The past couple of months have seen extensive updates to our Monster Guide and we're proud to say we've achieved our goal of making the most comprehensive and up-to-date manual covering the HDR10 workflow anywhere on the Web. And today it just got even better with the addition of the RED KOMODO post workflow. REDCODE... Continue Reading →
5 Tips for Good Skin Tones in DaVinci Resolve 18
Don't key faces.Don't try to correct skin tones using the tint and temperature sliders in the RAW controls.Grab a still before color correction and use the image wipe in the viewer to compare before/after as you make adjustments.Use Offset or the Global wheel in the HDR palette for correcting skin tones.Upload to YouTube using ProRes... Continue Reading →
HEVC High Bitrate vs. ProRes 4444 XQ (HDR)
In this test, we compare HEVC bitrate 39,000 kbps (which ended up being 22.6 Mb/s), HEVC bitrate 80,000 kbps (which turned out to be 46.3Mb/s overall bitrate ) and ProRes 4444 XQ. To compare the clips yourself, open up the videos in three different tabs of your browser. As of today, we officially bid farewell... Continue Reading →
HEVC 10-bit 4:2:2 vs. ProRes 4444 XQ to YT
If you don't mind the ginormous file sizes and waiting longer for YouTube to finish uploading and processing your video, ProRes 4444 XQ does offer benefits over HEVC 10-bit 4:2:2 (using the standard bitrate for web publishing in Apple Compressor): more detail and improved contrast as well as richer color. In the sample clip, there... Continue Reading →
Apple Compressor HEVC 10-bit 4:2:2 Is a Memory Hog
Since Apple added HEVC 10-bit 4:2:2 to Compressor, we thought we'd look into how it impacts memory pressure on our M1 Max MacBook Pro with 32GB RAM. For the test, all apps were closed except for Final Cut Pro, Compressor and the Activity Monitor. We transcoded a one-minute ProRes RAW clip with minimal noise reduction... Continue Reading →
Create Textural Depth with Depth Map
Grain is one of the key components of the film look but few things are more distracting than seeing clumps of film grain dancing around on the talent's face. One solution is to use the HSL qualifier to isolate skin tones and use the keyer to de-emphasize the grain. An even easier way is to... Continue Reading →
The Ultimate Comparison: ProRes 4444 XQ vs. HEVC 4:2:2 vs. HEVC 4:2:0 (HDR)
In this short clip, we're primarily interested in how Y'CbCr chroma subsampling affects skin tones in HDR video. Y'CbCr results in hue shifts and luminance errors. From our own testing, it appears to make skin tones yellowish-green, darker and oversaturated. HEVC Main 4:2:2 10 is preferable to HEVC 4:2:0. Download the comparison here. If you... Continue Reading →
Samsung Butchers Creative Intent
It looks as though Samsung intentionally designed the S95B to trick reviewers into believing the picture is accurate when in fact it is anything but. https://youtu.be/rhto9MmiExE
DaVinci Resolve Studio 18 Depth Map Comparison
We applied the depth map, then went ahead and added some blur.
Thoughts on Nikolaj Pognerebko’s RAW Convertor (Revised!)
https://youtu.be/if7IzD9tl4w Not a few of us have dreamed of being able to work with native ProRes RAW files in DaVinci Resolve, but realistically, it appears as though that’s not on the horizon. We'd been transcoding to ProRes 4444 with variable success for a while when it was announced last year that a Czech filmmaker by... Continue Reading →
The Daejeon Chronicles 