4K Movies Releases

[Dubstar]

Batman vs. Superman was 4K for it's IMAX-Laser engagements

[PeterTHX]

Originally Posted by Dubstar

but Dolby Cinema implements 4K --- right?

The projectors are 4K, but the source isn't always.

[Dubstar]

Originally Posted by PeterTHX

The projectors are 4K, but the source isn't always.

well that's dumb and counterintuitive - since Dolby doctor's up the image and such, it'd make sense to uprez the content and actual encode it at 4K - the industry never seems totally with it ... "who's on first?"

[Geoff D]

It's the way it's always been, Dub. Not just for Dolby but in general, my nearest multiplex (back in London) had a load of Sony 4K projectors installed years ago but even now there's very little actual 4K content released on regular DCPs.

[dvdmike]

Originally Posted by Dubstar

Batman vs. Superman was 4K for it's IMAX-Laser engagements

Eh

[Dubstar]

Originally Posted by Geoff D

It's the way it's always been, Dub. Not just for Dolby but in general, my nearest multiplex (back in London) had a load of Sony 4K projectors installed years ago but even now there's very little actual 4K content released on regular DCPs.

cinema tech - is slow to the draw.

[Richard Paul]

The FCC is now in the comment phase of ATSC 3.0 and hopefully one of the changes they make is the elimination of the ATSC tuner mandate. As mentioned in a recent post the ATSC tuner had a $10 royalty and that was only for a converter box. For a TV the royalty was up to $40 and it got so high that back in 2009 CE companies began complaining to the FCC about it. If ATSC 3.0 is really "voluntary" than they should get rid of the government mandate for it but with billions at stake I am skeptical that will happen. Some of the ATSC 3.0 companies are already talking about the royalty windfall from ATSC 3.0 and how it would apply to every TV sold in the United States. So what the ATSC 3.0 companies are saying in their FCC petition and what they are saying to their investors is very different and it sounds like they expect it to be mandatory (or that it will become mandatory).

[elwaylite]

What does that have to do with 4K movie releases?

[Richard Paul]

Originally Posted by elwaylite

What does that have to do with 4K movie releases?

Well you can deliver 4K movies with ATSC 3.0 so it is somewhat related. Also this thread has gotten into lengthy discussion about ACES, calibration, dynamic metadata, HDR, HFR, laser projection, OLED, WCG and lots of things that aren't specifically about 4K movie releases.

[Richard Paul]

Here is a link to an article on the 8K workflow of Guardians of the Galaxy 2 which has some interesting information on how they handle that amount of data.

[Geoff D]

That flick had better get a ****ing 4K finish.

[Opips3]

Originally Posted by Richard Paul

Here is a link to an article on the 8K workflow of Guardians of the Galaxy 2 which has some interesting information on how they handle that amount of data.

All marvel are 2K movies.

Now 8K little fockers!!

[PeterTHX]

Don't count on films having 4K rendered VFX for quite a while...
http://www.hollywoodreporter.com/beh...s-grows-888415

[Geoff D]

Originally Posted by PeterTHX

Don't count on films having 4K rendered VFX for quite a while...
http://www.hollywoodreporter.com/beh...s-grows-888415

Indeedy. Everyone who comes in saying "oh, 4K rendering is easy now!!" just doesn't realise the time and effort and expense that goes into delivering the thousands of VFX shots demanded by every big budget film these days. I'm sure 4K rendering isn't the barrier that it once was but even so: the effort required to deliver a full set of 4K VFX (not just select IMAX shots, say) is beyond the turnaround time for most blockbusters.

Yeah, Tomorrowland got some 4K stuff but the key aspect there is NO 3D, which meant that they didn't have to double up on the workflow. And as long as 3D is still involved with theatrical releases and is requiring these embiggened workflows (even for 2K) then 4K VFX is going to be rarer than's hen's teeth for quite some time.

And the article re-iterates the crunch that VFX houses go through in the modern era, as gone are the days when you'd plan it to the nth degree, shoot a locked-off plate, hand it off to the VFX house and have the shot come in when it comes in. Now it's capable of constantly being rejigged and nurdled with and that puts a serious strain on the VFX house's resources.

Same thing was mentioned in that excellent documentary about Rhythm & Hues going bust: they're contracted to deliver x amount of VFX shots for x amount of money, but there's no limit on how many passes it takes to get those shots done - so if a director doesn't like what they see they can have it thrown out and started over for no extra cost to the production, it's the VFX company which foots the added expense because technically they still haven't delivered the shot that they're contracted to do. That's what killed R&H, they just didn't have the overheads to cope with such stupidly low profit margins.

[Penton-Man]

Originally Posted by Penton-Man

The vfx folk have been struggling against what some would call a collusive cartel of Hollywood studios for a long time…. https://pando.com/2014/12/02/new-cou...ation-studios/

I imagine producers could save more money by instead of sending out the vfx work to Vancouver or India, one could have it done in North Korea.

vfx artists……
https://pmcdeadline2.files.wordpress...ion-nitsch.pdf

finally seeing at least some sort of justice as the studio dominoes begin to fall……
http://deadline.com/2016/05/sony-set...ey-1201747433/

[C.C. 95]

Originally Posted by Geoff D

Indeedy. Everyone who comes in saying "oh, 4K rendering is easy now!!" just doesn't realise the time and effort and expense that goes into delivering the thousands of VFX shots demanded by every big budget film these days. I'm sure 4K rendering isn't the barrier that it once was but even so: the effort required to deliver a full set of 4K VFX (not just select IMAX shots, say) is beyond the turnaround time for most blockbusters.

Yeah, Tomorrowland got some 4K stuff but the key aspect there is NO 3D, which meant that they didn't have to double up on the workflow. And as long as 3D is still involved with theatrical releases and is requiring these embiggened workflows (even for 2K) then 4K VFX is going to be rarer than's hen's teeth for quite some time.

And the article re-iterates the crunch that VFX houses go through in the modern era, as gone are the days when you'd plan it to the nth degree, shoot a locked-off plate, hand it off to the VFX house and have the shot come in when it comes in. Now it's capable of constantly being rejigged and nurdled with and that puts a serious strain on the VFX house's resources.

Same thing was mentioned in that excellent documentary about Rhythm & Hues going bust: they're contracted to deliver x amount of VFX shots for x amount of money, but there's no limit on how many passes it takes to get those shots done - so if a director doesn't like what they see they can have it thrown out and started over for no extra cost to the production, it's the VFX company which foots the added expense because technically they still haven't delivered the shot that they're contracted to do. That's what killed R&H, they just didn't have the overheads to cope with such stupidly low profit margins.

Actually, R&H delivered what they were supposed to. The directors and studios then change their minds in the editing, and demand a new effect for a new shot and expect the VFX to eat the cost of the shot they decided they didn't want because they changed their edit.
It has nothing to do with R&H not delivering.

[Geoff D]

Um...that's exactly what I said:

so if a director doesn't like what they see they can have it thrown out and started over for no extra cost to the production, it's the VFX company which foots the added expense

I added the part after that to make it clear why they were expected to foot the bill, I didn't say that they hadn't delivered anything at all! Until the director signs off on x shot then the VFX house isn't deemed to have delivered it in the present tense, so it's on them to keep spending their own time and money until Mr Director approves, which of course he did in the end re: Pi...but it was too late to save R&H.

[Penton-Man]

Originally Posted by Penton-Man

...and his team is living a fairy tale dream even Hollywood couldn’t predict (5,000 to 1 odds, if you'd bet on it)….http://www.nbcsports.com/video/pl-do...ter-city-story

The dream is now fulfilled ……
http://www.cbssports.com/soccer/eye-...hamp-leicester . Among other things, a testament to the qualities of hard work, team play and unselfishness which readily carry over as valuable character traits to other aspects of a productive, successful life, beside sport.

Awaiting the Hollywood movie adaptation…..

[Penton-Man]

Originally Posted by Penton-Man

...Awaiting the Hollywood movie adaptation…..

If we’re choosing Americans to play the role, since he already has some background in football/soccer, I wouldn’t mind Tom Hanks…..

Did Tom Hanks bet £100 on Leicester to win the Premier League? - YouTube

as Claudio Ranieri….. http://www.theguardian.com/football/...ague-champions

[tob]

Originally Posted by Penton-Man

The dream is now fulfilled ……
http://www.cbssports.com/soccer/eye-...hamp-leicester . Among other things, a testament to the qualities of hard work, team play and unselfishness which readily carry over as valuable character traits to other aspects of a productive, successful life, beside sport.

Awaiting the Hollywood movie adaptation…..

I don't want to see a movie about Leicester lets have some common sense now.