4K Movies Releases

[Penton-Man]

Originally Posted by Richard Paul

I remember a podcast with Joe Kane in which he said that the bit depth for UHDTV would have to go to 16-bits since the color space was twice as big as HDTV. On a podcast a few months later for the same website he said 12-bits would be needed for UHDTV so someone must have explained binary math to him. I found it interesting that on both podcasts he sounded confident in what he said.

Well, he does have his devoted reporter/editor fans, of whom jump at any opportunity to use him as a reference (again and again) for all video-related things….https://www.youtube.com/watch?v=nZWW...u.be&t=1h4m42s

[Penton-Man]

Originally Posted by vargo

HEVC

And, given time, there should be more improvement in HEVC with regards to HDR/WCG video coding applications…
http://mpeg.chiariglione.org/standar...test-results-0

[PeterTHX]

Originally Posted by Penton-Man

Well, he does have his devoted reporter/editor fans, of whom jump at any opportunity to use him as a reference (again and again) for all video-related things….https://www.youtube.com/watch?v=nZWW...u.be&t=1h4m42s

His calibration discs are excellent. He's good at knowing what a good picture should look like.

Getting that good picture and the technology behind it...another story.

[Wendell R. Breland]

Originally Posted by Penton-Man

Well, he does have his devoted reporter/editor fans, of whom jump at any opportunity to use him as a reference (again and again) for all video-related things….

IIRC, JKP produced a test tape for D-VHS machines and apparently was not encoded correctly. This was pointed out by member drmpeg (dr1394 on AVS). I believe Ron was involved with the design (MPEG and Firewire) for the D-VHS D-Theater machines. Need to send him a PM or email and see if he plans to create and post some UHD/4K test patterns. His HDTV patterns here. Lost all respect for JK during the disc format war.

At any rate I use the Sony, Disney and Spears & Munsil disc.

[Penton-Man]

Originally Posted by Wendell R. Breland

IIRC, JKP produced a test tape for D-VHS machines and apparently was not encoded correctly. This was pointed out by member drmpeg (dr1394 on AVS). I believe Ron was involved with the design (MPEG and Firewire) for the D-VHS D-Theater machines. Need to send him a PM or email and see if he plans to create and post some UHD/4K test patterns. His HDTV patterns here. Lost all respect for JK during the disc format war.

At any rate I use the Sony, Disney and Spears & Munsil disc.

The most amusing thing is, other than Joe, now all the internet *HDR experts* who’ve suddenly come out of the woodwork all over the web this summer (finally recognizing that extended dynamic range is something worthy to pay attention to) and thusly now, after concerted googling, pontificate about the technology of HDR in an authoritative-like fashion, when they’d otherwise been clueless to the merit of the trail blazing work of people like Miller, Nezamabadi, and Daly as we discussed back in March of 2013.

Originally Posted by Penton-Man

....so HDR will not be on the order of a marginal change, but rather, a marked, almost revolutionary change to improvement of the viewing experience…..once the scientists/engineers can get it *to work*. But they are working on it, esp. those from Dolby…
http://conferences.smpte.org/content.../1.17.abstract
http://dl.acm.org/citation.cfm?doid=2077451.2077484

What’s up after HDR?.....something which will make sports fans (who really drive TV sales), even giddier than watching more contrast in their sporting event imagery?

Answer: non-cinematic HFR -
https://forum.blu-ray.com/showthread...ur#post8628879

[Penton-Man]

Originally Posted by Wendell R. Breland

member drmpeg

Not just a member, but a past Insider, scroll down to No. 9 on the Normal Thread List…
https://forum.blu-ray.com/forumdisplay.php?f=61

[Penton-Man]

Originally Posted by Penton-Man

Which, on that note , just a few months ago over at thee Clubhouse on Orange, Curtis Clark, the ASC chair of the Society’s Technology Committee joined UHDTV Subcommittee Chair Don Eklund for a daylong demo and enlightenment with a presentation on HDR monitors and the importance of

achieving the best outputs on professional and consumer displays. Participating vendors included Sony, Canon, Dolby, Vizio, Panasonic, LG and Samsung which all ran footage from a motion picture lensed by Robert Primes ( http://www.imdb.com/name/nm0140017/ ).

For illustration, one scene from the HDR graded content was that of an interior with a couple dining in a quaint restaurant seated adjacent to a window looking outside to the scenery around a bright street (which was otherwise seen to be more blown-out and not have as much detail on the original SDR grade, especially with the sunlight bouncing off the car)

As shown to attendees of the HDR presentation at thee Clubhouse on Orange, just off the Hollywood Freeway(https://theasc.com ),

A frame grab from that scene….

[Geoff D]

There's nothing wrong with concerted googling, it's what forms the cornerstone of my "knowledge". Then again, I'm not a tech blogger so I can get away with it

That grab is excellent though, the balance between all the different areas of exposure is remarkable and it should be the first example you'd show anyone who think that HDR will simply take their movies and crank up the brightness in a forced, ersatz fashion.

[SillySauce]

Spectre, Hunger Games: Mockingjay Part 2, The Hateful Eight, The Revenant, Sicario, Star Wars: The force awakens, Bridge of Spies, Knight of Cups, Point Break. Sad how few 4k content hits the theaters.

Directors and cinematographers just don't care enough for their films to get the 4k treatment for theaters. Every Roger Deakins film is given a 4k digital intermediate for theaters no matter what studio he works with. This means any almost any director/cinematographer with a wide release can get 4k scans or 4k files for their films.

Malick, Tarantino, Fincher, Inarritu, Nolan, David Ayers, JJ Abrams, Francis Lawarence, Spielberg, Deakins, Snyder, are some of the only people insisting on 4k.

How we're getting films shot with with new 6k Red dragons like The Martian, but at downscaled at 2k for theaters, then other films like Jurassic World and Everest at 2k downscaled is pathetic.

[singhcr]

Originally Posted by SillySauce

Spectre, Hunger Games: Mockingjay Part 2, The Hateful Eight, The Revenant, Sicario, Star Wars: The force awakens, Bridge of Spies, Knight of Cups. Sad how few 4k content hits the theaters.

Directors and cinematographers just don't care enough for their films to get the 4k treatment for theaters. Every Roger Deakins film is given a 4k digital intermediate for theaters no matter what studio he works with. This means any almost any director/cinematographer with a wide release can get 4k scans or 4k files for their films.

Mallick, Tarantino, Fincher, Inarritu, David Ayers, JJ Abrams, Francis Lawarence, Spielberg, Deakins, Snyder, are some of the only people insisting on 4k.

How we're getting films shot with with new 6k Red dragons like The Martian, but at downscaled at 2k for theaters, then other films like Jurassic World and Everest at 2k downscalled is pathetic.

I always thought it a waste to shoot 65mm for Jurassic World and end up with a 2K DI. Even so, the larger format film quality is still evident.

[Geoff D]

Deakins loves his 4K, doesn't he? I count 11 such finishes on his filmography, he talks about it a little here: http://www.rogerdeakins.com/forum2/v...&t=2985#p14955

[Geoff D]

Originally Posted by singhcr

I always thought it a waste to shoot 65mm for Jurassic World and end up with a 2K DI. Even so, the larger format film quality is still evident.

I think Penton mentioned that the source master was something like 2.4K, but the final theatrical deliverables were indeed 2K. DAMNED shame they didn't do it in 4K (in spite of the 3D 2K limitation), especially with UHD BD looming and other UHD delivery systems seemingly coming online every other day, but maybe Universal will splash the cash and revisit it, it's not like they're short of a few $$$ at the moment!

[SillySauce]

Originally Posted by Geoff D

Deakins loves his 4K, doesn't he? I count 11 such finishes on his filmography, he talks about it a little here: http://www.rogerdeakins.com/forum2/v...&t=2985#p14955

Yeah he does. That's where I read it from. Deakins also said he doesn't understand why you would shoot on film and then scan it at 2k. Fotokem.com did the scanning for Jurassic World at 2k, yet they're machines can go up to 11k. They scanned Interstellar for Nolan at 4k.

Why shoot on a new Red Dragon 6k camera for The Martian, then use a 2k file for theaters. Then you have Netflix's Daredevil series shot with the Red Dragon 6k, but the director mentioned they used the camera in 4k mode because they're presenting it in 4k for Netflix, and there's no point in using 6k. This guy obiviously doesn't realize a down res'd 6k will look better. It's beyond asanine.

[Spike M.]

Originally Posted by SillySauce

Spectre, Hunger Games: Mockingjay Part 2, The Hateful Eight, The Revenant, Sicario, Star Wars: The force awakens, Bridge of Spies, Knight of Cups. Sad how few 4k content hits the theaters.

Directors and cinematographers just don't care enough for their films to get the 4k treatment for theaters. Every Roger Deakins film is given a 4k digital intermediate for theaters no matter what studio he works with. This means any almost any director/cinematographer with a wide release can get 4k scans or 4k files for their films.

Mallick, Tarantino, Fincher, Inarritu, David Ayers, JJ Abrams, Francis Lawarence, Spielberg, Deakins, Snyder, are some of the only people insisting on 4k.

How we're getting films shot with with new 6k Red dragons like The Martian, but at downscaled at 2k for theaters, then other films like Jurassic World and Everest at 2k downscalled is pathetic.

Is Star Wars confirmed at 4K?

Abrams even went with 2K for Into Darkness, a proper 15/70mm movie.

[Geoff D]

I flippin' well hope so.

[Penton-Man]

Originally Posted by Geoff D

I think Penton mentioned that the source master was something like 2.4K...

Close enough , to be precise it had a 2398 (x1556) finish.

[Penton-Man]

Regarding the later proposal mentioned here

Of which

Just recently announced is an upcoming demo at IBC in Amsterdam…..
https://tech.ebu.ch/docs/events/IBC2...Demo_Final.pdf

[Penton-Man]

Originally Posted by Penton-Man

What’s up after HDR?.....something which will make sports fans (who really drive TV sales), even giddier than watching more contrast in their sporting event imagery?

Answer: non-cinematic HFR -
https://forum.blu-ray.com/showthread...ur#post8628879

So, connecting the IBC 2015 dots, with regards to HFR, scroll down to “Benefits of HFR” …… https://tech.ebu.ch/ibc2015

On a somewhat ironic note, attention especially to those aficionados of HFR for cinematic content, if, in the years to come, HDR catches on like wildfire among filmmakers and becomes the defacto standard because of its inherent improved picture quality, I can tell you that finishing in HDR potentially could help encourage D.P.’s to shoot at higher than traditional frame rate (24fps/180 degree shutter) in order to avoid flickering artifacts with high contrast, quick-paced motion <- scenes of which are common with today’s blockbusters.

As an aside, if Robert procures any such content for his upcoming HDR shootout

Originally Posted by Robert Zohn

Thanks for the excellent posts to on target big issues of HDR that we will need to sort out and have our HDR capable TVs ready to produce their best shot.

I'll be running HDR/WCG content across all of the top 4K HDR TVs on our store showroom's TV Shootout wall and we'll see who performs best out of the box and after proper calibration for HDR and WCG, (likely p3, DCI color).

Until then, like Penton says... the proof is in the pudding.

and some viewers happen see any annoying flickering artifacts in the fast paced imagery, ask him to turn on the TV’s motion interpolation setting and they should disappear….although, doing such a maneuver does open up a whole other can of worms, i.e. the “soap opera” look.

Baring a mating of HDR and HFR with future cinema, mastering technologists will just have to be careful and tone down the HDR contrast in fast action scenes in order to avoid thee aforementioned artifacts while we continue to shoot at 24fps/180 shutter.

[Spike M.]

Originally Posted by Geoff D

I flippin' well hope so.

JJ gives me no reason to have faith after Into Darkness. I'd say Disney wants to load up on 4K for UHBD, but they didn't seem to care with the Marvel movies, or other big titles like Cinderella and Maleficent.

[mttmax]

Originally Posted by Spike M.

JJ gives me no reason to have faith after Into Darkness. I'd say Disney wants to load up on 4K for UHBD, but they didn't seem to care with the Marvel movies, or other big titles like Cinderella and Maleficent.

Is Tomorrowland the only 4K title from Disney?