[Max Jackson]

Ohhhkay, it’s all starting to become more and more clear. It’s just that these “HD” definitions are rather blurry considering one source is different than another.

That’s a lot of stops considering there’s only 15 in the Ansel Adams Zone System. It’s really amazing how adjustments to 32-bit content can pull values out of pure white.

So DSLR cameras can provide sufficient HDR processing, the dynamic portion being their extreme latitude for exposure. However, their camera resolution is much broader than their video. So like you say, if you want to go larger than 1080p, go RED cuz there’s not any other options really. Right? Am I getting warm?

The more I read about RED cameras, the more amazing it sounds. I’m thinking I should take a class and then maybe rent one and get use to it’s settings and response before hand. It’s about $300-400 a weekend rental which is about as much as renting a bowling alley for a birthday party, but they’re really cool. I’ll have to look into RAW format more in terms of codec specs for transfer.

Crap, that and think about my monitor set-up. Sheesh.

Thanks Cody!

[Max Jackson]

What I find interesting is that in that video posted the guy only had a total latitude of 4 stops.

What I learned from a separate tutorial is that it’s important to have 32-bit float to be able to have deep luminance information beyond a simple 8-bit rez.

I am working with a professional DP and practically genius 1st camera. However, still…Those red cameras are…Wow. To be taken seriously for sure. So I’m going to investigate not only f-stop latitudes but the latitudes of my entire operation before making that decision.

The thing is I really want to go the mile with this one if I’m talking about “beam splitters”. It’s a bummer that a high-end DSLR can’t provide that high of a rez for broadcast level output. I would think HD is HD. ?

I’m not totally scared off from renting a Red, but like I said, I will have to figure out what I’ve got to work with.

Thanks Cory!

[Max Jackson]

Yeah, my bad, DSLR.

I just love the HDR look this person put together here with two Canon 5Ds and a beam splitter:

https://vimeo.com/14821961

I hear their sound is crap, but this other guy shot an award-winning documentary with the same camera thanks to a custom stereo out mod and a Sennheiser boom mic:

https://www.hellandbackagain.com/index.htm

Not quite sure what you mean by $100,000’s. ? I know REDs are not cheap. But that doesn’t have to be reality. I’m really just investigating HDR process, that’s all.

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[Max Jackson]

Yeah, I can’t afford film for this so I guess I should do more investigation in RED and other simultaneous RAW video formats.

I learned the SLDR cameras are supposed to provide the same resolution, but I haven’t heard of any that take simultaneous exposures.

Like you said, worst case scenario I can use levels/curves as long as I have 32-bit resolution.

Thanks David!

[Max Jackson]

Mr. Joey,

Got it. Just wanted to make sure I understand thing so I don’t ask further questions. One day hopefully I can help answer them.

Thanks for being a sport and reading my dumb questions. Really.

I should keep my questions minimal and remove all doubt otherwise. lol

Best,
-maX

[Max Jackson]

Hi Angie,

That’s great to know. Yeah, it’s REALLY noisy. Like, chunky even.

I’ll take another pass at it using red instead of blue. I just used blue to start because it was providing the most contrast right off.

Any bonus with skin tones would be great too.

Thanks!

[Max Jackson]

Hi Dave,

Yeah, that’s what I was wondering. The footage was actually splintering up, but I learned from Spencer in another thread I posted that it was a compression issue. That when going from DNxHD (I think it’s called) the compression sometimes creates artifacts.

Here’s the thread:

https://forums.creativecow.net/readpost/2/994740

I believe this footage was shot with a very nice company-owned camera, but the white backdrop was intended in one way or another because they had the actor pushing a green-coated object out of the way. The grip was even using green gloves so they knew what they were doing. It was to make the actor look like he was pushing something out of the way, that something was to be the web page revealing the ABC rich media banner.

Why they had him holding on to a greened out object with a white cyc behind him is beyond me. Maybe they figured that’s all we were going to need? Like a car commercial or something? Heh, as things go, it didn’t turn out that way…had to luma key.

[Max Jackson]

Awesome, cool. I figured that 1:1 is what you put in is what you get out, but wasn’t sure.

Cool, if I see this I’ll know to explain it as compression artifacts and that the footage needs to be rendered uncompressed.

That’s really great to know! Thanks Spencer!

[Max Jackson]

Wow! That’s great info Spencer. Next time I see it, I can tell the client to have the previous editor who sent it to us to export 1:1 ratio (Not quite sure what that means, but good to know).

But I’m curious, if it does this, why do people use it? Or further when would one NOT use DNxHD to create this field glitch appear?

[Max Jackson]

Joey, I’m totally with you, white is harder than green, blonde or not. But ABC shot it this way and we were handed it at the agency to do something with for a rich media campaign. So, I’m taking a real do-or-die boot-camp approach to self-training as I expect I could see something like this again and would hate to lose a future client.

It’s possible the footage wasn’t given that much focus because they knew the end product was going to be about 600×400 pixels max size…or at least that’s my guess.

Just trying to be ready for anything so I can start feeling comfortable saying ‘yes’ to After Effects jobs.

Thanks Joey,
-maX