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How To Use Cullen Kelly’s Exposure Chart DCTL For 18% Middle Gray
Gamut Rings Greatly Overemphasize Light Areas of Color Volume
“Arbitrarily placing the HDR peak intensity white at L=100 grossly distorts the Lightness curve, and would not be a good Lightness predictor.” Chris Lilley, W3C, 2020 Charles Poynton and David A. LeHoty argue that the color volume metrics used to calculate gamut rings are flawed, greatly overestimating actual coverage, allowing manufacturers to make exaggerated claims... Continue Reading →
Why a 10% test pattern is so signifcant
The luminance just falls off a cliff beyond the 10% window on this display, so it must be useless for grading HDR, right? Actually, it's still used to this day by LA-based post-production houses and around the world for mastering shows for Amazon, Netflix, Disney et al. Read on. Photo: Brian Florian
DaVinci Resolve 18.5 Public Beta Color Page Additions
Per-Timeline Resolve Color Management Timelines using custom settings now allow you to override color management settings on a per timeline basis. This allows setting of independent timeline and output color spaces per timeline along with other color management properties. Any existing custom timelines are automatically initialized to color management settings from the project. Set Composite... Continue Reading →
Samsung Display: The Display Industry Must Switch From P3 To BT2020
From the '2023 OLED Korea Conference' at UBI's '2023 OLED Korea Conference' held in Incheon on the April 13th: “Quantum Dot (QD)-OLED production has exceeded 90%,” said Seonho, vice president of strategic marketing, large-scale Samsung Display. Samsung Display raised the QD-OLED production rate to more than 85% in the first half of last year.“To implement... Continue Reading →
We Try Out The Ninja V + Komodo
After nearly a year, we finally got up the nerve to connect our Ninja V to the RED Komodo and to our great surprise, it didn't fry the SDI port! While our tinkering around with the Atomos Ninja V & Komodo didn’t produce great art it did allow us to discover that, although RED’s creative... Continue Reading →
Sony Announces New Virtual Production Tool Set
From Sony’s press release: Sony Electronics Inc. is announcing a new Virtual Production Tool Set to help improve pre-production and on-set workflows. The new tool set works with the Sony VENICE, Crystal LED and other HDR-enabled LED walls to improve performance and help solve common virtual production challenges such as color matching and moiré to... Continue Reading →
Italian Tech Website Publishes Color Volume Gamut Rings Results Of Flagship TVs
A member over at avsforum shared gamut rings color volume results for Panasonic, Sony, LG and Samsung TVs from Italian tech website DDay.
Familiarity with HDR may increase appetite for greater luminance
“The average observer preference for dark luminance is 0.1 cd/m2 and diffusive white luminance 650cd/m2 (contrast of 6500:1). Note that state-of-the-art consumer TVs exhibit a peak luminance and contrast range close to the average observer preference. However, the 90-percentile observer preferred a dark luminance of 0.005 cd/m2 and a diffusive luminance of 3 800 cd/m2... Continue Reading →
Dolby Engineer: Some of our partners are using LG TVs for mastering Dolby Vision
Just the other day, Nate McFarlin, Senior Content Engineer, Dolby Laboratories, NY, wrote: "Dolby doesn't approve specific displays for content creation/grading. We'll always recommend you use the highest quality (reference-grade) display as possible, but we have plenty of clients and partners that use other display options for their work (including LG TVs). Ultimately, it's up to... Continue Reading →
LG Display CTO: Luminance Is The First Priority
Reiji Asakura visited LG Display in Korea in September of last year and took the opportunity to ask CTO Yoon Soo-young whether he felt RGBW OLED was inferior to QD-OLED. “The problem is not whether the light source is white or RGB, but whether the spectrum of light emitted from the display is finally the... Continue Reading →
DaVinci Resolve: Prevent Power Windows From Appearing On External Monitor
In earlier versions of DaVinci Resolve, to prevent power windows from appearing on an external monitor, we went to View > Window Outline and checked Only UI. That option has been moved to within the three dots menu in the Color page viewer as shown in the photo below.
HDR Comparison: LG G2 vs. LG G3
Vincent Teoh compares the LG G2 and LG G3. Shot with the Sony a7s III and graded in DaVinci Resolve using an M1 Max MacBook Pro and LG 32EP950. The monitoring setup looks awfully familiar! https://youtu.be/ppxGIU18Cx8
TCL Launches 5,000-Nit QD-MiniLED TV In China
The TCL X11G Smart TV is sold exclusively in China and is available in 75-in ($2,905), 85-in ($4,067) and 98-in ($6,537) sizes. The 4K television boasts 5,184 zones, a whopping 5,000 nits of HDR goodness and supports Dolby Vision IQ, HDR10+ and HLG. No word yet whether it will be available in other countries.
Ambient Light: Impact On Dynamic Range
It’s been a while since the bad old days when we used to binge-watch Netflix shows till the early morning hours, first on an LG C7, then on an LG CX, but we began re-watching the gritty French crime series Ganglands last night in order to see whether we couldn’t formulate a more coherent argument as to... Continue Reading →
DP Jamie Cairney: “ACES, HDR haven’t changed my approach”
Season 1 of Sex Education was shot with the OG Sony Venice and the working color space was S-Log3/S-Gamut3. For season 2, it was decided to use ACES. Moderator Debra Kaufman asks the production and post-production team how working in ACES changed their workflow. Three of the four panelists were new to ACES. Of particular interest to... Continue Reading →
LG Releases Fix For C3 and G3 OLED TV Auto-Dimming. Don’t Rejoice Just Yet.
Just five days ago, HDTVTest was the first to report that LG had overhauled the service menu on their 2023 lineup of OLED TVs, preventing consumers from disabling TPC and GSR in order to stop unnecessary auto-dimming. In response to HDTVTest's video, as well as to outcry from the online community, LG hastily released a... Continue Reading →
ETTR: A Cinematographer’s Perspective
We still ETTR with the Komodo, but not nearly as much as we used to do in our early days with the Sony a7s III. For years, there’s never been a clip that we didn’t expose to avoid important shadow detail falling in the noise floor, and then some! Interestingly enough, some shots with the... Continue Reading →
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. https://youtu.be/CfNatefiAP8 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 →
If your working color space is ACES or DWG, you need to read this
The following is from a presentation in Poland last month entitled “Protect your Creative Intent with ACES”, but it pertains equally well to those who are into DaVinci Wide Gamut as their working color space: if anything other than the log of the hero camera is going to be your working color space, it's essential... Continue Reading →
The Daejeon Chronicles 