that XDR monitor has major dimming issues that prevent it from coming even close to full HDR Grade 1 reference monitor standards for any major service. but would allow seeing the image within the brightness range of the Retina monitors. ![]() Technically, HDR starts at around (roughly) 1,000 nits. which is stuff that is running above 100 nits (SDR) but not above 500 nits. This is primarily a tool it seems for editing "extended dynamic range media" on Retina monitors. "EDR" is the option to turn on Extended Dynamic Range monitoring. ![]() "DCM" is the option to enable Display Color Management. It won't replace an HDR reference monitor, but it's a step up from having only an SDR monitor for HDR content. It's useful for EDR, but not for full-range HDR, which is > 500 nits. (This is for iMac Pro, not Apple XDR monitor.) Though it still seems odd the Extended Dynamic Range monitoring option wasn't an "announced" addition to Premiere.ĭCM+EDR mode shows content up to peak display such as iMac Pro. And it seems Adobe is trying to get around the Mac OS/ColorSync and monitor issues. So for Retina monitors using the Display-P3 setting, the brightness of the monitor is way past what any expectation from working within Rec.709 standards would put it. Which is sRGB primaries, Rec.709 (both camera and display transform functions), gamma 2.4, and 100 nits brightness.) (Yea, that's a mis-application of nearly every part of the Bt.(Rec.709) standard. ![]() and is assumed to be on a 500 nit screen. So, their SDR monitor comes with P3 primaries, applies only the camera transform function of the Bt.(Rec)709 standard and not the required accompanying display transform function, uses a different and unique gamma. I've been trying to find documentation for the assumed nit level for the Apple Display-P3 color space, and that is apparently. which listed it as "SDR Bt.709 (500 nits)". One of the things I saw in a review of the new Mac XDR monitor was the data line for the Bt.709 setting in the OS for that monitor. CONCLUSION: We suggest that the optimal definition of daytime and night-time blood pressure is provided by the narrow clock-time-dependent method, in which data from morning and evening transition periods are excluded, because it is simple, reasonably accurate and reproducible and can be applied without disruption of the living habits of most subjects.That has been added in an attempt to work with the Mac Retina monitors primarily, it seems. Reproducibilities of the various methods are roughly similar. The results from fixed-time methods deviate from the awake and asleep blood pressures whens the predefined times do not coincide with the times subjects go to bed and arise this is less of a problem for the narrow methods, in which data from morning and evening transition periods are discarded, than it is for the rigid time schedules of the wide methods. Wide (square-wave fitting) and narrow (cumulative-sum analysis) clock-time-independent methods perform well with most subjects, but are problematic with reverse dippers because they identify periods of high and low blood pressure in these subjects that do not coincide with the day and the night. RESULTS: The asleep and awake blood pressures, mostly defined as the in-bed and out-of-bed blood pressures, can be considered the optimum standard. METHODS: The methods can be divided into clock-time-independent and clock-time-dependent methods and, in addition, into wide methods, which use all pressure measurements for the entire 24 h period, and narrow methods, which exclude some of the measurements. ![]() OBJECTIVE: To review and categorize methods to define daytime and night-time blood pressures and to propose an optimal definition.
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