InCinematographer - Issue 3 - 7

7

www.incinematographer.com | Issue 3

The Arrival of Ultra Resolution Capture cont'd...
Full Frame Monstro sensor
for RED's Weapon

DPs shooting RED suggest an 8K data footprint
works well using its compressed RED Raw format.
"You can get about an hour of 8K footage per
Sony's new kid:
terabyte shot," Holland reckons. "Most of my days The Venice camera
on set in the last 18 months we've filmed
1-8TB, which is very manageable. The cameras
are capable of recording scaled proxies via
intermediate codecs like Apple ProRes and
Avid DNxHR, which makes that potential time
consuming task of creating dailies something
you can do on the fly if you explore that
workflow. 8K is where things get heavier if
we're talking uncompressed DPX sequences
and that's a big hurdle to undertake for some
to market the 8K F65 CineAlta. Venice houses a
studios.
36x24mm full-frame sensor and is compatible with
"I know the post houses I've worked with, literally
anamorphic, S35mm and full-frame PL mount lenses.
all of them in the last year or so, I was the first
Future firmware upgrades are planned to allow the
person to bring 8K into their houses," says Holland.
camera to handle 36mm wide 6K resolution.
"And in reality, the workflow isn't that difficult if
Panavision's Millennium DXL Camera outputs
you're targeting 4K or 2K output."
4K proxy files - ProRes or DNx - and large-format
Lens manufacturers are getting on board with
8K RAW files. At the core of the camera is a
the larger format size and there's a great deal of
proprietary image mapping process called Light
cinema glass at all sorts of budget levels that cover
Iron Color, developed by LA post facility Light Iron,
VistaVision, in particular. The Tokina Cinema Vista
which provides a unique, cinematic look. SAM's Rio
Primes were the first new set designed for the
finishing system is one of the few software tools
format. Cooke offers S7s, Leica has large format
able to work with the files and the Cinematic Image
Thalia primes, there are the Zeiss CP.3s, Sigma
Mapping Controls.
Art, and many others which work very well with
Of course, a focus on resolution alone is largely
Vistavision and Full Frame 35 formats.
dismissed by creatives since what matters is
"I've even adapted and modified some vintage and
applying the appropriate look for the story. Temporal
modern glass from Leica, Mamiya, Olympus, and the
resolution - or dynamic range - is considered a more
more recently released Zeiss Otus Primes," reports
perceptually noticeable tool to delivering greater
Holland. "It's been a wonderful and exciting world
contrast and color depth.
to explore from a cinematography perspective as
This is exacerbated by the widening gap between
all of it was creatively and technically challenging
the image quality which can be captured and the
to find lenses I liked for each project. When I began
quality of the final image on display. While an
primarily working in 8K VistaVision I certainly
increasing amount of content for feature films or TV
heard a lot of 'you can't pull focus for that format
are acquired 4K, only a few titles will be mastered
or resolution', but seriously, this format has been
for 4K theatrical projection or home entertainment
around for many years and we have more advanced
distribution.
focus 'helpers' on camera and on set than we did
According to Holland the argument about which
before, so for me that was never part of the hurdle
characteristic is more important - resolution or HDR
for me. In fact, my first 8K VV project I shot at
- simply misses the point. "It's about improving the
T1.5-T2.8 just to showcase some of the appeal of
overall image quality. That is what is important when
the larger format size in relationship to the depth of
it comes to getting our carefully captured images to
field."
the discerning and deserving eyes of the audiences
RED is leading the way in pushing sensor
who experience our efforts. Motion pictures have
resolution, recently adding the Monstro, a full frame
always been where science, technology, and art have
sensor for Weapon cameras. This combination,
met and over the years there's been great efforts
captures 8K full format motion at up to 60fps,
to improve the visual fidelity to produce a more
produces 35.4 megapixel stills, and delivers data
immersive image for the audience. That's in my
speeds of up to 300MB/s.
opinion part of the core of how we advance forward
Sony has launched the 6K Venice and continues
in our industry and in our medium."

When it comes to shooting 8K Civan says resolution
at this point isn't about resolution anymore. "The
effective pixels are so small, and so good, that they
act less like digital dots and more like paint."
Broadcast 8K
NHK's 8K system encompasses cameras
(Ikegami's SHK-810 handheld system and
Sony Systems Camera UHC-8300, plus
others from Hitachi), switchers (from NEC),
Lawo consoles for 22.2 channel audio and
giant LCD displays (from LG).
Belgian codec developer Image Matters is backing
a European project intended to skip 4K and help
broadcasters leapfrog directly from HD to 8K.
Called 8K SVIP, the collaboration between Belgian
and Czech manufacturers and researchers intoPIX,
Cesnet, Image Matters and AV Media aims to gives
broadcasters the tools to migrate from HD and 4K,
and to develop advanced transport technologies to
manage 8K signals over SDI and IP.
IntoPix has already been selected by NHK as the
compression technology for broadcast of Super
Hi-Vision. Using a TICO 8K codec the bitrate of an
uncompressed 8K stream is reduced to 48 Gb/s
(60hz, 10 bit, 4:2:2) making it possible to squeeze an
8K signal down a single 12G SDI cable with a claimed
latency of less than 0.2 milliseconds.
German developer Cinegy has also been teasing
audiences at tradeshows with 8K recording and
playback demos, highlighting the performance
advantages of its NVIDIA GPU accelerated video
codec, Daniel2. Cinegy is now in public beta with
Daniel2 codec-based applications.
Company CTO Jan Weigner has claimed that
Daniel2 can decode up to 1100 frames per second
at 8K translating into more than 17,000 frames of
full HD decoded per second. "It is the world's fastest
professional video codec, leaving any other codec
lightyears behind."
Cinegy is already touting the performance at 16K of
this technology.

Compression of Choice: IntoPIX TICO 8K


http://www.incinematographer.com http://www.red.com/products/weapon http://www.red.com/products/weapon https://www.sony.co.uk/pro/product/broadcast-products-camcorders-digital-motion-picture-camera/venice/overview/?cmp=ppc-bc-14179&aaca=923463788&aaad=46981806195&aake=sony%20venice&aama=e&aapl=&aata=&aacr=222571763022&aade=c&gclid=Cj0KCQiAuZXQBRDKARIsAMwpUeRjz1Xaq5-Grx-UR3eSx7VSVMaPMTmYRHTn9KGFEjTFAO87oyk4UvYaArpDEALw_wcB http://image.matters.pro/

Table of Contents for the Digital Edition of InCinematographer - Issue 3

In This Issue
InCinematographer - Issue 3 - Intro
InCinematographer - Issue 3 - Cover1
InCinematographer - Issue 3 - Cover2
InCinematographer - Issue 3 - In This Issue
InCinematographer - Issue 3 - 4
InCinematographer - Issue 3 - 5
InCinematographer - Issue 3 - 6
InCinematographer - Issue 3 - 7
InCinematographer - Issue 3 - 8
InCinematographer - Issue 3 - 9
InCinematographer - Issue 3 - 10
InCinematographer - Issue 3 - 11
InCinematographer - Issue 3 - 12
InCinematographer - Issue 3 - 13
InCinematographer - Issue 3 - 14
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InCinematographer - Issue 3 - 50
InCinematographer - Issue 3 - Cover4
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