RED Komodo: To ETTR or Not?

In just the past 24 hours, there have been something like 175 visits to an old article we posted announcing our intention to return to ETTR with the RED Komodo, so we're guessing it's a somewhat controversial topic! To the best of our knowledge, few DPs on big productions ETTR but there do exist some... Continue Reading →

Working Color Space: What Colorists Aren’t Telling You

Almost without exception, colorists on YouTube who recommend using a working color space other than the native color space of the camera do so without explaining to their followers that this requires making a viewing LUT during pre-production. It’s difficult to conceive how anyone preoccupied with color management could overlook this critical detail. The following... Continue Reading →

Spotlight on Armando Salas, ASC

Can you share with the group how HDR came into your life? What was your experience, your first impressions and especially how, and if they have changed at all, with the other projects you've done? A.S.: I was hired on Ozark, on season 2. I was finishing another show and I was alternating with Ben Kutchins... Continue Reading →

Adjusting Custom Curve for ETTR Footage

Cullen Kelly has contributed a tutorial entitled How to Fix the Dreaded “Video Look” Using DaVinci Resolve to the Insider blog where he shares several tips that we've used with great success since following him on his YouTube channel Grade School; but we advise against making an S-Curve as he recommends if you're exposing to the... Continue Reading →

RED Komodo-X TBA

Phil Holland writes: Summary of likely things or known things:- Locking RF Mount- Front Side Record button- Very likely still a top screen- Very likely compatible with DSMC3 monitors now, but not confirmed- Very likely CFexpress Type-B media- Unknown Battery Mount- Very likely 6K resolution, S35 or S35+ sensor with higher unknown framerates. Likely 60fps... Continue Reading →

Budget For Highlights: SDR vs HDR

We’ve written a lot about specular highlights, how there should be enough headroom above diffuse white and how studies have shown participants prefer specular highlights appreciably brighter than diffuse white, by as much as 3X or even more. Just how does that figure compare to SDR video? “In traditional imaging, the range allocated to these... Continue Reading →

Why We Got Rid Of The Asus PA32UCX

Re-reading an article we'd written back in 2019, we were reminded of just one of the reasons we ditched the Asus PA32UCX - it was impossible to find an affordable way to calibrate the thing. In 2020, Calman would at last release their own 3D LUT calibration, but at the time, it was for Rec.709... Continue Reading →

Why a 10% test pattern is so signifcant

The luminance just falls off a cliff beyond the 10% window on this display, so it must be useless for grading HDR, right? Actually, it's still used to this day by LA-based post-production houses and around the world for mastering shows for Amazon, Netflix, Disney et al.  Read on. Photo: Brian Florian

DaVinci Resolve 18.5 Public Beta Color Page Additions

Per-Timeline Resolve Color Management Timelines using custom settings now allow you to override color management settings on a per timeline basis. This allows setting of independent timeline and output color spaces per timeline along with other color management properties. Any existing custom timelines are automatically initialized to color management settings from the project. Set Composite... Continue Reading →

We Try Out The Ninja V + Komodo

After nearly a year, we finally got up the nerve to connect our Ninja V to the RED Komodo and to our great surprise, it didn't fry the SDI port! While our tinkering around with the Atomos Ninja V & Komodo didn’t produce great art it did allow us to discover that, although RED’s creative... Continue Reading →

Sony Announces New Virtual Production Tool Set

From Sony’s press release: Sony Electronics Inc. is announcing a new Virtual Production Tool Set to help improve pre-production and on-set workflows. The new tool set works with the Sony VENICE, Crystal LED and other HDR-enabled LED walls to improve performance and help solve common virtual production challenges such as color matching and moiré to... Continue Reading →

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