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  1. This is awesome news! For those who only want pristine 1080p would be then downscaling to 1080 4:4:4 and then grading or would we be grading in 4k 4:2:0 and then scaling down?
  2. Excellent post Andrew. I think for those of us who are more concerned about getting the best 1080p it will be interesting to see tests around how well the different cameras scale down to 1080p look. Also there hasn't yet been any comparison of the GH4 4k scaled down to 1080p versus GH4 - 10bit 4:2:2 1080p. 10bit 4k on GH4 sounds too pricey but the biggest IMO will be if we can just as good as an image from 10bit 1080p as we do from 8bit 4k scaled down to 1080p then this is a HUGE win with less gear and getting pristine 1080p right out of the box. Just a suggestion for any future tests yo
  3. Roger Deakins' Prisoners looked amazing which is obviously no surprise given who's behind the camera. All of his stuff on the Alexa has looked very filmic and in his hands it beats the best all the other RED stuff I've seen. I do believe because of Deakins' work on this camera a lot of other DPs are going to it for belief that they can replicate his look. Still though there are some RED films that really stands out for me and its either by Fincher and Soderbergh. Social Network and House of Cards both have a unique lighting that give the images a certain look that I've only seen been
  4. This is a great interview of the ARRI folks at IBC 2013 in September. Their points about 4k and why they aren't jumping to it until they can see improvements in image quality are very interesting. I think what most of us are saying here is rather than stamping every new pro/consumer camera with "4K" which means who knows what other than resolution, make us an affordable 2.8K Alexa sensor which plenty of DPs are absolutely happy to film on for their 4K projected films.
  5. Thanks for sharing your thoughts Andrew. Always look forward to your blogs especially ones on the future. Overall I get the gist that 4k is going to give us better image quality compared to what we can currently get on pro/consumer cameras. However, consider the fact that plenty of big budget films being shot digitally right now and until next year on the Alexa will still be doing so at 2.8k. I know it maybe dated now, but even Hugo in 3D was shot in 1080p. Most DPs who choose the 2.8k Alexa over 4k RED say it was the resulting image quality that made them go with Alexa even after u
  6.     aside from indie studios like the weinstein's who do the best job at not only putting out art but making it profitable, i doubt this is going to change.  case in point Relativity Media which puts any project through some computer model (Monte Carlo method) taking in all sorts of variables from script plot points, actors, genre, etc. before greenlighting a project.   it sounds crazy to any filmmaker that their project would be determined by an algorithm, but this is the sad reality of how it works now.   also, i do think in some way the superiority of home theat
  7. i really like all your postings Andrew, but this one i have to disagree with vehemently.      As far as the definition of what makes "cinema", i don't believe you can divorce the visual/audio experience from the audience.   no matter how superior your home theater may be, it is simply not the same thing as watching it with an audience.    aside from all the gimmicks of 3D, 48fps, or whatever new concoction hollywood tries, the audience is the one thing they will always have going for them that cannot be replicated.   there are plenty of people who don't lik
  8. I have a secret ... I often tell people my things are shot on a RED but in reality its a GH2.  Even RED owners whom I've shown my stuff to can't tell.  Please don't tell anybody.
  9. One movie I saw and loved in 3D and I think could definitely make use of the higher frame rate look was JACK ASS.    It seems everyone is just talking about certain types of films but there are many possibilities for all sorts of films, not just your typical fictional narrative.  One thing that has never been done well in my opinion is a film strictly in POV perspective and I believe it has a lot to do with the strobing of 24fps that makes it difficult to watch and feels unreal.  This is one area of a new type of narrative I could see emerging given the new generations
  10. There's probably no one alive anymore but it would be interesting to know how early cinematographers during silent films era who shot at 16fps  felt when 24fps + sound became standard and if there was any resistance to it.    It's obvious that due to those technical advances the narratives that film dealt with began to drastically change.  I think this is the same shift in paradigm.  Higher frame rates + 3D have a different feel that can be applied to a certain type of presentation for a given narrative.  It maybe something completely new we've
  11. i really believe this is a generational issue.  the issue really is what does someone consider acceptable for a narrative.  with younger generations who have grown up watching video games with narrative sequences in 60fps there will be less resistance to a 60/48 fps film.  they are used to seeing this all the time whereas older generations were only used to the soaps and sports. it might be that the hobbit won't be right because the fanbase is older, but imagine a film based off of a video game.  wouldn't it make sense to make the film feel like the video game
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