The footage we’ve seen from the DJI 4D looks amazeballs; and that DJI has committed to working with the following DPs on their upcoming works with the 4D is an arrangement unprecedented in our experience: Rodney Charters, ASC, CNSC, NZCS; Takuro Ishizaka, JSC; Rachel Morrison, ASC; XiaoShi Zhao, CNSC; and Academy Award winners for Best Cinematography: Erik Messerschmidt, ASC; Claudio Miranda, ASC; and Peter Pau, HKSC. Something else that’s unprecedented in the business is for anyone to evaluate a pre-production camera in light of its HDR capabilities. For certain, if there are any weaknesses in a system, whether it’s with sharpness, noise in the shadows, banding, weak dynamic range or poor handling of highlight roll off – those problems are unquestionably going to be exacerbated in HDR WCG. So it’s with great interest that we listened to DP Erik Messerschmidt – an HDR evangelist – talk about how the DJI footage looked in Dolby Vision during the launch event.

“ProRes RAW it’s totally new – for me anyway – you know I just started, that’s a completely new format for me. We opened it in BaseLight, which opens it natively. It seemed to have plenty of dynamic range. It was sharp, we didn’t see any aliasing issues, we didn’t see any banding or breakup. It’s clearly got plenty of bit depth and dynamic range. And we were looking at it in HDR actually, so we looked at it in Dolby PQ in DCI-P3 and it looked fabulous, it was on par with anything else, for sure”. -Erik Messerschmidt

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