Scientists Say Ultra-HD TVs Offer Little Advantage for Average Viewers | TV

In many contemporary living rooms, large TVs reign supreme; however, researchers suggest that investing in ultra-high-definition models may not be worthwhile.

Scientists from the University of Cambridge and Meta, the parent company of Facebook, discovered that in an average-sized living space, 4K or 8K screens offer no notable benefits compared to a similarly sized 2K screen typically found on computers and laptops. Essentially, there is no visible difference in image sharpness to the human eye.

“At a specific viewing distance, adding more pixels makes little difference; the human eye isn’t capable of detecting them, so I consider it a waste,” stated Dr. Maliha Ashraf, the study’s lead author from the University of Cambridge.

In an article published in Nature Communications, Ashraf and colleagues elaborate on measuring the visual resolution limits of the human eye, indicating that 20/20 vision allows detection of 60 pixels per degree (PPD), although many individuals with normal or corrected vision can see better than this.

“Basing display resolution solely on 20/20 vision underestimates what individuals can actually perceive,” Ashraf asserts. “That’s why we conducted direct measurements of the pixels people can identify.”

The research team set up a 27-inch 4K monitor in a mobile cage, allowing it to be adjusted closer or further from viewers. Eighteen participants with normal or corrected vision were shown two images at varying distances in random order. One image featured 1-pixel-wide vertical lines in colors such as black and white, red and green, or yellow and purple, while the other was a plain gray block. Participants were tasked with identifying the image containing the lines.

“If the lines are too thin or the screen resolution is excessive, the pattern appears as merely a gray image,” Ashraf explains. “We measured the points where individuals can barely discern differences. We referred to this as the resolution limit.”

Through their findings, researchers concluded that the human eye can perceive more detail than previously assumed, with a straight-on grayscale image averaging 94 PPD, red and green patterns averaging 89 PPD, and yellow and purple patterns at 53 PPD.

In a separate experiment, 12 participants viewed white text on a black background, or the reverse, from various distances and indicated when the text matched the sharpness of a clearly defined reference version.

“The resolution at which participants ceased to detect differences in text aligned with our observed results in line patterns,” Ashraf noted.

The research team shared a table featuring various screen sizes and viewing distances, along with the nearest standard resolution meeting or slightly exceeding most people’s visual limits.

“This means that if your setup falls within one of these parameters, upgrading to a higher resolution will not yield measurable benefits,” Ashraf remarked.

The team also offers a free online calculator that allows users to input their viewing distance, screen size, and resolution to see if their settings are within or below the human eye’s resolution limit. This helps users assess whether a higher resolution screen would enhance what they can see.

“For instance, if someone owns a 44-inch 4K TV and views it from about 8 feet away, they’re already seeing more detail than they can actually perceive. Upgrading to an 8K version of the same size won’t provide any sharper images,” Ashraf concluded.

Source: www.theguardian.com

Can’t Afford It? Viewers Turn to Piracy as Streaming Services Fall Short

wI recently planned a trip to Florence, and all I can think about is re-watching Medici. This historical drama from 2016 chronicles the rise of the influential Florentine dynasty during the Renaissance. Until just a few years ago, accessing Netflix granted me a treasure trove of both acclaimed and obscure titles. Yet now, if you search for the show in 2025, Netflix links lead to empty pages. It won’t show up on HBO Max, Disney+, Apple TV+, or smaller platforms either. Amazon Prime requires a separate purchase for each of the three seasons or 24 episodes. These episodes are stored in a library that could be deleted overnight. For the first time in a decade, I find myself nostalgic for the days when I relied on the Swedish Torrent Index, a land of digital piracy, and I know I’m not alone.


During my teenage years in the 2000s, torrents were my go-to. Need the latest Coldplay album for your iPod? Pirate Bay. Looking for the 1968 adaptation of Romeo and Juliet? Pirate Bay. Everything I wanted was just a few clicks away. But as smartphones gained popularity, so did Spotify, the Swedish music streaming service. Interestingly, the same country that hosted illegal torrents also presented a solution.

“Spotify wouldn’t exist without the Pirate Bay,” remarked Sundin, the managing director of Universal Music Wedden at the time, reflecting in 2011. Yet, while I could legally enjoy the music, I once engaged with torrents. When Netflix arrived in Sweden in late 2012, conversations around torrenting films faded. A vast array of large shows and award-winning films was suddenly available for just 79 SEK (£6) per month. Meanwhile, the three founders of Pirate Bay faced arrest and imprisonment. To me, piracy seemed a thing of the past.

Fast forward ten and a half years since the Pirate Bay Trial, and the winds have shifted. On a surprisingly warm summer day, I found myself with fellow film critics in the Old Town Port—a location rich with smuggling lore—discussing the “enshitification” of streaming. This term describes how platforms deteriorate as they prioritize profits over service quality. Netflix’s monthly rate soared to over 199 SEK (£15), and accessing the same shows previously found in one place now often necessitates multiple subscriptions. Nowadays, many streaming services force users into ad-supported plans despite their fees. Local restrictions may even compel users to employ a VPN to unlock the full range of available content. On average, European households now spend nearly 700 euros (£600) annually on three or more VOD subscriptions—receiving less for more.

One film critic shared anonymously, “I never stopped pirating; if I’m unable to find what I’m looking for on DVD, my partner will too.” While some have never shied away from copyright infringement, others have admitted to recently returning to it. This time, the focus is on unofficial streaming platforms. One prevalent app is legal, yet users can access illegal streams through accompanying community add-ons. “Downloading is overly complicated; I wouldn’t even know where to begin,” remarked one viewer. “The shadowy streams might bombard me with ads, but at least I don’t have to worry about being hacked or caught.”




Navigating the vast seas… The Pirate Bay is a file-sharing site based in Sweden. Photo: FocusDigital/Alamy

Unlicensed streaming remains a significant source of copyright infringement in TV and film, as reported by Muso, a London-based copyright infringement company. In 2023, it accounted for 96%. Copyright infringement figures remained low in 2020, with 130 billion website visits but soared to 21.6 billion by 2024. In Sweden, 25% of respondents reported pirated content in 2024, a trend primarily observed among those aged 15 to 24. Copyright infringement has resurfaced, albeit under a new guise.


“Piracy isn’t merely about pricing,” stated Gabe Newell, co-founder of Valve, the driving force behind Steam, the largest PC gaming platform. He noted in 2011, “It’s fundamentally a service issue.” Nowadays, the streaming crisis underscores this reality. Content is fragmented, prices escalate, and bitrate restrictions vary by browser. It’s no surprise that viewers are once again gravitating towards more accessible options. Studios impose territorial limitations and impose tolls for access, resulting in an artificial scarcity in a digital age that promised abundance.

Rebellion or resignation may seem irrelevant. The sails can either be raised or lowered as streaming platforms fragment into isolated territories. Increasingly, viewers are journeying back to the digital high seas. Medici comprehended the value intrinsic to access. Clients traveled from as far as Rome to London, maintaining relationships through a system based on trust and integration. If current studios aspire to weather the storm, they must rediscover this vital truth.

Source: www.theguardian.com

Find out why this TV serial is gripping viewers on their phones

I stumbled upon my homeless billionaire husband for Christmas, the quarterback by my side, XXL’s wife’s revenge, and my secret agent husband.

These may seem like whimsical fantasies, but they are actually part of a genre known as “vertical drama.” This innovative format for episodic television has captured the attention of millions of people worldwide.

Originating from China, the genre, often referred to as “Tiktok generation television,” consists of short episodes designed for viewing on smartphones. By 2027, the market for vertical drama is expected to reach a value of $14 billion (£11 billion).

“The growth of this genre signifies a demand among audiences that is not being met by the current media landscape,” explains Zhou Yuan, the founder of content Republic, a Beijing-based vertical film production company, as reported in a recent interview with a Hong Kong cinema.

Micro-dramas, known as Duanjus in Chinese, have made a significant impact on the Chinese audiovisual market before expanding globally, transforming the industry. Chinese companies are collaborating with foreign production firms to export this format, supported by a range of new streaming apps such as Reelshort, ShorttV, Dramapops, and FlextV.

In November of last year, California-based Reel Short, backed by Chinese investors, surpassed Tiktok as the most popular entertainment product in the Apple App Store in the US.

“Some skeptics questioned the willingness of audiences to pay for this content,” remarked Joey Jia, the CEO of Crazy Maple Studio, the company behind Reelshort, in an interview with the Washington Post.

Romantic soap opera posters feature titles like “Love is Sin” and “I’m Going to Hell.” Photo: Reel Short

Viewers are captivated by the familiar tropes found in Booktok readings, such as secret billionaires, forbidden love, and supernatural enemies. They are hooked by catchy titles, suspenseful cliffhangers, and dramatic moments. Typically, these apps offer a few free episodes before requiring a paid subscription. Similar to video games, Reelshort allows users to purchase “Coins” to access additional episodes.

Jen Cooper, the UK-based founder of Vertical Drama Love, has a passion for romantic films and comedies, which drew her to this format.

“Last April, during a challenging personal time, I found it difficult to focus on full-length dramas,” Cooper shared. “One day, I stumbled upon a vertical drama ad on Tiktok that piqued my interest.”

She delved into her first vertical drama, a captivating tale of a woman torn between her ex and uncle, titled “You Belong With Me.” “It embodies classic themes but at its core, it’s a beautiful love story with genuinely entertaining moments,” she remarked.

Cooper fell down the rabbit hole, creating an Instagram account to share reviews, connecting with industry insiders, and fostering a community of enthusiasts. The response was overwhelming, with over 16,000 votes from around the globe within a week of launching a fan award.

She discovered that many individuals turned to vertical dramas during challenging periods in their lives. “I’ve heard stories from family members, fans battling serious health issues or caring for loved ones. The audience ranges from women in their early 20s to their 60s. I’ve spoken to a Pakistani student, an elderly Italian woman bedridden, and a mother who lost her husband while doing household chores,” she shared.

The universal appeal lies in escapism, offering a quick dose of dopamine when life becomes overwhelming. “People yearn for satisfying outcomes, and let’s be honest, who doesn’t enjoy seeing incredibly attractive individuals fall in love?

Defne Turan, a production manager at London’s Seastar Productions, believes that vertical drama is the way forward.

She noted a surge in interest from filmmakers and actors eager to be part of this burgeoning genre. “It’s a new frontier, and we must approach it with the same level of care as traditional productions. Just because it’s different and fast-paced doesn’t mean we compromise on quality,” she emphasized. “We utilize industry-standard equipment, and many experienced production crews and makeup artists from major productions are involved.”

For many actors like Teig Sadana, vertical dramas offer a lifeline in a competitive industry. They provide consistent work amidst strikes and cutbacks. Verticals are typically shot in just 7-10 days, with two cameras capturing scenes in a single take.

Australian and British actor Teig Sadana credits the format for providing him with steady work opportunities. Photo: Jennifer Cooper

Teig Sadana, a 29-year-old Australian British actor based in New York, transitioned to vertical dramas after completing his studies at Stella Adler Studios.

“I responded to a rather standard acting job ad on a website, not fully comprehending what ‘vertical’ entailed. I needed the paycheck,” he admitted. After a brief conversation with the supervisor, he found himself on set a few days later filming “Glory of Pennsylvania’s Revenge.”

“Since then, I’ve worked on 10 films across various major vertical platforms, collaborating with talented professionals and experiencing the joy and stability of consistent work,” Sadana shared.

Initially challenged by the format’s constraints on character development, Sadana learned to embrace its unique style, preventing him from “overindulging.”

Nick Westway, a former star of the Australian soap opera “Home and Away,” currently stars in “The Double Life of Hitmaster President.”

According to Zhou, Content Republic plans to produce 400 vertical dramas annually, with 200 intended for the domestic Chinese market and 200 for international audiences.

While it remains to be seen if the novelty of the genre will fade (some platforms have ceased operations within six months), even established media companies are taking note of the trend and striving to engage younger audiences. In 2023, Paramount Pictures released a series of 23 snippets from “Mean Girls” on Tiktok.

“This is a space that resonates with audiences and offers valuable insights into how creators and viewers embrace it,” remarked Sacha Kari, Channel 4’s digital commissioning manager.

Source: www.theguardian.com

Finalists in the space photography contest: these stunning photos stun viewers

Astronomy Photographer of the Year An annual photo contest showcasing all things space-relatedis back for the first time in 16 yearsNumber Run.

More than 3,500 photos were submitted for the award, and Karina Leterrier Baeza's photo was among the 30 finalists. Arctic DragonThis photo taken at Arctic Henge in Iceland shows the aurora borealis, the result of a geomagnetic storm caused by a coronal mass ejection, resembling a rearing dragon.

The final candidates are The cry of a dying star (Below), photo by Jan Sainty. The “star” in question is actually the remnant of a supernova explosion, when a star dies and explodes, releasing a tremendous amount of light and energy. This explosion occurred about 10,000 years ago.

Sainty combined clear skies and a long exposure in the Atlas Mountains of Morocco to capture rarely seen details of this glowing remnant, called Cygnus Loop, named after the famous painting. scream Sainti said the painting symbolizes Edvard Munch's “The Scream,” but also the “scream” that reverberates through the universe after a star dies.

Below is a stunning photo of the sun's corona (the outermost layer of the atmosphere) over the Himalayan mountain ranges, taken by Geshuang Chen near the Tibetan city of Shigatse. Normally hidden by the brightness of the sun's surface, the corona can be glimpsed here because thin clouds are diffracting sunlight, producing a vibrant array of rainbow colors. Chen calls this image the “solar corona.” Himalayan Palette.

The winner of the competition, run by the Royal Observatory, will be announced on September 12th. The winning submission, along with the finalists' works, will be displayed in an exhibition at the National Maritime Museum in London from September 14th.

Source: www.newscientist.com