Matias Nicolas Posted July 5, 2018 Share Posted July 5, 2018 Hi, I'll be shooting a tv serial, contemplating the HDR. That means, shooting digital as if it was a negative, thinking of future technology. As today you can buy an HDR tv, there is no content for HDR yet. So they are trying us, dp's, to start thinking in HDR when shooting digital.. Any expierence? Quote Link to comment Share on other sites More sharing options...
Stuart Brereton Posted July 5, 2018 Share Posted July 5, 2018 HDR is created in post. It's virtually impossible to monitor HDR on set anyway. The advice I was given was that I should use a camera with as high a bit depth as possible, and make sure to protect my highlights, as blown out windows and other clipped whites are a problem in HDR. Quote Link to comment Share on other sites More sharing options...
Matias Nicolas Posted July 6, 2018 Author Share Posted July 6, 2018 HDR is created in post. It's virtually impossible to monitor HDR on set anyway. The advice I was given was that I should use a camera with as high a bit depth as possible, and make sure to protect my highlights, as blown out windows and other clipped whites are a problem in HDR. Ok, but what happens in the dark areas... should I bounce some or more light in the shadows? what happens with specularities? Quote Link to comment Share on other sites More sharing options...
Stuart Brereton Posted July 7, 2018 Share Posted July 7, 2018 Ok, but what happens in the dark areas... should I bounce some or more light in the shadows? You don't really need to do anything for dark areas, unless there is important detail that you need to see. A modern cinema camera in LOG mode is probably capturing around 14 stops of information, but most displays can only handle around 7 stops, so you are losing about 50% of your information. That's why the color-timing process is so important, because it allows you to manipulate the existing data so that you can shape the picture the way you want it. With an HDR display, much more of the data is visible without manipulation. Quote Link to comment Share on other sites More sharing options...
Premium Member Phil Rhodes Posted July 8, 2018 Premium Member Share Posted July 8, 2018 The thing to understand about HDR at the moment is that there are essentially no standards, or at least there are a dozen standards. Any client who needs HDR is likely to specify which standard they like, but if you don't have that information there's nothing you can do other than make sure you're exposing properly and, as Stuart says, protect highlights. P Quote Link to comment Share on other sites More sharing options...
Robin R Probyn Posted July 8, 2018 Share Posted July 8, 2018 (edited) 1 hour long lecture on the subject over at the BSC Vimeo page.. tried putting in link but didn't work.. but easy to find.. very interesting Edited July 8, 2018 by Robin R Probyn Quote Link to comment Share on other sites More sharing options...
Matias Nicolas Posted January 12, 2019 Author Share Posted January 12, 2019 You don't really need to do anything for dark areas, unless there is important detail that you need to see. A modern cinema camera in LOG mode is probably capturing around 14 stops of information, but most displays can only handle around 7 stops, so you are losing about 50% of your information. That's why the color-timing process is so important, because it allows you to manipulate the existing data so that you can shape the picture the way you want it. With an HDR display, much more of the data is visible without manipulation. Well! Finally I shot the project.. Im starting tomorrow some color Correction for sdr and hdr, and Its like you said. Thanks! Quote Link to comment Share on other sites More sharing options...
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