I talk about shooting 8-bit HLG HDR video with the a7 III, VESA’s meaningless HDR specs, my brand new gimbal, lenses I seldom shot with before and why I’m using them now, rec.709 and the film look, the best way to evaluate your lenses, the glaring absence of affordable HDR grading monitors and whether dust… Read More
More luscious HDR goodness, this time shot with the 16-35mm GM, 50mm f/1.4 Planar and 85mm f/1.8 lenses. Mostly architecture around Ho Chi Minh City from the French colonial era. Forget everything you heard about HLG being backward compatible: the clip must be viewed on an HDR display or it will look dreadful. “Ruby” by… Read More
Sony a7 III, Sony Zeiss Planar 50mm f/1.4, ISO 640
Experts recommend anywhere between 55-60 IRE for skin tones, but in flat lighting, it might be beneficial to go as high as 65-70 IRE to prevent the image from becoming dull and lifeless. Naturally, one must take care not to overexpose, or the image will appear washed out.
Occasionally, YouTube doesn’t recognize the master files I create in Final Cut Pro as HLG HDR, so I’ve taken to uploading my HDR projects to YouTube through Compressor.
In DPReview’s interview with Kenji Tanaka, VP and senior manager of Sony’s Business Unit 1, Digital Imaging Group, the executive candidly name-drops the now-legendary Blackmagic Pocket 4K (the ultimate expression of Grant Petty’s lifelong quest to bring filmmaking to the masses), which in itself is a bit extraordinary in a setting like this: and a… Read More
In December of 2017, I purchased the Ninja Inferno to get 4K 60p out of my GH5 and to be able to use the recorder as an HDR grading monitor but things didn’t quite go as planned…
Sample footage, Sony a7 III HLG HDR. To be seen correctly, must be viewed on an HDR display. SDR (standard dynamic range) rec. 709 video contains at most around six or seven stops of dynamic range while HLG HDR video is capable of as many as 17.5 stops – though both the Sony and my… Read More