Discussion in 'Videocards - NVIDIA GeForce Drivers Section' started by diy371, Sep 14, 2023.
Wow your planet must be orbiting a different star then?
seems to be an actual thing
Typical sun color temperature depends on the latitude you're on because it is determined by the angle at which the sun is seen through the atmosphere.
US and China are mostly situated on the same latitudes in the northern hemisphere thus the typical sun color temp is similar for them.
Europe is more to the north so for EU it may be a bit different but not excessively so.
When I point my spectrophotometer to the sun at 12:00 during the middle of summer in Europe, ~2000 kilometers south of Grinwich/London, I measure it pretty close to 6500K (only a little bit higher but this is not a lab-grade instrument and certainly not a long-term average or a "perfectly" clear sky, just a few data points).
However... the real "paper white" of movies/shows isn't set in stone to be D65 during color grading. You are supposed to use a mastering display with D65 white point and export for publishing with D65 as metadata (at least for TV/DB/similar; DCI cinema targets could be slightly different, or very different if you are doing your own thing for private rooms and custom productions for closed screenings but that's not really relevant here...). And you are encouraged to start processing the RAW content by auto-matching to the actual light seen by the camera (whether artificial, natural or a combination of these) by using shots of special colored tiles (which includes a neutral white patch among others), however, this step is often skipped in practice for the reason described in the next step (well, actually, some production studios have absolutely no idea how to set up their crazy expensive equipment beyond empirical "trial and error" to begin with but you can't account for random things like that in general). BUT! After that "you" (plural = the relevant members of the production team) do pretty much whatever the hell you want during color grading. You are absolutely free to shift a mid-day, mid-summer EU shot by +/-5000K if you want (turn it up or down scene-by-scene, increase or decrease saturation, or 99% replace all colors to match a target color palette, etc, whatever you can imagine, it's 100% art, 0% science at that point if you want that). It's up to you how you want your final product to look and feel. It doesn't have to be and it's rarely aimed to be neutral/natural (just think about movies like Sin City or even The Matrix). The bottom line here is that regardless of whatever the hell you used during production, what actually matters is what you wish to be seen by the audience.
A local Japan TV station can still use master monitors set to D65, and the viewer at home can use a TV set to D65, yet the content can appear bluish/cold as hell (by EU/US standards). It just works. This is very simple to achieve during color grading (something that can be easily applied to real-time broadcasting/streaming content with little effort and virtually no extra cost).
So, the takeaway is: you should always set the display to D65 (for Rec709 and Rec2020 content, that is...), no matter where you live. If you set your TV to ~9K then you will end up watching your local Japanese TV station in extremely bluish because it was made to look bluish on standard geolocation-agnostic hardware by the TV station to begin with during production, using D65 calibrated master displays (it's made to look bluish for you on your D65 display - if the channel wants that).
Of course, this is a bit different for games because a game developer in Montreal won't apply color grading based on geolocation info collected by the consumer device (this could theoretically be done but it would face many unexpected challenges in practice and much more importantly, nobody will actually care for such nuances...).
However, if you keep your display set to D65 at all times, you are still experiencing what the content creator intended to show you. When you are playing a game developed by a Montreal-based studio, you are still experiencing the content in your Tokyo-based apartment the same exact way the developer intended.
Yes, at the bottom line, you are free to modify it the way you want (you can be your own colorist and boost the saturation to high smoking heavens or make Night City look like Sin City, it's your funeral... FreeStyle and everything... you got it, you have ReShade, go knock yourself out...). But that only boils down to your personal preference and you are in fact overriding the intentions of the game developers rather than scientifically correcting their materials based on geolocation and biology.
Actually, biology solves all this very easily and almost seamlessly without artificial intervention. Our eyes can adapt to pretty much any reasonable white balance shift. You can StarTrek-style teleport from Tokyo to New York (this can sort of happen if you sleep through the entire airplane flight, say by placing some Xanax under your tongue at the airport) and your eyes will adapt in mere minutes after you leave the next airport (and it's artificial lighting).
This, of course, works for switching white points on a display as well. You get used to it after some use. You can adapt to 10000K WP in Egypt if you want. The problem is, that this will also shift the perceived hue/saturation of other colors as well. So, when a colorist made sure the Mc'Donalds logo has the reference, official colors of Mc'Donalds (this is an actual thing they do contractually if they want to get paid for product placement) while using a D65 calibrated display, the McDonalds logo will now look different on your display (not like the actual Mc'Donalds logo).
See where I am trying to get with this...? (Basically, the standards are great, just use them. No, there are no exceptions for regular consumers. No need for adjustments based on geolocation. Only personal preferences can override your experience and that's optional to implement, actually completely free from science/technology/geolocation/biology...)
But let me try this in a TL;DR style:
Do you see Japanese people in mass walking around in the USA wearing color-tinted glasses (disregarding generic sunglasses)? No? How about Americans walking on Japanese streets? Do they wear color-tinted glasses? No? Then don't apply a digital "color-tinted glass" effect to your display. Simple enough, isn't it?
There is a funny thing though. Standard D65 looks a bit different across display technologies because the standard observer is not perfect and also FOV-dependent. However, that's just a few hundred K max (usually a few clicks when you are adjusting R,G,B Gain controls on a display to match a reference CRT/PDP instead of using your spectrophotometer). But believe me, even this small metameric failure can drive a professional colorist crazy. Then you want to put one or two magnitudes higher offset on your display.
The scenery between us in China is about 8000K to 9500K throughout the year (Ref: https://www.wonderful-lighting.com/led-color-temperature/ ). So when we look at a D65 monitor, our eyes will take some time to adapt. And when we finish our work, our eyes will adapt again to the environment because the environment is ~9K. This should be the reason why the TV Station is based on 9300K. Otherwise we will feel yellow and then blue when we look at and off the monitor.
Maybe it is related to the scenery color temperature, not the sun. However, it is true that our TV station use 9300K for production. It is also true that people around me use monitors with higher color temperature, and also prefer them.
Color temperature depends on the sun color and not the scenery (which also tends to be the same for the majority of the Earth btw).
The choice of what temp to use for mastering is a purely subjective artistic one which has nothing to do with the outside colors.
It also doesn't take the eye to adjust to anything because colors are just that - colors. Some prefer them to be warmer, some - cooler.
This actually turned out to be a Chrome bug, they turned on a feature that is driver version locked for 545 and later in 117+ that doesn't work properly yet.
If there's a new dev driver with the latest canary id appreciate it. 550.09 been solid for me.
Just installed this yesterday and very satisfied with this one.
Very clear image and very smooth gameplay.
For me the best driver in a long time so keepers for now.
Looks like the latest dev build only installs 528.24 via windows update.
I have them instaled since they were posted here on 3 pcs no need for update for now couse they work perfectly.