With update version 5.3, Dehancer introduces significant changes to the Film Grain tool: 1. The dependence of the optical resolution on the resolution of the timeline has been fixed. Now with a timeline size less than 4K the image no longer has a blurry look, and the maximum value of Film Resolution = 100 provides full detail... Continue Reading →
It's there, but it's much less pronounced than it was on the Asus ProArt PA32UCX and as usual, it looks worse from an angle than when viewed head-on.
Readers are encouraged to check out our greatly expanded blog post outlining the many advantages of shooting RAW.
The announcement by TCL, the world's second largest television manufacturer, of their intention to bring the TrueCut Motion platform to their TVs in North America, made Eugenia Loli’s pea-sized brain misfire, prompting her to blurt out: Seriously? Of the 2,700-odd movies produced worldwide each year, 99.99% are shot at 24 frames per second - yet... Continue Reading →
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 →
We added sharpening to the XAVC S-I clip just to make it a little more challenging. Can you tell which is which? https://youtu.be/LvywZXFZkFA Sony a7s III XAVC S-I internal noise processing is splotchy and exhibits banding artifacts. ProRes 4444 noise reduction in post. Settings: Temporal - Faster - Medium -Luma 2 - Chroma 2. Noise... Continue Reading →
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 →
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 →
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 →
Let’s hope this is a sign of things to come. https://youtu.be/_2un1aU7mT0 And some more titles in 4K HDR: https://youtu.be/6HRy9ygjD9M https://youtu.be/bjDaVN2HMbs https://youtu.be/xMeFaxdtGfg https://youtu.be/CSkHnz5a68Q https://youtu.be/439pP_kn76w https://youtu.be/emH_YzWLnc8 https://youtu.be/0tbe7fve1vk https://youtu.be/UG60BDOBAEg https://youtu.be/Rnam_wHwVWE https://youtu.be/4n36ennMDs8 https://youtu.be/3qJEFIVYr_c https://youtu.be/ExCP-ST0W48 https://youtu.be/_mrNhIxOGzw https://youtu.be/FvZv-WkgwOU https://youtu.be/f49sVrIw4uM