Stuff We’re Doing Differently

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 →

Back to Basics

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 →

Dynamic Range

"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 →

S-Gamut3 or S-Gamut3.Cine?

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 →

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