At this time last week, Sony China was invited to participate in its “Sony Expo 2016†event on the 20th birthday of Sony China. Apart from the fact that it is rarely able to see the “coward†real person at home, this full product line The large-scale coverage provided me with the privilege of experiencing long-lived but unstoppable GM shots and immersions in the world of VR in the direction of leading future games. Of course, as my own job, I've also got a big surprise in the television product line. The Sony Backlight Master Drive, the top display technology of Sony, which appeared at CES, has reappeared. He walked into us this time. Domestic exhibition.
With the opportunity of the Sony Expo, I was lucky enough to experience the prototype of a master version of the backlight in the “little dark room†where photography was not allowed. Even more commendable was the fact that there was a Sony BVM-X300 worth 300,000 yuan around it. (30-inch 4K OLED master monitor), a certain brand of OLED, and Sony's 15-year flagship TV 75X9400C with a direct backlight.
Why is HDR the protagonist of this year?
Before we step into the Dynamic Backlight System Master Edition, we must first implement some knowledge backgrounds. In the existing video industry technology, there are five important dimensions of image quality, namely, resolution, color depth (grayscale), frame rate, and color gamut. Of course, if you take a look at the article, you must perceive that I only listed four. Image quality direction.
In fact, the different directions of the above four picture qualities have been developed quite well, such as resolution. After upgrading from 1080P to 4K, the concept of 8K resolution has long been proposed by LCD panel suppliers; for example, from the earliest 24 frames of video At 60 frames, the 120P video facing the future is now emerging. The above four dimensions define the direction of R&D for the next few years.
With respect to the dynamic range of brightness (which can be understood as a higher degree of contrast), this SDR standard has not ushered in technological innovation since its establishment 50 years ago until last year, until the advent of HDR was delineated for video capture, codec, and display. R&D direction. It makes the development of video technology more comprehensive and complete. Sony's Dynamic Backlight System Master Edition is also aimed at breaking the limits of LCD TVs to improve dynamic range (High Dynamic Range HDR).
How does human eyes and television deal with dynamic range?
Since Sony has focused its flagship on HDR, this technology has a natural advantage in promoting the improvement of picture quality. What benefits does HDR have? First of all, we need to know that the reflection of light from different objects in nature has different “values†of brightness. For example, if the direct sunlight is quantified, the brightness is approximately 9 ninth power, and in normal light, the indoor brightness is approximately 10 times. Around the corner, at night, the brightness of the moonlight can be expressed at about 10-2 power, and if it is a star, it should be lower.
Although we can see these "brightness" in different environments, it is impossible to cross the visual range of the human eye. For example, you can't see the stars of the sky in the dark night market. However, the same sky can see the Weixing River in the deep mountains. This is because the limited amount of bright and dark light captured by the human eye in the same “picture†is expressed by a numerical value that is approximately 10 5th power. This number is a range value, whether it is day or night. The 5th power contains the brightness interval.
The brightness limit of the display industry is somewhat similar to human vision, but its dynamic range is narrower. The SDR corresponds to about 10 3rd power. Exceeding this range, the dark screen may be treated as dead black and the highlights are It is possible that there is a large area of ​​whitishness, which is a drawback of limited brightness dynamic range. There are two major reasons why video technology is stuck in the SDR standard: In the past, televisions could not restore higher dynamic range, and video capture and transmission also had corresponding technical thresholds.
The birth of the HDR standard will increase the video shooting, transmission and restoration to the 5th power level of 10, and now there are cameras, encoding formats and a small number of TVs corresponding to the technology. The so-called Sony Dynamic Backlight System Master Edition is also in line with HDR standard. However, the display technology he challenges is far above the HDR standard.
In the existing HDR standard, the peak luminance and dark part black level requirements for a liquid crystal television are 1000 nits or more or 0.05 nits or less. To put it bluntly, two things need to be done to make the backlight output bright enough so that it can display richer highlight details. . At the same time, the control of the backlight output should be excellent enough to allow the screen to have a minimum brightness of less than 0.05 nits, both of which require a powerful backlight system for technical support.
Master Edition dynamic backlight system is a kind of existence?
The master version of the dynamic backlight system can be seen as the final version of the LCD TV direct backlight, it has a very high density of LED backlight array, and even can be seen as its outdoor backlight LED large screen, each lamp can achieve LCD Several pixels of the panel control light independently, so it has an extremely close to 3840 × 2160 backlight partition (specific values ​​to wait for Sony to announce the number of backlight partitions), obviously this principle is already very close to the OLED technology.
This kind of backlight system combines the TV's accurate analysis of the video signal. It can perform "pixel-level" local light control according to the bright and dark scenes in the picture, so wherever there is a need for a stronger backlight standard for peak brightness, where is needed Depressing the backlight to a pure dark field, the TV can accurately control the light based on the video information, which also leads to a higher dynamic range picture.
In the TV using the elite version of the dynamic backlight system, they achieved a brightness of 1000 nits required by the HDR standard through the specially optimized double-layer side-entry backlight design. The master-type dynamic backlight system using a high-brightness LED light source can be achieved. With a maximum brightness of 4000 nits, this has more than ten times the current average in a 3-400 nits LCD TV. More partitions and higher peak brightness make the Master Dynamic Backlight system far behind other HDR standard TVs.
Experience experience: Because the scene prohibits photographing, the final quality experience link can only be relayed by me dictated. The top row of the models participating in the on-site experience is a white light OLED TV, a prototype using the master version of the dynamic backlight system, and a Sony X9300C. The bottom of the three TVs is the BVM-X300, which rarely appears in professional video production. RGB tricolor OLED monitor.
As a comparison, the first important thing is the reference standard, and it is fortunate that this closed experience session can see Sony's professional-grade monitors. When the film is filmed and post-edited, all production processes should use the monitor as an exhibition standard, which means that the monitor can represent the true color and light atmosphere that the film wants to express.
The experience that gave me the deepest impression is actually the white light OLED, which is the most obvious one in the four devices. At dusk, the colors of the earth and the sea, the skin color of the characters, the texture of the leather and so on, if there is no contrast, you can hardly notice How much does its display style deviate from the color that the real movie wants to express? On Sony's side, it is not credible to say that the master version of the prototype is up to the monitor level, but the master version of the backlight prototype is definitely very close to the BVM-X300's color style.
As for the dynamic range of brightness, the four devices have a master version of the dynamic backlight system prototype with a brightness of 4,000 nits, which is naturally superior to the black-field control capability. The average brightness of the OLED TV is only about 500 nits. Sony's prototype on the book has an overwhelming advantage. However, in the on-site experience of the HDR movie Annie and Vegas, the source did not clearly release the potential of the master version of the prototype. Perhaps HDR, like 4K, also needs More refined film sources can create the most perfect light and shadow experience.
In my opinion, the Sony Dynamic Backlight System Master Edition has reached the peak performance of LCD TVs. It provides pixel-level backlight layouts with the most cutting-edge technology and high cost. However, the specific prototype of this prototype also requires Sony to solve the backlight. Drive, power consumption, heat dissipation, and so on, this is its inherent gap with true pixel-level backlighting OLEDs. In the explanation of Zhou Zhenyu, Sony China Home Display Product Manager, Sony will not release OLED TVs at this stage. The OLEDs in their hearts should have RGB three-primary backlights. Currently, OLED TVs adopting this structure cannot yet be screened. This may be the case with Sony. Another reason for sticking to LCD TVs at this stage. However, I sincerely hope that Sony's display technology can combine the innate advantages of the LCD panel to win the LCD. At that time, enthusiasts will certainly find it more difficult to detoxify Sony TV. It will be a combination of top-level display technology and superior panel technology.
With the opportunity of the Sony Expo, I was lucky enough to experience the prototype of a master version of the backlight in the “little dark room†where photography was not allowed. Even more commendable was the fact that there was a Sony BVM-X300 worth 300,000 yuan around it. (30-inch 4K OLED master monitor), a certain brand of OLED, and Sony's 15-year flagship TV 75X9400C with a direct backlight.
Why is HDR the protagonist of this year?
Before we step into the Dynamic Backlight System Master Edition, we must first implement some knowledge backgrounds. In the existing video industry technology, there are five important dimensions of image quality, namely, resolution, color depth (grayscale), frame rate, and color gamut. Of course, if you take a look at the article, you must perceive that I only listed four. Image quality direction.
In fact, the different directions of the above four picture qualities have been developed quite well, such as resolution. After upgrading from 1080P to 4K, the concept of 8K resolution has long been proposed by LCD panel suppliers; for example, from the earliest 24 frames of video At 60 frames, the 120P video facing the future is now emerging. The above four dimensions define the direction of R&D for the next few years.
With respect to the dynamic range of brightness (which can be understood as a higher degree of contrast), this SDR standard has not ushered in technological innovation since its establishment 50 years ago until last year, until the advent of HDR was delineated for video capture, codec, and display. R&D direction. It makes the development of video technology more comprehensive and complete. Sony's Dynamic Backlight System Master Edition is also aimed at breaking the limits of LCD TVs to improve dynamic range (High Dynamic Range HDR).
How does human eyes and television deal with dynamic range?
Since Sony has focused its flagship on HDR, this technology has a natural advantage in promoting the improvement of picture quality. What benefits does HDR have? First of all, we need to know that the reflection of light from different objects in nature has different “values†of brightness. For example, if the direct sunlight is quantified, the brightness is approximately 9 ninth power, and in normal light, the indoor brightness is approximately 10 times. Around the corner, at night, the brightness of the moonlight can be expressed at about 10-2 power, and if it is a star, it should be lower.
Although we can see these "brightness" in different environments, it is impossible to cross the visual range of the human eye. For example, you can't see the stars of the sky in the dark night market. However, the same sky can see the Weixing River in the deep mountains. This is because the limited amount of bright and dark light captured by the human eye in the same “picture†is expressed by a numerical value that is approximately 10 5th power. This number is a range value, whether it is day or night. The 5th power contains the brightness interval.
The brightness limit of the display industry is somewhat similar to human vision, but its dynamic range is narrower. The SDR corresponds to about 10 3rd power. Exceeding this range, the dark screen may be treated as dead black and the highlights are It is possible that there is a large area of ​​whitishness, which is a drawback of limited brightness dynamic range. There are two major reasons why video technology is stuck in the SDR standard: In the past, televisions could not restore higher dynamic range, and video capture and transmission also had corresponding technical thresholds.
Contrast between SDR and HDR, HDR has higher brightness and detail under similar dark field control
The birth of the HDR standard will increase the video shooting, transmission and restoration to the 5th power level of 10, and now there are cameras, encoding formats and a small number of TVs corresponding to the technology. The so-called Sony Dynamic Backlight System Master Edition is also in line with HDR standard. However, the display technology he challenges is far above the HDR standard.
In the existing HDR standard, the peak luminance and dark part black level requirements for a liquid crystal television are 1000 nits or more or 0.05 nits or less. To put it bluntly, two things need to be done to make the backlight output bright enough so that it can display richer highlight details. . At the same time, the control of the backlight output should be excellent enough to allow the screen to have a minimum brightness of less than 0.05 nits, both of which require a powerful backlight system for technical support.
Master Edition dynamic backlight system is a kind of existence?
Elite version of the dynamic backlight system, upper and lower two-layer side-entry backlight and complex light guide board responsible for area control light
Direct backlight principle (Master version of the direct backlight array is denser than the example)
The master version of the dynamic backlight system can be seen as the final version of the LCD TV direct backlight, it has a very high density of LED backlight array, and even can be seen as its outdoor backlight LED large screen, each lamp can achieve LCD Several pixels of the panel control light independently, so it has an extremely close to 3840 × 2160 backlight partition (specific values ​​to wait for Sony to announce the number of backlight partitions), obviously this principle is already very close to the OLED technology.
This kind of backlight system combines the TV's accurate analysis of the video signal. It can perform "pixel-level" local light control according to the bright and dark scenes in the picture, so wherever there is a need for a stronger backlight standard for peak brightness, where is needed Depressing the backlight to a pure dark field, the TV can accurately control the light based on the video information, which also leads to a higher dynamic range picture.
Sony HDR TV screen shot
Elite version of dynamic backlight system may be so assigned to the output of high and low brightness areas
A master version of the dynamic backlight system with pixel-level backlight partitions allows for more detailed analysis and reduction of light contrast
In the TV using the elite version of the dynamic backlight system, they achieved a brightness of 1000 nits required by the HDR standard through the specially optimized double-layer side-entry backlight design. The master-type dynamic backlight system using a high-brightness LED light source can be achieved. With a maximum brightness of 4000 nits, this has more than ten times the current average in a 3-400 nits LCD TV. More partitions and higher peak brightness make the Master Dynamic Backlight system far behind other HDR standard TVs.
Experience experience: Because the scene prohibits photographing, the final quality experience link can only be relayed by me dictated. The top row of the models participating in the on-site experience is a white light OLED TV, a prototype using the master version of the dynamic backlight system, and a Sony X9300C. The bottom of the three TVs is the BVM-X300, which rarely appears in professional video production. RGB tricolor OLED monitor.
As a comparison, the first important thing is the reference standard, and it is fortunate that this closed experience session can see Sony's professional-grade monitors. When the film is filmed and post-edited, all production processes should use the monitor as an exhibition standard, which means that the monitor can represent the true color and light atmosphere that the film wants to express.
The experience that gave me the deepest impression is actually the white light OLED, which is the most obvious one in the four devices. At dusk, the colors of the earth and the sea, the skin color of the characters, the texture of the leather and so on, if there is no contrast, you can hardly notice How much does its display style deviate from the color that the real movie wants to express? On Sony's side, it is not credible to say that the master version of the prototype is up to the monitor level, but the master version of the backlight prototype is definitely very close to the BVM-X300's color style.
As for the dynamic range of brightness, the four devices have a master version of the dynamic backlight system prototype with a brightness of 4,000 nits, which is naturally superior to the black-field control capability. The average brightness of the OLED TV is only about 500 nits. Sony's prototype on the book has an overwhelming advantage. However, in the on-site experience of the HDR movie Annie and Vegas, the source did not clearly release the potential of the master version of the prototype. Perhaps HDR, like 4K, also needs More refined film sources can create the most perfect light and shadow experience.
In my opinion, the Sony Dynamic Backlight System Master Edition has reached the peak performance of LCD TVs. It provides pixel-level backlight layouts with the most cutting-edge technology and high cost. However, the specific prototype of this prototype also requires Sony to solve the backlight. Drive, power consumption, heat dissipation, and so on, this is its inherent gap with true pixel-level backlighting OLEDs. In the explanation of Zhou Zhenyu, Sony China Home Display Product Manager, Sony will not release OLED TVs at this stage. The OLEDs in their hearts should have RGB three-primary backlights. Currently, OLED TVs adopting this structure cannot yet be screened. This may be the case with Sony. Another reason for sticking to LCD TVs at this stage. However, I sincerely hope that Sony's display technology can combine the innate advantages of the LCD panel to win the LCD. At that time, enthusiasts will certainly find it more difficult to detoxify Sony TV. It will be a combination of top-level display technology and superior panel technology.
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