The number one resource for information about HDR technology, workflows, tutorials, news and opinion.
"A few years back, a couple of years back, the consensus really was that HDR doesn't affect anybody: you don't have to shoot differently, you don't have to edit differently; it's really just an extra step in the grading. And I think over the last couple of years, we've really learned a lot and we're... Continue Reading →
It's been several months since we last heard from Jonathan Ochmann, CEO of Color.io, and, eager to hear what new developments are in store for us with with the upcoming Impulz 2.0, we reached out to him. He told us he's been super busy with preparing the launch, adding: "We went through so many iterations... Continue Reading →
In the grading section of our Monster guide, we list a bunch of things we're doing differently from before, to which can be added (in no particular order): No longer using the X-Rite ColorChecker Passport Video Using the simplest tools for the job Using video levels rather than full levels for external monitoring with DaVinci... Continue Reading →
DaVinci Resolve Studio 17.4.4 brings many enhancements, chief among them being support for encoding H.265 4:2:2 Main10 on Apple Silicon, the codec used to upload HDR video to YouTube and the most demanding operation on our M1 Max MacBook Pro with 32GB RAM. In order to determine exactly how much of an improvement the update... Continue Reading →
We're not gonna lie - it's great to be able to just hook up the SSD from the Ninja V and start grading the RAW files immediately in Final Cut Pro with no transcoding. Apart from using it to white balance our shots, we've ditched the bad old ColorChecker altogether. Color charts are made for... Continue Reading →
Part I: Project settings Part II: BT.2020 or P3-D65 Limited? Part III: HDR Palette, project render settings, generate MaxCLL and MaxFall HDR10 metadata Part IV: HDR to SDR Conversion LUT for YouTube Part V: RAW Part VI: The Grade Part VII: The State of HDR Film Emulation LUTs & Plugins Part VIII: Why HDR Production Monitors Matter "If... Continue Reading →
"Please keep in mind that HDR is totally different than SDR. This starts with light setups for your scenes and it ends with differences in color grading, especially in color space, gamma and bit depth, to name just a few. Additionally it's important to know that you should use at least 10-bit and log footage.... Continue Reading →
MacRumors shared news of a support document from Apple informing users that a warning symbol can appear on MacBook Pros with the Liquid Retina miniLED display if the screen becomes too hot, leading to the display being dimmed, a situation that can occur if the ambient temperature is high while watching bright content for extended periods... Continue Reading →
We've written extensively about the benefits of shooting RAW but once you've picked up your Ninja V, you might still be wondering which color space to use. For HDR acquisition, we recommend: Format ProRes RAW HQ or ProRes RAW Quantization 16-bit linear OETF S-Log3 Color Space S-Gamut3 or S-Gamut3.cine Dolby writes, "Where content is going... Continue Reading →
The Daejeon Chronicles 