Thread: Dynamic Range Tests by cinema5D (Arri, BMPCC, GH5/5s, FS7/A7sI, FUJI X-T2/X-T3)

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  1. #21  
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    Hi Lukas, as I have written in my reply to Max – yes, you can recover about 0.6 stops in the highlights by using the highlight recovery option with BMPCC RAW – but as they turn pink for me at least it is not a viable option.
    Here is their reply to highlight recovery, so if you feel it useful, you can add .6 stops to the BMPCC RAW value
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  2. #22  
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    Quote Originally Posted by Pultzar2 View Post
    I did some DR tests between the Pocket 4K and the Ursa Mini 4.6k. Needless to say I was impressed with how much the Pocket 4K held up. The Ursa Mini 4.6k was better though. Looking forwards to what more official tests say
    Just curious...why would you care what some other test - especially when methodology varies wildly and there is no accepted standard – says when you've experienced the difference for yourself?
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  3. #23  
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    Whether or not RAW highlight recovery is valid for a scientific, clean-room evaluation of dynamic range is, well...who cares?

    The practical impact is that more often than not you can get a half stop of extra headroom from blown highlights. This is useful in a variety of scenarios. Both film and the Arri Alexa prove that people dig desaturated highlights, so highlight recovery color errors are basically moot. We don't shoot numbers, we shoot images.
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  4. #24  
    Quote Originally Posted by joe12south View Post
    Whether or not RAW highlight recovery is valid for a scientific, clean-room evaluation of dynamic range is, well...who cares?

    The practical impact is that more often than not you can get a half stop of extra headroom from blown highlights. This is useful in a variety of scenarios. Both film and the Arri Alexa prove that people dig desaturated highlights, so highlight recovery color errors are basically moot. We don't shoot numbers, we shoot images.
    +1
    On skin tones- "Give me mud and I will make the skin of Venus out of it, if you allow me to surround it as I please", Eugéne Delacroix
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  5. #25  
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    Quote Originally Posted by joe12south View Post
    Whether or not RAW highlight recovery is valid for a scientific, clean-room evaluation of dynamic range is, well...who cares?

    The practical impact is that more often than not you can get a half stop of extra headroom from blown highlights. This is useful in a variety of scenarios. Both film and the Arri Alexa prove that people dig desaturated highlights, so highlight recovery color errors are basically moot. We don't shoot numbers, we shoot images.
    +2
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  6. #26  
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    The trick to copy a non-clipping color channel into the other two for highlights only has been known to colorists for years. It desatures the highlights, of course, but brings back some detail.
    Completely useless if your highlights are colored, light neon signs or traffic lights…
    IMHO, this should not be included into a comparison.
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  7. #27  
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    Suppose hypothetically there was a sensor with which one colour channel clipped 3 stops higher than the other two.
    Would that not count as range? Just because the other two channels clipped?
    I mean you wouldn't say that a monochrome sensor had no dynamic range would you?

    Maybe one could make the distinction between monochrome dynamic range and full colour dynamic range?
    If you were making a black and white film I'm sure we would have to agree that highlight recovery counted as dynamic range.
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  8. #28  
    Senior Member Samuel H's Avatar
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    To me, this is dependent on the capabilities of the software you use to work on the footage. If it can save it and it looks good, it counts; if it doesn't look good, it doesn't.

    And in any case: for the past couple of years I've always added a highlight desaturation filter at the end of my grade, even when highlights are not actually clipped. It just looks good.
    (of course, don't do that on neon signs or things like that)
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  9. #29  
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    Quote Originally Posted by Nomad View Post
    The trick to copy a non-clipping color channel into the other two for highlights only has been known to colorists for years. It desatures the highlights, of course, but brings back some detail.
    Completely useless if your highlights are colored, light neon signs or traffic lights…
    IMHO, this should not be included into a comparison.
    <SNARK ALERT> I'll keep this in mind for my riveting new documentary, "The History of Camera Nerds Filming Traffic Lights." For the rest of us shooting thing like, oh I don't know, people with windows in the scene, we often desaturate the extreme highlights anyhow. <END OF SNARK ALERT>
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  10. #30  
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    Quote Originally Posted by joe12south View Post
    Whether or not RAW highlight recovery is valid for a scientific, clean-room evaluation of dynamic range is, well...who cares?

    The practical impact is that more often than not you can get a half stop of extra headroom from blown highlights. This is useful in a variety of scenarios. Both film and the Arri Alexa prove that people dig desaturated highlights, so highlight recovery color errors are basically moot. We don't shoot numbers, we shoot images.
    +0.6
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