UHD Blu-ray y HDR. Lanzamientos y ediciones

Oju que gozada cuando pillé misión imposible 2, jujuuu

Enviado desde mi Mi A1 mediante Tapatalk
 
Vámoooooonoss


Cavernicola 4k.png


:cura
 
Parece que el nuevo cable HDMI me ha solucionado los cortes del audio.
He conseguido configurar por analógico, pero por HDMI sigue dándome más patada.
En este junio y julio, alguna novedad en uhd? Que sean nuevas no remasterización de otras.
Saludos
 
Yo la recibí la semana pasada desde amazon USA que la habían puesto en oferta. Aún no he tenido oportunidad de probar idiomas y si el BD tiene región libre.
 
Caerán las tres primeras. La de la gorrion la veré de por ahí, pero no me llamo como para pillarla.pero las otras caerán.
Jejeje
Saludos
 
Hola majos.

No se si esto va aquí o en otro hilo...

Me acabo de hacer con un televisor con HDR y tengo dudas. En casa sólo consumimos Netflix y MKV. Con estos últimos, ¿podré ver HDR con una Shield?
 
Hallowed dijo:
Me acabo de hacer con un televisor con HDR y tengo dudas. En casa sólo consumimos Netflix y MKV. Con estos últimos, ¿podré ver HDR con una Shield?
Hacer clic para expandir...
En el caso de Netflix, la propia aplicación de la tele seguramente soportará HDR, pero si, la Nvidia Shield te permitirá ver también Netflix en HDR.

En cuanto a los MKV, como comenta King, lo más fácil es chutarlos directamente a la tele por USB.
 
Hallowed dijo:
Pero yo lo tengo todo en un NAS, tiene que ser por red...
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Yo también tengo un NAS, y desde red mi tele se lo traga todo en hdr. Seguro que te funcionará.
Enhorabuena tu entrada al mundo 4k hdr!!!

Ya tengo en preventa TiTo Raider, y Pacífic Rim 2 de Amazon España. Pero ready player one, la he reservado de Francia combo uhd más 3d, si cae la breva mató dos pájaros de un tiro.

Saludos
 
Interesante artículo...para el que quiera saber más:

Netflix’s Lost in Space: mastering for Dolby Vision HDR, Rec.709 - Randi Altman's postPerspective

De ahí extraigo:

Dolby Vision Workflow
As most people reading this know, mastering in high dynamic range (Dolby Vision in this case) opens up the possibility of working within a significantly expanded contrast range and wider color gamut over Rec.709 standard for traditional HD. Lost in Space was mastered concurrently for both, which required Ferstl to use Dolby’s workflow. And this involves making all corrections for the HDR version and then allowing the Dolby hardware/software to analyze the images to bring them into the Rec.709 space for the colorist to do a standard-def pass.

Ferstl, who worked with two Sony X-300 monitors, one calibrated for Rec.709 and the other for HDR, explains, “Everyone is used to looking at Rec. 709. Most viewers today will see the show in Rec.709 and that’s really what the clients are most concerned with. At some point, if HDR becomes the dominant way people watch television, then that will probably change. But we had to make corrections in HDR and then wait for the analysis to show us what the revised image looked like for standard dynamic range.”

He elaborates that while the Dolby Vision spec allows the brightest whites to read at 4000 nits, he and the filmmakers preferred to limit that to 1000 nits. “If you let highlights go much further than we did,” he says, “some things can become hard to watch. They become so bright that visual fatigue sets in after too long. So we’d sometimes take the brightest portions of the frame and slightly clamp them,” he says of the technique of holding the brightest areas of the frame to levels below the maximum the spec allows.


“Sometimes HDR can be challenging to work with and sometimes it can be amazing,” he allows. Take the vast vistas and snowcapped mountains we first see when the family starts exploring the planet. “You have so much more detail in the snow and an amazing range in the highlights than you could ever display in Rec.709,” he says.

“In HDR, the show conveys the power and majesty of these vast spaces beyond what viewers are used to seeing. There are quite a few sections that lend themselves to HDR,” he continues. But as with all such tools, it’s not always appropriate to the story to use the extremes of that dynamic range. Some highlights in HDR can pull the viewer’s attention to a portion of the frame in a way that simply can’t be replicated in Rec. 709 and, likewise, a bright highlight from a practical or a reflection in HDR can completely overpower an image that tells the story perfectly in standard dynamic range. “The tools can re-map an image mathematically,” Ferstl notes, “but it still requires artists to interpret an image’s meaning and feel from one space to the other.”


That brings up another question: How close do you want the HDR and the Rec.709 to look to each other when they can look very different? Overall, the conclusion of all involved on the series was to constrain the levels in the HDR pass a bit in order to keep the two versions in the same ballpark aesthetically. “The more you let the highlights go in HDR,” he explains, “the harder it is to compress all that information for the 100-nit version. If you look at scenes with the characters in space suits, for example, they have these small lights that are part of their helmets and if you just let those go in HDR, those lights become so distracting that it becomes hard to look at the people’s faces.”

Such decisions were made in the grading theater on a case by case basis. “It’s not like we looked at a waveform monitor and just said, ‘let’s clamp everything above this level,’” he explains, “it was ultimately about the feeling we’d get from each shot.”
Hacer clic para expandir...

Pienso que hasta que una gran base importate de usuarios finales (consumidores) no tengan un televisor HDR, éste seguirá siendo un nicho de frikis. Pero poco a poco se irá imponiendo, porque no es otra moda más, es como la evolución del blanco y negro al color. Es un hecho que sucederá.
 
actpower dijo:
Interesante artículo...para el que quiera saber más:

Netflix’s Lost in Space: mastering for Dolby Vision HDR, Rec.709 - Randi Altman's postPerspective

De ahí extraigo:

Dolby Vision Workflow
As most people reading this know, mastering in high dynamic range (Dolby Vision in this case) opens up the possibility of working within a significantly expanded contrast range and wider color gamut over Rec.709 standard for traditional HD. Lost in Space was mastered concurrently for both, which required Ferstl to use Dolby’s workflow. And this involves making all corrections for the HDR version and then allowing the Dolby hardware/software to analyze the images to bring them into the Rec.709 space for the colorist to do a standard-def pass.

Ferstl, who worked with two Sony X-300 monitors, one calibrated for Rec.709 and the other for HDR, explains, “Everyone is used to looking at Rec. 709. Most viewers today will see the show in Rec.709 and that’s really what the clients are most concerned with. At some point, if HDR becomes the dominant way people watch television, then that will probably change. But we had to make corrections in HDR and then wait for the analysis to show us what the revised image looked like for standard dynamic range.”

He elaborates that while the Dolby Vision spec allows the brightest whites to read at 4000 nits, he and the filmmakers preferred to limit that to 1000 nits. “If you let highlights go much further than we did,” he says, “some things can become hard to watch. They become so bright that visual fatigue sets in after too long. So we’d sometimes take the brightest portions of the frame and slightly clamp them,” he says of the technique of holding the brightest areas of the frame to levels below the maximum the spec allows.


“Sometimes HDR can be challenging to work with and sometimes it can be amazing,” he allows. Take the vast vistas and snowcapped mountains we first see when the family starts exploring the planet. “You have so much more detail in the snow and an amazing range in the highlights than you could ever display in Rec.709,” he says.

“In HDR, the show conveys the power and majesty of these vast spaces beyond what viewers are used to seeing. There are quite a few sections that lend themselves to HDR,” he continues. But as with all such tools, it’s not always appropriate to the story to use the extremes of that dynamic range. Some highlights in HDR can pull the viewer’s attention to a portion of the frame in a way that simply can’t be replicated in Rec. 709 and, likewise, a bright highlight from a practical or a reflection in HDR can completely overpower an image that tells the story perfectly in standard dynamic range. “The tools can re-map an image mathematically,” Ferstl notes, “but it still requires artists to interpret an image’s meaning and feel from one space to the other.”


That brings up another question: How close do you want the HDR and the Rec.709 to look to each other when they can look very different? Overall, the conclusion of all involved on the series was to constrain the levels in the HDR pass a bit in order to keep the two versions in the same ballpark aesthetically. “The more you let the highlights go in HDR,” he explains, “the harder it is to compress all that information for the 100-nit version. If you look at scenes with the characters in space suits, for example, they have these small lights that are part of their helmets and if you just let those go in HDR, those lights become so distracting that it becomes hard to look at the people’s faces.”

Such decisions were made in the grading theater on a case by case basis. “It’s not like we looked at a waveform monitor and just said, ‘let’s clamp everything above this level,’” he explains, “it was ultimately about the feeling we’d get from each shot.”
Hacer clic para expandir...

Pienso que hasta que una gran base importate de usuarios finales (consumidores) no tengan un televisor HDR, éste seguirá siendo un nicho de frikis. Pero poco a poco se irá imponiendo, porque no es otra moda más, es como la evolución del blanco y negro al color. Es un hecho que sucederá.
Hacer clic para expandir...

Buen artículo, que me he leído entero, pero me parece más para profesionales, aunque algo he aprendido.

Lo único que sé, es que esta serie, la primera temporada en dv es un verdadero espectáculo, me la papé en tres días.

Muy recomendable, y ya esperando la 2ª temporada.
 
Han incluido atmos en la beta pública tvOS 12.

Eso si, parece que solo en lpcm, si lo convertimos, se pierde el atmos.








 
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