RGB 4:4:4 , Sony LCD BVM L230, Sony SRW-5500

The philosophy behind the HD Cameras, Sony BVM L230 LCD monitors and a Sony SRW-5800 are linear in respect to the workflow process and the end distribution model. The concept behind the tools fo production, Digital Intermediaries and Post Production is a “black box” concept and should render the image as closely to the intent of the visual imagery, whether computer generated or live. The efficiencies scales that relate to the tools are not on a gradient scale, but they work or not. 

The Sony BVM-L230 has a S-Log function that turns can be turned off. The S log is an algorithmic expression to pack the data in a 4:4:4 realm. Turning off the SLOG you can see the footage in a analogue space. Part of the process in viewing is understanding what the monitors excels in and the technical design difference between a Panasonic Reference grade monitor and a Sony LCD Reference monitor. 

The emergence of new LCD technology has now been perfected and the CRT monitors are now basically obsolete. Assumptions can be made with video imaging in respect that video analogue is a linear expression.  LCD technology is now a non linearity, which is not a bad thing but closely resembles the human eye. Optics and physics is about making things match up to a chart, but improving the imaging of the art (movie, tv, etc.) so it is pleasing to the viewer is the objective. 

In a CRT (cathay ray tube) world the physics was standard fixed gamma, while the new technology is variable, because you are not lighting up just phosphorus. The problem is at a 30,000 nit scene scaled down to 100 nits at the monitor, you loose the overall brightness and coloricity. Basically, what you need to do to the image data is to overcome perceptual differences. Enhancing the standard .42 to a 5.0 power curve helps keep the integrity of the image by compensating for the lack of illumination which has a direct relationship to the colorimetry. 

The problem with all standards is how you develop a standardized approach. The issue is that  through the production chain all the way to the distribution the image needs to be reproduced as closely to the final reference monitor. You could look at the production chain as an assumption whereby everything is processed via a black box. The final analysis is the studio monitor is the final determinant in relation to the end users flat screen: LG, Sony, Hatachi, Samsung, Sharp, ViewSonic or other consumer grade monitor. What the viewer does to his consumer monitor set, such as; cranks up the contrast, increases the saturation or enhances noise reduction is not within the metrics of asigning absolute values during the entire process. The standardization should be faithful to the original reproduction. In a movie distribution scenario the production change all the way to exhibition remains in check and is in a controlled setting. However, when going to the cloud or whichever distribution method there needs a valid standard in place for the film or blue ray disc to appear true to form.