Newsmeldung von slashCAM:Advisor: Gain or Post - A brief empirical Comparison of rudi - 28 Nov 2007 17:48:00
> Before the video camera in low light to the digital post-amplification is enabled, you could really synonymous (as in photography) "Raw" film and the sub-exposure later in the post-production balance. Because the tools are mostly on the domestic Calculator often better than the signal electronics of the camera. But this argument makes sense? We've tested it ...
full article
Antwort von steffunk:
... hübsch. good to know in an emergency. otherwise, without light filming is a pity for the time.
I think the gain will be in future (eg RED) is not too much more of a role-play, since we are handling bigger colorspace (raw, analog digital photography) available. which of course are still compressed ...
Antwort von PowerMac:
What does this because with the Empirics please be done?
Antwort von Andreas_Kiel:
... The Empire Og Aiptek?
duckundwech
Antwort von Thorstenborsten:
yes so
long no talking sense. everything remains the same :-) ancient times because you see how pointless contributions can be. we are here not for
myth busters :-)
gruß
Thorsten
Antwort von coolman007007007:
Does it not actually even more meaningful with a relatively large amount of light and zero gain to film and post the software to use light RAUS to take? So the quasi LowLight artificial situation in post-production? Then there is the beginning of more Farbinfos available.
That would be virtually reversed to what you're tested, you ...
Antwort von beiti:
Does it not actually even more meaningful with a relatively large amount of light and zero gain to film and post the software to use light RAUS to take? So the quasi LowLight artificial situation in post-production? Then there is the beginning of more Farbinfos available. In the experiment it was in low light to get bright images. You want the other hand, dark pictures at much light do. To do this you should not in the post-production, but simply expose scarce.
An exposure is too bright on video never makes sense, because then the brighter picture agencies already have radiation, which can be post-Abdunklung can not change. Deliberately designed LowKey-life scenarios, so the fact that a few bright points, and on when you need to take the exposure.
Antwort von Container:
In 8-Bitaufzeichnungsbereich is a signal amplification in the recorder before Lowlightbereich indeed duty, to the picture information at all sufficient in many gradations (max. 15-255 binary) there. Where NLE spread of the few on evenings worth of bits in a recording without the gain can lead to significant Posterisation come, that you may recognize coarse gradations in gray, synonymous especially when the contrast has been increased.
Surprisingly, however, which in this experiment could still be extracted.
Antwort von beiti:
Surprisingly, however, which in this experiment could still be extracted. I own a Canon MVX3i used in low light and little gain applies, therefore, very dark images supplies (particularly if the automatic bypass, which would otherwise jerky at 1 / 25 seconds hochschaltet). Therefore I must almost always when I have bad Licztbedingungen filmed in Premiere trick. I am always amazed at what we can qualitatively rausholen yet.
Antwort von nomulus:
Hi!
The article is (I quote):
"He acts between converters and image compression / quantization. The gain function returns corrected their values before the image signal is compressed and with 8 BitBit explained in the glossary is stored. This will in any case ever banding (the Posterisation) is significantly reduced because the picture is still with 10 -14 bit processing is explained. "
The hot, post-correction is NOT s.RAW data, as with a good digital camera will be available.
Is it true RAW with eg 14 instead of uncompressed 8-bit compressed, the world would at least better. Personally, I suspect even slightly better than with gain (see Contrast synonymous with HD photography)
A pity that the camera does not allow something, it would be a cool opportunity!
Chris
Antwort von beiti:
The hot, post-correction is NOT s.RAW data, as with a good digital camera will be available. But synonymous s.Digitalkameras can be from 8-bit JPEGs even a lot of amazing drawings from the shadows rausholen if you subsequently aufhellt. While the RAW format advantages here, but not so huge as you think. Much RAW has more advantages in the field of lights (ie, the tonal values that are not yet white). This is that RAW format, the brightness nor linear store, while JPEGs and other "ready" format already gammakorrigiert (dhsdie average brightness curve of a monitor adapted) are. The conversion is not a simple reduction of 12 to 8 bits, but the levels of gamma curve subsequently spread, and in the field of light and very strong in the shadows for very little. As a result, the finished picture in the little light levels, and each equally spread leads to visible banding. On the other hand are in the shadows still disproportionately many levels are available.
Antwort von Meggs:
An exposure is too bright on video never makes sense, because then the brighter picture agencies already have radiation, which can be post-Abdunklung can not change. Overexpose is obviously bad. But coolman007007007 has been right. For professional filming is in the recording of night scenes synonymous taghell lit.
