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OT: Resolution vs Spatial Fidelity
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I had the opportunity to see Dunkirk in 70mm at AMC Northpark Center in Dallas. It was very much a treat to see a movie shot on and finished on film. The fidelity was just amazing. The details and richness of the colors was just awesome. I stayed for the end credits only to see there was no mention of any NLE the film was edited on. My guess is the movie was cut the old fashioned way. The entire experience was pleasing to my eyes and looked much better than any 4K resolution image. More pixels does not mean a better image. I can only imagine what strain anything above 4K would subject even a high end, fully decked out computer regardless of what OS is used.
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[David Mathis] “there was no mention of any NLE the film was edited on”
Lee Smith cut the film. He cuts on Avid Media Composer. Just because it’s 70mm doesn’t mean the creative cut/offline edit wasn’t done electronically.
– Oliver
Oliver Peters – oliverpeters.com
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[David Mathis] ” I can only imagine what strain anything above 4K would subject even a high end, fully decked out computer regardless of what OS is used”
You might want to read these:
https://vashivisuals.com/6-below-editing-in-6k/
https://digitalfilms.wordpress.com/2014/11/07/gone-girl/
– Oliver
Oliver Peters – oliverpeters.com
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[David Mathis] ” My guess is the movie was cut the old fashioned way.”
Is that the new euphemism for using Avid? ????
Quick blurb about the post process at the bottom of the article.
https://americancinemaeditors.org/dunkirk/
[David Mathis] “I can only imagine what strain anything above 4K would subject even a high end, fully decked out computer regardless of what OS is used.”
Just use proxies… or build a mega-rig like Vashi Nedomansky did and edit in 6K.
https://vashivisuals.com/6-below-editing-in-6k/
EDIT: Started to post, stopped to answer questions at work and by the time I came back and hit ‘send’ Oliver had already beat me to the punch.
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[Andrew Kimery] “Quick blurb about the post process at the bottom of the article.
https://americancinemaeditors.org/dunkirk/“
Nice capsulation of the workflow. I’ve interviewed a number of feature film editors, where the director considered a complete film post workflow. They generally all concluded that not enough of the pieces existed any longer to make a complete photochemical pipeline. Now there you have a true dying art!
– Oliver
Oliver Peters – oliverpeters.com
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Thank you. I guess I was watching so intensely to see what is edited with I missed it. Still, it was nice to see a feature on film.
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[David Mathis] “Still, it was nice to see a feature on film”
“Baby Driver” is also largely film. 35mm film.
– Oliver
Oliver Peters – oliverpeters.com
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An important piece in the puzzle is which process offers the best workflow in post processing like grading. I take the point that all cameras and lenses used in this demo show it is possible to get a matched look but which approached offered the greatest flexibility in post to achieve a look.
The point about it not being just down to pixels is very relevant. I recently graded a doco shot in 1080 on an older camera. By adding film grain emulations using Film Convert plugins we made the image seem sharper, more ‘cinematic’ and it hid some of the typical giveaways of a video image like highlight clipping. However the overall process was very time consuming and there were shots that just didn’t respond to highlight recovery. My take is that lenses plus getting focus and exposure right make a big difference. In docos a camera with wider dynamic range and the ability to recover highlight and clean blacks is more important than raw pixel counts.
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