What is 6K?

[Nick Pasquariello]

I'm still hoping that 8K Dragon X sensor is around the corner

Are you MAD?! That's too many k's!!! [haha just kidding there will never be enough K's]

 

[Phil Holland]

I'm still hoping that 8K Dragon X sensor is around the corner

The next leap won't land on 8K exactly, but a bit higher resolution likely. However, we're a few years from that just yet.

I'm waiting to see what exactly I can do with 6K myself. 4K delivery is pretty much where the dance party is at for most immediate markets. Digital delivery is going to go through some of the most exciting changes coming up.


Hopefully Dragon will land soon here at the ranch. Loving my Epic, like in a dirty way. But based on my brief experiences with it, I have a feeling Dragon's going to be a sicker type of love.

 

[Gunleik Groven]

The next leap won't land on 8K exactly, but a bit higher resolution likely. However, we're a few years from that just yet.

I'm waiting to see what exactly I can do with 6K myself. 4K delivery is pretty much where the dance party is at for most immediate markets. Digital delivery is going to go through some of the most exciting changes coming up.


Hopefully Dragon will land soon here at the ranch. Loving my Epic, like in a dirty way. But based on my brief experiences with it, I have a feeling Dragon's going to be a sicker type of love.

It is
And has taken me totally by surprise

 

[Stephen_James]

how long till I can go see a movie in 6k?? :drool:

 

[Debojyoti Ghosh]

I graded a film last year with all masters 4k no midcloses. Ohh...5k saved the day....No Zooming just played around a 2k comp.


Shoot 5k = Grade 2k = Deliver 2k = Amazing.

Shoot 6k = Grade 4k = Deliver 4k = Incredible.



Debojyoti Ghosh
Colorist
Editfx Studios, Kolkata, India
www.editfxstudios.com

 

[Glen David Miller]

Thank you Phil for your ongoing supply of support, leaves only one question ;o) ... may we have your 6K graphic on T-Shirts? )

Have a great day

It would be a cool graphic for a shirt and I'd love it more to include the "old" range/stop/gray-step chart vs. the new expanded chart on there too. Resolution and stops.

 

[Phil Holland]

On topic and relevant to a production currently shooting with Dragon we have a behind the scenes still from Gone Girl, directed by David Fincher and photographed by Jeff Cronenweth. Two gentlemen in my mind doing some really forward thinking and submerging storytelling while pushing the boundaries of digital cinema production and post production.

How are they using 6K?



In this still we see that Mr. Fincher has chosen to go with 6K 2:1 as a capture format with a 2.40:1 frame guide. Utilizing the 6K resolution as not only a "look around" but also for potential re-framing in post production. Fincher and Cronenweth are using Leica Summilux-C Primes (also my favorite super speed cinema primes) on set and I have a good feeling that a 40mm focal length will be a nice choice for "normal perspective" on this particular field of view.

Other things to note are the camera's ISO at 800 and the choice to go with REDCODE 5:1.

Hopefully there will be a nice BTS segment produced once this is released as there are certainly some interesting setups and night scenes that can show off Dragon's new and improved low light performance, not to mention some daylight hard lit scenes which should also show off the dynamic range of the new sensor. Certainly enjoyed a look into the production of The Girl with the Dragon Tattoo's with their BTS material.

 

[Neil W. Smith]

Great BTS ...

Great BTS ...

On topic and relevant to a production currently shooting with Dragon we have a behind the scenes still from Gone Girl, directed by David Fincher and photographed by Jeff Cronenweth. Two gentlemen in my mind doing some really forward thinking and submerging storytelling while pushing the boundaries of digital cinema production and post production.

How are they using 6K?



In this still we see that Mr. Fincher has chosen to go with 6K 2:1 as a capture format with a 2.40:1 frame guide. Utilizing the 6K resolution as not only a "look around" but also for potential re-framing in post production. Fincher and Cronenweth are using Leica Summilux-C Primes (also my favorite super speed cinema primes) on set and I have a good feeling that a 40mm focal length will be a nice choice for "normal perspective" on this particular field of view.

Other things to note are the camera's ISO at 800 and the choice to go with REDCODE 5:1.

Hopefully there will be a nice BTS segment produced once this is released as there are certainly some interesting setups and night scenes that can show off Dragon's new and improved low light performance, not to mention some daylight hard lit scenes which should also show off the dynamic range of the new sensor. Certainly enjoyed a look into the production of The Girl with the Dragon Tattoo's with their BTS material.

Great BTS photo, Phil ... really captures the essence of how a talented and creative team like David and Jeff are leveraging the power of DRAGON for their visual story telling ... keep 'em coming!

Interesting that they're framing for 2.40:1 off the 2:1 DRAGON image ... I remember David explaining why he loved Anamorphic on the Viper when he was shooting 'ZODIAC' ... image what he could have done with DRAGON on that movie? ... amazing how quickly things have progressed.

Neil

 

[Ketch Rossi]

On topic and relevant to a production currently shooting with Dragon we have a behind the scenes still from Gone Girl, directed by David Fincher and photographed by Jeff Cronenweth. Two gentlemen in my mind doing some really forward thinking and submerging storytelling while pushing the boundaries of digital cinema production and post production.

How are they using 6K?



In this still we see that Mr. Fincher has chosen to go with 6K 2:1 as a capture format with a 2.40:1 frame guide. Utilizing the 6K resolution as not only a "look around" but also for potential re-framing in post production. Fincher and Cronenweth are using Leica Summilux-C Primes (also my favorite super speed cinema primes) on set and I have a good feeling that a 40mm focal length will be a nice choice for "normal perspective" on this particular field of view.

Other things to note are the camera's ISO at 800 and the choice to go with REDCODE 5:1.

Hopefully there will be a nice BTS segment produced once this is released as there are certainly some interesting setups and night scenes that can show off Dragon's new and improved low light performance, not to mention some daylight hard lit scenes which should also show off the dynamic range of the new sensor. Certainly enjoyed a look into the production of The Girl with the Dragon Tattoo's with their BTS material.

Yes and I also see that like myself they like to shoot ETTL on the night scenes as I did for "The RED dress" shoot... Which was also shot at ISO 800 REDCODE 5:1, at exception of one scene shot REDCODE 4:1...

Additionally, even so we shot full 6k, for the added rez for Still Frame pulling, I must say that I absolutely LOVE the 2:1 ratio and most likely that will be what I will be also shooting in most projects, always of course also framing for 2.40:1

 

[Zakaree Sandberg]

Utilizing the 6K resolution as not only a "look around" but also for potential re-framing in post production.

this is where i cringe....

what shooter wants some editor to reframe their shot?

this is where im happy with 1080.. I dont want them fucking with my shot

 

[Phil Holland]

this is where i cringe....

what shooter wants some editor to reframe their shot?

this is where im happy with 1080.. I dont want them fucking with my shot

If a Director or DP (or both!) is sitting in an edit bay (pretty common for the industry I'm in) and thinks the composition can benefit from a slight move in the x or y axis on a shot that may enhance the on screen feel I don't see too much harm in that. Heck you could even use more of the frame and scale it into the 2.4:1 guide if you felt there was more to see.

I see how others would be concerned, but again, that's a workflow thing.

 

[Adam Beck]

Fincher and Cronenweth are using Leica Summilux-C Primes (also my favorite super speed cinema primes) on set and I have a good feeling that a 40mm focal length will be a nice choice for "normal perspective" on this particular field of view.

Interesting to see them choose the Leica's, I believe Jeff shot with Master Primes for their last two films together. I could see why, Leica's are pretty impressive.

 

[Ketch Rossi]

this is where i cringe....

what shooter wants some editor to reframe their shot?

this is where im happy with 1080.. I dont want them fucking with my shot

If a Director or DP (or both!) is sitting in an edit bay (pretty common for the industry I'm in) and thinks the composition can benefit from a slight move in the x or y axis on a shot that may enhance the on screen feel I don't see too much harm in that. Heck you could even use more of the frame and scale it into the 2.4:1 guide if you felt there was more to see.

I see how others would be concerned, but again, that's a workflow thing.

I consider my self pretty much on the money when framing, yet not all the time I am the only one behind the camera, as it was the case for our short "the RED dress" especially in some of the scenes with the MōVI, and it is exactly because of the 6k power, that in post with our Editor Sam Mestman, that we were able to zoom in "Re-frame" few shots as to have a better more dramatic and Viewer pulling final composition.

 

[Adam Beck]

I've had directors wanting to re-frame/crop the shot. It tends to be one of two reasons. The first being that time on-set is an issue and they want to punch in later for a tight shot. The other being that the director thinks he/she knows what he/she wants on set and when sitting down for the edit, they've changed their mind. The story can often change during editing too, that tends to change the dynamic of the compositions.

 

[Adam Beck]

I did enjoy the fact that Ketch knew exactly what you wanted and went for it. It's nice to watch someone work when they have a command of the material.

 

[Phil Holland]

Interesting to see them choose the Leica's, I believe Jeff shot with Master Primes for their last two films together. I could see why, Leica's are pretty impressive.

You're correct. Mostly due to the "newness" of the Leicas and them not exactly being readily available until not long ago.

With the detail oriented and critical eyes of these two filmmakers I imagine they saw exactly what I saw when shooting wide open. I'm telling you there's witchcraft going on in those coatings and elements. Impressive quality. A nicely tuned set resolves incredibly from center frame through field and a bit beyond.

Master Primes are lovely for the most part, but there's a few designs in their range that make me wonder. The Leicas however don't leave me wondering about anything.

Great BTS photo, Phil ... really captures the essence of how a talented and creative team like David and Jeff are leveraging the power of DRAGON for their visual story telling ... keep 'em coming!

Interesting that they're framing for 2.40:1 off the 2:1 DRAGON image ... I remember David explaining why he loved Anamorphic on the Viper when he was shooting 'ZODIAC' ... image what he could have done with DRAGON on that movie? ... amazing how quickly things have progressed.

While hard to tell the exact dimensions of the 2.40:1 frame guide (you can customize it) it would appear that they are working in the range of a 5K image to extract in post. They'll have the freedom to go out to 6K or repostion or whatever too.

Zodiac would have benefited from a more sensitive camera and "color friendly" camera for sure, but it's got a nice grit to it. As for the Viper, while tremendous at the time, I've always loathed that camera. If you want some somewhat hilarious "hey the camera over heated and productions shot down for a while" stories I've got them.

 

[Robert Ruffo New]

If a Director or DP (or both!) is sitting in an edit bay (pretty common for the industry I'm in) and thinks the composition can benefit from a slight move in the x or y axis on a shot that may enhance the on screen feel I don't see too much harm in that. Heck you could even use more of the frame and scale it into the 2.4:1 guide if you felt there was more to see.

I see how others would be concerned, but again, that's a workflow thing.

Not a workflow thing - a philosophical thing relating to how we see our roles. I don't see myself as a digital waiter, I see myself ad a chef.

I once lost a job because someone saw something I shot horrendously and crudely reframed by a clueless editor with crass bad taste - and they assumed I had made thsoe awful choices.

Editors are often very unskilled at framing - but few accept that.

 

[Carlos Reyes]

Not a workflow thing - a philosophical thing relating to how we see our roles. I don't see myself as a digital waiter, I see myself ad a chef.

I once lost a job because someone saw something I shot horrendously and crudely reframed by a clueless editor with crass bad taste - and they assumed I had made thsoe awful choices.

Editors are often very unskilled at framing - but few accept that.

FIncher or Cronenweth would never allow a clueless editor to reframe their shots to shit, nor would they hire a clueless editor in the first place. They can shoot this way and enjoy its benefits knowing the final decision will be made by them in the editing room.

 

[Ketch Rossi]

I did enjoy the fact that Ketch knew exactly what you wanted and went for it. It's nice to watch someone work when they have a command of the material.

Thanks for the kind words, Adam, and it was great having you in my shoot!!

 

[David Mullen ASC]

If an editor wants to improve my compositions, maybe he'd let me come into the edit bay and improve some of the cuts in the scene...