We’ve been asked why we don’t grade videos in P3-D65 instead of Rec.2020. After all, that’s what the big production houses do. So out of curiosity, we went ahead and shot some ProRes RAW HQ, transcoded it to ProRes 4444 and imported it into DaVinci Resolve. We bet you’re wondering how it turned out! Allow… Read More
HDR Video Bitrates
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.
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
Gerald Undone’s a7s III Exposure Settings (in HDR)
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
Adjusting Exposure in Final Cut Pro
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
Addendum
Part I: Project Settings Part II: Color correction Part III: HDR Palette, project render settings Part IV: 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 LED lights on… Read More
Upgrade to the 50mm f/1.2 GM?
Buying the latest and greatest is seriously tempting, but is it really worthwhile? Going from the MeFoto RoadTrip to a Gitzo carbon fiber tripod; from the a7 III to the a7s III; from the Shogun Inferno to the Ninja V; and from the iPhone 7 to the iPhone 12 Pro Max: those were all substantial… 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: 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 a separate section… 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: 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 I know of… Read More
Calibration Obsession
If I want accurate colors from my a7s III, I shoot the X-Rite ColorChecker Passport Video, and in post, (1) I pull diffuse white down to 200 nits; (2) white balance using the white, grey and black chips, color curves and RGB overlay; (3) correct colors using the color chips, vectorscope and hue vs. hue;… Read More
