![]() ![]() This gives buyers a more clearly defined choice between full-4K resolution and a 1080p pixel-shifter offering more traditional premium features not often found under $1800, including robust build quality on a heavier and more substantial chassis than its competitors a high-quality, wide-zoom, motorized lens with lens memory and a dynamic iris. ![]() Other key benefits from the 4000 are carried over, including the aforementioned lens, a dynamic iris to boost contrast and deepen blacks on dark scenes, support for 1080p 3D Blu-rays a Digital Cinema mode that delivers 100% of the expanded DCI-P3 color space a 2.1x zoom with motorized focus, zoom, and lens shift and up to 10 lens memory positions.įurthermore, the Home Cinema 4010's $1,999 list price comes in $200 less than the original introductory price on the HC4000, and its $1,799 street price (as of late October 2018) brings the 4010 closer to less-featured, full-4K budget projectors using the latest DLP imaging chips. Beyond this, Epson says it has worked on its tone-mapping algorithm for improved rendering of HDR content (with processing for up to 10-bit color depth). the 4000's rated 140,000:1-still well short of the claim of 1,000,000:1 in the Epson Home Cinema 5040UB step-up model, but enough for a noticeable improvement in black level and shadow detail with dark content. The 4010's dynamic contrast has also been bumped to 200,000:1 vs. It is rated at 2,400 lumens for both white and color brightness versus the 4000's 2,200 lumens. The 4010 offers some key improvements from its predecessor, the Epson Home Cinema 4000. We can't argue with this claim, as the resolution and detail observed from the 4010, aided by its 15-element glass lens, is tremendously sharp and dimensional, and suffers no observable smearing or other artifacts to call attention to the pixel-shifting or suggest the projector isn't full 4K. Over time, Epson has progressively closed any visible gap between its pixel-shifted 1080p and other manufacturer's 4K-resolution projectors, and the 4010 is significant in its introduction of 4K PRO-UHD, a group of advancements that includes a new algorithm said to deliver on-screen results that equal or even exceed projectors rated at 4K (some of which also rely on pixel-shifting). The second is how to monitor for HDR in Pr2022.The Epson Home Cinema 4010 is the latest in Epson's line of 4K-compliant projectors that rely on pixel-shifting technology with native 1080p LCD imagers to deliver "4K Enhanced" resolution. I'm including the two FAQs below, as to what changed with the Pr2022 release, how to use it, and what's broken as of 20 February 2022. In Pr2021, you needed a breakout box from AJA or BlackMagic to get the signal to the monitor, you could not properly work with a GPU/monitor connection. We can now work fully in HDR in Premiere Pro 2022, using either HLG or PQ, and using only the GPU connection to an HDR capable monitor. So I'm editing this post to give the best current information. ![]() With the Pr2022 release, they completely changed the underlying color system from what it was when this thread was started. Premiere isn't currently setup to be able to work with DolbyVision. So Premiere will put that into the video file metadata on export but again, only for HDR exports.Ģ03 is actually the recommended starting place for HDR whether in HLG or PQ formats. This is a numerical data point needed in HDR video file metadata, to tell the TV/screen what to use for HDR settings internally. Above that value, all image data is assumed to have color and brightness, but not really fine details. Bright, the upper edge of any details, but not a specular. "graphics white" is the brightest tone with any details visible. It doesn't do anything no matter what it's set to.īasically. It has no effect whatever on any SDR/Rec.709 timeline/sequence/export.įor any SDR/Rec.709 workflows, ignore it. HDR media, HDR timeline and monitor setups, HDR outputs. This setting is ONLY of concern if you are working full HDR projects.
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