8K is available yet 4K hangs on like a disease that killed someone dear to you. Why?

[Penton-Man]

Originally Posted by Penton-Man

Which behooves making the point that despite all the hoopla in the blogger press about modern digital cameras having 14 or more f-stops of dynamic range and capable of capturing a wider color gamut than P3, I can not overemphasize the relatively unknown (by Tech writers) significance as to the value of shooting in RAW and from there….

going thru a high quality workflow (i.e. openEXR with 16bit float) and ending in a 16bit master….rather than the imagery being truncated down to a lesser quality file format which is commonly done in many productions, i.e. they don’t harvest all the possible range of the camera recording because it is then squished down by the post house (often to a 10-bit DPX type file) in order to become more bandwidth friendly.

And the same best practices *16bit* concept applies not only to digital acquisition, DI workflow and finishing (masters) but also to the scanning of modern motion pictures which are still shot on film (Kodak Vision3 stock).

In other words, as I mentioned to fellow Blu-ray.com member singhr almost a year ago now (in a post reassuring him that the BT.2020 color primaries would be included in the Ultra HD Blu-ray spec), 4K 16bit scans are necessary to capture all the color fidelity and dynamic range of modern motion pictures that are shot on film. Is this being done by every producer? No. For example, even for some blockbusters (e.g. Mission: Impossible – Rogue Nation), the Vision3 was scanned to 10bit DPX.