Nice Pic of Samsung 150"

[Peter CINERAMAX]

but where is the sound?

[Peter CINERAMAX]

FROM WHAT HI FI


https://www.whathifi.com/advice/hdr10-everything-you-need-to-know

As the AV world tries to get a handle on Dolby Vision and HDR10, the imminent arrival of yet another HDR format – one that’s designed to beat Dolby Vision at its own game – has been largely overlooked.

This format is HDR10+ and it’s the creation of Samsung, which sells more TVs around the world than any other brand.

But is this new HDR format a cause for celebration or consternation? On one hand, it muddies the already-confusing TV-spec waters but, on the other, HDR10+ looks and sounds great.

What is HDR10+?
image: https://images.cdn.whathifi.com/sites/whathifi.com/files/styles/big-image/public/brands/Features/HDR10plus/samsung-hdr10-plus-sets-a-new-standard-for-picture-quality-at-ifa-2017.jpg?itok=WeP7x-Jw


Like Dolby Vision, HDR10+ is all about adding dynamic metadata to the HDR signal.

Standard HDR10 uses static metadata, which means the boundaries of brightness are set at the start of a film or show and don’t budge for the duration.

These boundaries have to be broad enough to display every scene of the film – essentially, the TV’s 1.07 billion colours are spread evenly across that entire brightness spectrum, which means that if a scene contains only bright or only dark elements, only a portion of those colours are available for it. This can result in dark scenes looking a bit dim and bright scenes losing detail.

With dynamic metadata, those brightness boundaries can be set and changed on a frame-by-frame basis, so the full colour range can be deployed even in scenes that contain only dark or only light elements. The result, in theory, is subtler gradients and therefore more detail.

We’ve already seen this in action with Dolby Vision. The Power Rangers 4K Blu-ray is noticeably improved in Dolby Vision when compared to HDR10, particularly in regard to bright lights in otherwise dark scenes and subtle details in bright areas of an image. In short, it’s a more exciting, enticing and nuanced picture

MORE: HDR TV – What is it? How can you get it?

How is HDR10+ different to Dolby Vision?
image: https://images.cdn.whathifi.com/sites/whathifi.com/files/styles/big-image/public/brands/Features/HDR10plus/conventional-and-hdr10plus_1.jpg?itok=apoc-H2S


At their core, HDR10+ and Dolby Vision are similar – they both use dynamic metadata to tweak a TV’s performance to get the most out of every frame – but there are key differences.

For a start, while TV manufacturers and studios have to pay Dolby to license Dolby Vision, and therefore have little control over its development and implementation, HDR10+ is a free, open format that any company, including Samsung’s rivals, can tweak and deploy as it sees fit.

This should make it appealing to those who don’t want to pay a fee or hand over control of the process in order to introduce support for dynamic metadata.

Similarly, Samsung claims because the TV manufacturers have more control when it comes to HDR10+, they can more effectively tailor it for different models in their ranges.

According to Samsung, mid-range TVs will benefit most from the addition of HDR10+ because the format will allow them to adapt the image to models with a more limited brightness spectrum to suit their abilities.

On the other hand, as a layer of dynamic metadata for HDR10, HDR10+ carries over the limitation to 10-bit colour depth. Dolby Vision goes up to 12-bits, making it capable of reproducing billions more colours.

With 12-bit TVs still the stuff of fantasy, this isn’t a big deal yet - but when they do finally become reality this could be a big differentiator. Of course, there’s every chance that new, open formats (HDR12 and HDR12+, perhaps?) will also arrive at that point.

MORE: Dolby Vision HDR – everything you need to know

Is HDR10+ actually any good?
image: https://images.cdn.whathifi.com/sites/whathifi.com/files/styles/big-image/public/brands/Features/HDR10plus/167467.jpg?itok=gRnPmqjA


HDR10+ is not yet available at home, so we’ve been unable to conduct our own tests of the format, but we've seen the tech as presented to us by Samsung. While demos such as this can’t be relied upon to draw firm conclusions, they’re certainly enough to get us excited.

Next to a standard HDR10 image, HDR10+ is punchier and more dynamic - but, importantly, doesn’t alter the fundamental character of the picture. The whitest elements and brightest colours look brighter, while the blackest areas become more pronounced. But nothing becomes overblown or unrealistic.

In fact, in many areas there’s greater nuance and detail – bright skies that are over-saturated in HDR10 reveal subtle gradations of colour and thin, light-grey clouds in HDR10+.

In short, the result isn’t just more dynamism, it’s a more detailed, more solid and more three-dimensional image that draws you in more effectively.

These are exactly the type of improvements we expect to come from the introduction of dynamic metadata, and the fact HDR10+ offers improvements over HDR10 isn’t much of a surprise.

The more interesting question is how it compares to Dolby Vision - though at this point, there’s no way for us to test that.

MORE: HDR10 vs Dolby Vision – which is better?

How can you get HDR10+?
image: https://images.cdn.whathifi.com/sites/whathifi.com/files/styles/big-image/public/brands/Features/HDR10plus/samsung-hdr10-plus-set-a-new-standard-for-picture-quality-at-ifa-2017.jpg?itok=dPBYG-U_


There is currently no way to get HDR10+ at home. All of Samsung’s 2017 HDR TVs have a picture-processing engine that supports HDR10+, but a firmware update will be needed to activate the feature.

Panasonic is on board too, with its higher-end 2017 sets (the EZ1002, EZ952, and EX750) all due a firmware upgrade to add HDR10+ in the future. Along with Samsung and 20th Century Fox, Panasonic is one of the three founding members of the HDR10+ Alliance.

Fox’s involvement means a content producer is already committed to the format. And while Amazon isn’t yet part of the HDR10+ Alliance, it has confirmed it will support the format on its Prime Video service alongside Dolby Vision and HDR10.

But as yet there are no specific dates for these firmware updates, new TVs, sources or content. We’re expecting that to change at CES in January 2018.

MORE: Panasonic 2017 TVs, 4K, OLED, HDR - everything you need to know

Will more manufacturers adopt HDR10+?
image: https://images.cdn.whathifi.com/sites/whathifi.com/files/styles/big-image/public/brands/Features/HDR10plus/hdr10plus-collaboration.jpg?itok=rJmrHOm_


“We are on schedule to integrate HDR10+ into all 2018 Philips TVs with HDR” says Danny Tack, director of strategy and planning at TP Vision.

However, the official line is Philips TV support for HDR10+ and Dolby Vision “remains under internal review”. Confusing, but we’d wager Philips comes out in support of at least one of the formats in January.

Beyond that there’s not much to go on. We expect the fee-free nature of HDR10+ to make it a no-brainer for many manufacturers, but would LG even consider supporting a format created by its arch-rivals? Despite LG being the champion of broad HDR format support until now, that seems unlikely.

While it would be easier if there were just one format, there’s nothing stopping TV manufacturers and content producers from supporting both. Those that do will almost certainly have an advantage, unless one format manages to kill the other.

Things should become a bit clearer in January – stay tuned for updates.


Read more at https://www.whathifi.com/advice/hdr10-everything-you-need-to-know#b75PbCXMH7pbrcEj.99

[donaldk]

Other reports mention a presentation by Philips (in Amsterdam) late January following CES, Philips not launching there as TPV is not selling in the US.

HDR10+

SMPTE ST 2094, in six parts, published 2016
• Carried in HEVC SEI, ETSI TS 103 433, CTA 861-G

• Standardizes HDR color transform technologies from
• Dolby (Parametric Tone Mapping)
• Philips (Parameter-based Color Volume Reconstruction)
• Technicolor (Reference-based Color Volume Remapping)
• Samsung (Scene-based Color Volume Mapping)
• And 80 other participating companies
https://www.smpte.org/sites/default/files/2017-01-12-ST-2094-Borg-V2-Handout.pdf

I am not a member, so I can't access the standards documents. 10 is Dolby Vision, 20 is Philips, 30 is Technicolor, 40 is Samsung, i.e. HDR10+ variety of Dynamic Metadata HDR.

ST 2094-40:2016 - SMPTE Standard - Dynamic Metadata for Color Volume Transform — Application #4
Abstract:
This standard specifies the metadata for Color Volume Transform Application #4, Scene-based Color Volume Mapping. It is a specialization of the content-dependent transform metadata entries and processing blocks of the generalized color volume transform model defined in the SMPTE ST 2094-1 Core Components standard. Scene-based Color Volume Mapping consists of scene-based tone mapping and scene-based color saturation mapping processing blocks. These processing blocks make use of the peak luminance behaviors of the display used for mastering the image essence (i.e. the “mastering display”) and the targeted system display as their ability to achieve peak luminance varies with the average brightness level of the pixels and the number of bright pixels within the scene. In addition to these adjustments that can be algorithmically determined from known display and content characteristics, Scene-based Color Volume Mapping also allows creatively approved adjustments.

https://www.youtube.com/watch?v=qicgLruwMTY

[Peter CINERAMAX]

Dolby Vision? HDR10+? Dolby makes the case that both can coexist
By Nick Pino 4 days ago Television 

We chat with Dolby's SVP of Consumer Entertainment at CES 2018




The term ‘format war’ can be exciting to use - it denotes some sort of competition between some of the leading tech companies in the world. But it can also carry some … expectations with it, too.

When reporters have covered HDR10+ and compared it against the existing dynamic metadata-rich HDR format, Dolby Vision, it’s always been as a competition - that one format will win and one will lose.

And yet, according to Dolby Laboratories’ Senior Vice President of Consumer Entertainment, Giles Baker, it doesn’t necessarily have to be that way.

In an interview with TechRadar, Baker mused about a future in which both systems coexist. Granted, he believes Dolby provides a better end-to-end solution for HDR mastering and delivery, but that doesn’t mean he thinks HDR10+ doesn’t have its merits. It’s just … different.



Dolby Vision and HDR10+: the pros and the cons
As you might have read elsewhere on the site, Dolby Vision and HDR10+ are the next step in the evolution in high dynamic range (HDR) - a video display technology that uses metadata to drastically increase brightness, color saturation and contrast.

HDR, the universal standard set by the Consumer Technology Association (CTA), is governed by something called static metadata - i.e. data that doesn’t change from scene-to-scene. It’s a set range that color, brightness and contrast need to stay within for the entirety of the movie or TV show.

What Dolby Vision and HDR10+ both do is use dynamic metadata to change those attributes on a moment-to-moment basis. This means that scenes can be more dynamic with one scene reaching peak black levels of the TV, with the next doing the same for brightness.

The difference between them, and the point Baker wants to make abundantly clear, is that, for Dolby Vision, all of that metadata is created by hand by colorists and editors at the movie studio. HDR10+’s metadata, meanwhile, is produced by an upscaling algorithm. This algorithm-based mode for content generation takes a lot of work off the editors and reduces time in development, which, Baker admitted, he could understand that being seen as a positive trait.



Meet the Panasonic DP-UB820, the first UHD Blu-ray player to support both Dolby Vision and HDR10+.

“But HDR10+ and Dolby Vision can coexist,” Baker says, pointing to Panasonic’s recent announcement of the first HDR10+ Blu-ray player to simultaneously support Dolby Vision, the Panasonic UB820. “We don’t see any reason that discs [and players] can’t have both.”

The sentiment is a nice one: There doesn’t need to be a winner and a loser here - we should all just enjoy better-looking content in whichever format directors and creators choose to use.

Is it possible that five years from now we’ll all own discs with both Dolby Vision and HDR10+ and players and TVs capable of displaying both formats? It’s certainly possible.

from tech radar:http://www.techradar.com/news/dolby-vision-or-hdr10-dolby-wants-you-to-have-both

[donaldk]

At IBC Dolby Exec Pat Griffin said that conversion was effortless and errorfree. Metadata in production also no longer an issue as Dolby analyses image at the output and generates metadata that way. If ever lost just regenerate the metadata. I.e, no need to foregor Dolby Vision for HLG due to complexity.

I also saw an set top box that converted everything to HDR10 for the display. All kinds of interoperability work is going on behind the scenes at Operators likeDutch KPN, and vendors like Huawei.

[Peter CINERAMAX]

Mac Observer
Post CES 2018 Update on the State of 4K/UHD HDR Formats
John MartellaroJohn Martellaro
@jmartellaro 3 minute read
Jan 16th, 2018 7:44 PM EST | Analysis
The 4K/UHD HDR standards are in place, and Apple TV 4K honors the most important ones. But there are a few wrinkles to be aware of. I’ll summarize and point to several awesome resources.

Demo of Dolby Vision
HDR/Dolby Vision on left. Plain 4K (SDR) on right.

From a post-CES 2018 perspective, “It’s Safe to Buy a 4K/UHD TV.” By that, I mean that we’ve reached a point where:

…display technologies and HDR technologies are well-fleshed out. There is no new ‘thing’ on the immediate horizon that we should be waiting for. Or be concerned about in terms of making our new equipment obsolete.

Nevertheless, in an industry like this, there are always players who, for some reason, buck established technologogies for their own reasons. For example, Samsung is holding out on Dolby Vision because there’s a certain amount of loss of control over the display.  But Sony has come to embrace Dolby Vision along with LG, TCL and Vizio.

The Apple TV 4K in its current state supports HDR10, Dolby Vision and HLG. This was a wise selection. However, when buying a TV, it’s good to know which TVs support which HDR standards and also where the industry is headed.

Sizing Up HDR in 2018
If you’re reading this, you probably have a feel for each of the HDR technologies. I’ve written a lot about them lately, but if you need a refresher, see: “Apple TV, 4K Mania: HDR10, Dolby Vision & HLG Explained.”

But there other standards as well. The issue is whether they’ll catch on or whether they’re doomed political maneuvers by a few TV makers. One is HDR10+ and another is “Philips Technicolor SL-HDR1.”  Back in November, the amazing Yoeri Geutskens provided a technology description and roadmap. “HDR video formats – the prospects.”

This is a very good place to start because author Geutskens lays out the marketplace prospects for each of the technologies. Especially valuable is the chart at the end of the article that shows (with tabs) which TV brands, media players, Hollywood studios and content distributors support which HDR format. This is pure gold.

Amongst the gems is a low-key reminder that the 4K Roku box does not yet support Dolby Vision while the Apple TV 4K does.

Then, after CES, author Geutskens provided another gem in the form of a Venn diagram that summarizes HDR support and provides additional perspectives on where each technology stands. That’s in light of studio and TV brand politics and some technical considerations. See: “HDR video format support, post-CES 2018.” More gold here.

HDR Venn diagram. Image credit: Yoeri Geutskens
HDR Venn diagram. Image credit: Yoeri Geutskens

Just about everything there is to know about 4K/UHD HDR is in these two articles. They’re the best writing I’ve seen on this topic.

4K/UHD Blu-ray
One of the reasons 4K/UHD Blu-ray players haven’t taken off is because, prior to CES 2018, no company had a 4K player that supported Dolby Vision. That’s now changed with the introduction of Sony and Panasonic models. More are sure to follow.

[UPDATE: Jan 18. My thanks to Yoeri Geutskens who has kindly provided the following correction:

The first Dolby Vision Ultra HD Blu-ray players were announced at CES 2017:
1. Oppo Digital UDP-203 and 205
2. LG UP970
3. Philips BDP7502
All of them were to require a software update (following later) to enable Dolby Vision.
For Oppo, this came in June.
LG issued an update in August but reportedly had to retract it and still hasn’t delivered a final update.
I’m not sure the Philips was ever released to market. I’ve seen another model on Amazon but never this model.
]
Why would one invest in 4K/UHD/HDR/Dolby Vision discs when there’s growing content available to stream from Amazon, iTunes, Netflix and Vudu? Purists will point out that 1) The customer may not have the 25 Mbps into the house required via the internet and 2) There will be some level of compression via streaming that is avoided when one has a physical disc. As I recall, 4K/UHD content leaps off that plastic disc at 60 to 100 Mbps.

I have seen charts that show how streaming is popular and growing while sales of discs are declining. And yet, that’s not the whole story. It could very well be that the sales of 4K/UHD Blu-ray players will increase, even as fewer discs are purchased per capita. That’s natural as consumers buy very special, favored movies on disc while doing the majority of their watching via streaming. It’s an optimization process. This next article, while somewhat industry biased, has a boat load of information about 4K/UHD Blu-ray. “BDA: 4K Ultra HD Blu-ray Format Making Big Strides.”

Bottom Line
The above articles have a wealth of information about the state of 4K/UHD and HDR from several different perspectives: the TV makers, the set-top=box makers, the studios and the content deliverers. And even while the discussion and accompanying charts can seem complex, the good news is that the industry has so far avoided a debilitating format war that would vex consumers and slow down sales. 2018 will be a great year for 4K/UHD.

source:
https://www.macobserver.com/analysis/post-ces-2018-update-state-4k-uhd-hdr-formats/

[donaldk]

Technicolor SL-HDR1, is Technicolor's proposal for Single Layer HDR broadcast systems. It proposed this for inclusion in the ATSC 3.0 US terrestrial broadcast standard. The Single Layer in this case is SDR plus metadata to reconstruct the HDR signal.

During CES Technicolor put out this interview with Alan Stein, Vice President of Research & Development at Technicolor,and Technicolor representative to ATSC.

https://www.prlog.org/12679366-technicolors-alan-stein-discusses-the-impact-of-sl-hdr1-as-proposed-atsc-standard.html

So, it is aimed at mainstream broadcast, not the premium services you promote. Technicolor has Advanced HDR for that. Like HDR10+ and Dolby Visioniy is also standardised in ST2094.

The single layer Technicolor HDR was shown in prototype Philips TVs by Funai. Funai licenses the Philips brand for the US. 2019 TV are to support ATSC 3.0 and the Technicolor Single Layer HDR distribution format.

[Peter CINERAMAX]

LED Video Walls Market: Players Focus on Research and Development to Catalyze Growth
This press release was orginally distributed by SBWire

Albany, NY -- (SBWIRE) -- 01/16/2018 -- The competition in the global LED video walls market is stiff on account of the main service providers trying to outshine others by ploughing substantial amounts of money into technological innovation. Going forward too, the competition among the players will remain high with numerous big companies trying to come up with more advanced LED video walls to steal a march over their competitors.

Some of the big names operating in the global market for LED video walls are Barco NV, LG Display Co., Ltd., Panasonic Corporation, Daktronics Inc., Shenzhen Dicolor Optoelectronics Co Ltd., Leyard Optoelectronic Co., Ltd., Toshiba Corporation, NEC Corporation, Delphi Display Systems, Inc., Electronic Displays, Inc., Shenzhen Unilumin Group Co. Ltd., and Lighthouse Technologies, Ltd.

Request Sample: https://www.transparencymarketresearch.com/sample/sample.php?flag=S&rep_id=10271

The video wall technology is still in a nascent stage and its market is expanding in developed and developing countries. The revenue in the global market for LED video walls is likely to rise at a healthy 8.1% CAGR to reach a value of US$3,882.9 mn by 2025 from US$1,967.2 mn in 2016.

Europe Market Soars on Account of Numerous Sporting Events

The three service segments in the global LED video walls market are installation, repairing and maintenance, and rental. Of them, the rental based service accounted for maximum market share of 53% in 2016. This is mainly because of the steep upfront cost involved in installing LED video walls. Another factor pushing up the demand in the rentals segment is the availability of customized or standard configurations video walls in various shapes and sizes which are required for many business events to display animation, presentations, full-motion video, still photos, and graphics at resolutions up to 1080p and 4K. The LED video walls provide a powerful digital canvass to articulate value proposition and entertain audiences.

From a geographical standpoint, Europe is a leading market and it held a dominant share of about 32.0% in 2016. The uptake of LED video walls in Europe has been mainly brought about by the increasing number of sporting events, live concerts, and corporate exhibitions.

Browse Our Report: https://www.transparencymarketresearch.com/led-video-walls-market.html

Ability to Withstand Difficult Conditions Pushes up Demand

As per the lead analyst of the TMR report, "LED video walls are the next generation technology in the LED display industry, which helps in improving customers' experience with multi-monitor setups." LED video walls are designed to withstand difficult outdoor conditions and provide high definition visuals. LED video walls can discharge more light than the conventional LCD video walls and digital sign boards. The aforementioned advantages have driven growth in the global LED video walls market.

Customized Products Bolster Market

Another factor stoking growth in the global LED video walls market is the availability of a variety of LED video walls having various customized sizes and resolutions and technologies for different applications to accord sharp visual and lasting viewing experience. This is expected to push up their demand among marketers and advertising agencies for carrying out promotional activities to reach out to customers.

Buy This Report: https://www.transparencymarketresearch.com

Proving counterproductive to the growth in the global market for LED video wall is the steep initial cost of investment. However, with the growing technological advancements, low cost highly effective LED video walls will soon help to overcome the challenge and help the market to grow.

from digital journal
http://www.digitaljournal.com/pr/3624781

they did not include the one company that will be putting than bunch out of business for the home....