The number one resource for information about HDR technology, workflows, tutorials, news and opinion.
When it comes to post-processing, using the fewest number of transforms and working at the highest available bit depth in a native color space greater than the display color space are key to preserving the greatest image quality. So, should you be changing your timeline color space to DaVinci Wide Gamut Intermediate or not? To... Continue Reading →
Some pretty spectacular test footage of the Great Joy 50mm 1.8X anamorphic prime: unusual sets, evocative lighting, rich color, precise exposure, great shadow detail and correct export settings... a feast for the eyes. Shot on the Z Cam F6. https://youtu.be/mVLHoS4orD0
A pretty comprehensive test with the Mavo Edge 8K where you can check out the sharpness, breathing, chromatic aberration, distortion, color, contrast, vignetting, flares and bokeh of many of the high-end and budget anamorphic lenses available today, from the sublime to the atrocious, including Arri Master Anamorphic, Atlas Orion, Cooke Anamorphic FF, Great Joy, Laowa... Continue Reading →
The popularity of anamorphic lenses seems to be skyrocketing now that affordable sets from the likes of Atlas, Sirui, Venus Optics and Great Joy are becoming plentiful and receiving excellent reviews. Unfortunately for anamorphic shooters, it would appear that most camera sensors aren't optimized for the lenses, with Panasonic, the Kinefinity Mavo LF and ARRI... Continue Reading →
When it comes to HDR, two issues stand out from the rest if a cinematic look is what we're after, the first being 24p judder, a characteristic of motion pictures that cinephiles embrace and which worked well enough in theaters with 2K 48-nit projection but which becomes extremely objectionable on today's higher brightness, higher contrast... Continue Reading →
https://youtu.be/DUPLPDAnYqI Tito Ferradans says it's the best budget anamorphic option. We just preordered the RF mount Great Joy 85mm T2.9 1.8X full frame anamorphic cinema lens over at Indiegogo. The mirrorless mounts are just $1,189, a price that would have been unthinkable just a few years ago, but sales of the ever so slightly more... Continue Reading →
The RED Komodo is to get Gio Scope, ELQ and improved AF, quite possibly before Christmas. Gio Scope is like if false color and the zone system had a child together but reflects the RAW sensor data and is unaffected by ISO and white balance. The Komodo will be the first of the DSMC 3... Continue Reading →
Are you shooting RAW? If not, why? Are you recording as much data as necessary while neither clipping highlights nor crushing shadow detail? Are you using the appropriate scopes and tools for judging HDR exposure? If you're shooting with a camera that uses EI (where ISO is just metadata), are you halving your ISO? Noise... Continue Reading →
There's next to no sample footage out there of Phil Holland's philmColor LUTs for IPP2, which is bonkers, because these are quite possibly the best looks out there for RED shooters. And without question, for RED filmmakers delivering HDR projects. When the LUTs are used in camera, you can monitor in SDR with the built-in... Continue Reading →
In this clip, we try out just a handful of the over 540 LUTs included in Phil Holland's philmColor R3 LUT pack. There is a link to the downloadable movie in the description for those who can't stand YouTube compression. https://youtu.be/Z53zdkSf1gQ
We picked up Phil Holland's philmColor R3 LUT pack the moment we learned it was discounted $75.00 for Black Friday. Will hopefully be able to share some results next weekend. Unlike some of the film emulation plugins we've used, these LUTs, just like the Sony Venice and RED IPP2 Creative LUTs (both developed by seasoned... Continue Reading →
The anamorphic lens of our dreams just came true! The size and weight, squeeze factor, angle of view, mounting options, bokeh, and price check all the boxes. Here are the specs: Constant squeeze factor, 0.7m min. focus distance, focal length and angle of view 84.2mm (16.2°) vertically and 45.5mm (44.8°) horizontally, covers full-frame sensors up... Continue Reading →
During a livestream a couple of years ago with some of the very first filmmakers to get their hands on the RED Komodo, Jarred Land announced that a monochrome Komodo was absolutely on the road map. Now that the V-Raptor, V-Raptor XL and Rhino are all in production, can we expect a Komodochrome in 2023?... Continue Reading →
https://youtu.be/uEcmBKzWbp4 Here's the workflow for those who are interested. https://daejeonchronicles.com/2022/11/14/josh-pines-sony-venice-lut-with-red-ipp2/
This rumor is too wild! A Canon EOS C700 Mark II with user swappable sensor (s35 5K global shutter/FF 8K DGO rolling shutter), a new gamma curve designed expressly for HDR (!), the ability to shoot XF-AVC, ProRes and Cinema RAW Light internally, BRAW and ProRes RAW with the Blackmagic Video Assist and Atomos Ninja... Continue Reading →
A little while back, we wrote that the Fujifilm X-H2S would be one of the very first cameras to feature frame.io Camera to Cloud integration, enabling uploading files to the cloud for remote collaboration without the need to purchase expensive, bulky transmission devices that add extra weight, draw more power and require cables. What was... Continue Reading →
This is huge! VMWare Fusion has announced that their software now supports both Intel and Apple silicon Macs, allowing users to access Windows 11 virtual machines. As of this writing, Intel Macs offer full support for Windows 11 while Fusion 13 on Apple Silicon is only the first round of features with more to come... Continue Reading →
https://youtu.be/qUDhKYTAKlo Look 1, developed by Picture Shop Senior Colorist Jason Fabbro (Captain Marvel, Thor:Ragnorak, Ready Player One) was created using the Lo Con Base LUT and offers slightly more contrast and saturation, while the reds and highlights have been pulled down to look less digital. Download the original movie here. Four of the new custom... Continue Reading →
1. The ability to monitor in both SDR and HDR without baking in the look. "The first ALEXA, now known as ALEXA Classic, introduced in 2010, and all successive ALEXAs (as well as AMIRA) provided a LUT-based output transform for REC709, which allowed for SDR (Standard Dynamic Range) monitoring of a default rendering of the camera’s... Continue Reading →
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