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Carl Brighton

Jim to open "Red Ranch" prod. facility in Las Vegas

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????

Are you sure you're replying to my post?

I've never disagreed with most of that.

They only thing I've ever disputed is the timing; that is, people over many years saying XXX had already happened, when it quite clearly (and painfully) had NOT.

I don't know when, if ever, electronic sensors will be able to exactly emulate the performance of film, it's more the point where enough people will think they're "good enough"

 

 

 

What the world needs badly is 4K projectors that are affordable, reliable and can be operated by your average minimum-wage popcorn seller/soda jerk/washroom cleaner/projectionist :lol:

 

We seem to be agreeing on more things than not (finally). I especially agree with you on the need for 4K projectors in theaters.

 

Jim

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No, we don't need 4K projection. We have never had it, nor anything like it, other than in exceptional circumstances. The fact that the film industry exists at all is more evidence than I need that it is in no way necessary.

 

An uncharitable observer - to wit, me - might also point out the fact that Red has - highly questionably - hung its entire promotional effort on the number 4, and therefore has a vested interest in pushing that number into as many avenues as possible.

 

4K exhibition might be desirable, although I have a feeling that most people are unprepared for the demands that'll make on production design and Nicole Kidman's crow's feet, but it is clearly not necessary. Perhaps it's a blessing in disguise that no camera capable of it has ever been released.

 

P

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No, we don't need 4K projection. We have never had it, nor anything like it, other than in exceptional circumstances. The fact that the film industry exists at all is more evidence than I need that it is in no way necessary.

To be precise, I basically just meant electronic projection.

 

Thing is , though, if somebody can eventually do affordable, reliable, easy-to-use 2K projection, I don't think there's that much of a technological gulf between that, and 4K. The killer is the light source.

 

Flat panel TVs went from 1366 x 768 (or less) to full HD 1920 x 1080 in only a couple of years; there's no technological reason why projectors couldn't be similarly scaled up.

 

Also, don't forget that computer animation will almost certainly be able to surpass the resolution capability of any sort of cameras fairly soon.

 

As Avatar has shown, motion capture technology is entering an entirely new ball game, where real actors, rather than software Geeks, create the animation. The live-action sequences in Avatar badly let down the animation, in my opinion anyway. Dynamic range is not a real problem on a soundstage (TV studios have done this for decades), but I think resolution will become a major issue.

Don't forget; even computer animation done at 2K can always be re-rendered at 4K; but what you shot in 2K (or HD) is always going to be 2K (or HD).

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As Avatar has shown, motion capture technology is entering an entirely new ball game, where real actors, rather than software Geeks, create the animation. The live-action sequences in Avatar badly let down the animation, in my opinion anyway.

 

Yet, it won "Best Cinematography" here in the states.

 

 

If they would've just properly shot those sequences on film, even with one camera, the results would've been much much better.

 

 

It's like when I see still photographers these days working with a key light and maybe an on-camera flash, of course their lighting contrast ratio is going to suck.

 

 

I bet, despite its bloated budget, Cameron skimped on practical lighting. That's OK though, he's the "best" movie, cinematography-wise this year anyway, thanks to people that don't know what that term means :angry:

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I don't know, I think that's legitimately cinematography. There's been some nice virtual cinematography going on in previously-obscure genres like computer game cutscenes, both in realtime rendered graphics and in prerecorded video. Inasmuch as cinematography is about making nice, appropriate images, that's cinematography, although it's obviously a different skillset to going on set with a camera and a crew. Perhaps it needs alternate recognition.

 

P

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I Inasmuch as cinematography is about making nice, appropriate images, that's cinematography, although it's obviously a different skillset to going on set with a camera and a crew. Perhaps it needs alternate recognition.

 

P

 

I agree, Phil.

 

 

It is deserving of an award, just not best cinematography. I am going to wear sack-cloth for the next five days, because of this decision.

 

I bet the HD cinematography guys are equally insulted. They oughta be on a sloped playing field downwards from ours, but I concede they're in the running.

 

These animator guys should be no more in the running than the guys that did the SFGX on Star Wars back in 1977.

 

 

 

The people voting on the awards are totally out of it, selecting a CG movie over a predominantly live-action one, IMHO. . .

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I don't know, I think that's legitimately cinematography. There's been some nice virtual cinematography going on in previously-obscure genres like computer game cutscenes, both in realtime rendered graphics and in prerecorded video. Inasmuch as cinematography is about making nice, appropriate images, that's cinematography, although it's obviously a different skillset to going on set with a camera and a crew. Perhaps it needs alternate recognition.

 

P

I tend to agree. I mean after all, they have awards for all sorts of things: Talent direction, Art direction, costume design, musical scores, yes, even acting, none of which are going to be massively impacted by the quality of the cinematography. (Not directly anyway). If cinematography is defined as the art of putting all these other people’s work on the screen in a visually pleasing or appropriate way, well, yes the CGI in Avatar counts as cinematography. After all, if you’ve seen any of the “making of” documentaries, the motion capture process was very much like shooting a conventional film. Is it really that different from shooting real actors in front of a green screen?

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Meanwhile, just when you thought it was safe to move out of the Foyer :rolleyes:

 

New, greatly improved (or so they say) Film-Based 3-D projection systems

 

If they can be believed, dust off your old film projector, bolt on a new Schneider lens system and it's business as usual, with a lot of help from DI pre-processing!

Just goes to show how much information real estate there is on a 35mm print. As well as the picture, we already have stereo analog audio which expands quite convincingly to 5.1 surround, and room for three completely different digital multi-channel sound systems.

 

For this to work competitively with digital projection , I think they would need to burn individual printing negatives for all the duplicating labs (or get them to make their own from the digital files), rather than working from a single Arrilaser master. Which could happen anyway as competition from digital projection increases.

 

Looks like the Digital Doomsday Clock has been set back to 11:30 :P

 

It's a shame "The Hurt Locker" (16mm!) didn't win its award in the time frame a certain person made a certain wager about, but even reality isn't that cruel, surely :P

Edited by Keith Walters

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