jonpais

One day, I'll be looking back nostalgically at delivering SDR 4K to YouTube, when all you had to do was hit 'upload', and your content could be effortlessly watched in as many as seven different resolutions. =)

@kidzrevil The day Dave Dugdale, Max Yuryev, Brandon Li, Curtis Judd and iPhonedo begin uploading their YT videos in HDR will probably be when it is widely adopted, and I don't see that time coming very soon either! =) Just wanted to share a bit about my own television viewing experience... I left the States for South Korea (and never looked back!) in 2007. At the time, none of my friends or acquaintances back home even owned an HD television (though they were definitely available) and TV shows were still being broadcast in standard definition (a euphemism for blurry). When I arrived in Korea, I was astounded to find that every TV was HD, and no matter how grubby a restaurant I went to for my bibimbap, I could watch Korean TV dramas in all their HD glory. Not only that: the subway, the airport, every diner, every school, every doctor's office waiting room and every home had a flat screen television from LG or Samsung. And that was only one of the many ways that living in Korea made Detroit seem like a third world country. =) I don't necessarily mean the unchecked proliferation of TV sets, which is really a nuisance - just the HD part!

@kidzrevil That's why I qualified my statement with the words as far as I know. But this document published by the EBU (European Broadcasting Union), with 73 active members in 56 countries, and 34 associate members from a further 20 countries (according to Wikipedia), seems to carry some weight worldwide. For those not wishing to read the entire document, the organization specifies a minimum of 10-bit for UHD and recommends the same for HD. Of course, guidelines are just that - guidelines; and there will always be exceptions to the rule. It must be remembered that content isn't always broadcast live (much of it is taped), so we're not concerned here with whether the TV set itself is 10-bit or 8-bit. If you enjoy watching movies at home, HDR allows us for the very first time to see pictures in the same color space as in the theater. And if you're familiar at all with Technicolor's influence in the industry (if not, I highly recommend watching this interview), you'll quickly understand that HDR is already the de-facto standard.

Even though we both know @Axel isn’t being serious, we can all probably think of one or two other technologies that, like a bolt of lightning (sorry, cliche I know!), suddenly made everything before seem outdated or at the very least, a drudge to work with. For me at least, one of those was IBIS. For example, once I started shooting with my G85, I never wanted to pick up my lowly GH4 again. But unlike IBIS, a feature still unavailable on professional cinema cameras and which most videographers have somehow managed to live without for a quarter of a century - to the best of my knowledge, long before the advent of HDR - colorists have never liked working with 8-bit files. And (afaik) most broadcasters have also required 10-bit. So in that repect at least, HDR has not really changed industry practice. To return to IBIS for a moment, I can think of at least two videographers, when moving up from mirrorless to cameras like the Ursa Mini, deplored the lack of IBIS. And I imagine the same disruption to the industry will occur once the GH6 and the Sony A7s IV boast built in ND filters. Time to change the title of this thread to HDR on YouTube & Vimeo - next big thing? ? A quick tutorial for setting up Resolve 14 for HDR editing (for eventual upload to YouTube).

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@Axel It's seven-oh-nine. I'll definitely be making a video about my experiences with the Ninja Inferno, though there are already several hundred online. rec 709 looks spectacular on an HDR TV. I watch YouTube content (including my own) and SDR movies streamed by Netflix on my LG C7 and the image quality never ceases to amaze me (excluding my own!). Because english is not my native language, I couldn't tell. I do hear a difference between, say, Alex Jones and John Oliver. You can't, of course, make your own stuff futureproof with technique, but only with content. Truer words were never spoken.

The Atlas Orion 65mm T2 anamorphic mounted on the GH5 at Cine Gear. Drool-worthy for sure.

My own theory is that it would require millions of dollars and no less than six months to a year to evaluate and come up with algorithms for each and every lens in Panasonic’s lineup in order to debut a reliable PDAF system, resources they judged, rightly or wrongly, would be better spent refining features like anamorphic mode and coming up with codecs such as internal 10-bit ALL-I 400Mbps. Did their bet pay off? I think the answer is an unqualified yes. As @Cinegain rightly says, gambling on just a single feature in this marketplace would be foolhardy. I think Panasonic has hit just about all the right notes. edit: these remarks obviously pertain to the GH5, not the G9

@ssrdd cool down, buddy. It certainly sounds like you have a grudge against Panasonic to me. Your comments about firing Panasonic employees, snidely asking when GH5 firmware v3 is coming out and insisting that Alexa is the only way to go for quality make you sound childish and naive, not professional at all. And to claim Panasonic is withholding 70% of their tech (or whatever - impossible to understand your baseless and unverifiable bs) is utter nonsense. Cut it out now.

Thanks @Jonesy Jones. I really wanted to sum the video up myself for those that don’t have the time to watch/listen to the entire video, but ran out of steam after writing about reference monitors. @Vesku So @sam must be right about turning off Maxfall, that could very well be what Alister Chapman was referring to when talking about the different curves manufacturers apply to make their sets shine. (?) You’re a Canon shooter yourself, aren’t you sam?

I’ll have to watch it in the morning. It’s already 3:00 AM here. ha

@UncleBobsPhotography Good to know.

I’m guessing the vast majority of viewers watch my YouTube videos on either a Samsung or an Apple smartphone. They spend an average of 1.07 minutes watching one video. 94% of my viewers are male. Videos embedded in external websites or apps account for 6.5% of total views. If I weren’t just shooting for my own enjoyment, I really believe shooting on my iPhone would be good enough for most people. Anyways, @Mark Romero 2, just buy the Sony already! If you don’t, I will! ?

Thanks, @mercer, maybe I will. My experience living in Vietnam has been the same - 90% of pros and enthusiasts here shoot with either Sony or Canon, and hardly a soul cares about micro 4/3 at all.

@mercer Well, if you ever get the chance to... I was skeptical myself when @Vesku used to talk about watching on a large screen, and I think Ken Ross also mentioned it: but I had a 40” HD TV sitting in my apartment for years and never watched it. Since getting the LG however - it’s like you’ve never seen your work before - the picture doesn’t fall apart at all, on the contrary, to use a cliched phrase, it’s like a veil is lifted. My attitude now is, forget a new camera body, invest in a decent display, because what’s the point of having a great sensor if you’re restricted to watching your clips on a tiny laptop? A phenomenal set can be had for little more than the price of an a6500 and kit lens, I’m sure. Anyhow, something to think about. There’ve been countless pages here devoted to gear, that’s what this site is about - but very little attention has been paid to how we actually view the content once we’ve finished a project.

@mercer Glenn, have you ever viewed your footage on a 55” television?

The Atlas Orion anamorphics are the first modern ones I've seen that appeal to me at all, and by that, I mean they blow me away. Like you said, not 100% unobtainable, but would definitely require a lot of mulling over. The sample footage over at their website is pretty darn impressive. But it's not only their price that's ginormous - these are hefty lenses with a weight of up to around six pounds and an outer diameter of 110mm. They make my Veydras look like freaking lens caps!

@mercer My very first digital camera was a Canon S90. I loved it.

@Cinegain I suppose since Sigma's already designing Panasonic's Leica branded lenses, it was only a matter of time before they came to an agreement about optical firmware correction. I think the only lens I've got in that focal length ( for MFT) is the Veydra, and it's the sharpest lens I've tested by them so far. Still got a few days to think it over, it should be on shelves here no later than Wednesday, unless they're behind on the MFT mount. E mount is one hundred times more popular around here. Then again, I really don't think I want to invest in any more AF lenses for video, I rarely use it any more.

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I wish I hadn't seen that comparison, is there any way to make me forget? Must not buy the a6500, must not buy the Sony, don't buy another camera... OMG!

People might quibble about the methodology, but it looks like a draw to me.

@PannySVHS I don’t want to start cluttering up this thread with YT videos, but just to give you a rough idea of how much better HDR is, particularly with films that have man-made colors (ie. not from nature - such as neon colors, fluorescent greens, automobile finishes and so on) and especially science fiction and action films with explosions (though it looks equally stunning for dramas to me), have a look at this demonstration beginning at 16”30’ and ending at 18”30’. The bolt of lightning in the rec 709 space looks drab, the HDR version really flashes! It’s those values above white (the highlights) that really pop. HDR is also capable of great subtlety.

@Vesku No disagreement there - OLED’s got incredible black levels, it’s insane. Weak blacks just destroy the viewing experience. I once bought something like two different pressings of the 2009 masterpiece City of Life and Death (from different countries) in search of a decent copy, and finally ended up getting the Blu ray because it was the only one that resembled what I experienced at the movie theater - rich deep blacks. Unfortunately (or fortunately, depending on your wallet!), HDR OLED reference monitors for consumers don’t yet exist. The LG OLED TVs are reference quality, I just don’t think I could really edit on a 55” screen! Also, OLED’s supposedly got burn-in issues, I wonder how it would hold up after hours of displaying the borders of Final Cut as I edit? Not sure why Alister Chapman was worried about auto enhancement, he’s owned several OLEDs himself and must be aware you can turn those off.

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