The Xbox's also have an issue with ycbcr to RGB conversion too. 203 is nice, they have worked all the release bugs out with disc playback.
Sony XBR-75X940E
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Finally decided to sit down and use Spears and Munsil version 1 (1080p blu-ray), to check output settings for the Oppo 203, since it has a ton. Some people use Source Direct with the Sony because the chip is very good, others use Auto everything, etc... Here is what I found on the 940E, keeping in mind HDMI 1 out on the 203 goes directly to HDMI in 3 on my 940E, so nothing can interfere with the results.
Source Direct, which was sending 1080p had some issues with darkening fine chroma resolution patterns, no matter whether it was 12 bit, 10 bit, 8 bit, and 422 or 444. So, source direct is not something I would use.
So setting Output rez to Auto, Custom Res to 1080p/Auto, I tested color space and depth.
Basically unless I used 422, I found an issue with the one fine chroma vertical patterns, where it had some vertical bands showing on the pattern, did not matter what the bit depth was. For some reason the 940E and 203 do not get along with 444 out. Granted, seeing this in real content is one thing, but if I know the pattern has issues with a setting, no reason to use it if it is perfect with another setting.
So here are the images from my testing:
Final Settings
Output while disc is in
Fine chroma pattern with bands (might be hard to see depending on your screen, but if you notice some of the red bars are darker than others, these show as bands when you use your eyes on the tv screen)
Chroma pattern without bands (422 color space)
Source Direct, which was sending 1080p had some issues with darkening fine chroma resolution patterns, no matter whether it was 12 bit, 10 bit, 8 bit, and 422 or 444. So, source direct is not something I would use.
So setting Output rez to Auto, Custom Res to 1080p/Auto, I tested color space and depth.
Basically unless I used 422, I found an issue with the one fine chroma vertical patterns, where it had some vertical bands showing on the pattern, did not matter what the bit depth was. For some reason the 940E and 203 do not get along with 444 out. Granted, seeing this in real content is one thing, but if I know the pattern has issues with a setting, no reason to use it if it is perfect with another setting.
So here are the images from my testing:
Final Settings
Output while disc is in
Fine chroma pattern with bands (might be hard to see depending on your screen, but if you notice some of the red bars are darker than others, these show as bands when you use your eyes on the tv screen)
Chroma pattern without bands (422 color space)
Found a good scene in Bosch Season 3 with bad banding in the sky with my ATV 4k, crazy how well cutting on Smooth Gradation Low cleans it right up.
OK, for anyone interested about using Clearness along with Smooth in Custom Motionflow.
These are Cinema Pro readings, from the mode cal'd by ChadB:
SDR
Brightness 9
Clearness 0
100% full field
160 nits
SDR
Brightness 9
Clearness 1
100% full field
95 nits
SDR
Brightness 28
Clearness 1
100% full field
160 nits
HDR10
Brightness Max and Xtend Dyn Range High
Clearness 0
10% Window
1292 nits
HDR10
Brightness Max and Xtend Dyn Range High
Clearness 1
10% Window
650 nits
So, in SDR, I had to go from 9 to 28 to counteract Clearness 1 (backlight scanning)
In HDR, you cant make any changes, so it basically takes you from a 1300 nit LCD to a 650 nit OLED
I also have a very aggressive ansi contrast pattern I decided to use while I was goofing off (small squares). 0.0047 footlamberts MLL, and 45.10fL peak. If I did my math right, that's like 9600:1 CR on very small squares (white/black/white/black staggered across screen), which is excellent.
These are Cinema Pro readings, from the mode cal'd by ChadB:
SDR
Brightness 9
Clearness 0
100% full field
160 nits
SDR
Brightness 9
Clearness 1
100% full field
95 nits
SDR
Brightness 28
Clearness 1
100% full field
160 nits
HDR10
Brightness Max and Xtend Dyn Range High
Clearness 0
10% Window
1292 nits
HDR10
Brightness Max and Xtend Dyn Range High
Clearness 1
10% Window
650 nits
So, in SDR, I had to go from 9 to 28 to counteract Clearness 1 (backlight scanning)
In HDR, you cant make any changes, so it basically takes you from a 1300 nit LCD to a 650 nit OLED
I also have a very aggressive ansi contrast pattern I decided to use while I was goofing off (small squares). 0.0047 footlamberts MLL, and 45.10fL peak. If I did my math right, that's like 9600:1 CR on very small squares (white/black/white/black staggered across screen), which is excellent.
After some time, here are my observations from the calibration work Chad did.
SDR - He definitely improved, even though the HDR C6 I have with Calman had SDR dE about 3 or less, I only used slight 2pt work. He went into 10pt on Cinema Pro and also fixed my Gamma. SDR looks even richer, and I had a little too much red in my white balance results.
HDR - The Sony's (and this is a GREAT feature) will map over from SDR cal to HDR, so if you cal Cinema Pro in SDR, just leave it in that mode and watch away when it flips to HDR. I had also been told by other professionals that Cinema Pro would be the best choice for HDR due to its tone mapping. When Chad finished his cal, he tested HDR with it mapped from SDR, and it was really good. He then checked Custom vs Home, and we found Custom to produce better on patterns, so he calibrated Custom in HDR mode. Results were outstanding by the charts.
After some usage, and going back and forth, I have been using Cinema Pro for everything, it just looks better to my eyes. Now I can't comment on accuracy, end of the day, use what you like. But I know, either way, both modes are calibrated, I just prefer Cinema Pro.
DV - If Sony goes the same route, and say you are in SDR Cinema Pro, and it gets a DV feed and then heads into Cinema Pro DV, and maps from the SDR white balance, this will be GREAT for Sony users.
SDR - He definitely improved, even though the HDR C6 I have with Calman had SDR dE about 3 or less, I only used slight 2pt work. He went into 10pt on Cinema Pro and also fixed my Gamma. SDR looks even richer, and I had a little too much red in my white balance results.
HDR - The Sony's (and this is a GREAT feature) will map over from SDR cal to HDR, so if you cal Cinema Pro in SDR, just leave it in that mode and watch away when it flips to HDR. I had also been told by other professionals that Cinema Pro would be the best choice for HDR due to its tone mapping. When Chad finished his cal, he tested HDR with it mapped from SDR, and it was really good. He then checked Custom vs Home, and we found Custom to produce better on patterns, so he calibrated Custom in HDR mode. Results were outstanding by the charts.
After some usage, and going back and forth, I have been using Cinema Pro for everything, it just looks better to my eyes. Now I can't comment on accuracy, end of the day, use what you like. But I know, either way, both modes are calibrated, I just prefer Cinema Pro.
DV - If Sony goes the same route, and say you are in SDR Cinema Pro, and it gets a DV feed and then heads into Cinema Pro DV, and maps from the SDR white balance, this will be GREAT for Sony users.
