HDR: Lens Choice Critical

When it comes to HDR, two issues stand out from the rest if a cinematic look is what we’re after, the first being 24p judder, a characteristic of motion pictures that cinephiles embrace and which worked well enough in theaters with 2K 48-nit projection but which becomes extremely objectionable on today’s higher brightness, higher contrast displays. This is why we firmly believe that variable frame rates with motion grading using synthetic shutter is the way forward, with traditional frame rates employed for static or slow moving shots and higher frame rates for action sequences and fast camera movement. The other devil is excessive sharpness – because of the higher local contrast of HDR displays, the picture can end up looking more like crisp, cheap video than traditional photochemical film and any imperfections in complexions are much more visible. If perfection is the enemy of the good, nowhere is this more apparent than when clinically sharp lenses are paired with 8K sensors and displays with 1,000,000:1 contrast ratios. Have a look at the following two HDR videos, one shot with the Venice 2 with the legendary Canon K35 and Cooke S5 lenses, the other with the Canon R5C and P&S Technik Technovision 1.5X anamorphic lens and let us know what you think in the comments.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Blog at WordPress.com.

Up ↑