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  1. #171  
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    Quote Originally Posted by Jannard View Post
    That's EXACTLY my point. People don't see what's coming until it is there. 9 companies have home 4K displays finished and waiting to ship. This isn't a question of "if" it is going to happen. It has already happened and people still aren't seeing it. So Mike... when these displays begin shipping, what will you think about all those 1080P jobs you did? Just curious.

    Jim

    I didn't realize 4K displays were quite so imminent. So, what I'm getting from this thread, and giving great weight to your statement, is that we may have 4K displays commercially available for home theater "early adopters" as early as Holiday 2011, if only there is content to display on it.

    Quote Originally Posted by Graeme Nattress View Post
    Well, that, as we know, depends. There are some cameras with nearly 6k pixels across that still measure sub-1080p, whereas even "lowly" RED One still has superb MTF at 2k and negligible aliasing. Oversampling is a necessary condition, but it's not sufficient.

    Now, if you want to see a full 1080p detail on a 1080p screen, that's very hard without inducing ringing from the downsampling filters. You're better off using a higher resolution display if you want to see 1080p detail without ringing or aliasing, and that takes us back to 4k+. When you shoot 4k+ you have the data you need to downsample properly, but downsampling can show ringing or aliasing. If you shoot 4k+ and deliver 4k you're using nice downsampling filters that won't ring or alias much and will preserve the integrity of the image in a way that downsampling to 1080p never can. In the end, if you accept the case for oversampling is necessary to capture a 1080p image, by the same branch of math, you get the conclusion that you also need an over-sampled display, and takes us to the logical conclusion of 4k+ capture and display!

    Graeme
    I follow the math ... and it tells me exactly what you say, if you want to actually see 2K of detail you need at least a 2.5k display. I can also see that the next display standard will be 4K, based on Jim's post and others.

    4K displays seem like they'll deliver about the same resolution as a Red One can ... 3.2-3.5K depending on some implementation details.

    That's pretty exciting to me.

    My central issue remains ... will audiences be able to see it and appreciate it? It will be there in front of them ... but will ordinary people be able to see the difference, and will it matter to them ... or would they rather have $800 1080p displays?

    Now ... I want to be clear ... I don't need to be sold personally. I see it, I value it and I'll buy it ASAP. I'll shoot my pictures in 4K+ on Red cameras every time its practical - for my own satisfaction if nothing else!

    Let me put it another way - I want to be able to point and say concretely that it provably makes a difference to the viewer. I want to know that regular audiences will perceive value in the finish.

    Anecdotally, I think most people have trouble seeing resolution over 720p, at least that's what they are telling me. That is what brought up the question.

    I don't trust my own judgment, because I know that with some materials I can see even the incredibly slight difference between 2K and 1080p! 720p grates my nerves even on small 720p displays and on iPads (which are less than 720p themselves). I'm not a good test subject or evaluator for what I want to know. I assume almost everyone on this board falls into that category.

    So, I want to move this whole question out of the pointless rigamarole of anecdotes and theoretical number crunching and into one of audience tests/studies.

    I'm not one to place faith in even someone with Jim Jannard's track record ... I don't operate that way.

    So, what are the facts? I specifically want to know how "ordinary" audiences (i.e. not imaging professionals and AV enthusiasts) will react. Has anyone done any studies to understand this? NHK? Red? Sony? Anyone?

    Are we sure that the difference that is obvious to US won't seem like a pointless boondoggle to our audiences ... you know, the folks who ultimately pay our rent/mortgage?

    If no one has studied this, does anyone here have any insight into why it hasn't been studied? What has to happen to make such a study happen?
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  2. #172  
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    Quote Originally Posted by Jannard View Post
    That's EXACTLY my point. People don't see what's coming until it is there. 9 companies have home 4K displays finished and waiting to ship. This isn't a question of "if" it is going to happen. It has already happened and people still aren't seeing it. So Mike... when these displays begin shipping, what will you think about all those 1080P jobs you did? Just curious.
    I think they'll look pretty much the same as they do now, just as David said.

    The fact is that with rare exceptions, essentially all current television work exists only on 1080p media. As you pointed out there is at least one studio that is taking advantage of the ability to do 4K archival media, and I know them well because we make those 4K archives for them. But even that studio has a number of shows being shot on Alexa and other HD cameras this coming season. Besides, it's not really for me to decide. I don't shoot the shows and I don't own them. If I did, I might feel the same way you do. All I do is help make them look as good as they can, and help get them on the air. What happens to them in the future is not something I control, and not a decision I have to make.

    I think that the only area that we really see anything differently is the "4K in the home" area. I know you feel this is likely in a relatively short time frame, I'm a bit, shall we say, more pragmatic. I think that the difficulty in force feeding 3D sets to the general public, as well as the fact that a reasonably high percentage of HD owners don't even know when they're looking at HD images (they look at stretched standard def and STILL don't know) says that 4K screens are going to be something of a tough sell in the short term, especially if they're about the same size as current HD screens, but more expensive. With society going where it seems to be going, I don't see a growing number of people living in large houses with big walls to cover with media screens. I see a lot more living in apartments and condos where such things are just not going to happen, and where even a 50 inch screen is bigger than is needed. I'm a lot more optimistic about theatrical projection, because I feel that theaters will always need to differentiate themselves from home delivery in order to maintain the premium experience they claim to be. And where the rooms are always large enough for those huge screens on which higher resolution really makes a difference.

    But as I said, I think that's really the only thing we see a bit differently. Really.
     

  3. #173  
    High DPI screens, Online Streaming/Content Delivery. Everyone loves quality and having the best which leaves not much else to this equation.

    If they get sold on "Retina Display", they'll get sold on 4K. :)
     

  4. #174  
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    If 4K+ TV screens are coming soon then you can bet that theatrical projectors will want to be ahead of that curve. If I had a 7680 x 4320 TV screen (assuming I could get 4K "Blue-Rays"), why would I ever go to the movies? Either way, which producer would be crazy enough not to want to shoot their film in at least 4K, not knowing where the technology's going to be by the premiere and after for DVD sales?

    Anyway I believe the discussion is moot, because I think if Red had 10,000 Epic-X's right now, they could sell them all in a month. They've already won the race by a furlong, now we're just debating style points.
     

  5. #175  
    Ok I'm jumping into the sharky waters....
    There are Zeiss Master primes (maybe soon to be replaced by the Leica's) that are clearly the most resolving, least distorting/breathing/etc.; optically most excellent lenses out there. Are they the right choice of glass for every job I do creatively? As someone much smarter than me said about them: "I'm not in the business of frying ants, but in the business of making people look good on screen."
    I like to have a sharp high resolution image in my toolset, I have owned a Red and will hopefully own a Epic X sometimes soon. Do I like to have a very pleasing, very color accurate, high dynamic range camera in my toolset as well? You betcha. I just added an Alexa to my quiver. In creativity it's like in surfing. One board won't meet all conditions... (or as some british chap likes to say: horses for courses)
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  6. #176  
    Senior Member sergio arguello's Avatar
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    " I think that just as Jim finds it difficult to see why anyone would choose a lower resolution capture device right now, it's equally as difficult for a number of cinematographers to see why they should choose a camera based on anything other than the image it produces. We've long had choices between film stocks, and only in specific cases - visual effects plates, for instance - has anyone I know made their choices on anything other than image characteristics, not resolution."

    I beg to differ as I was along the side of alot of very well known DP's as an AC so i often knew what was going on in at least the equipment request thought process. It happen
    too many times to count where a Dp would give His/her rate up to go to 35 from a production that felt the budget deserved 16mm shoot. If it was impossible they would at least beg borrow and steal to make it super 16.As a Dp ive always done the same thing. image characteristics and resolution are certainly not synonymous but at very least not independent of each other either. So i'm not sure why you say this, but I sure you have your reasons.
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  7. #177  
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    Quote Originally Posted by sergio arguello View Post
    I beg to differ as I was along the side of alot of very well known DP's as an AC so i often knew what was going on in at least the equipment request thought process. It happen too many times to count where a Dp would give His/her rate up to go to 35 from a production that felt the budget deserved 16mm shoot. If it was impossible they would at least beg borrow and steal to make it super 16.As a Dp ive always done the same thing. image characteristics and resolution are certainly not synonymous but at very least not independent of each other either. So i'm not sure why you say this, but I sure you have your reasons.
    I was talking about television. The differences between 35 and 16 are not necessarily those of resolution, unless one counts grain as part of the resolution issue. At any rate, I was really referring to television series work, and the fact that most of the cameramen who are opting for Alexa are doing that primarily because they like things about it other than resolution. If resolution were the overriding issue, they would all be opting for Red. However, that is not the case. So there are other factors involved, some of which I touched on.
     

  8. #178  
    There's no reason to make this personal, most of us are just quibbling over timelines for 4K implementation and the (apparently) controversial notion of tiered resolution levels being used for television production. Jim has a vision, and it's a good one, and all of us support it whether or not we all agree on when it's going to happen.

    I think the thread is just an example of what happens when people get into a hot-topic discussion at 2AM in the morning when they should be getting some sleep.
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  9. #179  
    Senior Member sergio arguello's Avatar
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    Quote Originally Posted by M Most View Post
    I was talking about television. The differences between 35 and 16 are not necessarily those of resolution, unless one counts grain as part of the resolution issue. At any rate, I was really referring to television series work, and the fact that most of the cameramen who are opting for Alexa are doing that primarily because they like things about it other than resolution. If resolution were the overriding issue, they would all be opting for Red. However, that is not the case. So there are other factors involved, some of which I touched on.
    I hope you didn't take it personal mike. I actually find that you are quite clearly the opposite of the fanboy found on here at times and your input stirs debate, and thats what is needed. That said do you not agree to some extent that alexa is being chosen by producers and in many cases Dp's may suggest but a bottom line is a player? I personally don't know any show that is shooting Arri raw and therefore that tells me the straight to prores is a big factor in the decision to shoot with Alexa, not to mention, it does make a pretty picture.
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  10.   This is the last RED TEAM post in this thread.   #180  
    Time to close this one down.. everybody kiss and hug via PM if needed and lets pretend most of this thread never happened.
     

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