There isn't a lot that they can do with the core codec and Thomson/Technicolor isn't exactly known for their software expertise so I would imagine that this technology comes from somewhere else in Thomson and its main claim to fame is (beyond Technicolor marketing) that the engine will properly process 4:2:2 to 4:2:0 downsampling, proper 10 bit to 8 bit conversion, and I would suppose it also handles patterned based dither to mask low gradient ramps such as blue sky scenes. There isn't much that they can do with the core codec itself although they may put some effort into getting the most out of bitrate control using multi-scene/mutli-pass encoding techniques. But the bottom line is this is just a vehicle for Technicolor to sell encoding services.
“An engineer explained to us that hundreds of ear impressions were gathered in the name of research, and while each one obviously boasted its own unique shape and size, one single characteristic remained uniform across the board: the entrance into the ear canal is not a perfect circle, it's an oval.”
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There isn't a lot that they can do with the core codec and Thomson/Technicolor isn't exactly known for their software expertise so I would imagine that this technology comes from somewhere else in Thomson and its main claim to fame is (beyond Technicolor marketing) that the engine will properly process 4:2:2 to 4:2:0 downsampling, proper 10 bit to 8 bit conversion, and I would suppose it also handles patterned based dither to mask low gradient ramps such as blue sky scenes. There isn't much that they can do with the core codec itself although they may put some effort into getting the most out of bitrate control using multi-scene/mutli-pass encoding techniques. But the bottom line is this is just a vehicle for Technicolor to sell encoding services.