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By Video Hummus · Posted
I'm not holding my breath. People (the masses) are easily manipulated today because of brain rot and the collapse of critical thinking. compassion, and of any accountability for bad people saying and doing bad things. -
By Video Hummus · Posted
I ordered an Action 6 a month ago and its backordered still. Something definitely going on here. -
By Video Hummus · Posted
I agree with this 100%. More DR is great but it will be at the extremes of the image but all the magic happens in the middle. -
Appreciate the long reply and blunt reply start to my own blunt message before😀 Part of the reason my HDR grades are looking better to me might be explained by Macbook Pro having so good HDR display and accurate display color space P3-ST 2084 for grading in Rec.2020 ST2084 1000 nits timeline in Resolve. For SDR it has been a bit of a shit show in macOS, whether to use Rec.709-A, Rec.709 (Scene) or just Rec.709 gamma 2.4, and then wonder whether to set the MacBooks display to default Apple XDR Display (P3-1600 nits) or to HDTV Video (BT.709-BT.1886) which should be Rec.709 gamma 2.4 I believe, but makes the display much darker. The other part could very well be what you wrote, that squeezing the cameras DR into the display space DR is not easy. From Canon 550D up to GH5 4k 8 bit Rec.709 I remember grading felt easier, image looked as good or bad as it was shot, as there was not much room to correct it. But from GH5 5k 10bit H.265 HLG onwards things have gotten more complicated, as you have more room to try to do different things to the image. Sorry about giving the impression of using the headlamps only as they were intended, in the head. Usually we have two headlamps rigged to trees to softly light the whole point of interest area from two angles. A third one used as an ambient light for the background is even better and can generate some moody backgrounds, instead of complete darkness. The amount of light in the headlamps is adjustable too, as too brightly lit subjects won’t look any good. In grading it can be then decided whether to black out the background completely and give more focus to the subject. In that context shooting NRaw has worked pretty well, overexpose below clipping point and bring it down in post, maybe lift the shadows a bit and include NR. The GH7 should have somewhat similar DR than Z6iii and ZR, but for some unknown reason my grading skills can't get as good results. Of course it's also GH7 H.265 vs NRaw or R3D. In normal, less challenging scenario, there is not that big of a difference between GH7 and NRaw, but the difference is there, nevertheless. I’ve actually downloaded that book back in the day when you brought up the subject in another thread. Just scrolled through 1st half of it again. Very interesting subject. I wonder if more camera forum people were into HiFI and big display technology too (not just monitors), would it make people more interested from where the look their end results, be it video or photos. To my eyes very bright HDR videos, that most people nowadays post straight from their phones to social media just burn the eye balls out. Bluntly put it looks like shit. I have had a proper 4k (not UHD) HDR projector about 6 years (contrast ratio about 40 000:1 and it uses tone mapping for HDR)), watched good amount of SDR and HDR movies, series and own content on it, and to my eyes well graded HDR always has more information than well graded SDR and is more pleasing to the eyes to watch. This is also something I try to pursue with my gradings, as 99,9% is for my own use, viewed on the big screen, or on the worst case scenario on the tiny 65" OLED. Before the good HDR projector I had many cheap SDR projectors (contrast ratio about 2000:1 at best) and grading SDR for them was easy, as you could not see shit in the shadows anyway because of the projector contrast limitations. -
By Benjamin Hilton · Posted
I think the one major use case for the high DR of the Alexa 35 is the ability to record fire with no clipping. It's a party trick really, but a cool one. It's kind of fun to be able to see a clip from a show and be able to pick out Alexa 35 shots simply because of the fire luminance. That being said, it has no real benefit to the story in any real way. I did notice a huge improvement in the quality of my doc shoots when moving from 9-10 stop cameras to 11-12 stop cameras though. But around 12-12.5 stops, I feel like anything beyond has a very diminishing rate of return. 12 stops of DR in my opinion can record most of the real world in a meaningful way, and anything that clips outside of those 12 stops is normally fine being clipped. This means most modern cameras can record the real world in a beautiful, meaningful way if used correctly
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