Scene Referred vs. Display Referred Part II

What's the difference between scene-referred and display-referred grading? Stefan Ringelschwandtner, on his website Mononodes, explains it very clearly with simple diagrams. He writes: "The easiest scene referred workflow is to transform the image from LOG to Rec709 color space at the very end of your node tree – e.g. Timeline level. And do the grading... Continue Reading →

Scene Referred or Display Referred?

We're in the middle of comparing REDWideGamutRGB/Log3G10 and Rec.2020 ST2084 as the timeline color space. There's definitely a difference between how the two feel, we're just trying to decide which we prefer. Which one do you like working with?

Walter Volpatto on Film Grain

"Unfortunately, I'm changing my mind on grain and I'll explain why. First of all, I love grain. I love the idea of grain; and for me, it reminds me of film. I mean, there is really nothing more obvious than grain to tell you this has been shot on film, and Interstellar was shot on... Continue Reading →

No Love for Film Grain

"I've got no great love lost for film grain and I think I can say I think I've managed to go all of 2022 without using film grain once. It's something you know, if the client says, 'Hey, we're doing film grain, give me your best version of it', then my answer is of course... Continue Reading →

RED Komodo Gets Major Update

The RED Komodo has just gotten a pretty substantial update with beta firmware version 1.7.0, including the ability to upload video to the cloud with, Gio Scope, improved autofocus and ELQ R3D, among other improvements. We had a chance to try out the autofocus this morning but saw no difference from our previous tests.... Continue Reading →

James Cameron: 48 FPS Only Works in 3D

“As cinematographers we have to manage every aspect of motion imaging amid continuous advances in imaging technologies such as greater resolution, and high dynamic range. But these imaging technologies are affected by the way they are rendered via the camera frame rate combined with movement of the camera [such as panning and, tracking], along with... Continue Reading →

Panasonic S1/S1H Open Gate

We came across this thread over in the EOSHD forums: Can't make decent HDR grade from Panasonic S1 V-Log. What am I doing wrong? “I'm attempting to make a rec.2020 PQ grade from footage shot on the S1 in 6K open gate 200Mb/s long-GOP 420 V-log mode. I'm cutting in Resolve Studio and no matter... Continue Reading →

DaVinci Wide Gamut Or Native Color Space?

When it comes to post-processing, using the fewest number of transforms and working at the highest available bit depth in a native color space greater than the display color space are key to preserving the greatest image quality. So, should you be changing your timeline color space to DaVinci Wide Gamut Intermediate or not? To... Continue Reading →

Mavo Edge 8K Anamorphic Lens Tests

A pretty comprehensive test with the Mavo Edge 8K where you can check out the sharpness, breathing, chromatic aberration, distortion, color, contrast, vignetting, flares and bokeh of many of the high-end and budget anamorphic lenses available today, from the sublime to the atrocious, including Arri Master Anamorphic, Atlas Orion, Cooke Anamorphic FF, Great Joy, Laowa... Continue Reading →

Blog at

Up ↑