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How to obtain the highest quality of HD Images
I. Exposure problems:
Exposure is the basic problem of video recording. Whether you use traditional films to take photos, make movies, use films to make movies, use digital recorders to make movies, or take digital photos, you must face the issue of exposure. In the past two decades of film work, I have shot about two or 3 million feet of film, which is about eight or 0.9 million meters. I am not sure I can control the exposure. Nowadays, HD cameras have some other exposure features. I found that many people use HD cameras as a normal dummies when they are getting started, because they have the automatic exposure function, many photographers in news documentaries prefer automatic aperture lenses. the aperture values provided by these automatic aperture lenses cannot meet the needs of movies and TV series photography. The reason is very simple, because the built-in automatic Aperture system is actually a simple Reflection Type Metering table, it is like measuring the brightness of the screen in the reflection metering table of a modern camera taking a photo, provide you with an average value, which will change with the content of the screen. The Metering table cannot replace human thinking. For this reason, the aperture value it provides is often incorrect, not the best exposure value. The best exposure value is to reproduce the brightness we want to reproduce from the dark to the bright part, and restore the layers and colors we want to retain, from the perspective of photography, this is the most ideal. If you see that most of the images are black and dark, this means that the environment is very dark and black, so you can open the aperture. On the contrary, you can take a picture in the sky, most of the pictures are very bright. The first reaction is that the picture is very bright and the environment is very bright. Therefore, the aperture is reduced, which is the most basic mechanical thinking. We had a very short time shooting news clips. The most important thing was to grasp the situation at the time of the incident. We didn't have time to consider other things. Automatic exposure was understandable. The built-in metering table was a very good tool, however, when you make movies and TV series that are relatively cautious about program production, the reflection metering table may cause a deviation in the exposure volume. Although Sony's camera has improved, there are different types of sensitive parts in the digital camera, allowing users to select. Users can select a small block in the center of the screen, which can be the lower half, the upper half or the whole screen for measurement and provide an average value. This is an improvement and a remedy, but it is of little benefit to us. To the HDW-F900 HD recording machine out, because it is for film production, but also brought some optical mechanical precision higher HD lens, the lens removed the electronic part, there is no automatic aperture function, and all the impressions are determined by the photographer.
In this case, the exposure reference tool leaves the oscilloscope, zebra crossings, monitors, and independent hand-held optical meters. Each of the four tools has its own application. Sometimes people mix them for use. The oscilloscope is absolutely important to many engineers and is their only reference tool. In many cases, I am recommended to use an oscilloscope. However, in my personal experience, the oscilloscope does not help me much when shooting movies or TV series. If you give the camera a gray strip, whether it is 11 or 9, from black to white, how can the oscilloscope help us reach the standard aperture, such as the 100% IRE, if the blackest part is based on the US standard of 0% IRE, the aperture value is the standard, and the oscilloscope can only be used as a reference for me. But if you want to take a vision, a central scene, a night scene with a special atmosphere, a black man, a white man, and a yellow skin, what is the aperture standard? As a creator, as a director, as a photographer, there must be specific requirements for a certain environment and have the expected visual effect. How can this effect be achieved, this is what the oscilloscope cannot provide.
The US broadcasting law imposes strict requirements on Brightness and color. If an image is transmitted beyond a certain brightness and color, it is regarded as illegal transmission of signals. The oscilloscope and VECTORSCOPE can analyze the technical data of a single screen, but they cannot provide a reference for the impact exposure decision. The zebra crossing is an important reference for reaching a certain brightness (for example, 70% IRE or 100% IRE) in the viewer's screen. However, it is still insufficient for the brightness control of the entire screen. When shooting night scenes, some photographers use a hand-held metering table to achieve a unified effect. It can be an incident metering table or a single-point metering table, they first use an oscilloscope to measure the camera's sensitivity, and then convert it to ISO or ASA numbers to reflect the sensitivity. Many people have published this practice.
The basic sensitivity of digital cameras produced by Sony in recent years is about 3200 degrees ISO/ASA to 320 degrees under the 400 K color temperature standard without filters. However, I personally keep this method a little bit, because technically, the sensitivity of CCD will slightly change with the white balance, and there will be slight changes in the combination of different filters and different environments. Even when the machine is used for power-on for a long time, the variation of heat may also lead to a deviation in the sensitivity of CCD, so I think this is not the best method. Another reason why I don't need a metering table is that I think using HD to make movies and TV series is freed from the limitations of film, which brings a lot of flexibility and benefits to directors and creators. However, if we want to go back to the film era and take a portable metering table to measure the volume at every 1.1 points, and then decide what aperture you use, I think this is a kind of regression. We didn't apply the digital-standard tools and technologies well.
I personally prefer to use a monitor, which is the same as the standard definition method that everyone knows. You can connect the camera to the monitor to view your image structure, brightness, color, and color restoration. The advantage is that you have predicted about 90% to 95% of the effect you will get in the future. Most of the items I take are converted to film and then displayed. Many procedures can cause errors, omissions, and changes. Therefore, the pictures on the Site Monitor cannot be completely restored. The quality of the monitor, the degree of restoration, the definition, and the color of the monitor are different from those of the film. This is why we see the screen on the monitor and the copy shown on the screen. Despite this, it is already a big surprise for filmmakers. The on-site monitor is not a new thing for TV viewers. However, for filmmakers, we have been using surveillance systems for a long time and the pictures are not clear, and some of them are even black and white, all brightness and contrast cannot be accurately reflected. Now, we get a signal from the high definition and get it to the high definition monitor. We can immediately see the entire picture, the basic contrast and tone, and the atmosphere of the whole picture, even the requirements for artists, items, and performances can be seen through the 24 inch monitor. This is also a good method for the cameraman to reduce the estimation process. Of course, the inconvenience is that a lot of signal lines need to be pulled every time the machine angle is switched. Although there is inconvenience at work, the benefits are definitely more than the disadvantages.
In the SD era, it is very difficult to set the monitor, and it is difficult to find the standard. About a decade ago, I started to get into touch with HDTV. I thought this was a brand new technology, and there should be a better solution and a more scientific solution, to set the brightness, color, and contrast of the monitor. As a result, my wish was not fulfilled. Today, we have transitioned from analog SD to Digital HD. Our camera drivers and directors are still faced with the reality that there are no absolute standards and no absolute reference values. They may be in the control room of TV stations, experts from manufacturers can set monitoring standards with expensive instruments. However, for those who take a stand-alone camera, the setting of monitoring is a knowledge, it is a problem that cannot be completely solved. In the current difficult circumstances, the basic technique is to set a standard that is close to the correct tone through colored bars and gray bars. The viewer on the camera is black and white. If a 24 p image is taken, the image is converted to 48 lines of scanning per second to show that the flickering of the viewer is larger than that of the PAL system, so this is a very uncomfortable thing for the cameraman. Furthermore, we cannot see the color effect from the black and white monitors, so the on-site monitors are very important, and the size should not be smaller than 20 inch
Ii. Optical Problems
Today, almost all cameras use zoom lenses, and they are high-rate zoom lenses. This is because of the traditional habits of the TV industry, of course, it also has practical significance in their work. The designer of the French ANGENIEUX lens told me that designing a zoom lens is basically a compromise. When creating a lens, you can only select a focal length or a certain distance to make the best optical correction. Other ranges must be sacrificed. Although the number of lines in the HD lens has increased compared with the previous one, in fact, high-magnification zoom lenses, such as 16 times and 20 times, strictly speaking, images still have different degrees of deformation and other disadvantages. The most common example is the wide-angle lens. The most popular 9-and 10-fold wide-angle zoom lenses have very serious barrel deformation at the wide-angle end. In addition, the aperture of the long focal length end will decrease, and the contrast and sharpness will also decrease. In the SD world, these shortcomings are hidden. High-Definition zoom lenses produce less, Fuji, anqin, and Canon each produce only a few, and the design is extended by the SD product, the quality has not yet completely showed the power of high-definition. In turn, the quality of Fixed-focus lenses is much better than zoom lenses. If we plan to use high-definition movies or TV series for high-rate amplification in the future, we can consider using fixed-focus lenses. The fixed focus lens has a large aperture, a high sharpness, better deformation and correction, and a good yaoguang control. It only has a fixed Han scope and cannot be changed in the middle of shooting, of course, it is not suitable for many other types of TV programs. Currently, only Fuji and Canon produce such products. PANAVISION also designs a set of lenses for their converted Sony HD cameras, but they are not sold. ZEISS, Germany, will release a new set of fixed focal lenses for B4 ring HD cameras this year. In addition, the French anqin company made a converter to use a 35mm-inch cine camera lens on a B4 adapter camera.
On the issue of ranging, we are used to the SD method, that is, simply push the lens to the long focal length, focus on it, then pull it apart, and take a look at the viewfinder or monitor, no problem. Even if it is right, there will be no precise focus-Follow operations on the subject movement. Today, the average TV size is 25 inch and 29 inch, but in the future, in the high-definition world, we can easily find a projector to show the film. In this case, in addition to the extremely clear image features of HD, the focus of the portrait is slightly inaccurate, and the audience will see it. This is why many producers say that HD shooting will increase costs, because the cost increase is not only about the rental cost of equipment and equipment, but also about the entire production environment and production attitude. For artists, items, clothing, makeup, and headers, you cannot do the same thing as SD. Because everything is clearly reproduced, we must make every step more seriously. Of course, the potential extra benefits of HD programs are the most important factor for producers to consider whether to invest.
In the SD environment, the back-projection TV and projector are displayed. However, due to the internal basic structure, the screen size is 720x586 pixels (PAL, we can only see so much data, but in the world of HD, the image is 1920x1080 pixels. The overall image feels different from the definition, and all kinds of optical disadvantages will be more obvious. Focus is a problem that we should pay more attention to, especially the back focus. It can cause inconvenience or even errors to the operator. When shooting with a film camera, once the flange focal point of the camera and the camera is adjusted, there will be no deviation and an absolute clear picture will be obtained. However, the rear focus of the camera changes slightly with the temperature and time of use. It may also be because of this variable. The lens manufacturer provides the rear focus adjusting ring, this allows us to adjust the shooting process. In the SD era, we made a call before shooting every day, so we could use it for one day, because the slight deviation was not obvious, but the HD viewing environment was large screen, the accuracy of the Post-Focus becomes critical. The focus may be adjusted every three hours or every half day. It should be noted that we cannot see any problems in the ordinary 9 inch or 14 inch monitors. I suggest using a larger monitor if the production environment permits.
As for the depth of field problem, the CCD size of the high-definition camera is smaller than that of the film exceeding 16mm, and the size difference between the two is greater. The depth of field effects of the two are different. If the negative film is large, the image size is large, and the depth of field is shallow, the negative film is small, and the depth of field is large. This is a physical law that cannot be changed. This is no problem for TV creators, because the so-called "2/3" inch ccd hd camera has little impact on TV series shooting, and the effect of depth of field is similar to that of SD cameras. However, in foreign countries, it is quite popular to use 35mm films to take TV series, and the creators are not used to HD images with much larger depth of field. If there is no way, we can only use some remedial measures, such as changing the aperture size and the focal length of the lens to achieve similar results. For cameras and lenses of 35mm, the depth of field of the HD "2/3" inch CCD is about 2 2/3 aperture
For example, we shot a picture of the same size at the same distance and with the corresponding focal length. If a movie camera uses a T4 aperture, the HD will be enlarged to the T1.6 aperture, in order to get a similar depth of field effect. Because the camera itself is much larger than the depth of field of the 35mm cine camera, one solution is to increase the aperture by 2 to 2/3, so that the entire lighting control should be changed, brightness must be reduced. Add more density mirrors when shooting outdoors. Another compensation method is to use a longer focal length lens. If we use a close-up camera with a 50mm lens and a distance of 1 meter, in order to obtain a similar depth of field effect, now we need to move the camera to a distance of 2 to 2/3 times, and use the camera's 50mm lens for shooting (the camera lens with the same focal length covers about 2 to 2/3 times the camera lens ). Of course, if we do this, the perspective effects of the two will be different. This is a compensation method that is currently not an ideal solution. The German company P + S Technik has produced a converter that converts an ordinary 35mm cine camera lens to a DV camera for use, retaining the depth of field and perspective of the original lens, in the future, if the technology of this semi-professional product can be improved to use on HD cameras, it may break through the limitations of today.
Iii. Lighting Problems
The contrast between HD and cine films has been closer. In an ideal environment, if everyone is precise, in the middle of the sensitivity curve, the performance of film and video is almost the same. However, the advantage of film negatives is that when there is a deviation, especially when the exposure is too high, the film is more flexible than the remedy and elasticity of the video. In the middle of the line, the high-definition video can provide a color restoration, the contrast layer is very good, as in the dark, it provides more layers than most of the film, even high-speed negatives are even better, brighter, and passthrough. However, when processing high-gloss and high-brightness parts, especially over-exposure, the whole curve moves up, whether it is SD or HD, will be greatly affected, and the restoration capability is quite low.
In my personal experience, whether it is SD or HD, especially HD, the restoration rate of the dark part is very strong. If the whole picture is wrong, it will be dimmed, if we take a dark or two-profile aperture during the shooting, the restoration capability is very strong through color matching. If the film contains more than one exposure, restoring the film will lead to coarse particles, grayscale improvement, and other adverse visual effects. Similarly, if the high-definition screen is exposed too much, there will be a very big problem. The bright part will be lost, and this loss cannot be restored, unlike the film, film is a simulated, non-linear thing. The sensitivity and accumulation of silver particles do not follow a straight line, but will gradually change to a curve at the bright part. In HD, the level of brightness and the light bit of the screen is basically a reverse straight line change, that is, the amount of detail decreases with the increase of the exposure, no compression capability. Therefore, I emphasize the importance of accurate exposure. For this reason, I use a monitor as my reference for exposure, and control the dark and bright parts by myself. Although the Restoration Capability of the monitor is less than 100%, it is already a very good starting point. If we can follow the features of HD, by adjusting the electronic lines in the camera, the contrast is controlled within a tolerable range. The images recorded by the HD video recorder are definitely no worse than the film.
In last November, I helped the Film and Television Society (SMPTE) Hong Kong Branch and the film and photographer Society (HKSC) to create a high-definition shooting workshop. They wanted to master the basic skills of high-definition shooting, however, the lighting contrast is controlled in the ideal environment for film, and the HD camera and the movie camera are placed in the same position for shooting, the image processor in the HD camera has not been properly adjusted to produce an impression that the quality of the HD camera is not as good as that of the film. I think this practice is not scientific, because the two media have different characteristics. As a creation tool, we must master its characteristics and give full play to its strengths, if we like the 8-to-1 Performance of a film, but hard to put a high-definition camera here for the same shot, simply because of its different reduction conditions, it is said that it is not good at film, there is a lack of bright layers. I think it is a scientific attitude to adjust the lighting or the electronic signal processor in the light, the straight line, and the dark part to achieve the desired effect.
Misunderstandings about HD and other precautions
I have heard a saying in China that high-definition images can only be obtained if their brightness is strong and their exposure is high. But as mentioned above, over-exposure is a fatal blow to HD and should be handled with caution. I have also heard of a test in China, that is, to play the 50 I interlaced image and then use the line-by-line video format, so that a line-by-line program can be converted into a line-by-line program, the results are the same. I have a bit reserved for this practice. In terms of nature, there is a gap in time between the two scenes. It is impossible to take a scanning effect one by one row. If the image is dynamic and one frame is used for the two scenes, the image should be blurred and worn out. If the image is going to be converted to film for screening, or on a large screen, I suggest using a row-by-row scan method for shooting.
There are a variety of high-definition standards approved by ATSC in the United States, but I prefer 1920 to 1080, because my products are mainly used for large screen projection, I think it is a pity that definition is lost during shooting. Of course, there is a reason to design a 1280 × 720 standard. If the data size is small, it can quickly reach 60 p shooting speed. It is true that 60 p is a very good standard for shooting sports programs.
For a long period of time in the future, the high-definition screen and the screen of the standard definition will be broadcast at the same time, and there will be many new creation and post-production problems. In terms of post-production, we are now facing wide screen movies or other TV programs. If two people talk in the same picture, when the high-definition picture is very good, only a part of each person's face is displayed on the SD. How can this problem be solved? Are two versions required for all programs? Does live broadcasting require two photographers, two directors, and two sets of cameras? In addition, there is also a subtitle issue. The definition of the art at is very different from that at. If you want to save less time, do you just concentrate on the screen? The subtitles on the HD screen won't look very good. On the contrary, after the HD screen is moved, the left and right sides will be cut off for standard definition broadcasting, and the effect will not be very good; are there two sets of subtitles for live broadcasting? Action movies must have a sense of strength, so we push the camera very close and very large. If the HD push is large enough, some parts may be cut off in the SD, in the SD, the push is very large and powerful, and there may be a lot of virtual space in the HD. In addition, the time when the actor gets in and out of the frame when editing a comedy, the time when the actor responds, and the camera placement when shooting a sports program, etc., will be broadcast at the same time because of both HD and SD, this problem occurs between and. These are the problems we will face in our industry before broadcast completely leaves the world. The situation in China is still quite good, because domestic TV viewers prefer to show blacklisted content on a TV, unlike North American viewers who are so disgusted with the screen "Mailbox ".
How to Use the CINEALTA system to reproduce the film's visual effect
Many people want to use HD, a convenient tool, to imitate the film effect. People have tried different methods, such as adding filters and working on the software. They want to generate the software, add particles and copy the visual effects of the loss of flowers, and extend the highlights, compress the hidden parts into a film. In this way, a 90-minute movie may take three or four weeks to complete. We know that from the digital age, the camera menu already has a painting menu. There are several options in it, which can make the image feel closer to the film effect. Of course, if we want to convert the program into film, there is no need to worry about the problem of film granules. When we convert the program into film, it will contain particles.
Let me first talk about the visual effects of film. European and American creators have special respect for the film, and they really want to get the film's visual effect if the conditions are insufficient. What are the differences between films? What is "the visual effect of film "? Most of the time, this is just a feeling that no one can fully define the visual, what is film, what is video, there is no absolute definition, however, we can see which is a film and which is a video. If you use a scientific method to describe the differences between the two images, the film is softer and the gradient process is more flexible and the layers are more plump, the highlights are retained in a variety of layers, and the low-light and dark layers are compressed a little. Therefore, in this direction, we control the GAMMA values from the highlight, straight line to the dark, and adjust the digital image processing lines in the camera to make the camera respond to light, the effect of image restoration is close to that of film.
Among the five menus of Sony HD cameras, painting is important. For example, in the HDW-F900, the first item on the first page of painting is FLARE, which suppresses image blur or gray-change due to reflection from the prism to the CCD, after activation, you can obtain a pure black space like a film. The next item is GAMMA, which mainly controls the response of the straight line. If the GAMMA value is reduced a little, the color concentration will be enhanced a little. Blk gamma mainly controls the color and layers of the dark, which cannot be achieved by film. Another important tool is KNEE, which controls and extends the highlights. Wht clip allows us to control the highest and brightest parts, mainly to control the brightness of broadcast signals due to legal issues. Today, our film makers are welcome to light up more layers. With these three independent controls, we can achieve an approximate film effect. DETAIL refers to the contour. It is an electronic line that produces enhanced signals for TV pictures. It makes you feel a little more false sharpness and is definitely not suitable for the film industry. Last, MATRIX is a very important parameter low line.
I will provide you with some information as the starting point and further adjust it based on your preferences. If we want to take a film, we should first turn off the DETAIL, which is completely a false electronic gain. The brightness and darkness are two color blocks with a large contrast, and a box is added in the middle, this makes us visually clearer. We do not want any false enhancement effects when converting into a film. If we do not put it in the film, we can still add it during post-production, but once we add the mother tape and oversize it, post-production cannot take it all away. As I have always stressed, video exposure is insufficient and can be corrected through dimming and color matching. However, when the exposure is too high, all the levels of brightness are erased and cannot be recovered.
Skin dtl is an interesting line. With it, we can choose three different colors to control the sharpness of a certain color, this is a useful tool. The environment you shot remains the same, and the intensity of the brightness remains the same, but you choose the skin color of your choice, or any other color you specify to become gentle and pleasing to the eye
My habit is to make different movies. Different scenarios have different parameters based on actual creativity, so there is no absolute value. Generally, on the first page, we recommend that you enable FLARE, GAMMA, blk gamma, KNEE, and MATRIX, and disable DETAIL, level depend, and skin detail. On the second page, the video level can adjust the master gamma to a negative value of 25, and the other value is 0.
On the GAMMA page, we generally set to negative 25, which is also the default number of Sony manufacturers, 0.45 is more suitable for film, because 0.45 is set according to the ITU-709 standard, this is an internationally recognized high-definition color standard. In the future, the color will be more accurate when magnetic conversion is made. TABLE is used to number 5. In blk gamma on the next page, we set the RANGE to 15%, and the following y level can be set to 15. The RANGE is 25%, without the low key menu being moved. Next, the KNEE on the next page is very important to control the highlights. The POINT of the first item is to control the starting POINT and starting from which brightness, and to distort and compress the straight line of the highlight part, generally starting from negative 10. SLOPE is a distorted proportion. I suggest using a negative ratio of about 20. The RGB values of wht clip are set to 11. This is my personal opinion. It is not an absolute standard, but it should be a good starting point. From here, you can adjust it slowly and find your favorite parameter values (image effects ).
Turn off the DETAIL, and turn off the detail knee aperature menu, skin dtl menu turn off the user matrix is a more important part, need to open, PRESET also to open, the option is ITU-709, temporarily disable user matrix and multi matrix. This machine factory should be preset for SMPTE-240M, now out of date, should be replaced by ITU-709, this is when we get the new machine to pay attention. Raise the shutter speed problem, when using the HDW-F900 recording machine, if we set 23.98 Gb/s to film per second, or when using 24 p, to open the shutter, choose 1/48 seconds, when the shutter speed is not enabled, it is 1/24 seconds. The shooting dynamics are different from those of the movie. You must pay attention to them, but the advantage is that the camera angle is too large, it is very useful when you need an extra aperture in a very dark environment.
To take a film effect, you must first understand the film effect. In fact, there has never been a clear definition to illustrate the visual effects of a movie image. We often say that the film effect is more of a kind of feeling. This kind of feeling is more from people's visual accumulation of film images. A movie image is recorded on a film by a high-quality film lens, while a TV image is recorded on a tape by a TV lens through CCD, therefore, different imaging media and lenses of different quality are the main factors that cause the differences between TV and movie images. Compared with TV pictures, the film details are gentle and natural; the gray-scale transition is gentle, so the layers are rich; In the image highlights, because the film's width can reach 8 aperture, therefore, a large amount of detail layers are retained, while the compression range is large in the low-illumination area, which makes the entire picture quite gloomy. In addition, film lenses usually have large optical holes, and the area of 35mm film is much larger than the imaging area of 2/3 inch CCD. Therefore, A very small depth of field can often be obtained during shooting. Because the dynamic range of CCD is only about 600%, and the compression processing has only nearly five aperture widths, the TV screen captured by the camera loses a lot of information due to the large compression of the highlight part. However, in the performance of the dark layer, the CCD imaging quality can be comparable to that of the film. In the aspect of gray-scale transition, the gamma curve of the video is steep, therefore, the contrast and color reproduction at the intermediate layer are ideal. In terms of depth of field performance, although the HD camera has greatly improved, there are still nearly three aperture differences with the camera. Figure 2 Kodak film features through the comparison and analysis of the film effects and camera images above, we can use the powerful picture adjustment capabilities of the camera to create a film effect for a specific purpose. Take the well-received Hollywood HD camera HDW-F900 adjustment as an example. First, go to the Detail adjustment page in the Paint menu and turn off the Detail function to get soft and natural movie effects. Because the detailed information that the HD camera can consume can meet the basic requirements, there is no need for excessive Exaggerated details. Then, adjust the Master Black Level appropriately, and set it to-10 ~ -Around 15 days. For overnight or intraday scenes, the value ranges from 0 ~ -About 4. Of course, the parameter setting depends on the specific requirements of the story. Then adjust the Master Black Gamma to appropriately reduce some Black Gamma levels to enable local video compression in the dark area to increase the expressiveness of the Black area. This setting ensures sufficient black bit density. Second, adjust the Master Gamma level to-20 ~ -50, smooth the transition of the center gray shadow to enrich the color saturation and level of the straight line area. There are several different types of Gamma curves available for adjustment of Gamma curves. However, apart from their different gray-scale transitions, there are also differences in color reproduction, therefore, after a proper gray transition is selected, it is necessary to adjust the corresponding color reproduction. This can be done in the Matrix or Multi Matrix adjustment circuit. For the highlights, adjust the inflection point Knee (Increase) and Slope (decrease) as appropriate. At the same time, adjust the white cut level according to the screen requirements to expand the range of video, include as many highlight details and layers as possible. Through the above adjustments, you can adjust the picture to a degree that is very similar to the film effect. Especially in the black, dark, and gray transitions of the screen, it is almost the same as the screen. The difference between the highlights is obvious, but if you use a movie lens on the camera, the effect will be significantly improved. The depth of field difference can be compensated by increasing the aperture of the corresponding gear or using a considerable length focal length lens. On the one hand, you can use manual color temperature control to replace the use of the Film Filter. On the other hand, the Matrix or Multi Matrix function is used to adjust the screen tone to achieve accurate color restoration. When shooting a movie with a HDW-F900, you should also pay attention to the use of the electronic shutter, it is best to open the electronic shutter, with 1/48 seconds for shooting, so that you can get the same dynamic effect as the movie. The above are just some rough personal suggestions, hoping to continuously improve and improve in the practical process.
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