Separate names with a comma.
Discussion in 'Blu-ray and UHD' started by Robert Harris, Jan 23, 2011.
Interesting reference. Bookmarked it for further review. Thanks.
Long live Anne V. Coates.
This is probably old news to many of you but i just read it.
A digital camera that can now rival 65mm film, it will be interesting to see the new films shot with this camera when they come out.
Technology just keeps getting better, now if only cinema screens would get bigger to take advantage of all this.
[color=rgb(0,0,0);font-family:'Lucida Grande', Arial;]"Women make good editors – they generally have more patience as they deal with children all the time, which is much the same as dealing with directors." [/color]
A great editor is not always a great diplomat! I hope directors do not take offence at that remark. Very sorry to hear about her back and leg problems: I hope it's not sciatica; very nasty and very painful.
RED can keep throwing pixels at their sensors and claim that they rival 35mm, 65mm, IMAX, or super-duper-ultra-awesome-9,000mm film - but their cameras still have a distinctive "video" appearance and mushy colors. The 1080p Alexa will continue to outperform them until they solve that problem.
I think it's more a question of how the filmmakers use the tools, i have seen plenty of great looking Red shot movies, digital post production fixes much these days so if there are mushy colours it's because they want them to look that way.
The Alexa is 4k
The Alexa has a 1920x1080 imager. After debayering and 1.5x oversampling, Arri describes it as a "2k" camera. As recently as three months ago, the company said: "4K, right now, is way overhyped."
Many cinematographers agree that the overall picture quality is far more important than pixel count.
RED is popular because it's cheap and the company hypes its ever-increasing pixel counts. This has allowed it to proliferate in television and indie film productions. Very few big budget productions use RED, because they can get better picture quality from competing 2k cameras.
I think that is changing, both the Red Epic and Sony F65 are in demand now.
A fun piece donated by its author, Nick Zegarac:
For a minute there when i read it was Foxy Logos i thought you were recommending an avatar for me.
I thought the Alexa had a 2.8K sensor.
EDIT: According to Abel Cinetech, it has a 3.5K sensor: http://www.abelcine.com/store/Classic-ARRI-ALEXA-Starter-Kit/
EDIT 2: From Wikipedia: "Sensor Information: The Alexa's ALEV III sensor has 3392 × 2200 effective pixels used for generating an image, however, only 2880 × 2160 pixels are used for recording on the Alexa Studio and M in 4:3 mode, and 2880 × 1620 pixels are used for recording on the regular Alexa and other models in 16:9 mode, the rest are used for lookaround in the viewfinder."
Unfortunately, DL didn't make the screening, as he was in the hospital. I visited him there the previous day. He knew that I'd wanted to meet Richard Attenborough, and found myself strangely seated directly behind him.
Great performance in Matter of Life and Death. I recall him turning around shortly after we arrived, and introducing himself. Nice evening, especially spending time with the entire camera crew.
I'm showing this at my backyard theater, SkyDome Cinema, in September.
Re The Odeon Marble Arch, I posted some pics from 1978 when it had the last D -150 presentation of Star Wars on the
IN 70mm .com Website last year.
I'm finding contradictory info on this all over the web. I'm sure you're closer to this than I am. Regardless, Arri calls it a "2k" camera and has been downplaying the hype over 4k, which is all I was getting at.
Did anyone else have to keep changing the volume on this film. At times I had to turn the volume way up when they were speaking, and down again when the music came on.