Dynamic Range?

[Matthew Rogers]

So, while thinking about the dynamic range of the Red today, it made me start wondering what the dynamic range of the JVC 110 is? Is it different than the 200 series?

Does anyone know?

Matthew

[Tim Dashwood]

Using the cine gamma curve in the HD200 series I seem to be able to get a "little" more dynamic range over the HD100 series. You won't be able to get anywhere near what is being advertised with the RED system (or obviously film negative.)
However, by lowering the knee, stretching the blacks (toe) and lowering the level of the gamma curve I can achieve a comfortable working zone of around 3-4 stops below the key, and 3 stops or more above the key. This usually renders a fairly low contrast image in the camera, but allows lots of room to play in post production.

[Matthew Rogers]

Originally Posted by Tim Dashwood

Using the cine gamma curve in the HD200 series I seem to be able to get a "little" more dynamic range over the HD100 series. You won't be able to get anywhere near what is being advertised with the RED system (or obviously film negative.)
However, by lowering the knee, stretching the blacks (toe) and lowering the level of the gamma curve I can achieve a comfortable working zone of around 3-4 stops below the key, and 3 stops or more above the key. This usually renders a fairly low contrast image in the camera, but allows lots of room to play in post production.

So are you saying the JVC 100/200 has about 5-7 stops in the dynamic range? If that's the case, working with the Red's 11-13 (supposedly) stops will be wonderful!

Matthew

[Tim Dashwood]

Originally Posted by Matthew Rogers

So are you saying the JVC 100/200 has about 5-7 stops in the dynamic range? If that's the case, working with the Red's 11-13 (supposedly) stops will be wonderful!

Matthew

5 to 8, depending on the configuration of the DSP. This is why I tend to carefully control my contrast ratio when I light, and attempt to keep highlights within a 3 or 4 stop range of the key. In tricky outdoor situations this means additional fill on the key to close the gap between the two.

The idea behind RED and many other large format 4K cameras is to capture a 'digital negative' with the intent to grade in post. Some systems, like the Arri D20, can output log format for recording on HDCAM SR for maximum latitude, while simultaneously outputting a watchable feed in 709 colorspace for the director's monitor.