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Posts by ABCTV99

Most of those shows from the 60s were shot on slow stock film and by today's standards were overlit to compensate (today's DPs tend to prefer moodier, more chiaroscuro type lighting (see Kaminski/Speilberg). That's a fairly new thing because the stocks can really handle it now (even though digital is questionable). Since CSI came on the air, TV shows and commercials have become more comfortable with contrastier looks, where if you look at a show like Star Trek: TNG it is,...
Also didnt realize that neither Tad Scripter or John B. Field were on the show this year. Show was nonetheless practically flawless.
Show looks and sounds great as usual so far. KABC Los Angeles. Lighting on the audience seems less moody than some of the other recent Dickinson shows (Grammys), but not a bad thing necessarily. Hamish doing a fairly restrained job directing the show but solid.
@ScottWilkinsonShow is typically done out of a couple of NEP's Denali trucks (Summit) which use Sony HDC-2000 series cameras which I believe are native 1920x1080/59.94 acquisition (meaning the 720p is being downsacaled likely at the camera head, which is fairly typical these days). Someone at the show more familiar like Tad Scripter or John Field could probably elaborate more. I would fully expect director Hamish Hamilton to have a few tricks up his sleeve (cine-lenses,...
A lot of those 2.40 films were shot open frame and cropped to 2.40. Transformers was anamorphic but the vast majority of 2.40 films these days are either Super 35 or digital 16:9 and cropped to 2.35. So when you're seeing a 16:9 broadcast you may actually just be seeing the film uncropped. It really depends on the deliverables.
2003 was the first time the show was in HD. Also was the last time the show was held in New York City. The show has been mixed in 5.1 since then. No stereo on this show. Eric Shilling has been a mixer on this show (along with John Harris, Tom Holmes and a host of other people) for years. Show looked okay to me. Lighting was pretty moody. I've noticed Bob Dickinson has been getting pretty moody with his lighting of these shows (and The Oscars) over the last few years....
@ArchiguyBecause no one is moving toward interlaced programming and no one has for at least several years. ESPN actually produces content from Los Angeles at 1080p. Also your 1080i vs 720p debate argument assumes that the camera is capturing at 1280x720. They are typically not. The cameras typically capture at the full resolution available to the chip and then either downsampled or downscaled to 1280x720 in camera or (in the case of ESPN) on transmission. Its really no...
For me the PQ high watermark for ESPN is the 2010 National Championship game played in Phoenix. That stadium always looks great because it is well lit, the colors render very nicely. Even this years Fiesta Bowl looked good. That being said all of the last several have looked good. Even Monday's game in the Rose Bowl, to me, looked better than the Rose Bowl game itself (after the lights came on in the Rose Bowl game, I thought the picture started to pull toward orange and...
I think its been discussed that anamorphic blue-rays are on the horizon. But for now 2.40 movies have a working picture area in the neighborhood of 1920x800 (2.40). The rest is black.
In fairness though this show is really produced by Michael Seligman. That's why it is so consistent from year to year even though the producers change all the time and the directors have more recently changed more than in the past. Don Mischer of course has produced more awards shows and entertainment specials than just about anyone out there. So one of the reasons the Academy can hire movie producers to do a show like this is because in some ways the team of the show is...
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