The number one resource for information about HDR technology, workflows, tutorials, news and opinion.
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.
“It seems to me that where the cinematographer locates the exposure is going to bécome an incredibly political issue, because where you place that, and where that could be shifted by a kid in.a grading suite somewhere that you've never met and never will meet, it's gonna be such an important issue from now on... Continue Reading →
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 →
Since the ICDM has unequivocally endorsed gamut rings and the CIELAB color gamut volume for display measurement, it is hoped that we will see more meaningful comparisons of the actual color volume between different displays in the future, as current methods are meaningless for today's televisions, monitors, tablets, phones and laptops. From the Information Display... Continue Reading →
From the BBC Academy Guide: “The content needs to be captured in UHD. Specifically this means: • using a camera and lens that can deliver a resolution of 3840 x 2160 pixels • capturing at least 12 stops of dynamic range If you’re making a live BBC programme you’ll need a camera that outputs hybrid... Continue Reading →
https://youtu.be/1r56JCpIMIs?si=H802qIF7v5mGGRsL https://youtu.be/YzVz4nxaT60?si=Xwz8DwVST2e5C0H4 The HLG format, by design, has the lowest saturation of all formats because it preserves the chromaticity of the scene as imaged by the camera; all other formats increase saturation compared to the scene as imaged by the camera. Earlier studies have shown that colorimetrically accurate reproduction of natural scenes does not necessarily... Continue Reading →
It's definitely advisable to embed static metadata in your HDR10 videos, but doing so can actually end up making the picture worse on the viewing end if care is not taken to avoid outlier pixels - pixels that are unintended that fool the consumer's display, resulting in a dimmer image. Why don't current methods for... Continue Reading →
"To be honest, the full gamut of 2020, I don't think we're ever going to see it. 95% of the Pointer's gamut, which covers most of the naturally reflected colors in nature - trees, fruits, skin tones and everything - it's about P3, it's slightly larger than P3. Those primaries of 2020 gamut and with... Continue Reading →
When the DCI (Digital Cinema Initiatives), a joint venture of Disney, Paramount, Sony Pictures Entertainment, Universal and Warner Bros. Studios, published its recommendations for next-gen HDR theatrical presentation in High Dynamic Range D-Cinema Addendum Version 1.0, a black level of 0.005 cd/m2 and peak brightness of 300 cd/m2, for an overall contrast ratio of 60000:1,... Continue Reading →
Standards for HDR have been established by various industry organizations for displays but as yet, no similar initiative has been undertaken in the camera industry, though manufacturers almost without exception make exaggerated claims for the dynamic range of their cameras. It is said that photochemical film is capable of 13+ stops, though this varies greatly... Continue Reading →
You might well wonder how one mortal could possibly wear so many hats, but Michael Zink is Vice President, Emerging Technologies at WarnerMedia, President & Chairman @ UHD Alliance, Education Vice President @ SMPTE, and Co-Chair, UHDTV Committee, Motion Imaging Technology Council (MITC) of the American Society of Cinematographers. In other words, he's someone worth... Continue Reading →
A while back, we wrote: "Michael Zink and Michael Smith received the Journal Certificate of Merit for their paper "On the Calculation and Usage of HDR Static Content Metadata,” published in the SMPTE Motion Imaging Journal in August 2021. After analyzing over 200 titles from Warner Brothers' catalogue, they proposed a method for calculating the... Continue Reading →
The Daejeon Chronicles 