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

Giant Screens Get Sharper Press Release: 14th September 2020 With the launch this week of the new ACHTEL 9x7 camera, the world’s largest cinema screens are about to get sharper. Much, much sharper. Th

I've been following the CML discussions, sample footage, and posts, mostly by John Brawley and have decided to take the plunge and buy an URSA Mini Pro 12K. I think it really checks off a lot of boxes

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

Hi all Allow me to check my logic with you. I was asked to do a LUT to simulate a camera with a dynamic range of 5 stops on an Alexa. That would mean to lose about 9 stops - it was not specified where

So Panasonic and Atomos made a lot of noise about how the Panasonic S1H would "be able to record 4k RAW video with the Atoms Ninja V” with this new ProRes RAW codec. Obviously a lot of heads turned (m

Although looks like there might be some funny noise in the reds when shooting slowmo. Noisy reds Seemed to be a thing on the C200 as I recall.

I must admit, I’m intrigued by the dual gain architecture available on the C300mk3 - a stop and a half extra DR on the C500mk2 would put it in line with the Alexa, no? According to this ‘hands-on’ rev

Hello, hope everyone is ok, I was wondering how often nowadays do you guys find dead or stuck pixels in modern cameras (Red´s, Alexa´s, Venice...) and how do you deal with them? Best regards and good

Hello, just watched this: https://www.youtube.com/watch?time_continue=431&v=IM3epUuxxxg&feature=emb_logo There they say that, for Helium, Gemini & Monstro : Doing a Black Shading at 25fps 180° ( 1/50s

Dear colleagues, in this IMAGO link you can see the article of Canon XF705 camera that I used for the filming of the documentary La memoria del Cacao https://www.imago.org/index.php/news/item/1052-the

Hi all, reposting properly this topic here. Apologies to Geoff, I did. It even notice the original posted to lighting. Thank you to the group who have responded already. I’m interested in hearing from

Hey all, Following up on this thread-- I've determined I'll be buying a new EasyRig and not a knockoff (self-fulfilled prophecy). But now I'm faced with the decision of purchasing the standard or 5" a

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

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,

Hey All, I've been happily using Easyrigs since about 2013 (300N, 400N, Vario), but always renting them against production budgets. I currently have an opportunity to make a purchase and am faced with

I am afraid I don’t understand the negativity to increased resolution in cameras and presentation. This is a complex issue but a very interesting one and I hope we can have a reasoned discussion here

Does anybody know if there is a colour science (or any other colour difference) between the DXL Millennium 2 and the Red Monstro on which the DXL 2 is based? cheers Jonathon Sendall DP, London UK

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

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