Dynamic Range of Early Digital Cinema Cameras

The Arri Alexa 35 set a new benchmark for dynamic range in 2022, measuring just over 15 stops according to Xyla/Imatest. How does this compare to cinema cameras of yesteryear? In High Dynamic Range Video: Concepts, Technologies and Applications, (2017) the authors published the results of various cameras, including the Arri Alexa Classic, the RED Epic,... Continue Reading →


This document published by the HDR4EU project, a group of representatives from ARRI (camera manufacturer), Filmlight (post-production software developer), Smoke & Mirrors (post-production company), Brainstorm (broadcast software developer), Barco (display manufacturer), and Universitat Pompeu Fabra (computer graphics and image processing academic group) who got together to come up with guidelines for HDR production, has some... Continue Reading →

Judder vs. Luminance

Conundrum. The chart plots judder equivalence vs. luminance for various panning speeds, demonstrating how motion artifacts like judder are exacerbated when shooting high contrast images in HDR, the takeaway being to pan more slowly if you intend to deliver in HDR. At the same time, because of their nearly instantaneous response times, OLED panels are... Continue Reading →

RED Komodo Grade Reveal

The clip incorporates many of the techniques discussed in our Monster guide - the most comprehensive and up-to-date free resource on the Internet for HDR10 workflows in DaVinci Resolve Studio 18 that shows how to use false color to nail exposure every time; how to use HSL to selectively target problematic areas for the best... Continue Reading →


Don't let the thumbnail deceive you - you can see our bouncy gimbal work in the video. This was only the second time we’ve bothered to calibrate the sensor before a shoot. Up next - trying to figure out a workable follow focus solution for the set of Meike lenses. https://youtu.be/xKzpW0ctQdw

RED Komodo at ISO 250

Because of its higher contrast, noise is much more visible in HDR - a fact ignored by camera reviewers - and what may be acceptable in SDR might very well turn out to be unsatisfactory when mastering in PQ ST 2084. CVP shoots their B-roll with the Komodo set to ISO 250 for the cleanest... Continue Reading →

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