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#1701 |
Active Member
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I hear the “god knows how many computing hours” argument a lot, and frankly I’m tired of hearing it.
14 billion (that’s just this past years take for Disney, by the way) could buy a lot of processing power. And once the upgrade is made, its done. You don’t go back. And they will make it eventually. Despite what audiences care or don’t care about. Everyone will. Once costs come down. |
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#1702 | |
Special Member
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#1703 |
Blu-ray Emperor
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It's not really a question of money any more, it's time. These kinds of giant blockbusters demand 2000+ VFX shots all year round, years ago you'd have had maybe one or two such movies every year but now it's like half a dozen and the demands this places on turnaround time are immense. If you're a busy VFX house then you can't just down tools for weeks while your systems are upgraded for this amazing faster tech that everyone keeps chirping about, not that I think they're running pitiful portable picnic players as it is.
So while 4K or higher VFX is eminently possible, it's just not practical for most productions given the demands of big budget filmmaking as they exist today. It's all well and good that Disney are richer than Croesus but that means dick because they actually don't own a VFX house which they can shower with money to upgrade its gear on their own time. And the next person who mentions Dunkirk or the Nolan films in particular is getting a virtual slap. His films do have more CG than one may expect BUT we're talking hundreds of shots rather than thousands, and even then it's often more about augmenting what's there (like the still propeller and lowering landing gear on Tom Hardy's gliding Spitfire in Dunkirk) or removing visible means of support (The wire rigs in Inception, the structure 'driving' The Bat along in TDKR, the human performers of CASE and TARS in Interstellar etc) rather than creating thousands of synthetic elements and indeed entirely synthetic shots outright. There are moments of extravagance like the stadium bombing in TDKR for sure but they're few and far between which is exactly what permitted them to be 5.6K or 8K VFX renders in the first place. |
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Thanks given by: | qw0aszx (01-14-2018) |
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#1704 |
Blu-ray Emperor
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#1705 |
Blu-ray Baron
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#1706 | |
Blu-ray Baron
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Sent from my SAMSUNG-SM-J320A using Tapatalk |
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#1707 | |
Special Member
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#1708 |
Special Member
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#1710 |
Expert Member
Oct 2006
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#1711 | |
Special Member
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They shot GOTG 2 in 8K and then used a 2K DI. I don't see why they couldn't have gone with a 4K DI instead and then simply upscale the VFX from 2K before mastering in 4K? I mean I fully understand how companies cannot afford creating all their VFX in native 4K, however I don't really see why mega budget films that are shot in 4K and above don't opt for a 4K DI and then upscale their VFX from 2K before mastering their film in 4K. I don't think the number of movies output each year really matter in this case. After all the VFX is handled by outside companies so it's not like Marvel is really tying up their own inhouse rendering resources I think? Last edited by s_har; 01-14-2018 at 07:43 PM. |
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#1713 | |
Special Member
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2. Can we stop arguing. It's not like we're going to change our minds. |
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Thanks given by: | gkolb (01-15-2018) |
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#1714 |
Blu-ray Samurai
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When most of us are aware 2.8K and 3.4K filming is more common than 4K+ in digital, at least, this debate gets silly and smacks of OCD obsession.
Also that 2K is what 99% of VFX houses are outfitted to render. And could be for 5 years more until the workflow ecostructure upgrades -- So the idea of "4K DI" is expected because it says 4K on the packaging is a pretty gray area/misnomer of a categorization. And that 2K upscales can and demonstrably are among the best on UHD regardless of what you armchair decide that the industry should be doing with it's money. |
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#1717 | |
Blu-ray Emperor
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Mine was posted a few days ago, should get it in a couple of weeks or so. |
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#1719 |
Blu-ray Prince
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Thanks given by: | jbragg89 (01-16-2018) |
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#1720 |
Blu-ray Baron
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I knew upon watching the 4K UHD of Cell Block 99, there was no way it was an upscale of a 2K master. The detail was far too crisp looking for it to be a 2K upscale.
Most of the native 4K masters on the 4K UHDs i've seen (Stranger Things, Allied, What Happened to Monday/Seven Sisters, Starship Troopers and Bad Santa 2, to name a few) have far better detail than you would see on a 1080p blu-ray and Brawl in Cell Block 99 is clearly in the same company. Last edited by GasmaskAvenger; 01-15-2018 at 07:18 PM. |
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Thanks given by: | ray0414 (01-16-2018) |
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