Stranger Things 3

[Misha Engel]

Ok then, lets say some. How much is some? Bob is a friend of mine & I've spoken to Lachlan Milne the DP.

Do you know someone in post?

Then Bob can tell you exactly what is his percentage and how much was done in post.
You can limit the forces of physics a lot with the right equipment in the right hands, to beat it you need something extra.

 

[Björn Benckert]

I'm curious, how do you know the 8K capture was a significant part of the camera/image movement?

If you shoot 8k on a daily basis then you know that yes, shit more possiblity to punch in, reframe, alter development settings like iso, etc without picture looking pushed around. As when the image looks like glas there is simply more room for errors. Compared to when shot on red one first iteration for example things needed to be more aligned in camera. Filtered for the right color temperature, both light and camera, and no real room for reframing as you kind of instantly saw the noise difference between shots if the material was just slightly pushed. Not saying shit could not look good in 4k MX, it very much can but you need to be more accurate to get there. If speaking tennis, you could say that 8K monstro is a very big racket to hit the ball with.

Here is a stellar 4k scarlet frame. IF shot perfect monstro would not look much better but if lights exposures, temperatures and framing where all heavily off then monstro would hold longer it that simple.

B009_C010_0322K3 by Björn Benckert, on Flickr

 

[Jamie A]

I completely understand what's possible with capturing at a higher resolution.

But in the interest of broadcasting correct information, how do you know it was used in this situation?

I don't like assumptions when it discounts the talented abilities of the operator...

 

[William Long]

I completely understand what's possible with capturing at a higher resolution.

But in the interest of broadcasting correct information, how do you know it was used in this situation?

I don't like assumptions when it discounts the talented abilities of the operator...

One doesn't discount the other ... that would be an assumption. )

 

[Misha Engel]

I completely understand what's possible with capturing at a higher resolution.

But in the interest of broadcasting correct information, how do you know it was used in this situation?

I don't like assumptions when it discounts the talented abilities of the operator...

This and some room in post because of the 8k capture.

You really have to do something about your reading skills.

How I know they did it in post... because it's impossible to do it with just a steadycam, the pixel height of the Monstro is 0.005 mm. Even a camera dolly can't filter out 5 micron.

 

[Björn Benckert]

I completely understand what's possible with capturing at a higher resolution.

But in the interest of broadcasting correct information, how do you know it was used in this situation?

I don't like assumptions when it discounts the talented abilities of the operator...

Film making is suposed to be a team effort, most steady ops knows thier tuff is usally not even half done when the mag leves the camera. So why make assumptions that the post guys would not get to do their part on this show?

 

[Neil Abeynayake]

I completely understand what's possible with capturing at a higher resolution.

But in the interest of broadcasting correct information, how do you know it was used in this situation?

I don't like assumptions when it discounts the talented abilities of the operator...

Jamie A,

What Björn, Misha and others are saying is true. I don't think anyone is trying to discredit you. And if I may ask, have you captured or work on an 8k movie? If so, could we see some samples please?

 

[Ketch Rossi]

Didn't see them on the 4k monitor I watched on...

But I must say that for me the real put off for this Season, while I still did enjoy it very much, are 3 main things...

TOO DARK!!
I get the look, I get the atmosphere, but is this now an Horror film?? I hate stupid horror films too dark to make anything out and too stupid that no one seem to react properly to the dangers and or in a proper manner.

INSENSITIVITY!!
Really? A mother sees a little girl cry her heart out and She does nothing?? Just watches, or keeps hugging her son??
I am a Man, but I would not be able to just watch, I would feel the incredible urge to Hug and bring some support and comfort to the little girl.
In this case I am against both the Writers & Directors choice, even if they meant to isolate Eleven's suffering, this is a show for Kids, it doesn't show proper Educational Elements.

IN YOUR FACE PP!!
Ok, we all know that Product Placement is always present, and some time we notice more and other times we notice less.
But the Coca-Cola PP on this Season was absolutely WAY too much in your Face for far too many times, not cool.

Of course this are my points of view, and I again enjoyed the show very much, just too many issues as a Filmmaker that I see that I do not agree with.

The choices made on how the season went on and especially on how it ended, that is entirely a manner of different conversation that would go on and on, but I don't do that, I enjoy what is presented to me without wanting to change the Story, so I respect fellow Filmmaker's decision on that front.

But as far as tone, while of course respecting fully those decisions as well, I need to complain that too dark is just too dark, where you don't see anything at all, for me is just not a good decision, I respect the decision, but I don't like it

 

[Marc Wielage]

Didn't see them on the 4k monitor I watched on... But I must say that for me the real put off for this Season, while I still did enjoy it very much, are 3 main things... TOO DARK!! I get the look, I get the atmosphere, but is this now an Horror film?? I hate stupid horror films too dark to make anything out and too stupid that no one seem to react properly to the dangers and or in a proper manner.

Looked great to me in 4K Dolby Vision. Watch it that way and tell me what you think.

 

[Ketch Rossi]

Looked great to me in 4K Dolby Vision. Watch it that way and tell me what you think.

I'm in India now, and the TV here is a 55" UHD Samsung, no HDR no Dolby, but I know I'll watch it again

 

[Dan Kanes]

Incredibly stunning feast for the eyes on my LG Oled In DolbyVision

TLDR the rest of this thread yet - filmic “grain” structure of the show looked awesome this year.

Thalias looked nice, everything felt period correct for the most part.

 

[Scot Yount]

If you shoot 8k on a daily basis then you know that yes, shit more possiblity to punch in, reframe, alter development settings like iso, etc without picture looking pushed around. As when the image looks like glas there is simply more room for errors. Compared to when shot on red one first iteration for example things needed to be more aligned in camera. Filtered for the right color temperature, both light and camera, and no real room for reframing as you kind of instantly saw the noise difference between shots if the material was just slightly pushed. Not saying shit could not look good in 4k MX, it very much can but you need to be more accurate to get there. If speaking tennis, you could say that 8K monstro is a very big racket to hit the ball with.

Here is a stellar 4k scarlet frame. IF shot perfect monstro would not look much better but if lights exposures, temperatures and framing where all heavily off then monstro would hold longer it that simple.

B009_C010_0322K3 by Björn Benckert, on Flickr

I super agree with this....

 

[Christoffer Glans]

Back on the stuck pixel thing... I don’t think that’s what we’re seeing. I didn’t notice them watching through, even though I’m watching on a 4K projector and a pretty big screen — like 12ft wide. Plenty of compression artifacts and film effects/ grunge added to the show.

To me it looks like some of the grunge treatment is digitized film effect and some is digitally recreated film/dirt. Given that most of the acquisition was 8K and 6K for season 3 (as far as I’m aware) and the amount of other processing done, the couple hot pixels I went back and looked for seem more like digital hot point artifacts. I don’t know if they went unnoticed in post or not or were intentionally left or not. I’m not so sure they were present in the original camera footage. Almost betting they are not there as they would be larger than a single stuck/hot pixel. Or if they were there, then the original footage was sharpened and edge-enhanced and potentially grunge-processed prior to final down-scale and 4K mastering and that seems unlikely.

I’ve seen the same thing on other shows before using digitally added film/dirt effects and it’s like the digital approximation of a piece of lens or gate dust. Meh...

Either way, I think these bright pixels should not be there and should have been eliminated in a QC pass. And yet I didn’t notice them since I was too busy just watching and enjoying the show.

I've said this earlier, it's NOT any type of added grain or "grunge" effect. I know the difference between added effects for creating a genuine period look and in-camera pixel errors, these are definitely stuck pixels. I've trouble-shooted enough of such pixels to know what I'm looking at. And they are also not a result of post-process added effects due to their behavior when the material is post-stabilized.

I can bet you thousands that it is a sensor stuck pixel. Did you watch it in HDR 4K? Projectors don't have enough brightness for this. I watched it on a Samsung QLED at 2000 nits HDR. The stuck pixels feels like small flashlights directed at me.

I've also not seen the same thing on any other show. If you have a moment to watch the last episode on a screen with enough HDR nits to punch through the darkness, then check out the list I provided.