A proper grading environment should always include a consumer monitor for a reality check. Makofoto, s. pasadena, ca

On 24 Feb 2019, at 07:06, Geoff Boyle <geoff@...> wrote: It doesn’t matter what people set their home TV’s to Alister, what matters is what the standard is for grading. We are not judged on what

I’ll repeat, I don’t get hired by consumers. The pictures, and standards, that matter are those in the grading suite etc. Is this wrong? Of course it is! Should we change the

>It doesn’t matter what people set their home TV’s to Alister, what matters is what the standard is for grading. No, this matters quite a lot. Consumers aren’t setting their TVs to 200

It doesn’t matter what people set their home TV’s to Alister, what matters is what the standard is for grading. We are not judged on what the picture looks like with the chroma cranked right

Bingo. This is indeed why we provide a 200-nit option. Nits, BTW, not NITS (pardon my lapse into pedantry). But yeah. I am sometimes vilified for saying this, but having all those reference monitors

"And now have a director who's insisting on using the original version that Arri created on the Mini (which only has the new version)." Well, no. Look at the

The legacy ARRI LUT is more than just a 1D LUT. It is effectively two 1D LUTs with a 3x3 matrix between them. But it is true that it is not as nuanced as what is possible with the 3D LUT processing in

>It's really interesting that they are recommending 200 nits for hdr instead of the 100 we usually work to. 100 nits is the 709 studio monitor standard, but consumer TVs have been brighter than

>Google's not proved very useful on the topic, so I'm wondering if anyone has the old LUT filed away somewhere and could send it to me please? It’s built in to every ARRI camera as “ARRI

HLG is becoming interesting, as it is now offered on my Fujifilm X-T3. I’m shooting an outreach video for the Audubon Society using it. I just had a scary moment when I first imported HLG footage

On 23 Feb 2019, at 13:34, Geoff Boyle <geoff@...> wrote: It's really interesting that they are recommending 200 nits for hdr instead of the 100 we usually work to. Perhaps this is because the

Just a thought, these are all for rec709. Does anyone want 1000 nit pq 2084 versions? Or hlg... Geoff

It's really interesting that they are recommending 200 nits for hdr instead of the 100 we usually work to. This matches my own preference which came just from looking at a monitor and finding that it

Nevermind. A fresh (and in hindsight, bloody obvious) combination of search terms yielded this: https://www.arri.com/en/learn-help/learn-help-camera-system/tools/lut-generator Cheers, Mark

Hey everyone, I have a vague recollection that the original Rec709 LUT for the Alexa was updated at some point. And now have a director who's insisting on using the original version that Arri created

I’ve updated all of these and added a 4th variant, my personal favourite. This compensates for overexposing by a stop. Set your camera to the recommended EI and your meter to half that. The

I’ve just added Canon Clog2 in all flavours. cheers Geoff Boyle NSC EU based cinematographer +31 637155076 www.gboyle.nl www.cinematography.net

That would be awesome! Thanks again Geoff! I've sent an inquiry via pedestrian avenues to Fuji in the US via their website...we'll see what it yields as well. Jeffrey Weil Cinematographer/Trinity

I'm meeting with Fuji next week, I'll ask 😎 Geoff Boyle NSC Cinematographer Netherlands www.cinematography.net