Reference White Is A Myth

One of the most popular posts on our blog is about HDR reference white, which has been standardized as 203 nits. But in reality, there is no such thing as reference white, any more than there is a fixed value for 18% gray or fair skin. Diffuse white can be 145 nits indoors or as... Continue Reading →

Cinematographers on HDR

Match the quotes to the DP “[HDR is] a dream for any cinematographer, any creator of images... I think every cinematographer will have an interest in high dynamic range, because it’s the way that we want to capture images, so later we can do whatever we want in [digital color grading]. We need all the... Continue Reading →

No, It Doesn’t

Forum member, EOSHD https://youtu.be/wEf8FmPMJxM It appears that many in the online community obstinately refer to ETTR as overexposure, which it is not. Overexposure is pushing highlights too far, to the point of clipping, at which point they are unrecoverable. Exposing to the right maximizes dynamic range while minimizing noise in the shadows.

Devotion is a Feast for the Eyes

Unlike 99% of productions, Korean War drama Devotion was conceived, monitored and shot in HDR, the show LUT and dailies were HDR, the hero grade was HDR - and it looks simply gorgeous. Photo: Netflix Photo: Netflix Photo: Netflix Photo: Netflix

“Television Better Served By HLG“

“The PQ system was developed by Dolby, a company whose main focus is on the cinema while the HLG system was developed jointly by BBC and NHK, two organizations whose main focus is on television… Television is probably better served by the HLG system that was designed from the ground up by television engineers for... Continue Reading →

Narrow vs. Full Range

Grass Valley White Paper diagram of the Barten ramp showing the susceptibility to banding of different HDR curves. We can see that full range offers only a very slight advantage over narrow range in guarding against banding artifacts. Photo: Grass Valley

What’s Behind the Window?

Frankly, we'd rather not know. Below, screenshots from a few outstanding examples of HDR filmmaking and one screen grab from a promotional video shot by Erik Messerschmidt for the ARRI Alexa 35. Photo: ARRI. Encounters 'The Swing', DP Erik Messerschmidt Photo: Netflix. 'Devotion', DP Erik Messerschmidt Photo: Netflix. 'The Hand of God', DP Daria D'Antonio... Continue Reading →

Cinema Camera WCG Capability

Shane Mario Ruggieri, in his podcast with Mixing Light, said that not all cameras with high dynamic range can capture very saturated, accurate colors at high luminance levels. The diagrams illustrate the light gathering ability of a few cinema cameras capable of recording between 11 and 12 stops of dynamic range (Imatest). The OG Sony... Continue Reading →

What Were They Thinking?

Watched a few minutes of the doc Madoff: The Monster of Wall Street and was struck by the number of scenes where those 12K, 5K and 3K lights were just burning holes in the picture. Photo: Netflix Photo: Netflix

shotPrep

Phil Holland's shotPrep is a handy tool for quickly figuring out delivery resolutions for non-standard formats, like 6K 17:9.

Sony Color Management Updates

Here are the revised settings for Sony S-Gamut3.Cine/S-Log3 and ProRes 4444 XQ Rec.2100 ST2084 (from ProRes RAW), the chief difference being no more input or output DRT. Only restrict output color space to P3-D65 if the mastering display is calibrated to P3. Set 'HDR mastering is for' according to the capabilities of the mastering display.

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