Tag Archives: Video

Time Slows: Black Magic Pocket Cinema camera

During the summer, Black Magic reduced the price of their Black Magic Pocket Cinema Camera (BMPCC) by half price.

This was a limited offer, so I ordered straight away. Remorse started sinking in when I read the reviews whilst waiting for delivery: it’s a difficult camera to work with (it is, but it’s also very rewarding), there’s a massive x2.88 crop (there is, but focal reducers are now very cheap and decent), and worst of all, it’s very difficult to grade the video.

Ungraded BMPCC footage (ProresHQ using the 'film' or flat color setting. Click image to see a full size version (1920x1080).
Ungraded BMPCC footage, ProresHQ using the ‘film’ (log/flat color setting). Click image to see a full size version (1920×1080).

Well, there’s fixes for the first two, and for the third, that’s a blatant lie: grading log footage is not difficult as long as you get your white balance right before you do any other grading or color correction. This point is crucial.

Assuming good white balance, all you have to do is push the saturation, add a LUT (look up table) or even just use an auto-color correction to get you in the right ballpark.
Anyway, shown above is my very first attempt with the BMPCC. Notice the sky and ground are well exposed in every shot. That’s the power of a high dynamic range plus a good codec (CameraDNG or ProRes).

There are loads of tutorials and reviews on adapting Canon or Nikon lenses to the BMPCC, but I could find nothing for Sony Alpha. Well, that’s about to change. Watch this space!


  1. The video was shot hand held using only the Panasonic 14mm f2.5, shot wide open to get a de-sharpened, analog feel.
  2. The source footage is ProResHQ (2.45GB for about 2.5 minutes of footage) and this was edited using only Premiere Pro with the Colorista 2 and Tiffen Dfx plugins. No LUTs or presets were used.
  3. The slow motion effect was added in Premiere via Twixtor. The text motion graphics were created using  the standard Premiere animation, masking and blur tools (After Effects was not used).
  4. The Soundtrack is Clockwork by The Silk Demise.

Dynamic Range Optimization and video

In a previous post, I wrote about low contrast (and ultra-contrast) filters and their use in DSLR video to increase video quality. They do this by lifting low-tones, which prevents AVCHD encoding causing macro blocking.  What I did not realize at the time is that there is a built in feature of Sony Alpha, Panasonic and other DSLRs that pretty much gives you the same thing for free: Dynamic Range Optimization.

Dynamic Range Optimization

Cameras have a more limited dynamic range than our eyes. If we photograph a bright sky looking into the sun (so there are shadows in our scene), then the camera can only expose for the sky or shadows, but not both, yet our eyes can see detail in both.

Most current cameras have a feature that attempts to emulate how our eyes see such a scene. They go under different names: iExposure, Active D-Lighting, Auto Lighting Optimizer, Shadow Adjustment Technology, and so on. Sony’s version is called Dynamic Range Optimization (DRO) and Panasonic’s is called Intelligent Dynamic (i.Dynamic).

Although some of these systems change exposure as part of their operation, most of them use a range compression algorithm that brightens shadows and adds texture to highlights to better approximate what the human eye would see.

Left: a photograph taken with DRO off. Right: the same photo, this time with DRO set to level 5 (maximum). Notice that both the shadows and highlights are brighter in the shot that uses DRO.
Left: a photograph taken with DRO off. Right: the same photo, this time with DRO set to level 5 (maximum). Notice that both the shadows and highlights are brighter in the shot that uses DRO.

Although Sony are often cagey over what DRO is, it is simply Sony’s branding of their licensed use of Apical Iridix, as shown here. Other manufacturers use Iridix without trying to pretend it is proprietary (the name Iridix even appears on the box for my Olympus Stylus 1 as a feature!).  You can also read a technical interview with the Apical CEO here. Finally, you can see what Iridix actually does behind the scenes here.

Iridix is not a simple tone curve but tone mapping It works on a per pixel basis, checking the brightness of each pixel against both its neighbors and against the dynamic range within the overall photo.  Iridix is actually very similar to tone mapping as used in HDR images, but has crucial differences:

  • Iridix it is very fast computationally because it is implemented at a low level: either as dedicated on-chip signal processing or as part of the camera firmware.
  • Iridix is designed to keep the image looking realistic, so you don’t end up with any HDR effects (HDR halos and HDR that starts to look ‘painterly’).

It is important to realize that Iridix is not a simple tone curve, and you cannot replicate it completely by using a typical ‘S’ tone curve in Photoshop or Lightroom.

Disadvantages of Dynamic range optimization

There are two big disadvantages of Apical:

  • It is not applied to RAW. You have to be shooting JPEGs to be able to use it. For Sony Alpha, the camera does alter the RAW metadata so that the DRO settings are available to your RAW converter, but unless the application also licenses Iridix, the DRO settings will be ignored. Adobe don’t license it, so Photoshop/Lightroom ignore DRO, and DxO Optics also seems to ignore it. The Sony-specific RAW editing software (Sony Image Data Converter) does use the DRO settings, and it can be downloaded here.
  • As Iridix brightens shadows, it also increases noise visibility in the dark areas. If you are shooting at high ISO this can become problematic.

It’s also worth noting that Iridix does not increase the actual dynamic range. It’s just a different way of rendering the image data, but is closer to how our own eyes would perceive the same scene. In particular, it should be noted that using Iridix does not increase the shadow detail but is instead ‘perceptual’. Iridix simply pulls lows up so that the human eye perceives the detail better but since AVCHD also uses a perceptual system to decide what to throw away when optimising video, Iridix and AVCHD actually work together well: DRO stops AVCHD throwing shadow detail away by making low tones perceptually more important.

Using DRO in video

Where Iridix really comes into its own is in video. Yep: DRO works in video!  For Sony, you can see it by putting your camera in A video mode and then pressing the Fn button, selecting DRO/Auto HDR and setting it to Lvl1 to Lvl5 or AUTO. For Panasonic GH2, press MENU button and then go MOTION PICTURE ICON > Page 2 > I.DYNAMIC. Olympus possibly have the best implementation of all (you can sellect level 1-5 for shadows and level 1-5 for highlights separately, but since Olympus DSLR video doesn’t generally work in ASM modes, it isn’t much use for DSLR film, so I don’t consider it further).

The following example is from a Sony Alpha A77, so for the rest of the article, I refer to Iridix by its Sony name, DRO.

As noted in my previous video post, a Tiffen low contrast or Tiffen ultra contrast filter is useful with AVCHD video because they lift your blacks, and this prevents macro blocking. Good low contrast/ultra contrast filters are expensive though, but that’s okay, because it turns out that DRO does exactly the same thing – it lifts the blacks! Better still, Iridix does this without losing you as much contrast as the Tiffen filters.

Top: video still with DRO set to Off. Bottom: the same video, this time shot with DRO level 5. Notice that the lows and highs are both brightened.
Top: video still with DRO set to Off. Bottom: the same video, this time shot with DRO level 5. Notice that the lows and highs are both brightened. Click Image to see a larger version.

Again, its worth noting why DRO increases final video quality even though it does not increase the detail in your shadows. AVCHD encoding optimizes your video by removing data in the areas you will not notice. Its favorite place to do this is the low-tones, on the basis that our eyes cannot see into shadow well. This means that as soon as you brighten your video, your shadows start to block up (‘macro block’) because the lack of detail starts to become apparent.

By allowing DRO to brighten shadows before AVCHD video encoding, you reduce the encoder’s propensity to reduce shadow information (because the brightened shadows are now taken to be closer to mid-tones) and you therefore eliminate macro blocking. As macro blocking is the main bugbear of using AVCHD (especially when you will be post processing your video), using DRO is to be recommended.

DRO is also useful even when you do not intend to post process your video. DRO models how our eyes see the scene, and this often makes the video look more natural.

The only downside I have encountered to using DRO in video is noise. As DRO brightens your shadows, it also makes noise more visible. At high ISOs the noise can be noticeable especially because it only occurs in shadows, causing the shadows to seem to ‘shimmer’ relative to the mid and high tones.  If you are above ISO 200, I would suggest turning DRO either off or lower that level5 (or putting it on AUTO as this is a conservative setting).

Using DRO in RAW

You can’t use DRO in RAW (unless you use Sony Image Date Converter to do it off-camera), but you can get pretty close optically with a low contrast filter.

Left: photo exposed for the center, as shot.  Middle: exposed for the center with a Tiffen low contrast3 filter, as shot. Right: the middle version edited in Lightroom
Left: photo exposed for the center, as shot. Middle: exposed for the center with a Tiffen low contrast3 filter, as shot. Right: the middle version edited in Lightroom

The use of a low contrast filter in RAW lifts your blacks so that the camera adds more information to them (all digital cameras assign more data to brighter areas of your photo to better represent how your eye sees – your eyes resolve more detail in bright areas and less in shadows). This lifting allows you to either expose up your dark areas without them banding, or to exposure compensate by about -1/3rd of a stop to protect your highlights (which you can do without clipping your shadows because they have been lifted by the filter). Either way, you end up with your dynamic range pulled away from clipping, allowing you to push the file further in post. Adding a low contrast filter costs you the 1/3rd stop light loss caused by the filter and the slight distortion having some extra glass in the light path usually causes… but if you are careful it will not cost you much in terms of noise. The image to the right actually has far less noise than you would see if you exposed the image on the left up to the same levels.

Using both DRO and low contrast filter in video

So if DRO gives you better shadow encoding, and a low contrast filter gives you flatter footage that is more post production friendly, using both together would be interesting. Here’s what you get:

Left: orignal photo, metered for center. Middle: same shot, this time with DRO level 5, otherwise as shot. Right: same as middle shot, this time with DRO and low contrast3 filter
Left: original photo, metered for center. Middle: same shot, this time with DRO level 5, otherwise as shot. Right: same as middle shot, this time with DRO and low contrast3 filter

The effects of DRO and a low contrast filter used together are cumulative: you lift shadows by enabling DRO and lift them more by adding the filter. Noise, however, is also additive: you gain shadow noise by enabling DRO, and lose light (about 1/3rd stop) by adding the filter. The advantage is clear though: the image on the right has much better looking light than the one on the left. Not only does the light look better, the brights have a more film-like roll-off as there are no sharp digital transitions. Most importantly, in the image to the left, the AVCHD encoder would have fun with the shadows as it totally removes all information in your lows, preventing you from being able to do almost anything in post. The image to the right would cause the encoder to retain much more information in the lows, and this gives you more options in post.

If you are using a camera that creates very sharp video and/or creates video that cannot be shot flat, you should consider using a low contrast filter. I find this especially true of the Panasonic GHx cameras, as they otherwise create sharp video with lots of color/tone ‘baked-in’. Without the filter, this ends up giving you footage that looks very ‘digital’ and can be difficult to work with in post (despite the higher/hacked bit-rates of the GHx series).

Update March 2014: see this post for a video example (shown below) of a low contrast filter and Apical Iridix being used together.

Shot with the Panasonic Lumix LX7, 28Mbit/s 50fps, conformed to 25fps with frame blending.


Macro blocking is the main issue with using AVCHD. It is caused when AVCHD removes shadow data during encoding, and you later try to expose up the footage. Using a high DRO setting can eliminate this because it brightens shadows so that AVCHD is forced to treat them more like mid-tones (and therefore hold on to the data). You can also do the same thing with a low contrast filter when DRO is not possible/not available. Using a low contrast filter also gives you a roll-off on highlights that is very reminiscent of film.


  1. All tests were performed with a Sony Alpha A77 using the 1.07 firmware.
  2. Altered the post March 8th 2014 to make it a bit less Sony specific (as all cameras I have seen have Iridix).