The number one resource for information about HDR technology, workflows, tutorials, news and opinion.
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 →
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?
Thomas Graham, Head of Dolby Vision Content Enablement at Dolby Laboratories: Can you all just tell me in the sense of what your timeline working space is that you find suits you best to create HDR imagery? Now I know there's a lot of controversy about working sort of in PQ or working in camera... Continue Reading →
"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 →
Walter Volpatto on why he doesn't do secondary corrections on skin. "I do not do [a] secondary on the skin. For me, when I do balance, it means that the main actress - balance, color, skin tone - has to be right. Then I do everything else. There is no reason for me to make... Continue Reading →
Something doesn't seem quite right here. In this video with Armando Ferriera where Shane Ruggieri explains how to work with Sony footage, the renowned authority on HDR does something peculiar... "The first thing that I would do is I would come in - let me turn this this monitor off - I would first come... Continue Reading →
We've already made it abundantly clear that we're not overly fond of transforming the log color space of our camera to DaVinci Wide Gamut or ACES but that we could understand wanting to bring all of your footage into a common working color space if you're dealing with a multi-camera shoot. It ensures that the... Continue Reading →
https://youtu.be/L5Wo473X4-g You've balanced your clips and corrected skin tones, now what? Go from the HDR camcorder look to the film look in four easy steps. Additional strategies not mentioned in the video include (1) pinning black levels above zero with the HDR wheels to prevent footage from looking too 'crunchy'; (2) you can and should... Continue Reading →
"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 →
https://youtu.be/_jFpYHHX1xk All clips ISO 500, enlarged 999%, chroma noise reduction enabled. Click here to see our comparison between R3D HQ and R3D LQ. To really evaluate the image quality and see what compression is doing to our footage, it's necessary to play the clips back-to-back in HDR on something like a 55" LG OLED, and... Continue Reading →
Now this is something truly unique. Be sure to follow the link in the description to learn how the video was made. https://youtu.be/4upX2OGsfbY "I hope you enjoyed this litte tech demonstration. If you experienced strong banding, it is in the nature of the underwater shots that really make them look horrible with 8-bit and the... Continue Reading →
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 Frame.io, 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 →
“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 →
Gyro data to R3D is a surprise. So is cloud upload capability. Hopefully the update drops by Christmas!
Glass Onion: A Knives Out Mystery, the highly anticipated sequel to Knives Out (2019), with cinematographer Steve Yedlin again at the helm, is out on Netflix this Friday, so those of you planning to watch it might be interested in the DP’s preferred settings on his LG C2 OLED TV, which he says allowed him... Continue Reading →
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 →
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 →
Some pretty spectacular test footage of the Great Joy 50mm 1.8X anamorphic prime: unusual sets, evocative lighting, rich color, precise exposure, great shadow detail and correct export settings... a feast for the eyes. Shot on the Z Cam F6. https://youtu.be/mVLHoS4orD0
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 →
The popularity of anamorphic lenses seems to be skyrocketing now that affordable sets from the likes of Atlas, Sirui, Venus Optics and Great Joy are becoming plentiful and receiving excellent reviews. Unfortunately for anamorphic shooters, it would appear that most camera sensors aren't optimized for the lenses, with Panasonic, the Kinefinity Mavo LF and ARRI... Continue Reading →
The Daejeon Chronicles 