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Part I: Project settings Part II: BT.2020 or P3-D65 Limited? Part III: HDR Palette, project render settings, generate MaxCLL and MaxFall HDR10 metadata Part IV: HDR to SDR Conversion LUT for YouTube Part V: RAW Part VI: The Grade Part VII: The State of HDR Film Emulation LUTs & Plugins Part VIII: Why HDR Production Monitors Matter Avoid... Continue Reading →
We hear repeated online the lie that Sonys are dreadful in mixed lighting, so we set about to disprove this fallacy, recording in a cafe illuminated by daylight and tungsten. Of course, they'll say it's gotta be a mix of tungsten, halogen, neon, fluorescent and daylight and HLG3 at ISO 50 or some other such... Continue Reading →
In the video, we demonstrate one way to create depth and contrast for HDR in a hopelessly cramped living space (16 m2) using lighting modifiers - specifically the Nanlite Projection Mount and Aputure Lantern Softbox - along with the Nanlite Forza 300 and Forza 60. Nanlite PJ-FZ60-19, Forza 60 We've spared no effort in order... Continue Reading →
We care about color. We've white balanced using the X-Rite ColorChecker Passport Video. We've calibrated our display with Calman Home for LG. We've aligned the color chips on the vectorscope with hue vs. hue. We've begun working in DCI-P3. So what's next? ☺️ Have a look at the white balance in the two RGB parade... Continue Reading →
Now that we were able at last to get our hands on an Arca Swiss QR plate and SmallRig swivel and tilt monitor mount for the Tilta a7s III cage, we've got a very portable setup leaving us no more excuses not to shoot RAW with the Ninja V. So in the coming months, expect... Continue Reading →
Leaked images of upcoming Sony 14mm f/1.8. Source: Nokishita The 12-24mm GM, 14mm GM, 20mm f/1.8 G, 24mm GM, 35mm GM, 50mm GM and 135mm GM are each indisputably the very finest instruments in their class - smaller, lighter, sharper, quieter and faster than any of the competition. We feel really sorry for all the... Continue Reading →
Last night at a quarter to eight, there was a knock at the door. The landlady was standing there smiling, holding out a tiny white envelope; the Arca Swiss quick release plate that attaches to the bottom of my Tilta cage had really arrived! After waiting what seemed like forever, my local dealer suggested ordering... Continue Reading →
They seem to be everywhere, spamming the comments section of review after review with their cult-like nonsense about Blackmagic being the best camera at any price, with image quality rivaling Arri. Well first, let’s note that most of us - if we’re fortunate to be employed at all - are doing documentaries, travel and nature... Continue Reading →
Of the hundreds of videos on YouTube promising to demonstrate the spectacular new features in DaVinci Resolve 17, nearly all are in low dynamic range. It's our belief that those who've only watched the LDR tutorials are really being deprived of understanding just how powerful new tools like the Color Warper and HDR Color Palette... Continue Reading →
While out on a shoot yesterday morning, we noticed that the pan control on our Gitzo 1545TA went missing. Sad day indeed, because the refractory knob set us back $35.00, or a month's worth of morning coffee. For some reason, the knob does not tighten down as much as the others, so that's something to... Continue Reading →
We put Gerald Undone's recommended exposure settings for S-Log3 to the test! He suggests setting C1 to Std+Range 55% for 18% gray, then using C2 Lower Limit 94+ to check for highlight clipping, resulting in an ETTR of +1.66. Previously, we just used the C2 setting by itself but often found it difficult to recover... Continue Reading →
I was just in the middle of doing yet more tests to determine the very best zebra settings for the a7s III when I came across this - arguably the single most important step toward getting vibrant, contrasty, High Dynamic Range images in Final Cut Pro - adjusting exposure. Simply pulling shadows down till they... Continue Reading →
The Daejeon Chronicles 