EDR is a term with four distinct meanings across the display industry: a deprecated content standard (Dolby's 2014 'Extended Dynamic Range'), a cinematic projection standard (Dolby's 'Enhanced Dynamic Range'), a technical implementation (Apple's 'Extended Dynamic Range'), and a perceptual model ('Entertainment Dynamic Range'). This article clarifies these definitions to untangle the confusion. EDR as a... Continue Reading →
EBU HDR Monitor Tests 2024: None Meet Color Gamut Requirement For Grades 1 & 2
THE DESIRE FOR LOWER PRICES The high end of the market has so far been dominated by a handful of ±30” display models with list prices of around 35k EUR. These instruments can be regarded as measurement devices with predictable performance and good consistency in colour reproduction from model to model. Due to their high... Continue Reading →
Netflix: Higher Bitrates Needed for HDR AV1
Shocker! In the very first study of its kind, the authors (from the University of Cambridge and Netflix, Inc.) discover that significantly higher streaming bitrates are required to deliver satisfactory HDR AV1 video. D. Hammou, L. Krasula, C. G. Bampis, Z. Li and R. K. Mantiuk, "The effect of viewing distance and display peak luminance... Continue Reading →
Yossy Mendelovich Is A Genocidal Ass Clown
In an article entitled "YMCinema Stands With Israel and Honoring the Fallen of October 7th", YMCinema founder Yossy Mendelovich advocates genocide and calls Israel “the superhero of the free world.” Meanwhile, CineD's spineless co-founder Nino Leitner, unable to comprehend why anyone would feel compelled to criticize or boycott a website that promotes terrorism and genocide,... Continue Reading →
Returning Greatness To Film Grain
Returning Greatness to Film Grain: Introducing AV1-Compatible Film Grain Modeling for ExistingHEVC-Based Video Codecs. By Dan Grois, Alex Giladi, Thomas Guionnet, Thomas Burnichon,Nikolay Tverdokhleb, and Mickael Raulet Do the conclusions of this study, which presents an implementation of the existing AV1 film grain synthesis applied to HEVC-based video codecs, justify such a bombastic title? For... Continue Reading →
DCI HDR Image Tests Might Be Flawed & Why It Doesn’t Matter
Back in January and February 2020, ten double-blind image testing sessions were conducted at Sony Pictures Studios to determine the minimum specifications for peak brightness that would yield "a substantially differentiated HDR viewing experience.” A Sony CLED was used for mastering and viewing since it was the only technology available at the time that could... Continue Reading →
How Not To Expose For HDR
“Conventional exposure theory would suggest that with a camera like the Alexa that is ISO 800 it will reproduce a mid-grey as a mid-grey but if you set up for that in HDR then you are going to find objects in the frame over exposed. Candle flames, for example, tend to lose their color and... Continue Reading →
Highlights in SDR & HDR
"And now if we think further about negative emulation, all kinds of other interesting questions come into play that kind of go along the lines of what we were just talking about, like what are the great things and also the limitations of a film negative. Here’s one that is not popular and people don't... Continue Reading →
One of the Most Objectionable Practices in the Industry
"S1 was shot so beautifully. S2 as well but s2 was a bit less grand and more intimate but it worked for the story. S3 felt visually monotonous." "This season was lacking the almost magical enchanting feeling from earlier seasons." "Not what S1 and S2 were like. It’s drastically different and not in a good... Continue Reading →
Adobe Cancellation Hell
Adobe makes users jump through a crazy number of hoops just to cancel a stupid subscription. We had to hit ‘cancel’, ‘no thanks’ or ‘continue’ no fewer than six times in order to cancel ours. The FTC’s proposed ‘click to cancel’ rule takes aim at the unscrupulous practices of Adobe and others. The proposed rule... Continue Reading →
Announcement: The HDR Creators Handbook
I'm a pretty bad procrastinator, but I just might start work on a tiny handbook which I'm considering calling The HDR Creators Companion - a compilation of the best bits of the thousands of posts I've written on the subject over the past six years. And just as I've always done, I will not be... Continue Reading →
HDR: The 2nd Commandment (updated)
“Frames that have a wider variety of contrast and a higher contrast range from the source media work best in HDR and therefore look best.” Aidan Farrell, colorist, The Farm If the first inviolable rule of HDR is to not clip the signal, the second must surely be that scenes have adequate contrast. We just... Continue Reading →
Dynamic Range & Maximizing Audience Reactions
During a podcast recorded five years ago, Shane Mario Ruggieri, Advanced Imaging Systems Creative Lead, Dolby Laboratories, was asked what kinds of cameras work best for HDR: What cameras do you normally come across when you're working in HDR? Is there any specific camera that's worked really well for you? Are there cameras that are... Continue Reading →
Dolby Vision or PQ10 FTW? Very Unexpected Findings!
When toggling between reference mode HDR Video (P3-ST2084) and Apple XDR Display (P3-1600 nits) with brightness set midway on the MacBook Pro M1 Max (2021), we prefer the latter (Dolby Vision) with the few Apple TV+ shows we watched: Ted Lasso (2020-2023), Black Bird (2022) and Bad Sisters (2022-) - improved contrast, a touch brighter,... Continue Reading →
Calman’s New Additivity Feature
In this video, David Abrams, Sr. Product Manager, Portrait Displays, demonstrates how to use Calman’s new additivity feature using Sony’s A95L QD-OLED, an additive display technology, as an example. https://www.youtube.com/embed/xFDMJmS2F2g?wmode=opaque “Some displays exhibit specific characteristics that don’t follow traditional display color physics. This could be due to the manufacturing of the panel itself or processing... Continue Reading →
HDR: The Root Causes of Resentment
Resistance to HDR “For me, there’s OK HDR and even worse HDR. Personally I don’t like it,” Dariusz Wolski, ASC (Napoleon, 2023) The hostility toward HDR in the industry is well-documented. Steve Yedlin (Glass Onion, The Last Jedi) once wrote in a post on X (formerly Twitter), “Seems that filmmakers usually put all their authorship... Continue Reading →
HDR, Eye Discomfort & Field of View
Warning: NSFW Walter Volpatto, Sr. Colorist, Picture Shop, argues that HDR causes discomfort because, unlike in real life where the scene before us occupies our entire field of view, we’re watching TV in a dark room where the picture occupies a much smaller field of view, forcing our pupils to open up, making the image... Continue Reading →
CineD Continues To Publish Nonsense
CineD begins its write up of the Blackmagic URSA Cine 17K like so: “While some camera manufacturers keep postponing 8K camera models due to the industry’s slower adoption of the very high resolution and the massive data rates that come with it, other companies are moving in the other direction.” Is that so? Let’s see…... Continue Reading →
Professional Colorist Botches Explanation of Scene-Referred vs Display-Referred
https://youtu.be/AAeZKZ5feGA?si=awlpC8y0CmhCK-RP Shortly after colorist Darren Mostyn published his latest color management video, we pointed out that his explanation of scene-referred and display-referred grading was inaccurate. Not only did he double down on his blunder in his reply, but he’s since deleted our comment and pinned a long, muddled statement in the comments section which will... Continue Reading →
Julien Leclercq To Direct New Series For Netflix
French director Julien Leclercq (Ganglands) will be making a new series for Netflix: GIGN. The GIGN is the elite police tactical unit of the National Gendarmerie of France. Among its missions are counterterrorism, hostage rescue, surveillance of national threats, protection of government officials, critical site protection (such as French embassies in war-torn countries), and targeting... Continue Reading →
The Daejeon Chronicles 