For movies? I’ve definitely seen a fair amount of super-bright background lights preventing me from seeing that actor’s face in the foreground
But on the other hand, film has a luminance range between SDR and HDR so you do get more of the original colors in HDR.
older film transfers to HDR are usually great, it’s mostly recently digitally produced stuff (or worse, upscaled 2000s content) that’s a mess
Regarding monitors in modern pipelines, some groups like Pixar have written entire papers on the process they use to ensure proper consistent color calibration across the whole production chain. Obviously smaller companies wouldn’t have dedicated personnel for this though.
so far the only game I’ve played with hdr that didn’t just completely kill any shadows was resident evil 3
is an arcade cabinet crt more like a tv crt or a pc monitor crt
ah, modern color grading seems to vary so much
I can’t believe some of what goes out the door these days
Buster Scruggs was so nasty and cheap looking
like everything it depends, but most of them before the late 90s are more like typical TVs: only able to sync to ~15khz (240p/480i@60hz-ish) signals, slot-type shadow masks, adequate but not crazy-high TVL.
But they connected to the boards via separate R-G-B-H-V wires, like a computer monitor (or a nicer euro tv).
VGA era onward PC monitors multi-synced to signals between 31-(up to, top shelf shit)120khz. Non-Sony ones would typically have dot-type shadow masks.
Multi-sync monitors in arcade cabinets did become popular in the mid-late 90s. “Tri-sync” monitors could display 15khz(240p), 24khz(384p) and 31khz(480p) resolutions. These are what are in later universal Japanese cabinets like the Net/Blast City, Egret 3, late-period pre-LCD trashy American 3D stuff, etc. Dedicated, say Naomi stuff, had 31khz+ monitors just like PCs.
I don’t know what I’m looking for, assuming this is something only visible on HDR
“ok chief, 80% of the people who are gonna watch your movie are gonna stream it at 3mbit/s, what have you got for us”
The whole movie looked like it had been desaturated and then had a color wash over it; aggressively tinted and in a stronger, more aggressive, and less appealing manner than early color film processes. It seems to happen with digital film and outdoor scenes.
And yeah, I think it’s likely the HDR grade made it worse in the way poorly-tonemapped HDR can desaturate the image
That’s too terrifying to imagine
I mean I can see the image has nasty amounts of compression and artifacting, but I can’t really judge the colors beyond finding the image itself kinda muddy looking.
Actually, I can probably find the colorLUT they used for Buster Scruggs
so the colorist was Peter Doyle, who did good work on Inside Llewyn Davis (though that movie was obviously denoised), but this is indeed the Coen Bros first time shooting on digital.
Anyway, I think they were going for not the aesthetic of early technicolor, but for the way the cover art on beat-up paperbacks of western novels looked after sitting in a used book shop for two decades
edit: yeah that’s exactly the aesthetic they were going for. In light of that I gotta approve of their results. Its pretty spot on.
managed to procure a 20" JVC L’Art from 2005 in order to make my wife less upset than she was about my 27" Trinitron
new 240p test suite dropped
