HDR with the fs700 and 7q+?

C

Chris Kennedy

Member
Other then recording RAW with an Odyssey 7q+ And changing the color space in post, can I record 4kRAW to Prores HQ in rec2020?
I'm going to use an HDR monitor externally to monitor what I'd be shooting so I'm not worried on how it would look on the Odyssey's screen. Does anyone know if it's possible?
 
Well, since you can't burn in LUTs with the 7Q+ you can't even record in rec709 when using the raw output of the FS700 ;)
rec2020 you have to do in post.
 
The only option for prores recording on an FS700+7Q is Slog2/Sgamut. You can LUT it from there in post to whatever you want, but supposedly despite SGamut covering REC2020 gamut, the F5/FS7/FS700/FS5 sensor is said to have a more limited gamut due to the sensor's specific bayer color filter array (CFA), whereas the F55/F65 are designed to cover Sgamut with a special CFA that will also cover REC2020.
 
The recording will be Log and Sgamut. I do not believe the CFA of the FS700 covers REC2020, in fact I'm 99% sure it doesn't. REC2020 didn't even exist as a standard when the camera was introduced. But the available color gamut is greater than REC709 so you can utilize the larger shell for an increased range of color.
 
Most (practically all?) HDR content is mastered in P3 anyway, so rec2020 coverage is a non-issue. And s-log2 is HDR by definition.
 
I will point out that while it is little-used and one must have a camera and/or LUT capable of outputting the correct signal, the Odyssey7Q and Odyssey7Q+ are in fact DCI-P3 capable. The setting is available in the OLED menu. Don't use it unless you're sending an appropriate P3 signal, otherwise the image will appear a bit dark & green.

This functionality has been built into the Odyssey display since Day 1, just waiting for the rest of the industry to catch up!
 
Most displays aren't capable of full Rec. 2020 coverage yet. The best consumer displays can only do around 70% of Rec. 2020:
http://www.rtings.com/tv/tests/picture-quality/wide-color-gamut-rec-709-dci-p3-rec-2020

Even Sony's BVM-X300 reference monitor is only capable of producing 80% of Rec. 2020. I think currently only some high end laser cinema projectors are capable of full Rec. 2020 output.

Rec. 2020 was definitely standardized with the future in mind.
 
Thanks everyone for your responses!
Going to think how to go forward with this project then-probably will just stick with my Weapon for HDR.
 
Just remember that HDR is only one aspect of REC2020, and frankly HDR is a bit of a buzz term that can mean a lot of things. On the RED Weapon it means dual exposures that are temporally separated (they are captured sequentially), so that can introduce motion artifacts. All that HDR really is is a lot of dynamic range in the exposure. There is no official designation as to the cutoff of this range. REC709 could only contain about 8 stops, so a bunch of hoops are used to capture a wider range and then squeeze it in. REC2020 can hold much more. But you can capture a great deal of dynamic range today simply by shooting RAW or Log on many cameras. 12-14 stops is HDR compared to strict REC709.
 
Mitch, I meant as far as monitoring HDR for a HDR shoot. It's more or less a metadata tweak to monitor it by setting the color space to rec2020 and the graded gamma space to HDR-2084 with RED. Recording HDR/dual exposures on it sure is nice but not optimal to use especially with motion-rarely use it.
 
If I shoot 4kraw-4kpro res slog2 in the fs700, would that effectively give me 12 stops for the final image?

I didn't know rec709 was 8 stops, that's interesting. I just shot a short film 4kraw-1080p prores in slog2 - I did it because I wanted the director/producer to get the best image possible for 1080. Because I did that I also agreed to colour correct it using film convert at the end. Having said all of that I wonder if I should have just stuck with the regular profile and how much difference there would have been.

I'm going to encounter the same thing next week - I guess the problem is, do you hand over footage to an 'editor' in slog2, or just give them everything from in-camera because they likely won't be able to handle the slog profile...

Film convert is the best software I've encountered in a long time btw, it's so awesome and great part of the workflow, but not everyone has it or knows about it so I'm reluctant to trust others with fs700+odyssey slog footage...

but back to the topid, HDR doesn't mean to me that I can have a blown out highlight and the blackest of black in the same frame, it's the nuance in between that there is more of. How many 'stops' does a high end 4k hdr tv have?
 
fatman said:
If I shoot 4kraw-4kpro res slog2 in the fs700, would that effectively give me 12 stops for the final image?

I didn't know rec709 was 8 stops, that's interesting. I just shot a short film 4kraw-1080p prores in slog2 - I did it because I wanted the director/producer to get the best image possible for 1080. Because I did that I also agreed to colour correct it using film convert at the end. Having said all of that I wonder if I should have just stuck with the regular profile and how much difference there would have been.

I'm going to encounter the same thing next week - I guess the problem is, do you hand over footage to an 'editor' in slog2, or just give them everything from in-camera because they likely won't be able to handle the slog profile...

Film convert is the best software I've encountered in a long time btw, it's so awesome and great part of the workflow, but not everyone has it or knows about it so I'm reluctant to trust others with fs700+odyssey slog footage...

but back to the topid, HDR doesn't mean to me that I can have a blown out highlight and the blackest of black in the same frame, it's the nuance in between that there is more of. How many 'stops' does a high end 4k hdr tv have?
Click to expand...


I think RAW gets 13 usable stops and more pleasing grain and prores gives 11 usable stops with more noise in blacks. Mitch will know best though
 
There is not a two stop difference between RAW and ProRes. It is less than that on the exposure range. Acceptable noise is your own definition, like how much salt you want in your soup.
 
You must log in or register to reply here.
Back
Top