Emerging standards are making the best of existing pixels. Understand the principles of HDR, learn how to build workflows to simplify production, and deliver the highest quality HDR pictures possible.

Recent HDR Content

Creative Analysis: Part 10 - Cinematographer John Brawley On The GreatNovember 3rd 2020 - 09:00 AM

Cinematographer John Brawley finds himself happily amidst of an unprecedented renaissance of high-end television. The Great is a production that presents a lavish (if fictionalised) spectacle of eighteenth-century Russia, with Brawley photographing five episodes, with the remainder shot by Maja Zamojda and Anette Haellmigk. Ranging from the Royal Palace of Caserta in Italy to castles and estates all over England, the production also built extensive sets at Three Mills Studios in east London.

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HDR: Part 15 - Using Vintage Stills Lenses For Digital CinematographyOctober 23rd 2020 - 09:00 AM

In the mid-70s, Canon released the K35 series of primes, based on its then top-of-the-line FD mount stills lenses. It wasn’t the first or last time a set of glass elements designed for stills had been repackaged for movie work, but the K35s won an Academy Award in 1977 and have since amassed a glittering resume including Barry Lyndon, Aliens and American Hustle and many others.

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Is Gamma Still Needed?: Part 5 - Processing Gamma Corrected SignalsOctober 22nd 2020 - 09:00 AM

It is unwise to pretend that gamma corrected signals can successfully be multiplied, added and subtracted in a matrix as if they represented linear light. Yet in television it is done all the time.

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Creative Analysis: Part 9 - Cinematographer Cathal Watters On Alienist: Angel Of DarknessOctober 19th 2020 - 09:00 AM

Recreating a period New York in Hungary might seem an unreasonable challenge until it becomes clear that the country has become a hub for international production with at least two large-scale backlots for just that purpose. In the summer of 2019, these facilities were leveraged by The Alienist: Angel of Darkness, based on Caleb Carr’s book of the same name. Produced for TNT by a consortium led by Paramount Television, the series stars Daniel Brühl, Dakota Fanning and Luke Evans as a group investigating a serial killer in 1890s New York. Cinematography on the first season by P. J. Dillon, ISC, was nominated for a Primetime Emmy, leaving Cathal Watters, ISC, with big shoes to fill on the second.

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Creative Analysis: Part 8 - Making A Name By Cinematographer Li QihangOctober 7th 2020 - 09:00 AM

With the population of China approaching 1.4 billion, it’s perhaps no surprise that it is fast becoming the biggest market in the world for theatrical film exhibition, with the largest number of cinema screens of any single country. Directors such as Wong Kar-Wai and the stars of Chinese cinema – names like Jet Li and Zhang Ziyi – have long been enjoying international attention, but the grass roots of Chinese film and (particularly) TV production are less often encountered outside the country.

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Stations used to broadcast this before sign-on. Viewers needed a mirror to see the picture to adjust the controls on the back of their sets.

Maintaining Digital Integrity With IP Test & MeasurementOctober 1st 2020 - 09:00 AM

TV test and measurement gear and instrument solutions also facilitate remote production and monitoring.

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HDR: Part 14 - LED TVs & Large Displays - What They Mean To DOPsSeptember 28th 2020 - 09:00 AM

Big-screen LCD TVs are not going away any time soon. Given the economy of scale, the LCDs in our homes and studios work well enough and will continue to work well enough for several more years. But given the advances in LED display technology, especially microLED, the writing of sub-micron size pixels is literally on the wall.

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The Grass Valley LDX 100 can be configured in a number of ways, including as a high-speed, native UHD camera for sports replays.

Cameras Galore At Virtual IBC 2020September 23rd 2020 - 09:00 AM

In terms of new broadcast cameras, if the recent virtual IBC convention is any indication of how the industry is supporting broadcast and TV studio customers, buyer confusion reigns supreme. Gone are the days of one-camera-fits-all applications.

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