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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

HDRx and motion

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Rohan B

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Hi guys, I had this question regarding the motion artifacts in HDRx mode. Is it possible to completely replicate the 23.976 fps 180 degree shutter look while shooting on HdRx? And if possible then how to do it????? If its possible then there is no need to discus about whether the dynamic range is native or hdr.
 
Magic sauce is coming very soon.

Graeme
 
It's important to remember that the while something may look like an artifact paused, it looks very natural to the eye once in motion as that's what give us the extra detail in motion.
 
Absolutely.

What makes me curious is how will HDRX motion blur will look in relation to shutter speed.

Antoine
 
Shot some stuff today...

Remember: HDRx IS magic sauce.
THEN add more magic sauce to get even more magical sauce :-))

And 6 stops is kind of pushing it a bit... Nice that it's in there, though.

I do see, hovever that one could want negative stops, as I suggested a while ago.

Today I was out with a mini-kit without a mattebox in the sun. It would be nice to judge focus etc from the X track, or to set a higher shutter and choose negative stops...

Yes, I know this is an ad hoc solution, but it would not make the possibilities less...

AND I would have loved to have a knee/rolloff sort of controll...

Cheers
 
I find it very hard to find a scene that fully exercises a +6 HDRx..... +3 yes, but +6 is hard to even approach clipping on the X track which ensuring hard clip on the A track.

Deanan's utterly correct on motion - you've got to see it in motion. It works.

And the new blend really helps too and also facilitates a linear light workflow for VFX etc.

Graeme
 
Graeme Nattress said:
I find it very hard to find a scene that fully exercises a +6 HDRx..... +3 yes, but +6 is hard to even approach clipping on the X track which ensuring hard clip on the A track.
Graeme
Click to expand...

What about our test? In the link above? Especially where we shot Andres walking past the camera, and in the background having the sun directly into the camera with reflections on the water. Don't think it could have been accomplished under 6 stops.

And while I agree that you can't judge on stills, there's still artifacts that can be seen and while there's been suggestions that this is how the human eye see things the audience has become victims of conditioning in that we take 24 fps as "film" and the sharper 48 fps as "truth". Why? because 48 fps is more close to how home video, documentaries, news reporters are presenterd. It has this motion that tells you that now you are seeing something real. Why did Blai Witch Project become a sucess? Or Paranormal Activity? It's that undescribed feeling of what you are watching is real.
If you then film something in 24 fps, people are more likely to see it as fake, or some work of someones imagination because this is the flow of film, of something people conditioned to the realm of fiction.

So when looking at the material with artifacts it feels wrong and people look like cut out boards in some places. There's something not right when motion is high. This is on a philosophical point of view, maybe even a subjective viewpoint, but I think it's close to how people react, even if the science tells you otherwise.

So I'm really looking forward to your magic sauce and how the same material will look with that. Hope it's kickin ass like everything else :)
 
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