Not so great - brightness falls off a cliff away from the center of the screen.
Screen Uniformity MacBook Pro 16″ (2021)
Paycheck Stops and Gravy Stops
A decade ago, Arri lens specialist Art Adams coined the terms paycheck stops and gravy stops. Paycheck stops are values that you can bet your paycheck on. They’ll appear in the image with enough contrast and detail that objects exposed at that value will be easily discernible. Gravy stops are the values that lie beyond paycheck stops:... Continue Reading →
Adobe to Drop Color Management by Default. Alister Chapman Responds
"Log was never, ever supposed to look flat. It has been the incorrect handling of log for over a decade that has led to the notion that log content is flat," Alister Chapman writes in the comments section to his blog post Adobe to Drop Colour Management by Default, where he doesn't mince words when it comes... Continue Reading →
That Explains It!
It was a year ago almost to the very day - at the decisive moment when we were about to make the perilous switch over to P3-D65 (Google warns against it on their YouTube help page) - that tech evangelist and calibration guru Tyler Pruitt revealed over at the liftgammagain forums that it was entirely... Continue Reading →
Former Atomos CEO Alleges Securities Fraud
Atomos claims they let CEO Estelle McGechie go for refusing to move to Australia, but her lawsuit paints a very different picture: a corporate culture of gender discrimination, allegations of securities fraud, accusations that the company knowingly shipped defective/inoperable equipment to boost sales figures and sexual misconduct at the workplace. According to papers filed with... Continue Reading →
Digitization of Photochemical Film
In an earlier post, RAW: an often overlooked advantage, we explained how future updates to the demosaicing process in post can yield major improvements in image quality, even to footage shot years before. A similar principle holds true for analog photochemical film, for which better methods of scanning with more accurate color rendition are continuously... Continue Reading →
Blackmagic Gen 5 Color Science
At around 2’18” into the video, you can see the difference between how Blackmagic Gen 4 and Gen 5 color scence handle the bright, saturated reds we mentioned in an earlier post (which can make things like tail lights and the lights on police cars & emergency vehicles look so obnoxious), something the latest Arri... Continue Reading →
The Ideal Cinema Camera
What are the minimum requirements when it comes to choosing a cinema camera? When asked why he chose the Ursa 12K to make realistic fake window videos, Tim Pan (content creator for Media Storm), cited resolution, dynamic range, color science and the ability to record RAW as paramount. We'd add another requirement: the ability to... Continue Reading →
Kolari Pro 3-Stop ND Filter Test
We just finished doing a quick & dirty test of the Kolari Pro 3-Stop ND screw-on filter. Screenshot #1 was auto white balanced with no filter; #2 is the same white balance, only with the Kolari ND3 filter; #3 was white balanced with the ND3 filter in place. While all land directly on the skin... Continue Reading →
Neon & LED
For the longest time, colorists have had to deal with the garish digital color processing of neon and LED lights, particularly those of the emergency vehicles, police cars and taillights seen in so many crime shows. Also, at the dawn of digital cinema, LED lights were seldom seen on sets, whereas today, they are commonplace.... Continue Reading →
The Daejeon Chronicles 