Demystifying Log vs. Linear, the power of 16 bit, and High Dynamic Range with DoP Alister Chapman

At Cine Gear Expo 2017, acclaimed instructor and DoP Alister Chapman separates the myths from the realities of a 16-bit workflow. While always highly desirable, 16-bit has long been considered cumbersome and difficult to manage. Now, since the introduction of X-OCN - Sony’s easy-to-work with 16-bit linear recording format - it’s as easy to work with as conventional 10-bit codecs.
Discover unique features of the F55 and R7 recorder such as 4K recording at 120fps. Compare log and linear recordings and how the extra information improves image quality, especially for HDR productions. Learn how to best expose 16-bit as well as S-Log2 / S-Log3. Discover how to get HDR low noise images that grade easily. Explore the benefits of linear content in post-production and how color managed workflows, including ACES, makes working with Sony’s RAW and X-OCN easy. Examine how the F55’s extended color gamut brings an HDR production to life.
www.sony.com/35mm

[@MuwexTech]

Watching this video while waiting for my FX9! Damn time goes fast, IT JUST WAS 2017 and now it's the end of 2019! Can't wait what time will give us!

[@CringePanda]

Welcome to the end of 2024.

[@Mims.Entertainment]

Alister, you said you don't know where Sony came up with the name X-OCN, actually, I must tell you Sony must have had a very clever reason for the term "Original Camera Negative". For all the D.P.s that have always only shot video, it does seem odd, but for those of us who are coming over from feature film 35mm, it is a very comforting term. Original Camera Negative and the film gate of 35mm is the starting place for the best the image will be because it is the original. Another very clever aspect of the F5 and F55 is the close proximity of the size of the film gate in 35mm and the sensor size of these cameras. So we who had years in film and have to move to video, immediately feel a relief knowing that the lenses, F-stop /T-stop of film that we are used to are very close. What we see in our mind's eye from our experience in film is going to be about the same with these cameras. In other words, Sony has done an amazing job of making these cameras like a film camera. It makes it real hard to want to shoot film on the next feature, when we now can see our 'dailies' not after the lab returns them, but at the end of the take by just hitting 'replay'!

[@willianaleman6114]

While RAW can have a linear distribution, It's important to highlight that human vision and celluloid film are not linear, as implied in this presentation. The film, as the human eye, has a slope, an s-curve where the black and white portions of the image are compressed. The equal distribution or linearity only happens in the mid-range of the scale, where the eyes are more sensitive and more information, as in sound, is allocated.

[@Integr8d]

Lansing theater. Watched plenty of movies in that room:)

[@adria4K]

The part about "scene linear = capturing the scene as it actually is"....is false.
Linear quantization =/ = reality (not the same)

[@shueibdahir]

It's also quite disingenuous to compare 10bit log which 16 bit linear. For a true comparing it should've been 12bit log which can capture all that data correctly.

[@dyhama]

wow!!, increidble

[@rckbht25]

Is it curtis judd speaking?