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Showing results for tags 'dynamic range'.
Found 11 results
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I’ve recently started to incorporate using iso to better take advantage of exposing my scenes to maximize dynamic range in either the highlights, shadows or a mix depending on what I’m filming. For example, if I’m filming daytime exteriors I’ll typically kick up my iso to around 1000 and ND down to reign in my exposure and retain better dynamic range in the highlights or if I’m filming a scene with shadows I’ll lower my iso and light the scene bring my exposure to here I want it and retain better (and lower noise) shadow detail. I think that I mostly understand why I should be doing this but I’ve recently started thinking about my first example—daytime exteriors—and need some help understanding how it works. My issue is that while I bring up my iso (also increasing the noise floor) I’m still having to ND to expose properly and am thus cutting off the amount of light hitting the sensor. Shouldn’t this cause issues with sensor noise, more than say if I kept my iso lower and used less ND, obviously this would not bias my DR towards the highlights like it would if I used a higher iso. Thoughts appreciated, thanks!
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I have read ARRI's whitepaper on dynamic range and how the EI is used to assign which signal value we want to choose as middle grey, which ultimately allows us to control the exposure latitude around middle grey. I've also read that the way ARRI does this is by only allowing us to shoot at its native ISO 800 (or maybe as some say its 400) and that changing the EI is like adding an exposure LUT on our image. This would make sense to me, because it would explain how the dynamic range (SNR=1 to full well capacity) is able to stay constant at different EI, because it doesn't operate by increasing the gain of the signal. (It would also explain why its they use the nomenclature EI) Nevertheless, I would like to know how they do this and if what I have read is correct?
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Ansel Adams devised a 11 Zone system. Can this be equated to 11 exposure zones ? Current film or Digital sensors are rated as 15 stops of dynamic range. Does that mean 15 Zones or 15 Stops fit into 11 Zone system (like 1.36 stop per zone) ? HDR output is like 20 stops of dynamic range. Does it mean 20 stops fit into 11 zones ? And what is exposure latitude in relation to these ? Can some one please explain this ?! some times it is confusing.
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Hello, When you are metering a scene, do you meter for the camera's dynamic range, or for the 6 stops in SDR or the 13+ stops in HDR? For instance, if your camera has 6 stops of highlight dynamic range, and 8 stops of shadow dynamic range, do you keep everything in your scene between those 14 stops or do you keep everything in between the lets say 6 stops of standard dynamic range? I hope this question makes sense! Thanks in advanced to anyone who can help! - Matt
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Hi all, I was recently introduced to the wide range of image profile (dynamic range) options on industry cameras. I understand that a low dynamic range gives you less tonal range and high gives you higher, but under what circumstances would you want a lower dynamic range versus higher? I was also told that you have to be an experienced colour grader to shoot high dynamic range, can anyone shed light on this? Thanks.
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I've shot a lot of stills and have some experience with Canon raw files. How do these compare with black magic raw video? The stills are higher resolution obviously but is the dynamic range comparable? Does Blackmagic raw have better dynamic range? Please advise. Thanks! -
Hello everyone! https://www.youtube.com/channel/UC4HtBBgGiacMtrgqOK1WClQ/videos A bit of shameless self-promotion here but it's closely related to this forum so I guess that's ok. I created a new youtube channel where I will try to study the technical side of cinematography under a 50% engineering 50% cinematography angle. I already uploaded a first batch of videos dealing with Dynamic Range. Any comment, good or bad, advice, outrage... is welcomed ! I love heated debates.
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Hi guys! After some research, I made a little chart one every rich man's favorite camera, the Alexa, which digs into how it really works. So I thought I might as well share it. The content holds true for every Alexa I believe, since they all have pretty much the same sensors and algorithms (even the Alexa 65 I assume, who consists of three Alexa sensors merged). On the right of the table are the only available curves to my knowledge, the LogC ones. Every other curves isn't, but should be available, so here they are. Where did I find this stuff ? A combination of gathering bits of informations here and there, and the ability to think like an Arri R&D guy I guess (they always seem to make the most logical choices in sensor architecture). CLICK and enjoy for zoomable chart.
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Good afternoon, I currently studying (BSc) Film Production Technology and am writing a media technology report on sensors and cameras systems specifically looking at how full-frame sensors/camera systems perform better than cropped sensors in minimal light. The idea I was wondering people had some views on is whether “camera manufactures say their cameras produce 14-bits, however when you look at their own application notes, performance is shown to have a dynamic range of 1320:1” (Motion Video Productions, 2009) because in reality even an 11-bit camera should produce a dynamic range of 2048:1? Has anyone experienced this with cameras they have worked with before and would a 14-bit ADC actually produce 14-bit images because the bits maybe subjected to lower parts of the image for instance shadows as well? Many thanks Auberon -
I'll be shooting soon a short film (as DP), and I only have a small amount of choices in term of which camera I can use. I was wondering if anyone has personal experience to share as for how these cameras work in a low key light system, which of these cameras render the black at the best, with which one we can play with sort of gamma settings so as we can get a good latitude? I also have the opportunity to work with Panasonic AF101, but I don't like codec so much beside the fact it crashes the highlights very quickly and can't go beyond 2 stops 2 stops and a half in the blacks, so I was wondering if actually opt to shot with a DSLR. Any ideas? What about how each of them react in a low light situation, if I have to compare these cameras? CANON 5D Mark3 SONY A7s AF101 thank you so much!
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Hopefully someone here can help me understand this better. A given camera will state that it has X amount of dynamic range. For example, my Canon 5D Mark III has 10 stops of dynamic range. An Arri Alexa has 14 stops of dynamic range. Film (e.g., Kodak Vision 3 500T) is said to have about 14 stops of dynamic range as well. However, there’s no way I can actually capture anywhere near 14+ stops of dynamic range in any given image. Even HDR (stills or video) only gives me a few extra stops up or down (and if abused, saccharine images!). For my still photography, I mostly use the Zone system and spot metering, especially for a high contrast scene. For example, if I know that I want a window to not blow out (and to be able to see what’s there), I can’t go over 2-3 stops from 0EV/correct exposure if I want to recover any highlights, so I meter on a highlight, adjust shutter/ISO/f-stop to set it be two stops over, then shoot (assuming my subject isn’t too dark, obviously). On the other end, I know anything below 2-3 stops from EV0 will be crushed. Referring back to the Zone system, after I determine Zone V (middle gray, 18%), I know that anything below Zone II will be crushed, and highlights above Zone’s VII or VIII will be blown out. So, the best I can tell, I can only get about 6-7 stops of actual dynamic range in an image; certainly not the 14+ stops talked about. Also, I already know they measure the DR of a camera using a grayscale chart from black to white, with each lighter color representing a stop of exposure. That’s all well and good, but that doesn’t really carry over to the real world… does it? So, what gives? What am I missing? Thanks all!
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