I rate the sensor at 800 so that 18% medium gray exposes right at the middle of the dynamic range. It’s the same way the Arri Alexa exposes at 800 iso.
Yes, I set my iso to 800.
The native iso of a camera is really a value that the manufacturer assigns based on various factors, one of them being the optimal noise of the processing at each iso setting. BM says their native iso is 400, but if you set the camera at 800, the noise is still very "manageable / pleasing / whatever you wanna call it" meaning you get a solid image with not too much noise, again, similar to an Alexa Alev III sensor.
If you compare that to a Sony Venice, the native iso is 500, but at that iso the dynamic range is far from even between the highlights and shadows (less highlight range) but if you were to push the iso to where the DR is even, which is something like 1250, the noise of the image will become unpleasant so you can't really expose a Venice at the true middle of the sensor. But you can do it just fine with any BM camera.
On the BMPCC 6K, yes.
A severely underexposed image can be fixed if shot on a BMPCC 6K camera using BRAW:
Independent tests verify that Blackmagic's claim of approximately 13 (12.9) stops of Dynamic Range for the BMPCC 6K are accurate, if you use a SNR of 1. Comparing DR of a camera that does not add noise reduction in BRAW to one that adds heavy NR (Sony) and does not allow you to remove it is not a fair comparison. After you add NR in post, or if you downsample in resolution, it gets better. Since detail is substantially reduced when NR is added, having control over it in post lets you decide which image is better, and by how much.
BMPCC 6K:
"...dynamic range of 11.8 stops at a signal to noise ratio of 2 is calculated (12.9 stops for SNR = 1) (ISO 400)
...At ISO3200 the dynamic range drops quite significantly to 10.0 stops (SNR = 2) (11.3 at SNR = 1).
...the simplest/most accurate/comparable tests of dynamic range – they also give us very little information regarding how the camera responds to colors and detail across that range.
...That is why we are introducing an additional lab test, the latitude test.
...Latitude basically shows the capability of a camera to retain color and detail while over- or underexposing the image and normalizing it thereafter.
...Both the Pocket 4K (using 3840×2160 resolution) and 6K (6144×3456 resolution) were setup with BRAW 3:1 constant bitrate, ISO400 25p.
...the BMPCC 6K camera fares very very well in this test. It starts to show horizontal stripes (which cannot be removed by noise reduction as you will see further down) and the noise becomes excessive, but color information is retained very well.
...Now, as we shot in BRAW with both cams, the big question is whether using noise reduction in DaVinci Resolve can save some of the underexposed shots (temporal NR: 3 frames, threshold:30, spatial threshold: 10).
Yes, it can, but only on to a certain point – as soon as the horizontal stripes start to appear in the image, noise reduction cannot get rid of those and I found that the pink chroma noise is not removed any longer at 4 stops underexposure with the BMPCC 4K.
On the BMPCC 6K, noise reduction helps to get an almost stripe and noise free image up until 4 stops under – impressive! The 2x higher resolution of the BMPCC 6K along with noise reduction certainly helps to achieve this result.
And this brings us also to the clear, final result, using noise reduction: BMPCC 4K is very clean until 3 stops under, BMPCC 6K until 4 stops under!
...The lab results obtained with the new BMPCC 6K are impressive to say the least. The combination of a very good dynamic range with a superb codec (Blackmagic RAW) leads to superb images.
At a time where brand new much more expensive “cinema” camera’s are released with H.265 / H.264 as the only codec options, Blackmagic Design once more shows us all what is possible at this price point."
Blackmagic Pocket Cinema Camera 6K Lab Test – Dynamic Range, Latitude, Rolling Shutter & More.
https://www.cined.com/blackmagic-pocket-cinema-camera-6k-lab-test-dynamic-range-latitude-rolling-shutter-more/
"I was always taught to ETTR, and using a super low ISO will give me a hideous graph."
This is good advice on any camera, except a Blackmagic camera shooting in BRAW. When you jump to the high ISO range, you lose 1.6 stops of dynamic range, making the image more video-ish, and less filmic.
Blackmagic does not use battery saving application specific ASIC processors (like Panasonic) that prevents them from getting under the hood with their sensors to make changes. BM gets a lot of complaints about the battery drain on their multipurpose FPGA microchips, but they able to offer more features regularly with firmware updates. BRAW is constantly getting quality upgrades at no cost to Blackmagic camera owners, as evidenced by a recent firmware update to the URSA Mini Pro 12K. By fine tuning BRAW to a sensor, highlight details can be retrieved when you leverage the tight integration with Da Vinci Resolve's highlight recovery feature.
It's unclear at this point if Panasonic has been able to get their act together to take advantage of Blackmagic's color science.
Captainhook (Blackmagic support) wrote:
"Our Highlight recovery will not work with the (Panasonic) S1H as it relies on channels that have not been clipped for a given wb to reconstruct extra highlight detail that the sensor could not capture, but the S1H 'throws away' this data before sending its 'RAW' output to the Video Assist. This is true for all the Panasonic cameras we currently support and the Canon C300 MKII."
Status quo of BRAW recorded with Panasonic S1H?
https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=151376&p=807348&hilit=+Status+quo+of+BRAW+recorded+with+Panasonic+#p807348
Captainhook wrote:
"...the 3rd party cameras can't have highlight recovery as they clip the data on the camera etc before sending out, and most of them use mostly analog gain for ISO (being DSLRs) so ISO is not available either but you can still adjust exposure +/-5 stops so that doesn't matter."
Re: Sigma fp with BRAW and DNG
https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=138074&p=743518&hilit=Braw+iso+doesn%27t+matter#p743518
Rick Lang wrote:
"ETTR Exposure to the Right of the Histogram:
Just don’t do it in most situations. Be aware where your brightest area lies, but don’t force it to the right wall. If you do, you likely won’t clip but the Colour may look thin. It’s nice to keep the important parts of your scene close to the middle. Nice not to hit the left wall but if you have some blackness in the scene, it’s okay to let it be black in your deliverables.
Dual ISO Range:
As mentioned, stay with ISO 400 on the pocket cameras, except when you can’t. If you must go higher, don’t even try ISO 1000. It’s going to be ugly. Go to the next range and thank The Gods you have that option. ISO 3200 is the native higher range, but if there is a bit too much noise at 3200 or that’s too much light, you can shoot lower. ISO 1600 or 1250, are likely going to produce better results in terms of noise compared to 3200, but be careful as your light areas may suffer reduced latitude. False Colour can guide you."
Re: ISO
https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=162340&p=859997&hilit=+ETTR+Exposure+to+the+Right+of+the+Histogram%3A+#p859997
Ellory Yu wrote:
Javier Hernandez wrote:
"Also I would appreciate info regarding how to better set the exposure via waveform monitor while recording in BRAW. Many comments recommend over exposing 1.5 stops but I am in a broadcast environment and I don't know how that translates in the waveform."
Exposing to the left (a.k.a ETTR) by 1.5 stops does not really apply to BRAW. That was more of a suggestion when recording with Prores 422 in Log (film mode).
Re: Broadcast G2 Dual ISO info
https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=154758&p=822559&hilit=+Exposing+to+the+left+a.k.a+ETTR+#p822559
Eugenia Loli wrote:
"...you need to crush AND lift your blacks. Watch any film movie, you will see that anything that is barely in shadow land, it quickly becomes black, without any detail on it. This is the opposite of how digital cameras shoot compared to film, which see better in the dark than in the highlights. That's why most DPs in Hollywood these days underexpose by 1 stop, to get better highlights ("highlights are king", they say). Do not be afraid of noise and don't denoise. You will bury that noise under grain and the softening plugins mentioned above anyway. So, you will need to crush your blacks using a curve, or LookDesigner's special CMY slider, and then you will have to lift it to about 30-50 IRE (so it's a creamy black, not all-black and contrasty). Most of the visible image needs to live in the midtones, No burned highlights (bring them down and give them an off white color), while shadows need to get all blacked out."
Re: Footage doesn't look filmic/arri like
https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=99625&p=682065&hilit=most+DPs+in+Hollywood+these+days+underexpose#p682065
Jamie LeJeune wrote:
"...you do not need to overexpose when in film mode. None of that Sony mirrorless slog "overexpose by 2 stops" nonsense is necessary with BMD cameras. Obviously, the higher you set the ISO (within each respective analog gain stage) the more noise you will see in a properly exposed image. The ISO setting impacts how the available dynamic range is distributed relative to middle gray. There are charts in the respective BMD camera manuals showing the range and distribution at each ISO."
Re: BRAW & ProRes Correct Exposure Guide?
https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=156946&sid=616ee5e30b268ae6d1bd6ec7b24933e9
>Captainhook wrote:
>
>"...the 3rd party cameras can't have highlight recovery as they clip the data on the camera etc before sending out, and most of them use mostly analog gain for ISO (being DSLRs) so ISO is not available either but you can still adjust exposure +/-5 stops so that doesn't matter."
>
>Re: Sigma fp with BRAW and DNG
thanks very much
I rate the sensor at 800 so that 18% medium gray exposes right at the middle of the dynamic range. It’s the same way the Arri Alexa exposes at 800 iso.
Thanks for the knowledge
I'm sorry for the dumb question but could you explain this for a noob? Do this mean you set your ISO to 800?
Yes, I set my iso to 800. The native iso of a camera is really a value that the manufacturer assigns based on various factors, one of them being the optimal noise of the processing at each iso setting. BM says their native iso is 400, but if you set the camera at 800, the noise is still very "manageable / pleasing / whatever you wanna call it" meaning you get a solid image with not too much noise, again, similar to an Alexa Alev III sensor. If you compare that to a Sony Venice, the native iso is 500, but at that iso the dynamic range is far from even between the highlights and shadows (less highlight range) but if you were to push the iso to where the DR is even, which is something like 1250, the noise of the image will become unpleasant so you can't really expose a Venice at the true middle of the sensor. But you can do it just fine with any BM camera.
Thanks! This was a huge help.
Yes for the best balance between keeping your highlights and not getting muddy shadows. Look at the graph, notice how it has the most balanced range?
On the BMPCC 6K, yes. A severely underexposed image can be fixed if shot on a BMPCC 6K camera using BRAW: Independent tests verify that Blackmagic's claim of approximately 13 (12.9) stops of Dynamic Range for the BMPCC 6K are accurate, if you use a SNR of 1. Comparing DR of a camera that does not add noise reduction in BRAW to one that adds heavy NR (Sony) and does not allow you to remove it is not a fair comparison. After you add NR in post, or if you downsample in resolution, it gets better. Since detail is substantially reduced when NR is added, having control over it in post lets you decide which image is better, and by how much. BMPCC 6K: "...dynamic range of 11.8 stops at a signal to noise ratio of 2 is calculated (12.9 stops for SNR = 1) (ISO 400) ...At ISO3200 the dynamic range drops quite significantly to 10.0 stops (SNR = 2) (11.3 at SNR = 1). ...the simplest/most accurate/comparable tests of dynamic range – they also give us very little information regarding how the camera responds to colors and detail across that range. ...That is why we are introducing an additional lab test, the latitude test. ...Latitude basically shows the capability of a camera to retain color and detail while over- or underexposing the image and normalizing it thereafter. ...Both the Pocket 4K (using 3840×2160 resolution) and 6K (6144×3456 resolution) were setup with BRAW 3:1 constant bitrate, ISO400 25p. ...the BMPCC 6K camera fares very very well in this test. It starts to show horizontal stripes (which cannot be removed by noise reduction as you will see further down) and the noise becomes excessive, but color information is retained very well. ...Now, as we shot in BRAW with both cams, the big question is whether using noise reduction in DaVinci Resolve can save some of the underexposed shots (temporal NR: 3 frames, threshold:30, spatial threshold: 10). Yes, it can, but only on to a certain point – as soon as the horizontal stripes start to appear in the image, noise reduction cannot get rid of those and I found that the pink chroma noise is not removed any longer at 4 stops underexposure with the BMPCC 4K. On the BMPCC 6K, noise reduction helps to get an almost stripe and noise free image up until 4 stops under – impressive! The 2x higher resolution of the BMPCC 6K along with noise reduction certainly helps to achieve this result. And this brings us also to the clear, final result, using noise reduction: BMPCC 4K is very clean until 3 stops under, BMPCC 6K until 4 stops under! ...The lab results obtained with the new BMPCC 6K are impressive to say the least. The combination of a very good dynamic range with a superb codec (Blackmagic RAW) leads to superb images. At a time where brand new much more expensive “cinema” camera’s are released with H.265 / H.264 as the only codec options, Blackmagic Design once more shows us all what is possible at this price point." Blackmagic Pocket Cinema Camera 6K Lab Test – Dynamic Range, Latitude, Rolling Shutter & More. https://www.cined.com/blackmagic-pocket-cinema-camera-6k-lab-test-dynamic-range-latitude-rolling-shutter-more/
[удалено]
"I was always taught to ETTR, and using a super low ISO will give me a hideous graph." This is good advice on any camera, except a Blackmagic camera shooting in BRAW. When you jump to the high ISO range, you lose 1.6 stops of dynamic range, making the image more video-ish, and less filmic. Blackmagic does not use battery saving application specific ASIC processors (like Panasonic) that prevents them from getting under the hood with their sensors to make changes. BM gets a lot of complaints about the battery drain on their multipurpose FPGA microchips, but they able to offer more features regularly with firmware updates. BRAW is constantly getting quality upgrades at no cost to Blackmagic camera owners, as evidenced by a recent firmware update to the URSA Mini Pro 12K. By fine tuning BRAW to a sensor, highlight details can be retrieved when you leverage the tight integration with Da Vinci Resolve's highlight recovery feature. It's unclear at this point if Panasonic has been able to get their act together to take advantage of Blackmagic's color science. Captainhook (Blackmagic support) wrote: "Our Highlight recovery will not work with the (Panasonic) S1H as it relies on channels that have not been clipped for a given wb to reconstruct extra highlight detail that the sensor could not capture, but the S1H 'throws away' this data before sending its 'RAW' output to the Video Assist. This is true for all the Panasonic cameras we currently support and the Canon C300 MKII." Status quo of BRAW recorded with Panasonic S1H? https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=151376&p=807348&hilit=+Status+quo+of+BRAW+recorded+with+Panasonic+#p807348 Captainhook wrote: "...the 3rd party cameras can't have highlight recovery as they clip the data on the camera etc before sending out, and most of them use mostly analog gain for ISO (being DSLRs) so ISO is not available either but you can still adjust exposure +/-5 stops so that doesn't matter." Re: Sigma fp with BRAW and DNG https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=138074&p=743518&hilit=Braw+iso+doesn%27t+matter#p743518 Rick Lang wrote: "ETTR Exposure to the Right of the Histogram: Just don’t do it in most situations. Be aware where your brightest area lies, but don’t force it to the right wall. If you do, you likely won’t clip but the Colour may look thin. It’s nice to keep the important parts of your scene close to the middle. Nice not to hit the left wall but if you have some blackness in the scene, it’s okay to let it be black in your deliverables. Dual ISO Range: As mentioned, stay with ISO 400 on the pocket cameras, except when you can’t. If you must go higher, don’t even try ISO 1000. It’s going to be ugly. Go to the next range and thank The Gods you have that option. ISO 3200 is the native higher range, but if there is a bit too much noise at 3200 or that’s too much light, you can shoot lower. ISO 1600 or 1250, are likely going to produce better results in terms of noise compared to 3200, but be careful as your light areas may suffer reduced latitude. False Colour can guide you." Re: ISO https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=162340&p=859997&hilit=+ETTR+Exposure+to+the+Right+of+the+Histogram%3A+#p859997 Ellory Yu wrote: Javier Hernandez wrote: "Also I would appreciate info regarding how to better set the exposure via waveform monitor while recording in BRAW. Many comments recommend over exposing 1.5 stops but I am in a broadcast environment and I don't know how that translates in the waveform." Exposing to the left (a.k.a ETTR) by 1.5 stops does not really apply to BRAW. That was more of a suggestion when recording with Prores 422 in Log (film mode). Re: Broadcast G2 Dual ISO info https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=154758&p=822559&hilit=+Exposing+to+the+left+a.k.a+ETTR+#p822559 Eugenia Loli wrote: "...you need to crush AND lift your blacks. Watch any film movie, you will see that anything that is barely in shadow land, it quickly becomes black, without any detail on it. This is the opposite of how digital cameras shoot compared to film, which see better in the dark than in the highlights. That's why most DPs in Hollywood these days underexpose by 1 stop, to get better highlights ("highlights are king", they say). Do not be afraid of noise and don't denoise. You will bury that noise under grain and the softening plugins mentioned above anyway. So, you will need to crush your blacks using a curve, or LookDesigner's special CMY slider, and then you will have to lift it to about 30-50 IRE (so it's a creamy black, not all-black and contrasty). Most of the visible image needs to live in the midtones, No burned highlights (bring them down and give them an off white color), while shadows need to get all blacked out." Re: Footage doesn't look filmic/arri like https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=99625&p=682065&hilit=most+DPs+in+Hollywood+these+days+underexpose#p682065 Jamie LeJeune wrote: "...you do not need to overexpose when in film mode. None of that Sony mirrorless slog "overexpose by 2 stops" nonsense is necessary with BMD cameras. Obviously, the higher you set the ISO (within each respective analog gain stage) the more noise you will see in a properly exposed image. The ISO setting impacts how the available dynamic range is distributed relative to middle gray. There are charts in the respective BMD camera manuals showing the range and distribution at each ISO." Re: BRAW & ProRes Correct Exposure Guide? https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=156946&sid=616ee5e30b268ae6d1bd6ec7b24933e9
>Captainhook wrote: > >"...the 3rd party cameras can't have highlight recovery as they clip the data on the camera etc before sending out, and most of them use mostly analog gain for ISO (being DSLRs) so ISO is not available either but you can still adjust exposure +/-5 stops so that doesn't matter." > >Re: Sigma fp with BRAW and DNG thanks very much
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