Phil Holland's shotPrep is a handy tool for quickly figuring out delivery resolutions for non-standard formats, like 6K 17:9.
shotPrep
Why Dolby Vision and DaVinci Resolve trainers insist on full levels for HDR
“Rec. ITU-R BT.2100 specifies two different signal representations, “narrow” and “full”. Narrow range signal representations are traditionally used for television programme production. They provide headroom above the code value of the nominal peak (where the signal E′ > 1.0) and below zero light (where the signal E′ < 0.0) to accommodate signal overshoots and undershoots…... Continue Reading →
Portrait Displays and MediaTek Collaborate to Launch the World’s First Calman Ready TV Chip
Portrait Displays has teamed up with MediaTek to create the world’s first premium smart TV chip with Calman Ready functionality, greatly simplifying implementation of Calman AutoCal. "On the calibration side, MediaTek Pentonic smart TV chips with Calman Ready integration will support a wide variety of professional calibration and display profiling solutions, from 3×3 color correction... Continue Reading →
QD-OLED vs. WRGB OLED: Red, Green & Blue Pixel Luminance
"On QD-OLEDs, the peak brightness is the sum total of the red, green and blue outputs.... By contrast, [...] WRGB OLEDs use white subpixel boosting to achieve higher brightness, so if we do the same measurements of red luminance, green luminance and blue luminance on a WRGB OLED television, you will see that they only... Continue Reading →
Walter Volpatto on Film Grain
"Unfortunately, I'm changing my mind on grain and I'll explain why. First of all, I love grain. I love the idea of grain; and for me, it reminds me of film. I mean, there is really nothing more obvious than grain to tell you this has been shot on film, and Interstellar was shot on... Continue Reading →
No Love for Film Grain
"I've got no great love lost for film grain and I think I can say I think I've managed to go all of 2022 without using film grain once. It's something you know, if the client says, 'Hey, we're doing film grain, give me your best version of it', then my answer is of course... Continue Reading →
James Cameron: 48 FPS Only Works in 3D
“As cinematographers we have to manage every aspect of motion imaging amid continuous advances in imaging technologies such as greater resolution, and high dynamic range. But these imaging technologies are affected by the way they are rendered via the camera frame rate combined with movement of the camera [such as panning and, tracking], along with... Continue Reading →
Better Than 99% of Test Footage We’ve Ever Seen
Some pretty spectacular test footage of the Great Joy 50mm 1.8X anamorphic prime: unusual sets, evocative lighting, rich color, precise exposure, great shadow detail and correct export settings... a feast for the eyes. Shot on the Z Cam F6. https://youtu.be/mVLHoS4orD0
Canon EOS C700 Mark II + REDCODE RAW?
This rumor is too wild! A Canon EOS C700 Mark II with user swappable sensor (s35 5K global shutter/FF 8K DGO rolling shutter), a new gamma curve designed expressly for HDR (!), the ability to shoot XF-AVC, ProRes and Cinema RAW Light internally, BRAW and ProRes RAW with the Blackmagic Video Assist and Atomos Ninja... Continue Reading →
Camera to Cloud: Fujifilm’s Transmitter Will Set You Back a Grand
A little while back, we wrote that the Fujifilm X-H2S would be one of the very first cameras to feature frame.io Camera to Cloud integration, enabling uploading files to the cloud for remote collaboration without the need to purchase expensive, bulky transmission devices that add extra weight, draw more power and require cables. What was... Continue Reading →
The Daejeon Chronicles 