4K Movies Releases

[Penton-Man]

Originally Posted by hajiketobu

(Is this a troll post?)
A lot of them are wrong.

perhaps I have a naively kind heart but i didn’t get the impression that the member intended trollism, he just posted based on his limited experience in following imdb listings. actually in some cases the studios themselves submit info to imdb and it’s the studio staffers that got it wrong initially.

Originally Posted by hajiketobu

I'm basing this on sources like these: http://postperspective.com/gone-girl...chers-path-6k/

i've got a lot of pms to respond to backing up my inbox so no time to read the entire article but i can tell you Cio is a dependable source for solid info. in fact, in order to give dvdmike the proverbial daily dose of HDR joy , michael c’s group has been working on one of the first episodic TV shows to be produced in HDR

[Penton-Man]

Originally Posted by Coenskubrick

I was trying to make a pun

sorry, then that’s unfortunate….if you’re employed and hard working, i’d stick with your day job, i.e. it’s safer and more productive….as long as it doesn’t consist of this infamous type of twisted studio executive behavior in an attempt to dupe consumers for profit, no less…..
http://cinemalowdown.com/2012/11/cin...exclusive.html

p.s. i eventually got around to posting in the thread you recently started here in tech forum….even took time to link to an old pic of Super 8 rolls I shot diving off the Galapagos islands back in the day before it became tourist infested

[Penton-Man]

i was pm’ed this article - http://hdguru.com/sony-pictures-reve...by-vision-hdr/ …..now i’m wondering exactly how many self-proclaimed video gurus are out there these days?

anyway, best not label oneself a ‘guru’ when one doesn’t easily/readily know that there is no such entity as BT 2084 and BT 2086. i just hope that no future blogger gurus begin editorializing on the Barten ramp, Hunt or Stevens effect – things Dolby considered while developing its PQ which require far more advanced comprehension than accurately reporting on standards nomenclature.

[Penton-Man]

Originally Posted by Penton-Man

reminds me…something else at last June’s cine gear was panavision vp on the hateful eight -
https://www.youtube.com/watch?v=q6XL...tu.be&t=26m52s during which test footage was presented and seen earlier on the youtube clip

Originally Posted by Penton-Man

To that ^ end I suspect y’all will really enjoy the ultra Panavision road show Christmas release of Quentin’s upcoming western if you can get to a participating theater. Hollywood locals should have their Navi GPS eyes set on the Cinerama Dome to watch that cold country western movie.

recent exclusive in variety....http://variety.com/2015/film/in-cont...mm-1201615357/

[Geoff D]

Originally Posted by hajiketobu

Another good example is Gone Girl. It was listed as shot in 4K and mastered in 4K until recently. I was like "Well, this is awkward"
I changed it to 6K Source Format. DI also to 6K. And Master to 5K. Now the 6K DI is gone and is put together with the Master @5K which is not correct in my opinion. Since postproduction and VFX were done in 6K not in 5K, so I consider a 6K DI to be correct. Since this film is all digital, the meaning of DI is different in this case. What do you guys think is correct? Please, correct me if Im wrong. I'm basing this on sources like these: http://postperspective.com/gone-girl...chers-path-6k/

The article clearly says that they output the final digital source master (DSM) @ 5K. Workflow is one thing, e.g. a great many 2K finishes from film have been made from oversampled scans at 3K or above, but the resolution of the final master is another.

[Geoff D]

Originally Posted by Penton-Man

i was pm’ed this article - http://hdguru.com/sony-pictures-reve...by-vision-hdr/ …..now i’m wondering exactly how many self-proclaimed video gurus are out there these days?

anyway, best not label oneself a ‘guru’ when one doesn’t easily/readily know that there is no such entity as BT 2084 and BT 2086. i just hope that no future blogger gurus begin editorializing on the Barten ramp, Hunt or Stevens effect – things Dolby considered while developing its PQ which require far more advanced comprehension than accurately reporting on standards nomenclature.

Incorrect nomenclature notwithstanding that article does put a different spin on the Sony / Dolby Vision tie up, one which was either not mentioned by others or I simply misinterpreted them: that Sony are using DV for the HDR mastering process itself but are NOT supporting the actual delivery to consumers of DV graded versions. So I presume the Sony HDR movies will be using BDMV HDR?

[hajiketobu]

Originally Posted by Geoff D

The article clearly says that they output the final master @ 5K. Workflow is one thing, e.g. a great many 2K DI's from film have been made from oversampled scans at 3K or above, but the resolution of the final master is another.

Right, but it was shot in 6K and not oversampled. Yes, the article says the final master is 5K, no one is denying that. My concern was that the DI is 6K and not 5K like the master. Imbd changed the DI from 6K to 5K. I think the Digital Source Master and the DI are not the same in this case and they should be listed seperately. http://www.imdb.com/title/tt2267998/technical They shot it in 6K and they did the whole post-production in 6K, also the cropping marks for the 5K extraction.

Gone Girl post handed over 6K DPX 10-bit log files to Light Iron in a “pre-conformed” format. That means all the repositioning had already been “baked into” the 6K frame. When you look at the 6K plates there are moving black and green bars all around the frame bordering the 5K extraction frame making visible the repositioning, re-framing and stabilization of camera moves. The VFX are so precise and subtle that some scenes include multiple seamlessly blended split screens combining just the right performance and speed from every actor in the shot.

“Gone Girl is the world’s first 6K DI feature and this is the world’s first 5K DSM,” says Cioni. “But we couldn’t have done it without the help of Quantel and Adobe as well as David and his team of artists who aren’t afraid to keep pushing the boundaries.”

[Penton-Man]

Originally Posted by Geoff D

Incorrect nomenclature notwithstanding that article does put a different spin on the Sony / Dolby Vision tie up, one which was either not mentioned by others or I simply misinterpreted them: that Sony are using DV for the HDR mastering process itself but are NOT supporting the actual delivery to consumers of DV graded versions.

yes, i wouldn’t have linked the article in the first place if it was totally without merit….and you’re wise enough to have recognized and now learned the fact that there is/can be a difference between the dolby mastering process and thee eventual/ultimate hdr exhibition method chosen for home viewing. the former, in order to work, really needs the post facility to have acquired the best available monitors (widest dynamic range) and dolby vision cmu software, one of which’s menus I pictured on the last page in communication to mike….whom i suspect was tickled by unrestrained joy with the visual illustration.

Originally Posted by Geoff D

So I presume the Sony HDR movies will be using BDMV HDR?

i couldn’t say. that is best left for an o-fficial statement by executives considering all aspects....including bean counting.

[Penton-Man]

Originally Posted by hajiketobu

cropping

reminds me, as an aside, and something which i don’t think has specifically been mentioned/revealed yet in the lead-up marketing hype literature, often described with adjectives like ‘lovingly’ or ‘painstakingly’, which I personally believe should only be reserved for other circumstances in life like a family member being a caregiver to a terminally ill parent, sibling, child, or volunteering one’s services for free at an animal shelter, etc. rather than in describing participation in motion picture projects…. but, nevertheless, this bears attention to something having worked out well technically at the end -

there has been a fairly recent restoration of a 65mm motion picture in which the 65mm celluloid was scanned at 8k…..scaled down to 4k by x (2.20 ar) and then after some digital stuff like aperture gymnastics, a perfect 3840 -> UHD pixel to pixel mapping was able to be achieved in order to avoid subsampling.

[Penton-Man]

master format for bridge of spies o.k. as stated ….
http://www.imdb.com/title/tt3682448/...ef_=tt_dt_spec
and as to the theatrical deliverable -

4k dcp:
image format: scope
file Size (2d): 208 gb
total package size: 246 gb
audio format: 5.1/7.1

[Coenskubrick]

Originally Posted by Penton-Man

there has been a fairly recent restoration of a 65mm motion picture in which the 65mm celluloid was scanned at 8k…..scaled down to 4k by x (2.20 ar) and then after some digital stuff like aperture gymnastics, a perfect 3840 -> UHD pixel to pixel mapping was able to be achieved in order to avoid subsampling.

What movie? Is this something the public is already aware of?

[PeterTHX]

Originally Posted by Penton-Man

there has been a fairly recent restoration of a 65mm motion picture in which the 65mm celluloid was scanned at 8k…..scaled down to 4k by x (2.20 ar) and then after some digital stuff like aperture gymnastics, a perfect 3840 -> UHD pixel to pixel mapping was able to be achieved in order to avoid subsampling.

Originally Posted by Coenskubrick

What movie? Is this something the public is already aware of?

Probably My Fair Lady.

[Penton-Man]

Originally Posted by Coenskubrick

What movie? Is this something the public is already aware of?

yeah , but i’ll forego naming the title because i believe its already gotten well over its fair share of publicity hype for the upcoming blu-ray edition and i only referred to it in passing because hajiketo clicked off a remote memory in my synaptic mind with regards to post production workflow.

i personally find this upcoming NASA uhd/4k and hdr video endeavor far more interesting, not to mention, for a pleasant change, a contributor says ‘no one is in this for a hard commercial benefit’…http://www.tvtechnology.com/broadcas...content/277026

plus, i’ve been yapping so much about dolby vision, i think it only fair i post something referring to the hybrid log gamma HDR approach too.

[Penton-Man]

Originally Posted by PeterTHX

Probably My Fair Lady.

my therapy for mike….
http://www.mytherapy.tv/ffs/dolby-vi...bsc-expo-2015/

[Geoff D]

Originally Posted by hajiketobu

Right, but it was shot in 6K and not oversampled. Yes, the article says the final master is 5K, no one is denying that. My concern was that the DI is 6K and not 5K like the master. Imbd changed the DI from 6K to 5K. I think the Digital Source Master and the DI are not the same in this case and they should be listed seperately. http://www.imdb.com/title/tt2267998/technical They shot it in 6K and they did the whole post-production in 6K, also the cropping marks for the 5K extraction.

The whole reason why it ended up at 5K is because the 6K data (as captured and handled) was never intended to be the full aperture as seen, hence all the talk about repositioning and whatnot (so it could be said to have been 'oversampled' to some degree).

A lot of people (I don't mean you necessarily) conflate things like transfer, master, encode, DI, etc into one interchangeable term when the reality is they all mean different things and different steps of the chain. In this case, Gone Girl was ultimated finished up for a 5K extraction and IMO that's the resolution that should be reflected in any such spec listings. Sure, it's not what the DI was done at but we're not watching the DI, and until IMDB differentiate things like 'DSM Resolution' on their specifications then I'm happy for Gone Girl to stay at 5K. Then again, we're not watching the 5K DSM either with even the DCPs being restricted to 4K, so I can understand your viewpoint.

[Steedeel]

Originally Posted by Penton-Man

i was pm’ed this article - http://hdguru.com/sony-pictures-reve...by-vision-hdr/ …..now i’m wondering exactly how many self-proclaimed video gurus are out there these days?

anyway, best not label oneself a ‘guru’ when one doesn’t easily/readily know that there is no such entity as BT 2084 and BT 2086. i just hope that no future blogger gurus begin editorializing on the Barten ramp, Hunt or Stevens effect – things Dolby considered while developing its PQ which require far more advanced comprehension than accurately reporting on standards nomenclature.

On a simpler level, if I had listened to the 'gurus' I wouldn't have upgraded to Blu-Ray. They would have me believe there was very little difference between DVD and Blu-Ray from 6 or 7 feet away. Boy, were they wrong!

I trust my eyes, that's my rule. Now, bring on the 4K/regular bluray combos!

Good to see you back by the way.

[Geoff D]

You might have a harder time distinguishing HD from UHD at 6 or 7 feet away though...

[Steedeel]

Originally Posted by Geoff D

You might have a harder time distinguishing HD from UHD at 6 or 7 feet away though...

I might, but I doubt it! . I am projecting these days!

[Geoff D]

Even so...

[Steedeel]

Originally Posted by Geoff D

Even so...

It will be fine Geoff.