4K Movies Releases

[eriaur]

^looking forward to this in HDRWCG

[eriaur]

Been posted before, but some may have missed it.
I find the HDR/WCG 16-bit RAW stuff more interesting now than in feb2015.


in-depth interview with Bill Baggelaar of Sony Pictures
https://pro.sony.com/bbsccms/assets/..._explained.pdf

[MisterXDTV]

Originally Posted by eriaur

Been posted before, but some may have missed it.
I find the HDR/WCG higher bit-depth stuff more interesting now than in feb2015.


in-depth interview with Bill Baggelaar of Sony Pictures
https://pro.sony.com/bbsccms/assets/..._explained.pdf

Good article, but looking at the pictures, I don't know if HDR is the revolution studios hope, especially for the mainstream market.

[eriaur]

No revolution, but according to Trump it's gonna be


Tout schuss: (4K @Amazing Digital Studios)

https://www.youtube.com/watch?v=nNlvsK1qD1E

http://www.afcinema.com/Entretien-av...-Leygonie.html

[ray0414]

Originally Posted by MisterXDTV

Good article, but looking at the pictures, I don't know if HDR is the revolution studios hope, especially for the mainstream market.

I think those pictures represent what hdr grading can bring, but not WCG. Also to see the real difference you must view the hdr pictures on an hdr monitor.

[Penton-Man]

Originally Posted by eriaur

Been posted before, but some may have missed it.

I find the HDR/WCG 16-bit RAW stuff more interesting now than in feb2015.

And I would presume also prior to that (in Sept. 2014), as we here at Blu-ray.com are cutting edge , in which the concept was discussed months prior to the publication of that article in CineAlta, specifically, during the answering of a query from fellow member singhcr….

Originally Posted by singhcr

What color space/bit depth is usually used for film scanning and eventual DI creation for restored or new movies?

Originally Posted by Penton-Man

Usually? I’d say, with a project in which a facility scans 35mm film at ‘4K’ (which is actually somewhat misleading because the Northlight 2 has an 8K CCD array which produces 4K files), they’ll output at 10bit log DPX.

Now, best practice that some cutting edge facilities (which have the storage capacity) follow? Scan the neg and output at 16bit DPX. From there, uncorrected content intended for theatrical presentation is graded in DCI P3 space and for theatrical deliverables, P3 is converted to XYZ color space (12 bit pixel depth). For home deliverables (like for instance HD Blu-rays), I’ve already posted the color management pipeline explaining about the ODT and trim pass even revealing typical booking times reserved by Producers for the process here...https://forum.blu-ray.com/showthread...im#post9623181

Regarding best practice for a DI workflow? That be 16 bit OpenEXR...starting from 16bit RAW digital camera imagery.

[Penton-Man]

Originally Posted by MisterXDTV

Good article, but looking at the pictures, I don't know if HDR is the revolution studios hope, especially for the mainstream market.

The pictures in the print publication are illustrations, fraught with limitation in the reproducibility of thee original source to your monitor. The mainstream market doesn't read CineAlta anyway, they watch imagery with their own eyes hopefully in retail locations that can emulate professional shows....https://www.youtube.com/watch?v=s5tC...u.be&t=2h2m26s

[Penton-Man]

Originally Posted by ray0414

"if you shoot raw, store the raw, and have access TO the raw, that is the perfect starting point for dolby vision"

https://www.youtube.com/watch?v=k3z1...utu.be&t=8m37s

Roland left out one significant ingredient in thee procurement of optimal HDR imagery (Dolby Vision), or perhaps he didn’t want to put pressure on any D.P.’s.

Will discuss another time, the work week begins anew, papa's got to bring home the bacon.

[dvdmike]

Those spiderman images have always looked like arse, makes it look like the first, that horrible red camera look

[Falaskan]

It seems harder to track 4K releases over blu-ray right now. Hope it gets easier with time

[saprano]

Is there a print version of that CineAlta article? Love keeping technical stuff like that around.

Sony's OLED master monitor always intrigues me too.

[paperthin567]

Hi all,

I have a question, though it may be a silly one. If I were to purchase a 4K projector today, so the JVC DLA-X750R D-ILA projector, would I be pulling the trigger too early? In other words, are there specs that haven't been announced yet that I will need to output native 4K and the full color spectrum that this projector may not be capable of?

$6,000 is a lot of money for me to spend, so I don't want to do it prematurely.

Any help would be greatly appreciated.

[dvdmike]

Originally Posted by paperthin567

Hi all,

I have a question, though it may be a silly one. If I were to purchase a 4K projector today, so the JVC DLA-X750R D-ILA projector, would I be pulling the trigger too early? In other words, are there specs that haven't been announced yet that I will need to output native 4K and the full color spectrum that this projector may not be capable of?

$6,000 is a lot of money for me to spend, so I don't want to do it prematurely.

Any help would be greatly appreciated.

Its not 4k, its takes it but outputs 1080p with some processing.
You want Sony for 4k projection

[eriaur]

Originally Posted by saprano

Is there a print version of that CineAlta article? Love keeping technical stuff like that around.

Sony's OLED master monitor always intrigues me too.

http://www.sony.co.uk/pro/article/br...plained-part-1

[saprano]

Originally Posted by eriaur

http://www.sony.co.uk/pro/article/br...plained-part-1

I meant like a magazine.

[Kris Deering]

Originally Posted by paperthin567

Hi all,

I have a question, though it may be a silly one. If I were to purchase a 4K projector today, so the JVC DLA-X750R D-ILA projector, would I be pulling the trigger too early? In other words, are there specs that haven't been announced yet that I will need to output native 4K and the full color spectrum that this projector may not be capable of?

$6,000 is a lot of money for me to spend, so I don't want to do it prematurely.

Any help would be greatly appreciated.

The X750 does support HDR10 and covers the full P3 gamut. It does accept native 4K sources and is true end to end 12 bit. The new Sony 4K units are about twice the cost and offer HDR10 support as well but do not fully cover the P3 gamut (about 85%), are 10 bit and have the lower bandwidth HDMI ports so they can't do full 4K60 at 10 bit.

I've compared both directly in side by side images with native 4K content and even with a room full of videophiles we couldn't see the difference between the native 4K playback on the Sony vs the JVC. In fact, in many of the clips the preference for picture quality and sharpness was the JVC, and this was with no one knowing which image was from which projector. The JVC is also half the cost.

[paperthin567]

Originally Posted by Kris Deering

The X750 does support HDR10 and covers the full P3 gamut. It does accept native 4K sources and is true end to end 12 bit. The new Sony 4K units are about twice the cost and offer HDR10 support as well but do not fully cover the P3 gamut (about 85%), are 10 bit and have the lower bandwidth HDMI ports so they can't do full 4K60 at 10 bit.

I've compared both directly in side by side images with native 4K content and even with a room full of videophiles we couldn't see the difference between the native 4K playback on the Sony vs the JVC. In fact, in many of the clips the preference for picture quality and sharpness was the JVC, and this was with no one knowing which image was from which projector. The JVC is also half the cost.

So, just to confirm, if I pull the trigger on the JVC, am I future-proof regarding the next several years of 4K Bluray?

[Kris Deering]

Originally Posted by paperthin567

So, just to confirm, if I pull the trigger on the JVC, am I future-proof regarding the next several years of 4K Bluray?

No one has that crystal ball specifically, but you're more future proof than the Sony 4K projectors are giving you. HDR isn't the same thing on projection as it is on flat panels. They just don't have the headroom in brightness to reap the true rewards. So while they support HDR playback, it isn't going to be anything like what you'd get from a flat panel. Probably won't be for years to come. Neither is offering Dolby Vision support, but at least with UHD Blu-ray you'll still have the HDR10 base layer if HDR is important. Otherwise you're good to go. I'm sure at some point JVC will update their line with native 4K imaging chips, but it will probably take several generations of those before they reach the performance they are already achieving with their current 1080p chips in terms of contrast and everything else. And again, with their current quasi-4K implementation, it already performs as good or better than what we've seen from native 4K projection.

[Penton-Man]

Originally Posted by ray0414

"if you shoot raw, store the raw, and have access TO the raw, that is the perfect starting point for dolby vision"
https://www.youtube.com/watch?v=k3z1...utu.be&t=8m37s

And I’ll add to that ^ particular advice by Roland, some exposure advice I gave to readers here last July -

Originally Posted by Penton-Man

….in order to get the full potential out of HDR….cinematographers should strive to shoot a ‘thick negative’ (a wide range negative) shoot in RAW and from there go thru a high quality workflow (i.e. openEXR with 16bit float) and as a finishing format rather than being diluted to a lesser quality file format (to save on costs). That way the footage can be re-purposed for the best HDR months/years from now when the HDR iteration is decided to be released.

Point being, of the previously shot motion pictures that Dolby selects to regrade in HDR (in which the Director and DP had no intention of ever redoing an HDR iteration because, for one, they’d never heard of it and SDR delivery was all that they needed to be concerned with at the time)…..the best consistent dynamic range quality will come from those previously SDR released narrative motion pictures in which the cinematographer shot a thick negative.

So, the question becomes…..WHO shoots thick negatives? Well, a good cinematographer that’s who. For one, like the cinematographer alluded to in my signature (at the bottom of each of my posts), which I composed years ago.

[Penton-Man]

Originally Posted by saprano

....Sony's OLED master monitor always intrigues me too.

To ray(gendreau),
I’m sensing Sap might just beat you to the punch in purchasing an LG Signature 4K HDR OLED tv to replace his Kuro.