Project Caviar

Google is in talks with manufacturers seeking royalty-free alternatives to Dolby Vision and Dolby Atmos. TV manufacturers must currently pay licensing fees ranging from $2.00-$3.00 per device for Dolby Vision. Meanwhile, Samsung’s own alternative to Dolby Vision, HDR10+, has not gained much traction. In addition to greater bit depth (12 bits vs. 10 bits), higher... Continue Reading →

Paycheck Stops and Gravy Stops

A decade ago, Arri lens specialist Art Adams coined the terms paycheck stops and gravy stops. Paycheck stops are values that you can bet your paycheck on. They’ll appear in the image with enough contrast and detail that objects exposed at that value will be easily discernible. Gravy stops are the values that lie beyond paycheck stops:... Continue Reading →

That Explains It!

It was a year ago almost to the very day - at the decisive moment when we were about to make the perilous switch over to P3-D65 (Google warns against it on their YouTube help page) - that tech evangelist and calibration guru Tyler Pruitt revealed over at the liftgammagain forums that it was entirely... Continue Reading →

Former Atomos CEO Alleges Securities Fraud

Atomos claims they let CEO Estelle McGechie go for refusing to move to Australia, but her lawsuit paints a very different picture: a corporate culture of gender discrimination, allegations of securities fraud, accusations that the company knowingly shipped defective/inoperable equipment to boost sales figures and sexual misconduct at the workplace. According to papers filed with... Continue Reading →

Digitization of Photochemical Film

In an earlier post, RAW: an often overlooked advantage, we explained how future updates to the demosaicing process in post can yield major improvements in image quality, even to footage shot years before. A similar principle holds true for analog photochemical film, for which better methods of scanning with more accurate color rendition are continuously... Continue Reading →

Dynamic Range of Early Digital Cinema Cameras

The Arri Alexa 35 set a new benchmark for dynamic range in 2022, measuring just over 15 stops according to Xyla/Imatest. How does this compare to cinema cameras of yesteryear? In High Dynamic Range Video: Concepts, Technologies and Applications, (2017) the authors published the results of various cameras, including the Arri Alexa Classic, the RED Epic,... Continue Reading →

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