In the world of UHD/4K, movies and TV programs can require massive amounts of compute power. Take a recent 50-minute UHD natural history documentary that Sundog Media Toolkit worked on. Chief executive Richard Welsh reports it ran for four hours on over 5,000 processors. The necessity for finding huge amounts of compute power is becoming a challenge for productions, he notes. “We could have run that job in real time if we had split it up more, and that would have taken us up to more than 20,000 processors for one hour.” Continue reading SMPTE 2015: Post Production Is Moving to the Cloud, Slowly

At the SMPTE 2015 annual conference, broadcast consultant Jim DeFilippis, Grass Valley camera executive Klaus Weber, and Panasonic researcher Hiroaki Iwasaki, among others, looked at the challenges involved with adding higher frame rates, higher dynamic range and wider color gamut for 4K resolution and beyond. Baylor University professors Corey Carbonara and Michael Korpi attempted to find the perfect amount of frame rates, exposure times, lighting, and refresh rates to arrive at the best image. Continue reading SMPTE 2015: Challenges of Adding HDR, HFR and Color to 4K

IMAX debuted its new IMAX with Laser digital projection system in London; Dubai; Los Angeles; Seattle; Reading, Massachusetts; and Chantilly, Virginia. The new projection system, which offers 4K resolution, Rec. 2020 color space and up to 60 fps, made use of 120 patents the company exclusively licensed from Kodak. IMAX says the contrast ratio is double that of IMAX 15/70mm film and higher than the 2500:1 contrast ratio of its Xenon lamp systems. The first movie to debut on the system is “The Walk” in 3D. Continue reading IMAX with Laser Debuts with “The Walk” to Positive Reviews

After a year of R&D, D3D Cinema and Christie just finished testing a new laser-illuminated digital projection system for giant domes. The system will be ready for client demonstration this fall, with the first installations expected in 2016. Although movie theaters have essentially all migrated to digital projection, large dome theaters have found it more difficult to find a digital solution. Executives at D3D Cinema and Christie say the new laser projection system fits the bill, with regard to price and image quality. Continue reading D3D Cinema, Christie Debut Laser Projection for Dome Theaters

Media today requires more bandwidth, and that means more efficient compression. Ultra HD or 4K, wider gamut for more color choices, and HDR (high dynamic range) all require a bigger pipe and better compression. Same goes for HFR (high frame rate) — anything above 30 fps, for movies and games — and of course all that video streaming that everyone is doing. Up until now, H.264 has been the leading contender, but now Google is pushing its VP9 technology hard to play catch-up. H.265 and VP10 are just over the horizon. Continue reading Google Ups the Ante with VP10 Compression, to Beat H.265

Hollywood director Randal Kleiser (“The Blue Lagoon,” “Grease”) just debuted “Defrost,” a four-minute narrative virtual reality film that he hopes is the first in a series of VR films. That’s exactly what the 50 cablecasters that comprise the membership of CableLabs hope for. The industry’s non-profit R&D facility, CableLabs has been studying VR and suggests consumer excitement is strong, but that the lack of content could be a major stumbling block for cable companies interested in providing VR programming. Continue reading CableNet Explores VR, Additional Content Could Drive Adoption

Large-screen format theaters have typically played action-adventure blockbusters aimed at the younger crowd. This fall, however, Hollywood plans to release more adult-oriented stories on the bigger screens, and often in 3D. Proof of that trend can be found in the films chosen to open recent festivals, including the 3D “Everest” at the Venice Film Festival and Robert Zemeckis’ 3D “The Walk” at the New York Film Festival. Exhibitors and their partners are also wooing adults to watch 3D films, which peaked in 2013 with “Gravity.” Continue reading Hollywood to Target Older Audience with Large Format Films

Beneath the aura of excitement generated this year at SIGGRAPH 2015 by the prevalence of virtual reality, a number of panels drilled into the nuts and bolts of creating VR experiences, including managing the workflow and assets. From a Birds of a Feather interest group discussion to panels of senior artists from the major studios and visual effects companies, almost everyone agreed that VR represents creativity on the edge. SIGGRAPH offered a 360 degree look at the issues and lessons learned thus far. Continue reading SIGGRAPH 2015: Talking About VR, 360 Degrees of Experience

The annual HPA Tech Retreat, presented by the Hollywood Post Alliance, kicked off in Indian Wells on Tuesday. The February 9-13 event will feature more than 45 sessions, 75 roundtables, 100 speakers and 30 new product demos. “The Big Screen” was the week’s first panel. It focused on projection tech, and the promise of HDR, with a look at the potential of Dolby Vision. Panelists included NATO’s John Fithian, Todd Hoddick of Barco, David Keighley of IMAX, and Curt Behlmer of Dolby. Continue reading HPA Tech Retreat: Execs Look at Innovating the Big Screen

Dolby, the top brand in theater sound, is poised to launch its premium, large-format theater experience called Dolby Cinema. As a potential new competitor to today’s large-format leader IMAX, Dolby Cinema will feature special design elements such as its Atmos sound, signature entrances to reflect the movie being projected, and the highly anticipated high dynamic range process, which allows for a greater dynamic range of luminosity, resulting in whiter whites and blacker blacks. Continue reading IMAX Rival: Dolby Cinema Puts Focus on High Dynamic Range

Award-winning engineer Yves Faroudja has come out of retirement to explore how new approaches to compression and processing can help with the transition to Ultra HD. Los Altos-based startup Faroudja Enterprises is currently testing a prototype technology to move 4K in real time, while preserving image quality at reduced bit rates with existing compression systems. Faroudja has filed for eight related patents, and the company has plans to either license the tech or introduce it as software. Continue reading Ultra HD: New Processing Tech Improves Video Compression

Part two of “The Hobbit” trilogy, out this week, is back with the much-debated High-Frame-Rate (HFR) 3D format — but with some changes. The 2012 “The Hobbit: An Unexpected Journey” boasted 48 frames per second, but some of the criticism of the format was that the super-HD quality was an eyestrain. The new “The Desolation of Smaug” maintains the HFR; however, director Peter Jackson says he’s toned down the sharpness of the image to make it look more “filmic.” Continue reading Newest Installment of “The Hobbit” Trilogy Improves Upon HFR

“’The Hobbit’ gave us a chance to see a movie projected at 48 fps, and, unless he changes his mind, James Cameron plans to show us ‘Avatar 2’ at 60 fps. Others, including Douglas Trumbull, are talking — and working in — 120 fps,” writes Creative COW. While some embrace the change, others are less in favor of disrupting traditional filmmaking and exhibition. “It’s to be expected that many people who’ve spent a lifetime watching and making 24 fps movies object to the look, many calling it similar to TV or video. HFR Cinema simply goes against the grain,” notes the article. Continue reading The Future of Exhibition and Aesthetics of High Frame Rate Cinema