Quote:
Originally Posted by kristoffer
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Motion pictures aren’t really ‘shot’ in Dolby Vision, more like (can be) ‘mastered’ in an extended (high) dynamic range format, be it Dolby Vision or other. There is a short film which should debut at a film festival next year which was ‘mastered’ in high dynamic range on a DaVinci Resolve 11 –
https://www.blackmagicdesign.com/pro...davinciresolve , shot by a former President of the American Society of Cinematographers and Husky (dog) lover

. Who also worked on the DCI
StEM Digital Projection Test material, as described several years ago -
Quote:
Originally Posted by Penton-Man
In that regard, the StEM (movie short) was a collaborative effort between American Society of Cinematographers and DCI. More than two hours of film were captured in 35mm (and to be completely accurate, a small amount in 65 mm also) by a world-class team of ASC cinematographers. The footage featured a bunch of scenes with a variety of lighting conditions, colors, textures and other variables of photographic definition including rain, confetti, fog, smoke, etc. The footage accumulated was intentionally made to stress the system (i.e. theatrical presentation of the imagery). It was edited down to a mini-movie consisting mostly of 35mm original source and a little bit of 65mm. Eastman negative 5218 (think Van Helsing) was the primary stock and 5245 was used for the shot tilting down from the sky.
The location was Uni’s “European Village" backlot with a wedding scene (b.t.w., the groom in a tuxedo and the bride in a wedding gown is a great way to test blacks and whites) set-up similar to the one in The Godfather. The StEM material also includes some 4k CGI from Disney’s Treasure Planet.
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