"Club Penton" - Ask questions to Hollywood insider "Penton-Man"

[Slec]

Originally Posted by Penton-Man

Or else, my hints are becoming much too cryptic.
I’ll bet my bottom dollar that Bob Harris got my hint in regards to the Scorsese film I linked for all to view.

This may call for more straightforward postings.
I may just have to give you folks a hint as to which classic film I was referring to a few pages back that slid into the #1 slot for archiving by a certain major studio………..which will necessitate doing a high resolution scan (greater than 2K) of the usable elements as part of the process.

I think everyone assumed it was Godfather.... Although TDB rumor mill had Ben-Hur being pushed forward for 2009 release on blu!

[patrick99]

Any thoughts on this, Penton?

https://forum.blu-ray.com/showthread.php?t=46009

[ThatArtGuy]

Originally Posted by Penton-Man

I’ll bet my bottom dollar...

You heard it here first! ANNIE IS COMING TO BLU-RAY!!!

[WickyWoo]

P.S.
Ah..........exception being my better half.

How's the lump on the back of your head from the first post doing?

[Penton-Man]

Originally Posted by patrick99

Any thoughts on this, Penton?

https://forum.blu-ray.com/showthread.php?t=46009

Grain reduction mechanisms have been available and used by Technicolor (as well as other post houses) in one form or fashion at the telecine or scanning stage for a long time - typically being available in a real-time box (like the DVNR or Scream) or as a rendered process (like DRS). It’s just that most people that aren’t in the industry either don’t hear about them or don’t pay much attention to them……..mhafner aside.

For instance, just this week Imagica came out with a press release regarding their O-gi plug-ins that I doubt made news on any hobbyist forum on the internet …………..
http://blog.digitalcontentproducer.c...troduces-o-gi/

So, the press article that you’re linking shouldn’t necessarily be viewed in a negative fashion, in fact DigitalVision has a rather excellent reputation regarding their grain reduction algorithms and implementation (they actually received an Emmy for it last year).

All real-time grain-reduction processes probably can result in artifacts and visual flaws, so they must be used very sparingly/carefully to minimize the drawbacks. I think that unless you have some rogue colorist at Techie (and I have heard of none), this news shouldn’t really cause you any consternation.

In fact, the grain reduction tool in post is often counted on by some D.P.’s while on the shoot purposely allowing them enough underexposure for some scenes in their particular project or, in the cases of some Directors, notably David Fincher for their entire film……..like Panic Room.

And then of course, you have instances of just plain mistakes that happen during the primary photography which can be *salvaged* by grain reduction mechanisms in post such as a day’s worth of shots that were not captured at the correct exposure ( off by at least 3 or 4 stops). But the guy in the post house ends up saving the arse of the lenser.

So, it’s just another tool. It all depends on how and why it’s used.

[Penton-Man]

Originally Posted by WickyWoo

How's the lump on the back of your head from the first post doing?

I caught my *mistake* quickly (within 2 min.) so no such lump was induced.
Whew !

[sj001]

Originally Posted by J6P

April 15th. He gave us the exact date and nobody picked it up.

Nice one!

I still need that Pentonese-decoder ring... never picked that one up.

[jon s]

Originally Posted by milou6

Not my place to reply here, but just in case I can help: have you tried powering on the projector first then the PS3? It may just be a handshake issue.

also, how long is the HDMI cable to the projector? A lot of cables longer than 20 ft have dropout issues. When you run longer lengths you have to get a GOOD HDMI cable. While there are a lot of Monoprice fans here, Gizmodo did a test on their cables and it failed on long runs. They were perfectly fine on shorter runs. if the run is long you will probably need to get some sort of signal amplifier to boost the signal.

[blitz6speed]

Originally Posted by jon s

also, how long is the HDMI cable to the projector? A lot of cables longer than 20 ft have dropout issues. When you run longer lengths you have to get a GOOD HDMI cable. While there are a lot of Monoprice fans here, Gizmodo did a test on their cables and it failed on long runs. They were perfectly fine on shorter runs. if the run is long you will probably need to get some sort of signal amplifier to boost the signal.

Ive used monoprice 25 and 30 foot HDMI cords with perfect success.

[Robert Siegel]

Originally Posted by jon s

also, how long is the HDMI cable to the projector? A lot of cables longer than 20 ft have dropout issues. When you run longer lengths you have to get a GOOD HDMI cable. While there are a lot of Monoprice fans here, Gizmodo did a test on their cables and it failed on long runs. They were perfectly fine on shorter runs. if the run is long you will probably need to get some sort of signal amplifier to boost the signal.

You might try Blue Jeans Cable, I got my longer ones there and they are well built and not as expensive as Monsters. They did tell me on the phone not to go over 10 feet with the real cheapies, but under 10 it doesn't really matter. They were very honest with me on the phone, considering I was going to order my 3 shorter cables in the upper-bracket and he actually told me I don't need to spend that much...talk about honesty, a rarity in business these days.

[WickyWoo]

I still need that Pentonese-decoder ring... never picked that one up.

They're pretty sweet

[Penton-Man]

Originally Posted by sj001

Nice one!

I still need that Pentonese-decoder ring... never picked that one up.

For those without the ring, I already gave a big hint on the previous page as to what classic film is due for a full blown digital restoration with all the trimmings by the Asset Management Dept. of a major Hollywood studio. This process easily could take from 1-2 years.

More hints may follow in due course……..as papers haven’t even been signed yet.
B.T.W., tomorrow it’s off to the Digital Cinema Summit and NAB for yours truly.

So, later folks.

[Mr_Bester]

Originally Posted by Penton-Man

Never doubt paidgeek, I just have more free time than he does.......and I answer to nobody.

Great Escape or Towering Inferno????? Steve McQueen????

[Penton-Man]

Originally Posted by Mr_Bester

Great Escape or Towering Inferno????? Steve McQueen????

Sorry, no.
Nice try though.

To appreciate the hint and just as importantly, the above connected reference to the hint, I think you may have to actually work in the respective industry or be a very, very astute hobbyist that follows the business.

[Grubert]

Originally Posted by Penton-Man

Grain reduction mechanisms have been available and used by Technicolor (as well as other post houses) in one form or fashion at the telecine or scanning stage for a long time - typically being available in a real-time box (like the DVNR or Scream) or as a rendered process (like DRS). It’s just that most people that aren’t in the industry either don’t hear about them or don’t pay much attention to them……..mhafner aside.

For instance, just this week Imagica came out with a press release regarding their O-gi plug-ins that I doubt made news on any hobbyist forum on the internet …………..
http://blog.digitalcontentproducer.c...troduces-o-gi/

So, the press article that you’re linking shouldn’t necessarily be viewed in a negative fashion, in fact DigitalVision has a rather excellent reputation regarding their grain reduction algorithms and implementation (they actually received an Emmy for it last year).

Probably because grain reduction increases the mass marketability of an audio-visual product. Not because it helps preserve film legacy (it doesn't).

All real-time grain-reduction processes probably can result in artifacts and visual flaws, so they must be used very sparingly/carefully to minimize the drawbacks. I think that unless you have some rogue colorist at Techie (and I have heard of none), this news shouldn’t really cause you any consternation.

After a decade as a DVD enthusiast, I can assure you that s*** often happens.

In fact, the grain reduction tool in post is often counted on by some D.P.’s while on the shoot purposely allowing them enough underexposure for some scenes in their particular project or, in the cases of some Directors, notably David Fincher for their entire film……..like Panic Room.

And then of course, you have instances of just plain mistakes that happen during the primary photography which can be *salvaged* by grain reduction mechanisms in post such as a day’s worth of shots that were not captured at the correct exposure ( off by at least 3 or 4 stops). But the guy in the post house ends up saving the arse of the lenser.

So, it’s just another tool. It all depends on how and why it’s used.

What you're explaining there is grain reduction as an element in film production. We are discussing grain reduction in the production of the home theater version: in the telecine process - or, currently, in the process of going from the DI to BD.

In my opinion, the BD release should be as close as possible to the best available theatrical presentation at the time of theatrical release.

[patrick99]

Originally Posted by Penton-Man

Grain reduction mechanisms have been available and used by Technicolor (as well as other post houses) in one form or fashion at the telecine or scanning stage for a long time - typically being available in a real-time box (like the DVNR or Scream) or as a rendered process (like DRS). It’s just that most people that aren’t in the industry either don’t hear about them or don’t pay much attention to them……..mhafner aside.

For instance, just this week Imagica came out with a press release regarding their O-gi plug-ins that I doubt made news on any hobbyist forum on the internet …………..
http://blog.digitalcontentproducer.c...troduces-o-gi/

So, the press article that you’re linking shouldn’t necessarily be viewed in a negative fashion, in fact DigitalVision has a rather excellent reputation regarding their grain reduction algorithms and implementation (they actually received an Emmy for it last year).

All real-time grain-reduction processes probably can result in artifacts and visual flaws, so they must be used very sparingly/carefully to minimize the drawbacks. I think that unless you have some rogue colorist at Techie (and I have heard of none), this news shouldn’t really cause you any consternation.

In fact, the grain reduction tool in post is often counted on by some D.P.’s while on the shoot purposely allowing them enough underexposure for some scenes in their particular project or, in the cases of some Directors, notably David Fincher for their entire film……..like Panic Room.

And then of course, you have instances of just plain mistakes that happen during the primary photography which can be *salvaged* by grain reduction mechanisms in post such as a day’s worth of shots that were not captured at the correct exposure ( off by at least 3 or 4 stops). But the guy in the post house ends up saving the arse of the lenser.

So, it’s just another tool. It all depends on how and why it’s used.

Thanks, Penton.

Am I remembering correctly that Technicolor may be doing Universal's BD authoring and compression work?

[savage1984]

Originally Posted by Penton-Man

For those without the ring, I already gave a big hint on the previous page as to what classic film is due for a full blown digital restoration with all the trimmings by the Asset Management Dept. of a major Hollywood studio. This process easily could take from 1-2 years.

More hints may follow in due course……..as papers haven’t even been signed yet.
B.T.W., tomorrow it’s off to the Digital Cinema Summit and NAB for yours truly.

So, later folks.

Could it be "The Magnificent Seven"?

[horseflesh]

Originally Posted by Penton-Man

For those without the ring, I already gave a big hint on the previous page as to what classic film is due for a full blown digital restoration with all the trimmings by the Asset Management Dept. of a major Hollywood studio. This process easily could take from 1-2 years.

More hints may follow in due course……..as papers haven’t even been signed yet.
B.T.W., tomorrow it’s off to the Digital Cinema Summit and NAB for yours truly.

So, later folks.

The Birds

[Grubert]

Originally Posted by horseflesh

The Birds

A BD release of The Birds would probably be timed to coincide with the theatrical release of the remake with Naomi Watts.

[horseflesh]

Originally Posted by Grubert

A BD release of The Birds would probably be timed to coincide with the theatrical release of the remake with Naomi Watts.

Precisely
16 months ties in with Penton's 1-2 years, and I'm taking his "ENJOY YOUR CROW" a couple of pages back as the hint.