[opendtv] Re: coverstory_8_11_14.pdf
- From: Craig Birkmaier <craig@xxxxxxxxxxxxx>
- To: "opendtv@xxxxxxxxxxxxx" <opendtv@xxxxxxxxxxxxx>
- Date: Sun, 17 Aug 2014 09:53:16 -0400
Image sampling is a very complex subject with multiple variables.
Film has many desirable characteristics, and some that are less desirable. Some
like the look of film grain; some find it to be a "negative."
The quality of the sampling process is critical. It's not just resolution;
signal to noise is also critical as sampling errors reduce image quality. And
dynamic range is a huge factor, especially with respect to image correction and
enhancement in post production.
We are focused on a specific application - entertainment. Other industries face
different problems. At Grass Valley we printed full size posters of the video
mixer control panels. A 35 mm camera negative was useless when blown up to that
size for printing. We used large format cameras with negatives up to 12" in
width.
In the end it is all about how any image capture system is used, and the
complexity of the processes needed to capture the best quality images. The
professional cinematographer has the training and experience to get the most
out of any capture media. For the average videographer and amateur
photographers/videographers, digital acquisition has revolutionized image
acquisition - film and the companies that make it have withered and many have
died.
I grew up in dark rooms, processing negatives and printing, mostly B&W. I also
spliced reels of 16mm film with programs and commercials at my first job in a
commercial TV station...
And I helped the entire entertainment and professional video industries
transition from linear taped based editing to non-linear digital editing, not
to mention the transition from video mixers with DVEs to software based digital
image processing. The expansion in capabilities, creative freedom and
efficiency have been dramatic.
For most applications, the many benefits of processing digital images outweigh
the limited advantages of working with film. It is worth noting that the first
thing that happens with film negative in Hollywood is that it is scanned for
electronic post production.
Meanwhile electronic image acquisition and display keeps improving.
Cliff is enamored of the history of our craft. One cannot argue, with a
straight face, that today's flat panel consumer displays hanging on a wall are
inferior to the NTSC CRT displays that they replaced.
Regards
Craig
> On Aug 16, 2014, at 5:36 PM, Cliff Benham <flyback1@xxxxxxxxxxx> wrote:
>
> And again form the TIG website, a quick reply from another pro:
> "I agree. When the sensors absorb light and color instead of electronically
> recording it.
> They will surpass film."
>
> Cliff
>
>
>> On 8/16/2014 5:31 PM, Cliff Benham wrote:
>> Here is a quote from someone in Hollywood writing on the TIG website.
>>
>> "Commercially available HD images are all of 14 years old. When HD is
>> 100 years
>> old like film is, considering how far things have come in just 14 years, I
>> expect that its capabilities will *far* surpass what the very last of
>> the neg
>> could do.
>>
>> They just need to move away from single sensor Bayer filtered crap where
>> colors are made up out of math. And yes, I said Bayer filtered crap."
>>
>> And remember: Digital will never be as good as Analog because digital
>> always
>> throws away part of the image. Always.
>>
>> Cliff
>>
>>
>>> On 8/14/2014 10:16 PM, Manfredi, Albert E wrote:
>>> I think you and Cliff are going off in other tangents here. The main
>>> point of that one quote was to reduce the number of formats used for
>>> these online streaming services. That makes perfect sense.
>>>
>>> There's no reason to believe that every cotton pickin' device out
>>> there must have its own proprietary streaming format. You can have any
>>> number of screen sizes and even aspect ratios fed from one streaming
>>> protocol, especially now that bit rate can be dynamically adjusted
>>> (for unicast anyway).
>>>
>>> Bert
>>>
>>>
>>>
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