rokweom

but sounds objectively better to my ears

Subjectively. Objectively, there's no audible difference between lossy and lossless (at usual bitrates).

Few months ago it was possible to get Intel N100 (i5-6400 performance at much lower power) based mini PC with 8GB RAM and 256GB SSD for 100-120 USD on sale. Unfortunately, 'rampocalypse' happened.

Doesn't wet scanning "automatically" get rid of the dust and scratches issue?

Funny that they're marketing the supposed advantages of higher bitrates using pictures with altered contrast and saturation lol. I would expect the target audience to be somewhat affluent in the actual benefits? Then again, I wouldn't expect somebody like Scorsese to be a video compression nerd.

Also the whole "you can hear more with lossless audio" is just straight up a lie.

Piracy enables you to do things like debanding on playback, or more advanced video filtering to remove other compression issues.

Apparently this is due to signal integrity. AMD says swappable RAM is not possible. Source: LinusTechTips video.

Just be careful with that, measuring mains is a bad idea with most oscilloscopes. The ground pin is usually connected to mains earth, so if you're not careful, you might create a short and blow up your scope. If you have one of these battery powered ones, it'll be fine, but the mains powedered ones are usually a no-no.

In general, people have the wrong idea about how fuses work. They're not supposed to blow at their rated current, they're supposed to withstand it indefinitely, and only blow at much higher currents. Look up any datasheet from a well established manufacturer and see for yourself (like this one from littelfuse: https://littelfuse.com/products/fuses/cartridge-fuses/5x20mm... )

There's already software that does this: https://github.com/master-of-zen/Av1an Encoding this way should indeed improve quality slightly. Whether that is actually noticeable/measurable... I'm not sure.

Instead of writing comment after comment in this thread (16 comments so far), why don't you go ahead and write that article so that we pleb can enjoy some of your sacred knowledge.

Or you could just link to some well-written articles. I'm sure there are already ones like that and there's no need to write another one.

It's gone from newer versions of Lineage, unfortunately. Right now the whole thing is basically forgotten.

Making good 'visual storytelling' films requires some real talent, a deep understanding of the strengths of the film as a medium, and a lot of resources. In comparison, a 'talking heads' movie can be made with a few actors sitting in a single room without much regard for cinematography (hell, event a single actor sitting in a car may suffice, like in "Locke"). That's why there has been so few great 'visual storytellers' like Keaton and Chaplin.

If we consider dithering cheating, then 10 bit without dither is also not enough for banding-free 4K, no matter the color space.

With proper dithering, I would guess even rec. 2020 would be doable.

">It may shock many VR game players that want 120+ degree FOVs, but SMTPE, which sets the recommendations for movie theaters, says the optimal viewing angle for HDTV is only 30°"

The reason VR enthusiasts want wide FOVs is not because they want to watch movies stretched to 120°. Nobody does that. They want wide FOVs because even at relatively high FOV, like the 106 of Quest Pro, the edges of the display are still easily visible and the image does not fill eye's FOV fully. Yes, the resolution of what we can see towards the edges of our vision are much lower than what we can see in the center, but it's about getting rid of the visible boundry that messes with immersion.

Nowadays most basic LED bulbs just put the LEDs in series to get the combined voltage drop close to the rectified and filtered mains voltage, and a linear regulator takes care of the rest. This is cheaper and simpler than other methods mentioned by other users (switching or capacitive dropper). Here's a nice video with a schematic and even a way to hack them to lower the power: https://youtu.be/5HTa2jVi_rc (feel free to skip around, no need to watch the whole video to understand it)

If you're watching TV with shades open, you should adjust your gamma settings. The standard 2.2/2.4 gamma is meant for watching in a dark room.

Correct me if I'm wrong, but I'm pretty sure film has a higher dynamic range than digital SDR video? From a quick google search, 13 stops for film vs 6 stops for SDR. Obviously the stock that was used for final delivery to theaters was much worse than the stock that movies were shot on, but still.

Because LCD connectors require space. On phones where the bottom bezel is very small, the display is actually bent.

My 100$ phone from 2017 - Xiaomi Redmi 4X - had the same level of repairability: just unclip the back cover and you have access to internals. Replacing the battery was a matter of unscrewing the battery connector. How exactly is this new?

How about - hear me out - have an option to enable or disable it? Crazy idea, I know.

(I'm not aiming that comment at you, but rather at developers making software less and less configurable)

Oh OK, so you're specifically talking about bitrate difference. I wouldn't agree that that 8x higher bitrate means the file is 8x more accurate, but I get your point now.

>your cd rips are 8-12x more accurate than anything streamed of Spotify?...

>...How did you calculate a factor by which lossless is better than lossy?

>I specifically typed accurate, not better.

Yeah OK, that's just wording. Which two factors did you specifically compare, that gave you the 8-12x figure?

>your cd rips are 8-12x more accurate than anything streamed of Spotify?

How did you calculate a factor by which lossless is better than lossy?

I've been staring at this post for a few minutes now, trying to figure out whether this was posted here to make fun of it, or as a genuine appreciation.

Debanding has been a thing for many years now, for frameservers (Avisynth, Vapoursynth), video players (madvr, mpv) and games (reshade), and it certainly didn't require AI to work.

Now in comes this company and introduces such a basic feature, while boasting about it as if it's the second coming of Einstein or something. And it uses AI, because of course it does, it's 2022 after all.

LOL.

I too could swear I saw that video much earlier. But I guess it was actually this one: https://youtu.be/bij-JjzCa7o

AFAIK, there's only one audio mix done with theaters in mind, and studios don't do separate mixes for home viewing. It's down to the distributor do make sure that the average home viewer gets a good experience. That's why it boggles my mind that big players like Netflix don't have any dynamic range compression and surround downmixing options in their settings. Also the way most TVs handle surround downmixing is straight up broken. I watch my movies from mkv files on a PC, so for me it's not a problem because there's tons of options available for that in players like mpv, VLC and MPC-HC, but I do feel bad for your average person that has no business knowing about this stuff. They should just have a simple DRC setting available with maybe 3 levels and a clear explanation of what it does.

Since YT is serving data as DASH, they're probably keeping all the tracks separate on their servers. Patching audio should be a matter of replacing all the audio tracks. It wouldn't even have to be remuxed. But yeah... That's not gonna happen.

> If they look for scene changes and make new I-frames on scene changes, then we might expect that at least for the scenes that start identically in M1 and M2 they will get identical I-frames and P-frames up to their first edit if any.

> Question: are there any encoders that when encoding M2 to produce C2 can be given M1 and C1 as references using them to adjust I-frame spacing so as make as many C2 I-frames as possible match C1 I-frames?

I suspect if you were to encode both files with x264 with identical settings, in crf mode, with vbv disabled and keyint=0 (unlimited keyframe length), its scene detection should place I-frames in the same places (that is, on scene cuts, not on the timeline). Maybe some scenecut tuning would be necessary.

> That would allow C2 to be stored efficiently as a binary diff from C1. This could be handy if C1 and C2 needed to be checked into a version control system, or you needed to distribute C2 over a low bandwidth or expensive link to someone who already had C1.

I'm not aware of any automated way to do that, but you can do a similar thing manually using mkv's ordered chapters. You first compress the original cut, then you compress any additional scenes and insert them where you need. For example, you can make a mkv file for a theatrical cut of a movie, and then make a separate file for a director's cut that is only as big as the additional scenes are, since it uses the theatrical cut file for the common scenes.

Any particular reason they couldn't use one of these laser vinyl turntables?