The number one resource for information about HDR technology, workflows, tutorials, news and opinion.
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
Get yours here. https://youtu.be/0Zt8LYD7GRs
There's just something so immensely satisfying about watching Bad Derek's videos, possibly the very first YouTuber whose talking head HDR videos don't make us want to puke. It looks like he's owned practically every camera ever made. No joke. https://youtu.be/2B08gMUqbGU https://youtu.be/IGDvJqsKLZM https://youtu.be/x1jeulER7Dg
In his review of the Ronin 4D, Caleb Pike finds the colors remarkably similar to those of the Sony a7s III.
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 →
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 →
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 →
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 →
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 →
The Daejeon Chronicles 