But I realize that some people season to taste. To set your contrast properly, you should retain all of the head room in the Contrast test pattern, meaning you should see the stripes all the way up to digital 253. The goal is to maximize your contrast level without adding these artifacts. It also shows any banding in the center area. Since some displays never clip above white, this lets you see how much color shifting you induce in the gray scale as you drive up the contrast. This lets you see exactly where your display is clipping as you adjust its contrast control. High Definition Benchmark’s Contrast pattern features vertical stripes with easily identifiable numerical values that extend throughout the white range. If you set the contrast too high, you’ll get clipping of these signals. This head room extends to the digital value of 255. However, unlike black, a proper monitor setup doesn’t clip (render invisible) the head room above reference white. Like black, white is encoded at specific digital levels, with digital 235 being the standard reference for white. The Contrast pattern here works in a similar fashion to PLUGE Low but for your display’s white levels.
(the tone mapping stuff) We are just the only ones willing to say it.It can also be tough to adjust contrast because not every display treats contrast control the same. This is not a limitation of our disc, just what all discs and pattern generators must deal with. In fact, with the interview we did at CES with Phil, I made a point of not wanting to call it a calibration disc for reasons you mention. (Same as CalMAN) For HDR10/10+, no such metadata like Dolby. The add-on will have Dolby Vision 4.0 pattern that can also turn off tone mapping. LG is the only display so far where tone mapping can be disabled via CalMAN calibration. The issue with most HDR displays is that you are going to fight tone mapping while doing this. You can adjust CMS and white balance / grayscale.
Sony is also unique in that the SDR calibration must be done first since HDR is based off of that. 4000 nit content to get the most out of both w/o clipping. There are some users now creating different settings for 1000 vs. Sony is the exception so far, at least the Z9D. You should not touch contrast on most HDR displays because of what you describe. Or am I completely off the friggin' reservation about all this? In other words, if we're supposed to keep, say, Backlight and Contrast at maximum in HDR for the display to tone map properly and all that, what is this disc providing us - is it more getting the Color correct with HDR or perhaps Sharpness? However, with HDR/4K, what are discs such as this new S&M supposed to be "calibrating" when it comes to HDR.or is it more of a "measurement" system to see how a display or projector is performing?
SPEARS AND MUNSIL WEBSITE MOVIE
I totally get the logistics behind SDR calibration (in the past, I've used the Spears and Munsil Blu-ray setup disc that came in the box with my Oppo BDP-83 plus some other tools to adjust my Sony SXRD rear projection set, though the S&M disc was WAY over my head), and, to be honest, with my current display, a Samsung NU8000, just switching it into its Movie mode and making some adjustments to Local Dimming, Digital Clean View, Backlight and Auto Motion Plus provided a really nice image out of the box (I still run it this way with no tweaks). I'm a bit foggy when it comes to "calibrating" for HDR - we've been told over and over again (at least I've read it over and over) that once a display switches into its HDR mode (Standard, Movie, whatever), we should pretty much leave settings alone as chosen by the manufacturer as defaults because these are supporting the tone mapping process (in other words, Backlight should be left at maximum as well as Contrast, while Local Dimming systems on LCDs should be on their highest setting, et al.). Please forgive me if this was covered somewhere by another member in the thread, but.
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