“Several studies show that we all have similar expectations of colors of certain objects. Grass is green, the sky is blue, bananas are yellow. However, those expected colors differ from the actual, real colors, as most objects are perceived brighter and more saturated than they really are (Smet et al., 2014). In fact, people mostly... Continue Reading →

We’ve spoken bunches about how the traditional 7-second panning speed rule for 24 fps with a 180° shutter angle (assuming 2K 48-nit projection) quickly falls apart on today’s displays with higher resolution, contrast and brightness. As it turns out, Phil Holland has just shared his new 𝗽𝗮𝗻𝗦𝗽𝗲𝗲𝗱𝗖𝗮𝗹𝗰 app, writing, “Likely my last tool of 2022... Continue Reading →

Note: For mastering Rec.2020 (P3-D65 Limited) ST2084 content, it’s best watched on a display calibrated to Rec.2020. P3-D65 ST2084 cannot be shared to YouTube, while Rec.2020 (P3-D65 Limited) ST2084 can be. It was a year ago almost to the very day - at the decisive moment when we were about to make the perilous switch... Continue Reading →

"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 →

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 →

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 →

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 →

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 PQ EOTF, standardized as SMPTE ST-2084, is used for both Dolby Vision and HDR10, only the former stipulates 12 bits while the latter uses a 10-bit version of PQ. Take this quiz to test your knowlege: why doesn’t most HDR10 content suffer from appalling banding artifacts? Choose from among one or more of the... Continue Reading →