If You’re Using DWG, You Must Read This

An astrologer who shoots his content with a Sony mirrorless camera and who follows Cullen Kelly's YouTube channel asked whether it made any difference if he used Resolve Color Management and DaVinci Wide Gamut or a CST (as Cullen demonstrated in his short DaVinci Resolve tutorial) to which we replied: "They should look identical. However,... Continue Reading →

Has anyone else seen this on a YT video before? 

Last month, The Verge wrote about the feature: "YouTube's introducing an “enhanced” 1080p HD video quality for Premium subscribers — but it’s only available on iOS for now, with the option coming to web soon. According to YouTube, the new 1080p Premium option is “an enhanced bitrate version of 1080p” that’s supposed to make things... Continue Reading →

Atomos support for Apple ProRes RAW plugins

This is great news for ProRes RAW shooters. From NewsShooter: “Atomos has announced immediate support for Apple ProRes RAW plug-ins. Apple ProRes RAW plug-ins are a new innovation that lets camera manufacturers provide their own ProRes RAW processing pipeline to take advantage of the unique properties of their cameras, sensors, lenses, and more. With the... Continue Reading →

Working Color Space: What Colorists Aren’t Telling You

Almost without exception, colorists on YouTube who recommend using a working color space other than the native color space of the camera do so without explaining to their followers that this requires making a viewing LUT during pre-production. It’s difficult to conceive how anyone preoccupied with color management could overlook this critical detail. The following... Continue Reading →

Spotlight on Armando Salas, ASC

Can you share with the group how HDR came into your life? What was your experience, your first impressions and especially how, and if they have changed at all, with the other projects you've done? A.S.: I was hired on Ozark, on season 2. I was finishing another show and I was alternating with Ben Kutchins... Continue Reading →

RED Komodo-X TBA

Phil Holland writes: Summary of likely things or known things:- Locking RF Mount- Front Side Record button- Very likely still a top screen- Very likely compatible with DSMC3 monitors now, but not confirmed- Very likely CFexpress Type-B media- Unknown Battery Mount- Very likely 6K resolution, S35 or S35+ sensor with higher unknown framerates. Likely 60fps... Continue Reading →

Budget For Highlights: SDR vs HDR

We’ve written a lot about specular highlights, how there should be enough headroom above diffuse white and how studies have shown participants prefer specular highlights appreciably brighter than diffuse white, by as much as 3X or even more. Just how does that figure compare to SDR video? “In traditional imaging, the range allocated to these... Continue Reading →

Why a 10% test pattern is so signifcant

The luminance just falls off a cliff beyond the 10% window on this display, so it must be useless for grading HDR, right? Actually, it's still used to this day by LA-based post-production houses and around the world for mastering shows for Amazon, Netflix, Disney et al.  Read on. Photo: Brian Florian

Sony Announces New Virtual Production Tool Set

From Sony’s press release: Sony Electronics Inc. is announcing a new Virtual Production Tool Set to help improve pre-production and on-set workflows. The new tool set works with the Sony VENICE, Crystal LED and other HDR-enabled LED walls to improve performance and help solve common virtual production challenges such as color matching and moiré to... Continue Reading →

Ambient Light: Impact On Dynamic Range

It’s been a while since the bad old days when we used to binge-watch Netflix shows till the early morning hours, first on an LG C7, then on an LG CX, but we began re-watching the gritty French crime series Ganglands last night in order to see whether we couldn’t formulate a more coherent argument as to... Continue Reading →

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