Videointerview: DOP Geoff Boyle over moir, diffusion, dynamics capture, RAW and HDR

Again an interesting interview with DOP Geoff Boyle about the practice of digital cameras without low-pass filter (keyword moir), (too high) resolution and strategies for softer images as well as dynamics capture of RAW and LOG-capable cameras and what this is for the control of light On the set means. VY = iPHDpy9PcLA Boyle as a result, aliasing is also much less common with cameras without OLPF in normal scenes. Characteristic in this context is Boyle&s preference of soft images: I go for soft images In this context Boyle would like a dynamic RAW-processing - thus a debayering which adapts itself to the respective scene and of eg. The image resolution adapts itself to the respective motif: Landscape-Totalen would then be debayert other than portrait shots ...Most of the LOG and RAW-capable cameras in the cine area are already recording more dynamics in the middle class segment than current displays. A statement which we follow. It is therefore important to know when the film is being shot on the spot, where the final output of the final output screen is. Monitors with corresponding LUTs on the set simplify the lighting setting here, especially in scenes with high contrast. In this case, the LUT monitors, for example, Information about what are still recognizable picture details, and what is unimportant because it disappears anyway. But also in the assessment of highlights, Boyle help LUTs to find out whether highlights are lost or not. Boyle feels even more comfortableWorking with external exposure meters (spot measurement) as well as the application of the old-honorable Anselm Adams Zones system - even if he himself "guilty" confirms to work with LUT monitors. In his opinion, the basic principle of training is not enough to deal with external exposure meters. (So u200bu200bwe need in times of ubiquitous Waveforms, FalseColor etc. displays still the external exposure meter?) Finally, a sidecut on HDR: Boyle to success with HDR in the lights but not in the shadows. The only people who are in the shade with HDR still see what are people in darkened grading suites. Anyone who wants to see Boyle at home in the shadow of HDR content, needs to paint his space black and with a Bild zur Newsmeldung:  more infos at bei youtu.be deutsche Version dieser Seite: Videointerview: DOP Geoff Boyle über Moiré, Diffusion, Dynamikumfang, RAW und HDR