“Rec. ITU-R BT.2100 specifies two different signal representations, “narrow” and “full”. Narrow range signal representations are traditionally used for television programme production. They provide headroom above the code value of the nominal peak (where the signal E′ > 1.0) and below zero light (where the signal E′ < 0.0) to accommodate signal overshoots and undershoots…... Continue Reading →
Cullen Kelly Releases New LUT Pack
Cullen Kelly has released a new LUT pack called The Voyager for 2023. The Essentials pack sells for $79.00 and includes the following: The 17 core Voyager LUTs to grade faster and deliver high-end work on any job Color Grading Mini-Course so you can make stunning images out of anything you’re grading with “Tasting Notes”... Continue Reading →
Random Thoughts On Sony S-Gamut3
The whole S-Gamut3.Cine S-Gamut3 thingy is kind of a mess, at least when it concerns ProRes RAW. If you shoot XAVC internal and import the clips into Resolve, it doesn’t recognize the color space at all, at least not with our a7s III. And when recording ProRes RAW externally with the Ninja V, Final Cut... Continue Reading →
We Need Your Feedback!
The job of color management is to take what the camera saw and transform it into what the display can show. That's Cullen Kelly's definition of color management. And when we perform what is one of the most basic types of color management - simply placing a single CST at the very end of our... Continue Reading →
Portrait Displays and MediaTek Collaborate to Launch the World’s First Calman Ready TV Chip
Portrait Displays has teamed up with MediaTek to create the world’s first premium smart TV chip with Calman Ready functionality, greatly simplifying implementation of Calman AutoCal. "On the calibration side, MediaTek Pentonic smart TV chips with Calman Ready integration will support a wide variety of professional calibration and display profiling solutions, from 3×3 color correction... Continue Reading →
Viltrox Full Frame 1.33x Anamorphic Primes
https://youtu.be/jopt-5x32dU How much of the look is attributable to the lenses, how much to post-processing? We could be mistaken, but the lovely video showcasing Viltrox's new full frame T2 1.33x anamorphic primes, which has received a lot of praise - it looks like there's a lot of video effects added to the footage, making it... Continue Reading →
QD-OLED vs. WRGB OLED: Red, Green & Blue Pixel Luminance
"On QD-OLEDs, the peak brightness is the sum total of the red, green and blue outputs.... By contrast, [...] WRGB OLEDs use white subpixel boosting to achieve higher brightness, so if we do the same measurements of red luminance, green luminance and blue luminance on a WRGB OLED television, you will see that they only... Continue Reading →
The 5 Commandments of HDR
These are all taken from an excellent series of articles by Art Adams (now cinema lens specialist at ARRI) on HDR and none of the guidelines will be new to anyone who’s been following our blog, but here goes. TEST, TEST, TEST. Lens and sensor combinations should be tested extensively in advance. Some lenses work... Continue Reading →
HDR Compatible Video Assets
Who wouldn’t like to easily add some lens flares, prism bokeh, light leaks, dust particles or other effects to their HDR videos? Back in the day, if you were an Adobe or Final Cut user, even a novice could quickly throw on some assets or video templates and get really nice results. Rocketstock offers a... Continue Reading →
Enable RGB 4:4:4 On LG CX
Both DaVinci Resolve and Dolby Vision certified trainers insist on full data levels for HDR video monitoring and delivery. Here's how to set up your LG CX. 1. Settings > All Settings > Additional Settings 2. HDMI Ultra HD Deep Colour 3. Assign to input 4. Go to Home Dashboard 5. Gear icon > Edit... Continue Reading →
Nonsense About Display-Referred Workflow
If you even think about this for a second, you realize it doesn't make sense. “If we start with the concept of a display referred workflow, […] it basically comes down to this idea of working in a color space that matches the output display. In other words, the physical device on which the end... Continue Reading →
Eric Weidt On Grading Mindhunter
There's next to nothing online about HDR color grading, so this marvelous presentation by Eric Weidt, where the colorist talks about his collaboration with director David Fincher on Mindhunter, is a real treat. Incredible that Film Light thought it worthwhile enough to deliver in HDR. Turn the lights down and enjoy! https://youtu.be/QDDY4B-D15g Scott Miller, Senior... Continue Reading →
The Daejeon Chronicles 