Steve Yedlin

@wright96d My HDR demo wasn’t made to annoy you but to empower filmmakers to know they can author their films with any look they want: that the “format” is there to transmit their visual authorship, not to restrict it. Color encoding exists to transmit their voice, not to stifle it.

How do I square away my annoyance at @steveyedlin’s crusade against HDR while also accepting that his work with a camera and color science is some of the best in the business.

I got to work with my dear friend @rianjohnson again! He’s made a powerful, hilarious, heart-felt, beautiful, timely, soaring, whip-smart rollercoaster of a film. It’s made to be seen on a big screen with a big audience, so if you’re interested, please go while it’s in cinemas.

‘Wake Up Dead Man’ DP @SteveYedlin On Achieving ‘Darker, More Gothic Look’ For @RianJohnson’s Third ‘Knives Out’ Movie Johnson's murder mystery film finds a gentleman detective trying to solve the mysterious death of a local clergyman. forbes.com/sites/joshweis…

Teaser trailer ahoy! WAKE UP DEAD MAN the new Benoit Blanc mystery will be in theaters Thanksgiving and on Netflix 12/12

XII.XII.MMXXV on Netflix. More to come…

@ColourSpace_CMS when in fact they NEVER are (it does this in prescribing a fixed setting for diffuse white when tonal handling of highlights is an artistic decision that varies by project), and by emphasizing HLG when there's no established path for end users to get HLG instead of PQ.

@ColourSpace_CMS This perpetuates several of the misconceptions including but not limited to: discussing "HDR" as though the colorspace type is necessary to drive a good monitor, buying into the fallacy that tones are always represented linearly as opposed to artfully...

I’ve updated the HDR demo with a new overdub that replaces the section on 18% gray and “scene white”: the new description is clearer and more coherent. To see it: go to the link, push refresh in your browser, and then skip to 39:42 and watch for 7 minutes. yedlin.net/DebunkingHDR

Fellow film tech nerds, I don't usually post on here any more, but I'm announcing something new today, so come see me at the azure heavens place or visit my website. #NerdyFilmTechStuff

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@elleschneider @valentinavee @chris_sparrows twitter.com/steveyedlin/st…

@elleschneider @valentinavee @chris_sparrows This is the second time on here that @elleschneider has taken a painfully long thread of mine and eloquently condensed it into one sentence.

@valentinavee @chris_sparrows (I’ve obviously phrased this too harshly — I jotted it down real quick. You’d have to soften the tone if you were actually going to say this, but you could keep the same meaning and only soften the wording.)

@valentinavee @chris_sparrows …have to trust people who have expertise and experience and who can sidestep problems you won’t be able to after only 2 minutes worth of info on the topic.”

@chris_sparrows @valentinavee There are things that can be tested separately like latitude/noise, compression, rolling shutter chase time, irreversible in-camera processing, etc (all of which usually vary greatly between cinema and still cameras). But there isn’t some one catch-all attribute called “root.”

@valentinavee I feel like this is the sort of question @steveyedlin would be able to answer. But also, as someone who doesn't feel qualified to answer it myself, I feel like lenses are part of that answer, which I think would only make it more complicated or convoluted.

For film tech nerds who still haven't gotten enough #PokerFace content, check out fellow PF cinematographers @jaronpresant and Christine Ng and myself chatting about the show with Patrick Cady in this episode of The ASC's Clubhouse Conversation: theasc.com/videos/clubhou…