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Frankly, we'd rather not know. Below, screenshots from a few outstanding examples of HDR filmmaking and one screen grab from a promotional video shot by Erik Messerschmidt for the ARRI Alexa 35. Photo: ARRI. Encounters 'The Swing', DP Erik Messerschmidt Photo: Netflix. 'Devotion', DP Erik Messerschmidt Photo: Netflix. 'The Hand of God', DP Daria D'Antonio... Continue Reading →
Shane Mario Ruggieri, in his podcast with Mixing Light, said that not all cameras with high dynamic range can capture very saturated, accurate colors at high luminance levels. The diagrams illustrate the light gathering ability of a few cinema cameras capable of recording between 11 and 12 stops of dynamic range (Imatest). The OG Sony... Continue Reading →
“With both PQ and HLG, if video content is displayed at the same brightness and in the same viewing conditions as those in which it was produced, it will look the same as it did on the production monitor. The creative intent will be maintained. Indeed, under these conditions PQ and HLG deliver identical looking... Continue Reading →
What cameras do you normally come across when you're working in HDR? Is there any specific camera that's worked really well for you? Are there cameras that are problematic? "I remember something that Bill B., the guy who put me in the business, he told me something when I asked him what camera I should... Continue Reading →
Watched a few minutes of the doc Madoff: The Monster of Wall Street and was struck by the number of scenes where those 12K, 5K and 3K lights were just burning holes in the picture. Photo: Netflix Photo: Netflix
When asked if he had any tips for those undertaking Dolby Vision HDR grading for the very first time, Siggy Firstl, senior colorist at Company 3, gives the following piece of advice: "Understand the look [that] the filmmakers are wanting and establish early on the sort of bright[ness] levels, how far you want to push... Continue Reading →
Here are the revised settings for Sony S-Gamut3.Cine/S-Log3 and ProRes 4444 XQ Rec.2100 ST2084 (from ProRes RAW), the chief difference being no more input or output DRT. Only restrict output color space to P3-D65 if the mastering display is calibrated to P3. Set 'HDR mastering is for' according to the capabilities of the mastering display.
a) Luminance levels will all remain unchanged b) Luminance levels will all increase exponentially c) Skin tones will remain unchanged, highlights and shadows will expand and fur will become more saturated d) The picture will fry the viewer's eyeballs e) None of the above According to the Ultra HD Forum, skin tones should be rendered... Continue Reading →
These are all taken from an excellent series of articles by Art Adams (now cinema lens specialist at ARRI) on HDR and none of the guidelines will be new to anyone who’s been following our blog, but here goes. TEST, TEST, TEST. Lens and sensor combinations should be tested extensively in advance. Some lenses work... Continue Reading →
Who wouldn’t like to easily add some lens flares, prism bokeh, light leaks, dust particles or other effects to their HDR videos? Back in the day, if you were an Adobe or Final Cut user, even a novice could quickly throw on some assets or video templates and get really nice results. Rocketstock offers a... Continue Reading →
The Daejeon Chronicles 