Cinematographers on HDR

Match the quotes to the DP “[HDR is] a dream for any cinematographer, any creator of images... I think every cinematographer will have an interest in high dynamic range, because it’s the way that we want to capture images, so later we can do whatever we want in [digital color grading]. We need all the... Continue Reading →

No, It Doesn’t

Forum member, EOSHD It appears that many in the online community obstinately refer to ETTR as overexposure, which it is not. Overexposure is pushing highlights too far, to the point of clipping, at which point they are unrecoverable. Exposing to the right maximizes dynamic range while minimizing noise in the shadows.

Devotion is a Feast for the Eyes

Unlike 99% of productions, Korean War drama Devotion was conceived, monitored and shot in HDR, the show LUT and dailies were HDR, the hero grade was HDR - and it looks simply gorgeous. Photo: Netflix Photo: Netflix Photo: Netflix Photo: Netflix

“Television Better Served By HLG“

“The PQ system was developed by Dolby, a company whose main focus is on the cinema while the HLG system was developed jointly by BBC and NHK, two organizations whose main focus is on television… Television is probably better served by the HLG system that was designed from the ground up by television engineers for... Continue Reading →

Narrow vs. Full Range

Grass Valley White Paper diagram of the Barten ramp showing the susceptibility to banding of different HDR curves. We can see that full range offers only a very slight advantage over narrow range in guarding against banding artifacts. Photo: Grass Valley

What’s Behind the Window?

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 →

Cinema Camera WCG Capability

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 →

What Were They Thinking?

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

Sony Color Management Updates

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.

The 5 Commandments of HDR

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 →

HDR Compatible Video Assets

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 →

Enable RGB 4:4:4 On LG CX

Both DaVinci Resolve and Dolby Vision certified trainers insist on full data levels for HDR video monitoring and delivery. Here's how to set up your LG CX. 1. Settings > All Settings > Additional Settings 2. HDMI Ultra HD Deep Colour 3. Assign to input 4. Go to Home Dashboard 5. Gear icon > Edit... Continue Reading →

Scene Referred or Display Referred?

We're in the middle of comparing REDWideGamutRGB/Log3G10 and Rec.2020 ST2084 as the timeline color space. There's definitely a difference between how the two feel, we're just trying to decide which we prefer. Which one do you like working with?

Blog at

Up ↑