2.40 & 1.85:1 DCI Container with 1.9:1 Extension for IMAX

[Humberto Rivera]

I been thinking about the “NEW 6K DRAGON SENSOR EPIC X CAMERA (OR WHATEVER IS CALLED)” yet to come back from its ASIC http://en.wikipedia.org/wiki/Application-specific_integrated_circuit reposes, but while we wait I was thinking about the 2.40:1 “Aspect Ratio” range of the sensor; FIRST; it records and image from one side to the other to the frame; SECOND; from within that image it can be composed so an Image of 1.85:1 can comfortably fit within the image in the DCI Container.

http://en.wikipedia.org/wiki/Digital_cinema ; Digital cinema refers to the use of digital technology to capture, distribute, or project motion pictures. A movie can be distributed via hard drives, the Internet, dedicated satellite links or optical disks such as DVDs and Blu-ray Discs. Digital movies are projected using a digital projector instead of a conventional film projector. Digital cinema is distinct from high-definition television and is not dependent on using television or high-definition video standards, aspect ratios, or frame rates. In digital cinema, resolutions are represented by the horizontal pixel count, usually 2K (2048 × 1080 or 2.2 megapixels) or 4K (4096 × 2160 or 8.8 megapixels), 2.35:1, 2.39:1, and 2.40:1 are interchangeable; they all mean the same thing for professional use!

From within the “6K Dragon Sensor Image” can be “DOWN REZ” to an 4096 X 2160 (8.8 Megapixels) can be “Simultaneously Extended” to a 1.9:1 Aspect Ratio for an IMAX Image AT THE SAME TIME with a “Specially Formatted Image”; All this happens in the “R3D METADATA File Recorded Simultaneity”. It could actually provide a better experience for the Television Viewers because they have the benefit of the “Whole Image Recorded” across the entire spectrum. In “Digital Cameras” one can record the image at “6K and then “DOWN REZ” the image to the appropriate size.

Humberto Rivera

 

[Humberto Rivera]

Continuing along the same line!

Continuing along the same line!

Continuing to cite the two attached examples by illustrating the above, (A) the IMAX EXTENDED SCREEN UPWARD to a 1.9:1 “Aspect Ratio” at-the-same-time comparing it to the 2.40:1 for theatrical screening “Aspect Ratio” below, and the (B) 2.40:1 “Aspect Ratio Drawing” in relation to other popular smaller sizes in its genre, I have made the following approximates continuing conclusions, is still four times the size of its nearest competitor.

The Digital “6K Dragon Sensor” has been reported to be in the “Full Sensor Size” measured at 30.7mm x 15.8mm @ 6K (5 Micron Pixel Size) - Full Sensor Size (30.7*30.7) + (15.8*15.8) √1139.96 = 34.5272 Ø. It has been given the Pixel Size of 6,144 x 3,160 @ 5 Micron Size 19,415,040 Pixel (19.5 Megapixels) -20% = 15,132,032.00 (15.1 Megapixels). We only need to do a “DOWN-REZ” to 4096 × 2160 or 8.8 megapixels for 4K Projectors at “2.40:1 Aspect Ratio”.

http://en.wikipedia.org/wiki/Digital_cinema#2005.E2.80.93present towards the bottom of the pages it says in part; “It has been estimated that, by the end of 2012, 80 percent of worldwide cinema screens would be converted to digital.[25] The first movie to be exhibited digitally in 48 frames per second will be The Hobbit. According to Screen Digest, 75 percent of worldwide cinema screens would be converted to digital by the end of 2012 and almost all of the rest would be converted by the end of 2014.[25] In 2012, Screen Digest predicted that almost all cinema screens worldwide would be converted to digital by 2015.”

For the Measurement Size of Pixels (we must wait for ASIC) for the important actual “Horizontal Pixel Size” which Jarred Land said it would be 6,144, that would take it to the resolution limited to the edge of the frame (everything is important, especially the Glass). OK, now let’s assume that we have a resolution of 6,144 x 3,160 Pixels that are actually a useable area of the “6K Dragon Sensor”, that’s an Aspect Ratio of at least 1.9:1! Well within the limit of an IMAX Frame at 1.9:1 “Aspect Ratio”, “Full Frame” 6K Dragon Sensor in “Meta Data Recorded in a R3D REDCODE File” recorded I must say FOREVER! Subject to all the manipulations of the R3D REDCODE Red File, Past, Present, and Future, FOREVER!

In order to create a 2.40:1 Aspect Ratio from within the same wide measurement of 6,144 we should also have a resolution of 6,144 so we just need to lower height of the frame as illustrated in the IMAX Image next to the 1.9:1 to the lower frame of 2.40:1 “Aspect Ratio” without changing anything other than taking height from the “IMAX 1.9:1 Aspect Ratio” as illustrated on side frame of the IMAX Frame at 2.40:1! The number are fuzzy because we really don’t have all of the full data yet, so we stay loose but they are all well within the acceptable measurements’. The 2.40:1 numbers just need to be “DOWN REZ” to fit STANDARD THEATRICAL DISTRIBUTION THOUGH OUT THE WORLD!

This is JUST A GUESS but I think a good one! The “Active Dragon Sensor Size” (the one that actually records the image) will be in the neighborhood of (28.35*28.35) + (15.37*15.37) √1039.96 = 32.25 Ø - 1.94:1 Aspect Ratio.

Humberto Rivera

 

[Humberto Rivera]

On the subject of 2.40:1 and 1.85:1 for a DCI container “Digital Cinema Projector” spread through the World as we speak, and the special upcoming enlargement of the frame for an IMAX 1.9:1 Aspect Ratio recorded simultaneously recorded at the 512 GB Camera Card, that will exist for ever in that form using the Up-coming “6K Dragon Sensor”. A “Question” where does the upcoming Red Projector fit, can it show a 2:1 Image? Don’t know! What size theater will they fit into? Good questions, what are the answers! All from within the “6K Dragon Sensor” Image Size!

Humberto Rivera

 

[Humberto Rivera]

Last thoughts on Aspect Ratio!

Last thoughts on Aspect Ratio!

Let’s start with the Imax 1.9:1 ASPECT RATIO OF THE SPECIALLY FORMATTED FOR IMAX FRAME, it fits within the; The Digital “6K Dragon Sensor” as it has been reported to be in the “Full Sensor Size” measured at 30.7mm x 15.8mm @ 6K (5 Micron Pixel Size) - Full Sensor Size (30.7*30.7) + (15.8*15.8) √1139.96 = 34.5272 Ø. It has been given the Pixel Size of 6,144 x 3,160 @ 5 Micron Size 19,415,040 Pixel (19.5 Megapixels) -20% = 15,132,032.00 (15.1 Megapixels). It nearly fills the entire “6K Dragon Sensor” So that’s the IMAX Full Frame, OK!

Now within that 1.9:1 to Aspect Ratio we have a “2.00:1 (18:1) Aspect Ratio” the Aspect Ratio that Jim Jannard, and Victorio Storato, ASC, AIC which they called UNIVISION and liked so much! http://en.wikipedia.org/wiki/Univisium Victorio Storato the Italian cinematographer born 24 June 1940 in Rome Italy! In 2003, a survey conducted by the International Cinematographers Guild judged Storato one of history's ten most influential cinematographers. http://en.wikipedia.org/wiki/Vittorio_Storaro He has shot many Films but included in his repertoire are these; Storato’s first mainstream American film was Apocalypse Now, directed by Francis Ford Coppola in 1979, for which Storato won his first Oscar. Coppola gave Storato free rein on the film's visual look and it is regarded by many critics as one of the most visually spectacular films of all time. He has also received Oscars for Reds (1981) and The Last Emperor (1987). Dick Tracy (1990) garnered him a fourth nomination.

Going down the Line we have what is the most popular and ”Normal Today”, in nearly every theater “Around the World”, “2.40:1 in a DCI Container Aspect Ratio”, and by just shortening the sides we can move down to a “1.85:1 Aspect Ratio” just as easily! http://en.wikipedia.org/wiki/Aspect_ratio_(image) I think that this subject has been well covered above, so no further discussion seems necessary.

Now we wait for the “6K Dragon Sensor” and see what fits within the “Meizler Module” and the various attachments to its “Swiss Army Knife” approached, it should be an interesting 2013! And what about those “Arri Alexa”, are they finally going to break through to 4K or NOT? By the way it would be nice if we can somehow put the Arri/ Zeiss Master Prime (LDS) Data onto the “Epic R3D REDCODE Data Base Recordings” in our continuing effort to make everything R3D REDCODE Compatible along with all the Hi-End VFX Software, one “World Standard” might eventually come out all of this, R3D REDCODE Files everywhere, just saying! Why Not!

Humberto Rivera