From: <cml-raw-log-hdr@...> on behalf of "Pawel Achtel, ACS" <pawel.achtel@...> Any particular reason you would not shoot with a single camera? It sounds like unnecessary complication, setup

Ø For an upcoming series we are using multiple Venice Cameras (1. Generation not the Venice2) and are planning to film most of the project in X-OCN ST. Ø Regarding the VFX shots, my understanding

Greetings, For an upcoming series we are using multiple Venice Cameras (1. Generation not the Venice2) and are planning to film most of the project in X-OCN ST. Regarding the VFX shots, my

Hi everyone. Please, does anyone know what the native color temperature of the Venice 2 sensor is? Thanks a lot!

Merci Lenaic, il n’y pas tant d’occasions de te fréquenter, en tt bien tt honneur bien sûr ; je crains d’oublier encore le mois prochain le drag and drop fatal. Bonne soirée, Jylp

Introduced on the F65. Mitch Gross Prolycht Lighting New York

>>High/Low Key was on the F55 and F5, not on the later cameras, which is a shame as it was my favourite tool I agree. I don't know why Sony took away that brilliantly simple exposure tool in the most

High/Low Key was on the F55 and F5, not on the later cameras, which is a shame as it was my favourite tool shooting CineEI on documentaries. I haven't looked at the Shogun Inferno, but it strikes me

Thanks Nezih. I think you’re right.

It’s worth noting that, unless I’m mistaken (I might be thinking of another older model), the HDR feature of the Shogun Inferno isn’t proper HDR monitoring (as in, an slog3 to HLG or PQ or

Thanks mate. That’s really useful

Hi Adam, Not sure if this will help but we put together this guide to help some of our productions who were looking to deploy HDR from on set perspective. Hope it helps, the info it's just specific to

I’ve got an Atomos Shogun Inferno with its HDR engine under the hood, so I’m hoping to.

Do you need to monitor in HDR on location/set? ----------------------------------------------- Nezih SavaşkanDirector of Photography + Camera

Hi all, I’m heading off on a job shooting 4K 59.94p for HDR 1000nits deliverable. Are there any pitfalls re correct exposure that I should be aware of. Many thanks for any help Adam Craig Lighting

Hi Dick, I second what Guy is saying. Using resolve here is not the way to go. You want to keep things in a photo/printing space. I do my own printing and manage film/vfx colors at work. So I have a

However you get there, I would also suggest bringing the files into photoshop for final finishing and output for the printer. It’s going to be important to have a conversation with the printer and

Also note that unless your timeline resolution matches your OCN resolution (ie 6K) you will get inferior stills or video on render. If you grab stills or do color grading with a HD timeline and then

On Mon, Feb 7, 2022 at 01:06 PM, Dick Harrewijin wrote: My guess would be the above with SDR Rec-2020 and output to P3-DCI? For stills export, you'd probably want something that converts to RGB

If you put your footage on a timeline and go to the color room in DaVinci you can use the color room to color your video then choose each frame you like hit Opt+Cmd G to grab a still and it will