ethan cooper
Well-known member
I think the struggle to achieve that elusive film look is evolving & that's part of the reason we struggle to put our finger on what's missing from the current crop of inexpensive digital solutions.
Back in the dvx100 days we were all thinking it was 24p & shallow DOF but once we got both of those we realized something else was missing. By now most have come to the understanding that dynamic range is a large part of the equation as well & getting good DR out of cheap products will be as huge a leap as finally getting big sensors.
Another, even harder to define aspect but one that is at least partially tied into DR is the way a sensor/image processing/codec combination handles highlight roll-off & gradations between tones & colors. As a prime example, I give you the clips posted above of that cute kid. (good job mom & dad) Part of the videoish look to it is surely DR, there just isn't enough available to hold detail in her face in a filmic sort of way but also it's the way the bright side of her face is handled. I've always thought of film as being creamy, but that's not the same as saying it's soft in terms of resolution. My use of the term creamy is in reference to the smoothness of transitions between bright & less bright, colorful & less colorful.
I believe one of the last major missing links for the film look other than DR is chroma sampling. Remember a few years back when everyone on these boards was talking 4:2:2 this and 4:1:1 that? That sort of talk has petered out a bit while we've been focusing on sensor size, lens speeds & which tinker toy set to strap on to our $1000 cameras, but it's high time it makes a comeback.
I know it's probably a pipe dream but getting at least 4:2:2 out of one of these cameras would be a huge step in the right direction especially considering that the DR problem is a tougher & more expensive nut to crack. I even understand Panny & Canon wanting to use 'consumer grade' codec in camera from a business standpoint, but when one or the other finally gives us a decent feed from the monitor out that we can take into a secondary recording system we'll be another step closer to getting that film look.
/ramble
**addendum**
I do think that when Red finally get their cameras to market we'll be whacked over the head by the importance of greater DR & recording codec. We'll also be faced with the current reality that these 2 come with a price. For now.
Back in the dvx100 days we were all thinking it was 24p & shallow DOF but once we got both of those we realized something else was missing. By now most have come to the understanding that dynamic range is a large part of the equation as well & getting good DR out of cheap products will be as huge a leap as finally getting big sensors.
Another, even harder to define aspect but one that is at least partially tied into DR is the way a sensor/image processing/codec combination handles highlight roll-off & gradations between tones & colors. As a prime example, I give you the clips posted above of that cute kid. (good job mom & dad) Part of the videoish look to it is surely DR, there just isn't enough available to hold detail in her face in a filmic sort of way but also it's the way the bright side of her face is handled. I've always thought of film as being creamy, but that's not the same as saying it's soft in terms of resolution. My use of the term creamy is in reference to the smoothness of transitions between bright & less bright, colorful & less colorful.
I believe one of the last major missing links for the film look other than DR is chroma sampling. Remember a few years back when everyone on these boards was talking 4:2:2 this and 4:1:1 that? That sort of talk has petered out a bit while we've been focusing on sensor size, lens speeds & which tinker toy set to strap on to our $1000 cameras, but it's high time it makes a comeback.
I know it's probably a pipe dream but getting at least 4:2:2 out of one of these cameras would be a huge step in the right direction especially considering that the DR problem is a tougher & more expensive nut to crack. I even understand Panny & Canon wanting to use 'consumer grade' codec in camera from a business standpoint, but when one or the other finally gives us a decent feed from the monitor out that we can take into a secondary recording system we'll be another step closer to getting that film look.
/ramble
**addendum**
I do think that when Red finally get their cameras to market we'll be whacked over the head by the importance of greater DR & recording codec. We'll also be faced with the current reality that these 2 come with a price. For now.
Last edited:
