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Well, if you lined up Shot A and Shot B in Resolve and matched them, then processed Shot A and Shot B in Color Clone, you could see very quickly buy eye which looked better (or worse). Again, so much of what we do in final color hinges on windows and curves and keys, it's not going to be...

What if it's shot really badly? What if it uses a different lens? What if part of the show is on film and part is on digital? Camera matching is not the nightmare that people think it is. Colorists do it every day of the week, and it's not that big a deal. I think they're playing on the fears...

Hard to beat a complete set of the Zeiss Signature Primes... https://www.arri.com/en/camera-systems/cine-lenses/arri-signature-prime-lenses I don't think a complete set of Signature Primes would be a million bucks but I bet if you got an S35 set, a 65mm set, and the zoom lens set, you'd be...

At Technicolor for decades (both in final color for film and digital), we typically asked for DPs to shoot a grayscale chart and a color chart at the beginning of each shoot day, or on each major set change. I would personally rather have a full-screen stair-step chart rather than just 18% gray...

Realistically, the only DCP aspect ratios are these: and nobody does full container. Even 16x9 is unusual. It's basically scope or 1.85, and if you do anything else (like 1.33 or 2.00), it has to fit inside one of the other aspect ratios. I have seen 1.33 films released as DCPs with...

The Vision Pro VR headset is goofy to me. I looked at it and said, "this reminds me of something..."

Saw the XMP550 today at Cinegear, and I thought it was really impressive. They were playing back the ASC "StEM2" demo, and it looked spectacular. Bram Desmet added that it was a true Grade-1 display (which is significant), and that it's equal to or better than the current 31" reference...

Shoot a color chart with known values, under the same conditions, and you'll know exactly what the differences are and how to match them in post. We're big fans of the DSC charts.

Did not see these coming... [reported by YM Cinema today] RRI Rental announces a new fleet of exclusive black-and-white cameras: The ALEXA 65 Monochrome for 65 mm capture, the ALEXA XT Monochrome for Super 35, and the ALEXA Mini LF Monochrome for large format B&W imagery. The cameras offer...

On behalf of post, please shoot framing charts so everybody is aware of how to frame the image during editing and final color so that nothing is lost or changed during those processes. Arri has a free utility for creating a framing chart for any aspect ratio (and of course since it just creates...

Note that Resolve 18b6 now has Arri Wide Gamut color space v4 and Gamma LogC4 available in the Color Space Transform plug-in: For the way I work, this is by far the more convenient method for incorporating Arri S35 material into our workflow. Hopefully, we'll be changing to Resolve 18 in the...

If something like that happened to me, I'd throw the charts out the window and start by fixing the color temperature. We routinely use the Chromatic Adaption plug-in in Resolve to first solve the color temp issue, then we eyeball the chart with scopes. My opinion is that the Color Checker chart...

I drive by this intersection almost every other day, and finally had the chance to grab a quick shot. This is the south end of Red Studios (formerly Desilu Cahunega) near Melrose, a salute to everybody who has supported Red since they started in 2007.

I'm with the Editors Guild on this:

I've been driving by this for weeks every day, but finally managed to grab a shot of it. This is a big "thank you" to Red Users on a billboard by the busy intersection of Melrose & LaBrea here in Hollywood, just above the famous Pink's Hot Dogs stand.

Fujinon has a free open house event at the ASC in Hollywood coming up on April 4th. ASC Clubhouse 1782 North Orange Drive Los Angeles, CA 90028 Thursday, April 4, 2019 from 11:00 AM to 4:30 PM (PDT)...

Indiewire just posted their annual survey of what cameras & lenses were used to shoot the top 3 dozen contenders for the this year's Best Cinematography Oscar. Here's the list: Annihilation - Sony F65 at 4K update: also on Red 6K Weapon At Eternity's Gate - Red Helium 8K Bad Times at the El...

I was surprised to see the new Netflix "approved camera" list that came out this week (9/13/2018), just in time for IBC: Alexa 65 & Alexa LF Canon EOS C300 MKII, C500, C700FF & C700 Digital Cinema Cameras Red MONSTRO, HELIUM, GEMINI Panasonic VariCam and EVA1 Cinema Cameras Sony VENICE Motion...

Here's a terrific article on Frame.io's website detailing the workflow choices (dailies formats, operating systems, editing software, and so on) made by the dozen or so films that led the Oscar race this past year. https://blog.frame.io/2018/03/05/oscar-2018-workflows/ One interesting quote...