Dynamic range

So that's, that's pretty cool.

Now, of course, also dynamic range is important and, um, in 5K X-OCN LT ISO 800, that's the low base ISO, or actually with DG on, we are in the same league as an Alexa Mini LF, um, 13.4 or 14.5 stops at SNR 2 or 1 respectively.

And in ARRI Raw, you know, like it's, it's, it's the same.

I mean, 13.4 stops at SNR 2 is really, really good, and 14.5 at SNR 1, which we know is always the number that the manufacturers actually lean towards when they claim, whatever, 15 stops.

Okay.

Because that's something that a lot of people, um, you know, had some strong opinions here.

And, uh, I think for me, dynamic range, l- exposure latitude is great, but the, the real killer argument for me is the, the dual gain here, because that meaning that you, I don't have to think about whether it's on or off.

I just keep it on most of the time.

I mean, drone is, I can imagine it's a pretty low level sound, at least if it's from a distance.

But if we move on to the other end of the scale or spectrum or dynamic range, maybe I should say, we can talk, we can detect blasts and gunshots, right? Right, right, right.

First of all, microphones has actually a huge dynamic range.

We are talking about a dynamic range for more than 120 dB.

uh, In a battlefield, I guess that if we have a big blast, then we will have sound levels about maybe 180 and maybe even more.

And when there's silence in the battlefield, then we have maybe wind noise, 60 dB or lower.

So we need actually a microphone that are able to cover this big range.

And yeah, the microphone has a dynamic range of 120 dB, but for detecting drones, which normally has a lower sound noise level when they are flying, We need to select our microphone so it's still able to measure the high levels, but also able to measure the lower levels from the drones.

However, it does change the look of the image.

Dynamic Range Dynamic range is the difference between the highlights and shadows of a scene, and how much information a film stock can maintain between the two extremes.

For instance, if a scene is extremely bright, but also has very harsh shadows, this scene has a big dynamic range, and if your film has a poor dynamic range, it will lose information in the highlights and or shadows.

Whereas very high-quality film stocks like Kodak Portra have a high dynamic range and will maintain much more information.

The color and tone of a film stock can vary a lot.

Cinestill has cool temperature, so it's much more blue.

Kodak Gold is much warmer, so it's much more yellow or orange.

The tone can also change depending on the contrast of a film stock.

So, um, so that was at exactly the time the ALEXA 35 had just become available.

We tested it, and we thought it was w- we just thought the dynamic range was spectacular.

You know, it's a world lit primarily by fire, daylight and fire.

Mm.

And we probably, we're, I'm going into season four now, and we probably won't change for that either, although we'll, we'll, we'll, we will test other formats and, and cameras.

cameras.Yeah.

The thing that, uh, this is kind of a question from the internet more than anything, but, um, you've got, with the A35, you've got basically, for all intents and purposes, unlimited dynamic range.

[laughs] I mean, it's just a f- you know, it goes into the s- into space.