Panasonic goes step further with 4K Pro
The Ultra HD resolution is more than just pixel count little, so they also realize at Panasonic. The 4K Pro technology to improve an image with ultra-high resolution and Ultra HD so bring a new level.
Panasonic goes step further with 4K Pro
Panasonic 4K is more than just counting pixels and therefore comes with the term "4K Pro ', which should go a step further by using various image enhancement techniques than just a 3840 x 2160 resolution.
The Ultra HD Resolution is enhanced by various techniques: 4K Studiomaster Processor This chipset should provide a better processing of the images. Panasonic did before relying on his professional AV company Panasonic Hollywood Laboratory and plasma division. Better color, contrast and brightness should be the result. This new processor will also native High Dynamic Range images can support.
Accurate Colour Drive The name says it all: this technique should provide true colors. Through a 3D Lookup Table 'colors are more or less connected to each other and makes a change from one color input also for a change in the other output colors. In other words, the television operates more in hues and should thereby provide a more accurate and natural result of different levels of brightness.
Black Gradation Drive : This causes the backlight control and the 'gain' of the screen within the same processing system get trapped. This allows the light distribution to be better and be more visible detail in the shadows.
Wide Colour Phosphor screens : These new screens are specifically tailored to the 4K Studiomaster Processor and must display more colors go as you see them in the cinema. Nice touch: These screens are very economical and use about half the electricity used by a traditional Quantum Dot-screen to get the same brightness levels.
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Now that 'Mad Men' has changed the TV landscape, what does it all mean?
High school AP classes may be churning out theories about the green light at the end of Daisy's pier or Andy Warhol's tomato soup cans, but the most popularly deconstructed symbol in and of American culture these days is "Mad Men's" falling guy.
As AMC's first scripted drama heads toward its May 17 finale, critics, bloggers and fans have been hotly debating the meaning and relevance of its opening credits, in which a black silhouette of a man slowly falls through an ad-laden cityscape. When the series premiered in 2007, some expressed concern over the possible evocation of 9/11; now many wonder if it foreshadows Don Draper's (Jon Hamm) suicide by defenestration. Or is it evocative of a more spiritual/emotional descent, a suggestion of despair, enlightened surrender or the inability to control one's own life?
"Mad Men" has most certainly been about reinvention on a personal and cultural level. But will it turn out that all has been in vain? Has Don simply been falling through the years and all the changes they have wrought? Have we all?
If you think this is a bit much, a bit fevered and fraught for a television show, especially one that many feel is currently not quite up to the (extremely high) standards of earlier seasons, then you haven't been paying much attention — to "Mad Men" or to television in general.
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How TV's age of exploration put viewers in control
Here are a few things that did not exist in American television 10 years ago:
Binge-watching; recapping; scripted series on networks devoted to old movies, science and history; zombies; streaming services; popular series that end just because the story is done; film-franchise adjacency; shows that begin as miniseries and then continue indefinitely; multiplatform viewing; two concurrent versions of Sherlock Holmes; A-list film directors; television shows devoted to talking about television shows; live tweeting; micro-audiences; immediate remakes of British series; any remakes of European series; European series; subtitles; cord-cutting; horrific violence; series in which the cast stays the same but the story changes; series in which the title stays the same but the story and cast change; really good computer graphics; comedies more dark than funny; amazing international locations; an overabundance of stories characterizing the many ways in which television has changed in the past 10 years.
Here's the most important thing that did not exist in the television universe 10 years ago: ownership.
Technically, the citizens of these United States have always been the proprietors of the airwaves over which television was broadcast, but it didn't feel that way. We watched what the network executives offered us when they offered it. Good television was like good weather, fleet and ephemeral; you enjoyed it while it lasted. Maybe you watched it again in reruns while you were sick or sad or trying to get ahead on the ironing.
Sure, PBS geeks and HBO fans might buy the boxed sets of "Pride and Prejudice" or "The Sopranos," but for most people, television was something you did, not something you possessed.
Now, of course, TV is controllable, portable and permanent.
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