The number one resource for information about HDR technology, workflows, tutorials, news and opinion.
Frankly, we'd rather not know. Below, screenshots from a few outstanding examples of HDR filmmaking and one screen grab from a promotional video shot by Erik Messerschmidt for the ARRI Alexa 35. Photo: ARRI. Encounters 'The Swing', DP Erik Messerschmidt Photo: Netflix. 'Devotion', DP Erik Messerschmidt Photo: Netflix. 'The Hand of God', DP Daria D'Antonio... Continue Reading →
Shane Mario Ruggieri, in his podcast with Mixing Light, said that not all cameras with high dynamic range can capture very saturated, accurate colors at high luminance levels. The diagrams illustrate the light gathering ability of a few cinema cameras capable of recording between 11 and 12 stops of dynamic range (Imatest). The OG Sony... Continue Reading →
What cameras do you normally come across when you're working in HDR? Is there any specific camera that's worked really well for you? Are there cameras that are problematic? "I remember something that Bill B., the guy who put me in the business, he told me something when I asked him what camera I should... Continue Reading →
“With both PQ and HLG, if video content is displayed at the same brightness and in the same viewing conditions as those in which it was produced, it will look the same as it did on the production monitor. The creative intent will be maintained. Indeed, under these conditions PQ and HLG deliver identical looking... Continue Reading →
Watched a few minutes of the doc Madoff: The Monster of Wall Street and was struck by the number of scenes where those 12K, 5K and 3K lights were just burning holes in the picture. Photo: Netflix Photo: Netflix
Phil Holland's shotPrep is a handy tool for quickly figuring out delivery resolutions for non-standard formats, like 6K 17:9.
Here are the revised settings for Sony S-Gamut3.Cine/S-Log3 and ProRes 4444 XQ Rec.2100 ST2084 (from ProRes RAW), the chief difference being no more input or output DRT. Only restrict output color space to P3-D65 if the mastering display is calibrated to P3. Set 'HDR mastering is for' according to the capabilities of the mastering display.
Go to File > Media Management > Press Start Mission completed! The .RDC folder containing the R3Ds and .rtn as well as the .drt have been saved.
In their Quick Start Guide to DaVinci Resolve Studio, Dolby Vision says to set the input and output DRTs to none on the color management page, which is why we're guessing that they wouldn't be overly fond of choosing tone-mapping in Resolve's OFX CST either - but there's no prohibition against OOTF that we're aware... Continue Reading →
a) Luminance levels will all remain unchanged b) Luminance levels will all increase exponentially c) Skin tones will remain unchanged, highlights and shadows will expand and fur will become more saturated d) The picture will fry the viewer's eyeballs e) None of the above According to the Ultra HD Forum, skin tones should be rendered... Continue Reading →
Portrait Displays has teamed up with MediaTek to create the world’s first premium smart TV chip with Calman Ready functionality, greatly simplifying implementation of Calman AutoCal. "On the calibration side, MediaTek Pentonic smart TV chips with Calman Ready integration will support a wide variety of professional calibration and display profiling solutions, from 3×3 color correction... Continue Reading →
https://youtu.be/jopt-5x32dU How much of the look is attributable to the lenses, how much to post-processing? We could be mistaken, but the lovely video showcasing Viltrox's new full frame T2 1.33x anamorphic primes, which has received a lot of praise - it looks like there's a lot of video effects added to the footage, making it... Continue Reading →
"On QD-OLEDs, the peak brightness is the sum total of the red, green and blue outputs.... By contrast, [...] WRGB OLEDs use white subpixel boosting to achieve higher brightness, so if we do the same measurements of red luminance, green luminance and blue luminance on a WRGB OLED television, you will see that they only... Continue Reading →
These are all taken from an excellent series of articles by Art Adams (now cinema lens specialist at ARRI) on HDR and none of the guidelines will be new to anyone who’s been following our blog, but here goes. TEST, TEST, TEST. Lens and sensor combinations should be tested extensively in advance. Some lenses work... Continue Reading →
Who wouldn’t like to easily add some lens flares, prism bokeh, light leaks, dust particles or other effects to their HDR videos? Back in the day, if you were an Adobe or Final Cut user, even a novice could quickly throw on some assets or video templates and get really nice results. Rocketstock offers a... Continue Reading →
If you even think about this for a second, you realize it doesn't make sense. “If we start with the concept of a display referred workflow, […] it basically comes down to this idea of working in a color space that matches the output display. In other words, the physical device on which the end... Continue Reading →
Both DaVinci Resolve and Dolby Vision certified trainers insist on full data levels for HDR video monitoring and delivery. Here's how to set up your LG CX. 1. Settings > All Settings > Additional Settings 2. HDMI Ultra HD Deep Colour 3. Assign to input 4. Go to Home Dashboard 5. Gear icon > Edit... Continue Reading →
There's next to nothing online about HDR color grading, so this marvelous presentation by Eric Weidt, where the colorist talks about his collaboration with director David Fincher on Mindhunter, is a real treat. Incredible that Film Light thought it worthwhile enough to deliver in HDR. Turn the lights down and enjoy! https://youtu.be/QDDY4B-D15g Scott Miller, Senior... Continue Reading →
What's the difference between scene-referred and display-referred grading? Stefan Ringelschwandtner, on his website Mononodes, explains it very clearly with simple diagrams. He writes: "The easiest scene referred workflow is to transform the image from LOG to Rec709 color space at the very end of your node tree – e.g. Timeline level. And do the grading... Continue Reading →
Thomas Graham, Head of Dolby Vision Content Enablement at Dolby Laboratories: Can you all just tell me in the sense of what your timeline working space is that you find suits you best to create HDR imagery? Now I know there's a lot of controversy about working sort of in PQ or working in camera... Continue Reading →
The Daejeon Chronicles 