I don’t usually like to just copy and paste blog posts as I believe it undermines some of the reason you all come here, and I like to think (maybe I kid myself) that you actually want to hear my opinion about the technology relating to the digital cinema revolution.
So I will have my say here, and then paste the article for you as it puts the information across and I don’t feel I need to re-invent it.
Well, it cannot be denied that Red Digital Cinema were and for some still are the driving force. I believe they took something that the likes of DALSA conceptualized with it’s 4K Origin camera, and brought it to the masses in the Red One.
Just when I thought Panasonic were on top, Philips have unveiled one of the most beautiful things I have seen in a long long time. The 56PFL9954H/12 is it’s model name, and is dubbed the Cinema 21:9 LCD TV 56″ – that aspect ratio is the same as 2.39:1 just more marketable.
QLab in Mumbai has acquired five Scratch systems from Assimilate for high-end digital intermediate work and training.
QLab turned to Scratch when its existing DI system ran into some problems and the experience was so good the company added more systems and has deployed them across its DI/photochemical lab and burgeoning digital film school training facility.
Blackmagic Design today announced a revolution in high end color correction with new DaVinci Resolve 7.0 that includes support for the Mac OS X platform, upgraded user interface, improved video field support, a new EDL library, improved shared database support, as well as new pricing for all models starting from a very affordable $995.
All models of DaVinci Resolve will be demonstrated on the Blackmagic Design NAB 2010 booth at #SL 6020.
In the past DaVinci Resolve systems were pre built and priced from $200,000 for a 1 GPU based system, to over $800,000 for a 16 GPU top of the line system. Even though this was in line with industry standard practice, it meant professional color correction was way too expensive for most people to afford. Blackmagic Design has worked hard to change this, and make DaVinci Resolve more powerful but at the same time also more affordable for everyone.
At the recent German premiere of Sony Pictures’ hugely anticipated film The Bounty Hunter, Gerard Butler and a high profile audience were delighted to watch the exclusive film with Sony Professional’s state-of-the-art Sony Digital Cinema 4K system.
Featuring four times the resolution of traditional Full-HD and 2K digital projectors, the 4K system has been installed at the CinemaxX Potsdamer Platz in Berlin. The Bounty Hunter will or has already been distributed as native 4K DCP (Digital Cinema Package) globally.
The film is the story of a down-on-his-luck bounty hunter, Milo Boyd (Gerard Butler) who gets his dream job when he is assigned to track down his bail-jumping journalist ex-wife, Nicole Hurly (Jennifer Aniston). However, the exes soon find themselves both on the run as they have to test their past love, honor and trust to the limit.
"Thanks to Google I caught this post. And bravo for the guts to actually put in print what a lot of people are thinking but afraid to acknowledge publicly..." in response to “Sink or swim – the end of the traditional production value chain”
R. Wintner said this on June 6, 2009 at 5:18 pm
Russell J. Wintner is an American Hollywood executive largely credited with leading the worldwide motion picture industry's transition to digital cinema.
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Tnelson said this on September 30, 2009 at 11:27 pm
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JimmyBean said this on October 1, 2009 at 7:56 am
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QLab turned to Scratch when its existing DI system ran into some problems and the experience was so good the company added more systems and has deployed them across its DI/photochemical lab and burgeoning digital film school training facility.
