8-bit lcd panel colors brands

This is a list of notable 8-bit computer color palettes, and graphics, which were primarily manufactured from 1975 to 1985. Although some of them use RGB palettes, more commonly they have 4, 16 or more color palettes that are not bit nor level combinations of RGB primaries, but fixed ROM/circuitry colors selected by the manufacturer. Due to mixed-bit architectures, the n-bit distinction is not always a strict categorization. Another common mistake is the assumption that a color palette of a given computer is what it can display all at once. Resolution is also a crucial aspect when criticizing an 8-bit computer, as many offer different modes with different amounts of colors on screen, and different resolutions, with the intent of trading off resolution for color, and vice versa.

Systems with a 3-bit RGB palette use 1 bit for each of the red, green and blue color components. That is, each component is either "on" or "off" with no intermediate states. This results in an 8-color palette ((21)3 == 23 == 8) that have black, white, the three RGB primary colors red, green and blue and their correspondent complementary colors cyan, magenta and yellow as follows:

BBC Micro has 8 display modes, with resolutions like 640×256 (max. 2 colors), 320×256 (max. 4 colors) and 160×256 (max. 16 logical colors). No display modes have cell attribute clashes. The palette available has only 8 physical colors, plus a further 8 flashing colors (each being one of the eight non-flashing colors alternating with its physical complement every second), and the display modes can have 16, 4 or 2 simultaneous colors.

On the Sinclair QL two video modes were available, 256×256 pixels with 8 RGB colors and per-pixel flashing, or 512×256 pixels with four colors: black, red, green and white. The supported colors could be stippled in 2×2 blocks to simulate up to 256 colors, an effect which did not copy reliably on a TV, especially over an RF connection.

The 4-bit RGBI palette is similar to the 3-bit RGB palette but adds one bit for intensity. This allows each of the colors of the 3-bit palette to have a variant (on most machines dark or bright, but saturated or unsaturated was also possible) potentially giving a total of 23×2 == 16 colors. Some implementations had only 15 effective colors due to the "dark" and "bright" variations of black being displayed identically. Others generated a grey tone or a different color.

The ZX Spectrum (and compatible) computers use a variation of the 4-bit RGBI palette philosophy. This results in each of the colors of the 3-bit palette to have a basic and bright variant, with the exception of black. This was accomplished by having a maximum voltage level for the bright variant, and a lower voltage level for the basic variant. Due to this, black is the same in both variants.

The attribute byte associated with every 8×8 pixel cell comprises (from LSB to MSB): three bits for the background color; three bits for the foreground color; one bit for the bright variant for both, and one bit for the flashing effect (alternate foreground and background colors every 0.32 seconds). Thus the colors are not independently selectable as indices of a true palette (there are not color numbers 8 to 15, and the bright bit affects both colors within a cell). However, within a single set of 8 colors the BRG order of bits means that the colors appear in increasing order of brightness on a monochrome display.

The original IBM PC launched in 1981 features an Intel 8088 CPU which has 8-bit data bus technology, though internally the CPU has a fully 16-bit architecture. It was offered with a Monochrome Display Adapter (MDA) or a Color Graphics Adapter (CGA). The MDA is a text mode-only display adapter, without any graphic ability beyond using the built-in code page 437 character set (which includes half-block and line-drawing characters), and employed an original IBM green monochrome monitor; only black, green and intensified green could be seen on its screen.

The full standard RGBI palette is a variant of the 4-bit RGBI schema. Although the RGBI signals each have only two states, the CGA color monitor decodes them as if RGB signals had four levels. Darker colors are the basic RGB 2nd level signals except for brown, which is dark yellow with the level for the green component halved (1st level). Brighter colors are made by adding a uniform intensity one-level signal to every RGB signal of the dark ones, reaching the 3rd level (except dark gray which reaches only the 1st level), and in this case yellow is produced as if the brown were ordinary dark yellow.

The selection of a palette is a bit complex. There are two BIOS 320×200 CGA graphics modes: modes 4 and 5. Mode 4 has the composite color burst output enabled (in the Mode Control Register at I/O address 3D8H, bit 2 is cleared), and mode 5 has it disabled (the same bit 2 is set). Mode 5 is intended mainly for a monochrome composite video monitor, but because of a specific intentional feature of the CGA hardware, it also has a different palette for an RGBI color monitor. For mode 4, two palettes can be chosen: green/red/brown and cyan/magenta/white; the difference is the absence or presence of the blue signal in all three colors. (The palette is selected with bit 5 of the Color-Select Register at I/O address 3D9h, where the bit value 1 selects the cyan/magenta/white palette [a/k/a "palette #1" because it is the BIOS default] and 0 selects the green/red/brown palette [a/k/a "palette #2"]. This bit can be set using BIOS INT 10h function 0Bh, subfunction 1.) The palette for BIOS video mode 5 is always cyan/red/white: blue is always on, and red and green each are controlled directly by one of the two bits of the pixel color value. For each of these three palette options, a low or high intensity palette can be chosen with bit 4 of the aforementioned Color-Select Register: a value of 0 means low intensity and 1 means high intensity. (No BIOS call exists to switch between the two intensity modes.) The selected intensity setting simply controls the "I" output signal to the RGBI monitor for all colors in the palette. As a result, the green-red-brown palette appears as bright-green/bright-red/yellow when high intensity is selected. The combination of color-burst enable/disable selection, palette selection, and intensity selection yields a total of 6 different possible palettes for CGA 320×200 graphics.

The IBM PCjr features a "CGA Plus" video subsystem, consisting mainly of a 6845 CRTC and an LSI video chip known as the "Video Gate Array", that can show all 16 CGA colors simultaneously on screen in the extended low-res graphic modes. The near-compatible Tandy 1000 series features almost 100% PCjr-compatible video hardware implemented in a Tandy proprietary chip. This graphics adapter is better known by the name

colors in modes with fewer than 16 colors (including the plain CGA modes) and enabling color cycling effects in all modes. The PCjr also offers a graphics blink function which causes 8 colors to alternate between the low and high halves of the 16-color palette at the text blink rate. (A PCjr must be upgraded with a PCjr-specific internal 64 KB memory expansion card in order to use the latter two of these modes or any 80-column text mode. Tandy 1000 base models can use all video modes.)

For Thomson computers, a popular brand in France, the most common display modes are 320×200, with 8×1 attribute cells with 2 colors. Here the intensity byte affects saturation and not only brightness variations.

The Mattel Aquarius computer has only a text mode with 40×24 characters, which graphic mode is obtained from low resolution blocks, providing an 80×72 resolution. The color attribute area is also on this 40×24 characters area, and used from a pixel group of 2×3. The machine uses a TEA1002 graphic chip, with a fixed palette of 8 RGB colors with an intensity variation (reducing brightness and saturation of any given color)

Simulations of actual images on the Amstrad"s color monitor in each of the modes (160×200x16 colors; 320×200x4 colors and 640×200x2 colors) follows. A cheaper green monochrome display was also available from the manufacturer; in this case, the colors are viewed as a 16-tone green scale, as shown in the last simulated image, as it interprets the overall brightness of the full color signal, instead of only considering the green intensity as might, e.g., the Philips CM8833 line.

The number in parentheses means the primary ink number for the Locomotive BASIC PEN, PAPER and INK statements (that is, "(1)" means ink #1 defaults to this color). Inks can also have a secondary color number, meaning they flash between two colors. By default, ink #14 alternates between colors 1 and 24 (blue and bright yellow) and ink #15 alternates between colors 11 and 16 (cyan-blue and pink). In addition, the paper defaults to ink #0 and the pen to ink #1, meaning yellow text on a dark blue background.

The 8-bit RGB palettes (also known as 3-3-2 bit RGB) use 3 bits for each of the red and green color components, and 2 bits for the blue component, due to the lesser sensitivity of the common human eye to this primary color. This results in an 8×8×4 = 256-color palette as follows:

The Tiki 100 uses a 8-bit RGB palette (also described as 3-3-2 bit RGB), with 3 bits for each of the red and green color components, and 2 bits for the blue component.

It supports 3 different resolutions with 256, 512 or 1024 by 256 pixels and 16, 4, or 2 colors respectively (freely selectable from the full 256 color palette).

The Enterprise computer has five graphics modes: 40- and 80-column text modes, Lo-Res and Hi-Res bit mapped graphics, and attribute graphics. Bit mapped graphics modes allow selection between displays of 2, 4,16 or 256 colors (from a 3-3-2 bit RGB palette), but horizontal resolution decreases as color depth increases.

A 256-colour display has a maximum resolution of 80×256. The attribute graphics mode provides a 320×256 pixel resolution with 16 colors, selectable from a palette of 256.

Multiple pages can be displayed simultaneously on the screen, even if their graphics modes are different. Each page has its own palette, which allows more colors to be displayed onscreen simultaneously. The page height can be larger than the screen or the window it is displayed on. Each page is connected to a channel of the EXOS operating system, so it is possible to write on a hidden page.

On the MSX2 screen mode 8 is a high-resolution 256×212-pixel mode with an 8-bit color depth, giving a palette of 256 colors (Fixed RGB mode of the Yamaha V9938 video chip).

The MSX2 series features a Yamaha V9938 video chip, which manages a 9-bit RGB palette (512 colors in Paletted RGB mode) and has some extended graphic modes. Although its graphical capabilities are similar, or even better than of those of 16-bit personal computers, MSX2 and MSX2+ (see below) are pure 8-bit machines.

Screen modes 5 and 7 are high-resolution 256×212-pixel and 512×212-pixel modes, respectively, with a 16-color palette chosen from the available 512 colors. Each pixel can be any of the 16 selected colors.

The MSX2+ series (released in 1988) features a Yamaha V9958 video chip which manages a 15-bit RGB palette internally encoded in YJK (up to 19,268 different colors from the 32,768 theoretically possible)16-bit personal computers, MSX2 (see above) and MSX2+ are pure 8-bit machines. YJK color encoding can be viewed as a lossy compression technique; in the RGB to YJK conversion, the average red and green levels are preserved, but blue is subsampled. As a result of every four pixels sharing a chroma value, in mode 12 it is not possible to have vertical lines of a single color. This is only possible in modes 10 and 11 due to the additional 16-color direct palette. This can be used to mix 16 indexed colors with a rich colorful background, in what can be considered a primitive video overlay technique.

Screen modes 10 & 11 – 12,499 YJK colors plus a 16-color palette. In this mode, the YJK technique encodes 16 levels of luminance into the four LSBs of each pixel and 64 levels of chroma, from −32 to +31, shared across every four consecutive pixels and stored in the three higher bits of the four pixels. If the fifth bit of the pixel is set, then the lower four bits of the pixel points to an index in the 16-color palette; otherwise, they specify the YJK luminance level of the pixel.

Screen mode 12 is similar to modes 10 and 11, but uses five bits to encode 32 levels of luminance for every pixel, thus it does not use an additional palette and, with YJK encoding, 19,268 different colors can be displayed simultaneously with 8-bit color depth.

Fujitsu"s FM-77 AV 40, released in 1986, uses an 18-bit RGB palette. Any 64,000 out of 262,144 colors can be displayed simultaneously at the 320×200 resolution, or 8 out of 262,144 colors at the 640×400 resolution.

This section covers systems that generate color directly as composite video, closely related with display on analog CRT TVs. Many of the colors are non-standard and outside of RGB gamut, and would only display properly on NTSC hardware.

The early Atari 400 and 800 computers use a palette of 128 colors (a bit similar to the one used on the Atari 2600 console, and the Commodore 16 and Plus/4), using 4 bits for chrominance, and 3 for luminance. Screen modes may vary from 320×192 (384x240 with overscan) to 40×24, using 2 or 4 simultaneous colors, or 80×192 (96x240 with overscan) using 16 colors. After 2 years (late 1981) the CTIA graphics chip was replaced with the GTIA chip thus increasing the palette to 256 colors (CTIA and GTIA).

The ANTIC chip in the Atari 8-bit family computers (400, 800, XL and XE models) has an instruction set to run programs (called display list) which permits many more colors on the screen at once. There are a number of possible software-driven graphics modes.

For all the following computers from Commodore, the U and V coordinates for the composite video colors are always the cosine and the sine, respectively, of angles multiple of 22.5 degrees (i.e. a quarter of 90°), as the engineers were inspired by the NTSC color wheel, a radial way to figure out the U and V coordinates of points equidistant from the center of the chroma plane, the gray. Consumers in Europe (which uses PAL) considered the Commodore colors to be more "washed out" and less vivid than those provided by computers such as the ZX Spectrum.

In the 8-color high-res mode, every 8×8 pixels can have the background color (shared for the entire screen) or a free foreground color, both selectable among the first eight colors of the palette. In the 10-color multicolor mode, a single pixel of every 4×8 block (a character cell) may have any of four colors: the background color, the auxiliary color (both shared for the entire screen and selectable among the entire palette), the same color as the overscan border (also a shared color) or a free foreground color, both selectable among the first eight colors of the palette.

In the Multicolor 160×200, 16-color mode, every cell of 4×8, 2:1 aspect ratio pixels can have one of four colors: one shared with the entire screen, the two background and foreground colors of the corresponding text mode character, and one more color also stored in the color RAM area, all of them freely selectable among the entire palette.

In the High Resolution 320×200, 16-color mode, every cell of 8×8 pixels can have one of the two background and foreground colors of the correspondent text mode character, both freely selectable among the entire palette.

The MOS Technology TED was used in the Commodore 16 and Commodore Plus/4. It has a palette of 121 YPbPr composite video colorsRGB converted colors at a saturation level of 34%).

In the Multicolor 160×200, 121-color mode, every cell of 4×8, 2:1 aspect ratio pixels can have one of four colors: two shared with the entire screen and the two background and foreground colors of the correspondent text mode character, all of them freely selectable among the entire 121-color palette (hue 0 to 15 and luminance 0 to 7 are set individually for any of them).

In the High Resolution 320×200, 121-color mode, every cell of 8×8 pixels can have one of the two background and foreground colors of the corresponding text mode character, both freely selectable among the entire 121-color palette (again setting both the hue and the luminance).

The MSX series has two graphic modes. The MSX BASIC Screen 3 mode is a low-resolution mode with 15 colors, in which every pixel can be any of the 15 available colors.

Color is generated by the combination of three signals, Y with 6 possible levels, Pr and Pb with 3 possible levels, based on the YPbPr colorspace, and then converted for output into a NTSC analog signal:

The Tandy Color Computer 3 could display all of the modes of the Tandy Color Computer 1 and 2, except the Semigraphics modes, plus resolutions of 160, 256, 320, or 640 pixels wide by 192 to 225 lines from a palette of 64 colors. The 320 mode allowed 16 simultaneous colors, while the 640 mode allowed 4.

The 128 color master palette used by the SAM Coupé is produced via a unique method — it effectively contains 2 groups of 64 "RGB" colors of mildly different intensity, and ultimately derived from a 512 color space.

Two bits are used for each of Red, Green and Blue and give a similar result to a normal 6-bit RGB palette (as seen with the IBM EGA or Sega Master System); the seventh bit encodes for "brightness", which has a similar but more subtle effect to the Spectrum, increasing the output of all three channels by half the intensity of the lower bits of the main six (in this way, it does make a genuine 128 colors — rather than 127 colors with "two blacks" and only a 7-level grayscale). The layout of the byte that encodes each color is complicated and appears like a Spectrum color nybble transferred to a full byte"s width, and an extra RGB bit-triplet then prefixed to it, with the MSB left unused.

All 16 colors can be present in one screen. However, 4 can be present in one 4 x 8 cell in multicolor mode, and three of those colors must be shared. 2 colors can be present in every 8 x 8 cell in high resolution mode.

The color range of a computer is defined by the term color depth, which is the number of colors that the equipment can display, given its hardware. The most common normal color depths you"ll see are 8-bit (256 colors), 16-bit (65,536 colors), and 24-bit (16.7 million colors) modes. True color (or 24-bit color) is the most frequently used mode as computers have attained sufficient levels to work efficiently at this color depth.

LCD monitors struggle with color and speed. Color on an LCD has three layers of colored dots that make up the final pixel. To display a color, a current is applied to each color layer to generate the desired intensity that results in the final color. The problem is that to get the colors, the current must move the crystals on and off to the desired intensity levels. This transition from the on-to-off state is called the response time. For most screens, it rates around 8 to 12 milliseconds.

The problem with response time becomes apparent when LCD monitors display motion or video. With a high response time for transitions from off-to-on states, pixels that should have transitioned to the new color levels trail the signal and result in an effect called motion blurring. This phenomenon isn"t an issue if the monitor displays applications such as productivity software. However, with high-speed video and certain video games, it can be jarring.

Because consumers demanded faster screens, many manufacturers reduced the number of levels each color-pixel renders. This reduction in intensity levels allows the response times to drop and has the drawback of reducing the overall range of colors that the screens support.

Color depth was previously referred to by the total number of colors that the screen can render. When referring to LCD panels, the number of levels that each color can render is used instead.

High-speed LCD monitors typically reduce the number of bits for each color to 6 instead of the standard 8. This 6-bit color generates fewer colors than 8-bit, as we see when we do the math:

Why multiply groups of three? For computer displays, the RGB colorspace dominates. Which means that, for 8-bit color, the final image you see on the screen is a composite of one of 256 shades each of red, blue, and green.

There is another level of display that is used by professionals called a 10-bit display. In theory, it displays more than a billion colors, more than the human eye discerns.

Even though the graphics card renders upwards of a billion colors, the display"s color gamut—or range of colors it can display—is considerably less. Even the ultra-wide color gamut displays that support 10-bit color cannot render all the colors.

Professional displays often tout 10-bit color support. Once again, you have to look at the real color gamut of these displays. Most consumer displays don"t say how many they use. Instead, they tend to list the number of colors they support.

The amount of color matters to those that do professional work on graphics. For these people, the amount of color that displays on the screen is significant. The average consumer won"t need this level of color representation by their monitor. As a result, it probably doesn"t matter. People using their displays for video games or watching videos will likely not care about the number of colors rendered by the LCD but by the speed at which it can be displayed. As a result, it is best to determine your needs and base your purchase on those criteria.

1 - The first step is to determine whether a monitor has an 8-bit or 10-bit panel. We do so by verifying in the NVIDIA Control Panel whether the color depth can be set to anything other than 8-bit. If the control panel allows us to set it to 10-bit, we consider it 10-bit, even if it"s 8-bit+FRC.

2 - The second step is to take a photo of the screen in a dark room displaying our gradient image. The image is displayed through the NVIDIA "High Dynamic Range Display SDK" program. For 8-bit monitors, we display the image at 8-bit without any other process. However, for 10-bit panels, we first open the gradient image, then change the Tonemap Mode to "Linear", which is essentially a passthrough mode. Before taking the photo, we adjust the brightness so the brightest part of the image is at 100 cd/m² (on the right side of the second row). After taking the photo, it"s uploaded into Adobe Lightroom, where we apply a custom preset and crop the image to a 16:9 format.

To score the gradient, we run a batch file that divides the photo that we took into smaller sections. These sections are then presented to two testers, one at a time, who then determine whether there"s banding or not. Three points are awarded if there"s no banding, two points if unsure, and one point if there"s banding. These points are then tallied and translated into a score out of ten. If the testers" scores differ, a third tester is brought in to perform the test again. We deduct a point for an 8-bit panel, which means the highest score for an 8-bit monitor is 9.0. That said, an 8-bit monitor can still score higher than a 10-bit one, as some 10-bit monitors don"t handle gradients well, and some 8-bit ones are very good at it. We don"t make any distinction between 8-bit+FRC and native 10-bit since score according to how smooth the gradients look.

Well, to understand 8-bit and 10-bit panels we need to first look at what makes colours on a display panel. Many of you already know that colours on digital screens like the ones on our smartphones are made up of three primary colours – Red, Green and Blue or collectively, RGB.

Smartphones that have an 8-bit display panel can decode 28 hues of RGB, and those with a 10-bit panel can decode 210 hues of RGB. By decode, we mean process electrical signals that direct individual pixels to display a particular shade. Getting some basic math in here, we observe that 28 = 256, while 210 = 1024.

So an 8-bit panel displays 256 Red hues x 256 Green hues x 256 Blue hues, which totals to 16.7 million colours. Meanwhile, a 10-bit display shows you 1024 Red hues x 1024 Green hues x 1024 Blue hues, which totals to 1.07 Billion colours. 10-bit panels hence, offer support to showcase many more colours accurately than 8-bit panels; 64 times as many colours, to be precise.

Whether you can actually differentiate between an 8-bit and a 10-bit display is debatable. While brands may make it seem like the difference is as noticeable as day and night (like the video below), those who have used both an 8-bit and a 10-bit colour panel at the same time with phones in similar segments know that telling them apart is actually very difficult.

A 10-bit display panel is simply able to render more colour information, but that alone doesn’t guarantee a vivid viewing experience. In fact, it comprises a number of other factors, like whether the content you’re watching was shot in 10-bit. If a YouTube video you’re watching was created and published in 8-bit, a 10-bit panel will decode and show the same colours.

Here, it is important to understand that 10-bit colour panels only process more colours, and not produce them. Even if the content being watch is shot in 10-bit, there are other factors like good HDR processing and brightness levels that come into play. Perhaps the biggest aspect to consider here, however, is the size of your smartphone displays.

Probably not. Unless you actually know you’d require a 10-bit panel for professional use-cases in photography and videography, you probably will not be able to tell the difference between an 8-bit and 10-bit panel. Hence, I don’t think this factor alone should be a deal-breaker in your smartphone selection process.

That said, if you’re looking at a phone that is also good in all other aspects, and not compromising in any other area in exchange for offering you said 10-bit panel, there is no harm in going for it.

Even though the difference between the two of them doesn’t seem huge, there are some things a video editor can’t live without. In the past years, technology experienced a huge jump, and if 5 years ago we were limited to filming at 8-bit at most, some of the newest cameras can even provide 16-bit recordings.

While 10-bit reaches 1024 colors per channel, 8-bit will only reach 256 per channel. This means that 8-bit files will display 16.7 million colors, while 10-bit will display about 1.07 billion, which is a lot more! Then we get to 16-Bit that"s used in RED Cameras, which reaches 65,536 colors per channel, which totals to around 281 Trillion possible colors!

Think about it this way. Instead of having a flawless transition and seeing all the color variations on a 10-bit monitor, you will see the approximate colors on an 8-bit monitor, meaning that it won’t be as accurate. If you’re a professional, then you can’t be working on an 8-bit monitor, as you need to have the best color grading process, with the most accurate colors.

Now, something that’s very important about the color grading process, is the calibration of your monitor. It’s important that you see the colors correctly, as you may color grade a video or photo and then it shows much different on peoples mobiles, laptops and print.

It"s important to calibrate your monitor if you are color grading, editing photos, graphic design or anything to do with editing colors. Especially being a professional, you want the client or person viewing to see the correct colors you intended to show. If your monitor isn"t calibrated, then the colors aren"t going to be the same as what the other person is seeing. Especially if they have a calibrated iPhone or mobile.

When using LUTs it"s really important to have a calibrated monitor to see the correct colors that the creator intended. It"s as simple as that. So we highly recommend to calibrate your monitor if you have an external monitor.

If you"re a Filmmaker or Photographer, then you should 100% get a 10-Bit monitor. Most cameras shoot 10-Bit or higher now, especially Photography DSLR cameras averaging around 12-Bit. So why not experience the most potential out of your cameras colors? Using an 8-Bit monitor you will only be seeing around 5% at most of what the camera is producing.

A 10-bit monitor right now is the standard, as the 8-bit is getting old and we’re set to embrace the 12-bit monitors in the near future. When you make such an investment, you need to think about what the future will bring, and right now, 8-bit monitors are a little outdated.

When looking for monitors on the market, there are some leading brands right now with awesome monitors. Just make sure you find a true 10-bit monitor as there are many that claim 10-bit but they are actually 8-bit + FRC.

Also color checker cards are amazing on set, so the colorist can accurately sync up the white balance and colors in the color grading suite. You can find a few great color checker cards which are compatible with DaVinci Resolve below.

Get a 10-Bit monitor if you are a content creator and also want to appreciate viewing movies, series and everything in 10-Bit. Remember 8-Bit is only 16.7million colors while 10-Bit is 1.07billion!

The 2015 SUHD Samsung TV line up all have a new 10 bit panel verses a 8 bit panel. From a numbers perspective, this does not sound like a big increase. However, from a color shade or range you go from 16.7 million (8 bit) to over 1 BILLION (10 bit) shades of color. Later this year, another technology will be released called HDR or High Dynamic Range and the 10 bit panel will help produce "blacker" blacks and "whiter" whites.

TFT LCD PanelsOur TFT LCD Panels are easy to interface and availabe in SPI, parallel, RS232 interface option, our TFT can be used in 8 bit or 16 bit or 24 bit mode also with inbuild controller option.

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Backed by our years of industry experience, we are betrothed in presenting an excellent quality of 7 TFT With 8 Bit Interface. At our vendor’s end, this interface is manufactured using quality components and approved materials. Our engineers use latest technology that helps in developing a trendy module supporting vibrant colors and shades. Also, the offered interface is largely used for presentations, entertainment and information. In order to make this module durable, our professionals adhere to industry standards and norms.

We are one of the noteworthy enterprises engaged in offering superior quality 8 Bit-T LCD Module. This module is made available with 8Bit MCU interface. Also, the display is made available in 3.5, 7.5, 7, 10.4 sizes. The dot pitch and pixel rate of the displays differ according to the size and configurations. In addition, the pixel configuration is LQ vertical stripe. In order to develop such fine display, at our vendor’s end, engineers have used quality components and approved materials during fabrication.

We are counted amongst the recognized organization offering of premium quality 8 Bit-T LCD Module. This module delivers the accurate configuration of dot, size, dot pitch and dot Bias required for installing the circuit board. The color and LCD type may differ according to the circuit used. Clients can use the display for LCD type. This module supports heavy presentations, entertainment videos and information texts effortlessly.

When it comes to digital video production, we often see 8-bit, 10-bit or even 12-bit presenting the spec of image processing.  Sometimes you also find the numbers like 4:4:4, 4:2:2 and 4:2:0 on recording devices. What exactly do these numbers mean and how they affect the image quality and colors? We will answer all of your questions in this article.

In most RGB systems, there are 256 shades per color channel. If you know binary system well enough, this number 256 should sound very familiar to you. The number, 256, is 2 raised to the 8th power or the 8-bit color depth. This means that each of the RGB channels has 256 shades so there are 256x256x256 or 16,777,216 colors in total in this 8-bit RGB system.

An 8-bit color system is capable of producing over 16 million colors. This may look humungous, but when it compared to 10 bit, this is actually nothing. In a 10-bit system, you can produce 1024 x 1024 x 1024 = 1,073,741,824 colors which is 64 times of the colors of the 8-bit. What is more shocking is that a 12-bit system is able to produce a whopping 4096 x 4096 x 4096 = 68,719,476,736 colors!As a result, increasing the color depth will enable you to better represent your colors.

We often see numbers 4:4:4, 4:2:2 and 4:2:0 on recording devices and these are known as chroma subsampling. Have you ever wondered how does chroma subsampling affects the colors of the image? And what exactly do these numbers4:4:4, 4:2:2 and 4:2:0 mean?

Before we dive into chroma subsampling, let’s first talk about the image pixel.The image pixel is defined by luma and chrominance components. Without the chrominance components, the luma of each pixel produces a greyscale representation of the image.Also, study indicates that human eyes are more sensitive to light or luminance than colors.

Let’s take 4:4:4 for the example.The first 4 represents the number of pixels across we are subsampling.The second 4 means 4 colors yield in the first row of chroma sampling, and the third 4, again, means 4 colors yield in the second row of chroma sampling.Technically speaking, 4:4:4 represents each pixel has its’ own color value which includes all the chroma information, so it isn’t chroma subsampling.Now let’s take a look for 4:2:2.The second 2 means two chroma subsampling in the first row.And the third 2 means two chroma subsampling in the second row, too.Therefore, a 4:2:2 image only retains a half of the chroma samples that a 4:4:4 image does.As to 4:2:0, it indicates two chroma subsampling in the first row, and no chroma subsampling in the second row, so the pixels in the second row copy the same chroma value of the first row.As a result, a 4:2:0 image retains only a quarter of the color subsampling that a 4:4:4 image does.

By knowing the theory of chroma subsampling, audience should by now know why only the professional broadcast level video equipment is able to present a very high-quality image, and why they are expensive than the consumer digital cameras and mobile phones.Let’s take the example of Datavideo’s BC-100 Interchangeable Lens Video camera. The BC-100 is a broadcast level video camera designed for virtual studio. The camera is equipped with a 12-bit image processing sensor, capable of capturing a massive amount of color information and presenting the finest color differences.The rich colors and sharp image quality are not only for visual enjoyment but also essential properties for attainingclean and pure objects from background by employing chromakeying.With the advanced technique, you can easily chroma key the challenging objects such as a glass or hair, presenting the finest details combined with virtual background.Additionally, the High Dynamic Range (HDR) technique allows video camera to record the details of the bright and dark parts of the image in high contrast conditions, making images morereal as seen by the human eye.

LCD Monitor Course II, which kicks off this session, will address certain points one must know to choose the LCD monitor best-suited to one"s needs from the various models available. Part 1 will focus on color gamut. While wide color gamuts are the latest trend in LCD monitors, color gamut is a term that lends itself to misunderstanding. Our hope is that this session will help users better understand the color gamut of LCD monitors and better select, use, and adjust the products.

Note: Below is the translation from the Japanese of the ITmedia article "IT Media LCD Monitor Course II, Part 1" published on November 11, 2008. Copyright 2011 ITmedia Inc. All Rights Reserved.

A color gamut defines a more specific range of colors from the range of colors identifiable by the human eye (i.e., the visible spectrum). While color imaging devices include a wide range of devices, such as digital cameras, scanners, monitors, and printers, since the range of colors they can reproduce varies, the color gamut is established to make these differences clear and to reconcile the colors that can be used in common between devices.

Various methods are used to express (diagram) the color gamut, but the common method used for display products is the xy chromaticity diagram of the XYZ color system established by the International Commission on Illumination (CIE). In an xy chromaticity diagram, the colors of the visible range are represented using numerical figures and graphed as color coordinates. In the following xy chromaticity diagram, the area shaped like an upside-down "U" surrounded by dotted lines indicates the range of colors visible to human beings with the naked eye.

Various standards govern color gamuts. The three standards frequently cited in relation to personal computers are sRGB, Adobe RGB, and NTSC. The color gamut defined by each standard is depicted as a triangle on the xy chromaticity diagram. These triangles show the peak RGB coordinates connected by straight lines. A larger area inside a triangle is regarded to represent a standard capable of displaying more colors. For LCD monitors, this means that a product compatible with a color gamut associated with a larger triangle can reproduce a wider range of colors on screen.

This is a CIE XYZ color system xy chromaticity diagram. The areas enclosed in dotted lines represent the range of colors human beings can see with the naked eye. The ranges corresponding to the sRGB, Adobe RGB, and NTSC standards defining color gamuts appear as triangles connecting their RGB peak coordinates. The color gamut of an LCD monitor"s hardware can be indicated using similar triangles. An LCD monitor is not capable of reproduction (display) of colors outside its color gamut.

The standard color gamut for personal computers is the international sRGB standard prepared in 1998 by the International Electrotechnical Commission (IEC). sRGB has established a firm position as the standard in Windows environments. In most cases, products like LCD monitors, printers, digital cameras, and various applications are configured to reproduce the sRGB color gamut as accurately as possible. By ensuring that the devices and applications used in the input and output of image data are sRGB compatible, we can reduce discrepancies in color between input and output.

However, a look at the xy chromaticity diagram shows that the range of colors that can be expressed using sRGB is narrow. In particular, sRGB excludes the range of highly saturated colors. For this reason, as well as the fact that advances in devices such as digital cameras and printers have led to widespread use of devices capable of reproducing colors more vivid than those allowed under the sRGB standard, the Adobe RGB standard and its wider color gamut have recently drawn interest. Adobe RGB is characterized by a broader range than sRGB, particularly in the G domain—that is, by its ability to express more vivid greens.

Adobe RGB was defined in 1998 by Adobe Systems, maker of the well-known Photoshop series of photo-retouching software products. While not an international standard like sRGB, it has become— backed by the high market share of Adobe"s graphics applications—the de facto standard in professional color imaging environments and in the print and publishing industries. Growing numbers of LCD monitors can reproduce most of the Adobe RGB color gamut.

NTSC, the color-gamut standard for analog television, is a color gamut developed by the National Television Standards Committee of the United States. While the range of colors that can be depicted under the NTSC standard is close to that of Adobe RGB, its R and B values differ slightly. The sRGB color gamut covers about 72% of the NTSC gamut. While monitors capable of reproducing the NTSC color gamut are required in places like video production sites, this is less important for individual users or for applications involving still images. sRGB compatibility and the capacity to reproduce the Adobe RGB color gamut are key points of LCD monitors that handle still images.

The visual differences between Adobe RGB (photo at left) and sRGB (photo at right). Converting a photograph in the Adobe RGB color gamut to the sRGB domain results in the loss of highly saturated color data and loss of tonal subtleties (i.e., a susceptibility to color saturation and tone jumping). The Adobe RGB color gamut can reproduce more highly saturated colors than sRGB color. (Note that the actual colors displayed will vary with factors such as the monitor used to view them and the software environment. The sample photographs should be used for reference only.)

In general, the LCD monitors currently available for use with PCs have color gamuts capable of displaying nearly the entire sRGB gamut, thanks to the specifications for their LCD panels (and panel controls). However, given the rising demand mentioned above for reproducing color gamuts broader than sRGB, recent models have expanded the color gamuts of LCD monitors, with Adobe RGB serving as one target. But how is such expansion of LCD monitor color gamuts taking place?

Improvements in backlights account for a significant proportion of the technologies expanding the color gamuts of LCD monitors. There are two major approaches to doing this: one involves expanding the color gamut of cold cathodes, the mainstream backlight technology; the other involves RGB LED backlights.

On the subject of color-gamut expansion using cold cathodes, while strengthening the LCD panel"s color filter is a quick fix, this also lowers screen luminance by decreasing light transmissivity. Increasing the luminance of the cold cathode to counter this effect tends to shorten the life of the device and often results in lighting irregularities. Efforts to date have overcome these drawbacks to a large extent; many LCD monitors feature cold cathodes with wide color gamuts resulting from modification of their phosphors. This generates cost benefits as well, since it makes it possible to expand the color gamut without major changes in the existing structure.

Use of RGB LED backlights has increased relatively recently. These backlights make it possible to achieve higher levels of luminance and purity of color than cold cathodes. Despite certain disadvantages, including lower color stability (i.e., radiant-heat problems) than a cold cathode and difficulty in attaining a uniform white color across the entire screen, since it involves a mixture of RGB LEDs, these weaknesses have been resolved for the most part. RGB LED backlights cost more than cold-cathode backlights and are currently used in a fairly small proportion of LCD monitors. However, based on their efficacy in expanding color gamuts, the number of LCD monitors incorporating the technology will likely increase. This is also true for LCD televisions.

In passing, many LCD monitors that extol wide color gamuts promote the area ratios of specific color gamuts (i.e., triangles on the xy chromaticity diagram). Many of us have probably have seen indications of attributes such as Adobe RGB rates and NTSC rates in product catalogs.

However, these are only area ratios. Very few products include the entire Adobe RGB and NTSC color gamuts. Even if a monitor featured a 120% Adobe RGB ratio, it would remain impossible to determine the extent of the difference in RGB values between the LCD monitor"s color gamut and the Adobe RGB color gamut. Since such statements lend themselves to misinterpretation, it is important to avoid being confused by product specifications.

To eliminate problems involving labeled specifications, some manufacturers use the expression "coverage" in place of "area." Clearly, for example, an LCD monitor labeled as having Adobe RGB coverage of 95% can reproduce 95% of the Adobe RGB color gamut.

From the user"s perspective, coverage is a more user-friendly, easier-to-understand type of labeling than surface ratio. While switching all labeling to coverage presents difficulties, showing in xy chromaticity diagrams the color gamuts of LCD monitors to be used in color management will certainly make it easier for users to form their own judgments.

With regard to the difference between area labeling and coverage labeling as gauges of an LCD monitor"s color gamut, to use Adobe RGB as an example, in many cases, even a monitor with an Adobe RGB ratio of 100% in terms of area will feature coverage of less than 100 percent. Since coverage impacts practical use, one must avoid the mistake of seeing a higher figure as automatically better.

When we check the color gamut of an LCD monitor, it"s also important to remember that a wide color gamut is not necessarily equivalent to high image quality. This point may generate misunderstanding among many people.

Color gamut is one spec used to measure the image quality of an LCD monitor, but color gamut alone does not determine image quality. The quality of the controls used to realize the full capabilities of an LCD panel having a wide color gamut is crucial. In essence, the capacity to generate accurate colors suited to one"s own purposes outweighs a wide color gamut.

When considering an LCD monitor with a wide color gamut, we need to determine if it has a color-gamut conversion function. Such functions control the LCD monitor"s color gamut based on the target color gamut, such as Adobe RGB or sRGB. For example, by selecting sRGB mode from a menu option, we can adjust even an LCD monitor with a wide color gamut and high Adobe RGB coverage so that the colors displayed on screen fall within the sRGB color gamut.

Few current LCD monitors offer color-gamut conversion functions (i.e., feature compatibility with both Adobe RGB and sRGB color gamuts). However, a color-gamut conversion function is essential for applications demanding accurate color generation in the Adobe RGB and sRGB color gamuts, such as photo retouching and Web production.

For purposes requiring accurate color generation, an LCD color monitor lacking any color-gamut conversion function but having a wide color gamut can actually be a disadvantage in some cases. These LCD monitors display each RGB color mapped to the color gamut inherent to the LCD panel in eight bits at full color. As a result, the colors generated are often too vivid for displaying images in the sRGB color gamut (i.e., the sRGB color gamut cannot be reproduced accurately).

Shown here are examples of an sRGB color gamut photograph displayed on an sRGB-compatible LCD monitor (photo at left) and on an LCD monitor with a wide color gamut but incompatible with sRGB and with no color-gamut conversion function (photo at right). While the photograph at right appears vivid, saturation is unnaturally high in parts of the photo. We also see a significant departure from the colors envisioned by the photographer, as well as so-called memory colors.

In more than a few cases, as expanding LCD monitor color gamuts result in the capacity to reproduce a wider range of colors and more opportunities to check colors or adjusting images on monitor screens, problems such as breakdowns in tonal gradations, variations in chromaticity caused by narrow viewing angles, and screen display irregularities, less conspicuous at color gamuts in the sRGB range, have become more pronounced. As mentioned earlier, the mere fact of incorporating an LCD panel with a wide color gamut does not ensure that an LCD monitor offers high image quality. On this subject, let"s take a close look at various technologies for putting a wide color gamut to use.

First we look at technologies to increase gradation. Key here is the internal gamma-correction function for multi-level gradation. This function displays eight-bit input signals on screen in each RGB color from the PC side after first subjecting them to multi-level gradation to 10 or more bits in each RGB color inside the LCD monitor, then assigning these to each RGB eight-bit color deemed optimal. This improves tonal gradations and gaps in hue by improving the gamma curve.

On the subject of the viewing angle of an LCD panel, while larger screen sizes generally make it easier to see differences, particularly with products with wide color gamuts, variations in chromaticity can be an issue. For the most part, chromaticity variation due to viewing angle is determined by the technology of the LCD panel, with superior ones showing no variation in color even when viewed from a moderate angle. Setting aside the various particulars of LCD panel technologies, these generally include in-plane switching (IPS), vertical alignment (VA), and twisted nematic (TN) panels, listed from smaller to larger chromaticity variation. While TN technology has advanced to the point at which viewing angle characteristics are much improved from several years back, a significant gap remains between this technology and VA and IPS technologies. If color performance and chromaticity variation are important, VA or IPS technology remains the better choice.

A uniformity-correction function is a technology for reducing display irregularities. The uniformity referred to here refers to colors and brightness (luminance) on screen. An LCD monitor with superior uniformity has low levels of screen luminance irregularities or color irregularities. High-performance LCD monitors feature systems that measure luminance and chromaticity at each position on screen and correct them internally.

This is a comparison of monitors with and without uniformity correction. An LCD monitor with uniformity correction (photo at left) has more uniform luminance and color on screen than one lacking uniformity correction (photo at right). The two photographs above have been adjusted to equalize levels to emphasize display irregularities. Actual irregularities would be less conspicuous.

To make full use of an LCD monitor with a wide color gamut and to display colors as the user intended, one needs to consider adopting a calibration environment. LCD monitor calibration is a system for measuring colors on screen using a special-purpose calibrator and reflecting the characteristics of the colors in the ICC profile (a file defining device color characteristics) used by the operating system. Going through an ICC profile ensures uniformity between the color information handled by graphics software or other software and the colors generated by the LCD monitor to a high degree of precision.

Software calibration refers to following the instructions of specialized calibration software to adjust parameters such as luminance, contrast, and color temperature (RGB balance) using the LCD monitor"s adjustment menu, approaching the intended color through manual adjustments. Graphics driver colors are manipulated in some cases in place of the LCD monitor"s adjustment menu. Software calibration features low cost and can be used to calibrate any LCD monitor.

However, variations in precision can arise since software calibration involves manual adjustment. Internally, RGB gradation can suffer because display balance is matched by thinning RGB output levels using software processing. Even so, use of software calibration will likely make it easier to reproduce colors as intended than using no calibration at all.

In contrast, hardware calibration is clearly more precise than software calibration. It also requires less effort, although it can be used only with compatible LCD monitors and entails certain setup costs. In general, it involves the following steps: calibration software controls the calibrator; matching color characteristics on screen with target color characteristics and directly adjusting the LCD monitor"s luminance, contrast, and gamma-correction table (look-up table) at the hardware level. Another aspect of hardware calibration that cannot be overlooked is its ease of use. All tasks through the preparation of an ICC profile for the results of adjustment and registering this to the OS are done automatically.

The EIZO LCD monitors currently compatible with hardware calibration include models in the ColorEdge series. The FlexScan series uses software calibration. (Note: As of January 2011, FlexScan monitors compatible with EasyPIX ver. 2 offer hardware calibration functionality.)

In the next session, we will examine LCD monitor interfaces and a number of video interfaces for LCD monitors, including the latest generation of interfaces such as HDMI and DisplayPort.

If there’s no such mention, you may safely assume the TV uses a standard 8-bit panel because there’s just no reason for a TV manufacturer to not brag about a positive product trait when it could.

Although true HDR is either 10-bit or 12-bit (the latter being very rare), it’s not uncommon to see some brands passing TVs with 8-bit panels as HDR-ready.

And because the processing does an excellent job of making an 8-bit panel look and perform like a 10-bit screen, the industry-wide practice of marketing a TV with an 8-bit display as an HDR set is quite prevalent.

If you see any banding in the grayscale strip at the top, your TV screen is not 8-bit. If the transition is pretty smooth or not choppy, your TV is likely using a 10-bit panel.

Contact customer support or visit the brand website. If the provided materials and information online don’t offer any concrete information about your TV panel’s color profile, get in touch with support.

HDR is all about boosting colors and making visuals brighter and with more contrast than usual. The 1.07 billion colors 10-bit offers serve HDR better than 8-bit, which supports a maximum of only 16.8 million hues.

But the 8-bit panel could be a deal-breaker for someone who has enjoyed watching videos on 10-bit boards before, particularly on the more giant screens.