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SONY, DALSA, and Post Logic Team With Amediavision for First All 4K Screening

Posted Wed, 06/03/2009 - 15:07 by 4K Hub

LOS ANGELES - "Reach for Me," the first feature-length motion picture to be shot and produced entirely in 4K, will be screened tonight on Sony's 4K Digital Cinema Projection Systems. Directed by Levar Burton and produced by AMediaVision Productions, the movie was captured using DALSA's Origin 4K cinematography camera, with 4K image processing and digital intermediate (DI) managed by Post Logic.

Bringing the Red Revolution to SA!

Posted Wed, 06/03/2009 - 15:06 by 4K Hub

In South Africa, a great deal of confusion exists regarding this mysterious thing called the Red One Digital Cinema Camera, or simply the Red Camera.Perhaps never before has a mere camera polarized the industry into such distinctly opposed sides, and above all generated such a tidal wave of utter misinformation.

Red announce 5K "Epic" and 3K "Scarlet"

Posted Wed, 06/03/2009 - 15:06 by 4K Hub

Just when 4K seemed to be the pinnacle of resolution for digital cinema, Red Digital Cinema have once again caught everyone off guard with the 5K "Epic".The doors opened at NAB in Las Vegas less than an hour ago, and already Red's own forum www.reduser.net is alive with what can only be described as a cacaphone of activity.So far the following specifications have been released for the Epic.Full Frame S35MM New Mysterium X Sensor1-100FPSUp to 100MB/sec Redcode RAW and RGB recording to RedFlash

Atomic VFX - The Road to EVE - SI1920

Posted Wed, 06/03/2009 - 15:05 by 4K Hub

When Sharlto Copley and Simon Hansen of Atomic Visual Effects set out to shoot thier first feature "Spoon" they were ready to accept the inevitable limitations of thier budget and shoot DV. However, being an innovative bunch, not quick to give up without a fight, they fought hard for alternatives.

Planning your DI workflow: Part 2: Uncompressed data rates and bandwidth requirements

Posted Wed, 06/03/2009 - 15:03 by 4K Hub

I hope that the previous part in this series titled “The data-centric pipeline” was helpful. I am going to build on it now in discussing how we can calculate the uncompressed data rate of media at various resolutions and color bit depths.I have to warn you that this takes some basic math skills. The required data rate for a particular video format (in a uncompressed state) can be easily calculated as long as we know its resolution, color depth (regardless of whether it is log or linear) and frame rate.

DALSA - CCD vs CMOS Image Sensors

Posted Wed, 06/03/2009 - 15:01 by 4K Hub

The technologies and the markets that use them continue to mature, but the comparison is still a lot like apples vs. oranges: they can both be good for you. DALSA offers both.