kidzrevil

the first dp to use HDR as a storytelling device will generate some serious interest in the format by filmmakers. I myself have been eyeing how to use the hdr specular highlight feature but you have to map your whites specifically to a certain range. If I map my specular detail to 2000 nits but monitors only show 1000 its going to look weird. If I set it at 1000 and your monitor is at 2000 the image will look dim ! Its a big headache because of my lack of knowledge on how to implement it into my work but soon enough there is going to be that one DP that likes to experiment that will do great things with it. For now im still wrestling with viewers of my work that cant tell the difference between 1080 and 4k lmao

I can confirm @cantsin theory works the only thing im finding hard to remove is the macroblocking / compression artifacts in the original footage. I did underexpose these by roughly -0.5 so i’ll try exposing higher next time to see if that will help with macroblocking and compression. I did another grade using heavy temporal noise reduction and course grain and it got rid of compression artifacting on export. Its like this workflow creates new pixels so it doesn’t really matter whats the bit depth of the source file when shot and exposed properly

Same reaction lmao I just wanna talk about the color science ? I was on the fence about giving up my sony a6500 for it then I seen the Fuji Eterna profile and nearly died. That footage is gorgeous ! Considering waiting a couple of months and picking it up as a 3rd camera I really have to justify that purchase though

@webrunner5 LOL ?? I shot this on the Sony A6500 ! My conclusion is that all cameras need NR. You just gotta decide if applying it is worth the extra work

And this is why God created noise reduction.

this is what 8bit footage looks like when you get it right in camera and process it correctly in post.

@mercer ACES is lovely with the Canon 5D raw. You can get an HDR image out of it and upscale to 4k if you do process the footage properly. Too bad ACES sucks with compressed footage like my sony ! Im just in love with Davinci right now man I think I am going to buy the studio version for the noise reduction feature but im conflicted since I already own NEAT video for premiere ! Thank God Davinci is great for roundtrip workflows

@mercer I convert to BMDfilm (which is phenomenal) and I save the master so I can use it with filmconvert,impulz,koji etc. when grading in ACES I use the Canon 5D IDT or BMDfilm

@markr041 well for starters most if not all 8 bit cameras only shoot in the rec709 spec so I should really rephrase that. I personally expose for what I want to keep in the grade I don’t worry about dynamic range. I make sure my white balance accurate, my iso as low as possible, and my shutter speed at a minimum of 1/60. Exposed correctly the camera is compressing the 14 bit signal into an 8 bit codec. We literally do the same thing working with RAW photos so I figure I’d save a step and get the look I want IN camera. Now when I color correct my footage all the data I want is in the file and I have the flexibility neccessary to get the look I want in post. The trick is to get 90% of the look in camera instead if shooting flat or LOG especially since LUT’s are far from accurate

The problem with 8 bit vs 10 bit argument is how the footage is being shot. People shoot underexposed with the totally incorrect white balance and try to wrestle with it in post and complain that 8 bit isn’t good enough. Well the same thing happens with 10 bit footage shot in correctly and underexposed you just get a billion shades of crap color over the 16.7 million in 8 bit. If you shoot as close to the final look as possible you literally cannot go wrong in post. If you are trying to convert from one color space to another using a LUT thats a different story. I usually shoot a good rec709 image and adjust it properly in post and im fine. You probably wont be able to tell the difference between my 14bit raw footage. It all comes from a 14bit sensor anyway

@andrgl the low light is so so. The luminance noise is tolerable but that chroma noise can get annoying. Its best to denoise the shadows or crush them

@Matthew Hartman sure ! The aces and davinci resolve color management allow you to convert slog2 to HLG in floating point. SLOG already has the Dynamic Range for HDR it just has to be luminance mapped on output. You can youtube plenty of documentation on luminance mapping to HDR and nits

I’ve been working on a HDR workflow for slog3 & slog2 in ACES. I’ve been doing my research and totally get how Sony was able to get HLG out of an 8 bit image. Luminance mapping is amazing

At 4K grain is awesome ! In 1080p its a macroblocked mess ! @kaylee

Yeah it is ! I love it ! For the upscaling I upscale the image to 4K, denoise it, sharpen to preserve detail then add grain to the image. You have to be extremely careful with the sharpening though because it is easy for haloing artifacts to show up. For my next test I will upscale it without the grain because web compression hates grain ? @kaylee

thank you ! @JordanWright the voigts add a bit of magic to the image. I LOVE the rendering of them all

@andrgl thank god bro ! Doing the testing on getting the upscale to look right was the most time consuming thing I've ever done lmao glad im over that hurdle

getting the hang of davinci resolve

voigtlander 28mm f2.8 and voigtlander 40mm f2 ultron w/ Tiffen Satin.

voigtlander 28mm f2.8 and voigtlander 40mm f2 ultron

not HDR but some high bit depth h.265 footage from the Canon 5D mark iii. Upscaled using my technique the image looks clean. Reminds me of the “soft 4K” from the Canon XC10 minus the noise reduction,compression and digital sharpening artifacts from 8-10 bit compressed cameras. It makes upscaling a dream, it enlarges like when people blow up 16mm film to 35mm

I deleted it @Cam3raz this isn’t HDR but its high bit depth

I am interested in this as well ! How would you set up your sequence and export it ?