newbie wrote:Agreed.
Have to admit that is a bit ridiculous though. You're coloring and making creative decisions in a tool which you can't trust to respect them in the output. That's fine if you're just playing around. But clients (producers, editors, agencies, etc) can be very particular about what they want.
That's still going on.
What we need is a company that can provide reasonable 16 bit HDR, near rec2020 screens (as the Chinese can do). That you can use as work and reference screen. The cheapest HDR option for the moment, is one of the dual layer schemes, two 10 bit panels or so The way to do it, is to approach a TV company about doing a special edition at a TV price, with your labels on it (BM, Resolve DaVinci etc). A few Chinese conglomerates have been chaffing at the but, to join the big guys for years, putting effort into screen quality uniformity. Even if they can't get there, at 16 bits, you could probably calibrate it accurate enough. That's the beauty of it, even if it costs ten times more to get uniformity to 16 bits, the extra precision allows them to dusk out that stuff as long as it's ok enough. The fact that some parts of the screen might be 14 bits etc, is ok for a lower cost solution where you can't even get 10 bits right normally. The benefit fur the Chinese, is a prestige claim, at a prestigious price, without having to offer at a lower price. So, Dolby vision on Blu-ray 4k is the target 4000 brightness, as that is a bit of upper end use scenario (the blacks would look grey at that brightness, but most used would be closer to under 1000. One day in the future, one can switch over to a better technology, when cheaply available So, the sets are sold as normal premium TV's in order to bring down the price. A balsy plan, but Red never pulled it off.