4K Movies Releases

[Penton-Man]

Originally Posted by ray0414

I apologize if I mistook that as being that the cameras themselves were 6k.

Don’t feel too badly, surgical interns and residents get it much worse in top teaching programs (like USC) on a daily basis during rounds….not to mention what a grill session defending your PhD dissertation can be . The road is difficult for a reason. Since you remain earnestly reading and learning here, you're showing character.

Anyway, for lunchtime laughs, or perhaps to cause me indigestion? another member passed me a heads-up to an HDR rant also from another forum, which makes your misunderstood ‘6K’ claim seem inconsequential as compared to the baloney in this post which is partially pictured here….



^ It is never ending.

[Penton-Man]

Originally Posted by jono3000

I thought of Life Story, the BBCs first documentary series shot in 4K and narrated by David Attenborough. It looked spectacular even in broadcast quality 1080p. Hoping it gets an UltraHD Blu-ray release. My first HD-DVD purchase was Planet Earth...

Good thought.

[Opips3]

Originally Posted by Penton-Man

Don’t feel too badly, surgical interns and residents get it much worse in top teaching programs (like USC) on a daily basis during rounds….not to mention what a grill session defending your PhD dissertation can be . The road is difficult for a reason. Since you remain earnestly reading and learning here, you're showing character.

Anyway, for lunchtime laughs, or perhaps to cause me indigestion? another member passed me a heads-up to an HDR rant also from another forum, which makes your misunderstood ‘6K’ claim seem inconsequential as compared to the baloney in this post which is partially pictured here….



^ It is never ending.

He's make action like an idiot.

Ironically, if he talk about why need 3D for sports,or new and soap...blah blah.

Don't give the crap talk cut.

[Penton-Man]

Originally Posted by Richard Paul

Sure, but a lot of workflows also support HFR and supporters of HFR even made a recommendation to the DCI standard for frame rates up to 120 fps. I know that some people dislike HFR but in terms of capturing real life I think that HDR and HFR are in the same boat. If you are going to say that directors should use HDR in order to stay current than how is HFR any different?

Richard, I haven't been following the nuances in the conversation between you and PeterTHX closely due to the rapidity of posts on this thread, but FWIW,

Kind of, but not entirely the same boat. You see, HFR cuts down on the motion blur ( https://www.smpte.org/detail-4k-imaging ) making things look more ‘real’ and pretty much negating the *filmic look* which people like and feel comfortable with due to years of visual conditioning (good or bad, depending on one’s viewpoint). On the other hand, with HDR, you’ll still retain the *filmic look* due to the motion blur, but be it movies or sports, as pictured below, you would be able to better perceive detail in the shadows, 7/3/2015….

Originally Posted by Penton-Man

Yes, I posted this pic previously from the ill-fated ‘Official 4K Film of the 2014 FIFA World Cup’ and although it isn’t exact, it’s a good illustration of what we miss with current television (SDR) broadcast (in this case poor detail in the shadows)….



I really think once broadcast gets all the ducks in a row, HDR sports will have a greater impact on new television sales than providing that parameter to upcoming movie releases…. just because the whys and wherefores of howthe public buys TVs.

But it should advance the technology and benefit both (movies and live events).

And vice versa, if the left half of the pitch was optimally visualized with SDR capture, the right side would be blown out. Not so with HDR. Anyway, they’re similar (HFR and HDR) in the sense of providing a more ‘real’ image and leveraging the full capability of what the camera acquires, but also a bit different as well.

[Penton-Man]

Originally Posted by dvdmike

From Mr Deakins

I remember that from one of his old closed (Skyfall) threads….http://www.deakinsonline.com/forum2/...php?f=5&t=2124 and saved it for Skyfall posterity……

by Roger » Tue Nov 06, 2012 12:36 pm

I have made a final 4K master for almost every film that I have taken through the DI process - 'O Brother...' and 'In The Valley of Elah' being two exceptions. I made extensive tests when I first looked at the Alexa to weigh the various options in producing the output negative. On 'In Time' we were recording an uncompressed HD file but we still made a 4K master, rather than a 2K master, because all our tests looked so much better that way. From what I have seen it is even more important to finish in 4K if you want to retain all the detail that the camera is capable of capturing.
There was some slight sharpening done on a few individual shots but absolutely nothing overall. In fact, we put one or two shots slightly out of focus as, in context with the rest of the scene, they looked too sharp! The framing is the framing, other than one blow up of 30%.

[Penton-Man]

Originally Posted by Geoff D

I'm a bit dense like that.

I don’t find that to be the case at all. You’re one of the few who realize the point of what people say, when they say it - https://forum.blu-ray.com/showthread...d#post11748904

[Penton-Man]

Originally Posted by Opips3

Don't give the crap talk cut.

I agree, I have better things to do. My PM box (1,000 message capacity) is 99% filled and must start getting to taking care of that.

[Opips3]

I need HFR is very important for any sports. Too faster action miss 24 frames speeds not enough.

[ray0414]

FOR WHATEVER IT'S WORTH! !


I asked Finn from fox over twitter if all movies from fox will be rebuilt using raw files in the manner that the martian was built and he said yes.

[samukas]

I haven't visited this thread much, but do we know anything about the ones from WB and/or Lionsgate?
Purely upscaled or rebuilt from the raw files as well?

[ray0414]

Here's the proof. It's up to you if you believe him or not, I personally do. These guys aren't idiots.

[Richard Paul]

Originally Posted by Penton-Man

...
Anyway, they’re similar (HFR and HDR) in the sense of providing a more ‘real’ image and leveraging the full capability of what the camera acquires, but also a bit different as well.

Video quality improvements can be a matter of personal preference and I am just surprised at the difference in opinion (light the torches if a director chooses to use it vs forcing a director to use it).

[Richard Paul]

Originally Posted by ray0414

Here's the proof. It's up to you if you believe him or not, I personally do. These guys aren't idiots.

There are reasons to look at the original tweet carefully. As for his recent tweet I notice he didn't say anything about the movies being redone in 4K resolution and he has a generous definition of 4K (which includes 2K files upconverted to 4K and than worked on in the 4K domain).

[Optimus]

Originally Posted by ray0414

Here's the proof. It's up to you if you believe him or not, I personally do. These guys aren't idiots.

I could make out what was said but I had to bring my face right up to my monitor lol

Not sure why its so small.

[ray0414]

Originally Posted by Richard Paul

There are reasons to look at the original tweet carefully. As for his recent tweet I notice he didn't say anything about the movies being redone in 4K resolution and he has a generous definition of 4K (which includes 2K files upconverted to 4K and than worked on in the 4K domain).

The main question is whether or not the raw files will be used as much as possible in conjuction to the 2k pieces, and he is saying yes this process is the same for all of their movies. If the raw files are available, they are used in their native form.

[Penton-Man]

ray (is that you with the child ?), keep in mind, people here before have been burned by Hollywood studio reps (at a higher title/pay grade than,….with all due respect…to James Finn), for example….

”we have discussed NOTLD at the studio and are able to verify via [Sony Pictures Entertainment]’s Mastering Department, that our Blu-ray is indeed the approved transfer from 2010, generated for the film’s 20th anniversary, and done in consultation with the film’s director of photography.”
http://cinemalowdown.com/2012/11/cin...exclusive.html

Of course, in terms of HDR, I think most consumers here would be satisfied as an alternative to having to rebuild the whole dang movie…..is simply (and more economically ) to re-grade thee archived 16-bit P3 theatrical master as I outlined here to Stacey….https://forum.blu-ray.com/showthread...r#post11071017 , if of course, the studio had the foresight to produce such a master in the first place.

The thing I like most about your communication with James is that Fox is one studio which is being Ultra HD Blu-ray proactive….rather than other's marketing people sitting on the sidelines in relative silence compared to James.

[Penton-Man]

Originally Posted by Penton-Man

I agree, I have better things to do. My PM box (1,000 message capacity) is 99% filled and must start getting to taking care of that.

Be patient folks...I'm getting to them, in the order in which they came.

[dvdmike]

Originally Posted by ray0414

Here's the proof. It's up to you if you believe him or not, I personally do. These guys aren't idiots.

Ok



More from Mr Deakins

It just means that I will be doing an HDR pass, as I did for 'Sicario', which counteracts the contrast and saturation built into the curves. The system does look good but, similar to doing an IMAX conversion, the cinematographer needs to understand that the work will be altered unless they are involved. So many 'standards'.

[Penton-Man]

Originally Posted by Richard Paul

There are reasons to look at the original tweet carefully. As for his recent tweet I notice he didn't say anything about the movies being redone in 4K resolution and he has a generous definition of 4K (which includes 2K files upconverted to 4K and than worked on in the 4K domain).

Plus, the crux of the matter and somewhat ironic thing is that the motivation for going back to the RAW files and rebuilding the movie is not really so much as to be technically true to the ‘4K Ultra HD’ labeling at the top of the Ultra HD Blu-ray discs and leveraging the visual improvement that extra spatial resolution could lead to…..

because all studios, with the exception of Sony Pictures which has built a whole multi-million dollar sales ecosystem over the years upon promoting 4K, be it theatrical or home delivery (remember the slogan “from the lens to the living room”)….all thee other major studios, don’t think much of the value of 4K presentation at home as indicated by an Engineering and Development VP from Fox during professional panel discussion(s), one of which can be viewed in the brightcove link posted here on The Martian thread.

The frustrating thing for anti-4Kers (and admittedly amusing thing for 4K supporters) is that the consumer TV manufacturers RULE and have the ultimate say in the matter, as 4K tvs are a done deal and…..given enough time….will become ubiquitous at popular consumer sizes, as I stated long ago on this forum. Soooo, what’s the best source to view with one’s UHD (4K) tv?....a 1080p (HD) source or a 2160p (4K) source? Well, common sense should answer that, if not, it was scientifically determined (independent to consumer TV manufacturers) in 2012? in a strictly controlled study involving 72 test participants viewing 6 different movie sequences with a 56 UHD tv, that a 2160p (4K) is of the greatest PQ benefit for a TV having a native resolution of 2160p (4K), rather than inputting a 1080p source and having your TV uprez it to UHD (4K).

Anyway, the 4K upgrade recently promoted for The Martian by Fox is just a sidecar with the real impetus to Fox as being how best to harvest a source for HDR consumer viewing…..the 4K aspect of it all is coming along for the ride, so to speak. Funny that.

[Penton-Man]

Originally Posted by dvdmike

More from Mr Deakins
"the cinematographer needs to understand that the work will be altered unless they are involved.

Oh they understand, as that is exactly why leading cinematographers with technical foresight told engineers in Hollywood what they wanted, which is how the ASC CDL came about and resulted not just in protecting the image, but also this recognition….

2013 Sci-Tech Awards: Joshua Pines, David Reisner, Lou Levinson, Curtis Clark, David Register - YouTube