shows and all made notes in their moleskin notebooks. Their ideas were so derivative and tired it made me chuck and I made a note of some of them;

1. "Darts players - wives & girlfriends" - a reality show investigating the love lives of darts players. @bendavison tells me it's been done already, sigh.
2. A series of documentaries that challenge racism by featuring the apparently growing Bollywood porn industry...!
3. "Strictly come prancing"- reality show for jockeys.
4. "Blaggers with attitude"; documentary series following people around the festivals who manage to score free stuff; t-shirts etc.
5. "Bankrupt celeb finance boot-camp"; broke Z-listers learning how to manage the money they get from Heat Magazine.
6. "Boyle Baron" - singer Susan Boyle learns the ins and outs of the oil industry.
7. "The Grapes of Hoff"- David Hasselhoff becomes a vintner.
8. "Frankie goes to Bollywood" - ex. members of the 80s band learn Indian dance moves; they also discussed if it should be for Comic Relief(!)
9. "The Yids are alright" - Pete Townsend explores Jewish culture.
10. "Train of thought"- a gameshow set on the West Coast Mainline. Different stations would signal different rounds. Would suit Alan Titchmarsh?

So - BBC, stop employing media-studies graduates and instead give English/History/Classics students a shot at making some original TV.

If you see any of these formats on BBC3 in eighteen months time you read it here first!

Things that peaked my interest at IBC

I spent just a couple of days over at the RAI in Amsterdam. It was splendid to catch up with some old pals and Bryant Broadcast do an excellent night out. My main observation is that 3D/stereoscopic was no where near as prominent as it was last year and as the number of network delivery solutions increases the number of 'proper' transmitter companies seems to drop.

Newtek - updates to TriCaster, new model & control panel. The new 450 is very similar to the 850 but has only four HD inputs (against eight). The other things that I think are significant;

• 3Play - their "poor man's EVS" has been improved. Running on what looks like a Tricaster 850 chassis it now has eight inputs and can run two outputs simultaneously. For sports slow-mo it is an excellent quick turn-around solution at the fraction of the cost of EVS.
• VTR-style control for the DDRs in Tricaster; might suite some people.
• Tricaster Extreme upgrade - allows for eight ISO records (can be either cameras or other internal/external sources, at different rasters and codecs than the main record).
• They fixed the AUX audio in embedded HD-SDi I'd been moaning about!
• The network sources (iVGA feeds) can now carry audio as well.
  

VidCheck - file-based QC is getting good! In fact this one looks like it needs serious consideration! I have a demo license on the way and will report back. Along with being able to test all the usual codecs etc it does full ITU.1770 audio loudness AND has numerous correction facilities; Tektronix AND Eyeheight, you might say.

• Containers: MPEG-2 TS, MPEG-2 PS, MXF, MP4, MOV, ASF, AVI, LXF, GXF, FLV, F4V
• Formats: Web, SD, HD, D-Cinema and many custom formats
• Video: MPEG-2, IMX, XDCAM, D10, HDV, DV25, DVCPro50, DVCPro100/HD, AVC/H.264, VC-1, ProRes, DNxHD/VC-3, MJPEG
• Audio: MPEG, PCM, WAV, AAC, stereo, 5.1 / 7.1 Dolby, multiple different language tracks

The really significant thing is the price €5k with paid options (DolbyE, ProRes etc) in the hundreds rather than thousands of pound. It also seems to handle multi-core computers much better, a single instance scaling to 28 cores.

AutoQue - they make broadcast monitors, who would have thunk it? They seem to be pitching them very much against the JVC DT-V24 series at the bottom end (a grand cheaper) and the VuTrix at the edit suite/grade-1 end (again, a lot cheaper). I have demo stock coming so I will write a bit more when I've seen them.

Other things worthy of note - Tek now have all their 3D analysis tools in the WVR/WFM-8000 series 'scopes. I had a very informative half-hour with Lee Ballinger from Tektronix going over them.

Sony BVM-E250 OLED broadcast monitor

I had an hour or so to set up a new Sony OLED grade-1 next to a Vutrix HD Pro-24 (their grade-1 LCD display which I like) - the Sony is twice as expensive as the Vutrix (£20k vs £10k). OLED as a technology is supposed to have a number of advantages over thin film transistor (TFT - the important bit of an LCD display. A few are;

• In a TFT layer the polarisation of light is twisted through 90 degrees to allow the pixel to be illuminated by the virtue of the fact that the front filter is 90 degrees offset from the rear. In effect the transistor stops the light from the fluorescent (or nowadays LED) source. Since the light source is a few millimeters behind the pixel there are chromatic distortions inherent and since thin-film transistors don't shut-off all the light when turned off there are black-level issues. These are the two best known problems with LCD monitors in film & TV grading.
• Thin-film transistors have a limit to how quickly they can be cycled - typ. 16ms at best (I know some manufacturers claim faster but it's smoke & mirrors). OLEDs can be cycled a lot quicker for better response.
• In a TFT display the place where the colour is made (the three sub-pixel RGB transistors) is physically separate from the light source - not so with OLEDs where the illuminating LED is also the colour-maker.

So - with deeper blacks and fewer chromatic problems you'd think OLEDs were the way forward. The only thing to consider is the life-span. The blue OLED elements have an estimated life of 10k hours (around a third of the backlight of an LCD). Also - the metameristic character of OLEDs is different and so colour-management tools will need to be upgraded (I just spent £7k on a new LCD photometer!).

I thought out of the box the pictures on the BVM were very good - close to the VuTrix I'd just calibrated to illuminant-D (6504K at 80Cd/m2 for peak white). Response seemed as good with much better blacks, particularly from different angles. The monitor's de-interlacer didn't seem as good as I'd have expected for video-shot material but camera pans etc looked better than the VuTrix.

Overall I was impressed, but not an extra £10k impressed!

Mute the TV automatically!

I've been a fan of ComSkip (a PVR plugin that automatically detects/removes TV adverts from recorded MPEG2 transport streams) and I firmly believe that technology will allow us to 'tame' various media sources - advert blocking in Firefox makes the web a nicer place, for example. Anyway - this is great, what a project;

Tektronix WVR5200

During a manic day I was fortunate enough to bump into my old Tektronix mucker Tom Perry who had a new WVR5200 in his rucksack and gave me a quick in-the-street demo! It seems like a much more complete instrument than the current WVR5000 'scope and I can't believe it won't cannibalize their WVR7000 and 8000-series business. The things that stood out for me are:

• Much improved four-tile monitoring with four inputs that can be configured as 4 x SDi (270M, 1.48G, or 3G - yes!) or 2 x dual-link. With four discrete inputs you can display all four at once.
• An SDi o/p that can be any of the inputs OR a test output with bars or pathological signal.
• Audio loudness - and up to 16 channels via embedded groups
• Full Java control (the 5000 lacked this)

So I think this is excellent - the only thing missing is physical layer measurements. Some of the better features are paid-for upgrades (license key) but at £4.5k this represents superb value.
I shall write more when I've had one in to evaluate.