The number one resource for information about HDR technology, workflows, tutorials, news and opinion.
Picture: Netflix delivery specs. Garcia claims Dolby Vision is Rec.2020, which is a falsehood. YouTuber Patrick-Pierre Garcia intentionally misleads the public into thinking that Dolby Vision is streamed at 12 bits. Dolby Vision is streamed at 10 bits. Also, contrary to the illustration shared in the video, nearly all commercial Dolby Vision content is mastered... Continue Reading →
"Zipper durability has indeed been a challenge across certain product generations. And while we've made improvements over the years, upgrading materials, tweaking stress points and refining construction, we clearly still have work to do." - Peak Design "Every single one of my Peak Design bags that I've used daily has experienced the same failure. After... Continue Reading →
If proper color management, working scene-referred or HDR are important to you, avoid the Dehancer plugin. For starters, it is limited to the Rec.709 color space. “Since Dehancer asked me to make an honest review, I will talk about them [the bad things]. The first one, which would instantly be a deal breaker for many... Continue Reading →
“If you’re looking out a portal, and it’s 700 nits, that’s a load for your eye to respond to. We found ourselves opening up the shadows somewhat to compensate for people’s sensory reaction, where the pupil closes down due to bright light.” - Shelly Johnson, ASC, explaining how he subdued the contrast in Greyhound (2020)... Continue Reading →
https://youtu.be/6vCJkT6filc?si=4eweFqSFDlxbfAEk REC 2020 OR P3-D65 - P3 is more accurate but has more posterization. - Rec. 2020 has smoother 10-bit gradation. YEAR/MODEL - The software appears to have changed since David Abrams published his video tutorial a little over a month ago, e.g., selecting Year/Model on the welcome page is no longer possible. PATTERN INSERTION... Continue Reading →
Frank Glencairn fancies himself a senior colorist, so it's baffling why he would recommend a YouTube tutorial filled with blunders that any experienced colorist ought to be able to spot at a glance. EXPOSURE (1) The YouTuber recommends zebras and waveforms for exposure, but bewilderingly overlooks false color, one of the most useful exposure tools... Continue Reading →
Much streamed HDR content is virtually indistinguishable from SDR. Nate McFarlin, Staff Content Engineer, Dolby Laboratories, says that film schools are partly to blame for failing to teach HDR acquisition and post-production. Joey D’Anna: Are people adopting HDR more now than they have before? Or is it still kind of that niche, nerdy thing for... Continue Reading →
Yet another in our intolerable series “No One Asked But We Answer It Anyway!” 😝 Everyone is aware that 12-bit PQ ST2084 was devised using the Barten ramp to ensure that contouring artefacts in the BT.2020 standard were below the visible threshold. But did you know that PQ as the EOTF is only applicable to... Continue Reading →
The following excerpt is from S6 E5 of The T Stop Inn with guest Michael Cioni and host Ben Allan, ACS on 21 March 2025. We highly recommend listening to the entire show. Michael Cioni: I used to own a post house called Light Iron, and we did everything from The Social Network, we worked... Continue Reading →
A lot of people are seeing technically higher quality - they're seeing HDR, they're seeing 4K - higher quality on a purely technical level on the device that's in their pocket than what they're seeing at their local cinema. - Ben Allan, ACS The following excerpt is from S6 E5 of The T Stop Inn... Continue Reading →
https://youtube.com/shorts/VhSA1i4t-B4?feature=share All four of our Sigma DC DN ‘Contemporary’ APS-C lenses for RF Mount - the 16mm f/1.4, 23mm f/1.4, 30mm f/1.4 and 56mm f/1.4 - worked fine on our RED KOMODO until we updated to their latest firmware version 1.8.3. The aperture indicator on the camera changes continuously, the camera’s physical buttons and on... Continue Reading →
“Ever since liftgammagain got hijacked by that lunatic, psychopath guy who sells calibration software, most smart people that know anything about color science or color have been out of it, nobody really wants to even write anything, because there's always somebody trying to outsmart you and put links to their product, using it as a... Continue Reading →
https://youtu.be/Zsqz_s0Br9A?si=y-KjocDsAaqBGBGb Look Development in Documentary Filmmaking, Camerimage. Panelists: James Kersley-Cregeen – Production Technologist, Netflix Ross Baker – Head of Colour, Molinare Jack Jones – Senior Colourist & Co-owner, Roundtable Post Daniele Siragusano – Image Engineer, FilmLight On the hazards of not monitoring in HDR & ACES from the outset James Kersley-Cregeen: “I have one anecdote... Continue Reading →
Annie Chang, VP/Creative Technologies, Universal Pictures, speaking at a SMPTE Hollywood panel discussion in 2023, talked about ‘the shock of HDR’. “I think one of the issues is [that] we still have monitoring issues throughout the live action process, so it's like maybe they have an HDR monitor on set so they can actually see... Continue Reading →
"It’s really all about the aesthetics, so when I grade my movies for HDR, I make sure that I keep the same feel[ing] that the cinematographer and the director had intended for the movie... it could look the same [as the SDR grade] or maybe just one scene could look different... again you can take... Continue Reading →
A Dolby Vision certified colorist whose work has been honored at major festivals, who’s graded movies and TV series for most of the major streaming networks, in order to prove the worthlessness of HDR10, insists he’s never been asked by a studio to deliver in the format. Let’s consider together whether this claim is factual or... Continue Reading →
A patent was granted to Warner Bros. for eliminating scanner noise from the image while maintaining the film grain. Listed as inventors on the patent are Michael D. Smith, Michael Zink and Christopher Nolan. Michael Zink writes over at LinkedIn, “When Chris Nolan was re-mastering seven of his films for the 2017 release of “The... Continue Reading →
**Netflix Ditches HDR After Influencers Convince Public That It Makes Film Look Like Poop** By Freddy Flickster - Feb. 22, 2025 In a bold move to appease disgruntled auteurs, Netflix announced today it will cease all HDR streaming, citing filmmakers’ complaints that high dynamic range made their work “look like unadulterated doggy poop.” Working diligently... Continue Reading →
In an idiotic rant entitled Why Do Movies Look Worse Now?, YouTuber Luke Riether copies Patrick Tomasso's Why Don’t Movies Look Like Movies Anymore? almost word-for-word, blaming HDR for what he perceives as the flat, lifeless look of today's movies. Riether even all but admits to plagiarism, but refuses to take his video down: "Hey... Continue Reading →
A calibrator sharing his experience matching a DIT’s LG client monitor with his Flanders XMP310 writes, “One of the trickiest parts? The ABL (automatic brightness limiting) on these two monitors kicks in at very different points, forcing us to rethink how to treat the LG TV.” He observed that the FSI XMP310 began to limit... Continue Reading →
The Daejeon Chronicles 