Mastering of video material. Using the whole dynamic range, or not?

[Thomas Koba]

I was taught video with in the PAL signal days of the 90's. Using betacam. I went to a video-school, and didn't learn anything about analogue film at all.

Back then, we where constantly reminded of using the full spectre from black to white. Always getting some detail to hit the high notes, and something to touch the black 0. It was taught and told, that the videosignal needed to be "filled up" to make it a healthier signal that went through the chain and through to airwaves.

And how is it now with RED? And online distribution etc.? What are you're thoughts about this?

Is this problem completely non-existent in these times? Do you graders cringe a bit when seeing a flat picture, that doesn't get higher than 20% white? Or do you completely not care? Do you sometimes brighten/lower a picture to get a "healthier picture", even if you subjectivily would like the signal to be lower?

Was it ever like this with analogue film? Was this a consideration when mastering an analogue film to the cinema?

(I know that when shooting RAW it's best to expose the whole negative, and the grade from that, this question is not about exposing RAW. I´m especially thinking about mastering)

Just something that I´m not totaly sure of, how to go about these days

Thanx1

 

[Marc Wielage]

I would not expose the picture in a way that the histograms reveal that you're only using 20% of the available dynamic range. This wastes much of the exposure range in the camera, very similar to what you were told in the standard-def days. (My joke to my clients in the old days was often to tell them, "darker is easy; brighter is hard." I think this is still true today, particularly with material that's been underexposed.)

I think I typically see specular highlights (flames, flares, bright lights, etc.) hit maybe 80%, but a lot depends on key-to-fill ratio and the intent of the look you're going for. I think the best advice is shoot some tests, look at the material in a color-correction bay with an experienced colorist, see where everything falls on the scope using the workflow you plan to use for the project, and see if it will give the colorist enough range to give you the final look you want. Protecting the highlights is of prime importance, but I think capturing a balanced image with reasonable levels in all three color channels is the ultimate goal.

We do routinely use special LUTs, custom curves, and other tricks in order to get the most out of the picture in final color. RedLog definitely has more than enough range to get there, but so does ArriRaw, DPX log, and quite a few alternatives. There are all kinds of ways to get to the finish line.