Cinestyle vs cinema picture style full#

One more point before I prove my noise вЂanti-theftвЂ™ theory. The same amount of noise in the blacks as in the whites looks worse as there is a higher signal to noise ratio. That is why we record signal to noise ratios (normally in dB). And yet if I have the same 10 units of noise over a signal up at 70 units (say 70% up the light scale) then 10 over 70 is not half, it is 14% (10/70). That is a sensible thing to doвЂ¦after all if you have 10 units of noise over a very small dark signal of say 20 units, the noise is half the signal. Imagine we only focus on noise in the blacks. I will leave that for you to interrupt motives.Д«ut again вЂ“ why isnвЂ™t it theft? The answer is simply noise. Note that Technicolor gave away Cinestyle for free. Technicolor represents some of the best technical minds in the industry, they have no incentive other than image quality to get this right.

Cinestyle vs cinema picture style full#

Well now, you really need to start discounting the marketing hype ! Why is it not theft? Why is EXTENDED range or using the full range not such a great idea?ДЇor a start, ARRI - one of the most respected camera companies in the world - does not make this вЂtheftвЂ™ mode normal. It is not the whites that are clipped вЂ“ or even crushed вЂ“ as long as they are adjusted along with everything to fit into a more restricted range. Crushed implies that data is clipped off. Yes, the blacks are lifted, but the whites are not crushed. Second, it says the whites are crushed and the blacks lifted. I mean, we are all on the side of getting the best out of our next shoot arenвЂ™t we? No need for the drama. There are many things wrong with this statement.ДЇirst it reads like a warning, which is inflammatory. Warning to all users of the Technicolor Cinema-style flat-profile! Using the Technicolor style will severely limit your dynamic range! Blacks are lifted and whites are crushed! With only 255 values between black and white for each color, snooping 10% off at both sides is simple вЂњDR theftвЂќ! You remove another 10% of DR when using the Technicolor LUT (via LutBuddy) thatвЂ™s probably two stops total! This is frankly at best odd, and at worst, simply inaccurate: Here is a quote from the Marvel Cine Profile web page, which highlights the problem and reads as if the Technicolor Cinestyle would be inferior. I am sure it works for some people, but I was alarmed when I read their web page. Marvels Cine Picture Style is an option for the 5D. Why not map between 0 and 100 if that is black and white? It would seem like a waste perhaps? You might even look for the button that says EXTENDED вЂ“ that did not do that. Of course, on your screen or in the cinema it would be black and white respectively вЂ“ but in effect you have mapped all the range of light levels from black to white just between 5 and 95 вЂ“ and in theory there is no way to get below 5 and or above 95. And if you way way overexposed, the best you could do is an internal number of 95. In other words, you film with the lens cap on and it would internally store that number at 5. Now imagine that you discovered that your camera had values mapped for black to white that only went from 5 to 95. LetвЂ™s say for the purposes of this article ONLY вЂ“ that they are between 0 to 100. The theory is that in many cameras there is a set of levels. What Charles was talking about was the Extended range on the ARRI Alexa, but the same discussion could be had about the Marvels Cine Profile for the 5D vs the Technicolor Cine profile. вЂњSo if you are a really keen young Camera operator and you see EXTENDED range вЂ“ youвЂ™re going to pick it вЂ“ I mean who wouldnвЂ™t? Normal and Extended вЂ“ youвЂ™re 26 вЂ“ youвЂ™re going to pick Extended,вЂќ joked Charles Poynton as part of his lecture at fxphd last week.