Why Are HDR Shows So Dark? (watch in HDR)

In this video, we talk about DaVinci Resolve 17, how smartphones aren’t yet bright enough to watch HDR content in ambient light and we try to answer the question “why are HDR shows so dark?”
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Shot with the Sony FE 35mm f/1.8 and recorded in 4K ALL-I, the highest quality, least compressed internal codec of the a7s III, and the gold standard for digital cinema. It will play smoothly on many computers even without transcoding. S-log3 offers the highest dynamic range (13 stops) of any of the internal codecs, while S-Gamut3 is suited for converting images to a format with a wide gamut like BT. 2020 (for high dynamic range video). HDR video has a dynamic range of 10,000:1 compared to a mere 32:1 for SDR.
The a7s III is not just a warmed-over a7 III: it has vastly improved color science, uncanny autofocus that surpasses that of any rival mirrorless camera (especially when recording RAW and log at two stops over); full pixel readout 4K 120p with no line skipping or overheating; the highest resolution EVF of any hybrid camera; a wide choice of codecs to choose from with manageable file sizes; and improved image stabilization.
Graded in Final Cut Pro 10.5 with the LG OLED 55CX.
Uploaded to KZbin in HEVC 10-bit.
MaxCLL 700
MaxFALL 170
Comprehensive HDR10 workflow in DaVinci Resolve 17 here:
daejeonchronicles.com/2021/03...
Comprehensive HDR10 Workflow here: daejeonchronicles.com/2020/11...
Download free a7s III 4K 60p ALL-I 600Mbps 4:2:2 S-log3/S-Gamut3 HDR sample footage (608MB) here:
www.mediafire.com/file/jfpvovc...
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