Shots in the almost-Italian streets of Grenoble’s historic centre with the already-snowy mountain as a backdrop. A picture speaks a thousand words : the dark facades in the shadows, all coloured different shades of green, yellow, or dusky rose, the blue sky and the sun ! There is also the face of a passerby whose skin touched by a sunbeam is absolutely natural, the dynamic is impressive, and I had the same exciting feeling as when I saw the test of the Kodak
Voir Kodak dans l’index
Voir Kodak VISION3 200T dans l’index
two years ago.
Then another image of a linden flower on the ‘Square of Lindens’, with a backdrop of pink buildings : in the upper centre of the image a sunbeam touches a part of the wall and the yellow leaves of the linden tree. Although the image was obviously overexposed, it didn’t harm it, but nonetheless we wanted to go ‘investigate’ these white zones. At the calibration console, Aude Humblet
Voir Aude Humblet dans l’index
created a mask and extracted the overexposed part : everything appeared in its original colour with the sunlight shining through down to the veins in the linden leaves, weary from the summer heat. The superimposition of the masked area on the original part gave an image that was vibrant with colour, beautiful, and completely organic. There was no impression of ultra-definition, blurriness in the highlights, or overly strong contrast. The eye seemed to simply believe in the image, and the brain followed suit.
My feeling is that this sensor might allow filming images only in the upper part of the light curve, meaning that it would finally allow for beautiful over expositions : The curtains in La Marquise d’O (The Marquise of O) or the flashbacks in César et Rosalie (César and Rosalie).