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Re: The Future of Cinema: 60 Frames Per Second

PostPosted: Wed Aug 07, 2013 11:06 am
by so sorry
TheBaxter wrote:
so sorry wrote:
TheBaxter wrote:

in related news, Peter Jackson, not to be outdone, has announced he will be reshooting the entire remaining two hobbit films in 4800fps 4D (that extra D is there, even if you can't see it). the retrofitting of all the theaters who converted to 48fps cameras to 4800fps is estimated to cost about 800 quadrillion dollars and take approximately 82 years to complete.

I'll wait for the re-re-re-re-re-re-re-re-re-re-re-re-re-re-issue of the BluRay.

BluRay is so 21st century... by then we'll have BrownBeams... films delivered directly into our nervous system by ingesting tiny cubes of brown sugar laced with psychotropic drugs that recreate the entire film experience in your mind, and also keep you regular.

If they can combine this with a drug that gives me a 4 hour erection I am so on board.

Re: The Future of Cinema: 60 Frames Per Second

PostPosted: Tue Oct 15, 2013 12:14 am
by TheButcher

Re: The Future of Cinema: 48FPS

PostPosted: Thu Nov 14, 2013 4:29 am
by TheButcher
Despite 'The Hobbit,' Hollywood Isn't Adopting 48 Frames Per Second
Peter Jackson loves the controversial high-frame-rate format, but no other filmmaker has adopted it as Warners adds screens for "Desolation of Smaug." Says Bryan Singer, "I had concerns."

' Vertical Cinema'

PostPosted: Thu Feb 20, 2014 1:34 pm
by TheButcher
Meet the Vertical Cinema Movement
Germain Lussier wrote:Vertical vs. horizontal is a huge debate in the online community. Due to YouTube aspect ratios, most people believe all videos should be shot with your phone on its side, creating the familiar horizontal image like you’d see in a movie theater. If you shoot the footage vertically and then upload to the web, there are huge black spaces on either side, making the footage look amateurish and small.

But there’s a movement embracing the vertical format, and nowhere is it seen better than Rotterdam in the Netherlands. There, a group of filmmakers have started the Vertical Cinema project – a traveling film festival featuring movies specifically shot with a vertical orientation.

Below, read more and see additional images and trailers for some of the films screened in the festival.

The Verge has an amazing article on this. Here are a few images of the event, which is currently traveling around Europe.

If portrait video is wrong, these artists don't want to be right

Days of Future Past/Quicksilver SPOILERS

PostPosted: Mon May 26, 2014 11:27 pm
by TheButcher

'X-Men: Days of Future Past' Writer: Final Scenes Leave 'Mysteries' to Explore (Q&A)
Aaron Couch wrote:Simon Kinberg tells THR he wrote the film's last moments as a "final goodbye" to the original cast but doesn't rule out them popping up in sequels: "There's some part of our brains that hopes we will see them again."

The kitchen scene ended up being a surprise hit for fans.

Bryan had high-speed photography that he found on the Internet that he showed us. We did a lot of tests of how it was going to work. That Quicksilver character is one of the many things Bryan brought to the movie.

Your Quicksilver is so good that it might be tough for The Avengers: Age of Ultron's version to top it.

I'm sure they'll do a good job with it. Part of the fun of this world we live in where there are multiple superhero franchises and now multiple version of the same character, it's a little like classic repertory theater, where you get to see different actors do interpretations of the same character. Macbeth is an interesting one because all four of our main actors -- McAvoy, [Michael] Fassbender, Ian, Patrick -- have done famous productions of Macbeth. If the world can handle that, it can definitely handle two Quicksilvers.

Days of Future Past/Quicksilver SPOILERS

PostPosted: Wed May 28, 2014 10:36 am
by TheButcher
'X-Men: Days of Future Past's' Quicksilver: I Wiped Out Shooting Dazzling Scene (Q&A)
Evan Peters tells THR he took a bruising during his character's key moment: "There's water all over the floor, and I slip and fall — I just eat shit."

Douglas Trumbull wants movies to be big again.

PostPosted: Wed Dec 10, 2014 5:42 pm
by TheButcher
With this week's Sound and Visions series, Vulture explores the future of movies and the movie industry. We hope you’ll plug us directly into your cerebral cortex.

Douglas Trumbull, the Man Who Has Revolutionized Movies Several Times, Wants to Try Again

Re: The Future of Cinema: 48FPS

PostPosted: Thu Jan 15, 2015 11:12 am
by TheButcher
Why Frame Rate Matters
In short, higher frame rates look more real, but it makes things that are not real look less real.

Re: Steven Spielberg Invents 'Future of Cinema'

PostPosted: Fri Apr 24, 2015 3:58 am
by TheButcher

The Future of Cinema: 1,000,000,000,000 FPS

PostPosted: Fri May 01, 2015 3:07 am
by TheButcher
The Trillion Frame-Per-Second Camera That Will Visualize Atoms
The newest high-speed camera on the block won’t be making its way into Michael Bay’s hands anytime soon, but it will be making his ‘splosions look rather poky. See, this camera will be helping scientists watch atoms zoom around at 28,000 miles-per-second.

Re: The Future of Cinema: 1,000,000,000,000 FPS

PostPosted: Fri May 01, 2015 9:19 am
by TheBaxter
TheButcher wrote:The Trillion Frame-Per-Second Camera That Will Visualize Atoms
The newest high-speed camera on the block won’t be making its way into Michael Bay’s hands anytime soon, but it will be making his ‘splosions look rather poky. See, this camera will be helping scientists watch atoms zoom around at 28,000 miles-per-second.

what a shame andrew lesnie died before he got a chance to use this on the next Peter Jackson film, Hobbit 4: Fire in the Shire

Re: Steven Spielberg Invents 'Future of Cinema'

PostPosted: Thu Jun 11, 2015 4:26 am
by TheButcher
Cine Gear Expo: 'Hateful Eight' 70mm Test Footage Dazzles
Carolyn Giardina wrote:Test footage from Quentin Tarantino's The Hateful Eight — photographed by two-time Oscar winner Robert Richardson — received enthusiastic applause when it was projected in 70mm anamorphic film for a full house at the Paramount Theater on Saturday at Cine Gear Expo, which is being held on the Paramount lot.

"He really wants to get people back into theaters. You’re not going to get this [at home]. He did something really great to bring that [experience] back," Panavision's vp optical engineering Dan Sasaki said of Tarantino, a vocal film proponent. "Quentin wanted an epic Western, something that hasn’t been seen in forever, that would really wow people. [When he saw this test,] he started bouncing in his seat."

Re: Steven Spielberg Invents 'Future of Cinema'

PostPosted: Thu Jun 11, 2015 4:28 am
by TheButcher
'Star Wars: Rogue One' to Be Filmed With Arri's 6K Large-Format Camera
It was also used for 'Mission: Impossible 5' and 'The Great Wall.'
Carolyn Giardina wrote:Parts of Star Wars: Rogue One and Mission: Impossible — Rogue Nation were shot with Arri's Alexa 65, a large-format, 6K resolution model of Arri's popular Alexa camera that is available exclusively through Arri Rental.

Many cinematographers are in line to get their hands on one of a still-limited number of the new cameras, which really dazzled when unwrapped last fall using test footage lensed by cinematographer Greig Fraser (Zero Dark Thirty), who’s using it on Rogue One (the production is also using film).

Re: Steven Spielberg Invents 'Future of Cinema'

PostPosted: Sat Aug 29, 2015 4:42 am
by TheButcher
Let's get a little nerdy and talk about the lenses being used on Star Wars: Rogue One.
Forgive the tangent into film class, but I thought some of you guys and gals might be interested in this kinda thing.
Ahoy, squirts! Quint here with really exciting news if you're into the tech side of filmmaking. Specifically, we'll be talking about lenses.

Lenses are pretty much the paintbrushes of a director and cinematographer. Different lenses give you a different feel. The reason why a widescreen movie today (2.35:1 aspect ratio) looks different from the widescreen movies most of my generation grew up with is due mostly to a change in lens technology (although film stock vs. digital is also a factor).

Spielberg mastered the anamorphic lens, which is what gave his movies all those great lens flares. John Carpenter's another one who shaped his look with those lenses. Basically what that means is when you record an image to film you get more visual information stored because it's taking up the entire celluloid frame, but in a squished square form that requires a scope lens to unsquish and make into that glorious horizontal rectangle we love so much.

Re: Steven Spielberg Invents 'Future of Cinema'

PostPosted: Thu Mar 30, 2017 1:14 pm
by TheButcher
THR MARCH 29, 2017:
Does the Future of Digital Cinema Mean the End of Motion Picture Projectors?
Carolyn Giardina wrote:New projection technologies are on display at CinemaCon.

Digital cinema could be facing further seismic change, and the motion picture projector, a staple of movie theaters since their beginnings, could be eliminated in the process.

This week at the theater owners convention CinemaCon, several demonstrations are presenting a vision of the future where cinema projection might not even be about projecting an image on a screen. A couple of models introduce the notion of filling the screen space with side-by-side, 4K LED video panels — the type you might see used for digital signage — to make up one giant video wall that becomes, effectively, the screen. They are much brighter than today's commonly used projectors, and some configurations with these modular panels could potentially reach 8K resolution (16 times that of today’s most commonly-used 2K) — but at a cost.

With new display developments, which also include the latest in laser projection technology, come some newly proposed business models for premium large format (PLF) cinema. And with that came the biggest question of all: Who will pay for it?

GDC, the cinema tech company, on Wednesday announced a PLF theater concept that could offer imagery up to 8K resolution using Samsung LED “Cinema Screen” technology. (Yes, consumer tech giant Samsung is also at CinemaCon, doing private offsite demos of a 34-foot screen created with its modular high dynamic range 4K LED panels).

Dubbed Jetreel Cinema, the GDC model also includes an immersive sound system from Samsung-owned Harman that the company claimed could play back a Dolby Atmos version of a film. And it includes some inviting design features, including massage seats that also offer a charging station for mobile devices.

Jetreel also has a unique business model. GDC says it will provide and install the gear — meaning the cinema owner won’t have to make a large up-front investment — as part of a profit-sharing agreement.

Meanwhile, Sony is showing a dazzling demonstration of its Crystal LED 4K panels, forming a 16-foot screen at its CinemaCon exhibit suite (it plans to show a 32-foot configuration next month at the NAB Show in Las Vegas). But the company cautiously said it is “testing the waters” with exhibitors and studios to see if there’s interest for theatrical use.

Like the Samsung system, it is modular — meaning you could choose the size wanted for a theater, and a large-enough screen could result in 8K possibilities, should that be desired.

These LED systems could also accommodate high frame rates. In fact, as part of its demonstration, Sony played a clip from Ang Lee’s Billy Lynn’s Long Halftime Walk in 4K at 120 frames per second format (the demo was in 2D, though the system could also accommodate 4K, 3D at 60fps). GDC said Jetreel could accommodate 60 fps — meaning that this is technology that might be of great interest to James Cameron, who has said he wants to use high frame rates in making his Avatar sequels, though most of today's cinemas are currently not equipped to handle such high frame rates.

While digital cinema technology is developing rapidly, projection manufacturers aren't ready to cede the space just yet.

The first round of digital cinema projectors, which have been in use since theaters began to transition from film, are Xenon-based systems. Now, leading projector makers such as Barco and Christie are touting laser-illuminated projectors, which have generated attention for their ability to deliver a brighter picture than Xenon-lamps (particularly for 3D). Both companies announced new laser-projector customers at CinemaCon. And Sony is demoing its first cinema laser projector.

But the issue is cost. While prices are coming down, large cinema installations require two 4K laser projectors totaling in the $1 million list range, leaving many theater owners questioning the return on investment. While LED panel costs were not revealed, it's widely believed that these will be even more expensive for a similarly sized screen.

All of this is leading to models such as ‘Sphere,' a PLF-billed brand introduced this week by CinemaNext, the exhibitor services unit of France-based Yamgis. It is designed to use lower-cost Xenon projection technology (it currently uses Sony 4K projectors) with its high dynamic range cinema presentation system ÉclairColor, immersive sound and distinct design elements.

There are many moving parts to launching any of these models, and it's certainly possible that the future of cinema will not be just one, but many models using various types of projection.

This will bring more questions to Hollywood. There will be the question of how many additional versions of a given movie might need to be created to accommodate these models, and how might that impact production schedules and postproduction budgets.