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Technical Standards Posts

Our own Lead Integration Engineer, Ben Meadors, is talking monitor calibrations – from why you should be doing them, to how they’re performed, to how often you should perform them. A properly calibrated monitor is the key to ensuring you will see the most accurate colors.

As Ben mentions in his video, AbelCine offers professional monitor calibration services, as well as in-depth monitor calibration training if you’re interested in learning more. Plus, our Pre-Summer Service Special is still running, so for a limited time you can get 10% off any service over $135.

Watch the video above to learn more, and let us know in the comments if you have any other questions!



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Engineers at Arizona State University have developed lasers that can output white light, covering the full visible spectrum. This technology (while in its infancy) could pave the way for a future of large gamut (P3, Rec. 2020, etc.) monitors, as current display technology is mostly constrained to Rec. 709 due to the limitations of the light source. Additionally, the laser could be useful in future solid-state lighting applications, and a laser-based version of Wi-Fi called Li-Fi, which is estimated to be 10x faster than Wi-Fi.

Read more about the technology here: http://spectrum.ieee.org/tech-talk/semiconductors/devices/the-first-white-laser

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At the recent LA stop of the VII Evolution Tour, the topic of video compression was brought up in relation to using an external capture device instead of recording internally to the camera. Jessica Dimmock, one of the photojournalists from VII Photo, explained that she used a Canon C100 combined with an Atomos Ninja Blade, specifically to capture ProRes files that are higher quality than the camera’s internal recording. After the workshop, I continued to receive questions about the specifics of compression and recording formats, which led to my latest HDVideoPro Help Desk article.

In this article I wanted to show a more visual representation of the difference between internal compression and external ProRes recording, so that you can easily understand what is gained or lost when choosing one or the other. I also go into more detail on the actual methods of compression, as well as the practical ramifications of uncompressed recording. Often when people are trying to get their heads around various recording formats, the real question is: how will my footage look? As you can see from the image at the top of the post, sometimes the differences aren’t immediately obvious. However, with today’s expectation for high-quality video on every screen, it’s worth it to consider all your choices carefully. Read the full article to understand how these choices impact your production.

Want to learn even more about compression, codecs, shooting Raw vs. Log, and more? Check out our Core Concept workshops available online!


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A 180˚ shutter is pretty standard for most film and TV shows. But how can you find the equivalent when shooting with a DSLR, which represents the shutter as a fraction of a second? Here’s a quick little formula you can use to figure it out.

To get the 180˚ equivalent in fractions of a second, multiply your frame rate (x) by 2, and make that the denominator, with 1 as the numerator.

1/(2x) = 180˚

For example, if you are shooting 30 fps, your formula would be the following:

1/(2*30) = 1/60th of a second

Try the formula yourself next time you are shooting with a DSLR, and if you have any questions, leave them in the comments section!

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There are currently many new cameras hitting the market, often with new lens mount types. It comes as no surprise that everyone is trying to determine the best lenses for their new camera system, while others are trying to utilize lenses they already own with a new camera. We all know that lenses often outlive our cameras, so it only makes sense to get the most out of them.

…continue reading Focus This On That

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For years we have been hearing about the next great innovation in television displays. 3D, 4K, curved, you name it, there is always a new buzzword that is used to push consumers to buy new TVs. These display trends certainly mirror the trends in camera technology, both the good and the bad. The latest buzzword that you may have heard is HDR or High Dynamic Range displays. Our current Rec.709 displays are really only designed to output between 7 and 9 stops of dynamic range. We call these SDR or Standard Dynamic Range displays. Compare that to the 14+ stops dynamic range that we can capture with many of our modern digital cinema cameras today, and you can see that our current displays aren’t really keeping up.

A proposed standard for HDR displays would get us up to 12-14 stops of dynamic range output, matching what our cameras are capable of today and making much more realistic images. So HDR displays just might actually be buzz-worthy. Let’s break down a bit more exactly how HDR works, how you can actually see the results, and how it might impact your next production.

…continue reading High Dynamic Range Explained

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ACES Gamut

We have big news for cinematographers: the long awaited Academy Color Encoding System (ACES) is now available in its first production-ready release. With ACES v1.0, DPs can have confidence that their creative vision in regards to color management will be consistent from image capture to release. The entire lifecycle of the project will contain their original intent, which in itself is a game changer.

…continue reading Academy Color Encoding System (ACES) v1.0

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