4K Movies Releases

[Penton-Man]

Tip of the day...in order to maintain sufficient vision to enjoy 4K movies and content, don’t neglect your eyes. Get regular eye examinations (based on age and any preexisting conditions). And for cripes sakes, don’t take advice from anyone lecturing you about glaucoma who can’t properly pronounce the word ‘Baerveldt’, as it shows their superficial knowledge as related to the topic.

P.S.
Glaucoma can also affect the young, e.g. pigmentary dispersion syndrome. So, just because you're young, don't presume you're invincible. Get dem eyes checked.

[Richard Paul]

MovieLabs is proposing to add YDzDx to HEVC and if added it would be part of the 3D HEVC extensions (which will be officially released in the summer of 2015). I can understand why the studios are interested in it but in my opinion YDzDx as a consumer standard would be like adding a jet engine to a school bus. It sounds neat but when you consider the benefits and costs it is of questionable value. Real time color space conversions and white point rebalancing would be computationally difficult and YDzDx would be unsuitable for real time graphics (computers, smartphones, tablets, etc...). While I am skeptical of YDzDx for consumer applications it would be useful for professional applications in the same way that 16-bit video is useful when cost is not a concern.

[Penton-Man]

Originally Posted by Richard Paul

MovieLabs is proposing to add YDzDx to HEVC and if added it would be part of the 3D HEVC extensions (which will be officially released in the summer of 2015). I can understand why the studios are interested in it but in my opinion YDzDx as a consumer standard would be like adding a jet engine to a school bus. It sounds neat but when you consider the benefits and costs it is of questionable value. Real time color space conversions and white point rebalancing would be computationally difficult and YDzDx would be unsuitable for real time graphics (computers, smartphones, tablets, etc...). While I am skeptical of YDzDx for consumer applications it would be useful for professional applications in the same way that 16-bit video is useful when cost is not a concern.

Richard , it’s probably safe to critique Helman et al. of Movielabs, for I doubt that anyone here has any real or hopeful personal relationship with either of them deeming biased protectionism, plus, I would be extremely surprised if there is any documentation on any consumer electronics forum discussing their proposals/work prior to last Feb. where another analogy was made.

Amazingly, despite the fact of not being a *celebrity video guru* organization, they were approached by the major Hollywood studios in ~ 2007 for their services regarding digital distribution….not others.

You raise a fair concern. I would assume that your beef is not so much with the idea of color differencing per se, but just using something BIG like XYZ color space to begin with?

[Penton-Man]

Sap, I know you’re a celluloid acquisition aficionado , ergo…




What’s not included in the above ^ imdb tech specs (as of this morning) and for our 4K D-Cinema aficionados ….is the DCP -

Fury
Image Format: 4K 4096x1716 Scope
File Size: 143 GB
Audio Format: 5.1
Feature Run Time: 2:14:27

[singhcr]

Originally Posted by Penton-Man

Sap, I know you’re a celluloid acquisition aficionado , ergo…

What’s not included in the above ^ imdb tech specs (as of this morning) and for our 4K D-Cinema aficionados ….is the DCP -

Fury
Image Format: 4K 4096x1716 Scope
File Size: 143 GB
Audio Format: 5.1
Feature Run Time: 2:14:27

A 4K DCP of a 35mm scope film! Hurray!

[SillySauce]

Originally Posted by Penton-Man

Sap, I know you’re a celluloid acquisition aficionado , ergo…




What’s not included in the above ^ imdb tech specs (as of this morning) and for our 4K D-Cinema aficionados ….is the DCP -

Fury
Image Format: 4K 4096x1716 Scope
File Size: 143 GB
Audio Format: 5.1
Feature Run Time: 2:14:27

http://www.youtube.com/watch?v=p1xli7OTE_0

The trailer on youtube is stunning. It's like the cinematography combined with the awesome new Kodak Vision 3 filmstock just produces a great unique cinematic look. I bet they also used a high speed filmstock.

Other film studios besides Sony need to master their films in 4K.

[Penton-Man]

Tip of the Day….

It’s not necessary to pay big $$ for a quality 4K 70” TV these days given the Viz being an especially worthy video display device if one has the experience and time to calibrate it on your own. If not, you can always enlist the services of Jeff who does it for a living and whose home theater audio calibration, some would rightfully argue, is even more valuable than the video, given what I presume many consumers are hearing in their homes.

Background for new readers to the thread/forum…Jeff not only has regular folk as clients; but also, those in the industry, e.g. he aided Focus Features in creating a screening room for viewing film masters and Blu-rays at their NYC office. After ‘umr’ calibration, the professional screening room exceeded their expectations for quality audio and video reproduction at a very modest cost….which means he isn’t expensive, so email/call him - http://www.accucalhd.com/

So anyway, the tip today is not an advertisement for an excellent audio/video traveling calibrator as I’m sure many regular readers here already have their own favorite(s) but, if you’re a mountain biker headed out on a future weeklong trip to British Columbia for some serious technical riding and vacation home hunting (like me and the Mrs. will be), based on personal experience -

Don’t Throw Away that Vizio 70” TV Box!…as it makes for a suitable carton to pack up your trusty bicycle, with extras.

[Richard Paul]

Originally Posted by Penton-Man

Richard , it’s probably safe to critique Helman et al. of Movielabs, for I doubt that anyone here has any real or hopeful personal relationship with either of them deeming biased protectionism, plus, I would be extremely surprised if there is any documentation on any consumer electronics forum discussing their proposals/work prior to last Feb. where another analogy was made.

Amazingly, despite the fact of not being a *celebrity video guru* organization, they were approached by the major Hollywood studios in ~ 2007 for their services regarding digital distribution….not others.

I like several of the Movielabs ideas such as 12-bit video and frames rates up to 120 fps but I do disagree on color space and gamut mapping (automated gamut mapping can work but better results are possible when gamut mapping information is provided with the video).

Originally Posted by Penton-Man

You raise a fair concern. I would assume that your beef is not so much with the idea of color differencing per se, but just using something BIG like XYZ color space to begin with?

I don't have a problem with the chroma subsampling but in my opinion the computational/economic cost of using the XYZ color space would put it in the same area as 16-bit video.

[Geoff D]

I agree re: gamut mapping. They can build the relevant conversion algorithms into the players but doing it on the fly with an automated process is not the right way of going about it. Shirley they'll be able to create LUTs for each version which can then be encoded onto the disc as metadata? That would take the guesswork out of it. Is it possible that we may even get selectable tiers of colour gamuts to output the video as? Let's say it starts life as Rec. 2020, it'd be great to get something in between that and Rec. 709, like DCI P3 or even just the extended gamut of xv colour.

That'd mean more work for the colourists of course, but it'd be worth going the extra mile to let consumers know that 4K BD isn't gonna be an afterthought and that they are actively seeking to bring us the best possible PQ for our varying sets.

[Richard Paul]

Originally Posted by Geoff D

I agree re: gamut mapping. They can build the relevant conversion algorithms into the players but doing it on the fly with an automated process is not the right way of going about it. Shirley they'll be able to create LUTs for each version which can then be encoded onto the disc as metadata? That would take the guesswork out of it. Is it possible that we may even get selectable tiers of colour gamuts to output the video as? Let's say it starts life as Rec. 2020, it'd be great to get something in between that and Rec. 709, like DCI P3 or even just the extended gamut of xv colour.

I hope that 4K Blu-ray includes something like that and it takes very little bit rate to include gamut mapping information. While automated gamma mapping will improve with time I don't understand why the movie studios decided that it was a good idea to have a video processor guess on color choices in real time.

[Penton-Man]

Originally Posted by Richard Paul

I like several of the Movielabs ideas such as 12-bit video and frames rates up to 120 fps but I do disagree on...

Believe me, I wasn’t referring to you with the Movielabs comment, more like the abuse of provincial power in another area of the forum.

Originally Posted by Richard Paul

I don't have a problem with the chroma subsampling but in my opinion the computational/economic cost of using the XYZ color space would put it in the same area as 16-bit video.

Good to hear because, at least in regards to mastering workflows, the SMPTE project on YDzDx for High Luminance XYZ images remains active (and is about 50% complete).

[Penton-Man]

Originally Posted by Geoff D

I agree re: gamut mapping. They can build the relevant conversion algorithms into the players but doing it on the fly with an automated process is not the right way of going about it. Shirley they'll be able to create LUTs for each version which can then be encoded onto the disc as metadata?...

Probably the most optimal solution from both the standpoint of consumer cost as well as assuredly preserving creative intent but alas, easier said than done. Needs more work.

[Penton-Man]

Originally Posted by Penton-Man

Tip of the Day….

It’s not necessary to pay big $$ for a quality 4K 70” TV these days given the Viz being an especially worthy video display device if one has the experience and time to calibrate it on your own. If not, you can always enlist the services of Jeff who does it for a living and whose home theater audio calibration, some would rightfully argue, is even more valuable than the video, given what I presume many consumers are hearing in their homes.

Background for new readers to the thread/forum…Jeff not only has regular folk as clients; but also, those in the industry, e.g. he aided Focus Features in creating a screening room for viewing film masters and Blu-rays at their NYC office. After ‘umr’ calibration, the professional screening room exceeded their expectations for quality audio and video reproduction at a very modest cost….which means he isn’t expensive, so email/call him - https://www.accucalav.com/

So anyway, the tip today is not an advertisement for an excellent audio/video traveling calibrator as I’m sure many regular readers here already have their own favorite(s) but, if you’re a mountain biker headed out on a future weeklong trip to British Columbia for some serious technical riding and vacation home hunting (like me and the Mrs. will be), based on personal experience -

Don’t Throw Away that Vizio 70” TV Box!…as it makes for a suitable carton to pack up your trusty bicycle, with extras.

Visual illustration (front wheel, bars, seatpost to come off shortly), and hung over the top tube is my TransRockies (http://en.wikipedia.org/wiki/Transrockies ) finisher jersey which I’m bringing along with me just to make evident to any locals whom I might blast past on the trail, not to get upset, for this type of Canadian riding isn’t my first rodeo …



P.S.
I’ll be back just in time for the SMPTE Annual Technical Conference and Exhibition …
https://www.smpte.org/news-events/ne...ing-theatrical

[Richard Paul]

Originally Posted by Penton-Man

Probably the most optimal solution from both the standpoint of consumer cost as well as assuredly preserving creative intent but alas, easier said than done. Needs more work.

While it may be a while before anything uses it gamut mapping information is supported in the second version of HEVC (which should be officially released within the next month).

Originally Posted by Penton-Man

P.S.
I’ll be back just in time for the SMPTE Annual Technical Conference and Exhibition …
https://www.smpte.org/news-events/ne...ing-theatrical

Someone at SMPTE has a sense of humor and I would be interested in the session called "Dammit, Gamut, I Love You!".

[Penton-Man]

Originally Posted by Penton-Man

Tip of the day...in order to maintain sufficient vision to enjoy 4K movies and content, don’t neglect your eyes. Get regular eye examinations (based on age and any preexisting conditions). And for cripes sakes, don’t take advice from anyone lecturing you about glaucoma who can’t properly pronounce the word ‘Baerveldt’, as it shows their superficial knowledge as related to the topic.

P.S.
Glaucoma can also affect the young, e.g....

Speaking of which….
http://www.dailymail.co.uk/health/ar...-U2s-Bono.html

[Penton-Man]

Originally Posted by Geoff D

But what about the dude taking the picture?

So, I go riding in some of the BC back country hoping to see a bear. Alas, no bears and upon returning we find out all I had to do was travel a few miles out to Pasadena for that viewing experience….
http://www.nbcnews.com/nightly-news/...sh-bin-n227736

[Penton-Man]

Originally Posted by Richard Paul

Someone at SMPTE has a sense of humor and I would be interested in the session called "Dammit, Gamut, I Love You!".

Yes, personifying color with bride/wife-to-be metaphors seems to be in vogue …
https://forum.blu-ray.com/showthread...or#post9754213

Apparently unlike Richard, for those who didn’t live through the days of TRHPS in the mid-70’s and are scratching their heads as to what he meant…

The Rocky Horror Picture Show - Dammit Janet! Lyrics - YouTube

[Penton-Man]

DCP for John Wick(http://www.imdb.com/title/tt2911666/) Note: the workflow included uprezing from ARRIRAW (similar to Skyfall).

Image Format: 4096x1716 (scope)
Feature Run Time: 1:41:07
File Size: 140GB
Audio Format: 5.1

P.S. I'm signing off for now until after SMPTE Tech conference is finished.

[Penton-Man]

Originally Posted by Penton-Man

...P.S. I'm signing off for now until after SMPTE Tech conference is finished.

Well, sorta, as today at the SMPTE tech conference I met a motorcycle/ former NASA (space) geek which compelled me to return momentarily to this movie release thread on Blu-ray.com in order to issue an early heads-up to theater goers.

Please forgive the reminiscing but….opening on Nov 7, may not be a motion picture in 4K rez, but hey, the dirt bike is the one inanimate object which I have had the most passion for throughout my life (with a mountain bike being a close 2nd) and for which I have always cherished the great camaraderie of the participants involved in that sporting hobby, no matter from what walk of life, be they from *sanitation engineers* to particle physicists.

So, without further ado…..
http://www.onanysundayfilm.com/?medi...w&gclsrc=aw.ds

As to the NASA geek relationship part of this post…and 4K, a reminder, also opening on Nov. 7th (and boasting a 4K DCP) is a flick we have previously discussed here that goes by the title of Interstellar.

But putting aside the endless film vs. digital exhibition debate (http://deadline.com/2014/10/alamo-dr...ection-854765/ ) for the sake of my celluloid admiring friends, singhcr, Sap et al., check out the list applicable to your affections and, be there or be square on Nov. 5th….https://interstellar.withgoogle.com/ways-to-see

[singhcr]

Originally Posted by Penton-Man

As to the NASA geek relationship part of this post…and 4K, a reminder, also opening on Nov. 7th (and boasting a 4K DCP) is a flick we have previously discussed here that goes by the title of Interstellar.

But putting aside the endless film vs. digital exhibition debate (http://deadline.com/2014/10/alamo-dr...ection-854765/ ) for the sake of my celluloid admiring friends, singhcr, Sap et al., check out the list applicable to your affections and, be there or be square on Nov. 5th….https://interstellar.withgoogle.com/ways-to-see

Thank you for the list, my friend.

Amazingly, I have the choice of seeing Interstellar in 35mm, 70mm, and IMAX 15/70 here in MN! I'm caught between 70mm and IMAX.

When presented on regular 70mm film, the IMAX sequences have been optically reduced to 70mm 5 perf film to produce a grain-free, ultra-high resolution image, cropped top and bottom to fill the wide screen. The 35mm anamorphic sections have been blown up optically. Both processes are photochemical, preserving the original analog color of the imagery and combined in a 2.2:1 widescreen presentation. The sound is carried on a separate DTS disc to produce state-of-the-art 6-track digital sound.

INTERSTELLAR was shot using a combination of 35mm anamorphic film and 65mm 15 perf IMAX FILM. When presented on 70mm IMAX, the sequences shot on IMAX are printed full quality in their native format- the highest quality imaging format ever devised, offering almost ten times the resolution of standard formats, and filling the giant IMAX screens from top to bottom. The 35mm anamorphic sequences have been blown up to fill the IMAX screen side-to-side using a 6k digital DMR process, the highest resolution processing ever used in a feature film presentation. The finished picture switches between the 2.40:1 and 1.43:1 aspect ratios at key dramatic moments in the film. This is combined with a specially made IMAX uncompressed sound mix for the most immersive presentation of the film.

Choices, choices... do I want high quality for most of the movie at the slight expense of the IMAX scenes, or do I want a blurrier image for most of the movie and have my socks blown off when the IMAX scenes come up? I may have to see it twice in both formats.