71–80 of 834 posts
Earlier quoted context omitted.
Why should I change my style? Modern TVs are the ones that suck.
if you film for television, you need to take into consideration how it will look on television
they film for screens , regardless of where those might be.
Dynamic Contrast = Low is needed on LG TVs to actually enable HDR scene metadata or something weird like that. 60->120hz motion smoothing is also useful on OLEDs to prevent visual judder; you want either that or black frame insertion. I have no idea what Super Resolution actually does, it never seems to do anything. Also, as a digital video expert I will allow you to leave motion smoothing on.
The fact that I have to turn on closed captioning to understand anything tells me these producers have no idea what we want and shouldn’t be telling us what settings to use.
The soap opera effect is only a problem because no one is used to it. Higher FPS is objectively better. These motion interpolation settings are now ubiquitous and pretty much nobody cares about said effect anymore, which is great, because maybe now we can start having movies above 24FPS. To preempt replies: ask yourself why 24 frames per second is optimal for cinema instead of just being an ancient spec that everyone…
"Everyone" includes the filmmakers. And in those cases where the best filmmakers already found all kinds of artistic workarounds for the lower framerate in the places that mattered, adding interpolation will fuck up their films.
For example, golden age animators did their own interpolation by hand. In Falling Hare, Bugs' utter despair after looking out the window of a nosediving airplane is animated by a violent turn of his head that moves farther than what could be smoothly animated at 24fps. To avoid the jumpcut, there is a tween of an elongated bunny head with four ears, seven empty black eye sockets, four noses, and eight teeth. It's absolutely terrifying if you pause on that frame[1], but it does a perfect job of connecting the other cells and evoking snappier motion than what 24fps could otherwise show.
Claiming that motion interpolation makes for a better Falling Hare is like claiming that keeping the piano's damper pedal down through the entirety of Bach's Prelude in C produces better Bach than on a harpsichord. In both cases, you're using objectively better technology poorly, in order to produce worse results.
I hope AI tools allow for better fan edits. There's enough of a foundation and source footage to redo the later episodes of Stranger Things ... The Matrix ... etc.
I'm not even convinced anyone really watches Stranger Things, so I don't see the point. Seems like something people put on as background noise while they are distracted by their phones.
I'm not even convinced anyone really watches Stranger Things, so I don't see the point. Seems like something people put on as background noise while they are distracted by their phones.
People were clearly watching through at least season 4. That show used songs that nowadays most viewers would consider to be oldies that became hits again after the episodes containing them were released. For example Kate Bush's 1985 "Running up that Hill" because a huge worldwide hit after appearing in season 4.
Yeah, kiss m'ass. I agree that some of those settings do need to be turned off. When I visit someone and see their TV on soap opera mode, I fight the urge to fix it. Not my house, not my TV, not my problem if they like it that way, and yet, wow, is it ever awful. But then getting into recommendations like "turn off vivid mode" is pretty freaking pretentious, in my opinion, like a restaurant where the chef freaks out…
I agree that the viewer should change the settings if they want different settings than the film maker intended, although it also makes sense to have a option (not mandatory) to use the settings that the film maker intended (if these settings are known) in case you do not want to specify your own settings. (The same would apply to audio, web pages, etc.)
> Whatever you do, do not switch anything on ‘vivid’ because it’s gonna turn on all the worst offenders. It’s gonna destroy the color, and it’s not the filmmaker’s intent.
I’m interested in trying the filmmaker’s intent, like I’ll try the chef’s dinner before adding salt because it’ll probably be wonderful. But if I think the meal still needs salt, or my TV needs more brightness or contrast, I’ll add it. And even if the filmmaker or chef thinks I’m ruining their masterpiece, if I like it better that way, that’s how I’ll enjoy it.
And I’m very serious about the accessibility bit. My vision is great, but I need more contrast now than I did when I was 20. Maybe me turning up the brightness and contrast, or adding salt, lets me perceive the vision or taste the meal the same way as the director or chef does.
Dynamic Contrast = Low is needed on LG TVs to actually enable HDR scene metadata or something weird like that. 60->120hz motion smoothing is also useful on OLEDs to prevent visual judder; you want either that or black frame insertion. I have no idea what Super Resolution actually does, it never seems to do anything. Also, as a digital video expert I will allow you to leave motion smoothing on.
The fact that I have to turn on closed captioning to understand anything tells me these producers have no idea what we want and shouldn’t be telling us what settings to use.
Perhaps a mixing issue on your end? Multi-channel audio has the dialog track separated. So you can increase the volume of the dialog if you want. Unfortunately I think there is variability in hardware (and software players) in how to down-mix, which sometimes results in background music in the surround channels drowning out the dialog in the centre channel.