Which a good chef applies vary sparingly.Noel SterrettAdmit One Pictures

>I think there’s a very simple solution for the problematic highlights in HDR. “Default White”. In linear terms, this is basically 2-2.5 stops brighter than middle gray. Beyond that,

I think there’s a very simple solution for the problematic highlights in HDR. “Default White”. By default highlights are mapped to something comparable in brightness to 100 IRE in Rec709 (i.e.

I saw this movie in Dolby Cinema HFR yesterday. I wouldn’t have normally gone to a movie like this, it’s one I may have watched on Netflix but in this case I wanted to check out the technology.

/rant on I think that barely competent cinematographers have been getting away with murder recently and HDR is showing who they are. There is a series on Amazon that has really distracting

>So perversely, I’m now doing the opposite of what a lot of previous exposure doctrine lead me to do, that is to underexposure or expose for highlights, to try and protect them more, unless

That got me thinking. I bought my first camera, a Canon Rebel, in 2005 from my first film job (as a boom op). It’s bad DR was complimented by terrible black rolloff. There, I learned to ‘expose

Bringing this over from CML General…. Yeah. Doing my first HDR (and Dolby vision) mandated show right now and realised there really isn’t a good way to look at HDR on set. Like nothing at all,

Expanding on OLPFs a bit for those who don't think about them much. Many focus on producing cleaner images these days. Which is why the Low Light Optimized and Standard OLPFs are pretty common, but

In general, IR cut filters are notoriously tricky to get right. Cut too much in the IR spectrum, and red reproduction is affected. As was noted by Pawel in his post with the color

From dxl.panavision.com: “A custom color correction filter made with a high-precision design and manufacturing process, PX Pro provides a significant increase in color separation and greater color

Any clues what the PX Pro OLPF is rated at for ISO and any characteristics it might or might not offer ? Dave Blackham Esprit Film and Television UK

I’m fairly certain the DXL2 uses a custom proprietary OLPF Panavision calls “PX Pro”. Thanks, Benjamin Tubb A-Cam 1st AC - The Haunting of Bly Manor Vancouver, BC 604-908-5219 benjamin.tubb@...

Phil Holland wrote: “What OLPF was inside both cameras Pawel?” Good question, Phil. The DXL2 metadata say Low Light Optimised, but might have been replaced by custom Panavision OLPF, not

Hi Jonathon. I recently did a lot of testing with the DXL2 for a series and in the end made a different choice. I have tested DXL1 previously and would say that there’s a huge improvement with the

What OLPF was inside both cameras Pawel? Phil ----------------- Phil Holland - Cinematographer http://www.phfx.com http://www.imdb.com/name/nm0390802/ 818 470 0623

Jonathon Sendall wrote: “…is there any jiggery pokery before RAW gets dropped into any NLE or colour grading scenario…” I compared colour gamuts and colour accuracy of both cameras and there

That’s good to know Phillip thanks. In in the main I'm looking for any possible colour shift between the two rather than anything else. Jonthon Sendall DP, London UK

The Panavision DXL2 Monstro and RED Monstro 8K VV DSMC2 as well as Ranger Monstro 8K VV all produce the same image if working straight through RED's IPP2 workflow, i.e. the same image. However!

Sorry I should be a bit clearer. I don’t mean in terms of what Light Iron Colour 2 can do to the image but in the RAW pipeline from both cameras, is there any jiggery pokery before RAW gets dropped