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Skintones - Are They Affected at the Sensor Level?And Motion Cadence Question

Gavin Greenwalt

We often view digital on higher contrast devices than in a theater, which amplifies the perception of judder. 


On top of that many LCD TVs that people view content on have their own unique motion artifacts that further amplify perceived judder.


Stacey Spears (previously at Spectracal) has been educating me on some of the unique horrible artifacts display manufacturers introduce in order to work around their own unique engineering challenges.  I discovered that after I bought my TV a couple years ago.  Due to overdrive in the LCD panel there is essentially the temporal version of Edge Sharpening on high contrast things in screen.  It has the same unpleasant effects on Judder that an overly sharpened image has on high contrast edges in a still image.

Gavin Greenwalt
Seattle, WA

Paul Curtis

On 30 Mar 2018, at 23:57, Gavin Greenwalt <im.thatoneguy@...> wrote:
On top of that many LCD TVs that people view content on have their own unique motion artifacts that further amplify perceived judder. 

+1, it can be so difficult to find something that balances everything.

Also in terms of motion cadence lets not forget that compression also introduces all sorts of motion issues as the bits in frames are reallocated like crazy in complex scenes - this can manifest itself in many ways - one is a pulsing of a complex frame as you begin to pan. That's source and by the time to get to display god knows what the pixels have been through...

All the more reasons for RAW recording...


Paul Curtis, VFX & Post | Canterbury, UK


Display cadence and display artefacts are the stuff of nightmares for me. I spent a lot of last year producing content to be shown on TV’s in stores, at shows and for demos for a major manufacturer (not Sony by the way - I do work for other people!). These kinds of clips always need to be perfect (or at least the clients version of perfect which may differ greatly from what a lot of us here would consider perfect - colour - I need more color). Our biggest challenge was - The TV’s in the stores are always set to the most vivid mode possible with every automatic feature under the sun set to 11. In the stores the content is played back off a USB stick in the back of the TV and that file must be 24p, UHD and a maximum bit rate of 25Mb/s. The challenges we had included some bizarre motion effects on any footage from anything more than moderately compressed. So all our drone footage got canned very early on. In the end we ended up shooting a lot of footage at 60p and playing everything back at 24p to cut down on motion! I’m doing more of the same this year, but now we have persuaded the manufacturer to play the clips back at 60p which defeats the motion compensation process in the TV’s. Only problem is they like the off-speed look, so this year we are shooting 4K 120fps wherever possible.
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