4K

Wild Tiger said:

Wild Tiger wrote:

Chill Man. 8 times is a typo. It is 4 times.

4k = 4096x2160

1080p = 1920x1080

So one can easily calculate how many times it is. The idea was to say that 4k is not double but 4 times, so has enough pixels to create different PoVs.

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Well now.... WE all knew all of that before. And NOW, it seems that YOU know it, too. ;-)

However, you are not even comparing apples to apples here, Tiger. You are using CINEMATIC 4K pixel numbers instead of television 4K resolution (it should be 3840 x 2160 for the new 4K TV standard , whereas you are using TELEVISION HD photosite numbering instead of cinematic's 2K (which is, of course, 2048 x 1080). Only if you do as this, will you get the exact 400% pixel counts both ways, that is, both for cinema-style and television standard 4K, see? Yeap, they are not one and the same -- 4096 lines versus only 3840, dang. It could have been so simple -- but they made sure it is not.

Confusing as all-get-go, I must admit.

Wild Tiger said:

The simple fact that a 4K acquisition can be cropped in number of ways to give different PoVs doesn't seem to go well with you.

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Not true, I think that is a good idea actually here and there. It's just most folks will probably not invest in purchasing and/or renting ultra-expensive 4K equipment -- only because they want to crop and chop down the recorded 4K native resolution images down to pedestrian HD or even 2K resolution. If that is all they need, why not go with the much, much cheaper and simpler HD gear in the first place?

Wild Tiger said:

Wild Tiger wrote:

Only these 10 films are available in 4K DCP in 2012.

- Django Unchained
- Lincoln
- Skyfall
- Argo
- The Master
- Premium Rush
- The Dark Knight Rises
- Magic Mike
- That's my Boy
- Sport de Filles

The previous info is from Sony's site. If they would have missed out on some, then I can't say. So the number of films finished in 4K is pretty less.

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These are Sony Pictures Group flicks. Sony fancies itself as "King of the 4K Cinemas" and 4K projectors, unfortunately they are "selling" their 4K PJs well under manufacturing costs to the theaters.

Image quality wise, the Texas Instruments 4K DLP chipset PJs made by Barco and Christie Digital smoke the Sony SXRD chip 4K PJ.

And it is very sad to see the Sony DCI-spec'd 4K projectors that are installed usually projecting only 2K resolution material.

"Skyfall" in particular is pretty weird, since it was shot with Arri Alexas that can only handle 2.5K resolution maximum, so that had to be "upscaled" from camera 2.5K to presentation 4K. Hey, if Sony can do it this way and get away with it -- why are they expecting the rest of us little people to pay top money to them for their new crop of native 4K resolution D-film cameras, huh?

Wild Tiger said:

Some of the films like Skyfall was shot in 2.5K raw and upscaled. There were some films which were remastered in 4K. Some of these were simply upscaled, others were scanned in 4K. However, there is a difference between material which has been captured in 4K and which has been scanned from films.

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So, the 4K is really only 2.5K, huh?

I don;t know of ANY film negative these days that does not get scanned in at least at 4K rez. They will scan it in at 4K, even though right after that they may strike from it a 2K rez DI and work with that all down the line. Anything and everything to save a buck here or there, huh?

Since analog film is inherently superior to anything digital, the main difference between film-based and digital 4K is, that whereas a 4K scanned film that was shot on celluloid will look robust and believable due to is inherently original analog nature, another film that was shot with a 4K digital camera has to shed some blood and tears before the post crew can massage it into something that looks like it was shot on film.

Now, if the filmmakers don't mind the video look, that will save time and money in the grading process, too. I understand that in recent test showings, androids and robots picked the digital format superior to analog.

Thanks Francis,

I checked a bit, and the fs700 4k is not ready for prime time... perhaps at NAB.

Even if the codec is not up to pro level rates and such, this cam may be the only chance my budget has to get a good cam with a lot of features, slo mo being very attractive.

My uses are not pro, just personal, so I cannot make the jump to the F5+ levels of $$. I do have a few PL TV lenses from other projects, and might use an E mount to PL adapter in the end.

The 2K to 4K and pixel toTV numbers are interesting, Did we get to 1080 from 540 (525) NTSC/PAL?

It's Good to have this thread to read


Mike

Rovers said:

Rovers wrote:

Thanks Francis,

I checked a bit, and the fs700 4k is not ready for prime time... perhaps at NAB. Even if the codec is not up to pro level rates and such, this cam may be the only chance my budget has to get a good cam with a lot of features, slo mo being very attractive.

My uses are not pro, just personal, so I cannot make the jump to the F5+ levels of $$. I do have a few PL TV lenses from other projects, and might use an E mount to PL adapter in the end.

The 2K to 4K and pixel toTV numbers are interesting, Did we get to 1080 from 540 (525) NTSC/PAL?

It's Good to have this thread to read

Mike

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Yeah, NAB this year will be watershed in so many ways, I am sure. The 4K recorder is indeed long overdue for the FS700, they need to keep that to around $3,000 in price, however. Quality will of course not be the same as what one can expect out of the CineAlta F5 w. the modular 4K-corder, but then again, the F55 will most likely beat the F5, and the F65 will beat all of them handily.

BTW, this JVC Procision camcorder claims to be able to shoot 5.9MP still iamges at 60 images per second. Well, 5.9MP == app. a 3K video resolution, and so if the frame rate can be further reduced to maybe 30 or 24 fps, this might be the poor man's way to 3K rez video, huh?

JVC Camcorder recording 3K rez video at 60fps

The killer question here is, for how many seconds will it record at this super-high rez and frame rate? I expect to get the answer to that by tomorrow.

http://www.aaton.com/products/film/delta/



Anyone seen this thing for real?

Member said:

jydurocher wrote:

http://www.aaton.com/products/film/delta/


Anyone seen this thing for real?

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silyn said:

silyn wrote:

silyn said:

jydurocher wrote:

http://www.aaton.com/products/film/delta/

Anyone seen this thing for real?

Click to expand...

http://blog.abelcine.com/2012/09/27/aaton-unveils-the-delta-penelope-camera/

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I had read that and the links. Gosh does Beauviala looks old! The quartz speed control motor that he built for the Eclair NPR was a godsent, copied right and left. No more cable between the camera and the Nagra!

And the Aaton was a dream, taking off from the NPR, a rush job done for the French public broadcaster ORTF from the KMT design, it corrected some 'flaws', one being the magazine that leaked like crazy and needed more love and tender care that any AC could care for. In Week-End, by Jean-Luc Godard, there is a scene where Jean Yanne, supposedly a cameraman, throws his NPR on the bed, it must have been welded, usually the mag would have split from the camera followed by the two covers!

But there is that sentence that must be read: Theres nothing like having a camera where logic and form take precedence.

http://johnbrawley.wordpress.com/2012/09/17/aaton-delta-penelope/

And Aaton is famous for this, as Arri is for robustness.