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This topic comprises 3 pages: 1 2 3
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Author
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Topic: Lucas disappointed with lack of digital installations for Episode II
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Aaron Haney
Master Film Handler
Posts: 265
From: Cupertino, CA, USA
Registered: Jan 2001
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posted 02-15-2002 08:41 AM
It's hard to tell from the trailers. Most of the ones I've seen have been printed letterboxed within a 1.85:1 "flat" image, which is tiny compared to real scope. There is not much to go on.It'll probably look all right. Rick McCallum (the producer) was quoted a few months ago as saying they are going to go directly from their digital master to a set of dupe negatives, and then to release prints. So the prints will only be two steps removed from the original source material. 2K resolution isn't that bad, but the fact that it was shot with HDTV cameras means it's still going to have that "video" look. CCDs just don't capture light the same way film does. I hope that (digital master -> dupe neg -> release print) process catches on. Films that go through a "digital intermediate" a la "O Brother Where Art Thou" could benefit. It might help avoid some of the generational loss that comes from standard release printing.
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Darryl Spicer
Film God
Posts: 3250
From: Lexington, KY, USA
Registered: Dec 2000
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posted 02-15-2002 09:47 AM
I have seen the episode II trailer presented in scope and I have to say that the image quality is very good. I felt the colors were very rich and image was sharp. I am looking forward to seeing the quality aspect of the Prints when they are released.With the still unperfect quality of the dlp projection and having to sit in certain areas of the theater not to see the pixels. Film is still the way to go and will be for a long long time. When I screen a film I will sometimes move around to different areas of the theater and watch a few minutes of the presentation to get different aspects of what the public will be seeing. what kind of focus adjustments may be needed if any for the person sitting on the front row. As soon as it is possable to sit on the front row of a theater screening of a DLP projected image without seeing any pixelization of any kind. Only then will I feel that the paying public will get a good presentaion for their buck. Everyone needs to get a grip and accept the fact that it will be a long long time before a fully implemented program and switch over to DLP will ever take place. To many things still need to be done. This is something that should not be rushed, because all that you will gain is sub par results. Bottom line right now is everyone needs to do film done right no exceptions to the rules.
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Rory Burke
Expert Film Handler
Posts: 181
From: Burbank, CA, USA
Registered: Jun 2000
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posted 02-15-2002 10:57 AM
Georgie pie shouldn't be too sadnned regarding Digital Cinema installations. His own company THX practically helped was instrumental in helping to launch the idea and as far as I see it he has done the most he can do from his behalf to push the technology <creating D.C. presentation standards, hosting D.C exhibitions, filming in D.C. to create confidence etc etc> and the brunt of the acceptance is now on exibitioners, film makers, distributors, studios, public demand and on and on! Disapointed perhaps but he should still have some pride considering he is practically the founding father of Digital Cinema!!! I say....."keep your headup Georgie pie.....you're doing allright" From someone who misses the days when George would buy me breakfast, lunch, and dinner; till the end a true loyalist, Rory Burke
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 02-15-2002 12:40 PM
Much can be done in post-production to digitally "sharpen" an image, but the inherent resolution is still limited by the camera resolution (1920 horizontal pixels) and digital recorder used (AFAIK, the on-board HDCAM recorder has significant image quality penalties). Post production on this movie is taking several years.As a capture medium, color negative film is hard to beat:
http://www.kodak.com/US/en/motion/story/fact.shtml
http://www.kodak.com/US/en/motion/story/insight.shtml
http://www.kodak.com/country/US/en/motion/students/filmtech/35hd24p.shtml Kodak's Dr. Roger Morton has presented several papers to the Society of Motion Picture and Television Engineers (SMPTE), objectively comparing the image quality of 35mm film and 24P origination. In almost all respects (e.g. resolution, latitude, highlight detail, shadow detail, color reproduction, flesh tones, depth of field control, slow motion capability, etc.), film has significant advantages. ------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: 585-477-5325 Cell: 716-781-4036 Fax: 585-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 02-15-2002 01:15 PM
David said: "I do recall though that the Lucas logo at the end of the trailer, with some very small type on it, looked sharper than normal. I mean it looked like the characters were laser-etched up there on the screen."That's not surprising. The logos are CGI. If they were laser recorded at 4K (or even 2K) resolution directly to the printing negative, the prints would be very sharp. Using "Digital Intermediate" for film originated images, with laser output directly to the printing negative would eliminate the multiple stages of contact printing usually used today to make the master positive and duplicate negative for release printing, improving sharpness and steadiness:
http://www.kodak.com/country/US/en/motion/students/onCampus/april2001/intermediates.shtml
http://www.kodak.com/country/US/en/motion/digital/mastering.shtml
http://www.cinesite.com/la/digital/background.html
http://www.cinesite.com/la/scanrec/filmscan.html
http://www.cinesite.com/la/scanrec/filmrec.html
http://www.cinesite.com/CineonTech/resoultions/ResChart.html
http://www.arri.com/infodown/other/broch/laser_e.pdf
------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: 585-477-5325 Cell: 716-781-4036 Fax: 585-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion
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Mark Gulbrandsen
Resident Trollmaster
Posts: 16657
From: Music City
Registered: Jun 99
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posted 02-15-2002 04:05 PM
Frank,
A customer of mine in Knox Indiana played it at his drive in on release .......Dave said....."Consider this... we have a BETTER chance of seeing digital reach 70m quality in our lifetimes than we do of seeing Hollywood embrace 70mm again." According to people at DTS I've spoken with there is supposed to be alot of 70mm stuff out this year, including a whole new batch of Lawrence Of Arabia in 70mm......Thank God!
George a visionary? Thats a farce. What ever vision he had got flushed down the toilet a number of years ago.
Mark @ GTS
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