Bit depth is a topic that always comes up whenever a new camera is announced. But what does it all actually mean? And why is it important? Given that most monitors can’t even display 14-bit images and jpg files are 8-bit anyway, is it even important at all? In this video, Matt Granger explores the topic, explains what it means, and why it’s relevant for your images (and video).
When we’re kids, in school, we’re taught that the primary colours are red, yellow and blue. But this isn’t entirely accurate when it comes to light. Pure white sunlight is made up of a whole spectrum of colours, with the primaries actually being red, green and blue. Our cameras with Bayer filter arrays on the sensor see RGB. Our monitors also display RGB.
But have you ever wondered how we’re able to get so many different colours from just three? And why just blasting red, green and blue LEDs at an object doesn’t always give you true white light? This fascinating video from Technology Connections isn’t really specific to photography, but light in general, and how red, green and blue affects our (and our camera’s) perception of colour.
This is an interesting look at the world in which we live. As Principle Digital Imaging Evangelist at Adobe, Julieanne Kost has travelled most of the known world. And during her travels, she’s shot many photographs of the places she’s had the opportunity to visit. While recently looking through the images, she started to notice a pattern in the images she’d chosen to shoot. That pattern was colour.
For most stills photographers, the only measure of exposure that many of us see (besides the camera’s built-in reflective meter) is the histogram; essentially a graph which covers the amount of each of the different brightness levels in your image. Although many photographers making the move to video might feel more comfortable shooting with a live histogram, they’re not the only ways to judge exposure. Nor necessarily even the best.
In this video, Casey Faris walks us through the three main scopes available in DaVinci Resolve. The waveform, the RGB parade, and the vectorscope. These scopes are also built into many video cameras and external monitors now, too. Once you learn how to read them, you’ll be able to get exactly the exposure & colour you want.
The folks at FiLMiC Pro have released a new update that brings LogV2 to the app. It claims to offer up to 12 stops of dynamic range and provides footage bit rates as high as 140Mbps. Log first came to FiLMiC Pro in early 2017, but now it sees a pretty significant update.
According to the test video above from the iPhoneographers, LogV2 offers up to two and a half stops more dynamic range than the “natural” camera with the latest iPhone XS Max, and even the older iPhone SE and 6S see up to about a stop and a half increased dynamic range.
We all know that digital images are made up of red, green and blue “pixels”. Often, to capture this, sensors are in some kind of side-by-side pixel array, like with Bayer and X-Trans or layered, like Foveon. But that’s not the only way to create a full colour image. Many video cameras do it with the use of a prism splitter and three separate sensors capturing red, green and blue signals which are then merged together.
Mike and JohnBen at Clovehitch Productions wanted to try to replicate this last method using black and white film. They wanted to see if it was possible to capture just the red, green and blue parts of the spectrum on three separate shots, and then merge them back together to produce a full colour image.
I’m not the biggest fan of digital black and white conversions. They’re often just far too much work and effort to get the look that I want. There are a million different ways to make black & white conversions. Until you try a bunch of them, though, you usually don’t really know how quite they’re going to turn out. So, if I know I want black & white then I usually just shoot them on film.
But it is possible to make great black & whites digital conversions from colour shots, though. This video from Blake Rudis at f64 Academy talks us through his three-stage process to make his black & white images.
I finally did it! After sitting in my fridge for a few months, I managed to developed myself a roll of CineStill 800 pushed to 3200 ISO and the results look great!
It was intimidating at first but I was being overly dramatic, it’s actually pretty easy to develop pushed C-41 film at home.
One of the biggest issues for those looking to expand their lighting setup is colour consistency. Even expensive ones can be very slightly out from each other. Even within a single brand, different models or generations of light can also be a little different to each other. But the problem is especially so with cheap LED lights, which often have huge colour shifts.
There are ways to work around this, though, and this video from Tony Reale over at Creative Edge shows us how. It does take some experimentation and work, though. But, once you’ve done it, you’ll know exactly how far out from each other each of your lights are. Then you’ll be able to quickly correct those colour shifts in the future before you’ve even turn the lights on.