Author: jonpais

Back to Basics

We're not gonna lie - it's great to be able to just hook up the SSD from the Ninja V and start grading the RAW files immediately in Final Cut Pro with no transcoding. Apart from using it to white balance our shots, we've ditched the bad old ColorChecker altogether. Color charts are made for... Continue Reading →

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Dynamic Range

"Please keep in mind that HDR is totally different than SDR. This starts with light setups for your scenes and it ends with differences in color grading, especially in color space, gamma and bit depth, to name just a few. Additionally it's important to know that you should use at least 10-bit and log footage.... Continue Reading →

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S-Gamut3 or S-Gamut3.Cine?

We've written extensively about the benefits of shooting RAW but once you've picked up your Ninja V, you might still be wondering which color space to use. For HDR acquisition, we recommend: Format ProRes RAW HQ or ProRes RAW Quantization 16-bit linear OETF S-Log3 Color Space S-Gamut3 or S-Gamut3.cine Dolby writes, "Where content is going... Continue Reading →

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TCL Triggers Karen

The announcement by TCL, the world's second largest television manufacturer, of their intention to bring the TrueCut Motion platform to their TVs in North America, made Eugenia Loli’s pea-sized brain misfire, prompting her to blurt out: Seriously? Of the 2,700-odd movies produced worldwide each year, 99.99% are shot at 24 frames per second - yet... Continue Reading →

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Sony a7s III Noise: Internal Codec vs. External

Both clips were shot at base ISO 640. The internal codec was XAVC S-I S-Log3/S-Gamut3, the external was ProRes RAW HQ via the Atomos Ninja V which was then transcoded to ProRes 4444 in Apple Compressor. Sony a7s III in-camera noise processing is splotchy and enlargement reveals unsightly banding artifacts, whereas the externally recorded footage... Continue Reading →

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Canon R5 C or Canon C70?

It's easy to get bogged down when comparing all the features offered by Canon's cameras but the task becomes much simpler when approaching the question purely from the perspective of HDR, for which the camera must meet a minimum of three criteria: low noise, thirteen stops of dynamic range and offer raw recording (either internally... Continue Reading →

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Sony a7s III Internal Codec vs. ProRes 4444

ProRes RAW HQ transcoded to ProRes 4444 is brighter, less green, has greater contrast, increased saturation and significantly higher resolution than the internally recorded S-Log3/S-Gamut3 XAVC S-I codec. Below are screenshots of the HDR footage dropped onto a rec. 709 timeline with a custom curve added to preserve highlight detail and a hue adjustment to... Continue Reading →

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The HDR Fallacy

Several years ago, James Mathers wrote, "I’m no expert on the subject of HDR, but as a Cinematographer, I’m not sure I really need to be. To use an expression coined by my fellow Cinematographer friend, Bill Bennett, ASC, “we’ve been shooting HDR for years.” That’s because film and more recently high end Digital Cinema... Continue Reading →

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Universal: The Bus Fight From Nobody in HDR

Let’s hope this is a sign of things to come. https://youtu.be/_2un1aU7mT0 And some more titles in 4K HDR: https://youtu.be/6HRy9ygjD9M https://youtu.be/bjDaVN2HMbs https://youtu.be/xMeFaxdtGfg https://youtu.be/CSkHnz5a68Q https://youtu.be/439pP_kn76w https://youtu.be/emH_YzWLnc8 https://youtu.be/0tbe7fve1vk https://youtu.be/UG60BDOBAEg https://youtu.be/Rnam_wHwVWE https://youtu.be/4n36ennMDs8 https://youtu.be/3qJEFIVYr_c https://youtu.be/ExCP-ST0W48 https://youtu.be/_mrNhIxOGzw https://youtu.be/FvZv-WkgwOU https://youtu.be/f49sVrIw4uM

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How Should Scopes Appear in HDR PQ?

Concerning the often asked question of how HDR scopes should appear in your NLE, one significant difference is that in SDR, the signal can ordinarily fill out the scopes, say, from 0-1023, while in HDR PQ, the bulk of the signal will usually be bunched up toward the bottom end of the waveform, from 0-200... Continue Reading →

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