Definitely Chroma aliasing as the attached shots show. They are 2, 3 & 4 stops overexposed and 10X zoom in to the centre of the image. cheers Geoff Boyle NSC FBKS EU based cinematographer +31 63715507

Interesting, the first frame I posted was with Filter one at T22, this one is with filter 4, 6 stops ND, at T2.8... So, the Cooke is much sharper wide open 😊 cheers Geoff Boyle NSC FBKS EU based cinem

Hi Pawel, Not sure what you’re using to read the files bu in the latest version of Resolve the attached is what I get with a 10X zoom. Starting at 11.5K, shot with a Cooke 32mm Mini S4 and it looks sh

It’s not losing resolution there appears to be an increase in chroma aliasing. cheers Geoff Boyle NSC FBKS EU based cinematographer +31 637155076 www.gboyle.nl www.cinematography.net Become a CML Patr

Having waited to publish until a production camera was available... The results of the tests at the NFA this week are now available https://cinematography.net/BMD-12K.html The BRAW files are also link

Of course we need standards in grading, I’m not arguing against that. What we need are output transforms that more accurately reflect viewing conditions. On my domestic set I have 2 calibrated options

I have never been convinced that HDR was a great increase in contrast in images watched at home. Certainly there is a huge colour quality increase but as far as contrast goes... I looked up the recomm

I’ll be publishing the tests of the 12K just as soon as I get a production version of the camera, we identified some issues in the pre production version which are fixed in the release version. You ca

Guys, Chill. Pawel has launched a new camera based on an industrial original. Why are you all getting so wound up about this, it’s not new, RED, BMD, IO, AJA, Phantom and all the rest that I can’t rem

This week we’ll be talking about a new very large format system with 2 maybe 3 cinematographers who have been testing it and representatives of the companies involved. Of course by now you know it’s a

Contrast 1.6 pivot 0.5 or something close. This brings the DR down to about 5 stops. cheers Geoff Boyle NSC FBKS EU based cinematographer +31 637155076 www.gboyle.nl www.cinematography.net

I’ve just uploaded a page that shows the dynamic range of the C500-2 and the FX9 https://cinematography.net/LED-Camera/C500-2-and-FX9-exposure-range.html The exposure range they can handle is pretty m

Thanks to Hook at BMD we narrowed it down to a clash with an Nvidia driver. Once that was changed everything was fine.

It’s not the files, it’s my setup… cheers Geoff Boyle NSC FBKS EU based cinematographer +31 637155076 www.gboyle.nl www.cinematography.net

The files are on a 1tb SSD and play without problem in the brawl player. Geoff Boyle NSC Cinematographer Netherlands Get Outlook for Android

I have a weird one that I need help with. I’ve used BRAW in Resolve with ACES in the past with no problems. I’m now trying to load BRAW from the lighting tests into Resolve and it crashes every time,

I’m always shocked when I visit the US just how bad your infrastructure is. I don’t mean in rural areas, where there is no chance of coverage for very good reasons. I mean in your major cities. It was

I am not, and never will, arguing against increased resolution. However, I do think that far too much emphasis is placed on it because it has easily quantifiable numbers that people who don’t really u

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. I’ll g

/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 highlights