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Mark Romero 2

So Is a7 III Still The Dynamic Range King? (Not tolling, just asking)

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3 hours ago, Deadcode said:

Long time ago i tested my 5D Mark II against my a6300 and a rented BMPCC

In the comparison i made all cameras was shooting ETTR with their best available (raw, slog2) settings

As you may know from the technical threads at magiclanter.fm the max available dynamic range for 5D2 raw @iso100 ettr is 11.7 stops

The BMPCC and the a6300 were both 2 stops better in the shadows which means they had around 13.7 stops. It was noisy as hell, so im not talking about usable dynamic range.

The a6300 was cleaner, the BM had more detail but also more noise / grain. 

After further testing i would say all of the cameras i was talked about has 1.5 stops less usable  (i mean noise free, or able boost up with noise reduction) dynamic range.

So: 5D: 10 stops, BM: 12 stops, a6300: 12 stops

You need to post in this forum more often. You always have something helpful whenever you post here.

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3 hours ago, thebrothersthre3 said:

https://www.cinema5d.com/the-cinema5d-camera-lab-is-back-dynamic-range-tests/

Cinema 5D says its 10.6 while the FS7 is 12 stops. They tested the GH5 at 9.7 stops and the OG BMPCC at 11.2 stops. 

I find over under tests much more useful. 

Thanks for posting this.

It appears the X-T2 has more DR than the X-T3

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32 minutes ago, Mark Romero 2 said:

Thanks for posting this.

It appears the X-T2 has more DR than the X-T3

Yeah, in the shadows probably. The XT2 is slightly cleaner than the XT3. Its why I find tests like Cinema 5D does not that useful. In a practical over under they would probably look identical, only the XT3 codec is way more robust.

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6 hours ago, Mark Romero 2 said:

Thanks for posting this.

It appears the X-T2 has more DR than the X-T3

 

5 hours ago, thebrothersthre3 said:

Yeah, in the shadows probably. The XT2 is slightly cleaner than the XT3. Its why I find tests like Cinema 5D does not that useful. In a practical over under they would probably look identical, only the XT3 codec is way more robust.

Because X-T2 had NR at 0 and can't be changed to -4, while X-T3 was tested at -4.

I'm pretty sure if we crank up the NR to +4 and also turn on Interframe NR, the DR would easily reach 13.

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Why does DR matter so much? we are far beyond the level of necessary DR for content creation.

Most of you guys want 15-16-17+ stops DR because you want "Arri like" highlight roll-off.

You can achieve very nice roll-off even with a GoPro Hero 7 with proper grading: (in this case: 10 stops DR from the camera in 14+ stops environment)

GoPro_Rolloff.thumb.jpg.b2cb1bf4a676f45485434b2765e6d87d.jpg

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5 hours ago, Deadcode said:

Why does DR matter so much? we are far beyond the level of necessary DR for content creation.

Most of you guys want 15-16-17+ stops DR because you want "Arri like" highlight roll-off.

You can achieve very nice roll-off even with a GoPro Hero 7 with proper grading: (in this case: 10 stops DR from the camera in 14+ stops environment)

Not quite.

For storytelling purposes, you'd want the highlights to hold as much detail as possible while rolling off smoothly into clipped white.

In your shot the roll-off is indeed nice, well done. But with a higher DR camera, you'd be able to see what's outside the window, so there'd be some context for this scene.

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5 hours ago, Deadcode said:

Why does DR matter so much? we are far beyond the level of necessary DR for content creation.

Good Question.

In my particular case (being the OP of this thread), it is because I am trying my hardest to both capture the interior and exterior views of a house in real estate videos.

People want to be able to see the views out the window without them being blown out, and they want to see the interior without it being too dark.

Using Slog 2 (mostly) on my a6500

 

On this particular day it was fairly overcast, which helped to control the exterior view, but if it wasn't so overcast then it would have been difficult to retain ANY view.

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2 minutes ago, Mark Romero 2 said:

Good Question.

In my particular case (being the OP of this thread), it is because I am trying my hardest to both capture the interior and exterior views of a house in real estate videos.

People want to be able to see the views out the window without them being blown out, and they want to see the interior without it being too dark.

Using Slog 2 (mostly) on my a6500

 

On this particular day it was fairly overcast, which helped to control the exterior view, but if it wasn't so overcast then it would have been difficult to retain ANY view.

Can you please share some original files from the most problematic shots?

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2 hours ago, Mark Romero 2 said:

Good Question.

In my particular case (being the OP of this thread), it is because I am trying my hardest to both capture the interior and exterior views of a house in real estate videos.

People want to be able to see the views out the window without them being blown out, and they want to see the interior without it being too dark.

Using Slog 2 (mostly) on my a6500

 

On this particular day it was fairly overcast, which helped to control the exterior view, but if it wasn't so overcast then it would have been difficult to retain ANY view.

I like SLog2 on the A7III but just wondering if HLG3 would've helped in this situation? I don't own an a6500 so I don't know if it has HLG.

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1 hour ago, Dave Del Real said:

I like SLog2 on the A7III but just wondering if HLG3 would've helped in this situation? I don't own an a6500 so I don't know if it has HLG.

Unfortunately, no HLG on the a6500, although they have added it to the new a6400 (another aps-c sensor Sony camera).

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4 hours ago, Mark Romero 2 said:

Good Question.

In my particular case (being the OP of this thread), it is because I am trying my hardest to both capture the interior and exterior views of a house in real estate videos.

People want to be able to see the views out the window without them being blown out, and they want to see the interior without it being too dark.

Using Slog 2 (mostly) on my a6500

 

On this particular day it was fairly overcast, which helped to control the exterior view, but if it wasn't so overcast then it would have been difficult to retain ANY view.

Want the ultimate DR shot? Use a slider and expose for the interior then repeat the shot with the same exact movement (this is where the slider comes in) and expose for the exterior. Combined the shots in post production, although it might appear to be "hyper" realistic to the point of looking fake because the highlight roll off in the interior won't match the exposure of the exterior and your brain will pull a massive hmmmmm.

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3 hours ago, Video Hummus said:

Want the ultimate DR shot? Use a slider and expose for the interior then repeat the shot with the same exact movement (this is where the slider comes in) and expose for the exterior. Combined the shots in post production, although it might appear to be "hyper" realistic to the point of looking fake because the highlight roll off in the interior won't match the exposure of the exterior and your brain will pull a massive hmmmmm.

Yeah, that is what one of my "competitors" does. The problem is that it takes a lot of time (on location) and most realtors aren't willing to pay a couple thousand dollars for a two-minute video. At least, I don't have any of those realtors as clients.

https://youtu.be/h5zOW0t-Tms?t=101

https://youtu.be/Bfz_qTJOU1k

 

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On 3/6/2019 at 4:08 PM, androidlad said:

The Possession of Hannah Grace, shot on A7S II in 8bit, looks gorgeous.

That's exactly what I have come to understand. Honestly,  all of the top cameras produce a good enough image for serious work. It's the other components that most of us are missing. Creative lighting, thoughtful camera movement and most importantly... a good story. 

Find a system that works for you and shoot. Work within the limitations. Focus on telling the story. That's get you get better. 

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17 hours ago, Mark Romero 2 said:

Yeah, that is what one of my "competitors" does. The problem is that it takes a lot of time (on location) and most realtors aren't willing to pay a couple thousand dollars for a two-minute video. At least, I don't have any of those realtors as clients.

https://youtu.be/h5zOW0t-Tms?t=101

https://youtu.be/Bfz_qTJOU1k

 

That does look really nice tho

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On 3/11/2019 at 8:03 AM, Deadcode said:

Can you please share some original files from the most problematic shots? 

Here are some difficult shots.

The first one c0015.mp4 is kind of typical of most situations.

The other two files ( c0047 and c0048 are more extreme, the first having completely blown out window with the second retaining the view but having way to underexposed interior).

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17 hours ago, Mark Romero 2 said:

Here are some difficult shots.

The first one c0015.mp4 is kind of typical of most situations.

The other two files ( c0047 and c0048 are more extreme, the first having completely blown out window with the second retaining the view but having way to underexposed interior).

You did not shared anything. Please share those files

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This is a hard one.

If you overexpose those highlights, it's gone. Try to grade for the interior in this case

If you expose properly, then you can do the HDR style grade.

On you linked samples the guys probably shoot RAW photos in multiexposure using sliders, then stiched them together.

You can download your graded examples from here

And here are the screengrabs:

realestate_01.jpg

 

1552640605217_realestate_03.jpg

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