Are you shooting RAW? If not, why? Are you recording as much data as necessary while neither clipping highlights nor crushing shadow detail? Are you using the appropriate scopes and tools for judging HDR exposure? If you're shooting with a camera that uses EI (where ISO is just metadata), are you halving your ISO? Noise... Continue Reading →
philmColor R3: More Sample Footage
There's next to no sample footage out there of Phil Holland's philmColor LUTs for IPP2, which is bonkers, because these are quite possibly the best looks out there for RED shooters. And without question, for RED filmmakers delivering HDR projects. When the LUTs are used in camera, you can monitor in SDR with the built-in... Continue Reading →
It’s The Real Deal: Phil Holland’s philmColor R3 LUT Pack
In this clip, we try out just a handful of the over 540 LUTs included in Phil Holland's philmColor R3 LUT pack. There is a link to the downloadable movie in the description for those who can't stand YouTube compression. https://youtu.be/Z53zdkSf1gQ
philmColor R3 LUT Pack Black Friday Sale
We picked up Phil Holland's philmColor R3 LUT pack the moment we learned it was discounted $75.00 for Black Friday. Will hopefully be able to share some results next weekend. Unlike some of the film emulation plugins we've used, these LUTs, just like the Sony Venice and RED IPP2 Creative LUTs (both developed by seasoned... Continue Reading →
Great Joy 85mm T2.9 1.8x Anamorphic Full-Frame Cine Lens
The anamorphic lens of our dreams just came true! The size and weight, squeeze factor, angle of view, mounting options, bokeh, and price check all the boxes. Here are the specs: Constant squeeze factor, 0.7m min. focus distance, focal length and angle of view 84.2mm (16.2°) vertically and 45.5mm (44.8°) horizontally, covers full-frame sensors up... Continue Reading →
RED to Unveil Monochrome Komodo in 2023?
During a livestream a couple of years ago with some of the very first filmmakers to get their hands on the RED Komodo, Jarred Land announced that a monochrome Komodo was absolutely on the road map. Now that the V-Raptor, V-Raptor XL and Rhino are all in production, can we expect a Komodochrome in 2023?... Continue Reading →
Sony Venice 2 LUT + Komodo Extended Ver.
https://youtu.be/uEcmBKzWbp4 Here's the workflow for those who are interested. https://daejeonchronicles.com/2022/11/14/josh-pines-sony-venice-lut-with-red-ipp2/
Canon EOS C700 Mark II + REDCODE RAW?
This rumor is too wild! A Canon EOS C700 Mark II with user swappable sensor (s35 5K global shutter/FF 8K DGO rolling shutter), a new gamma curve designed expressly for HDR (!), the ability to shoot XF-AVC, ProRes and Cinema RAW Light internally, BRAW and ProRes RAW with the Blackmagic Video Assist and Atomos Ninja... Continue Reading →
Camera to Cloud: Fujifilm’s Transmitter Will Set You Back a Grand
A little while back, we wrote that the Fujifilm X-H2S would be one of the very first cameras to feature frame.io Camera to Cloud integration, enabling uploading files to the cloud for remote collaboration without the need to purchase expensive, bulky transmission devices that add extra weight, draw more power and require cables. What was... Continue Reading →
VMWare Fusion 13 Offers Native Support for Apple Silicon Macs!
This is huge! VMWare Fusion has announced that their software now supports both Intel and Apple silicon Macs, allowing users to access Windows 11 virtual machines. As of this writing, Intel Macs offer full support for Windows 11 while Fusion 13 on Apple Silicon is only the first round of features with more to come... Continue Reading →
Josh Pines’ Sony Venice LUT With RED IPP2
https://youtu.be/qUDhKYTAKlo Look 1, developed by Picture Shop Senior Colorist Jason Fabbro (Captain Marvel, Thor:Ragnorak, Ready Player One) was created using the Lo Con Base LUT and offers slightly more contrast and saturation, while the reds and highlights have been pulled down to look less digital. Download the original movie here. Four of the new custom... Continue Reading →
5 Alexa 35 Features of Interest to HDR Shooters
1. The ability to monitor in both SDR and HDR without baking in the look. "The first ALEXA, now known as ALEXA Classic, introduced in 2010, and all successive ALEXAs (as well as AMIRA) provided a LUT-based output transform for REC709, which allowed for SDR (Standard Dynamic Range) monitoring of a default rendering of the camera’s... Continue Reading →
Sony Releases New Custom LUTs for the VENICE 2
https://youtu.be/isTA4DB149s Sony has teamed up with some heavy hitters - Josh Pines (Titanic, Saving Private Ryan, The Revenant), Chris Kutcka (Kill Bill, Pirates of the Caribbean), Jason Fabbro (Captain Marvel, Thor: Ragnorak, Ready Player One) and Tony D’Amore (Fargo, Elementary, Daredevil, Mayans MC) - to create a series of custom LUTs for their flagship cinema... Continue Reading →
HDR Is Just a Fad
Color film presents an interesting challenge and has some potential advantages, but I’m not sure that current B&W film stocks are a real drawback — just because the technology allows us to use color doesn’t mean that cinematographers will benefit from it. Synchronized audio also appears to be a solution looking for a problem. Talkies... Continue Reading →
Michael Zink and Michael Smith Receive the Journal Certificate of Merit for “On the Calculation and Usage of HDR Static Content Metadata”
Michael Zink and Michael Smith received the Journal Certificate of Merit for their paper "On the Calculation and Usage of HDR Static Content Metadata,” published in the SMPTE Motion Imaging Journal in August 2021. After analyzing over 200 titles from Warner Brothers' catalogue, they proposed a method for calculating the static metada for HDR10 content... Continue Reading →
LG OLED TVs Still #1 for Colorists
Among all manufacturers in 2022, only LG Electronics provides full 3D LUT calibration and HDR tone curve adjustment capabilities, which is the main reason why LG OLEDs are the most popular consumer televisions used as client reference monitors in grading suites and are indeed the only ones recommended by Dolby in the Dolby Vision best... Continue Reading →
Comparison: RED Komodo R3D HQ vs LQ
Regarding the HQ, MQ and LQ settings on the RED Komodo, Jarred Land had this to say: The only reason you should select low quality is [...] to record for a very long time [or] because you have a limited amount of cards [...]. The medium shouldn't even really be there, but you know, people... Continue Reading →
HDR Peak Brightness
When Dolby conducted a study of viewer preferences for luminance levels of specular highlights and emissive sources to determine the dynamic range needed to display HDR content, it was found that the average preferred maximum luminance for highlight reproduction satisfying 50% of viewers is ∼2,500 cd/m2, increasing to just over 20,000 cd/m2 when catering to... Continue Reading →
BRAW Toolbox
BRAW shooters who work in Final Cut Pro will be happy to learn that Chris Hocking has developed an app that allows the user to import BRAW files natively into the NLE with audio and full metadata. Says Hocking: “Coming Soon! I got bored waiting for Apple or Blackmagic to add BRAW support for Final... Continue Reading →
The Daejeon Chronicles 