4K Movies Releases

[Penton-Man]

Originally Posted by Steedeel

This needs to be left well alone for film Penton man. We don't need it....

hah, tell that to the MASSIVE effort in the industry determined to take it a step further (a bridge too far? for motion picture content) with VR in our homes…. http://www.hollywoodreporter.com/beh...narritu-937072 . Heck, there was even a SMPTE Hollywood section meeting/seminar earlier this year devoted to the topic of VR/AR….which sold out quickly!

Once they figure out a business model…….everyone is wishing for lots of $$$. I don’t feel there is that same visceral profit motivation behind Ang’s latest endeavor, which to me, makes it a more noble proposition as well as an improvement in what we’ve become accustomed to for decades.

[Penton-Man]

Originally Posted by Steedeel

(Rare occasion I disagree with you! )

I hope that means my (yet to have taken advantage of) free meal from you remains intact/viable.

We can talk player selection, formations, team strategy....and after desert, the Brexit vote.

P.S.
I've avoided the Prem league thread because I haven't caught up with last weekends matches....much less Champions League on Tues. and Wed., but I'll get there....in time.

[Steedeel]

Originally Posted by Penton-Man

I’m not surprised if there are/will be numerous reviews condemning BLLHW or tilting toward a negative stance about the native format presentation because for some, a period of adaptation (watching many films shot and post produced this way) will be required for movie purists to adjust to the new visual experience. I feel this movie critic from Variety gets it .

Because of years long classical conditioning to 24fps, I initially held your anti- sentiment too, but I’m starting to come around to craving clarity above all else in sports as well as dramatic content.

For example, on certain nights my wife and I watch a few TV shows (which shall remain nameless) back to back. The first show is shot in a way which is pretty much crystal clear, whereas the next show we watch is shot with the same type cameras at the same fps and shutter, but is purposely diffused or softened up in order to give it more of a filmic look due to artistic preference by the creator.

Although we generally like the plots and characters of both shows equally, both of us find ourselves less comfortable with the 2nd show because we ‘struggle’ more visually with it. It’s almost like struggling to read the lowermost line on an eye chart when you just can’t make out the letters. IMO, that effort actually takes away from the experience rather than the artistic intent to enhance it. Of all the cinephile food groups, I think the RED camera folks probably appreciate this (the fact that you can’t beat detail and clarity) the most....and for that I must tip my hat to them.

It's similar to watching a video podcast at 1.5 speed. It just looks so bloody ridiculous and the movement looks unnatural. I can't see myself ever getting used to that. Even on a tv with primitive artefacts the effect is jarring. I can't imagine how irritating it would be on a movie screen, 4K or no.

Motion blur is a good thing, let's leave it in tact please!

Thanks for your links by the way, I did read them but I am sticking to my guns.

[Steedeel]

Originally Posted by Penton-Man

I hope that means my (yet to have taken advantage of) free meal from you remains intact/viable.

We can talk player selection, formations, team strategy....and after desert, the Brexit vote.

P.S.
I've avoided the Prem league thread because I haven't caught up with last weekends matches....much less Champions League on Tues. and Wed., but I'll get there....in time.

. We will have to include championship league in that talk I'm afraid. For that is where I am headed with my boys!

[Steedeel]

Originally Posted by Penton-Man

hah, tell that to the MASSIVE effort in the industry determined to take it a step further (a bridge too far? for motion picture content) with VR in our homes…. http://www.hollywoodreporter.com/beh...narritu-937072 . Heck, there was even a SMPTE Hollywood section meeting/seminar earlier this year devoted to the topic of VR/AR….which sold out quickly!

Once they figure out a business model…….everyone is wishing for lots of $$$. I don’t feel there is that same visceral profit motivation behind Ang’s latest endeavor, which to me, makes it a more noble proposition as well as an improvement in what we’ve become accustomed to for decades.

As for VR, wow! Rez + PS VR plus my eyes =geek heaven.

[Penton-Man]

Originally Posted by Steedeel

Thanks for your links by the way, I did read them but I am sticking to my guns.

Well I won’t jeopardize my free meal except to kindly have you consider that time for adaptation is usually needed with regards to things that involve bold change. For a little historical perspective – the aesthetic issue filmmakers and audiences also had early on with the shift from black and white to color motion pictures….

As Douglas Fairbanks stated, colour:
‘always met with overwhelming objections. Not only has the process of colour motion picture photography never been perfected, but there has been a grave doubt whether […] it could be applied, without detracting more than it added to motion picture technic. The argument has been that it would tire and distract the eye, take attention from acting, and facial expression, blur and confuse the action.’

also by the author of this article (http://the-artifice.com/history-of-colour-film/) -

“Colour was seen as distracting from the story and unsuited for intense dramas. It was commonly used in light-hearted genres like Westerns, musicals or cartoons. Black-and-white was favoured for darker dramas and was treated very distinctly from colour. The Academy Awards for example had two separate categories, one for best black-and-white film and one for best colour-feature.”

[Penton-Man]

Originally Posted by Geoff D

...it's been a fantastic resource (albeit a rather jumbled resource, it's like having a library where someone's lost the index cards ) for all sorts of production and post-production related titbits that don't really engender huge amounts of discussion.

I carry that practice to this thread too because I often have a flight of ideas (normal, mind you….not applicable to any DSM diagnosis or ICD code) triggered in my mind while tying posts successively together or thinking tangentially about a host of things while responding to members, for example -

Originally Posted by Richard Paul

With patent law you are guilty until proven innocent.

Richard’s last phrase ^ further down that page triggered in my mind, this -
http://www.law360.com/articles/35613...imaging-patent

The downside is that I think only guys like Richard, Dan, you and a few other members understand what the hell I’m talking about half the time.

[Steedeel]

Originally Posted by Penton-Man

Well I won’t jeopardize my free meal except to kindly have you consider that time for adaptation is usually needed with regards to things that involve bold change. For a little historical perspective – the aesthetic issue filmmakers and audiences also had early on with the shift from black and white to color motion pictures….

As Douglas Fairbanks stated, colour:
‘always met with overwhelming objections. Not only has the process of colour motion picture photography never been perfected, but there has been a grave doubt whether […] it could be applied, without detracting more than it added to motion picture technic. The argument has been that it would tire and distract the eye, take attention from acting, and facial expression, blur and confuse the action.’

also by the author of this article (http://the-artifice.com/history-of-colour-film/) -

“Colour was seen as distracting from the story and unsuited for intense dramas. It was commonly used in light-hearted genres like Westerns, musicals or cartoons. Black-and-white was favoured for darker dramas and was treated very distinctly from colour. The Academy Awards for example had two separate categories, one for best black-and-white film and one for best colour-feature.”

But people didn't look like they had drank too many energy drinks! I like my movies the way they are. 4K, 8k great. HFR, not so much.

[Penton-Man]

^ Like with the transition to colour …

“Colour still struggled to acquire a strong position within cinematic techniques, and artists, like audiences and critics, were not adventurous enough to truly embrace colour” http://the-artifice.com/history-of-colour-film/

4K 120fps will undoubtedly be a struggle, but try to keep an open mind.

[RealorFake4K]

Don't sweat it, 24fps in the home won't be going away anytime soon. Also, I'm ASSuming future media players that play at 60 or 120fps will have a feature to play at 24.

[Pieter V]

Inferno:

Image Format: 2K 1998x1080 Flat
File Size: 156.69 GB

[Steedeel]

Originally Posted by RealorFake4K

Don't sweat it, 24fps in the home won't be going away anytime soon. Also, I'm ASSuming future media players that play at 60 or 120fps will have a feature to play at 24.

Let's hope so!

[Rich1631]

Wish Paramount would hurry up and announce more titles...they are slow as hell compared to Fox and Warner.

[Penton-Man]

New trailer out for Billy Lynn's Long Halftime Walk -

BILLY LYNN'S LONG HALFTIME WALK - Official Trailer #2 (HD) - YouTube

IMO, one of the most relevant presentations with implications to 'Billy' and such motion pictures at the SMPTE 2016 Annual Technical Conference & Exhibition (discussed on this page ) was offered by Tony during the Future of Cinema tract…

“It's all Backwards: Rethinking Frame Rate and Temporal Fidelity in a Cinema Workflow”

As filmmakers move to high dynamic range, high frame rates, stereoscopic presentations, and wide international distribution, the temporal representation of motion is becoming increasingly frayed. A combination of high input frame rate, a refined post processing pipeline with temporal resampling moved to the front of the workflow instead of the back, and careful image reproduction can transform the entire look and feel of motion. This preserves the filmmaker's intent in any viewing environment. The presented footage resulting from this alternate post and distribution workflow results demonstrate the inherent benefits.

[Penton-Man]

Originally Posted by Penton-Man

at the SMPTE 2016 Annual Technical Conference & Exhibition (discussed on this page ) ...

Gratified to see independent Consultants (unaffiliated with any company or corporation) such as George Joblove, Ed Reuss, etc. getting recognition too at the Conference by being chosen (among a plethora of submissions) to present their expertise, in this case Ed’s…..




as indie consultants tend to be less prone to company (employer) bias and its ramifications, like angering insecure people higher up the food chain by being too honest and revealing.

[Wendell R. Breland]

Originally Posted by Penton-Man

New trailer out for Billy Lynn's Long Halftime Walk -

This one appears to be watchable, will add to my list of titles to checkout.

[Pieter V]

2K DCP for Doctor Strange. No idea if 4K DCP's for Dolby Cinema & IMAX

[Penton-Man]

Originally Posted by Penton-Man

UFOTOG

Originally Posted by Penton-Man

Heavyweights Invited to Explore the Magi Pod

And a special heads-up to Blu-ray.com forum members who are western Massachusetts (home of the 1973 Olympics of Motorcycling , known back then as the ISDT ) locals, without being a ‘Heavyweight’ per se, if you knowingly act fast, you too can get Magi Pod exposed on a different date, namely Sept.3, scroll down -> http://newmarlborough.org/music-more/ )

Despite both filmmakers having shot at 120fps, Doug ^ and Ang’s work demonstrates there is a fundamental philosophical difference between the Doug Trumbull camp (http://douglastrumbull.com/)
and thee Ang Lee camp with regards to the aesthetics of the final projected imagery at the theater. Starting from 120fps acquisition, Doug works to remove blurring /strobing and yet at the same time, purposely strives, the best his technology allows, to preserve the ‘filmic’ look in order to appease movie goers who’ve become conditioned for decades as to what they’re comfortable with and associate with the *movie experience*.

Whereas, unlike Doug, striving to preserve the traditional ‘filmic look’ throughout the entire motion picture with regards to the native format version of Billy Lynn’s Long Halftime Walk for the sake of the ‘filmic look’ itself is not of prime importance with BLLHW, on the contrary, Ang has “3 gears” with regards to clarity and detail. I guess as an audio analogy to "gearing" - - it’s like with explosions/gunshots in movies generally being louder than dialog in order to help immerse the audience in the story.

[Geoff D]

Yup, and James Cameron's said before that he doesn't like what HFR does to dialogue scenes, he prefers to use it on fast action stuff or panning shots so I think a variable rate will also be part of the Avatar sequels when they finally arrive.

[FilmFreakosaurus]

Originally Posted by Geoff D

Yup, and James Cameron's said before that he doesn't like what HFR does to dialogue scenes, he prefers to use it on fast action stuff or panning shots so I think a variable rate will also be part of the Avatar sequels when they finally arrive.

Can UHD Blu-ray even be encoded for variable frame rate shot movies? Let along have our displays not freak out?

Though, perhaps they'll encode these masters at a fixed frame rate but then do a kind on-the-fly/scene-by-scene pull-down frame conversion. Not as good as visually, but better than nothing.

Kind of like TV shows shot at 24 fps except for the parts that are supposed to be a POV from a video camera, so that even though the final master is 24 fps, the 30 fps shots end up looking different and a little more smooth.