Quote:
Originally Posted by ConnecTEDDD /t/1487061/4k-demo-content-available-for-purchase#post_24273020
The 100 movies you say, most of them are just an upscaling, don't believe 100% of that any company is telling to promote.
Yeah, I agree.
I am very skeptical to the 4K claims.
Quote:
Originally Posted by nathanddrews /t/1487061/4k-demo-content-available-for-purchase#post_24273315
I'm more inclined to believe Sony than to believe a forum post, but I'll gladly concede if presented with evidence. According to Sony, they are most certainly not upscaling. Having seen some of them first hand, I know it to be true:
Even more skeptical when the word comes from Sony, which are masters of technical "mumbo-jumbo" and fine words to make them look good without really telling the real truth.
Sony should be given kudos for being in the forefront of 4K in cinema. but it is clear that they are cheating a lot on these 4K re-masters.
When we know that 35mm film doesn't really have 4K of resolution to begin with, but can be accepted as 4K if scanned at 4K or even better at 6-8K and oversampled, it would be interesting to know how they arrive at new 4K masters from old films.
Do they rescan the negative elements and re-assemble and colorgrade the whole movie from there?
Do they scan a positive release print (which are printed on another type of film stock than the film is shot at) and is the release print of such a quality it can be called 4K?
With never movies shot on film the last ten years which originally was scanned for a 2K DI edit, do they rescan the negatives and re-assemble the movie again?
What about the VFX/CGI elements in those movies which are still generally created in 2K, do they up-convert them and mix them into the new 4K DI ?
OR, do they just re-scan a film print made years ago?
Knowing that all film prints the last ten years are printed onto film from a 2K DI master, this would not yield a real 4K resolution, but solve the problem of VFX/CGI versus up-converting those elements first.
Taking some examples of never films in the list;
- Men in Black (1997); VFX heavy movie shot on film. What did they do with the VFX/CGI to get them to 4K?
- The Amazing Spider-Man; This was shot digital in 5K 3D stereo, but all the CGI was done in 2K. They even had to pull back on shader layers on the lizard because it took too much time to render it out even in 2K. Which means they had to scale down the camera files to 2K also to get them to merge?
How did they get all this to 4K?
- Total Recall; Shot in 5K digital but only released in cinema in 2K: Did they redo all the VFX/CGI or did they just up-convert them?
- After Earth; Shot in 4K with a lot of VFX. How did they get all the VFX to 4K?
- Elysium; Shot digital with 5K capable camera (and some Canon 5D and helmet cameras.) with a "4K DI" for everything including VFX.
For some reason they shot this movie anamorphic with a cropped down sensor to 3.2K (3296×1350 [squeezed down from 3296x2700 when recorded anamorphically] which is aprox. 4 megapixel, half of the 8 megapixel needed for 4K) and then up-converted the whole thing to 4K release and IMAX film-out.
I just use this to illustrate that there is 4K and there is real 4K.
Just imagine what they do with the really old movie that only have some rather worn and deteriorate film elements left in the archives when they are already "cheating" with modern digital shot movies.
Hollywood studios, producers and DPs seems to not care a dot about 4K, proven by the fact that the most used digital camera in shooting feature movies today is a camera with a 3K sensor (aprox. 5MP).
Doesn't mean that they not happily up-convert those movies to 4K if for some reason they want a 4K release.
So yeah, be very skeptical to all the 4K release claims of feature movies until the Hollywood studios honestly reveal how the arrive at their 4K releases for the home consumer market..
There will be much more Real 4K movie coming from independent producers (because they don't have money for VFX), Documentaries (Like BBC nature series which all now shoot in 4K or above) or private projects from Camera owners/Directors.