The number one resource for information about HDR technology, workflows, tutorials, news and opinion.
“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 →
“Director and DOP Mark Toia flew to Africa to shoot on the RED cameras a stunning set of visuals that Apple showed during the event. The raw footage is for a documentary Apple wanted to use as a test case for the new FCP pipeline. Toia is a highly successful filmmaker who does vast big... 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 →
Not great art, but here are a couple clips from our very first model shoot with the Great Joy 85mm T2.9 1.8X anamorphic lens. What we like: the lens is solidly built, fit and finish are excellent, the aperture and focus rings are smooth with just the right amount of resistance, it's got markings in... 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 →
Update (macOS Tahoe 26): As of the latest version of macOS, Apple has officially added the Calibrite Display Plus HL to its list of supported meters for calibrating reference modes on Apple XDR displays (Pro Display XDR, Studio Display, MacBook Pro) using the built-in Pro Display Calibrator. My original advice to avoid the Display Pro... Continue Reading →
HDTVTest got their mitts on Sony's soon to be released flagship QD OLED TV, capable of 1,350 nits on a 10% window and 240 nits full screen. Because Vincent was unable to connect to the same Internet network at Sony UK's office with his own laptop, he wasn't able to calibrate the A95L using the... Continue Reading →
“I think cinematographers have always advocated for a better experience for the audience, whether it’s fast film stocks with tighter grain, better projection technology, or higher quality digital-capture and display technologies. HDR is just another step in that direction.” Erik Messerschmidt At NAB 2023, Carolyn Giardina, tech editor of the Hollywood Reporter, sat down with... Continue Reading →
Dr. Masaoka is developing plug-ins, the first for DaVinci Resolve, to allow live gamut ring display. 🔥 source
“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 →
“After fixing the issue with auto-dimming in dark scenes on its 2023 models earlier this year, LG is now also rolling out a firmware fix for its 2022 OLED models, C2 and G2.” source
It's been six long years since the UHD Alliance announced their specifications for Ultra HD Premium requiring devices be able to display no less than 90% of the DCI-P3 color space - in area, not volume. Likewise, the EBU published User Requirements for Video Monitors in Television Production, which proposed now outmoded 2-D diagrams for evaluating color... Continue Reading →
Cullen Kelly's offering a free Fuji 3510 film emulation LUT for use with ACES and DaVinci Wide Gamut. We can't honestly say we're really fond of the flat, yellowish-green look, but it might work for one of your projects - and free HDR compatible LUTs aren't exactly falling out of the sky!
As HDR video becomes increasingly mainstream, the push for wider color gamuts has led to debates over the practicality of using Rec.2020 as a mastering standard. Experts caution that Rec.2020’s wide color gamut is impractical for real-world use. From energy inefficiency and metameric failure to challenges in gamut mapping and a lack of compliant displays,... Continue Reading →
HDR Video Shooters will primarily be interested in the Core Looks, which are divided into three different collections: the C100, C200 and C300. The C100 group is comprised of film emulations based on measurements of real film stocks or film processes. All of the C100 profiles produce a rich color palette with deeply saturated colors,... Continue Reading →
A study where participants watched video content on an HDR display under various ambient lighting conditions and asked to complete questionnaires to document their observations and subjective preferences as well as any visual fatigue they might have experienced found that subjects reported experiencing little to no visual fatigue. Test Setup Researchers used a Dolby 37” prototype... Continue Reading →
You might say that Christopher Nolan’s a huge fan of HDR. During his acceptance speech upon receiving the DEG Vanguard Award during the 4K Ultra HD Summit at Los Angeles’ Skirball Cultural Center in 2018, Nolan recounted how home viewing has impacted the structure of his films and shared his enthusiasm for 4K Ultra HD... Continue Reading →
postPerspective's Randi Altman interviewed Marvel Studios’ Senior Finishing Colorist Matt Watson during a virtual roundtable. Randi Altman: Do you often create LUTs for a project? How does that help? Matt Watson: Yes, we create show LUTs for every project. To be specific, we design our looks within the ACES framework as LMTs, which represent the visual... Continue Reading →
The Daejeon Chronicles 