00:00:01 – And remember what happened to the aborigines.
00:00:04 – A more advanced race nearly wiped them out.
00:00:11 – Hello and welcome to the second installment of our technical HDR reviews.
00:00:16 – Today we're going to look at the Arrival 4K Blu-Ray.
00:00:20 – Last time we went over some HDR concepts such as measuring brightness in nits, and how to
00:00:25 – read the graph you're seeing on the screen right now.
00:00:29 – I'm gonna add a link to the first review that we did for Star Trek Beyond in the description,
00:00:34 – so go watch that one as well if you haven't.
00:00:37 – But as a summary, older HDTVs could only go to about 100 nits, so everything above that
00:00:43 – line is part of HDR highlights.
00:00:46 – One new element that we've added in this review is the bitrate counter that you can see at
00:00:51 – the bottom right of the screen right now.
00:00:54 – Bitrate is usually proportional to image quality, so a higher bitrate often means a better looking
00:00:59 – movie.
00:01:00 – 4K Blu-Ray disks are available in two sizes: dual layer sixty six gigabyte disks, and triple
00:01:07 – layer one hundred gigabyte disks.
00:01:10 – The reason I'm bringing this up is that the type of disk determines the maximum bitrate.
00:01:15 – The dual layer ones can have a maximum bitrate of 108 megabits per second, while for the
00:01:20 – triple layer ones the maximum bitrate is a hundred and twenty eight megabits per second.
00:01:25 – Comparatively, normal 1080p Blu-Rays have a maximum bitrate of 48 megabits per second.
00:01:32 – Of course, we cannot directly compare 1080p with 4K bitrates, because the codecs on the
00:01:37 – disks are different.
00:01:39 – The 4K disks contain a much more efficient codec than normal Blu-Rays, so they have both
00:01:44 – a better codec, and higher bitrate.
00:01:48 – As we go through the review take a look at the bitrate counter.
00:01:52 – For comparison, the 1080p disk that comes in the same package has an average bitrate
00:01:57 – of only 28 megabits per second.
00:02:00 – Now let's talk about the 4K disk.
00:02:03 – This is a dual layer disk that was mastered at a maximum of one thousand nits.
00:02:08 – But in this case the maximum is only theoretical, because most of the movie is dark.
00:02:13 – I have an OLED TV and watching Arrival was like putting up a grey pattern, in the sense
00:02:18 – that it showed all the flaws of my TV's panel.
00:02:22 – Let me show you how the brightness waveform looks like as I quickly scroll through 30
00:02:27 – minutes of the movie.
00:02:29 – As you can see, most scenes are below a hundred nits.
00:02:33 – As we previously discussed this is normal since HDR should mostly be used for highlights.
00:02:39 – What is unusual however is that even the highlights, such as the sun or bright lights, often do
00:02:45 – not go much above a hundred nits.
00:02:47 – Also, there are many scenes where the brightness is below ten nits, and some where it's even
00:02:53 – one or two nits.
00:02:54 – Well it's a lot more than that, you cheeky b******.
00:02:56 – Don't you see, they can't see, to follow our algebra.
00:03:02 – Here are a few more scenes.
00:03:04 – All the interior shots are quite dark, especially when they are inside tents.
00:03:09 – But during most of the movie even the exterior shots either happen during the night, or they
00:03:14 – are color graded to appear at dusk or dawn.
00:03:18 – This scene happens at night and most of the shot is below one nit.
00:03:22 – But pay close attention to the lights as well.
00:03:25 – Normally when I shoot timelapses for this channel, these types of lights would have
00:03:29 – a brightness far exceeding 200 nits.
00:03:32 – So this choice to tone down the lights was made by the director and the colorist during
00:03:36 – post-production.
00:03:38 – I added a link to an interview with the colorist of this movie in the description.
00:03:43 – If you read it you will see that the look of the movie was a deliberate artistic choice
00:03:47 – of the director.
00:03:49 – Here's another shot that happens outside.
00:03:52 – Look at the sky above the tree line.
00:03:54 – You can tell that the brightness of the sky was substantially lowered on purpose.
00:03:59 – While the movie starts out very dark it gets brighter towards the end.
00:04:04 – As humanity gets more enlightened, so does the brightness of the movie.
00:04:08 – The scene you are watching right now shows a transition between dark and bright, between
00:04:12 – shots on Earth which are dark, and shots inside the alien ship, which get brighter as Louise
00:04:18 – gets closer to finding out why the aliens have arrived.
00:04:22 – Even so, I haven't found many scenes that go above 500 nits, which means even the brightest
00:04:28 – scenes are still at about half of the maximum brightness this disk is mastered at.
00:04:34 – If you thought the Star Trek Beyond disk was controversial, you should check out the heated
00:04:38 – debate in the Blu-Ray.com forums about this movie.
00:04:42 – The problem with dark HDR movies is that when the TVs are in HDR mode there is almost no
00:04:48 – control over the brightness, as each scene is defined in exact nits, as opposed to SDR
00:04:53 – movies where the brightness can easily be adjusted.
00:04:56 – So, let us know in the comments if you think this movie is too dark, or if we should just
00:05:02 – accept the choices made by the director.
00:05:04 – Also, I'm curious to see if you still think it's worth getting this as a 4K Blu-Ray instead
00:05:10 – of a cheaper 1080p disk.