While the future of ProRes RAW looks perfectly secure, regrettably, the same cannot be said for Blackmagic RAW. Concerning which, in his review of the Sigma fp L, Gerald Undone reports that the “4K image recorded over HDMI RAW is a soft, artifacty, aliased mess, and doesn’t look anywhere near as good as the CinemaDNG… Read More
A Reminder: Avoid Log
For HDR projects, steer clear of recording XAVC S-I 4:2:2 internal if at all possible. Art Adams explains: “The Y’CbCr encoding model is popular because it conceals subsampling artifacts vastly better than does RGB encoding. Sadly, while Y’CbCr works well in Rec 709, it doesn’t work very well for HDR. Because the Y’CbCr values are created… Read More
a7s III HDR PQ Grade Reveal
ProRes RAW HQ Grade Reveal
Lighting setup – window light, two reflectors
BRAW vs ProRes RAW
Sherif Mokbel compares Lumix S1H Blackmagic RAW to Apple’s ProRes RAW, with results that may surprise you! Incidentally, Atomos just released a firmware update for the Ninja V enabling white balance and ISO/exposure offset adjustments in Final Cut Pro for the a7s III. The Ninja V currently brings ProRes RAW to over thirty different cameras.
Sony FE 50mm f/1.2 GM First Sample Footage
Our stab at doing a focus breathing test failed miserably, but gives us a pretext to share some screen grabs demonstrating how to expose ProRes RAW HQ.
How to Shoot HDR: A Primer
The secret is to (a) shoot ProRes RAW HQ; (b) use the false color of the extraordinary Ninja V as a guide; (c) avoid the false colors bright orange and red; (d) transcode to ProRes 4444 in Apple Compressor; then (e) grade in DaVinci Resolve Studio. The shadow, midtone and highlight wheels of Final Cut… Read More
Ninja V False Color
There can never be too many blog posts on exposing for HDR! False color is a practically foolproof method for determining exposure for HDR. Avoid bright orange and red – colors that indicate overexposure. Although the tee shirt looks completely blown out on our reference display, after reducing exposure with the global wheel of the… Read More
Tribute to Sony a7s III
For a long while now, we’ve been keenly aware that highlights in skin tones and light-colored fabrics have been difficult if not impossible to recover in post, leading us to re-examine our ETTR method. After watching a video by Gerald Undone, we tried using two zebra settings, aiming for an ETTR of only +1.66 stops… Read More
Debunked: Sonys Suck in Mixed Lighting
We hear repeated online the lie that Sonys are dreadful in mixed lighting, so we set about to disprove this fallacy, recording in a cafe illuminated by daylight and tungsten. Of course, they’ll say it’s gotta be a mix of tungsten, halogen, neon, fluorescent and daylight and HLG3 at ISO 50 or some other such… Read More
