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 →
Cullen Kelly: Set A Speed Limit Of Around 250 Nits
During a live stream, Cullen Kelly said that 1,000-nit specular highlights are unpleasant to look at and that windows should be closer to middle gray. Do you agree? Can intense specular highlights serve an expressive purpose? "HDR is fairly new, and as typically happens with new technologies, we have impartial parties really, really pushing for... 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 →
MiniLED – How many dimming zones are necessary to a achieve contrast ratios comparable to OLED?
According to this study, when seated at the minimum viewing distance, 4X as many zones are required for an 85" 8K TV as compared to a 55" 4K TV; but when seated at the optimum viewing distance (at which the display occupies a 40° field of view)), the number of zones remains the same for... 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
“Is the Barten Ramp the correct threshold?”
The Barten Ramp is calculated from P. G. J. Barten’s 1999 Contrast Sensitivity Function (CSF), a model that supposedly incorporated most of the important variables in the ability of the HVS to detect contouring in digital display systems. Note this is modeled rather than measured data and the model is based on data that predates... Continue Reading →
“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 →
Want to enjoy your HDR videos in a bright viewing environment? Shoot HLG!
“With both PQ and HLG, if video content is displayed at the same brightness and in the same viewing conditions as those in which it was produced, it will look the same as it did on the production monitor. The creative intent will be maintained. Indeed, under these conditions PQ and HLG deliver identical looking... Continue Reading →
“10 Stops Is Perfectly Good”(Provided You’re Confining Yourself to SDR Levels)
What cameras do you normally come across when you're working in HDR? Is there any specific camera that's worked really well for you? Are there cameras that are problematic? "I remember something that Bill B., the guy who put me in the business, he told me something when I asked him what camera I should... 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
The #1 factor to determine prior to grading an HDR show
When asked if he had any tips for those undertaking Dolby Vision HDR grading for the very first time, Siggy Firstl, senior colorist at Company 3, gives the following piece of advice: "Understand the look [that] the filmmakers are wanting and establish early on the sort of bright[ness] levels, how far you want to push... Continue Reading →
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.
How to save trimmed R3D files in DaVinci Resolve
Go to File > Media Management > Press Start Mission completed! The .RDC folder containing the R3Ds and .rtn as well as the .drt have been saved.
“The most important aspect of any TV system is the OOTF”
In their Quick Start Guide to DaVinci Resolve Studio, Dolby Vision says to set the input and output DRTs to none on the color management page, which is why we're guessing that they wouldn't be overly fond of choosing tone-mapping in Resolve's OFX CST either - but there's no prohibition against OOTF that we're aware... Continue Reading →
What becomes of skin tones when a clip that is mastered to 1,000 nits is viewed on a 4,000-nit display?
a) Luminance levels will all remain unchanged b) Luminance levels will all increase exponentially c) Skin tones will remain unchanged, highlights and shadows will expand and fur will become more saturated d) The picture will fry the viewer's eyeballs e) None of the above According to the Ultra HD Forum, skin tones should be rendered... Continue Reading →