4K Movies Releases

[Penton-Man]

So, today’s addendum to yesterday’s prelude posted on the bottom of the last page….

Addendum
With permission, I’ll quote one friendly inquirer thru personal communication - “Penton, is it at all dependent on the camera or is the camera aspect totally independent and is it just a color grading thing” .

Answered simply, motion pictures shot traditionally on film (celluloid) have the capability of consensus Hollywood studio ‘HDR’ range as the film itself is not a limiter (~ 16 f-stops). Older generation digital cameras could only record 9-10 stops, but improvements in sensor design and log encoding schemes have vastly improved the ability of current generation digital (Sony F65/55, Alexa, Red Epic/Dragon, etc.) cameras to record dynamic range in the range of 13-14 stops, which qualifies more as ‘HDR’ (of course the HDR remastering is also dependent upon the content creators having access to more raw-ish files upstream from the DCP).

Anyway in fact, several months ago, there was a digital camera shoot done at AMPAS (the imagery of which at the time of this posting has not been publicly presented) in which 20 stops of latitude were recorded using two Sony F65s co-centered in a 3D rig. set 6 stops apart using ND filters.

20 f-stops of dynamic range (21 steps), and a commercial tool to test for -

[Penton-Man]

^ I should add that the 13-14 stops is applicable to thee modern Sony and Arri cameras but I believe the newest gen Reds claim a couple more stops. Also, although, at first glance, the 16 f-stop latitude of film sounds unequivocally to be superior to digital acquisition, fact is, modern digital cameras are no slouch because they are more sensitive to shadow detail in low lighting situations compared to the highest rated ISO film,plus,

the digital cameras are better at recording colors at the bottom end of the scale (low lighting situations like at night) because film just doesn’t saturate in color as well as premiere digital cameras in dark environments. Digital cameras see colors at every level.

[Penton-Man]

Originally Posted by Penton-Man

Now, in regards to colors, one of the reasons why the DCI chose the color coordinates of XYZ for the gamut container is that the thinking was to provide an enabling foundation upon which technological improvements in D-Cinema colorimetry could be built in the future.

This is of the same mindset as to why BT.2020 support is a good thing for Ultra HD Blu-ray and was chosen, despite current consumer TVs not being capable of full BT.2020 primaries coverage at this time. As to D-Cinema, when lasers become economical for theatrical exhibition and mastering; likewise, the DCI spec will not need to be redone in order to include presentation of a wider color gamut than P3 because, with ACES, a newly expanded gamut laser ODT could be utilized to do it.

It may not have the glitz and glamour of Las Vegas, but attendees traveling to the naturally picturesque Lake Geneva area shouldn’t be disappointed with the sophisticated speakers, tutorials and demos at this EBU seminar next week ….
https://tech.ebu.ch/Jahia/site/tech/...01E91F4.jahia1

[Kris Deering]

Hey Penton. I watched Lucy a few nights ago and was VERY impressed with the resolution of the Blu-ray transfer. Spectacular video quality. Of course I looked on IMDB to see what camera/s were used for the filming and noticed they used just about every top digital camera on the market including the Alexa, F65 and latest Red offering. Was this like a test case for cameras? Seems odd to use all of them for the same production unless there was some experimentation going on. Have any insight on this?

[Geoff D]

Didn't they also shoot some 65mm too?

[dvdmike]

Originally Posted by Geoff D

Didn't they also shoot some 65mm too?

So it would appear
Jerome Brechet ... color grader: 65mm IMAX dailies

[Geoff D]

Yup, apparently it was horizontal 65mm (IMAX), although they didn't bother with all that changing aspect malarkey.

[Kris Deering]

I like the changing aspect Malarkey, especially with bigger action sequences. I've even ripped left eye copies of recent movies that only had the shifting aspect ratio with 3D presentations so I could have them in 2D with the shifting aspect.

[Penton-Man]

Originally Posted by Kris Deering

Hey Penton. I watched Lucy a few nights ago and was VERY impressed with the resolution of the Blu-ray transfer. Spectacular video quality. Of course I looked on IMDB to see what camera/s were used for the filming and noticed they used just about every top digital camera on the market including the Alexa, F65 and latest Red offering. Was this like a test case for cameras? Seems odd to use all of them for the same production unless there was some experimentation going on. Have any insight on this?

Going in, Luc wanted to see which camera (Sony, Red, Alexa) was the best tool for the job. All 3 branded digital cameras were chosen for use because each had its unique strengths as a tool. Ultimately, the volume of the different cameras primarily dictated which was used and when….however, despite the larger size of the Sony F65, the Director and DP claimed they like the F65 the most because of its superior color rendition.

[Penton-Man]

Originally Posted by Kris Deering

...Was this like a test case for cameras?

This was a test case for cameras as well as testing the boundaries of the creative palette….

Originally Posted by Penton-Man

supplemented with a tiny bit of insider industry info.

Originally Posted by Penton-Man

...several months ago, there was a digital camera shoot done at AMPAS (the imagery of which at the time of this posting has not been publicly presented) in which 20 stops of latitude were recorded using two Sony F65s co-centered in a 3D rig. set 6 stops apart using ND filters.

Also performed, using different brand digital cameras, was shooting scenes at 24-120fps and multiple shutter angles, including greater than the traditional maximum 180 degree shutter opening angle of which film cameras have been mechanically limited to….which is considered the main cause of flicker or strobing.

Plus, offbeat frame rates like 42 and 38fps were experimented with in order to determine what was the highest threshold as to what still appeared *cinematic*.

[Penton-Man]

Kris, you’re still from the Seattle area, right?

I really hope the Seahawks win the Super Bowl because I don’t admire the concerted efforts of the Patriots’ staff to play just barely within the rules (http://www.sportingnews.com/nfl/stor...brady-cheating ), rules of which are wanting in the first place and should be changed by the NFL…

and sometimes New England breaks the rules (first Spygate in 2007 - http://nypost.com/2014/10/12/they-ar...tarted-it-all/ )…

and now evidence of deflating footballs (http://www.latimes.com/sports/nfl/la...121-story.html ) because the trickery employed in order to win games sets a poor example for our youth as well as high school and college coaching administrations.

Sorry for the diversion, but it’s been the topic around the water cooler all morning long and I had to get it off my chest.

[Penton-Man]

Originally Posted by Penton-Man

the Super Bowl

Beginning after the Super Bowl is the new season of The Blacklist (which is shot in 4K on the Sony F55 and ultimately finished in 4K, i.e. the 4K conform is done directly from the 4K raw camera files). What is interesting in terms of logistics is that even though the series is not a ‘local’ show (meaning it is shot in New York but the editorial and color grading is done in L.A.), the dailies lab in L.A. receives the HD proxy files by midnight of the same day of shooting (via internet - http://asperasoft.com/company/why-aspera/ ) and the 4K files (on AXS cards) are shipped on a plane to L.A. the next day.

A few more specifics as to the workflow to come later as we approach the BIG game.

[Penton-Man]

Someone please advise me step-by-step as to how to delete individual PMs without emptying the whole dang inbox as I’m like 99% filled up …..or else some mod please give me more than a 1,000 message limit.

[singhcr]

I wonder when the NFL will start 4K broadcasts, or at least recordings?

Seeing compressed 4K World Cup footage was a treat....

Imagine the Super Bowl on the F55!

[bruceames]

I can't wait until they do. I think sports would benefit from the extra resolution far more than movies. At least I don't find myself wanting a better picture with Blu-ray, like I do for Comcast sports feeds.

[Penton-Man]

https://forum.blu-ray.com/showthread...n#post10275857

Pertaining to ^ #5 (eyestrain), regardless of it being HDR or SDR (standard dynamic range) induced, a new report just released this month from New Vision would be of interest not only to professionals (colorists) but also any heavy users of digital devices who are displaying symptoms. Solutions are described to prevent/alleviate the eyestrain, including a no-cost one…‘the 20-20-20 break’… http://www.thevisioncouncil.org/site...Report2014.pdf

[Penton-Man]

It should be interesting to see how the yet to be presented specs or guidelines of ‘the UHD Alliance’ compare to the specs of Ultra HD Blu-ray of the BDA.
Also how the business partnerships between the various TV manufacturers and content providers (e.g. Samsung – Dolby Vision vs. L.G. – Netflix) become aligned with regards to their HDR offerings…http://www.businessinsider.com/netfl...ands-on-2015-1

On the HDR note, finally, it’s gratifying to read some consumer press acknowledgement of the BDA’s use of the open standard ST 2084, since I highly doubt that any consumer forum, nor website A/V blogger/writer types outside Blu-ray.com even recognized its significance when first brought to readers’ attention as a hint back on Sept. 19, 2014….https://forum.blu-ray.com/showthread...rd#post9754213

Of course, maybe they could have been distracted by Marilyn in the YouTube video.

[Penton-Man]

Originally Posted by Penton-Man

Beginning after the Super Bowl is the new season of The Blacklist (which is shot in 4K on the Sony F55 and ultimately finished in 4K, i.e. the 4K conform is done directly from the 4K raw camera files). What is interesting in terms of logistics is that even though the series is not a ‘local’ show (meaning it is shot in New York but the editorial and color grading is done in L.A.), the dailies lab in L.A. receives the HD proxy files by midnight of the same day of shooting (via internet - http://asperasoft.com/company/why-aspera/ ) and the 4K files (on AXS cards) are shipped on a plane to L.A. the next day.

A few more specifics as to the workflow to come later as we approach the BIG game.

Note:
The HD proxy can be utilized if the 4K footage has discrepancy issues, is misplaced, etc.... issues of which have happened a couple times with The Blacklist. So, an HD uprez has had to be substituted for the 4K footage, albeit rarely.

[Richard Paul]

I was reading up on the MPEG plan for adding a new HDR/WCG profile and I noticed three things about it. The first is that the profile won't be finished until 2017. The second is that the test videos might not even include wide color gamut video which indicates that this is mostly about improving HDR. The third is that they are only making it a 10-bit profile which is noticeable since one of the easiest way to improve HDR is to go to 12-bit video. They might change their plans going forward but currently the profile sounds like it is going to be made for low bit rate video streaming.

[Penton-Man]

Well that’s ^ a bummer.