That video is not suggesting you burn in the LUT. Indeed, the Odyssey does not even have the option to do that. The LUT is used for monitoring only. I did another video for CD showing how to apply the

I would like to know how many users here burn in their LUTs in this way. I am so used to delivering Log in scenes with a high dynamic range to protect myself. Do some here always burn it in? In many

A scene and display contrast ratio of e.g. 10:1 may be numerically the same, but they are not perceptually the same, because there is a difference in both the absolute luminance and the viewing

Nick, could you enlighten me as to how the contrast ratio of a display is different to the contrast ratio of a scene, surely a ratio is a ratio, if a screen can show 10:1 and a scene is 10:1 are these

It doesn't mean anything to say 1000 Nits "is 10 stops". Stops are relative. 1000 Nits is about 10 stops more than 1 Nit, but 1 Nit has no special significance. SDR displays go much darker than that,

But HDR isn’t just about highlights, it’s also about screens that can show the shadow range better, perhaps with better shadow contrast and this means noise can be more problematic in HDR than SDR

What people often do on the FS7 is to expose one or two stops over, and "print down" for monitoring and post (see this video from Convergent Design). While this is a useful approach to reduce shadow

Hi Jean Marc >I have shot a doc on a FS7 in XAVC-I / Slog. It is now being sold to NHK Japan and they are asking if it was shot in HDR. James gave a great answer and i agree with everything he says.

If you haven't drastically over or underexposed anything, the FS7 in S-Log and the 10-bit codecs definitely give you enough dynamic range to grade in HDR, but not huge grading latitude. Think of

Hi all. I have shot a doc on a FS7 in XAVC-I / Slog. It is now being sold to NHK Japan and they are asking if it was shot in HDR. Now, being that all modern cameras are HDR capable with they 13+

Sorry, double negative "I would not have said the image wasn't "Sony like". The image was NOT "Sony like". Jonathon Sendall DP, London

Just finished a shoot on Phantom 4K Flex at ISO 800 and 640. Not a massive problem but it was studio. Saw the Venice at the CVP stand at BSC. The camera was pointed at some people sitting in at the

Sony released a limited feature version of the F5/55 in 2013. They included a "roadmap" of what was to come -- for FREE. I had my doubts. But in the five years that have followed, they

Ø The ND system, though... I don't know why everyone isn't doing this. It's brilliant. Hey Art, There is no one and fast answer to this. Yes, rear filtering is convenient in most uses,

Err Art, don’t you always set the Alexa to ISO 400? Having shot with ISO 500 film for a very long time I’m fine with this. Maybe Sony decided the rate it at it’s best noise rating rather

Mako nailed it No need to add anything Argyris Theos, gsc DoP tel. +30 6944 725 315 skype: Argyris.Theos www.vimeo.com/argyristheos

This seems like an awful lot of key features to be missing for six months. No 25p in full frame? No false color? No high frame rates? Eventual *partial* remote control? Does anyone have any idea how

That's the part that baffles me. Releasing a camera when major features are six months away seems like an odd marketing move. ****** What! RED started that and everyone else had to follow, so as not

We on the GSC had a quick look (not a real test) at the Venice. We will post on our experience soon. Meanwhile, the Venice will definitely be a dual ISO camera Also false color will be incorporated

Bloody spell check... There is an update that will have a dual ISO of 500 and 2500. Kris Denton DP LA