Not so great - brightness falls off a cliff away from the center of the screen.
A decade ago, Arri lens specialist Art Adams coined the terms paycheck stops and gravy stops. Paycheck stops are values that you can bet your paycheck on. They’ll appear in the image with enough contrast and detail that objects exposed at that value will be easily discernible. Gravy stops are the values that lie beyond paycheck stops:... Continue Reading →
"Log was never, ever supposed to look flat. It has been the incorrect handling of log for over a decade that has led to the notion that log content is flat," Alister Chapman writes in the comments section to his blog post Adobe to Drop Colour Management by Default, where he doesn't mince words when it comes... Continue Reading →
It was a year ago almost to the very day - at the decisive moment when we were about to make the perilous switch over to P3-D65 (Google warns against it on their YouTube help page) - that tech evangelist and calibration guru Tyler Pruitt revealed over at the liftgammagain forums that it was entirely... Continue Reading →
Atomos claims they let CEO Estelle McGechie go for refusing to move to Australia, but her lawsuit paints a very different picture: a corporate culture of gender discrimination, allegations of securities fraud, accusations that the company knowingly shipped defective/inoperable equipment to boost sales figures and sexual misconduct at the workplace. According to papers filed with... Continue Reading →
Just a quick comparison between 6K and 6K on a 4K timeline, ISO 640. You'll probably have to crank up the brightness and inspect in a darkened room.
In an earlier post, RAW: an often overlooked advantage, we explained how future updates to the demosaicing process in post can yield major improvements in image quality, even to footage shot years before. A similar principle holds true for analog photochemical film, for which better methods of scanning with more accurate color rendition are continuously... Continue Reading →
https://youtu.be/qg2XZlnraS4?t=98 Because no displays can currently exhibit the entire color gamut and brightness up to 10,000 cd/m2 specified in ITU-R BT.2100 PQ, two variants of Type 1 HDR monitors were settled upon by the EBU: Grade 1A HDR – the preferred specification - and Grade 1B HDR – a reduced gamut and/or limited brightness specification.... Continue Reading →
The Arri Alexa 35 set a new benchmark for dynamic range in 2022, measuring just over 15 stops according to Xyla/Imatest. How does this compare to cinema cameras of yesteryear? In High Dynamic Range Video: Concepts, Technologies and Applications, (2017) the authors published the results of various cameras, including the Arri Alexa Classic, the RED Epic,... Continue Reading →
The list of HDR WCG compatible film emulation LUTs and plugins is steadily growing, the most notable recent entry being Ravengrade from Lowepost, a DaVinci Resolve plugin created by an impressive roster of color scientists and colorists, including Mitch Bogdanowicz, Juan I. Cabrera, John Daro, Douglas Delaney, Florian Utsi Martin, Mark Todd Osborne and Bianca... Continue Reading →