https://youtu.be/qg2XZlnraS4?t=98 Because no displays can currently exhibit the entire color gamut and brightness up to 10,000 cd/m2 specified in ITU-R BT.2100 PQ, two variants of Type 1 HDR monitors were settled upon by the EBU: Grade 1A HDR – the preferred specification - and Grade 1B HDR – a reduced gamut and/or limited brightness specification.... Continue Reading →
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 →
HDR4EU
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 →
Anna
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
Learn HDR & DV From Senior Colorist Cullen Kelly
Cullen Kelly will be hosting a free training session with Blackmagic Design entitled‘Exploring HDR & Dolby Vision with DaVinci Resolve’Aug 18, 2022 10:00 AMPacific Time (US and Canada)This “ watch & learn” session will teach you how to create and deliver a finished Dolby Vision Master from Resolve 18! Register now at https://us02web.zoom.us/webinar/register/WN_Q6k-gU7MSjm-woSNvoXmEQ Agenda items... Continue Reading →
Create Color Separation & Textural Depth in DR18
Note: The video should be watched in a pitch-dark room. HDR is supposed to be graded in an environment with ambient lighting at 5 nits, which might help to explain why so many complain about HDR being so dark. Unlike SDR, the PQ curve is absolute, meaning that, unlike SDR, the image can't be made... Continue Reading →
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 →
More Komodo Footage
https://youtu.be/XjzeBIt9gLo The video is best watched on an OLED TV. It was shot at 6K 2.4:1, 50 FPS in R3D LQ. RED raw files are a joy to grade, the color and texture of the image are like nothing we've ever experienced. The Canon 35mm macro is a crispy little bugger with pleasant enough rendition... Continue Reading →
The Daejeon Chronicles 