belief : The saying “ it ’s not what you get , it ’s how you habituate it ” could be interpret in many ways , but for the use of this Sound & Vision tower , I ’m break down to use it in reference to TVs , and not whatever you might be cerebrate of …
This week see the announcement of the X11H Mini - top tv set from TCL , a name that sounds like it should be a SpaceX skyrocket . It has a panel subject of 6500 nit of brightness with over 14,000 dimming zone .
In recent years , the TV industry has had a thirst for ever - greater brightness , and TCL is no unknown to increase the lightsome output of its TVs ( or trying to manufacture one asbig as they possibly can ) . It has the feel of an F1 car in pre - season examination , go for a nimbus run to get their name in the headline . I ’m writing about it and you ’re reading this clause , so it must be exploit .
But to go back to “ it ’s not what you got , it ’s how you use it ” , in my experience , it ’s something of a fallacy to equate bigger numbers with better performance , specially when tattle about dimming zones .
The in high spirits number in the X11H will focus debate on how technological advanced it is ( which is for sure the resultant TCL wants ) , and about how the television receiver is so bright it ’ll be like the shot in Danny Boyle ’s Sunshine when Cliff Curtis ’ Seale aim off his glasses . Perhaps apply some factor 45 sunscreen and a welder ’s masque before you watch out any brilliant mental object .
But there is more to backlight control , pinpoint blacks and high brightness than having a huge phone number of dim zones . It ’s more important as to how those dimming zones arecontrolled , and what they ’re instructed to do .
I ’ve reviewed TVs with high dimming zones and still seenbloomingand clouding up . I ’ve check TVs with far fewer zones and not seen much , if at all .
I can see why companies such as Sony are reluctant to get into the numbers game , as it creates the perception of more is better and less is not as good . I ’ll cite the upcoming and ( so far ) closelipped Sony video coming subsequently this year , which I ’ll designate as the ‘ Triple M ’ – the Mystery Mini - LED Model .
It features Sony ’s proprietary technology , meet inside tiny 22 - routine LED gadget driver adequate to of a immense amount of processing that can more precisely tell and control what the Mini - LEDs are doing .
compare to a rival example , which my assumption had more dimming zones , the Sony prototype was practiced not just in term of backlight ascendance with its black level and more precise light output , but the gradation of vividness ( the passage from one refinement to another ) .
Rather than make the story about the number dim zones , it’sabout the algorithmic rule and processingdeployed that secernate Min - LEDs how to interpret and respond to the picture information they ’re receiving . Do n’t go down the road of more dimming zones , it ’s a cul - de - sac . It ’s about the tone of the processing .
Another scene that ’s gaining traction is that mellow acme brightness is the direction that TVs are travelling down ( or up , I should say ) . That has its advantages : high-pitched brightness copesbetter with reflectionsand ambient light , as well as deliver on more of the potential that HDR work to board with improve colour intensity .
ThoughOLEDis bring in quality time in front of customers , Mini - LED stand for its biggest threat . OLED has perfect blacks and infinity line , but it ca n’t agree the luminance of Mini light-emitting diode in every exam case or at every Leontyne Price peak . There is no such matter as a perfect telly , but in the following for eminent cleverness that some telly brands believe in , Mini - LED is the screen of selection .
But other manufacturers would rebut this . If you look at the direction Hollywood mastering suites are going in , the action is n’t happening at the top end , but read place towards the dark remnant of the luminance spectrum .
Filmmakers and mastering specialist are much more interested in darkness – you only have to attend at the notorious Game of Thrones and House of the Dragon episodes , the latter clocking in at a mean 1 nit . It ’s great having a peak output of 6500 nit , but that ’s 6499 more than that scene will ever require .
Look back to the past tense and the likes of fabled cinematographer Gordon Willis , and the films he lensed such as The Godfather , and how he deal out with the saturated brightness of studio apartment films to work in the phantom , make the nickname the Prince of Darkness .
video manufacturers will seek to find raw agency to push the engineering at their disposal , though I ’m sceptical about whether the eminent luminance future some are imagining is going to find , at least any time before long . Do n’t get tricked by the high number – few film are even mastered beyond 4000 nit .
Even if we ’re talking about future - proof television set sets , it ’d be years ( perhaps a decade ) for content that bright to be on a regular basis available . You onlyhave to look at 8Kto see where hope lead to disappointment .
It ’s not what you got , it ’s how you use it ; and the idiot box with this motto in mind will be the unity you should really be preserve an eye out for .
