The number one resource for information about HDR technology, workflows, tutorials, news and opinion.
We got this arrangement from Bill Holshevnikoff, author of the Arri Lighting Handbook. Since we don't have Arri lights, we placed a Nanlite Forza 300 fitted with an FL-20G fresnel lens perpendicular to the camera and directed it toward a reflector, which then becomes our key light, creating a soft light with gentle wraparound and... Continue Reading →
1. On the HDR PQ curve, 100 nits is a. 10% of 10,000 nits peak level b. 25% of 10,000 nits peak level c. 50% of 10,000 nits peak level 2. The maximum pure blue in SDR is 10 nits. Maximum pure blue in HDR is a. 25 nits b. 50 nits c. 110 nits... Continue Reading →
Vincent Theo of HDTVTest fame recently compared LG's G1 OLED to Sony's A90J, which in an earlier review he announced produced the most impactful HDR he'd ever seen from an OLED TV. Which is best for content creators who can't afford a USD $30,000 reference monitor? Sony's WRGB quad sub-pixel boosting A common complaint of... Continue Reading →
Sherif Mokbel compares Lumix S1H Blackmagic RAW to Apple’s ProRes RAW, with results that may surprise you! Incidentally, Atomos just released a firmware update for the Ninja V enabling white balance and ISO/exposure offset adjustments in Final Cut Pro for the a7s III. The Ninja V currently brings ProRes RAW to over thirty different cameras.... Continue Reading →
In our long list of pet peeves related to HDR YouTube videos, obscenely bright specular highlights in the subject's teeth must rank among the most distracting. And as luck would have it, last night's shoot provides us with a perfect illustration. Peak highlights are brushing up against 400 nits, already several stops ETTR, but still... Continue Reading →
While there are exceptionally few examples of actual living, breathing human beings in HDR YouTube videos, of the negligible number that do exist, too many suffer from one or more of the following: bizarre colors, excessive noise, outrageously intense specular highlights in teeth, eyes or jewelry and an obnoxious lack of tonality, hues, texture and... Continue Reading →
We had to re-upload this video because the soundtrack is being released on a label and the owner revoked the creative commons license. Not sure how kosher that is. https://youtu.be/etGpDFxM9FA
Since we picked up a set of Nanlite Forza LED monolights and started grading ProRes 4444 in DaVinci Resolve Studio 17, it's like we're dealing with a completely new camera altogether! Skin tones are the most accurate we've seen from any mirrorless camera and the image quality rivals that of cinema cameras costing thousands more.... Continue Reading →
Our stab at doing a focus breathing test failed miserably, but gives us a pretext to share some screen grabs demonstrating how to expose ProRes RAW HQ. Avoid bright orange and red of the false color guide of the Ninja V. The touch of red at the top of the clothes rack will be a... Continue Reading →
We used to mount the Ninja V directly on the Tilta camera cage with the SmallRig cold shoe mount, but that solution had several serious drawbacks. (1) It was necessary to tighten the mount to the cage with an Allen key; (2) there was no convenient way to carry the camera; (3) the lack of... Continue Reading →
I just picked up the Sony 50mm GM this afternoon. It's surprisingly compact for a lens of those parameters and feels reassuringly solid. The FX3, on the other hand (which I had a chance to play with at the shop), missed an opportunity: the awkward placement of the joystick, record button and on/off switch were... Continue Reading →
The secret is to (a) shoot ProRes RAW HQ; (b) use the false color of the extraordinary Ninja V as a guide; (c) avoid the false colors bright orange and red; (d) transcode to ProRes 4444 in Apple Compressor; then (e) grade in DaVinci Resolve Studio. The shadow, midtone and highlight wheels of Final Cut... Continue Reading →
There can never be too many blog posts on exposing for HDR! Ninja V False Color False color is a practically foolproof method for determining exposure for HDR. Avoid bright orange and red - colors that indicate overexposure. DaVinci Resolve 17 waveform before color correction. Although the tee shirt looks completely blown out on our... Continue Reading →
For a long while now, we've been keenly aware that highlights in skin tones and light-colored fabrics have been difficult if not impossible to recover in post, leading us to re-examine our ETTR method. After watching a video by Gerald Undone, we tried using two zebra settings, aiming for an ETTR of only +1.66 stops... Continue Reading →
The Daejeon Chronicles 