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

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

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

Higher dynamic range in both the cinema and CE viewing experience was a recurring message yesterday at Con-Tech: The 2015 Preview Seminar. The NAB Show and the International 3D and Advanced Imaging Society held a seminar on content and technology trends including 4K production, color gamut, HDR and new workflows. The event, hosted by Paramount Pictures, featured panelists from companies such as Barco, CableLabs, Disney, DreamWorks Animation, Film Magic, Lionsgate, RealD and Technicolor. Continue reading Con-Tech: 4K Production, Color Gamut and High Dynamic Range

“Gravity” brought in 80 percent of its debut haul from 3D engagement, leading analysts to credit the film for bringing the format back into the spotlight. For studios and exhibitors, this is a plus because 3D tickets carry a large surcharge, potentially bringing in million of dollars. The recent increase in 3D interest can be partially attributed to the directors, including Gareth Edwards (“Godzilla”) and Marc Webb (“The Amazing Spider-Man 2”), who have been encouraging fans to see their films in 3D.  Continue reading Analysts Credit “Gravity” with Bringing 3D Back to the Spotlight

RealD is launching a new large format brand, LUXE: A RealD Experience, with hopes of becoming the standard for premium 2D and 3D cinemas across Europe. The cinema technology company presented its LUXE initiative to exhibitors at CineEurope in Barcelona on Monday. The new packaging of LUXE technology standards for screen size, brightness, sound and seating could become a competitor to large format exhibitor IMAX. Continue reading CineEurope 2013: RealD Rolls Out LUXE Large Format Plans