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Found 11 results

  1. I haven't been able to find an answer for the discrepancy between the Scopes Histogram and the HDR Zones Histogram. I've attached 2 pictures below showing the Histogram for a Gray Scale ramp and the settings I'm using(I know they're not HDR. I was just trying to understand what the HDR Histogram is actually showing). I understand the x-axis represents the tonal range(in stops rather than the typical tones in the primaries curve) and I understand why it ends at a 100 nits (The limitation of SDR being a 100 nits) but why is the histogram an exponential curve on the HDR Zones whereas it's a straight bar in scopes as it's supposed to be (all of this is at default settings). On top when I change the Output Color Space to Rec709 2.4 it's still an exponential curve and ends at a 100nits but the Y-axis is only like 1/4th way up. Basically, what does Y-axis actually represent both for the Histogram and Blue Curve/Line in HDR Zones? Thanks P.S: I'm not a pro colorist or anything. Just someone who is genuinely interested Output Space sRGB, Timeline Working Luminance: SDR 100 Output Space Rec709 2.4, Timeline Working Luminance: SDR 100 Output Space sRGB/Timeline Working Luminance 4000 HDR(Just another example) Scopes Histogram(Always stays the same)
  2. Hi all, Grading mainly documentaries, I'm trying to set up the best (or more universal) Resolve Color Management settings. The Input Color Space may vary depending on sources footages. After doing several tests, I think working with Timeline Color Space set to P3-D65 and Rec2100 ST2084 offers a great environnement for projects going both for Rec709 and HDR (even for HLG). Nevertheless, I was wondering if it would be wrong to set the Timeline Color Space to Rec2020 ? Because when testing I felt like the chroma and highlights are nicer in 2020 and I didn't noticed any aberrarations on the scopes. But would it pass the QC ? Still, as nothing can handle the full 2020 spectrum, I've always followed recommendations to limit the Output Gamut to P3-D65 for HDR deliveries. Do you know if the are any change for that ? Have you already delivered HDR in 2020 Color Space ? Any comments or advices from RCM users would be very welcomed.
  3. Good day colleague. Are there any recommendations or requirements for the organization of the workspace when working with HDR? For example: - The use of multiple monitors for monitoring (HDR and SDR) - Lighting the room. What and how? (After all, probably the light can or should be present as on the brightness of more than 300 nits the eyes of the colorist will die)) - And other aspects of working in HDR Thank you. p.s. Maybe you have some photos with it.
  4. The monitor achieves the 1000 cd/m2 (typical) high brightness level needed for HDR content display. It is also the world’s first LCD monitor to achieve a typical contrast ratio of 1,000,000:1 for displaying true blacks. The name “PROMINENCE” refers to the phenomenon known as a solar prominence – a flame-like eruption which extends from the Sun’s surface. This image of the bright sun shining against the deep black of space lends to the monitor’s ability to accurately display both bright and dark content. With "Local Dimming", the brightness of the backlight of LCD panels is selectively reduced in order to realize higher contrasts and lower black levels. Disadvantages of local dimming are atria that arise in dark areas of the image when they are adjacent to bright areas. The reason: The dimmable segments are comparatively large, which means that they can only be dimmed very large. Automatic Brightness Limiter ABL (Automatic Brightness Limiter) is a technique intended to protect OLED panels from excessive wear and damage. For this purpose, the brightness is limited to bright image areas beyond a certain luminance or area. This leads to an imprecise image representation. In addition, the white point of affected devices often changes. ColorEdge PROMINENCE CG3145 supports various video formats including HDMI input compatible with 10-bit 4:2:2 at 50/60p. The DisplayPort input supports up to 10-bit 4:4:4 at 50/60p. Cabinet Color Black Panel Type IPS Backlight Wide-Gamut LED Size 31.1" / 78.9 cm Native Resolution 4096 x 2160 (17:9 aspect ratio) Viewable Image Size (H x V) 698.0 x 368.1 mm Pixel Pitch 0.170 x 0.170 mm Pixel Density 149ppi Grayscale Tones DisplayPort, HDMI: 1,024 tones (a palette of 65 thousand tones) Display Colors DisplayPort, HDMI: 1.07 billion Viewing Angles (H / V, typical) 178°, 178° Brightness (typical) 1000 cd/m2 Contrast Ratio (typical) 1,000,000:1 Response Time (typical) 10 ms (Gray-to-gray) Wide Gamut Coverage (typical) DCI-P3: 99% Video Signals Input Terminals DisplayPort x 2 (with HDCP Ver.1.x 6), HDMI x 2 (HDCP, Deep Color) Digital Scanning Frequency (H / V) DisplayPort: 25 - 137 kHz, 23 - 61 Hz HDMI: 15 - 136 kHz, 23 - 61 Hz USB Function 1 port for monitor control 3-port USB hub Standard USB 3.0 Power Power Requirements AC 100 - 240 V, 50 / 60 Hz Maximum Power Consumption 472 W Typical Power Consumption 267 W Power Save Mode Less than 1.2 W Standby Mode Less than 0.7 W Built-in Calibration Sensor No Features & Functions Brightness Stabilization Yes Digital Uniformity Equalizer Yes Preset Modes Color Mode (REC2020, REC709, DCI, PQ_REC2100, PQ_REC709, PQ_DCI, HLG_REC2100, Calibration) OSD Languages English, German, French, Spanish, Italian, Swedish, Simplified Chinese, Traditional Chinese, Japanese Others Input Color Format, Input Range, HDMI settings (Noise Reduction, Film Detection), Signal Information, Color Adjustment (Brightness, Temperature, Gamma, PQ Clipping, HLG System Gamma, Color Gamut, Hue, Saturation, Gamut Clipping, XYZ Format, Gain, Black Level, Independent 6-Color Control, Reset), Picture Expansion(Full Screen, Aspect Ratio, Dot by Dot), Zoom, REC709 Gamut Warning, Luminance Warning, Co-View, Marker (Safe Area Marker, Safe Area Size, Aspect Marker, Aspect Settings, Border Color), Auto Input Detection, Menu Rotation, USB CHARGE Port, Power Save, Off Timer, Indicator, Input Skip, Mode Skip, Custom Key, Monitor Reset Physical Specifications Dimensions (Landscape, W x H x D) 757 x 487 - 603 x 323 mm Dimensions (Landscape with Hood, W x H x D) 778 x 497 - 613 x 453.8 mm Net Weight 29.2 kg / 64.4 lbs Net Weight (With Hood) 30.1 kg / 66.4 lbs Height Adjustment Range 116 mm Swivel 344° Environmental Requirements Operating Temperature 0 - 30 °C Operating Humidity (R.H., non condensing) 20 - 80 % Certifications & Standards (Please contact EIZO for the latest information.) CB, CE, TUV/GS, cTUVus, FCC-B, CAN ICES-3 (B), VCCI-B, TUV/Ergonomie, RCM, EAC, RoHS, WEEE, China RoHS, CCC, BSMI Dedicated Software Monitor Management Software ColorNavigator NX Supported Supplied Accessories (May vary by country. Please contact EIZO for details.) AC power cord, signal cables (DisplayPort - DisplayPort, Mini DisplayPort - DisplayPort, HDMI - HDMI), USB cable, user's manual - setup guide, adjustment certificate, ScreenCleaner, monitor hood, warranty card The Price : 24,000 EURO Available from February 2018 . .
  5. Can anyone explain the main difference between grading in Dolby Vision and HDR10?
  6. Hi guys, we've got another tutorial - this time focussing on HDR workflows and color management. SCRATCH supports PQ and HLG and can include HDR metadata in either a side car file, or included in an H264 stream. With 8.6 SCRATCH also ships the option to generate 10 bit 4:2:2 H264 streams in resolutions up to 8k. *EDIT* updated for v9
  7. Hello, everyone. I'm a Ravensbourne student currently studying Editing and Post Production. As I'm in my final year, I'm currently in the process of writing my dissertation, which mainly investigates how advancements in digital technologies have expanded the creative capabilities of a colourist. If any of you have time, I would love it if you could answer some of the questions I've added below. These answers will definitely help expand/reconsider/polish a lot of the points I've already made. You do not need to answer them all, but if you could answer as many as you can I would really appreciate it. Additionally, if you have any interesting points you'd like to add, or want to suggest any more questions, do not hesitate to let me know. My email is Why do you think colour is such an important tool in filmmaking? Why do you think black and white was not enough? Do you think being colourist is primarily a technical or creative role? Where do you see the future of colour grading headed? What are some of the new technologies/tools that the industry has to start to consider looking into? What do you think makes colour grading an art in itself? What is your opinion on HDR? What are your opinion on LUTS As third-party plugins for NLE and colour correction software becomes more user-friendly, making it easier for anyone to learn and apply colour grading into their work, why do you think a colourist will still be relevant in 5 years time?
  8. Hi all, thought I'd get the ball rolling with this one. So, HDR, who's grading in HDR? What are you viewing on, (monitors and domestic)?How similar is it to your rec709 pass? what are client reactions and expectations? Thanks, Asa
  9. Can anyone show some light on principles and workflow of HDR GRading in common and in Davinci Resolve using ACES COlor Science.