RED Komodo Round II
RED Komodo First Sample Footage! (re-upload)
The footage was massively overexposed and white balance was off by several thousand degrees Kelvin. Still figuring things out... hehe https://youtu.be/eM9j2VxjBpk
Our First RAW Gimbal Shots
This is our very first video shot on a gimbal with ProRes RAW. To mount the Ninja V on the DJI RS 2, we used a SmallRig monitor mount. With the Sony 50mm f/1.2 GM, it's a fairly hefty combo. Graded in Final Cut Pro. https://youtu.be/AOOrn2IwHWk
P3D65 ST.2084 (HDR) Monitoring for LG OLEDs (WRGB)
In the past, we've written about LG's hidden menu that allows users to change the working color space, but frustratingly, the P3-D65 option is cosmetic only. The following is word-for-word from Ted Aspiotis' post over at Lift Gamma Gain, where he explains how to set up your LG TV for P3-D65: LG WRGB OLEDs work... Continue Reading →
RED Komodo Post Workflow Added to Monster Guide
The past couple of months have seen extensive updates to our Monster Guide and we're proud to say we've achieved our goal of making the most comprehensive and up-to-date manual covering the HDR10 workflow anywhere on the Web. And today it just got even better with the addition of the RED KOMODO post workflow. REDCODE... Continue Reading →
HEVC High Bitrate vs. ProRes 4444 XQ (HDR)
In this test, we compare HEVC bitrate 39,000 kbps (which ended up being 22.6 Mb/s), HEVC bitrate 80,000 kbps (which turned out to be 46.3Mb/s overall bitrate ) and ProRes 4444 XQ. To compare the clips yourself, open up the videos in three different tabs of your browser. As of today, we officially bid farewell... Continue Reading →
HEVC 10-bit 4:2:2 vs. ProRes 4444 XQ to YT
If you don't mind the ginormous file sizes and waiting longer for YouTube to finish uploading and processing your video, ProRes 4444 XQ does offer benefits over HEVC 10-bit 4:2:2 (using the standard bitrate for web publishing in Apple Compressor): more detail and improved contrast as well as richer color. In the sample clip, there... Continue Reading →
Create Textural Depth with Depth Map
Grain is one of the key components of the film look but few things are more distracting than seeing clumps of film grain dancing around on the talent's face. One solution is to use the HSL qualifier to isolate skin tones and use the keyer to de-emphasize the grain. An even easier way is to... Continue Reading →
The Ultimate Comparison: ProRes 4444 XQ vs. HEVC 4:2:2 vs. HEVC 4:2:0 (HDR)
In this short clip, we're primarily interested in how Y'CbCr chroma subsampling affects skin tones in HDR video. Y'CbCr results in hue shifts and luminance errors. From our own testing, it appears to make skin tones yellowish-green, darker and oversaturated. HEVC Main 4:2:2 10 is preferable to HEVC 4:2:0. Download the comparison here. If you... Continue Reading →
Thoughts on Nikolaj Pognerebko’s RAW Convertor (Revised!)
https://youtu.be/if7IzD9tl4w Not a few of us have dreamed of being able to work with native ProRes RAW files in DaVinci Resolve, but realistically, it appears as though that’s not on the horizon. We'd been transcoding to ProRes 4444 with variable success for a while when it was announced last year that a Czech filmmaker by... Continue Reading →
The Daejeon Chronicles 