|
|
This topic comprises 3 pages: 1 2 3
|
|
Author
|
Topic: Ready Player 1 in 5/70mm
|
|
|
Bobby Henderson
"Ask me about Trajan."
Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001
|
posted 03-09-2018 11:45 AM
quote: Tyler Purcell
There are A LOT of reasons why the studio's still use 2k as their base for VFX work. The main reason is that nobody knows the difference and it saves A LOT of rendering time.
If that's really the case then why should anyone bother buying a 4K UHDTV set, or UHD Blu-ray discs? Why even bother filming something on 65mm film versus shooting it in 1080p with a video camera? If no one can tell the difference what's the point of bothering with the large format film cameras and projectors? Hell, why even bother with the film projectors at all? Why even bother with these JPEG2000 based DCPs for theatrical use? Give them a Blu-ray or an even lower bit rate Netflix style stream. If no one can tell the difference between 2K and 4K then why bother with any of that other shit?
Of course I can tell the difference between 2K and 4K and I've seen what real 70mm can deliver in terms of image quality. If the movie studios want me paying upwards of $20 per ticket to watch something that's fundamentally not really any better than what I can watch on my ordinary 65" 1080p HDTV set then it's a pretty tough sale to make. They need to be trying harder by doing a better job of it rather than pretending that we're still living in the late 1990's in terms of computational capability.
quote: Tyler Purcell
It's been proven time and time again, resolution of the medium on screen means very little, just look at the Super 16mm movies released in the last few years, they are at maximum a 2.5k medium and the movies still look crisp. The Phantom Thread on 70mm looked outstanding and that wasn't even a digital blow up.
Phantom Thread, as far as I know, what not post produced via digital intermediate. Its 70mm prints were blow-ups from 35mm film elements. And, yes, if the film emulsion is good enough Super 16mm can certainly yield a good quality HD resolution image. Film is not hard-bound to a Bayer pattern pixel grid.
quote: Tyler Purcell
Ohh and Murder On the Orient was nearly 100% 5/65... I think they used the digital camera for a night shot or something very minor.
Even if they shot nearly 100% of the movie on 5/65mm the footage was scanned and post produced in 4K before being output on a few 70mm prints.
By the way, thanks to the surcharge fad from IMAX, any show in 70mm usually carries a serious up-charge. That makes the act of outputting a 4K DI to 70mm just to market that "70MM" thing seem a bit like a rip-off.
| IP: Logged
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
All times are Central (GMT -6:00)
|
This topic comprises 3 pages: 1 2 3
|
Powered by Infopop Corporation
UBB.classicTM
6.3.1.2
The Film-Tech Forums are designed for various members related to the cinema industry to express their opinions, viewpoints and testimonials on various products, services and events based upon speculation, personal knowledge and factual information through use, therefore all views represented here allow no liability upon the publishers of this web site and the owners of said views assume no liability for any ill will resulting from these postings. The posts made here are for educational as well as entertainment purposes and as such anyone viewing this portion of the website must accept these views as statements of the author of that opinion
and agrees to release the authors from any and all liability.
|
Home
Printer-friendly view of this topic