Dehancer 5.3 Improved Grain

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 →

TCL Triggers Karen

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 →

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 →

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:

Dehancer OFX 5.2.0 Delivers!

While Dehancer 5.1 failed to deliver on its promise of double the performance over version 5.0, Dehancer 5.2.0 brings it on with a new quality selector, allowing the user to choose between normal-fast/high-slow settings, each of which offers significant improvements in playback speed. On our 16" 32 core M1 Max MacBook Pro (late 2021) with... Continue Reading →

How Should Scopes Appear in HDR PQ?

Concerning an often asked question regarding the appearance of HDR scopes in your NLE, one significant difference is that in SDR, the signal can ordinarily fill out the scopes, say, from 0-1023, while in HDR PQ, the bulk of the signal will usually be bunched up toward the bottom end of the waveform, from 0-200... Continue Reading →

Core Elements Creative LUT Pack

Cullen Kelly has just announced the release of a new LUT pack that is compatible with an HDR workflow. From his website: Create studio-grade cinematic looksTailor to your visionUse for HDR, SDR, and everything in between 9 LUTs, 45 possible looks, endless customization. The Core Elements Creative LUT pack contains four tone LUTs for creative... Continue Reading →

Dehancer 5.1 Doesn’t Deliver

Although Dehancer OFX ver. 5.1.0 promises up to twice the performance with the new Apple Silicon Macs, playback speeds are identical to what we measured prior to the update - around 14 fps with grain enabled. CineD reached out to the developers informing them that several readers were not seeing the promised performance gains and... Continue Reading →


Frequent Blackmagic forum contributor John Brawley never tires of calling colleagues in the film industry shills and accusing RED of being unethical, but the DP prefers to downplay his role as official brand ambassador for a scandal-ridden conglomerate guilty of one of the worst cases of financial corruption Japan has ever known. How is it... Continue Reading →

Cullen Kelly Clears Up PFE Confusion

Part I: The State of HDR Film Emulation LUTs Part II: Moving Beyond Traditional Film Print Emulation Part III: CineD Review of Dehancer Pro Part IV: Dehancer Print Film Profiles Part V: Negative and Print Clarified During an episode of Grade School, a weekly YouTube Live session where he answers questions on all things color grading,... Continue Reading →

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