AVS Forum Special Member
Join Date: Apr 2002
Location: Denver, Colorado
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I love Johnnie Behiri's camera work but I wouldn't give 2 cents for Gunther's testing. How does he know that the S1 image isn't just really that clean? Complaining about internal noise reduction and stating his opinion that if the image is too clean it lacks mojo. What next, if the manufacturers listen to his nonsense and start putting in artificial noise? Give us a break, his DR testing is folly. Imatest is a fool's errand also. Alan Roberts for EBU used Imatest for his last camera test on the GH5s, including DR. He reported a much higher number (and HLG higher than VLog-L), so ridiculed for his result neither he nor EBU has tested another camera since. The measurement problem is how many stops into the shadows can you count before no longer seeing the image? And then of the image you do see, when did it stop being usable because of noise? The theory being the image stops being usable before it stops being visible. Since we can't agree on when that is, Imatest tries to come up with a computer model that takes it into account of the measurement number. According to Gunther, it got confused by one of the Panasonic styles that was too clean apparently. At least on that point I don't doubt him. Actual DR is hugely important but the reality is that it has equaled or almost equaled most film stocks on any number of cameras. As long as you record the highlights without clipping, you can grade the shadows where almost no one would notice that a camera had a miniscule less amount of detail in the folds of black than another. The really visible feature that sets full frame apart, is dof, same as it ever was.
Have you watched Netflix's Altered Carbon? The best Dolby Vision HDR and WCG you've ever seen, but every scene is so entrenched in shallow depth of field it gets hard to watch after a while. Cinematographers are already starting to talk about full frame/large frame Alexa 65mm, Red, Sony Venice. It's "a thing" but once the novelty wears thin, the industry as a whole is quietly going back to S-35 because it's the ideal cinema format for well established reasons.
HDR Colorist and Conversions
INTO THE CAVE OF WONDERS
Directed by MANUEL BENITO DE VALLE Produced by PEDRO PABLO FIGUEROA
Cast MANUEL ANGEL REINA, CLAUDIA GARROTE
LOVETHEFRAME STORIES, SOUNDTRACKS AND FILMS