Saturday, 17 February 2018

1080P Blu-Ray vs. 4K UHD Blu-Ray: "Blade Runner (Final Cut)" - Classic 35mm Filmmaking

Ahhhh, Blade Runner!

Here's an example of a "classic" from 1982. While arguably, the film was more style than substance, it certainly has left an enduring mark in the world of science fiction. Remember that Ridley Scott started his career in TV advertising which must have informed his visual aesthetic to create some iconic imagery such as this vision of Los Angeles in 2019 (alas, technological advancement and climate change must have been much more severe in this alternate universe).

As you know, beyond the detective film noir and some action sequences, it does touch on important science fiction themes of sentience, rights, the soul, genetics and transcendence. Of course, as a music lover, I very much enjoyed the soundtrack from Vangelis (for the completist, the 3-CD 25th Anniversary Edition contains everything)!

Blade Runner was filmed in 35mm with some special effects filmed in 65mm. Aspect ratio of 2.35:1. Over the years, it has undergone a number of revisions; the main ones being the original Theatrical Release, 1992's Director's Cut, and the 2007 Final Cut. When they did the 2007 Final Cut, the frames were digitally cleaned up, continuity errors fixed, new CGI effects added, 65mm footage were scanned to 8K, and everything finished as a 4K Digital Intermediate which is what ultimately ended up here on the UHD Blu-Ray with added HDR color grading.

As a comparison, I thought it would be interesting to grab a number of scenes to see the difference between a standard Blu-Ray release from 2011 (VC1 codec, ~17Mb/s) and the UHD version released in 2017 (HEVC 10-bit HDR10, ~50Mbps)... Is it worthwhile upgrading to a higher resolution version even with an old (35 years old!) movie originating in 35mm?

Monday, 12 February 2018

1080P Blu-Ray vs. 4K UHD Blu-Ray: "Pacific Rim" - Digital "2K" Filmmaking (and a look at Blue Planet II)

Having looked at Dunkirk (70mm IMAX - 65/15-perf and 65/5-perf) and Interstellar (hybrid of 35mm and 65-15-perf) previously, over the next few weeks, when possible I'm going to try for a survey of comparisons using different types of movies and show the kind of resolution difference one might see going to 4K.

Today, let's consider a very common type of movie production - digitally filmed movies mastered to a 2K Digital Intermediate (DI). In Real or Fake 4K, these would of course be classified as "Fake 4K" movies that would need to be upsampled going from 2K/1080P to the 4K/2160P on your shiny new UHD Blu-Ray disc and 4K screen.

Pacific Rim would be a good example of this type of production in a big budget movie (said to be ~US$190M back in 2013). It was captured on Red Epic cameras capable of up to 5K (5120x2560) raw frame quality, then downsampled to a 2K Digital Intermediate mixed with 2K rendered visual effects.

While admittedly not a great movie, for guys and gals who like steam punk themes, monsters, and of course really big robot mechs, Guillermo del Toro serves up quite a feast of a real-live action anime. Nothing wrong with turning your brain off and enjoying some mech-on-monster brawl once awhile :-).

Saturday, 3 February 2018

MUSINGS/MEASUREMENTS: On "blurring" and why MQA probably worsens transient smearing.

Yes, I know. The last time I specifically addressed MQA was supposed to be "FINAL final" :-). But I got curious again. This is especially after the exploration of various filters recently suggesting to me that there actually is a case to be made that "blurring" can be seen with minimum phase filters. The question is, what do we "know" or "believe" MQA is able to do, and can we demonstrate that MQA even "de-blurs"?

Let's talk and think about this for a bit...

Saturday, 27 January 2018

1080P Blu-Ray vs. 4K UHD Blu-Ray: Does "Interstellar" actually benefit from 4K!?

Compromised quality?
As you know, Christopher Nolan is known for demanding the best out of his work visually. A few weeks back, I had a look at Dunkirk and was able to appreciate the difference the 4K/UHD Blu-Ray made compared to standard HD 1080P Blu-Ray. Despite the plot holes and nitpicks (it is sci-fi after all), I very much enjoyed Interstellar in the standard digital IMAX theater when it first came out in 2014. As I was watching the recently released UHD Blu-Ray, while the HDR effect looks ok (I wouldn't say great), I was rather disappointed by the apparent lack of resolution enhancement moving from 1080P... Even in the IMAX 70mm scenes, everything seemed less defined than I had expected coming from Dunkirk. Seemed a bit strange especially since it's claimed that this was "released under the supervision of the director himself, approving the 4K scan and colour timing".

Let's have a closer look shall we?

Saturday, 20 January 2018

MEASUREMENTS: Apple's Lightning to 3.5mm Headphone Adaptor (CES 2018 Creative Super X-Fi audio, and A/C cable "proof"?)

Ludicrous combination of iPhone 6, Lightning to 3.5mm adapter, and Sennheiser HD800 :-).
Well, as you likely already know, since the iPhone 7, Apple has removed the 3.5mm headphone port from their phone devices. Ostensibly, the rationale being that this would allow more space in the device for other goodies to enhance the feature set of the phones.

In place of the missing headphone port, Apple has included the "Lightning to 3.5mm Headphone Jack Adapter" with their phones. I've been wanting to have a look/listen to how well this little dongle thing performed for awhile but since I'm an Android guy and nobody close to me upgraded their iPhone when the 7 came our, I just remained patient. Well, over the holiday season my sister-in-law upgraded to an iPhone 8, so I finally got a hold of one of these Lightning-to-analogue out dongles to test out at my leisure :-).

Saturday, 13 January 2018

DEMO: Dunkirk - Resolution difference between 1080P Blu-Ray and 4K/2160P UHD Blu-Ray (It's CES 2018 also!)

A friend who works in the world of video production saw my post a few weeks back about "4K, Dunkirk and 70mm IMAX" sent me some segments of Dunkirk from the recently released UHD Blu-Ray set so I could have a look at the differences between 4K compared to standard 1080P Blu-Ray. Remember as discussed a few weeks back, this movie was filmed to a large extent with 70mm IMAX (65mm/15perf) gear, we know the VFX rendering was done using >4K with a true 4K digital intermediate. It represents the "pinnacle" of analogue film technology mixed with the best of today's digital effects and processing. I highly doubt we'll see much more of this level of literal "film-making" over the years. As such it's a nice "benchmark" for comparisons.

Saturday, 6 January 2018

Audiophile Myth #260: The Detestable Digital Filter Ringing and Real Music...

For the 2016 edition, go here.
In the audiophile world, there are many targets of angst and anxiety that "practitioners" of this hobby are well aware of.

For years we've been worried about the "dreaded jitter". However, we know that these days, with asynchronous interfaces like USB and ethernet, there's nothing to be concerned of. Sure, we can see jitter anomalies with old S/PDIF, but I doubt anyone should purposely not use the interface for fear of audible issues assuming otherwise decent gear. For years and still to this day, various "practitioners" of audiophilia hang on to beliefs around cables of all sorts; assuming normal hook-ups with decent quality cabling (and even with poor quality cables), we are typically hard pressed to find evidence of audible differences.

Then we have beliefs that bit-perfect streamers sound different, really? We also hear of esoterica like folks who think lossless file formats sound different, seriously? How about the folks who think that computer OS's make a difference, or software players sound markedly different (assuming it's all bitperfect of course and sent to the same DAC)...

Feel free to browse this blog for discussions and thoughts around countless other audiophile items of faith. Today, let's address the audiophile "myth" that has gained prominence among those trying to sell things and those that advertise said "things" over the last few years.

As per the title, today, let's explore this "myth" of the detested ringing with digital filtering and audio playback since I've been posting a bit of a series on this topic over the last little while.

Monday, 1 January 2018

MUSINGS: More fun with digital filters! Archimago's "Goldilocks" Intermediate Phase suggestion...

Today's post is a bit of a continuation from last time's look at the different types of upsampling anti-imaging playback filters using my Raspberry Pi 3 "Touch"piCorePlayer and SoX. As you can see from that discussion, across the audiophile equipment spectrum, manufacturers utilize all kinds of digital filter settings in their gear. Each company ends up choosing compromises between how much frequency roll-off, how much imaging, how much temporal/phasic anomaly each would accept. And of course no matter what a company chooses, there are ways of advertising the decision as "good"; whether it be on the basis of frequency spectral accuracy, temporal accuracy, or just claims from pure subjectivity - "it just sounds better"!

The end goal of audiophilia is a bit like the modern interpretation of Goldilocks (and the Three Bears)... We're all trying to figure out for ourselves what is "just right" as we wade through the commercial and mainstream audiophile literature, unofficial blogs and forums, mix-and-match speakers with amplifiers, try out different accessories perhaps, and the like. So too it seems with digital filters and all the variants attached to the DACs we buy.

Remember that the only reason we're even talking about this is because of that 44.1kHz (and to a lesser degree 48kHz) samplerate such that the Nyquist frequency is at 22.05kHz; relatively close to the usual 20kHz upper limit of hearing acuity that the younger ones among us might be able to perceive. This is literally the only reason for all the hand wringing and millions of spilt keystrokes over the years around filtering by audiophiles (the few who still obsess over this...)

These days, we essentially have 2 major options for filter "types" among the DACs out there... Linear phase (the default for most mainstream DACs, Chord) or Minimum phase (Apple, MQA, Pono) - pick your "poison" :-). Of course within each phasic variety we have different levels of steepness and allowance for ultrasonic imaging. We intuitively know that due to the biological phenomenon of auditory masking, maximum phase (where the group delay is pushed forward so "pre-ringing" is accentuated) is not desirable. But is there another choice?

Yes, there is of course... We can try to figure out a "just right" state with intermediate phase settings. Accepting that maybe there's some value to ensuring that pre-ringing isn't an issue even with some of the worst audio recordings out there, while maintaining awesome frequency and temporal accuracy - let me show you my choice for the filter that I listen to daily with the Pi 3 streamer...

Saturday, 23 December 2017

HOWTO / MUSINGS: Playing with Digital Filtering - Impulse Responses and Frequency Effects resembling Chord, Old-Skool Meridian, MQA, NOS...

Remember folks... With anti-imaging filtering applied to digital playback, there are no gross "stairsteps" in the oversampled/upsampled analogue output. Regardless of what you might see from misleading audio ads trying to pigeon-hole "digital". The exception being non-oversampling DACs that specifically choose to go down the stair-step path.
As you may know, I've been using a Raspberry Pi streamer with LMS over the last year for most of my listening. As described in that Pi "HOWTO" article, I've been using the piCorePlayer software to stream.

One of the nice features of piCorePlayer is that it allows easy control of upsampling by using SoX; in the "Advanced" settings is the ability to pass along instructions to control the digital filtering used. Combined with a good DAC that accepts high sample rate PCM, we can try listening for ourselves and gain an appreciation of the differences that digital filtering make. The cool part of this is that it allows us to "emulate" the kinds of filters used in the audiophile world.

In this post, let's play with some of the parameters and show the kinds of impulse responses and "digital filter composite" graphs we can achieve...

Saturday, 16 December 2017

MEASUREMENTS: Oppo Sonica DAC and Bluetooth 4.1 (Low-Complexity SubBand Coding) Audio...

Merry Christmas everyone! Hope things are going well out there.

As you know, earlier this year, I had a look at the Oppo Sonica DAC including measurements with the "fixed" firmware. Over the last few months, I've actually sold the device to a "more needy" audiophile buddy. Remember, the DAC measured and sounded fantastic, but truth be told, it is to the point where I personally am not able to differentiate the sound quality from my already excellent TEAC UD-501 bought in 2013 and I didn't absolutely "need" any of the new features it provided. Furthermore, as you know from my discussions of digital room correction, sound quality IMO is more a function of other factors than just the DAC accuracy.

Before I parted with the Sonica DAC, I did make a few other measurements out of curiosity. One of the measurements was to have a listen and look at the Bluetooth 4.1 audio playback from my Samsung Note 5 phone to the Sonica.

Saturday, 2 December 2017

MUSINGS: Thoughts on fake 4K, post-truth and film "format folly" (70mm film & Christopher Nolan).

Since returning from my Asia trip. I see that new toys for Christmas have now been released including the new Xbox One X (which I mentioned a few months back).

Although it seems like there may be issues that need to be fixed, one nice feature of the Xbox One S and X machines is the ability to play the new Blu-Ray UHD disks which have been available since March 2016. Though there are a number of disks out there now, I suspect the growth has not been spectacular... Not unexpected really since the jump from 2K (1080P) to 4K (2160P) resolution does require the right conditions as laid out previously to be truly appreciated, plus, like music, movies have gone "virtual" with streaming being the primary mechanism of consumption.

For this post, I thought I'd put together a few discussion items about video IMO worth thinking about as we are very much in the era of the 4K videophile!

Saturday, 25 November 2017

HOWTO: Integrating WavPack 5-compressed DSD into Logitech Media Server (LMS).

piCorePlayer streaming WavPack-compressed DSD128 (1-bit, 5.6MHz) to TEAC UD-501 from recent nightly version of Logitech Media Server 7.9.1.
As I mentioned last time, it's great to see that DSD compression and metadata tagging are available in the form of WavPack 5. Starting from the post by michaelvv on the Squeezebox Forum, I decided to spend more time on getting WavPack-DSD working in LMS and managed to get it working quite stably installed on a Ubuntu Linux (currently 16.04 LTS) virtual machine in the Windows Server 2016 computer that serves as my repository of data, movies, and music. For a description of the initial software install, have a look at my HOWTO: LMS + BrutefirDRC Plugin post from last year. The hardware these days is my Intel i5-6500 server machine described here.