I once had a Twitter argument with Steve about the use of the term 'crop factor'. By the end of it we were debating how many apples fit into a standard apple box and how it was or wasn't a good metaphor for a standard sensor size. I always respected him for getting into the weeds with an internet rando. Great interview.
Oh WOW how did I NOT know about this channel, holy shit. What a channel!! I came here BECAUSE of Steve Yedlin, after reading a lot of his site articles and then searching for his interviews.
Steve is the destroyer of marketing worlds! Anybody interested in cinematography should watch the two demos on his website! You don’t be the same after.
Really love how everytime I listen to Steve Yedlin I experience instant enlightenment. Also it's is clear he's another person who's not enamoured by steadicam - looks like everything is going back to sticks/dollies or gimbals used on a track. Must be friends with Fincher.
Really great perspective Steve has, combining practical and technical knowledge. Before listening to this, I discovered his Twitter thread where he breaks down the process and rigging it took to film the lighthouse sequence (as discussed in this recording). It includes pictures on set and some schematics of the rig. Highly recommend looking that up as a complement to this discussion.
Yedlin displays a stunning lack of understanding of high dynamic range video. It's not only about color space (P3-D65 in the case of Netflix) or hardware; it's also about the extended brightness that talented filmmakers and colorists can use to tell the story. A great example is Erik Messerschmidt's cinematography on Devotion and the masterful grading by Ian Vertovec. Shooting with HDR intent means different lighting ratios, not just increasing the brightness of specular highlights in post. It should be noted that trying to stretch a film shot with SDR in mind to HDR in post is much more difficult than going the other way 'round. Unfortunately, there's no shortage of either undisguised hostility or antipathy toward HDR by many filmmakers, 99% of shows have zero HDR intent, they're monitored in SDR on set, they're lit in an SDR environment and the very first time the DP sees the HDR version is in the grading suite. Like it or not, filmmakers who refuse to accept HDR will eventually be replaced by those who are able to tell compelling stories in the new medium.
Considering Alexas have over 17+ stops of Dynamic Range and SDR having less than 8 that it displays, the HDR content does bring so much more to the table in terms of DR. For instance watching HDR Dune vs SDR was night and day difference in terms of the details in the highlights. Some films however simply do not require it.
I feel like you misinterpret some of what yedlin means. Basically you grade the film however you want, and you just use a different output gamut and brightness LUT. You're transferring from footage with huge amounts of dynamic range and perceptually compress it less. You're right about lighting ratios, to some extent. Generally lighting isn't quite so flat like it used to be for SDR broadcast or such. Having the intent for it in the shot doesn't mean that specular highlights and vibrant VFX in happenstance isn't appreciated.
I once had a Twitter argument with Steve about the use of the term 'crop factor'. By the end of it we were debating how many apples fit into a standard apple box and how it was or wasn't a good metaphor for a standard sensor size. I always respected him for getting into the weeds with an internet rando. Great interview.
That's hilarious and I'm not surprised. Steve's great. Thanks for the compliments on the interview!
Oh WOW how did I NOT know about this channel, holy shit. What a channel!! I came here BECAUSE of Steve Yedlin, after reading a lot of his site articles and then searching for his interviews.
That is so nice to hear. Thank you. There is a lot to enjoy. Let us know what you think.
@@GoCreativeShow Oh for sure I will be watching a lot from this channel in the coming days and weeks, going through the uploads.
Steve is the destroyer of marketing worlds! Anybody interested in cinematography should watch the two demos on his website! You don’t be the same after.
He’s incredibly smart and brings his deep knowledge of cinematography and color to his work. He’s also a joy to speak with.
Ultimately, I like a nice UHD blu ray to streaming. Streaming is so compressed! Aagghh!
That’s true. But the convenience is undeniable
@@GoCreativeShowSo true.😅
Great show and great work as always. Enjoy your Guatemalan coffee 😉 (I’m Fabriccio’s brother)
Ah thank you!
Really love how everytime I listen to Steve Yedlin I experience instant enlightenment. Also it's is clear he's another person who's not enamoured by steadicam - looks like everything is going back to sticks/dollies or gimbals used on a track. Must be friends with Fincher.
I totally agree. he never disappoints and is always interesting.
Wonderful interview! I was especially interested in the HDR discussion.
Thank you so much. We had no intention of diving into that, it just happened organically. I loved it too.
Really great perspective Steve has, combining practical and technical knowledge. Before listening to this, I discovered his Twitter thread where he breaks down the process and rigging it took to film the lighthouse sequence (as discussed in this recording). It includes pictures on set and some schematics of the rig. Highly recommend looking that up as a complement to this discussion.
Hell yes. His Twitter is so good. Thanks for listening to the interview.
Yedlin displays a stunning lack of understanding of high dynamic range video. It's not only about color space (P3-D65 in the case of Netflix) or hardware; it's also about the extended brightness that talented filmmakers and colorists can use to tell the story. A great example is Erik Messerschmidt's cinematography on Devotion and the masterful grading by Ian Vertovec. Shooting with HDR intent means different lighting ratios, not just increasing the brightness of specular highlights in post. It should be noted that trying to stretch a film shot with SDR in mind to HDR in post is much more difficult than going the other way 'round. Unfortunately, there's no shortage of either undisguised hostility or antipathy toward HDR by many filmmakers, 99% of shows have zero HDR intent, they're monitored in SDR on set, they're lit in an SDR environment and the very first time the DP sees the HDR version is in the grading suite. Like it or not, filmmakers who refuse to accept HDR will eventually be replaced by those who are able to tell compelling stories in the new medium.
This is good insight and well thought out. Thanks for adding to the conversation. i hope you enjoyed the episode regardless.
Considering Alexas have over 17+ stops of Dynamic Range and SDR having less than 8 that it displays, the HDR content does bring so much more to the table in terms of DR. For instance watching HDR Dune vs SDR was night and day difference in terms of the details in the highlights. Some films however simply do not require it.
I feel like you misinterpret some of what yedlin means. Basically you grade the film however you want, and you just use a different output gamut and brightness LUT. You're transferring from footage with huge amounts of dynamic range and perceptually compress it less. You're right about lighting ratios, to some extent. Generally lighting isn't quite so flat like it used to be for SDR broadcast or such. Having the intent for it in the shot doesn't mean that specular highlights and vibrant VFX in happenstance isn't appreciated.
Don't worry Steve, I change all my friends and family TVs picture settings to remove all that BS marketing gimmicks 🤣
Hahah same here
Invite and interview RRR cinematographer and it will be great fun.
I don’t know what you mean.