A few weeks ago I was test driving one of the first production models of Panasonic FZ2000 HDR OLED screens and wanted it to be calibrated and matched to my reference monitor Sony BVM X300. As I am not

I’ve tried my first HDR experiment on Vimeo, if you can stream HDR then please check it out… https://vimeo.com/321195850 It should be possible to download the original file as well. As it says on the

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 monitor wi

I’m experimenting with using Resolve to generate onset LUTs that include the ACES process, they’re like the ones I did last year with Nick Shaw but in Resolve in Windows as the generator instead of Pr

>I know it's the same sensor as the FS7 but LUTs for it seem to be different....or come out differently. I’m curious about this. I shot quite a lot with both the F5 and FS7 and never noticed, although

I had a great visitor today, Hans Hijmering the man behind the Rawlite OLPF. He came to CML HQ and swapped out the standard filter for his OLPF + IR. It was a surprisingly fast and easy operation. The

I’ve updated the camera response chart so that now instead of using the manufacturers default settings I’ve used the camera metadata. We were very careful with the camera settings when we shot, and it

I’ve hesitated posting this chart because I know I’m going to get enormous grief from it but WTF 😊 The cameras are Alexa-Mini, Canon C200, Panasonic Varicam Pure, RED Monstro & Sony Venice The figures

In case no one seen this: Nikon are to add raw to the Z7 https://nikonrumors.com/2019/01/07/breaking-nikon-to-add-cfexpress-eye-af-and-raw-video-support-to-the-z-mirrorless-cameras.aspx/amp/?__twitter

I’ve just added a new page of comparisons on www.cmltests.net As the subject says it’s a comparison of video, film & braw shot with an Ursa Mini Pro. The page has the details of how it was shot, in a

The Academy event at the Linwood Dunn Theatre which was part of the International Cinematographers Summit organised by the ASC is now online. https://acescentral.com/t/international-cinematography-sum

Apparently Codex have removed the awful registrations required to use their readers. If confirmed this is great news. I always hated all the background stuff required and the need to open your firewal

I’m not going to publish any results until this firmware comes out of beta, or a couple of days before Cameraimage. I’ve found a setup that seems to work well at showing changes. I’m shooting in full

Geoff Boyle wrote on 10/23/18 9:42 PM: ––––––––––––––––––––––––––––––– Apologies, I forgot about the lighting list. Thanks to those that replied. Y'all take care, Robert Robert A. Ober IT Consultant,

Hello All, I am trying to track down a phenomena. There are two video files of similar situation, one was shot with a FS7 MK1 the other with the MK2. They appear to be very different in noise level an

While working on some codec stuff, I am curious how does the color science actually work in FCPX. I know this tool is not suited for grading, but I miss some base consistency there. I have noticed, th

Hi Daniel I don’t have a definitive answer for you but there are a couple of suggestions I can make, one is that I do know that FCPX uses colour sync or rather is colour sync enabled which means that

OK, I'm quiet now so have time to shoot tests. What kind of things do you want to see in a tests? please bear in mind that I will be uploading 6 different versions of every test in BRAW so they will b

It’s not helpful talking about compression for delivery. We’re talking about camera originals where we want the best we can get before it gets destroyed down the line. When it comes to delivery format