Sony Engineer: External Metadata Not Necessary To Preserve Creative Intent

Toshiyuki Gura, Chief Distinguished Engineer, Sony, declared at the 2018 IEEE Broadcast Symposium that external metadata isn’t necessary to preserve creative intent. Which isn’t all that surprising, given that SMPTE defines HDR10 metadata, but not what televisions should do with it. Other manufacturers also ignore static metadata, applying instead their own tone mapping on... Continue Reading →

MiniLED vs OLED!

The Liquid Retina XDR miniLED display of the MacBook Pro (2021) has greater brightness and something like double the color volume of the LG CX, making it possible to see details in highlights and color differences that are indiscernible on the OLED display. On the other hand, the larger size of the TV makes it... Continue Reading →

DaVinci Resolve HDR Palette

Can't say how much we appreciate the HDR Palette and customizable zones in DaVinci Resolve. In the screenshot, we targeted the tiny bit of light outdoors. You've still got to watch the waveform monitor when making adjustments though, since even when it looks like an area has been isolated in the viewer, the actual coverage... Continue Reading →

HDR: Does Pupil Variability Cause Excruciating Agony?

Pupillometry of HDR Video Viewing. Scott Daly, Evan Gittermana, and Grant Mulliken. Dolby Laboratories, Inc., San Francisco, CA, USA Apple, Cupertino, CA, USA An excellent study by researchers from Apple and Dolby Laboratories investigates a common assumption that increased pupil variability causes discomfort while consuming HDR content. SDR version of the short film ‘Telescope’... Continue Reading →

Why Netflix Shows Are Graded To 600 Nits

Reference white has been standardized as 203 nits and while that may work out well for live broadcast, for the purposes of dramatic narrative work, it leaves less headroom for specular highlights and emissive light sources. Placing diffuse white at around 140 nits allows room to increase that figure in individual scenes for powerful expressive... Continue Reading →

Chasing middle gray

“We’re no longer exposing for middle gray and letting the rest “roll off.” […] Through all of these techniques, it’s important to recognize that our old friend and exposure aid, middle (18%) gray, will be of limited usefulness, as middle gray will shift with the audience’s adaptation to brightness changes. It may be possible for... Continue Reading →

A Cinema Luminance Range by the People, for the People: Viewer Preferences on Luminance Limits for a Large-Screen Environment, by Suzanne Farrell, Timo Kunkel, and Scott Daly

A number of websites have published the findings of Dolby's study of luminance preferences for the small screen, yet they all but ignore the fact that Dolby also conducted a similar study with a large screen. Many assume that the larger screen in a movie theater only needs a fraction of the luminance of a... Continue Reading →

ETTR Is Not Overexposure

At the very end of his article on why S-Log3 no longer needs to be exposed to the right with Sony’s current generation of sensors, Alister Chapman makes a great point: “And one last thing: I don’t like the use of the term “over exposing” to describe shooting a bit brighter to help eliminate noise.... Continue Reading →

Coming Soon!

The video of Ha at the restaurant shot with the Komdo on the DJI RS3 Pro looked a bit shaky, so we might have a go at stabilizing the footage with Gyroflow and share the results. Since the trial version of Assimilate Player Pro Studio has unlocked CinemaDNG, we may test it out with some... Continue Reading →

Blog at

Up ↑