No real studio or network show is going to shoot on a Sigma FP with 20Ms+ rolling shutter to consumer media hanging off a USB cable to DNG. It’s a bit of a false argument. Yes you COULD type a novel w

A grey card seemed to work well for a long time…. John Brawley ACS Cinematographer Los Angeles

Thanks for DITsplaining that to me man, but there’s a bunch of studio execs, post production execs and producers that are in front of you my friend that get to arbitrate these things. I’m all for shak

In my many years of experience with DNG as a DP, simply because it is such an open format, it’s also the most likely to get screwed up and mangled in the post pipeline. Every system opens it a differe

The rolling shutter was fairly slow, about 20ms from my memory. For use as a stills camera the AF was fairly poor. And errrr the full time rolling shutter for a stills camera was a bit on the slow sid

Hi Dom, You’re going to see a few opinions, and I’ll give you mine, but I think the main issue is what it is that RAW actually means and you deciding what it means to you. Number 1, you’ve said ProRes

Hey Bob, in my recent experience shooting episodic in Atlanta, most of the NETWORK shows were 1920 ProRes originating, or maybe 2K ProRes. Not just my own shows (FOX and USA) but it seemed like a lot

4K masters are rare for a lot of TV in my experince. In my world of television production, you’re forgetting that there’s a STUDIO in between the distributor / sales agents and they are the ones that

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, sort of

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 DXL

Hi Geoff, I would also endorse this OLPF for the Blackmagic Ursa cameras. Its a very minimal and subtle difference in terms of resolution difference in my experience. Even when you window for high spe

I’ve never really understood the maths on this one, though I’ve heard it said a lot. It doesn’t seem accurate to me but maybe I’m not understanding the case. One is encoded subsampled video in YUV and

Hi. I personally agree that the SkyPanel is a good de-facto daylight source most will know. WB issues / channel aside, Tungsten tells us what we need to know for full spectral response. John Brawley A

I always struggle with how to test the same issue. I’ve included some grabs for a recent one I did. I think a lot of the testing of how colour is “tracking” changes with over or under exposure can be

Oh, And I forgot to mention, I also really like the CUBE light trap. Great for keeping a black reference on a. Waveform at all exposures and seeing specular highlights (clipping) https://www.datacolor

This is my favourite card, and it has some ingenious features. It’s called a fotowand 4930. It’s like a grey card, but it also has “patches’ of C and M and over and under exposure so it more accuratel

HMI’s can vary a lot too and this is why when I’ve done this kind of test I use the SAME tungsten source, corrected back to daylight. So the same flatter (shall I say fatter ?) spectral response but a

Hi Geoff, My only suggestion would be to consider the light source as well and MAYBE even do a pass of both Daylight and Tungsten ? It does add a lot of extra work though. I really love Sky Panels but

Or maybe because DNX is always a “me too” codec and ProRes just seemingly works better at a performance level ? I’ve never understood the Apple hate. I mean I do because obviously there are some platf

RAW control without leaving ProRes or having to transcode to ProRes from another RAW format. It’s actually great. I’d say 90% of TV drama is shot ProRes. Now we get RAW controls inside of ProRes. JB J