Massive LUTs Required for HDR

According to at least one study, in order to achieve a comparably error-free 3D-LUT to those used for SDR, a LUT size larger than 55x55x55 is required for 12-bit HDR (Rec.2020 ST2084). "In 10-bit SDR, in order to achieve unnoticeable interpolation errors using the trilinear interpolation method, a 3D-LUT larger than 41×41×41 is necessary. However,... Continue Reading →

Cullen Kelly’s Kodak 2383 LUT + DL

The aggressive compression algorithms of streaming platforms destroy grain, which is why we don’t upload videos with grain to YouTube. Instead, we’re offering subscribers the opportunity to download clips, allowing you to view the picture as it was intended. We recommend throwing the movie on the timeline of your favorite NLE, setting the project to... Continue Reading →

Apple’s Studio Display Unsuitable for Video Editing

Author, consultant, pro audio/video specialist, tech journalist and broadcaster Allan Tépper voices his suspicions that Apple’s Studio Display is not a true 10-bit panel at all but 8-bit FRC and discovers that it is limited to a single framerate/refresh rate, making it a much less attractive proposition for video editing/grading. “Despite it’s raved internal speakers... Continue Reading →

ICtCp, or Why We Can’t Have Nice Things

Here at the Daejeon Chronicles, we've tirelessly championed RAW for a long time now, for a multitude of reasons: it responds better to grading than heavily compressed, low bit rate chroma subsampled codecs and is less prone to banding; sharpening, noise reduction and white balance aren't baked into RAW files, giving more flexibility in post;... Continue Reading →

Grade Reveal & Download with Grain Added

This video is the culmination of the many changes we've made since around the time we switched over to P3-D65 - some tiny, some significant - from shooting S-Gamut3.cine rather than S-Gamut3, avoiding yellow in the false color guide of the Ninja V for anything but specular highlights, monitoring with video levels instead of full... Continue Reading →

Venice 2 Rolling Shutter Crushes It

The German website Slashcam, currently testing the Venice 2, had nothing but superlatives for its rolling shutter performance, pronouncing it the very lowest they have ever measured for a non-global shutter, leaving the competition in the dust. “When measuring the rolling shutter reading times, Venice pushed us to our limits. Or to the limits of... Continue Reading →

HEVC Main10 vs. HEVC Main 4:2:2 10

A little while back, we reported that Blackmagic Design had added support for HEVC 4:2:2 Main10 on Apple Silicon in DaVinci Resolve. What we didn't realize at the time was that the render page now had three selections for encoding HEVC: Main (8-bit), Main10 (10-bit 4:2:0) and Main 4:2:2 10. Using Invisor, an app brought... Continue Reading →

HDR Fallacies #3

Last year, we reached out to Atomos to ask why they didn’t upload more HDR content to their YouTube channel and they replied that not all projects are suited to HDR. Which is patently false: the video doesn’t exist whose image quality cannot be dramatically improved by mastering and uploading to YouTube in HDR.

Film Grain: Dehancer Pro vs. DaVinci Resolve (HDR)

Download the comparison here. It’s well-nigh impossible to see how the plug-in compares to Resolve on something like the MacBook Pro Liquid Retina XDR mini-LED, which is why we recommend throwing the clip on the timeline of your favorite NLE, setting it up for HDR and viewing on an external UHD monitor or television set.


Split-toning is a characteristic of film stocks where you’ll see cool shadows and warm highlights adding color contrast to the image. This is accomplished by un-ganging the channels and adding a few pixels of blue and green to the shadows, a tiny bit of red and green to the highlights. Once you’ve made your adjustments... Continue Reading →

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