Sony a7s III Noise: Internal Codec vs. External

Both clips were shot at base ISO 640. The internal codec was XAVC S-I S-Log3/S-Gamut3, the external was ProRes RAW HQ via the Atomos Ninja V which was then transcoded to ProRes 4444 in Apple Compressor. Sony a7s III in-camera noise processing is splotchy and enlargement reveals unsightly banding artifacts, whereas the externally recorded footage... Continue Reading →

Canon R5 C or Canon C70?

It's easy to get bogged down when comparing all the features offered by Canon's cameras but the task becomes much simpler when approaching the question purely from the perspective of HDR, for which the camera must meet a minimum of three criteria: low noise, thirteen stops of dynamic range and offer raw recording (either internally... Continue Reading →

Sony a7s III Internal Codec vs. ProRes 4444

ProRes RAW HQ transcoded to ProRes 4444 is brighter, less green, has greater contrast, increased saturation and significantly higher resolution than the internally recorded S-Log3/S-Gamut3 XAVC S-I codec. Below are screenshots of the HDR footage dropped onto a rec. 709 timeline with a custom curve added to preserve highlight detail and a hue adjustment to... Continue Reading →

Which Data Levels for External Monitoring?

Some YouTubers are recommending video levels for HDR grading but we stand firmly by our recommendation to use full data levels for both video monitoring and rendering. DaVinci Resolve Studio Waveform monitor If you've set up your project properly, after applying a curve and adjusting the HDR wheels, the picture on your external display should... Continue Reading →

The HDR Fallacy

Several years ago, James Mathers wrote, "I’m no expert on the subject of HDR, but as a Cinematographer, I’m not sure I really need to be. To use an expression coined by my fellow Cinematographer friend, Bill Bennett, ASC, “we’ve been shooting HDR for years.” That’s because film and more recently high end Digital Cinema... Continue Reading →

Universal: The Bus Fight From Nobody in HDR

Let’s hope this is a sign of things to come. And some more titles in 4K HDR:

Nikon Z9 Unsuitable for HDR

A reader over at CineD (where else? hehe) took offense when we said 11.5 stops of dynamic range was insufficient for professional use, writing: Sorry to have to be the ones to break the news to you Barry, but 11.5 stops is woefully inadequate for HDR and additional stops of dynamic range are never irrelevant.... Continue Reading →

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