Quote:
Originally Posted by LordoftheRings
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With regards to that ^ selective excerpt (by me) of the famous line “That’s right, a…” , even though the JPALS system has made the task less dangerous, personally, I don’t think it gets much cooler
than to begin an
upcoming 
feature motion picture showing –
Anyway, kudos
for already giving it a try and if you’re hesitant to continue,
Staying Salty should be able to whittle down question #1 to the correct answer in short order.
As for yet another hint to question #2 - the DP chosen by the now academically involved Director of this queried first intended HDR film from the get-go was the same DP, who a year earlier in 2014 on yet another film (feature, this time), made, in my opinion, the correct calculated trade-off decision (given his shooting with a wide gamut and dynamic range 4K 16 bit camera and exploiting that capability with his imagery) that due to bandwidth constraints at the post facility, chose to employ a
16-bit OpenEXR color managed file format during the DI color grading rather than opting to finish in 4K with a
10-bit DPX type file pipeline, the process often utilized by other filmmakers, knowingly or unknowingly, at the time when in fact -
Quote:
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Originally Posted by Penton-Man
You need a workflow to protect that high dynamic range which the cinematographer (hopefully) has provided you. Traditional 10 bit DPX post house workflow is not enough to harvest all the dynamic range from modern digital cameras or Vision 3 stock for those who still shoot film….
Regarding best practice for a DI workflow? That be 16 bit OpenEXR ….starting from 16bit RAW digital camera imagery,
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