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Found 8 results

  1. I've read that down-sampling an image from 4k to 2k can yield benefits in the sense of: A 4:2:2 4k image down-sampled to 2k, would result in a theoretical 4:4:4 2k image, leading to a chroma resolution similar to the luma resolution. By binning the pixels, you average random variations (reducing noise) and boost non-random variations (signal), leading to an increase in the SNR It also increases sharpness, although I am not sure how. Now these points all make relatively sense to me and I'm sure that it also depends on the algorithms used for the down-sampling. However, my question is how does this down-sampled 4:2:2 4k image compare to a 4:4:4 2k image, will it have better chroma resolution at lower storage, will it have less noise, will it be sharper, or is the down-sampled 4k image just better than a 4:2:2 2k image but the same as a 4:4:4 2k image. How much does the algorithm play a role? And ultimately, if I were to film something would I be better off down-sampling 4k to 2k, or should I just film 2k. I guess this leads me to another question, when I film 2k on a native 4k sensor and use the whole sensor, does it theoretically bin the pixels automatically, so doing filming 4k and then down-sampling in post would be redundant?
  2. I've been reading around the internet and it seems like this is a question which's already been asked lots of time, and it's frustrating to see there's never a precise complete answer as for the perfect workflow to follow for a roundtrip Premiere-Davinci. A. We shot in 3.2K with the Arri Mini, (so 3200x1800 1.77). Final release will be in 2K 2.39 scope DCP. B. The proxy in Premiere are: 1280x720. The editor sent me the XML of 2048x1080 where he also added the the 2.39 letterbox. In Davinci I'm setting up a 2048x858 timeline - scale full frame to crop. Is it correct? And I relink my original footage to it and do the grading. When it comes to export, I export on the same 2048x858 scale full frame to crop and XML? Back in Premiere for the final export, the editor connects the xml with the original file, on a timeline of 2048x1080, adds credits and such, and then export. Is it a correct workflow? Thank you! S.
  3. I've been told the information in a 4k image from a 4k sensor is anything from 33% to 70% on a bayer sensor. I am so confused with so much misinformation around. I've looked through the forums and learned a lot about this topic. But it never answered this question. - Is 422 from a 4k sensor real 4k 422? - Exactly how much real color information is in a 4k sensor at 4k resolution (pixels)? You get the jagged edges when trying to key a 420 image... Why would a 4k 422 sampling from a 4k sensor be any different. If its not enough information there will it look like 420 even at 422?
  4. Currently a cinematography student at the Northern Film School in Leeds, I'm in the process of researching for my dissertation the subject of 4k, and what this means for film. Specifically, I'm studying the impact that 4k is having on producers/studios, consumers, and the production process itself. To aid in my research in the latter section, I'd like to know whether shooting on 4k causes any changes for camera operators in terms of shooting requirements, extra research/learning or a change in operating style etc. Any information or guidance would be greatly appreciated! Thankyou!
  5. Hi everybody, I apologize in adavence if the question is silly but: I know that the bigger the sensor the shallower the depth of field is, but does that translate in digital related to the resolution of the camera? To be clearer, on the same camera, for example an alexa super 35mm cmos sensor, shooting 3.2k or 2k or standard HD is it gonna effect the depth of field? Thanks for the help!
  6. If I decide to film something in 4K, and some years from now TV channels around the world decide to broadcast their content in 8K as the new standard, how will my 4K film appear on an 8K screen? What happens in the reverse case, if I show a higher-resolution video on a lower-resolution screen?
  7. Shooting with Sony F5, the idea is to have a final film with a cinemascope look once it'll be projected. I know I can't have the choice but to shoot with the native aspect ration of 17:9 of the F5, I'll so put the letterboxing markers (2.4) that crops the native aspect ratio. My question is: do I lose lots of resolution once I put 2.4 mattes on the 17:9 native to create the cinemascope look? What could be the solutions? If I shoot 4K external could be a better compromise to the loss of resolution? Since I'm recording with an higher resolution then the internal 2K? (When I set the mattes in the camera, do I record already with them? or the markers are just guide lines that help me framing knowing what would be the cinemascope look at the end?) If I shoot with Red Epic (Dragon sensor), what could be the best aspect ratio settings for a final cinemascope look? 6 wide, or do I crop later with the mattes? I can't use any anamorphic so I can't take this possibility into account. Thanks a lot for any help!
  8. Hi. You're making a movie with a 60D (1080p FULL HD at 24p) and you want to blowup it to 35mm. What resolution would you use in FinalCut? Full HD (leaving all the hard and expensive work to the LAB)? 2k (resizing the 1080p FULL HD material to 2k size)? OR 4K (resizing the 1080p FULL HD material to 4k size)? Any additional tip will be much appreciated! MR
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