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Thomas James

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Everything posted by Thomas James

  1. Okay maybe its a deinterlacing artifact caused by a line doubling bob deinterlacer. Unfortuantely most people attribute deinterlacing artifacts only to weave deinterlacers which produce cog like artifacts but there are a lot of other ways to deinterlace.
  2. You are seeing interlace aliasing artifacts.
  3. You should have bought the progressive scan camcorder.
  4. And not even the 65mm IMAX format was immune from the heat of the competion from high definition video cameras. In response to the high definition's claim of superior motion fidelity, IMAX indroduced the IMAX HD format and showcased 2 movies called Momentum and Soaring over California. Although the IMAX HD format was never sucessfull the mere fact that IMAX directly tried to come up with its own answer to the threat of high definition picture quality is in fact monumental.
  5. So how many film shooters strive for that Red digital square box pixel look Tom?
  6. As long as video shooters try to achieve the film look, video will become a dying format at least in spirit. However in the future when film shooters try to achieve the video look in order to create better motion fidelity, film shooters will then question why they have to bother with shooting film in the first place.
  7. I think all this talk about using 65mm film to improve the quality of a 3-D movie is a joke. To improve picture quality 3-D does not need so much added resolution but rather a higher frame rate. This is because the hyper reality of 3-D makes the motion artifacts of 24 fps so readily apparent as to become unacceptable. Using higher resolution formats such as IMAX simply does not fix the problem.
  8. As long as Cinematographers prefer the film look over the soap opera reality look film will never die. Film will only die when film shooters strive to achieve the video look.
  9. Inception was filmed using 65mm film. Yet you are using that as a basis for recommending that 35mm film should be chosen for 3-D. If 5K digital is an inferior format compared with 65mm film then 35mm film will likewise be an inferior format.
  10. What I meant is that a producer can no longer rationally insist on the use of 35mm film as an excuse to weed out film makers from auditions but must accept digital content as well. However I also pointed out that producers can use other excuses to dismiss consideration of an emerging film maker in favor of more established film maker. It would be interesting to know if going through the trouble of creating a trailer in 3-D would open any doors for an audition.
  11. Baraka is an example of a great movie due to the fact that it was shot on 65mm film.
  12. I think it boils down to this. Even if you have a lot of talent, most of the time you will not be taken seriously unless you have the picture quality to showcase your talent. In the past no one would even look at your work unless it was shot on 35mm film. Now due to the fact that Epic films are being shot using digital cameras a film maker is almost guaranteed an audition when he presents his trailer to a producer for financial backing or the producer has to come up with another excuse to exclude the film maker. Right now a digital film maker can argue that the picture quality is greater than a conventional 35mm film production. 1. A digital 3-D production is already commanding higher ticket prices than a 2-D film production although film cameras can also be used for 3-D production.
  13. The day that film dies is the day when all film shooters strive for the video or reality look. We see this already happening because NFL films is now shooting 16mm film at 120 frames per second which may be a subconcious attempt to achieve the video look or at least an attempt to compete with video cameras.
  14. Chris Nolan does not count because he uses 65mm film. When one says that film is dead we are talking about the death or obsolescence of 35mm film. Using 65mm film future proofs a film production for a long time before it becomes obsolete.
  15. The problem with an over the air CBS or NBC interlace 1080i sports broadcast is the picture looks like garbage with massive compression artifacts. However an ABC, Fox and ESPN which uses the progressive scan 720p format the picture rocks.
  16. For soap operas I believe it was always an aesthetic choice. Had a film look been required they would have shot the episodes using 16mm film cameras. But since soap operas deal with the reality of everyday life a film look is not required. However audiences that pay to see a movie desire the film look rather than looking at a giant television screen at least for the drama portions of the movie. But with 3-D the motion artifacts of 24 frames per second are so noticible that higher frame rates are required at least for the fast action sequences in order to avoid headaches and nausea.
  17. Traditionally Soap Operas have opted for the reality look rather than the film look because Soap Operas deal with everyday life. With the advent of high definition television the progressive scan 720p format with its 60 frames per second capability seems to be the best choice if one wants both a reality look and to avoid the interlace artifacts of 1080i. However for Cinema audiances do seem to prefer 24 fps at least for the drama portions of the movie. But for the fast action sequences 24 fps loses its monopoly in the court of public opinion. But 3D is a whole different ball game. Most Directors of Photography fail to realize that 3D cinematography produces such a realistic image that the motion artifacts of 24 fps stand out like a sore thumb. Even though audiences complain about headaches and nausea after watching 3D footage shot at 24 fps DOP's insist that the film look must be maintained at all costs.
  18. 24 fps is only the standard for film projection. 24 frames per second and 48 frames per second is the official DCI (Digital Cinema Initiative Standard) for 2 dimensional theatrical digital 2K projection. So like it or not the cat is already out of the bag. Although currently the DCI standard limits 3D projection to 24 fps for each eye, It is a known fact that as image quality improves due to higher resolution technologies such as 3D, the motion artifacts of 24 fps becomes naseating because these artifacts become more apparent. However this does not mean that the film look will have to be abandoned. Directors who like the film look may champion 30 fps as the best way to reduce 3D motion sickness while retaining the film look.
  19. Perfs are the socket holes in a reel of film. Since IMAX film is shot sideways, each frame has 3 times the surface area of a frame found on a conventional 65mm camera.
  20. I thought Harry Potter is taboo because it involves witchcraft.
  21. Yes but if the theatrical projectionist decides to play the footage back at a higher speed then it is no longer slow motion. But that is not the point.
  22. The cost of lighting will just be a cost of doing business. More and more Directors will start to realize that in order to do 3D right the rules of the game will have to change. This does not mean that film will be dead overnight because a Director can choose to use 2 perf 35 mm film or even 16 mm stock with the suprising result that the higher frame rate 16mm footage will appear sharper. In fact the NFL Films production company has been shooting 16mm film at 120 frames per second for years and nobody complains about the picture quality.
  23. Jim Jannard is boasting that the Epic can shoot at 120 frames per second. With 3D higher frame rates are a must. Of course film cameras can shoot at higher frame rates but at what cost?
  24. Because IMAX cameras were so bulky Chris Nolan decided to film Inception using the 5 perf 65mm format rather than the 15 perf IMAX cameras that he used to film Batman.
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