Create Textural Depth!

During an appearance on Cullen Kelly’s Grade School, the brilliant colorist Jill Bogdanowicz revealed a secret to accenting texture without it looking over-processed. While working on Joker, the colorist used Live Grain - which separates out the red, green and blue channels, creating grain that resembles scanned film - to accentuate texture in the cooler,... Continue Reading →

Not A Grade Reveal!

A few caveats: first, the original footage was green and overexposed; secondly, we didn't use the recommended DaVinci Wide Gamut; and lastly, as we do all of our grading before the LUT, the original footage looked nuts when we removed the LUT for the grade reveal, so we normalized it for the video. https://youtu.be/3Bv3RUGbwEc

Massive LUTs Required for HDR

According to at least one study, in order to achieve a comparably error-free 3D-LUT to those used for SDR, a LUT size larger than 55x55x55 is required for 12-bit HDR (Rec.2020 ST2084). Of course, such gargantuan LUTs aren't currently feasible! "In 10-bit SDR, in order to achieve unnoticeable interpolation errors using the trilinear interpolation method,... Continue Reading →

Cullen Kelly’s Kodak 2383 LUT + DL

The aggressive compression algorithms of streaming platforms destroy grain, which is why we don’t upload videos with grain to YouTube. Instead, we’re offering subscribers the opportunity to download clips, allowing you to view the picture as it was intended. We recommend throwing the movie on the timeline of your favorite NLE, setting the project to... Continue Reading →

ICtCp, or Why We Can’t Have Nice Things

Here at the Daejeon Chronicles, we've tirelessly championed RAW for a long time now, for a multitude of reasons: it responds better to grading than heavily compressed, low bit rate chroma subsampled codecs and is less prone to banding; sharpening, noise reduction and white balance aren't baked into RAW files, giving more flexibility in post;... Continue Reading →

Grade Reveal & Download with Grain Added

This video is the culmination of the many changes we've made since around the time we switched over to P3-D65 - some tiny, some significant - from shooting S-Gamut3.cine rather than S-Gamut3, avoiding yellow in the false color guide of the Ninja V for anything but specular highlights, monitoring with video levels instead of full... Continue Reading →

HEVC Main10 vs. HEVC Main 4:2:2 10

A little while back, we reported that Blackmagic Design had added support for HEVC 4:2:2 Main10 on Apple Silicon in DaVinci Resolve. What we didn't realize at the time was that the render page now had three selections for encoding HEVC: Main (8-bit), Main10 (10-bit 4:2:0) and Main 4:2:2 10. Using Invisor, an app brought... Continue Reading →

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