Our stab at doing a focus breathing test failed miserably, but gives us a pretext to share some screen grabs demonstrating how to expose ProRes RAW HQ.
Ninja V False Color
There can never be too many blog posts on exposing for HDR! False color is a practically foolproof method for determining exposure for HDR. Avoid bright orange and red – colors that indicate overexposure. Although the tee shirt looks completely blown out on our reference display, after reducing exposure with the global wheel of the… Read More
Tribute to Sony a7s III
For a long while now, we’ve been keenly aware that highlights in skin tones and light-colored fabrics have been difficult if not impossible to recover in post, leading us to re-examine our ETTR method. After watching a video by Gerald Undone, we tried using two zebra settings, aiming for an ETTR of only +1.66 stops… Read More
Comprehensive Workflow: Sony a7s III S-Log3 HDR 10 in DaVinci Resolve Studio 17 (Part IV) RAW
Part I: Project settings Part II: Color correction Part III: HDR Palette, project render settings Part IV: RAW Part V: Addendum Exposure is critical. Avoid blown-out highlights and overexposed skin at all costs. Transcoding ProRes RAW to ProRes 4444 in Apple Compressor.
Bad, Bad Final Cut Pro
We just finished recording some more test footage, first to determine whether it’s true that Sony sucks in mixed lighting (it doesn’t) and secondly, to get to the bottom of why ProRes 4444 looks great in DaVinci Resolve but terrible in Final Cut Pro. XAVC S-I is evenly matched when it comes to terribleness in… Read More
Big Announcement!
Now that we were able at last to get our hands on an Arca Swiss QR plate and SmallRig swivel and tilt monitor mount for the Tilta a7s III cage, we’ve got a very portable setup leaving us no more excuses not to shoot RAW with the Ninja V. So in the coming months, expect… Read More
Resolve 17 HDR Tools (in HDR!)
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
Addendum
Part I: Project Settings Part II: Color correction Part III: HDR Palette, project render settings Part IV: RAW Part V: Addendum From time to time, we’ll provide further clarification about the Resolve Studio 17 HDR workflow and updates in this space. X-Rite ColorChecker Passport Video We’ve found that no matter the shooting conditions – whether using daylight-balanced… Read More
Comprehensive Workflow: Sony a7s III S-Log3 HDR 10 in DaVinci Resolve Studio 17 (Part III)
Part I: Project settings Part II: Color correction Part III: HDR Palette, project render settings Part IV: RAW Part V: Addendum Of the 300-odd new items introduced with the release of DaVinci Resolve 17, perhaps the single most groundbreaking feature is the HDR palette – so much so that we thought it worthwhile to devote… Read More
Comprehensive Workflow: Sony a7s III S-Log3 HDR 10 in DaVinci Resolve Studio 17 (Part II)
Part I: Project settings Part II: Color correction Part III: HDR Palette, project render settings Part IV: RAW Part V: Addendum In Part I of our HDR 10 workflow, we covered project settings. In Part II, we go over color correction using the X-Rite ColorChecker Passport Video – the fastest, most reliable, most consistent method… Read More
