At CineGear a group of esteemed pros joined a panel discussion to talk about the 4K workflow on a couple of short films using the DALSA Origin Camera and their experiences all the way through editing and color correction, as well as the future of 4K.
DALSA and the Digital Cinema Society sponsored the panel discussion, which featured James Mathers, president and co-founder of the Digital Cinema Society, cinematographer David Stump, ASC; DALSA's Rob Hummel; Sony's Andrew Stucker; Denis Leconte of Pacific Title, as well as directors Anurag Mehta (The Trident) and Joe DiGennaro (No).
Panelists spoke of the 4K production on the short films The Trident and No, speaking about everything from the latitude of the 4K image from the DALSA Origin, to capturing the data with the Codex Digital recorder, editing on Final Cut Pro to the joys color correcting 4K images. Sony's Andrew Stucker also speaks about the future of digital cinema display and possibilities of 4K in a theater near you.
Comments (4) for "A Complete 4K Workflow: Panel Discussion"
1.
If 4K conform is so difficult, how can this be a viable business? Rob Hummel\'s description of hand generating the \"Bingo!\" EDL is horrifying! There is just too much at stake for real projects to utilize what is essentially \'science project\' technology.
Posted by William Martin on Thursday, July 19, 2007 @ 01:24 PM
2.
Just to clarify, the person describing the EDL was Joe Di Genarro, the director from "No". For some reason the Studio Daily video of the panel had the title names mixed up.
William, I respectfully disagree with your characterization of what was achieved as "science project" technology. The two films, "No" and "The Trident", are real, completed, 4K projects. You just have to look at the caliber of companies (Pacific Title, Warner Brother Motion Picture Imaging, and Sony), individuals (David Stump and Denis Laconte), and professional production and post production equipment (Codex, Apple Final Cut Pro, and Baselight) involved in completing these projects.
Yes, these are early days for 4K capture and post-production, so you are going to hit some stumbling blocks along the way. But if you listen to the whole piece, particularly the interview with David Stump and his assessment of the post production pipeline and the ease with which the images moved through the process, the overriding message is that file based, 4K production and post-production is indeed viable and where things are heading.
Patrick Myles
DALSA
Posted by Patrick Myles on Thursday, July 19, 2007 @ 03:02 PM
3.
How about a quicktime version for those of us on iPhones?
Posted by robob on Thursday, July 19, 2007 @ 07:24 PM
4.
I'm a fan of bleeding edge technologies, and support their efforts, but it IS undeniably clear from this and other attempts that a capable 4K workflow doesn't exist. What we have here is a series of workarounds and technology hacks to make this come together. From what I can see, it is even worse with the Red One cameras. For those of us who are not working in la-la research and development land, better return to your CineAltas and DVCProHD cameras and wait for the next generation.
Posted by Matthew Galvin on Tuesday, February 19, 2008 @ 05:49 PM
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