I would have LOVED to have seen some dramatic backlit scenes as examples. I was most interested in the lighting examples around the 3 minute mark in the above video because of the way you can relight shadows due to the latitude in the file/capture.
Here’s some steps I’ve used for generating some motion/video out of HDR stills. There are many different workflows and I’ll touch on some of them from an overview perspective now. The first one is the workflow I employed for an older clip shot at Eden Gardens State Park in North West Florida. For reference, this is the clip (overview to follow below it).
I shot it with a Nikon D3 with a Nikon 14-24mm f/2.8G lens. It sat on top of a fluid head tripod I use for video work. I also had a shutter release cable attached to the D3. I set the camera to automatic bracketing and once I determined the mid point I switched from aperture priority to full manual so that each of the AEB sequences I was about to fire would be EXACTLY the same. I determined I would not need to go a full 9aeb and set the D3 to fire off 7 shots with 1EV steps between. I lowered the settings of the camera to shoot JPEG in a size that is larger than HD.
Also of critical importance is locking down white balance. I chose Daylight here (an obvious choice), but will often dial in an exact Kelvin setting for other lighting situations (although Kelvin WB selection is generally not available in lower end DSLRs).
If I wanted to shoot RAW I would not have been able to have captured the entire tilt move in just over 60 seconds due to the buffer issues, but the lower JPEG setting meant I would never tap out the buffer and could shoot burst after burst easily. Also, because the steps were only 1EV jumps between each of the 7aeb captures, I was comfortable only shooting JPEG. I would NOT attempt shooting JPEG for anything larger than 1EV jumps between each shot for this type of approach. Time was critical here to capture the entire tilt move in a short period of time. (I shoot RAW for all my other typical HDR workflows, including HDR Timelapse)
The shutter release of the camera was set to continuous so that I could hold down the shutter release cable button with one hand to fire off a full 7 shots at 9fps while keeping my other hand on the tripod handle to make small incremental movements to tilt up after each 7aeb capture. I do it this way to be quick enough to capture the entire tilt move seen in the video in a little over 60 seconds.
To repeat myself slightly now…, I have the camera ready to capture the brackets in continuous shutter release mode and then prepared for the first AEB capture by aiming the camera slightly below the horizon into the deep shadows. I then fired off a burst by holding down the shutter release cable button and quickly moved the tripod a very small (unmeasured and done by eye) amount; slightly tilted up for the next capture. Then again held the shutter release cable button to fire off another 7aeb and repeated this process until the tilt to the sky was complete. This took all of about one minute to capture.
Back home I dump the images to a folder on the computer and then I launched photoshop to begin the merge to HDR process. You don’t have to use photoshop as the program to merge to HDR, but back in 2008 when I put this together that was the process I used. I had a few scripts that I had created that had photoshop merge to HDR and then use custom settings to tonemap out to 16 bit TIFFs.
I employ two alternative workflows these days. One of which is where I merge to HDR in applications that batch merge and have them save .EXR files for each merge. Those .EXR files are then imported into either Adobe After Effects or Eyeon Fusion and then I use open source plugins to do the tonemapping in those compositing programs as well as the ensuing optical flow.
But in 2008 those plugins did not exist yet and this process I’m still describing was the workflow I used for the Eden Gardens sequence.
What you see below in the screen shot (click to enlarge or right click and open in a new window) is one of those 7aeb sequences in the merge to HDR dialogue. I’m just showing you that to show you that the dynamic range of the scene was pretty large for an outdoor shot and the sky was blown out when you could see the leaves straight ahead and the leaves were pitch black when the sky was properly exposed.
Like I said, there are several programs out there that can automate the process of merging and tonemapping your brackets and I plan to cover how to use them in this capacity in some future posts and training, but the process I employed here was a home grown merge to HDR and tonemapping recipe I used for Photoshop CS3. In the end I had 30+ Tiffs from that automated process to then use as the skeleton for an image sequence. I then take those Tiffs to the next step for optical flow treatment.
Before I move to that next step, here is a larger view (click for larger image) of a single tonemapped frame, along with the 7 shots above the top of it showing you the dynamic range covered for that one image.
The next step I did then was to take the TIFFs into Apple Shake which treats the group of single images like a sequence. I then used custom settings (see image below; click to enlarge) to expand the number of frames to be created BETWEEN each of the frames I was importing into it. In other words, Apple Shake was now going to create the frames and guess at the pixel movement between the frames I shot in the garden. There are other programs such as After Effects, Final Cut Pro, Fusion, etc that can accomplish the same thing with optical flow, but I used Shake in this instance.
I also recropped the image in Shake to match the ratio of HD footage and had it export the sequence as 1080p ProRes footage which I planned to send to Final Cut Pro to add audio and titles (see image below; click to enlarge).
Then I imported the 1080p footage into Final Cut Pro (see image below; click to enlarge) and added sound and some titles to export to various formats (including a web version which exists on Vimeo).
D700s release data? I get that question every week. Guys/gals, I have no inside information, but what I know is the following:
The Nikon D3 was announced August of 2007
The Nikon D700 was announced July of 2008
The Nikon D3s was announced October 2009
The Nikon D700s …
Nobody knows. But when I saw people on forums and on blogs saying the D700s should release soon back in summer of 2009, I knew they were wrong simply because there was no way Nikon was going to miss out on D3s sales. So I said in a blog post last summer that the D3s would release first simply based on corporate philosophy. Nikon looks at everything in dollars and cents regardless if timing for us makes sense (and in a way timing for them doesn’t always make good business sense, but they ignore common sense just as Canon, etc. does at times).
Fast forward to pre-PMA. It was quickly approaching and the same level of anticipation began online hoping for the Nikon D700s. Based on past camera releases it was very unlikely they would have announced the D700s at PMA given the D3s had only been well stocked for a few weeks across the country. Still no D700s release dates and I’m not at all surprised.
Given “Photokina 2010″ is later this year, they ‘may’ wait for that event to announce the D700s. ”May”. Personally I think that would be a mistake given the pent up demand for the D700s. The amount of google searches that happen daily for D700s – Nikon D700s – D700s Release Date etc is astounding. People want that full frame with insane low light capabilities, video and an autofocus system that is so far above and beyond the Canon 5D mark II that you can’t really compare the two cameras equally. From a stills only comparison, the D700s wins over the 5D mark II in dynamic range, autofocus and low light abilities (the sensor will be the same as the D3s when the D700s releases, hence the ability to compare). However, for video… to be fair, the 5D mark II’s video quality and resolution are currently beyond that of the D3s and likely the D700s when released.
If you are wondering why I’m even focusing on the D700s, well… I want one My D3 is awesome, but I’d love to have video in it. I was going to get the D3s and sell the D3, but opted to just wait and add a D700s as a backup body instead.
Of course Nikon might just skip a generation and release some other camera with a new moniker ( D800 etc. ). I have no inside info. I’m only referencing the D700s because it makes logical sense to just follow the D3s as they did the D3 with the D700. Hopefully they don’t take the nearly 11 months they did with the D3 then D700 schedule. If they do then Photokina 2010 is a logical place to do so. Seems far to predictable for anyone to be surprised if they wait… so why wait? Capture pre-summer sales and get the thing announced in the next 60 days and shipping before summer begins.
I had the pleasure of speaking with Carl Olson of 16 x 9 Cinema who runs the Digital Convergence Podcast. He interviewed me about HDR photography, HDR Video and in the process I also explained a little about how I got started and a bit about my typical workflow.
Jay Burlage – HDR filmmaker (Michael James cites Jay as a leading source of information on the OpenMoco project and creator of gorgeous time-lapse cinema. Check out Jay’s video below.)
Jack Howard has put together a great list of top class HDR capable cameras over at Adorama’s Learning Center. Check out the list here: 2009 HDR All-Stars
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For you iPhone addicts, check out the very interesting app that allows you to take two images and they get tonemapped in the iPhone. The app is called TrueHDR = http://pictional.com/TrueHDR/Videos.html
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Here is a recent shoot I did for an existing client. On this shoot I used a D3 exclusively and many of the shots required a range of -5 to +5 EV in total. Builder Shoot (Gallery Link)
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Here is a link to a High Dynamic Range Image sequence. It is a “tilt” sequence I shot at a local garden near a state park. This series was shot with a D3 and each frame is actually 7 images spaced 1EV apart and then tonemapped before being placed one after the other in post.
The amount of quality lost when exporting to a web video format is horrifying, but I have no choice. The full 1080p version has no loss of color, detail/clarity or color shifts. That said, here is the link to the web clip: HDR Video (link to landing page)
Rather than hash out every single detail, I’ll link to Pentax USA’s site below to the K-x. However, a few notable features that I’m amazed to see on a $599 DSLR+Kit Lens combo:
Sensor shift stabilization (up to 4 stops) for stills AND video
720p HD at 24fps
4.7 FPS in continuous shutter
1/6000 second shutter
HDR Capture Mode (processed in camera for you to a JPEG)
The Pentax K-x I kind of let slip by without mention. It also has the HDR capture mode of the K-7 (where it takes 3 bracketed shots and auto processes in camera to a tonemapped JPEG). However, it does NOT have the AEB capabilities of the K-7, but for 1/2 the price of a K-7 of course there are always compromises. I just saw that the K-x + kit lens is only $599 so I am just going to have to get one and post a review on it in the next 30 days.
Hell, the thing even does 720p at 24fps native. Probably not super high quality, but at this price point… a no brainer for a small form factor DSLR.
Pentax has released a pretty juicy K-7 plus lens(es) rebate. Buy a Pentax K-7 and get $100 off each pentax lens on the rebate form (listed on the PDF and below). You can buy up to five pentax lenses under the rebate which means you could save up to $500 on Pentax glass.
The rebate is in the form of a visa gift card. The K-7 has dropped since its introductory price as well making this a great time to jump in if you are looking for a digital system and you like the K-7 features.
I touched on Spheron’s camera when announced at Siggraph, but didn’t have any photos at the time I heard the buzz. Then a couple weeks later Sean Thigpen out of Atlanta was kind enough to send me some photos of Spheron’s High Dynamic Range Video Camera that he took while at Siggraph. I’ve uploaded both of them to this link: http://tr.im/BISo
The camera is in prototype mode still, but it will release in 2010. The price will be insanely expensive and out of reach of mere mortals, but I am impressed with the fact that it exists nonetheless. I’m looking forward to a day in the future when this kind of power will be able to be as portable and priced like a RedONE or less.
I’ve done some half baked work flows that pale in comparison to what the hdrv can capture, but I have managed to capture what is the closest thing to HDR Video using a D3. At some point I’ll have to take the time to upload those samples so they can be reviewed.
The specs of Spheron’s hdrv are displayed on one of the images, but if you happen to be reading this via email or from a phone I’ll bullet point them now:
Rumor has it that Canon was so incited about Red’s proclamation of their “DSLR Killer” a.k.a. “Scarlet”, that Canon decided to break rank and not name it the 60D that it is. Instead they named it the 7D to mock RED’s constantly delayed Scarlet. Given RED scrapped their first target date for the Scarlet and still hasn’t been able to bring it’s DSLR Killer it to market, canon is taking an in your face catch me if you can attitude!
Apparently the secret naming convention (formula) is one number for each of the letters that make up the name scarlet.
S + C + A + R + L + E + T = 7 Letters
Hence 7D
I knew there had to be a reason why Canon departed from the last thread of logic that existed in their naming conventions. The 7D after all is just a progression of the 50D and should have been named the 60D if logic and clarity was the goal. But Canon didn’t want clarity, they wanted to make a statement. So at the cost of confusing every Canon user across the globe, they took a shot at RED’s scarlet.
Dem canon folk r sneeky!!!
P.S. Ahhhh, yeaaaaah. I’m bored today.
On a serious note, the 7D has amazing specs. Even more amazing is what you are getting for the price of just $1699. Every single line I read in the release had me impressed… right up until I saw they still have the same crappy 3 AEB for HDR shooters. FOR THE LOVE OF GOD!!! What is it with Canon. Their highest end body has virtually unlimited shots available in shooting a bracket for a custom function. UNLIMITED!!! Why can’t they just allow their other cameras the same damn custom function!
The reason I’m annoyed is because I still have L glass, ST-E2 wireless transmitter and I still have three 580EX II speedlites. I never sold it off when I jumped to the Nikon D3. I’d have purchased a 7D if the damn thing wasn’t crippled for pro HDR capture. Now I’ll just sit back and wait for future releases. Heck maybe I’ll even take a long hard look at the 1D series on the mark IV upgrades.
That is unless they bail on that naming convention too and start using pig latin instead of roman numerals!!!
And yes, I do have the promote control which I’m sure will work with the 7D via the USB connection, but at a much slower frame rate than the blazing 8fps the 7D would get natively in an AEB sequence. So I’ll be skipping the 7D completely just because of the crippled AEB function.
Click the smaller image to launch the larger version. I also shot a pan on a tripod and have created HDR Video out of that Penthouse View :) 16 hrs ago
@Filmbot I know! It is amazing. Built for a little over 1000 euros. It even does timelapse. The gearing precision is key. Gigapan is flimsy. in reply to Filmbot1 day ago
My D3 is awesome, but I’d love to have video in it. I was going to get the D3s and sell the D3, but opted to just wait and add a D700s as a backup body instead.
