Tema: HD Cameras for HDTV and Digital Cinema Productions

We now have both 2K and 4K digital projectors for movie theaters.

The theater owners agreed on projector standards and these include 2K at 24 and 48 Hz and 4K at 24 Hz.

The movie studios figured out how to finance the transition to digital projection. The transition will soon get on fast track, because it will save the studios big money.

Disney is pushing for 3D digital projection, in which it sees 10% higher profits. 2K 48Hz projector can be modified for 3D 2K 24Hz projector. Sharp, Kodak and others are progressing in making 3D TV screens that don't need glasses.

Sony SR recorder is capable of recording 880 Mbps. It uses inter frame MPEG4 compression. With GOP the compression can be 4x as efficient, with MPEG2 GOP compression it can be 2x as efficient.

Genesis has 12 MP CCD that could output 4K.

Sony and Panavision already have 1080/60p cameras.

Both Sony nad Matsushita are now talking about future 1080/50-60p MPEG4 HDTV system. That would, among other things, eliminate the 1080i/720p HDTV war that is happening now in Europe and other parts of the world. If we'll eventually see 1080p HTDV or not, this rhetoric will lead to push for 1080p production at higher frame rates than current 24-25p.

Content has to be future-proof. Dalsa and Arri already announced 4K cameras.

I think that the development in digital cinema standardization, coupled with new available technologies and 3D progress will lead to development of these next generation HD / Digital Cinema categoreis:

2K 60Hz. Sony and Panavision has these cameras already
4K 30Hz. Dalsa and Arri announced these.
2K 30Hz 3D. Sony and Panavision can be modified for this.

So cameras for future-proofing content already exist. Now we need this technology to filter down to acceptable market prices.

One of the reasons that HDV cameras are offered, with such high performance, is because pro production will be moving to a totally different sphere, so HDV and Blu-Ray will not pose competitive risks to the manufacturers.

1080/50p productions probably make sense now already -- for futureproofing content. If you shoot with 360 deg. shutter, you can convert them easily to 24p, 25p, 48p, 50p, 60p, 50i, and 60i. You can show them on 720/50-60p and 1080/50-60i HDTV systems, in current cinemas, and future 48 Hz cinemas.

24 fps is an archaic speed from 1929. We had 70 mm productions in 30 fps, and we have current 48 Hz IMAX HD high end film productions. The higher the projection frequaency, the better. All good directors realized this from the time of the talkies. The video crowd thinks that 24 fps is "the greatest", the holly grail of "film" look. Why simulate something that is defficient, if we can have something better!

Even current projectors project each frame at least twice, because 24 fps temporal rate as such is problematic.

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Muy Muy Interesante.


Un saludo

alguien lo traduce...