The number one resource for information about HDR technology, workflows, tutorials, news and opinion.
The TCL X11G Smart TV is sold exclusively in China and is available in 75-in ($2,905), 85-in ($4,067) and 98-in ($6,537) sizes. The 4K television boasts 5,184 zones, a whopping 5,000 nits of HDR goodness and supports Dolby Vision IQ, HDR10+ and HLG. No word yet whether it will be available in other countries.
Just five days ago, HDTVTest was the first to report that LG had overhauled the service menu on their 2023 lineup of OLED TVs, preventing consumers from disabling TPC and GSR in order to stop unnecessary auto-dimming. In response to HDTVTest's video, as well as to outcry from the online community, LG hastily released a... Continue Reading →
Toshiyuki Gura, Chief Distinguished Engineer, Sony, declared at the 2018 IEEE Broadcast Symposium that external metadata isn’t necessary to preserve creative intent. https://youtu.be/CfNatefiAP8 Which isn’t all that surprising, given that SMPTE defines HDR10 metadata, but not what televisions should do with it. Other manufacturers also ignore static metadata, applying instead their own tone mapping on... Continue Reading →
The Liquid Retina XDR miniLED display of the MacBook Pro (2021) has greater brightness and something like double the color volume of the LG CX, making it possible to see details in highlights and color differences that are indiscernible on the OLED display. On the other hand, the larger size of the TV makes it... Continue Reading →
Can't say how much we appreciate the HDR Palette and customizable zones in DaVinci Resolve. In the screenshot, we targeted the tiny bit of light outdoors. You've still got to watch the waveform monitor when making adjustments though, since even when it looks like an area has been isolated in the viewer, the actual coverage... Continue Reading →
While testing out the new LG C3, Vincent Teoh discovered that enabling 4:4:4 pass-through has been simplified with the latest lineup of LG OLEDs. "Delving into the user menu, I saw a number of changes from what's found on last year's LG C2. One, if you go into the general submenu, scroll down and click... Continue Reading →
Colorist Asa Shoul, on more than one occasion, including during an interview with Variety, counsels cinematographers, “When discussing the dos and don’ts of HDR, I would advise not placing actors in front of windows as the extra brightness that can be seen in the sky might make the actor appear less visible.” Which is among... Continue Reading →
Pupillometry of HDR Video Viewing. Scott Daly, Evan Gittermana, and Grant Mulliken. Dolby Laboratories, Inc., San Francisco, CA, USA Apple, Cupertino, CA, USA An excellent study by researchers from Apple and Dolby Laboratories investigates a common assumption that increased pupil variability causes discomfort while consuming HDR content. https://youtu.be/zl31JrOWiEg SDR version of the short film ‘Telescope’... Continue Reading →
“Unfortunately, for HDR10, there is no reference implementation, like everyone does its own kind of HDR10, so some TVs do clipping, some TVs do their own kind of tone mapping, and in fact, if you mess up with the static metadata, like MaxFALL and MaxCLL, nothing happens in the picture, so trust me, you can... Continue Reading →
Steven Robertson, a software engineer at Google, offers up an irreverent, unique and often funny perspective on HDR, with an emphasis on UGC rather than multi-million dollar productions. Just one example: "We suspect that most of our audience who's going to be trying to grade HDR for the first time is going to be on... Continue Reading →
The following excerpts are from Technical Specification for the Delivery of Content Sky UK, the UK's largest pay-TV broadcaster. Primary Image-Acquisition To ensure viewers observe a noticeable improvement in resolution between the different definition tiers (e.g., HD and UHD) as well as SDR and HDR, the minimum camera requirements in Table 1 must be met... Continue Reading →
“We’re no longer exposing for middle gray and letting the rest “roll off.” […] Through all of these techniques, it’s important to recognize that our old friend and exposure aid, middle (18%) gray, will be of limited usefulness, as middle gray will shift with the audience’s adaptation to brightness changes. It may be possible for... Continue Reading →
A number of websites have published the findings of Dolby's study of luminance preferences for the small screen, yet they all but ignore the fact that Dolby also conducted a similar study with a large screen. Many assume that the larger screen in a movie theater only needs a fraction of the luminance of a... Continue Reading →
Assimilate Player Pro Studio ProRes RAW to CinemaDNG is available for testing as of now. The app has made Nikolaj Pognerebko's overpriced RAW Convertor with limited functionality completely irrelevant.
At a BSC panel on HDR back in 2016, a speaker loses his mind over what will become of all of his beloved muddy DVDs and Blu-rays once they are remastered in high dynamic range, condescendingly referring to professional colorists as 'kids'. ARRI colorist Florian 'Utsi' Martin, sitting beside him, looks very uncomfortable.
There are 30-minuteYouTube tutorials on de-squeezing and aspect ratios but it looks like it’s done automatically in Resolve. It automatically chose 1.8 pixel aspect ratio upon import! There's a link to the original footage in the video description for those who dislike YouTube compression as much as we do. https://youtu.be/LtgHhejy8Hw
There's a link to the original movie in the description for those who dislike YouTube compression as much as we do. The clip was minimally graded (reduced exposure, removed green tint) in ACES, no noise reduction in post. https://youtu.be/2oO4wRRevkk
In an interview with the editor of Film and Digital Times, Greg Smokler, Director of Cine for Creative Solutions, says that few productions are only finished in SDR nowadays. Creative Solutions is a subdivision of The Vitec Group and is comprised of Teradek, SmallHD, Wooden Camera and Lightstream. Jon Fauer: Do SmallHD customers ask more for... Continue Reading →
JD Vandenberg, Director of Post Production @ The Walt Disney Studios, found that 33X33X33 LUTs developed for SDR are too small for working with HDR footage. So what’s the minimum size 3D LUT required to minimize visual artifacts in PQ HDR content? Vandenberg’s study concluded that 10-bit material necessitates the use of LUTs that are... Continue Reading →
Apparently, very common! According to the paper published by Michael Zink and Michael D. Smith, who analyzed hundreds of titles from the Warner Bros. catalogue in order to study outlier pixels, clipping is quite common in SDR, while its occurrence in HDR content is exceedingly rare. We should add that the SDR titles were in... Continue Reading →
The Daejeon Chronicles 