WOT: Film DI

farss wrote on 4/7/2005, 7:02 AM
Here I was feeling pretty smug thinking with HDV we could finally do something that sort of would look OK on the big screen and then I just read the specs for film DI system:
Resolution: 6K lines
Bit Depth: 16 bit DPX
Compression: TIFF
Storage requirements: 164 MBytes per frame.
Maybe sprockets have still got a few more years left in them.
Bob.

Comments

David_Kuznicki wrote on 4/7/2005, 7:51 AM
Here I was feeling pretty smug thinking with HDV we could finally do something that sort of would look OK on the big screen and then I just read the specs for film DI system:
Resolution: 6K lines
Bit Depth: 16 bit DPX
Compression: TIFF
Storage requirements: 164 MBytes per frame.
Maybe sprockets have still got a few more years left in them.

Is it really at 6K? I thought (mistakenly, I guess) that they scanned @ 2K, or 4K if they needed it for effects work.
What a crazy world!

David.
Grazie wrote on 4/7/2005, 8:02 AM
LOL! - "Maybe sprockets have still got a few more years left in them."


. .true true . ..


G


B_JM wrote on 4/7/2005, 8:55 AM
i could get into a real diatribe on this - but suffice to say these specs were arrived at by people that are not "digital friendly" ..

Sin City was shot on HD , so was sky captain .. Both look great and why would they have to be displayed at higher res than shot ?

also keep in mind that D-Cinema has already (the possability of) greater color depth than film.

MOST theater digital Cinema systems are still ~1.2k resolution , 2K is catching on strong though ...

the proposed specs are not possible for another 5-10 years -


rmack350 wrote on 4/7/2005, 9:30 AM
Oh, Sprockets have quite a few years left. The demise of film doesn't come from video competing toe to toe but from the fact that audiences often accept less resolution and smaller screens.

Basically, you use film when the product is worth the investment.

Rob Mack
farss wrote on 4/7/2005, 2:33 PM
Reading further, they scanned at 6K and then downscaled to 4K.
I thought Sony had a projector capable of 4K resolution which was the res that the film guys considered the holy grail.
Rest of the article is very interesting, there's a chart that dramatically shows the relationship between contrast and resolution (the contrast sensitivity function). Just moving the chart towards and away from yourself it's quite dramatic how the 'shape' of the chart changes.
It also devotes a lot of space to The Aviator and the work done to emulate the look of the 2 and 3 strip Technicolor film.
Bob.