NAB 2016:Why AtomHDR Changes Video Production for Everyone!

[@Swizzenator]

Jeromy sure does a great job. Just to be able to view the monitor in broad daylight gets my attention.

[@simonrabeder1599]

04:55 The log just contains more latitude than the sensor can provide. This clearly is sensor clipping within the sun. which is fine, but the scene is far wider dynamic range than even the eye can manage (ever looked directly into the sun? not a good idea. If the tech could monitor all that dr, you would get eye damage).

[@simonrabeder1599]

+Ken Azure nice!

[@simonrabeder1599]

Is it? Isn't dynamic range the difference in illumination? So if I represent a scene (of reality) in reproduction with the same linear dynamic range (maybe with an offset, granted) bright elements will get represented relatively bright. So if you establish a middle gray (say, skin tones) as the eye would see it when there, light sources (like the sun) would be very bright. So if you show the sun in frame with perfect linear representation (assuming your camera/pipeline/monitor or project could handle it) it would be ... as bright as the sun. that is gosh darn bright. Not that any system could do that. So the sun will be clipped, which is good for you, mediacally speaking.

[@villepakarinen]

He said the extra room above the sun is the full range of the sensor. Isn't the point at which the sun clips the full range of the sensor, and the extra room the full range of the monitor/HDR?

[@jasonlam8588]

the new HDR line doesn't make your footage look any different to the ones from the normal lines does it?

[@rmcglon]

Hey where can I get one of those Atomos Lanyards???

[@tallaganda83]

Film has awesome dynamic range, i dusted off my f100 and pumped some portra through it the other day, blew me away, might even buy a medium format camera.

[@SullyCortez]

Still can't do 4K DCI :(

[@Avidcomp]

"by the way, film is not a high dynamic range...it's more like REC709" ...? Can someone explain what he means by that?

[@simonrabeder1599]

It means film renders the picture within a Range of around 7 stops between the darkest and brightest possible shades of the projection. It doesn't clip as hard as the 7 stops on the projection positive represent information of about 20 stops in reality. It just gets very compressed outside the mid 4-5 stops (which is kinda linear representation).

[@Avidcomp]

Simon Rabeder I really don't know. I'm just reading a variety of numbers here. 7-stops for black and white. 10-stops for colour elsewhere.. another claiming 15-stops. What does this depend on? Film stock? Period (time)? Ultimately where are we today... can certain digital cameras most definitely retrieve a higher dynamic range than any film camera? - especially if we allow for available DR. Interesting stuff. And thanks for your input. XTRA: Kodak states Vision3 has a maximum dynamic range of 13 stops.

[@simonrabeder1599]

Film is not a linear system. Photochemistry s very different to photoelectronics. Film will always respond with a curve. it will reach almost white soon but will taper off from there. But even brighter stuff will cause the film to react only a bit more, not the same as anywhere else on the curve. A sensor goes linear. It will clip/saturate sooner, but it will be in linear increments. So you wont get out the original brightness graduation in post from film, but you can from digital stuff (de logged log video or raw) an remap it to a linear representation, and that is what HDR is.

[@simonrabeder1599]

in laymans terms at least. I don't really know the engineering minutia in depth but that is what the technology tries to achieve. Anyone feel free to correct me :) I would love to discuss

[@Avidcomp]

Simon Rabeder Thanks Simon. You made that clear. The phrase "it's not as good as film" is as useful as "it's no egg & bacon sarnie" when referring to an apple crumble. - (I like both btw)

[@ilgnir]

@7:55: "Film has also a very narrow dynamic range. It's more like rec709, it's not high." That's bullcrap. Kodak Filmstock has around 14 stops. The UI of these devices is terrible. Try switching on the waveform monitor without cycling through the 3 screen display modes. Terrible. The buttons do not communicate clearly whether a feature is on or off. Bad UI example: Add the waveform display to the lower left and add a 1:2.35 letterbox. It's layed *over* the waveform. *sigh*

[@etiennelacroix-videoproduc4382]

Film is like rec709 ??? @ 7:56

[@AllThingsKen]

no

[@this_time_imperfect]

Sooooooo, it lets you see the LOG profile in HDR while recording? What? I guess that's a cool feature, I mean, you're pitching like it improves the image quality when really it just lets you SEE the the image better while recording. The film world is full of snake oil today, many directors have no understanding of how digital video works and they see the HDR in bold letters on some shitty recorder and think they have to get it. External recorders are more trouble than they're worth. You're getting 5% "better" quality and a mess of post production.

[@snoopyrawdogg]

Go to 8:18 listen and boom

[@en_ray]

great, now someone teach him about proximity effect.

[@john-lenin]

You don't have to have that mic touching your tonsils.

[@TheHelpfulSharkInTheYellowLake]

That's the sensitivity that was set. When he pulled it away it got way too quiet

[@sotocine99]

So ein Angeber!

[@oscargt23]

This guy is saying the same thing over and over again. Driving me nuts. Waste of time. Just say what you have to say about the product and stop. Looks like a channel shopping network. Huh!

[@sotocine99]

So ein Angeber!