Part I: Project settings Part II: Color correction Part III: HDR Palette, project render settings Part IV: Addendum Since publishing my exhaustive workflow for HDR 10 in Final Cut Pro, I’ve been inundated with requests to do the same for DaVinci Resolve – and with the introduction of customizable HDR color wheels that allow extremely… Read More
After purchasing the Sony 35mm GM yesterday afternoon, the very first thing I did was to run the serial number by Sony to see if mine was one of those with the defective ornament plate, which fortunately it was not. But it appears to have a far more serious issue; while recording myself wearing glasses… Read More
They seem to be everywhere, spamming the comments section of review after review with their cult-like nonsense about Blackmagic being the best camera at any price, with image quality rivaling Arri. Well first, let’s note that most of us – if we’re fortunate to be employed at all – are doing documentaries, travel and nature… Read More
Up until recently, we’d been uploading HDR videos to YouTube at around half the recommended data rates, which are from 44-56Mbps for 24, 25 and 30 frames per second video. You can see for yourself whether 29Mbps encoded video looks any worse on your display by following the link in the video description.
Of the hundreds of videos on YouTube promising to demonstrate the spectacular new features in DaVinci Resolve 17, nearly all are in low dynamic range. It’s our belief that those who’ve only watched the LDR tutorials are really being deprived of understanding just how powerful new tools like the Color Warper and HDR Color Palette… Read More
While out on a shoot yesterday morning, we noticed that the pan control on our Gitzo 1545TA went missing. Sad day indeed, because the refractory knob set us back $35.00, or a month’s worth of morning coffee. For some reason, the knob does not tighten down as much as the others, so that’s something to… Read More
We put Gerald Undone’s recommended exposure settings for S-Log3 to the test! He suggests setting C1 to Std+Range 55% for 18% gray, then using C2 Lower Limit 94+ to check for highlight clipping, resulting in an ETTR of +1.66. Previously, we just used the C2 setting by itself but often found it difficult to recover… Read More
I was just in the middle of doing yet more tests to determine the very best zebra settings for the a7s III when I came across this – arguably the single most important step toward getting vibrant, contrasty, High Dynamic Range images in Final Cut Pro – adjusting exposure. Simply pulling shadows down till they… Read More