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DTL · 17th February 2023, 16:06

Here is example of article why 8bit SDR xvid is always enough to encode correctly shot content - https://www.kenrockwell.com/tech/highlight-shadow.htm . The extra HDR is mostly way to bring to viewer 'RAW' shooting content so it need to create colour and tone grading by itself or suffer from non-graded cheap content. For live broadcasting without controllable scene light is may be some solution.

Short text extra is:
I was watching some old movies from the 1930s, and noticed how even back in those days that they had perfect shadow and highlight detail in every scene, be it daylight, back light, side light, indoors, moonlight, low light, candle light, or whatever.

Check out Mohawk Valley, shot in Technicolor in 1939, or The Plainsman, shot in black-and-white in 1937. These aren't even technical masterpieces; they just happened to be old Indian movies we were watching as I noticed this.

An indoor scene with a door open to the outside world? Perfect detail everywhere. The same thing, but moonlight outside reflecting off a river seen as through a window while the actors are indoors at night? Again, perfect!

No matter how tough the light, they always had perfect shadows and perfect highlights, be it in color or in black-and-white.

How can this be? There must be at least 15 stops of dynamic range needed, and film was primitive in those days.

Of course the movies have always had perfect highlights and shadows. How? Why? Because they are shot by real photographers, typically ASC members, who know how to light a scene.

When shooting a movie, you spend a couple of days lighting each set and each scene. You bring four generator trucks and eight trucks of lighting and grip equipment, and have at it. You'll scrim, gel, gobo and reflector everything until you go blind.

In the end, you get perfect results, even if it was the 1930s.

Photographers know how to get perfect highlight and shadow detail in every shot, regardless of the light — or lack thereof — while hobbyists freak out and start buying more equipment, like pro digital backs claiming "18 stops dynamic range," which has nothing to do with getting good highlight and shadow detail.

It is always the photographer who is responsible for highlights and shadows, not the Great Spirit inside a new camera.

17th February 2023, 16:06	#92 \| Link
DTL Registered User Join Date: Jul 2018 Posts: 1,057	Here is example of article why 8bit SDR xvid is always enough to encode correctly shot content - https://www.kenrockwell.com/tech/highlight-shadow.htm . The extra HDR is mostly way to bring to viewer 'RAW' shooting content so it need to create colour and tone grading by itself or suffer from non-graded cheap content. For live broadcasting without controllable scene light is may be some solution. Short text extra is: I was watching some old movies from the 1930s, and noticed how even back in those days that they had perfect shadow and highlight detail in every scene, be it daylight, back light, side light, indoors, moonlight, low light, candle light, or whatever. Check out Mohawk Valley, shot in Technicolor in 1939, or The Plainsman, shot in black-and-white in 1937. These aren't even technical masterpieces; they just happened to be old Indian movies we were watching as I noticed this. An indoor scene with a door open to the outside world? Perfect detail everywhere. The same thing, but moonlight outside reflecting off a river seen as through a window while the actors are indoors at night? Again, perfect! No matter how tough the light, they always had perfect shadows and perfect highlights, be it in color or in black-and-white. How can this be? There must be at least 15 stops of dynamic range needed, and film was primitive in those days. Of course the movies have always had perfect highlights and shadows. How? Why? Because they are shot by real photographers, typically ASC members, who know how to light a scene. When shooting a movie, you spend a couple of days lighting each set and each scene. You bring four generator trucks and eight trucks of lighting and grip equipment, and have at it. You'll scrim, gel, gobo and reflector everything until you go blind. In the end, you get perfect results, even if it was the 1930s. Photographers know how to get perfect highlight and shadow detail in every shot, regardless of the light — or lack thereof — while hobbyists freak out and start buying more equipment, like pro digital backs claiming "18 stops dynamic range," which has nothing to do with getting good highlight and shadow detail. It is always the photographer who is responsible for highlights and shadows, not the Great Spirit inside a new camera. Last edited by DTL; 17th February 2023 at 16:09.