As the AV world tries to get a handle on Dolby Vision and HDR10, the imminent arrival of yet another HDR format – one that’s designed to beat Dolby Vision at its own game – has been largely overlooked.
This format is HDR10+ and it’s the creation of Samsung, which sells more TVs around the world than any other brand.
But is this new HDR format a cause for celebration or consternation? On one hand, it muddies the already-confusing TV-spec waters but, on the other, HDR10+ looks and sounds great.
What is HDR10+?
Like Dolby Vision, HDR10+ is all about adding dynamic metadata to the HDR signal.
Standard HDR10 uses static metadata, which means the boundaries of brightness are set at the start of a film or show and don’t budge for the duration.
These boundaries have to be broad enough to display every scene of the film – essentially, the TV’s 1.07 billion colours are spread evenly across that entire brightness spectrum, which means that if a scene contains only bright or only dark elements, only a portion of those colours are available for it. This can result in dark scenes looking a bit dim and bright scenes losing detail.
With dynamic metadata, those brightness boundaries can be set and changed on a frame-by-frame basis, so the full colour range can be deployed even in scenes that contain only dark or only light elements. The result, in theory, is subtler gradients and therefore more detail.
We’ve already seen this in action with Dolby Vision. The Power Rangers 4K Blu-ray is noticeably improved in Dolby Vision when compared to HDR10, particularly in regard to bright lights in otherwise dark scenes and subtle details in bright areas of an image. In short, it’s a more exciting, enticing and nuanced picture
How is HDR10+ different to Dolby Vision?
At their core, HDR10+ and Dolby Vision are similar – they both use dynamic metadata to tweak a TV’s performance to get the most out of every frame – but there are key differences.
For a start, while TV manufacturers and studios have to pay Dolby to license Dolby Vision, and therefore have little control over its development and implementation, HDR10+ is a free, open format that any company, including Samsung’s rivals, can tweak and deploy as it sees fit.
This should make it appealing to those who don’t want to pay a fee or hand over control of the process in order to introduce support for dynamic metadata.
Similarly, Samsung claims because the TV manufacturers have more control when it comes to HDR10+, they can more effectively tailor it for different models in their ranges.
According to Samsung, mid-range TVs will benefit most from the addition of HDR10+ because the format will allow them to adapt the image to models with a more limited brightness spectrum to suit their abilities.
On the other hand, as a layer of dynamic metadata for HDR10, HDR10+ carries over the limitation to 10-bit colour depth. Dolby Vision goes up to 12-bits, making it capable of reproducing billions more colours.
With 12-bit TVs still the stuff of fantasy, this isn’t a big deal yet - but when they do finally become reality this could be a big differentiator. Of course, there’s every chance that new, open formats (HDR12 and HDR12+, perhaps?) will also arrive at that point.
More after the break
Is HDR10+ actually any good?
HDR10+ is not yet available at home, so we’ve been unable to conduct our own tests of the format, but we've seen the tech as presented to us by Samsung. While demos such as this can’t be relied upon to draw firm conclusions, they’re certainly enough to get us excited.
Next to a standard HDR10 image, HDR10+ is punchier and more dynamic - but, importantly, doesn’t alter the fundamental character of the picture. The whitest elements and brightest colours look brighter, while the blackest areas become more pronounced. But nothing becomes overblown or unrealistic.
In fact, in many areas there’s greater nuance and detail – bright skies that are over-saturated in HDR10 reveal subtle gradations of colour and thin, light-grey clouds in HDR10+.
In short, the result isn’t just more dynamism, it’s a more detailed, more solid and more three-dimensional image that draws you in more effectively.
These are exactly the type of improvements we expect to come from the introduction of dynamic metadata, and the fact HDR10+ offers improvements over HDR10 isn’t much of a surprise.
The more interesting question is how it compares to Dolby Vision - though at this point, there’s no way for us to test that.
How can you get HDR10+?
There is currently no way to get HDR10+ at home. All of Samsung’s 2017 HDR TVs have a picture-processing engine that supports HDR10+, but a firmware update will be needed to activate the feature.
Panasonic is on board too, with its higher-end 2017 sets (the EZ1002, EZ952, and EX750) all due a firmware upgrade to add HDR10+ in the future. Along with Samsung and 20th Century Fox, Panasonic is one of the three founding members of the HDR10+ Alliance.
Fox’s involvement means a content producer is already committed to the format. And while Amazon isn’t yet part of the HDR10+ Alliance, it has confirmed it will support the format on its Prime Video service alongside Dolby Vision and HDR10.
But as yet there are no specific dates for these firmware updates, new TVs, sources or content. We’re expecting that to change at CES in January 2018.
Will more manufacturers adopt HDR10+?
“We are on schedule to integrate HDR10+ into all 2018 Philips TVs with HDR” says Danny Tack, director of strategy and planning at TP Vision.
However, the official line is Philips TV support for HDR10+ and Dolby Vision “remains under internal review”. Confusing, but we’d wager Philips comes out in support of at least one of the formats in January.
Beyond that there’s not much to go on. We expect the fee-free nature of HDR10+ to make it a no-brainer for many manufacturers, but would LG even consider supporting a format created by its arch-rivals? Despite LG being the champion of broad HDR format support until now, that seems unlikely.
While it would be easier if there were just one format, there’s nothing stopping TV manufacturers and content producers from supporting both. Those that do will almost certainly have an advantage, unless one format manages to kill the other.
Things should become a bit clearer in January – stay tuned for updates.