Don't let the thumbnail deceive you - you can see our bouncy gimbal work in the video. This was only the second time we’ve bothered to calibrate the sensor before a shoot. Up next - trying to figure out a workable follow focus solution for the set of Meike lenses.

Our Kolari Filters Arrive!

The Kolari drop-in ND filter adapter for RF mount, along with a set of filters, arrived yesterday, so we won’t have to shoot at f/16 all the time. The KipperTie Revolva with three ND filters and one clear filter runs $1,574, the Kolari with the same filters costs around $625, a savings of almost $1,000.... Continue Reading →

Komodos Galore on Netflix Action-Comedy

“Some days on Day Shift we deployed four RED MONSTROS and 10 KOMODOs plus. For scenes with pyrotechnics, we’d add more KOMODOs. Sometimes we rolled 20 cameras.” - DP Toby Oliver on Netflix vampire flick “Day Shift” Not something we're interested in watching, but you can read more from Oliver here.

Reference White Using False Color

ITU-R BT.2408-5 defines reference white as "the nominal signal level obtained from an HDR camera and a 100% reflectance white card resulting in a nominal luminance of 203 cd/m2 on a PQ display or on an HLG display that has a nominal peak luminance capability of 1000 cd/m2. That is the signal level that would result... Continue Reading →

Skin Tones & RED False Color Modes

The ITU-R BT.2408-5 recommendation for light skin tones is a signal level of 45-55% for a PQ reference display but we've been viewing the false color modes of RED's Control app on our iPhone with output color space set to Rec.709 and the SDI display preset at SDR and exposing skin at IRE 61-70. What... Continue Reading →

Noise Reduction in DaVinci Resolve

De-noising is unquestionably high on the list of operations we like the least when it comes to post-production. For one thing, it's extremely taxing on computers, which is why we disable the noise reduction node until we're ready to render the entire project. For another, used incorrectly, it can introduce unwanted artifacts and destroy important... Continue Reading →

RED: Exposure Strategy in Practice + DL

Image prior to color correction. It looks far more contrasty and saturated than it really is because it's a photo of the LG OLED. We wore the yellow polo not only because yellow is our favorite color, but because with every camera we've ever used, it is virtually impossible to recover highlights in the collar... Continue Reading →

Cine EI Pushback From Inmates in an Asylum

Sony's Cine EI - just like ARRI, Canon, Panavision, Blackmagic, RED, Kinefinity and every other cinema camera manufacturer's EI - allows you to prioritize shadows or highlights by allocating more stops of dynamic range, or latitude, above or below middle gray, and letting the photographer preview its effect using monitor LUTs, giving an indication of... Continue Reading →

Increase Saturation Like a Pro

Ever notice how increasing the saturation of your footage just makes it look more video-ish? Instead of using the saturation knob to increase saturation, how about trying out this method instead: 1. Add a node, right click > Color Space > HSV. 2. Right click again, > Channels > Channel 1 (uncheck). Right click again... Continue Reading →

Blog at

Up ↑