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Unfortunately, due to the high volume of emails, we cannot respond to every email individually.Director of Advertising & Brand PartnershipsFor sponsorship inquiries, please see our advertising page. A no holds barred, transparent look at making movies from concept to delivery. This book isn't just for students - it's for anyone trying to carve out a career in the film or television industry and evident that Stanley is trying to help bridge the gap between the classroom and real life by giving the next generation of filmmakers as much ammunition as possible before they venture out into. Comic Pack 3 lets you create blockbuster movie intros through 20 customizable, freeze frame animations Highlights No expert or professional knowledge.No Film School is the leading worldwide community of filmmakers, video producers, and independent creatives.
In reporting Sony’s prototype 8K-sensor F65 camera in my initial NAB blog, I mentioned it was the first digital camera to deliver, per Sony, “true 4K images.” And I said I would explain 4K in a subsequent blog. But first a promised digression. Below are quick notes on advances in cameras, lenses, lighting, monitors, plus the camera as erector set and hummingbird. How professional could $1000 editing software be, anyway?Apps are now coin of the realm—much of a $750K DaVinci color correction system is now found in $995 DaVinci software for a Mac from Blackmagic Design—and while it’s hard to imagine where we’ll be ten years from now, we do know that change, like the expanding universe, is not slowing down. I remember producers transferring MiniDV cassettes of my footage to Betacam for digitizing back to Avid, oblivious to FireWire or FCP 1.0. Gobbledegook or your next production choice?This fifth and last NAB 2011 blog is really about churn.Churn, to my way of thinking, is the degree of agitation and upheaval in the industry at a given point in time, such as this NAB.Apple’s sneak peek of FCP X at the Final Cut Pro Users Group 10 th anniversary SuperMeet reminded me that even a decade ago, indie filmmakers were still coming to grips with the desktop revolution.
Real-world resolution losses from 35mm contact printing, duping, and film projection meant few had ever experienced actual 4K on the big screen. 2K soon predominated for a number of reasons. This answer was universally accepted and seemed to settle the question.As Digital Intermediates grew in popularity, 4K and 2K—2048 pixels measured horizontally—entered the industry’s vocabulary.
As you can see in the illustration, the F65’s pixels are rotated 45 degrees. Its Super35 8K CMOS sensor is unique, nothing like RED’s, or even Sony’s own new Super35 3.5-megapixel Bayer-filter CMOS sensor optimized for 1920 x 1080, found in both the PMW-F3 and NEX-FS100. Uncompressed 1920 x 1080 RGB 4:4:4—found in high-end HD cameras only—was created to get around such limitations of color subsampling and signal encoding.Now we can discuss the Sony 8K F65 camera sprung on NAB.It’s fair to say that without Jim Jannard and RED, the F65 wouldn’t exist.The F65 has a Super35-sized CMOS sensor, check.But innovation is Sony’s heartbeat too, and the F65 throws down a gauntlet. Called REDCODE, of course.Another point of confusion: isn’t 2K, with 2048 pixels across, virtually the same as HD, with 1920 pixels across?The short answer is that 2K derives from uncompressed film scanning, as described above, while 1920 x 1080 or HDTV, created by the broadcast industry, is rooted in legacy TV signals called luminance and chrominance.
No invented color information.Does any of this matter to an audience? Unlikely, as audiences respond to storytelling and acting, not camera specs, and are hard pressed to tell the difference even between 2K and 4K projection—another imminent upgrade.But it will matter to producers and crew, as 4K RAW quadruples the amount of data wrangling and storage necessary to digital production compared to 2K. This produces a “true” 4K output, each pixel on the sensor contributing unique RGB values to every one of the image’s 4096 x 2160 pixels. Camcorders.) Harnessing an active 18.7 megapixels, equivalent to 5882 x 3179, the F65’s sensor is able to oversample 4K.
(Simple Studio Profile 5 at 1.4Gbps for 24p, and SStP up to 3.6Gbps for 60p.) Call it SonyCODE.Believe it or not, talk of 8K acquisition and display is already in the air. Unveiled at NAB were a 1TB SRMemory card and SR-R1 onboard SRMemory Recorder, both designed to handle massive amounts of fast data including uncompressed 4K RAW.For a less taxing alternative—that is, lightly compressed 4K at the same bit rate as uncompressed HD—Sony has enlisted MPEG-4. Next up are 4K field recording and signal processing. The F65 now acquires native 4K images. Their SXRD 4K projector is already well established.
Talk about timely!G-Speed Q 4-bay RAID with screaming fast Apple Thunderbolt on right, yesterday’s FireWire 800 on left.(Let’s return to earth for a moment. There I saw a G-Speed Q 4-bay RAID with Thunderbolt achieve 12 times the transfer speed of FireWire 800. Another new interface, Intel-Apple’s Thunderbolt featured on the latest MacBook Pro, was demonstrated at G-Technology’s booth. Yikes!You’ll be relieved to know that the latest version of HDMI, version 1.4, was conceived to handle 4K2K, including the cinema version of 4K at 4096 x 2160.
Of 16-bit 4K RAW.16Digital Mag for ARRI SR3 contains 2/3-in. A 1TB onboard pack of solid-state drives captures 40 min. (Pull-down claw and spinning mirror are synced electronically, so claw is simply turned off.) The Delta digital back houses a Super35-sized Dalsa CCD—Aaton marches to the beat of a different drummer—with a dual ISO of 100/800. As noted in my last blog, only Vision Research’s Phantom 65 Gold comes by this moniker honestly.)At long last at NAB, a working version of Aaton’s Delta Penelope, a 35mm film camera with a cassette-load digital back replacing its film magazine. Likewise, why F65? Has nothing to do with 65mm film, dimensionally or otherwise.
Canon this year, for instance, introduced their first PL mount lenses, two cine zooms that “also address emerging 4K production standards” per Canon’s PR. Since RED reinvigorated the market for PL mount lenses, new sets of primes and zooms have flooded NAB, all high-performance. There’s good reason 35mm motion picture lenses—the original 4K, don’t forget—are of a certain size, sophistication, and cost. A JVC presenter at the Consumer Electronics Show this January pointed to what looked like the same prototype and proclaimed, “4K2K shooting… in cameras that are within the price range of consumers.”Why would consumers need or want 4K2K resolution? Also, isn’t 4K beyond the optical performance of a built-in zoom lens in an inexpensive handheld camcorder?As I’ve written many times, there’s no Moore’s Law of optics.
Underneath, original Zeiss SLR series.Meanwhile Abel Cine Tech addressed one of the thorniest problems to dog affordable large-sensor cameras like the AF100 and FS100: what to do about a zoom for vérité-style shooting? 35mm cine zooms are huge, heavy, and way expensive. Canon, I’m told, is also developing “8K zooms.”Zeiss CP2 28mm prime with E-mount adapter on Sony NEX-FS100. They’d better be for $45K and $47K.
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