Why HDR Production Monitors Matter, Part I Why HDR Production Monitors Matter, Part II Why HDR Production Monitors Matter, Part III Why HDR Production Monitors Matter, Part IV “Unnecessary.” “Not possible.” “Fantasy.” Those are the words of a director of photography, slumming in L.A. since wrapping up shooting of a satirical period piece for Hulu,… Read More
Why HDR Production Monitors Matter, Part IV
Why HDR Production Monitors Matter, Part I Why HDR Production Monitors Matter, Part II Why HDR Production Monitors Matter, Part III Why HDR Production Monitors Matter, Part IV Atomos: Outlook The forecast for Atomos, which designs, manufactures and distributes monitor/recorders which range in price from USD $299 – $6,499, with a gross margin of around… Read More
Armando Salas: Strategy for HDR Monitoring on a Budget
Why HDR Production Monitors Matter, Part I Why HDR Production Monitors Matter, Part II Why HDR Production Monitors Matter, Part III Why HDR Production Monitors Matter, Part IV “The technology changes every time you sneeze. So for any show, it’s gonna be about investigating and pushing and figuring it out. Because a lot of times,… Read More
The GM Advantage
How well does the new Voigtlander Apo 35mm f/2 aspherical stack up to the Sony 35mm f/1.4 GM? In the most critical areas, like architectural and landscape photography, the two lenses might be difficult to tell apart (although we still think the Sony will prevail); however, with its fast f/1.4 aperture and the quickest, most… Read More
HDR Nirvana
ASC associate member and American Cinematographer contributing editor Jay Holben discusses HDR from the set to post with Polly Morgan, Markus Förderer, Marshall Adams, Erik Messerschmidt, Jay Holben and Dave Cole, followed by a question and answer session in a new series of in-depth interviews entitled Insights: an incredible wealth of knowledge spread across three absorbing hours. In… Read More
When You’re Not in the Same Ideological Camp as Blackmagic Forum Members
Why HDR Production Monitors Matter, Part II
Why HDR Production Monitors Matter, Part I Why HDR Production Monitors Matter, Part II Why HDR Production Monitors Matter, Part III Why HDR Production Monitors Matter, Part IV I sort of equate shooting in SDR and finishing in HDR [to] shooting on film but exposing it on the video tap. You know you’re only looking… Read More
Criteria for Evaluating Online Instruction
As the number of online HDR tutorials grows, it becomes necessary to separate the wheat from the chaff. The best way to go about that is pretty straightforward – just have a look at the content creators’ own footage: is it noisy? blurry? are highlights clipped? how about tonal gradations, or lack thereof? compression artifacts?… Read More
iOS Devices as Client Reference Monitors
We’ve already talked about how important smartphones can be when evaluating content made for YouTube. Post-production houses have always used consumer televisions to judge how their shows made for streaming services like Netflix would appear to viewers at home; but, particularly when it comes to productions like music videos and advertisements, clients need to know… Read More
Fog Machine
Looking forward to sparking this puppy up once lockdown is lifted. 🙂
