Re: [Avid-L2] Re: More folks are panning the 4K push

If TV manufacturers drop HD displays entirely and all new TVs are 4K then
maybe we'll see a large (but slow) uptake of 4K into the home. But I'm not
totally convinced TV manufacturers will do this - after all they could
pretty easily have made all TVs 3D-capable and just left it be, but they
didn't. When the 3D bubble was bursting they just bailed out of 3D. It's
actually harder to get a 3D TV now.

I think most consumers entering a big-box retail store looking for a TV,
confronted by a 60" 4K next to a 60" 1080p display are going to make their
choices based on price. If 4K stays more expensive then it will remain a
slow burner, if it drops to meet HD prices then people will get because
they are "the same but better".

I don't see 4K broadcast happening anytime soon. 4K over the net possibly,
but even that is pushing it I think. Most people are currently happy with
720p streams, or if they're lucky - 1080p. Even with HEVC we're still
looking at 12Mb/s at least for a 4K/UHD stream (broadcast tests have been
at 20Mb/s) which is pretty demanding even on good connections. Look how
much data Netflix is pushing now - with most of the streams at 720p 5Mb/s -
it doesn't seem likely that they'll want to just to more than double the
bandwidth anytime soon.

I still don't think, unless you're finishing very specifically for
cinematic release, there's any need or real demand for 4K output. There's
no significant market for it.


Dylan Reeve
http://dylanreeve.com/


On Mon, Aug 26, 2013 at 10:44 AM, Edit B <bouke@editb.nl> wrote:

> **
>
>
> > MB I wouldn't ever add an audio filter and render at 16 bits, even if
> the source was 16 bits
>
> Please enlighten me.
> I'm deaf beyond 9Khz, but i concider myself a decent tech (with a bit of
> understanding of uncompressed sound. I can make a sound with a HEX editor
> alone...)
> 24 bits means 3 bytes of volume data PER SAMPLE.
> This means, increasing the bit depth you increase the dynamic range of
> your soundfile. But it has nothing to do with the
> 'roundness/softness/sparklingness' of the sound.
> With 24 bits, the only reason for a gain knob on the sound recorder is to
> do a 'pre-level' for post.
> The dynamic range is so high there is no technical reason to adjust it if
> the recording level does not clip before the mic itself will overload.
>
> Now please explain me what can go wrong with a normal 16 bits recording if
> you add an effect and render to 16 bits, that would not happen in 24 bits
> (and yes, the next step will be a double blind listening test, bets are
> open.)
>
> Bouke
>
> VideoToolShed
> van Oldenbarneveltstraat 33
> 6512 AS NIJMEGEN, the Netherlands
> +31 24 3553311
>
> ----- Original Message -----
> From: MarkB
> To: Avid-L2@yahoogroups.com
> Sent: Sunday, August 25, 2013 4:11 PM
> Subject: [Avid-L2] Re: More folks are panning the 4K push
>
> You're asking editors about sound quality? ;)
>
> Although we might not work at 96k, I assume many have changed from 16-bit
> to 24-bit. 16 bits might be adequate for final delivery, but it's audibly
> inferior for processing and mixing. I wouldn't ever add an audio filter and
> render at 16 bits, even if the source was 16 bits. Many location recordings
> are done at 96k; sound designers and mixing engineers routinely work at
> 24/96 or higher.
>
> Assuming all the mixing (and some of the recording) is done at higher res,
> a 16/48 down-conversion for final delivery will be audibly
> indistinguishable from a 24/192 source to most people on most systems. But
> a good recording engineer in a good studio will certainly hear the
> difference after down-converting.
>
> In that respect, it's very much like 4k vs. HD.
>
> Take care -- Mark Block
>
> --- In Avid-L2@yahoogroups.com, "Job ter Burg (L2B)" <Job_L2@...> wrote:
> >
> > Like Super Audio-CD? Any of you working with 96KHz or 192KHz audio? Was
> MP3 better than the CD?
>
> [Non-text portions of this message have been removed]
>
>
>


[Non-text portions of this message have been removed]



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