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DaVinci Resolve 18.6 adds support for target audio loudness standards by Disney and YouTube with target audio loudness standards on renders: This new feature makes it easy to create renders that comply with specific loudness standards, such as those used for broadcast and streaming. These standards control loudness with a new meter effect, render settings,... Continue Reading →
The convention in the past 100 years of colorimetry has been to solely measure the response of the achromatic visual pathway when discussing brightness and human visual sensitivity. - Samsung Display “Samsung Display argues that 'perceived brightness' should be used rather than 'luminance' due to how our eyes and brain work. Samsung Display's XCR measurement... Continue Reading →
On the left, SDR is very uniform, with mean diffuse white sitting at around 60 nits, while HDR shows high variability. A range of content, from indoor and outdoor sports, stand up comedy, nature programs and talk shows to movies was included. The variability in luminance range is indicative of greater creative freedom in the... Continue Reading →
Ever since coming into contact with HDR-loathing Steve Yedlin, Kelly's discourse on HDR has become more and more detached from reality. "As I just mentioned, the problem is that it's very difficult to get a sense for what color space metric is required for me to deliver HDR to YouTube and what metadata has to... Continue Reading →
The latest video from Portrait Displays, bombastically titled A Rebel's History of Color in Cinema, has Joshua Pines proclaim, "For eons, as a species, we've been obsessed with taking real world high dynamic range scenes and reproducing them on low dynamic range display devices. The cave paintings in Lascaux, for example." Is that his final... Continue Reading →
Ed Lachman appears to have nothing but contempt for HDR, so it's unclear why Netflix chose to stream El Conde in Dolby Vision. Just the same, Lachman must be given credit for repudiating the notion that filmmakers had been shooting HDR for over a century without even knowing it. "The technical apparatus of constructing images is being... Continue Reading →
Not sure when the marketing department over at Blackmagic Design decided to use a Sandisk Extreme Pro to illustrate the ability of their new full frame Cinema Camera to record to external disks, but it seems like unfortunate timing, given that Western Digital is facing multiple class-action lawsuits over its defective portable SSDs.
Four of the five graded files we downloaded from John Brawley's Palmdale Diner sample footage are HDR10, but none of them are playable using QuickTime or the IINA player for macOS, perhaps because they were mastered in DCI P3 rather than BT2020 (P3-D65 Limited). When using the IINA player, the footage looks dreadfully dark and... Continue Reading →
That may well be, but that doesn't mean we've been creating HDR images (we haven't been) or that we have any idea how to make compelling images in the new format. If filmmakers just shoot like they’ve been doing for over a century and just lift the highlights in post, of course windows, practicals and... Continue Reading →
Steven Poster, ASC, President, International Cinematographers Guild IATSE Local 600 Presentation to the ICS at the ASC Clubhouse on 2018-06-07 (excerpt from the presentation, incl. a powerful, incontrovertible statement about the aesthetics of HDR) Little has changed since Steven Poster’s impassioned presentation five years ago. Few are monitoring HDR on set. And at NAB 2023,... Continue Reading →
Perceptual Effects of HDR Subsampling for Dolby Vision, Blu- Ray and BBC. Georg Schruff, Jan Hoydem, Jan Froehlich. July 2019 A study was conducted to determine the perceptual effect of subsampling in three different HDR standards: Dolby Vision, Blu-Ray and BBC. The results indicated that 4:2:0 subsampled HDR video sequences weren’t distinguishable from 4:4:4 sequences.... Continue Reading →
We've already shared videos where Dr. Hojatollah Yeganeh, Principal Video Architect at SSIMWAVE Inc., Steven Robertson, software engineer at Google, and Michael Zink, Vice President, Emerging & Creative Technologies at WarnerMedia, have voiced concerns about televisions ignoring static metadata, but we ran across yet another - a presentation given by Tyler Pruitt at SMPTE in 2017... Continue Reading →
From the Color Tour Podcast S4 EP06: Thomas Urbye, Noho, UK, August 7, 2023 Thomas Urbye is the senior colorist and CEO of the Post House ‘The Look’, responsible for shows like Sex Education, Fleabag, Top Boy and Landscapers. They’ve done 20 HDR shows so far, every show they do is HDR, the vast majority being Dolby Vision. “I think what’s interesting... Continue Reading →
The Daejeon Chronicles 