My discussion here is limited to a single black and white channel. This may be helpful if working in an 8-bit file. Messages: 81 Likes Received: 0 GPU: First is the original 14-bit RAW, which is about 6.5 stops underexposed. Be sure to enable/disable dithering in the gradient toolbar as best for your testing. Dont believe me? Most likely, you have a monitor with an sRGB color gamut. Be sure that you arent seeing false banding due to the way Photoshop manages layered files. Am i right? Assuming your applications are 64-bit you could go up to 16 . At first i let the option "use default color settings" as i did when i played on SDR but it looks bad really bad. ( this is why i told you use Nvidia Experience , until user know better ). Output color depth 8 bpc 10 bpc 12 bpc I can only use 8 bpc with 4:4:4 chroma. Hi, But if you process in color, you probably have a little more wiggle room. and doubts there monitor and vga with 48-bit support output color? A single bit isnt really good for anything beyond yes or no because it can only have 2 values. CO was not as good as LR at -5 and nearly unusable at -6ev, while the LR result was surprisingly usable at -6ev. Ultimately, I find that at ISO 64 with a Nikon D850: As I generally try to avoid more than 3 stops of shadow recovery due to noise, the color cast due to 12-bit files is rarely going to be an issue in my work. Click the Compatibility tab and then select the Run in 256 colors check box. im trying to configure the Jetson Xavier NX to use 30 bit color depth video output from DP (HDMI same behavior). Nvidia Control Panel Color Setting Guide for Gaming . There arent that many situations where you would encounter a perfect gradient. So, for my purposes, a 10-bit gradient is visually identical to 14-bits or more. Thus, "10 bpc" should be expected under the AMD CCC color depth setting. A 4-stop change in exposure is on the order of losing a little over 4 bits. they are still better than 8 bit panels though iirc. For displays, the terminology changes. The benefits of 16-bits are largely in the ability to manipulate the image without causing issues. Check out my gear on Kit: https://kit.co/fadder8In this video we discuss what color depth is, and what the benefits of having 10-bit color over 8-bit color. Youve already seen a theoretical example with the low-bit gradients above. Xorg does not support this format. And opening a 12-bit file as 16-bits is really no different than opening an 8-bit JPG and then converting to 16-bits. So bit-depth determines the smallest changes you can make, relative to some range of values. ). Note that the image above is a black and white image. Powered by Discourse, best viewed with JavaScript enabled, https://docs.nvidia.com/jetson/archives/r34.1/DeveloperGuide/text/SD/WindowingSystems/XWindowSystem.html#setting-color-bit-depth. You can email the site owner to let them know you were blocked. Is there a reason why dont use Nvidia Experience , untill you know better then Nvidia. Subsequent edits on 8-bit images will not degrade as badly if that math is performed in a 16-bit mode. There is of course noise in the image, but this is actually a printable file (though certainly not ideal). So how can i configure the Jetson? Noise is a very good example of this discrepancy. HDMI 2.0 doesn't have the bandwidth to do RGB at 10-bit color , so I think Windows overrides the Nvidia display control panel. ( its a help to new user in all the settings thats all. And our cameras often offer 12 vs 14-bit files (though you might get 16-bit with a medium format camera). Should you worry about this loss of 1 bit? In other words, 24-bits (aka True Color) for a monitor isnt super impressive, it actually means the same thing as 8-bits for Photoshop. Note: This is ONLY to be used to report spam, advertising, and problematic (harassment, fighting, or rude) posts. So the maximum bpp for Jetsons is 24 . Can you write me please how can i configure A2R10G10B10 color format? . That said, using 16-bit capture should give you at least an extra bit in Photoshop and may be beneficial. If your print lab accepts 16-bit formats (TIFF, PSD, JPEG2000), thats probably the way to go but ask your vendor what they recommend if you are unsure. * If you purchase something from our affiliate links will get a small commission with no extra cost to you. It still says 8-bit when we're clearly in HDR mode (both the TV and Windows report mode change, and Youtube HDR videos are noticeably improved). 12-bit files are a very reasonable option. (I have not posted the Capture One results here, but both are worse, with the 12-bit file being truly terrible for this extreme underexposure.). For several reasons: Based on the discussion above, it should be clear that 8-bits is not enough. If your source file is only available in 8-bits (such as a stock JPG), you should immediately convert the layered working document to 16-bits. I dont know if Lightroom uses 15+1 or true 16-bit math internally, but I suspect the latter. Photoshop offers 8, 16, and 32-bit file formats. Defining a range with a bunch of unused (imaginary) colors is wasteful/inefficient and causes larger jumps over the range of image values we care about. It is possible to see banding immediately in 8-bits. What does it all mean, and what really matters? If you can afford it, a 10-bit display is ideal if you arent on a budget. To test the limits for my Nikon D850, I shot a series of exposures bracketed at 1 stop intervals using both 12 and 14-bit RAW capture with my D850 at base ISO under controlled lighting. I would almost certainly miss it if I werent looking for it. obsidian spaced repetition vs anki. I then manually corrected the image the best I could, but there were no white balance settings which looked fully correct nor matched the 14-bit file. but there is a lot more to a panel than how many bits it can receive. But Im not a big fan of speculating, so Ive done a lot of testing. You can only run this kind of format through the DRM framework. Thanks. So Id suggest an extra 4-5 bits over the limits of visible banding to be safe. The human eye is more sensitive to shadows, and a logarithmic curve is applied to the RAW sensor data (not to TIF or other files after RAW conversion). Even if portions of your shadows are this underexposed, I cant see a scenario where you would fully correct them to a middle gray. Camera companies can claim any bit depth they want, it does not mean that you are getting better quality. But most importantly, there are huge benefits to using a file format with a few extra bits (as well discuss later). If I select any of the other 3 "YCbCr" options, then Output Color Depth allows 8bpc, 10bpc & 12bpc. But if we have enough bits, we have enough gray values to make what appears to be a perfectly smooth gradient from black to white. sites without cvv; ultimate iptv playlist loader pro apk cracked; is service charge mandatory in india 2022; the final . I tried to configure to 32 bit RGB with: Always save your working (layered) files in 16-bits. Bit depth is one of those terms weve all run into, but very few photographers truly understand. Why do we have options for even more than 10-bits in our cameras and Photoshop? When you combine 3 bits, you can have eight possible values (000, 001, 010, 011, 100, 101, 110, and 111). So 8-bit = 28 = 256 possible integer values. Never shoot JPG if you can avoid it. For my D850, a 14-bit RAW file is roughly 30% larger than a 12-bit one, so thats an important consideration. The result is that the bits used for shadows are lower quality (see this DPReview article for an in-depth discussion of the topic). so 10 bit > 8 bit (+frc) > 8 bit. A better option would be 30-48 bits (aka Deep Color), which is 10-16 bits/channel -with anything over 10 bits/channel being overkill for display in my opinion. Cr4zy 7 mo. HDR10 could have signal values below 64 as black (or blacker than black) whereas SDR-8 would have the same blacker than black value as 16 or under. Anything else with detail makes it MUCH harder to see the difference in bit depth. Photoshop does actually use 16-bits per channel. Lightroom was unable to get a proper white balance from the gray card, there is simply too much color noise at the pixel level in this file. Remember that most issues with 8-bits are caused by making changes to 8-bit data, not the initial conversion. smaximz June 2, 2022, 3:25pm #1. A typical real-world example would be various bands showing up in the clear blue sky or excess noise. But be aware that you may potentially see some banding due to an 8-bit display that is not truly in the image. I tried to find how to update xorg.conf file mannually and no luck here either. Depending on the quality of your monitor, you can probably only display differences up to 8-10 bits. If we manipulate the photograph enough, this will start to show up as banding in the image. Aside from P3 monitors, there are printers commercially available which exceed the AdobeRGB gamut as well (particularly in the cyans). "It's also important to note that the panel used on this monitor is a true 8-bit panel and does not support higher bit depths, using dithering or otherwise. To give a little more detail on my methods, I created an image that is 16,384 pixels wide which allows me exactly 1 pixel for every value in a 14-bit gradient. Using dithering will often reduce the appearance of banding if your bands are close to 1 pixel wide (ie, dithering wont hide bands in documents above a certain resolution; a Nikon D850 file is almost twice as wide as you would need to display every value in a 12-bit gradient). This gives me more latitude to deal with extreme scenes or work with files that I may accidentally underexpose. The 'Black Level' option on the monitor, if there is one, should be greyed out after selecting this colour signal type. Showing 1 - 12 of 12 comments. No, not at all (15-bits is plenty, as well discuss below). Thus an 8-bit color depth panel has 2 to the power of 8 values per color: that's 256 gradations or versions each of red, blue, and green. More color depth feature may be implemented on TX2 or AGX Xavier. Please refer to our drm sample first. Why does Adobe do this? Please use desktop GPU if you need the mode. Furthermore, RAW processing software matters, so I also tried processing the same images in Capture One (testing auto, Film Standard, and Linear curves for the D850). I dont have a 16-bit camera to test. If you process for fine art black and white, then these numbers apply directly to you. As we discussed above, sometimes the choice of bit depth doesnt matter right away, but later in the process. For Nano, I believe it is 8.Although TX1 TRM may specify more possibilities, our sw driver only support 8. Worth testing your camera to see if you can use a lesser setting to save on file size. A 9-bit gradient is extremely faint (barely detectable) on both displays. I wouldnt worry about it if you are using a 16-bit working space (you definitely do not want to throw away any bits if you are using an 8-bit working space, but you should never use 8-bits anyhow). nvidia-xconfog -depth=32 This next variant is the processed 12-bit image. However, gamut is another consideration. 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