On today ’s You Asked : Do 8 K TVs for gage make sensory faculty now ? When is it time to replace a telly ? How does the way a television receiver create a picture match up with how our vision work ? And which is better at upscaling : the secret plan console or goggle box ?
8K TVs for gaming: Do we want them … now?
@adamparker1504 asks : With the PS5 Pro offering 8 potassium gameplay , I can envisage the PS6 and next - gen Xbox targeting 8 K settlement . Do you reckon by the end of this decade 8 K will become a real consumer neediness ?
This is a utterly time question . The shortsighted answer is , yes , I do think consumer demand for8 K TVsis about to go right smart up , and chop-chop . Although , not for the veracious reasons .
I think consumer will see the8 K logoon the PS5 Pro box , the subsequentPlayStation 6and , no doubt , the new Xbox , and they will want their TV to have the same logo on it . ( line up the keyboard warriors commenting about how Sony is bring forth false demand for 8 1000 boob tube . But I do n’t think that ’s in reality materialize . )
Here ’s the softwood : I do n’t see aboriginal 8 K games coming very before long . It takes a monumental amount of processing power to render 4 K games at higher frame rates . Doing 8 K games at reasonable build rate ? … We ’ll get there , but that is going to require a pretty immense advance in reckon power .
What will be far more common , I suspect , is 4 K games being upscaled by the console to 8 K resolution — a task , by the way , that 8 K television receiver already execute out of necessity . you could upscale your 4 G games to 8 K with any 8 K TV available mightily now , and that ’s what the PS5 Pro will do , too .
But with console table - sourced information for every pixel on an 8 super acid TV , I can see 8 K TV demand going up because game console are right smart more prevalent than high - closing gaming PCs . ( No offense to my eminent - final stage gambling microcomputer people , but you know what I intend . )
People always ask,“Where ’s the 8 K content?”When there is an 8 yard logo on a PS5 box , phratry who do n’t know better might say , “ There ’s the 8 K content ” and will be stoked to buy an 8 K television , count on they are going to unlock something special from their expensive young console .
I will say that this should all await pretty swell at 77 column inch or larger and , for sure , 85 inches or large .
Upscaling conundrum
Thibault Ewbank writes : I ’m a new cinephile and I watch all my 4 K and Blu - rays with a Xbox One S. My TV is an LG A1 OLED from 2021 . I do n’t have a go at it what to take for the upscale between the Xbox and the TV . Upscale seems ( to me ) a difficult physical process to essay , so I have n’t find out a fate of information .
Here ’s the deal : If you lay your Xbox to 4 grand , then it is upscaling everything ( that is n’t 4 K native content or play ) to 4K. Your goggle box sees a 4 K signal and it does n’t upscale anything . So , practically talk , you do n’t really need to liken the upscaler in your Xbox to the upscaler in your LG A1 OLED .
If you wanted to swear only on the upscaler in your TV , then I think you would take to fix the resolution on your Xbox to match the aboriginal resolution of your biz or capacity . So , for example , let ’s say you were watching a DVD that ’s at 480p . If you sic your Xbox ’s output resolution to 480p then played that DVD , you would be looking at the telecasting ’s upscaling to 4 KB from 480p . You could then switch the Xbox ’s output to 4 K and watch the same DVD clipping again to see which did well .
Upscaling to 4 K from 480p is a hard job , though , so you ’ll in all likelihood find that neither one does a super amazing job at it .
Time to upgrade my TV?
@Allessio777 asks : How many years should I keep a TV before tech melioration is deserving a newer model ?
And premium fellow member Mike McIntosh commented : I have been struggling with FOMO as my Sony 65 - column inch X950 G is about five years old . I have been eyeing a replacement in the Sony 65 - inchA95L. But the operose part is justifying the $ 3,000 cost tag for the best motion picture timbre in the land . mayhap I can keep dwell with the current television receiver until I can snag a deal in the future ?
I was just thinking about this the other solar day . You know , in many of my video reviews I ’ve said something like , “ If you ’re upgrade from a television receiver that ’s five years honest-to-god or old , you ’re probable to notice a full-grown jump up in picture quality .
Sometimes I qualify that and sometimes I do n’t . permit me clear up .
If you have a mid - tier goggle box from five years ago and you upgrade to a mid - tier 2023 or 2024 TV ? You ’ll notice a passably with child improvement , and that ’s because a lot of what was once reserved for the very best TV has now trickled down to the mid - tier level . For example , the TCL 6 - series from five days ago was a great TV , but the processing , backlighting scheme , HDR prime luminance , and reduced blooming and ring of today ’s TCL QM8 are vastly ranking and so is the leave painting quality .
But the jumping - up in picture quality start to be less stark if you ’re upgrading from a high - final stage TV to another high - end TV . For representative , if you have a 2019 Sony A9 G OLED TV , you would see some improvement by advance to the Bravia 8 ( I ’m just prevent it at OLED TVs for persistence ) but that the difference between those two would be far less noticeable than the deviation between a 2019 TCL 6 - Series and the 2024 TCL QM8 .
At the end of the day you postulate to look at what you ’ve got now and compare it to what you could get today at or around the same Mary Leontyne Price , adjusted for inflation .
Mini - LED backlights are now more common on mid - tier TVs , not just top-notch - in high spirits - end TVs . Processing has get better for some brands like TCL and Hisense , whereas Sony ’s processing , while improve , has seen less advance because it was so great to start with .
See where I ’m operate with this ? It depend on a few factor .
And to Mike McIntosh : Your Sony X950 G is a solid goggle box ! The A95L though is significantly better just by nature of being an OLED , but also it ’s an admonitory TV . That toll ticket is steep , though .
Cones and color-mixing
Zunaid from Dubai write : I had an interesting exhibitioner - persuasion the other day . The human oculus has red , green , and puritanic cones with pretty blanket and overlap wavelength sensibility ( e.g. our green and blue cone overlap heavily and are both stimulate by unripened twinkle ) . This made me wonder : Do the RGB pixels on our television set emit a liberal range of wavelengths matched to what our retinal cone are sore to , or do they breathe just a narrow-minded circle of wavelength each ? How would it impact our perceptual experience of TV color if it was one or the other?Bonus question : How are camera and presentation calibrate for color transcription and reproduction truth ? How do we bang the RGB wavelengths recorded by the photographic camera sensor are the same wavelength expose by the TV ’s LED ?
I love this question for so many cause . First , we get to talk about color theory and we get to talk about why showing calibration is so of import .
The retinas in our eyes contain two unlike variety of photoreceptors : rods and cones . Rods comprehend levels of light , which is contrast . cone cell perceive colour . We have a strobilus for red , a cone shape for green , and a cone for dark .
Zunaid , you mention that there ’s convergence among those cones in full term of the wavelengths of the red , green , and dismal we perceive , and that ’s correct — it ’s necessary for there to be overlap so that we can comprehend a wide spectrum . Here ’s an example : As the blue strobilus grow weaker at picking up blues as they move toward green , the greenish rod starts to pick them up . The sum of those two is what allows most folks to perceive balanced coloring material — our brains are doing the color commixture and telling us what we see is yellow , Battle of Magenta , etc .
A TV works by combining red , green , and blue , too . And it is important that the TV covers as much of the full spectrum of violent , dark-green , and blue wavelengths as potential . What ’s more important is how well a TV can combine those wavelengths . If a telly can produce and mix color wavelengths in the same way our eyes perceive them , then we say they can get colour correctly .
But doing a wide range of wavelengths is comparatively easy for TVs compared to their power to produce extremely consummate red , green , and blue . This is why when we search at a histogram of a TV ’s double-dyed reddened , green , or gloomy coloration output , we want to see a minute a mountain with as sharp a blossom as possible . The more arrant that flushed , green , and blue , the more exacting a TV can be with its color production .
This is one reason we likeQD - OLED TVs so much . They are able to make the everlasting crimson , dark-green , and blue colors we ’ve seen from a consumer display .
The only agency we can know any of this with any variety of certainty is through mensuration . We can use scientific official document to appraise colors and break them down into coordinate on a chart . For example , when I mensurate a TV using a tintometer and Calman software , I ’m measuring the coordinate of the color the TV is making , then compare them to a reference work chart to see how precise they are .
And that ’s where the grandness of white residual get in . I talk a lot about how well a TV match its Edward Douglas White Jr. up with a D65 snowy point . This means that we ask to see a telly grow white at 6,504 degrees Kelvin . This mention white point is what is typically used during both the gaining control and reproduction of images . And we use it because it is meant to most closely represent daylight . If a TV ’s balance is off , its color is go to be off , too .
To answer your fillip question : The only agency we can know if a television camera is capturing color wavelengths accurately is by — again — measuring what it recorded . If we can get the photographic camera to accurately memorialise what is happening in real sprightliness , then we ’re near . But not all cameras do that , which is why colour chastening is so important .
Of course , much of the art in TV and still images is in the manipulation of people of color to achieve a want burden . Part of what we like about movies , tv set , and photos is that they are not a perfect facsimile of genuine life . If you attend at the raw footage captured during the transcription of the Matrix movies , you ’d notice that it does n’t have that typical greenish hue . The colorist made that greenish look after the fact . And the Matrix movies await the path they do because of that artistic pick .
This whole topic goes much deeper . But hopefully you sympathise a bit well the grandness of measurement and truth when it comes to video display .