The number one resource for information about HDR technology, workflows, tutorials, news and opinion.
For those who need to run virtual Windows on a Mac, there's been a pretty huge upgrade to VMWare Fusion. Major features include: All new Get Windows Feature for Macs with Apple silicon Download and install Windows 11 on the latest Macs with ease. VMware Tools on Windows 11 for ARM Drag-Drop, Copy-Paste, DirectX 11... Continue Reading →
It’s that time of year again! 1. The creator of Rec.2020 was a. Colonel Sanders b. Kenichiro Masaoka c. Alexander Graham Bell 2. According to Tony D’Amore, Senior Colorist, Picture Shop, one of the worst practices in the industry is a. putting highlights at 200 nits b. crushing shadows c. shooting with digital cameras 3.... Continue Reading →
Here’s an excerpt from an interview with cinematographer Powell Robinson published by PostPerspective, focusing on the DP’s dynamic use of ISO with the ARRI Alexa Mini. We found it interesting because over the years, some cinematographers have claimed that shooting at low ISOs on an Alexa hurts dynamic range in the highlights and produces digital-looking,... Continue Reading →
Apple Log is vastly superior to the over-processed HDR video we've become accustomed to since the iPhone 12. Clips uploaded to Dolby Vision compatible apps will display the Dolby Vision logo, while Instagram Reels will process the video as HDR without dynamic metadata. Several of our videos have turned into SDR since uploading to IG,... Continue Reading →
"Widening the color gamut is often marketed as an unconditional improvement, when in reality there are downsides like increased metamerism that need to be considered. More education is needed so consumers understand this." "For professional use cases like color-critical work, metamerism is a major concern. Displays optimized for wide gamuts may not be suitable. Selecting... Continue Reading →
Online tutorials insist on making an S-curve, but the correct way to normalize ETTR footage is to create a gentle convex curve. It's also possible to reduce ISO in post. Which method is better? The clip normalized with a curve (on the right), is less saturated and has greater highlight detail. The clip on the... Continue Reading →
ProRes 4444 has disappeared without a trace from Blackmagic's Camera app with no word yet as to whether it's a bug or some other reason.
"In the entertainment industry, film grain is widely present in the motion picture and TV material and is considered part of the creative intent. The grain is inherent in analog motion picture film due to the process of exposure and development of silver-halide crystals dispersed in photographic emulsion [2] as randomly distributed grains appear at... Continue Reading →
The Netflix limited series Clark featured the most inventive use of HDR we'd ever seen, so we just had to reach out to colorist Bill Ferwerda to ask if he'd be willing to talk with us about his workflow. What camera was used on Clark? [The] Sony Venice. Was an HDR monitor used on set or during... Continue Reading →
Team 2 Films uploaded a color management master class to YouTube a few months back, and in their zeal to promote an ACES or RCM/DWG workflow, they say that ARRI Log C was designed solely for camera capture, not for grading, which might have been true of ARRI's old Log C, but is not true... Continue Reading →
AI compression tech could deliver 50x smaller files than technologies like H.264. According to flatplanelshd, ‘the team behind the MPEG standards is currently developing an AI-based codec with the aim of releasing it before the end of this decade.’ Read the story here.
The Royal Swedish Academy of Sciences has decided to award the Nobel Prize in Chemistry 2023 to: Moungi G. BawendiMassachusetts Institute of Technology (MIT), Cambridge, MA, USA Louis E. BrusColumbia University, New York, NY, USA Alexei I. EkimovNanocrystals Technology Inc., New York, NY, USA “for the discovery and synthesis of quantum dots” They planted an... Continue Reading →
Not sure when the marketing department over at Blackmagic Design decided to use a Sandisk Extreme Pro to illustrate the ability of their new full frame Cinema Camera to record to external disks, but it seems like unfortunate timing, given that Western Digital is facing multiple class-action lawsuits over its defective portable SSDs.
Steven Poster, ASC, President, International Cinematographers Guild IATSE Local 600 Presentation to the ICS at the ASC Clubhouse on 2018-06-07 (excerpt from the presentation, incl. a powerful, incontrovertible statement about the aesthetics of HDR) Little has changed since Steven Poster’s impassioned presentation five years ago. Few are monitoring HDR on set. And at NAB 2023,... Continue Reading →
“The more accurate presentation of specular highlights is one of the key distinctions of HDR.” ITU-R BT.2390-8 Yoeri Geutskens, in a dreadfully misguided article entitled We Need to Talk About HDR, published a few years ago over at FlatpanelsHD in response to Vincent Teoh's scathing critique of The Mandalorian, whose highlights peak at 200 nits,... Continue Reading →
Many decried SMPTE's revision calling for a 5-nit surround as being too stringent, while Charles Poynton maintained the new standard was too lax. "SMPTE ST 2080-3 calls for a surround luminance of 5 nt (that is, 5% of the 100 nit reference white luminance of ST 2080-1). ST 2080-3's Annex A provides a highly questionable... Continue Reading →
“For a long time, many people have thought, 'Well, film has this S-curve kind of thing, it must be some sort of limitation of the photochemical process'. It isn’t. It was designed into the photochemical process. Eastman Kodak for years actually hired more psychologists than chemists for a period of time. They would go around... Continue Reading →
From an interview with Anastas Michos, ASC, GSC, about his work on “The Autopsy”, from Guillermo del Toro’s Cabinet of Curiosities Phedon Papamichael, ASC, GSC: I have a question. Just real quick about the DI, because you keep mentioning it. I was at the ASC clubhouse, and we were talking about agents and DI time and all... Continue Reading →
“There’s always been this promise with technology with Moore’s Law. The difference between shooting on film making it a very expensive film, and what you might call a consumer, a prosumer, like the stuff you can buy in stores, is getting narrower and narrower. That gap is getting indistinguishable to some extent. We shot the... Continue Reading →
The Daejeon Chronicles 