![]() ![]() To opt-out of SessionCam collecting data, you can disable tracking completely by following link:. To opt out of certain ads provided by Google you can use any of the methods set forth here or using the Google Analytics opt out browser add-on here. You can control the information provided to Google, SessionCam and Hotjar. If you want to opt-out of advertising cookies, you have to turn-off performance cookies. We also use Google Analytics, SessionCam and Hotjar to track activity and performance on the BenQ website. These cookies help to improve the performance of BenQ. And if they now HAVE to work in HDR then making that process as transparent as possible for the filmmakers is vital so they can get the prep done and truly seek to take advantage of it on-set, monitoring it as they go, rather than bolting it on in a grading suite after the fact - which is still pretty much how it's done across the industry.Performance cookies and advertising cookies Not everyone in the industry is a fan of HDR, we can call them Luddites or grouches or whatever but I respect their position, they've worked hard to get where they are and if they feel they can achieve the visuals they desire without HDR then that's not our call to make. HDR can drastically alter the intent of a scene as shot, not just the lighting itself but how that then affects skin, clothing and most other aspects of production design which aren't just picked willy-nilly, they're often subject to intensive testing prior to principal photography using the intended or assumed capture/viewing methods/transfer functions to assess them - so if you're then told at the last minute that that intent has to be thrown out of the window then of course it's going to upset some people. What's more sobering is that for most new movies and new TV content then they are *still* not actually 'shooting' for or in HDR, they're recording in RAW and monitoring on-set in Log or 709, and just having a P3 SDR pipeline from end to end during shooting is still quite rare never mind a full HDR monitoring solution on-set. That those films have been successfully retrofitted for HDR is down to the issue of taste, as in the taste of those doing the regrading, and the horror show that is Apollo 11's HDR grade shows what can happen when a goober is let loose at the controls of archival content. I think you're confusing the point a little here, as HDR - as in the actual EOTF, not the wider concept of higher dynamic range - was never, ever planned for by any of those filmmakers on any of those films as it simply didn't exist, and the range that a film negative ultimately captures is NOT the same thing as what would've seen on theatrical prints or even the best showprint made at the time. Of course, it would be easier if the HDR had been "planned from the start", but it is by no means a requirement. Was HDR "planned from the start" for ANY of those? No! It is demonstrably untrue, otherwise we would not have brilliant 4K Blu-rays of these movies, fully mastered in HDR: Netflix's new rule is a very good thing, let me say that first.īut I must take issue with the idea that HDR "must be planned from the start of a film production". One filmmaker emphasized that the new rule "could benefit the viewing experience for TV viewers".įor a deeper dive into image capture see post (#11461) at the top of the page and for the direct link to the original source prompting the discussion, namely the Variety article which also reports on two other issues expressed by cinematographers, namely the pitfalls of modern day streaming dailies and the lack of financial acknowledgment of DITs by some producers, but not all – Netflix now requires that its new films are captured in HDR.Īt the Camerimage 2019 show in Poland, some cinematographers expressed surprise, according to Variety, and said that Netflix should have communicated the change to filmmakers earlier as HDR must be planned from the start of a film production. It is certainly not unusual to find new TV series and films on Netflix in Dolby Vision HDR but it will be even more commonplace in the future. The new rule should help establish HDR as the new norm. Netflix now requires cinematographers to capture new original films in HDR (High Dynamic Range), according to Variety. Netflix now requires films to be captured in HDR
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