Any body have experience or knowledge of XR volumes using the Sony C-LED screens? Considering a recent discussion about colour these look to be an improvement but it would be nice to hear real world e

Just mentioning this out of sheer surprise: This morning's Washington Post, on page 5 of the A Section, a full-page ad for DaVinci Resolve 17. It trumpets that Hollywood uses Resolve, and it's FREE! N

Ahhh, good point about the intended audience! That's like here in DC when major defense contractors run "ads" on the local news station. I'm not in the market for a fighter jet... Jeez, is Grant Petty

Hi all- I’m playing around with some HDR footage in Resolve Studio and viewing it on a Sony X310 monitor. I’ve found that I can feed the monitor an HDMI signal and see HDR accurately, but the UI ends

Bonjour I'm looking for examples of period piece films which have recently been shot in part in front of an LED wall/cave, either using photographic elements or virtual CG elements. Any suggestions wo

Hi all The next shoot will probably be in ACES and I wanted to get suggestions for what people are using on set for their monitoring in true 10bit. Our budget is in the 10-20K range for the monitor, m

Hi, resurfacing here after a long hiatus... Our facility is considering renting a UHD HDR grading monitor vs. purchasing another one. Most likely a Sony HX310, but I'm also open to X300, FSI XM310K or

Hi all- I’ve got a project coming up where we’re going to be shooting out in the middle of nowhere. I’m wondering what kind of hard drives you would recommend as I’m likely going to be the one who is

Conrad Hall once said: “My peers have said I have made a difference. That means more to me than winning an Oscar.” No one has made a greater difference to his peers than Geoff Boyle. Thank you, Geoff.

Thank you Geoff. I was introduced to CML by Ariel Wollinger when I asked him in 2006 how he had so much information about digital intermediate. I never write around here but still reading everyday and

I hope my cardiologist will let me move my long-scheduled stress test so I can be there… if I can figure out Zoom. (Me, I’d have used Prime…) Jeff “be there or else” Kreines Jeff Kreines Kinetta jeff@

CML Zoom on Wednesday 7th July. https://zoom.us/j/94426303343 9am LA, Noon New York, 5pm London, 6pm Amsterdam, 9:30pm in Mumbai Geoff Boyle says farewell after nearly 25 years of running CML. CML has

Has anyone by any chance got a BenQ SW2700PT? Im having some weird issues with the calibration settings. Michael. Michael Sanders: London based Cinematographer/Director of Photography. reel/credits/ki

Eric Wenocur observes: “I have found that certain ‘broadcast’ displays look a bit green to me, and when I ask around I find that other people have different experiences. A couple people on the CML cha

FilmLight, in cooperation with an assortment of industry groups, is organizing the Colour Awards (https://filmlight.awardcore.com) to celebrate the collaboration of Cinematographers and Colourists. As

Often, when desqueezing anamorphic footage, it’s desirable to use a slightly different desqueeze setting than the nominal value. For example, for a scene shot with a 1.33x lens, you might use a 1.28x

Hi- I'm researching how to solve a post problem for a producer pal. He needs to transfer SD video files off of avid Media Dock LVD SCSI drives. He still has the avid from 2002 that was used to edit, b

Hi all, I'm prepping for a TV show shooting ProRes 4444 on the Alexa Mini LF in 4.5K Open Gate. We're looking to set framelines which crop the Open Gate by around 5% so that the operators have a bit o

I'm running into a problem with negative pixel values in DaVinci when using ACES. From what I've found online, because ACES uses floating points for their values, it's quite possible to have negative

I am using the Sony Venice, and production want to only shoot ProRes 4444 1080. Some of the locations would suit being full frame, so I tested shooting some of the wides at 5.7k to open up the sensor,