Have you read the dedicated threads at AVS Forum and AVForums? All the info should be in those threads. Search for user Mark Swift as he is the one who deciphered the DV Data block and then based on that, HDFury included the capability to write Custom DV Data.RESET_9999 wrote:do you have a link / more info about that ?HarperVision wrote: ↑Wed Jul 28, 2021 1:24 amDid you see my updated information in my post? Did anyone use custom DV data block info? Also the tone Mapping (compression) as I said could easily have been the cause for these anomalies because when you do player led you have to manually tell the player what the specs are for the display, unlike TV led which gets the raw info from the player and then uses it’s already known specs internally to do the processing.
It doesn’t sound like Vincent did any of this.
or please tell manix which settings(DV block) exactly to use on the vertex for the Spears and Munsil video. He can capture without the limitation of his CX by using only the Atomos Shogun which has a 3000nits peak brightness and he'll be happy to test anything you wish.
Here is what the Tab looks like in the Vertex2’s GUI:
I personally use settings that no one else seems to be using or trying for some reason. Maybe they’re afraid to go so extreme or be ridiculed from others saying “that can’t work”, when it actually does AMAZINGLY WELL!!!
I use a 10,000 nit Custom HDR EDID and also the DV Data Block’s Max Luminance at 10,000 nits. This works awesome and presents the least amount of compression (tone mapping) it seems. The image is so clean and detailed and you can see every nuance in dark scenes and the specular highlights are incredible without being blown out, when paired with the right HDR curve in your display/projector. It appears to work best when watching streaming content like last night with Netflix and iTunes movies with DV are amazing. When used with Infuse app on AppleTV with ripped HDR UHD blurays is the pinnacle though. I can’t even tell they’re not native DV!
I have gone back and forth with a DV Data Block between 1,000 nits and 10,000 nits and for some content 1,000 may be better, but overall I think 10,000 wins. I’ve setup different macros to switch depending on content so it’s easy if I need to.
For extreme high nit sources like The Meg chapter 8, if I set Custom HDR/AVI Tab’s Max Luminance to 10,000 nits and the DV Data Block’s max luminance to 1,000 nits (or use Custom EDID 9 or 10 on Vertex2) then it dynamically tone maps to where there are absolutely no blown out highlights or crushed and dark blacks or low level. The details you see are astonishing. Low APL movies like Blade Runner 2049 and Arrival and The Mandalorian have awesome low level details and brightness, which many complain are too dark.
no denying it it’s clearly visible.
