The number one resource for information about HDR technology, workflows, tutorials, news and opinion.
The TCL X11G Smart TV is sold exclusively in China and is available in 75-in ($2,905), 85-in ($4,067) and 98-in ($6,537) sizes. The 4K television boasts 5,184 zones, a whopping 5,000 nits of HDR goodness and supports Dolby Vision IQ, HDR10+ and HLG. No word yet whether it will be available in other countries.
It’s been a while since the bad old days when we used to binge-watch Netflix shows till the early morning hours, first on an LG C7, then on an LG CX, but we began re-watching the gritty French crime series Ganglands last night in order to see whether we couldn’t formulate a more coherent argument as to... Continue Reading →
Season 1 of Sex Education was shot with the OG Sony Venice and the working color space was S-Log3/S-Gamut3. For season 2, it was decided to use ACES. Moderator Debra Kaufman asks the production and post-production team how working in ACES changed their workflow. Three of the four panelists were new to ACES. Of particular interest to... Continue Reading →
Just five days ago, HDTVTest was the first to report that LG had overhauled the service menu on their 2023 lineup of OLED TVs, preventing consumers from disabling TPC and GSR in order to stop unnecessary auto-dimming. In response to HDTVTest's video, as well as to outcry from the online community, LG hastily released a... Continue Reading →
We still ETTR with the Komodo, but not nearly as much as we used to do in our early days with the Sony a7s III. For years, there’s never been a clip that we didn’t expose to avoid important shadow detail falling in the noise floor, and then some! Interestingly enough, some shots with the... Continue Reading →
Toshiyuki Gura, Chief Distinguished Engineer, Sony, declared at the 2018 IEEE Broadcast Symposium that external metadata isn’t necessary to preserve creative intent. https://youtu.be/CfNatefiAP8 Which isn’t all that surprising, given that SMPTE defines HDR10 metadata, but not what televisions should do with it. Other manufacturers also ignore static metadata, applying instead their own tone mapping on... Continue Reading →
The following is from a presentation in Poland last month entitled “Protect your Creative Intent with ACES”, but it pertains equally well to those who are into DaVinci Wide Gamut as their working color space: if anything other than the log of the hero camera is going to be your working color space, it's essential... Continue Reading →
According to Vincent Teoh of HDTVTest fame, LG has changed the service menu interface on its 2023 OLED TVs, including the C3 and G3, and not for the better. Consequently, it is no longer possible to disable the TPC and GSR auto-dimming algorithms. TPC gradually dims down the picture on static scenes and scenes where... Continue Reading →
The Liquid Retina XDR miniLED display of the MacBook Pro (2021) has greater brightness and something like double the color volume of the LG CX, making it possible to see details in highlights and color differences that are indiscernible on the OLED display. On the other hand, the larger size of the TV makes it... Continue Reading →
Can't say how much we appreciate the HDR Palette and customizable zones in DaVinci Resolve. In the screenshot, we targeted the tiny bit of light outdoors. You've still got to watch the waveform monitor when making adjustments though, since even when it looks like an area has been isolated in the viewer, the actual coverage... Continue Reading →
While testing out the new LG C3, Vincent Teoh discovered that enabling 4:4:4 pass-through has been simplified with the latest lineup of LG OLEDs. It's recommended to use 4:4:4 pass-through when grading HDR content. "Delving into the user menu, I saw a number of changes from what's found on last year's LG C2. One, if... Continue Reading →
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Colorist Asa Shoul, on more than one occasion, including during an interview with Variety, counsels cinematographers, “When discussing the dos and don’ts of HDR, I would advise not placing actors in front of windows as the extra brightness that can be seen in the sky might make the actor appear less visible.” Which is among... Continue Reading →
The free tutorials over at Jonas Westling’s LearnHDRvideo are a great resource for anyone just starting out.
Pupillometry of HDR Video Viewing. Scott Daly, Evan Gittermana, and Grant Mulliken. Dolby Laboratories, Inc., San Francisco, CA, USA Apple, Cupertino, CA, USA An excellent study by researchers from Apple and Dolby Laboratories investigates a common assumption that increased pupil variability causes discomfort while consuming HDR content. https://youtu.be/zl31JrOWiEg SDR version of the short film ‘Telescope’... Continue Reading →
Reference white has been standardized as 203 nits and while that may work out well for live broadcast, for the purposes of dramatic narrative work, it leaves less headroom for specular highlights and emissive light sources. Placing diffuse white at around 140 nits allows room to increase that figure in individual scenes for powerful expressive... Continue Reading →
“Unfortunately, for HDR10, there is no reference implementation, like everyone does its own kind of HDR10, so some TVs do clipping, some TVs do their own kind of tone mapping, and in fact, if you mess up with the static metadata, like MaxFALL and MaxCLL, nothing happens in the picture, so trust me, you can... Continue Reading →
Steven Robertson, a software engineer at Google, offers up an irreverent, unique and often funny perspective on HDR, with an emphasis on UGC rather than multi-million dollar productions. Just one example: "We suspect that most of our audience who's going to be trying to grade HDR for the first time is going to be on... Continue Reading →
The following excerpts are from Technical Specification for the Delivery of Content Sky UK, the UK's largest pay-TV broadcaster. Primary Image-Acquisition To ensure viewers observe a noticeable improvement in resolution between the different definition tiers (e.g., HD and UHD) as well as SDR and HDR, the minimum camera requirements in Table 1 must be met... Continue Reading →
“We’re no longer exposing for middle gray and letting the rest “roll off.” […] Through all of these techniques, it’s important to recognize that our old friend and exposure aid, middle (18%) gray, will be of limited usefulness, as middle gray will shift with the audience’s adaptation to brightness changes. It may be possible for... Continue Reading →
The Daejeon Chronicles 