At the HPA Tech Retreat, RealD senior scientist Tony Davis and cinematographer Bill Bennett, ASC shot and mastered imagery in a variety of high frame rates. One of the chief challenges, said Bennett, is achieving a result with a cinematic aesthetic. “As we move towards HDR displays, we’ve discovered that high contrast images tend to judder as they move across the screen,” said Bennett. The two proposed a solution whereby images are acquired at a very high frame rate, but then adjusted in post. Continue reading HPA 2018: RealD’s TrueMotion Finesses HFR Footage in Post

DJI, whose Phantom drones dominate the nascent market sector, just introduced Inspire 2, an upgrade to its flagship model, and Phantom 4 Pro, an upgrade from last year’s Phantom 4. To showcase its UAV tech, the company has produced a short film using the new Inspire 2. The Phantom 4 Pro introduces multiple crash-avoidance features, including rear and infrared sensors. It can now both fly fast (31 mph) and keep obstacle avoidance engaged; the previous Phantom 4 could only fly that fast in “Sport Mode,” with no obstacle avoidance. Continue reading DJI Debuts New Drone Models and Produces Showcase Film

A panel of cinematographers, a digital imaging technician and a camera manufacturer talked about HDR production workflow issues that begin in pre-production discussions. The panel’s moderator, VFX cinematographer Mark Weingartner, asked the panelists if there were “fundamental differences between the ways we have been shooting and the way we need to shoot” for HDR. Cinematographer Bill Bennett, ASC noted that “since the inception of cinematography, we’ve been recording HDR images with film.” Continue reading HPA Tech Retreat: The Production Workflow Incorporating HDR

FotoKem VP and principal color scientist Joseph Slomka led a SMPTE webinar yesterday on “Clarifying High Dynamic Range,” detailing his experiences in working with HDR productions. High dynamic range is “gaining traction in both the consumer and professional aspects of motion pictures,” notes SMPTE, but “there are differences of opinion even in its definition and ways to approach it.” Slomka described HDR’s impact on perception of resolution and depth as well as pitfalls in production, post production and display. Continue reading SMPTE Webinar Details the Strengths and Challenges of HDR

What Next Generation Cinema technologies and techniques mean for filmmakers was the focus of the six mini-panels that made up a single session at the HPA Tech Retreat in Indian Wells on Wednesday. Topics addressed included Extended Color Gamut; Pairing the Mathematics of Motion and Frame Rate with Artistic Vision; Laser Projection and Higher Dynamic Range; Next-Generation Cinema Technology Test Material; Beyond the Screen; and Suspending Disbelief: When and How to Use New Tools and Techniques. Continue reading HPA Tech Retreat: A Look into Next Generation Cinema Tech

ETC’s Phil Lelyveld recently moderated a media panel on the “Ultra High Def Revolution.” Presented by the Academy of Television Arts and Sciences at CBS Studios, panelists included Oscar- and Emmy-winning DP Dave Stump of the ASC, Sony Pictures Television’s Phil Squyres, and award-winning DPs and lighting experts Bradford Lipson and Greg Gardiner. Vendors demonstrating UHD solutions included Advantage Video Systems, AJA Video Systems, Blackmagic Design and Sony Pictures Entertainment. Continue reading Panel: Film and TV Production Experts Discuss UHD Revolution

While 4K Ultra High Definition TV has yet to make it into the living room, the industry is moving forward with new cameras, evolving standards and early television production. Sony Pictures Television, for example, is producing select pilots with digital cinema cameras, while 3Net is forging ahead with its Total D strategy that includes producing versions of programs in both 2D and 3D at multiple resolutions. Initial tests for broadcasting sports in 4K are just around the corner. Continue reading NAB 2013: TV Industry Moves Toward 4K Ultra HD Format

Sony unveiled its new F65 CineAlta digital motion picture camera at an NAB press conference in Las Vegas this week. The F65 camera features a 20.4 megapixel, Super 35mm CMOS sensor, a significant jump from the F35’s 12.4 megapixel 1080p CCD. Is this another step away from film as a motion picture medium?

Pictured on the left is Curtis Clark (ASC) who directed a 4K short with the new camera, that is being shown at NAB.

According to Engadget: “…this sensor is fast — not only can it capture up to 72fps on 4K, but it can also crank up to a smooth 120fps on 2K. As for those seeking to squeeze out every bit of detail from their clips, don’t worry: the F65’s got you covered with a 16-bit RAW output (19Gbps) at 4K resolution, or it can be compressed to 5Gbps for the convenience of recording onto the new SR-R4 portable 4K recorder. Looks like Sony’s finally found a candidate that’ll put a lid on film stock, but then again, at the end of the day it’ll depend on the price tag when it comes out in Q3 this year.”

Sony also announced 2 new professional 3D cameras at NAB (and for consumers, the company announced the 3D Handycam and 3D Bloggie cameras at January’s CES).

Read the Sony Blog report on the NAB unveiling: “Sony Kicks off NAB with the announcement of a new 4K professional camera” (4/11/11)

Related Engadget post: “Sony shoots out CineAlta F65 4K camera and PMW-TD300 3D camcorder at NAB” (4/11/11)

The Photography Bay write-up includes video coverage of the NAB press conference and behind-the-scenes footage with Curtis Clark directing a 4K short with the new camera.