[opendtv] Re: Nielsen stats on TV in US households
- From: Barry Brown <barrysb@xxxxxxxxxxx>
- To: opendtv@xxxxxxxxxxxxx
- Date: Sun, 25 Mar 2007 11:09:37 -0400
Graig,
I'm not disagreeing with you on what you're writing regarding
realistic lighting for episodic programs. However, I think if LDs
paid more attention to what the imaging looks like on LCDs, which is
currently the highest selling HD display category, they might end up
adding a bit more fill to increase the average APL. There should be a
middle ground where their product doesn't look like it's either shot
in a cave with candles or on the beach at mid-day.
Barry
On Mar 25, 2007, at 8:35 AM, Craig Birkmaier wrote:
At 6:10 PM -0400 3/24/07, Albert Manfredi wrote:
Barry Brown wrote:
This probably doesn't affect you in your work that much, but I've
been
very disappointed with many of the episodic network HD programs
whose
LDs seem to prefer to use all low key lighting in their work. These
programs certainly don't look very good on current HD-LCD screens.
I've noticed this ... in spades. I think I laready mentioned some
time ago switching between an episode of NCIS and American Idol,
both broadcast in HD, and noticing how dramatically different the
image quality seemed to be. As you say, it's very doubtful that
the majority of HD screens these days is CRT, so it really does no
one any good to optimize HD shows for CRTs.
Things are much improved when the shooting occurs outdoors, or
even indoors with a modicum of lighting. Maybe as contrast ratio
in LCDs improves, the effect will be less annoying. And even SD
ads are almost always a big improvement over the dark, somber,
indoor lighting HD show.
A couple of observations about HD acquisition that "may" be related
to the "more natural" low lighting levels.
1. With traditional lighting levels HD cameras can look TOO
realistic. There is a dramatic difference in the look of these
cameras when shot outdoors and in well lit studio situations,
versus using low lighting levels. The enhanced realism is very good
for sports and for wide shots where one wants to see enhanced
detail, but less than flattering for the talent. At lower lighting
levels the noise floor begins to become visible, and the look is
not all that different than film with its grain footprint. I
suspect that many DPs like this and that this may be contributing
to the use of lower lighting levels.
2. Traditional studio lighting with backlit hair and shoulders and
strong key lighting is very UN-natural. It is a look that we have
grown accustomed to with TV over the years, but the trend has been
to move to more natural lighting as the sensitivity of TV cameras
has improved.
Regards
Craig
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