Tag Archives: 60 fps

HFR and 4K to be discussed at “Dimension 3″ conferences

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Dimension3logoHigh frame rates will be a major point of discussion at the upcoming Dimension 3 expo in Paris from June 18-21.

Dimension 3 founder Stephan Faudeux says, “4K technology is enjoying the same buzz that existed around 3D technology three years ago. There is a synergy between 3D and 4K technologies as well as HFR film-making.”

Here are the conferences relating to HFR or 4K:

HFR – a gimmick or a technological advance?
ROOM 2
Wednesday 19 June
From 11:30 to 12:30

Following Peter Jackson’s The Hobbit, new films are produced using HFR (high frame-rate), but this is a source of some controversy, and the debate is technical as much as esthetic. Objectively speaking, what are the advantages of HFR? Can this technology become widespread in theaters?

What cameras for what uses, tomorrow and in the future?
ROOM 1
Tuesday 18 June
From 10:00 to 11:00

In terms of innovation, digital cameras constantly improve their resolution, but other technological advances are planned in the short, medium and long term. What will tomorrow’s cameras be like? They will be able to meet new esthetic and technological requirements (HFR, high resolution, 3D), but also allow for more creativity and leeway during postproduction: HDR cameras, integral imaging.

There will also be a few sessions dedicated to 4K / Ultra HD:

4K – filming and workflow
ROOM 2
Tuesday 18 June
From 11:30 to 12:30

4K cameras have been in use for several months now, and early feedback can now be offered in terms of filming, as well as post-production. With the outstanding resolution of 4K and the generalization of digital processes, we can wonder whether film is still relevant as a filming media… still, producing beautiful images requires that one follow a number of criteria dealing with the consistency of 4K workflows.

Ultra HD, soon on a TV near you
ROOM 1
Tuesday 18 June
From 11:30 to 13:00

The progressive standardization of the HEVC codec will enable the broadcast of audio-visual contents in private homes, at a higher resolution than HD.
- What processes are involved in distributing, broadcasting and displaying these images?
- When will UHD displays become widespread enough to launch a new mass consumer market
An overview of the state of UHD, including the first broadcast tests and feedback from manufacturers

Immersion: what to choose between 4K, stereoscopic 3D and 3D audio?
ROOM 2
Tuesday 18 June
From 10:00 to 11:00

The increase in images’ resolution to 4K and beyond allows for the creation of new immersive spaces that can be enhanced by applying 3D technologies to video and audio. This talk will present technologies such as 3D mapping, large format projection, and 3D audio, destined to be used in museums, art installations, industrial applications or cinema theaters.

Check out the conference schedule page for a full list of conferences.

Attendees will also get the chance to experiment with HFR and 4K production and post:

“The Forum’s 2013 edition inaugurates the Big Shoot, a life-size filming set with a unique environment allowing visitors to test new generations of cameras, 3D, 4K, high frame rate filming, DSLR, etc., and view, assemble and analyze the images on a post-production workstation.”

Christie introduces world’s first 4K 60 fps projectors

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christie-60hz-image1

UPDATE: These projectors are actually part of Christie’s Pro AV series; intended for business and large screen applications, not for the cinema. Don Shaw, Christie’s Senior Director of Product Management, explains:

These are not cinema projectors… they are actually intended for our ProAV markets.

With that said, they have similar light engines and optical characteristics as a cinema projector, but totally different electronics that are not compatible with cinema security protocols and movie playback equipment.

As a stretch, you may be able to use them in film post-production, but only for unencrypted content; perhaps for reviewing dailies and for DI processing.

So although 4K HFR in the the movie theater is still beyond the horizon for now it’s encouraging that projector light engines, optics, and data storage / transfer are good to go in terms of 4K HFR.  Now we just need to wait for exhibitors and motion picture engineers to provide updated theatrical distribution protocols and infrastructure.

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Christie Digital has announced the world’s first 60 fps capable 4K (4096 x 2160) projectors: the Christie D4K2560 and D4K3560.

“Christie is the only manufacturer providing full 4K (4096 x 2160) resolution at 60 Hz and the reliability and image clarity of 3-chip DLP® all in one package. Both projectors are a quantum leap forward in video image processing and a breakthrough in high frame rate and high resolution video projection,” said Mike Garrido, senior product manager, Business Products, Christie.

The projectors, which replace the Christie D4K25 and D4K35, are available now for pre-order. They are priced at $125,000 for the 25,000-lumen DK2560 and $161,000 for the 35,000-lumen D4K3560, according to Engadget.

It’s great that Christie has pushed the boundaries with these projectors, but this announcement may be only one piece of the puzzle that has to be completed before we get to watch even 4K 2D movies at 48 or 60 fps.  Christie Senior Director of Product Management Don Shaw told me back in January that the infrastructure for handling such high bandwidth doesn’t yet exist, and may not arrive for quite a while:

“A 4K HFR [3D] projector would require up to 4X the input bandwidth of our current cinema projectors (up to 120 fps total)… this would be a forklift upgrade (i.e. new projector) and the reality is that none of the current cinema infrastructure (IMBs, servers, routers, content delivery systems, etc) can handle this bandwidth. It will be a long time before we see 4K HFR in theaters and we currently have no plans for building such a projector for general Cinema usage.”

Maybe things have changed since January?  At least, maybe infrastructure capable of feeding a single 60 hz 4K projector now exists.  If this is the case, I’d imagine a theater could achieve 4K HFR 3D by having two of everything (server, IMB, etc).  Such a setup would be quite expensive, but wouldn’t it be cool if a few select cinemas show The Desolation of Smaug in glorious 4K 48 fps 3D?

Video of Jon Landau’s NAB keynote, discusses HFR and Avatar sequels

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Jon Landau had a session / keynote at NAB on April 7 where he discussed his passions in filmmaking and the impact of technologies such as HFR and 3D.  He also touched on the new underwater performance capture tech that will be used in Avatar 2 and 3 and the development of their new studio in Manhattan Beach.  Watch the video of the session below:

The Hollywood Reporter has a good summary of Landau’s talk.  But there’s still no firm start date(s) for the Avatar sequels’ motion capture and shooting, and the question of whether they will be 48 fps or 60 fps still hasn’t been answered definitively.

Douglas Trumbull talks HFR and the “holy grail” of movie tech

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Thanks to reader Skyler for giving me the heads up on this video of Douglas Trumbull‘s presentation at the 2013 GPU Technology Conference.  The session, titled “The Impact of High Frame Rate Stereo Production on Cinema”, includes interesting topics such as Trumbull’s vision for a “Holodeck-like” theater.  There’s also some behind-the-scenes footage from his upcoming HFR movie:

Video streaming by Ustream

Here’s the official description of the session:

Douglas Trumbull, visionary film maker and visual effects pioneer, presents his compelling vision of how high-resolution, high-frame-rate stereo production will help us reach what he sees as the “holy grail”, movies that offers a profound and overwhelming personal experience, not one of empathizing with actors via a third-person voyeurism, but a direct first-person experience where each audience member feels that they are inside the movie, ”participating in the movie, not just looking at the movie. He explores the impacts that high frame rates and stereo presents on the entire movie system, from production camera capture, through post-production processes, through distribution, and up onto the big screen.

Ang Lee gives his thoughts on high frame rates

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movies-ang-lee-life-of-pi-oscarBest Director Oscar winner Ang Lee talked with ScreenRant about HFR on the red carpet of the International 3D Society Awards:

People have mixed feelings right now. I wonder how much HFR is ahead of its time or people simply don’t like the look. It’s very hard to say. We associate it with “video” looks – which people associate with bad filmmaking. It doesn’t mean that the media itself is not good. It’s very hard to say but making Life of Pi I struggled with frame rate because you don’t want the 3D to be jittery and we’re constantly rocking in the ocean. And sometimes when things go too fast I could not see the eyes – so HFR might be a idea. But sometimes when I find out how people feel about it, I think it’s possible. We’re in the early stages of 3D filmmaking – so we have a lot to learn.

It seems that Lee is mostly worried about the apparently mixed reaction to the HFR 3D version of The Hobbit (amongst critics, at least…audience responses were significantly more positive) since he acknowledges that the judder-reducing HFR would’ve been particularly helpful for Life of Pi given the many scenes taking place on the rocking ocean.

Film traditionalists have certainly slowed the momentum of the HFR format, but I expect its popularity to surge quite soon – possibly as soon as The Desolation of Smaug.  Now that HFR has already made its first splash there will be far fewer luddite hipster critics panning the movie for not being 24 fps.  And when the Avatar sequels hit we’ll be getting HFR 3D at a whole new level of clarity: many filmgoers will consider them the first “proper” HFR movies, especially if 60 fps becomes the standard for a while.

Jon Landau will deliver keynote at NAB Technology Summit; will cover “latest work on higher-frame-rate cinema”

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nab2013Jon Landau is scheduled to deliver the keynote address at the NAB show’s Technology Summit on Cinema: Advances in Image and Sound on Sunday, April 7.  It’s very likely Landau’s talk will explore the high frame rate technology / pipeline that he and James Cameron will be using for the Avatar sequels.  Hopefully Landau will confirm that they will be making the sequels at 60 fps and that performance capture / shooting will begin soon.

Wendy Aylsworth, president of SMPTE, says of Landau:

“As one of the industry’s most successful producers and storytellers, Jon Landau is a hero to many within the NAB Show audience.  He is a champion of employing the capabilities of technology to improve the telling of a story and has inspired many to push the envelope in movie-making.” (via BroadcastEngineering.com)

Besides Landau’s talk, the following sessions will include discussion of high frame rate: (via  SMPTE’s press release):

1)  ”‘Advancing Cameras for Cinema’ will discuss developments such as higher resolution and frame rates, as well as greater sensitivity, dynamic range, and color gamut, and their potential impact both on acquisition techniques and on human perception of the on-screen images.

2) “Two subsequent sessions will take a closer look at high frame rate (HFR) motion pictures, recent research on the psychophysical audience response to HFR, and how industry producers and directors are using 48fps and 60fps content to achieve a desired emotional audience response.”

Nabshow.com describes the the Technology Summit as providing “an in-depth global view of the new wave of technology coming soon to your local multiplex, with an eye toward how it might later affect the broader media ecosystem.”

Topics Include:

  • The latest work on higher-frame-rate cinema
  • Perceptual requirements for higher quality image and sound
  • New technologies for exhibition
  • Advantages and pitfalls of 3D film conversion

The 2013 NAB Technology Summit on Cinema will be held from 8:30 am Saturday, April 6 to 6 pm Sunday, April 7 at the Las Vegas Convention Center, South Hall Conference Room S222.  The Summit is co-produced by the Society of Motion Picture and Television Engineers (SMPTE).

The Hobbit: There and Back Again moves to December 17, 2014

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HobbitThereandBackAgainJust as I suspected, The Hobbit: There and Back Again has changed its release date to December 17, 2014, thus falling in line with every other LOTR and Hobbit movie.

The original July 18, 2014 release date (the same day that Bryan Singer’s X-Men: Days of Future Past is currently scheduled) never made sense financially, in relation to WETA’s VFX schedule, or in terms of tradition. And two huge blockbusters were never going to go head-to-head like that. As an added benefit this date change frees up plenty of high frame rate screens for Days of Future Past if Bryan Singer follows through on all the hints and indeed makes it at 48 or 60 fps.

Moving to December is simply the smart thing to do: December blockbusters almost invariably have miniscule competition for months after they debut, thereby allowing for stratospheric grosses (see: Avatar, Titanic, Return of the King).  Late summer is a time at which audiences often start becoming fatigued of all the visual effects and spectacle, especially in terms of epic sci-fi, action, superhero and fantasy, and the grosses rarely stretch much higher than a billion even for the most highly anticipated event pictures.  By December, however, and after an August-November gap in epic escapism, audiences are ravenous for movies like The Hobbit.

I’m glad that Peter Jackson, MGM and Warner Bros. will reveal the final epic installment of the trilogy where it was always meant to be: December.  It just wouldn’t have felt right at any other time.

Weta Digital’s Joe Letteri talks HFR 3D and Smaug

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hobbit-desolation-smaugStudioDaily.com has an interview with WETA Digital head Joe Letteri where he explains how making The Hobbit in HFR 3D affected WETA’s VFX process:

Studio Daily: What was the impact of 48 fps on post-production?

Joe Letteri: In a way, it was as simple as twice as many frames, so we had to do more work. It did allow us more creativity with animation. When you have 48 frames for every second, you can handle quick changes of motion better. You can see that in Gollum. At 48, you can really define those micro expressions. At 24 fps, the expressions are softer. We capture at 60 frames per second, so we could use more of the motion-capture data.

That WETA is already using 60 fps capture adds to the likelihood that future blockbusters they work on will be made at 60 fps.  I expect announcements of more high frame rate movies soon.  If I were to bet, I’d guess that the next announced HFR movie (beyond what has already been 100% confirmed) will be X-Men: Days of Future Past.  Bryan Singer has been making a string of exciting casting and plot related announcements on his Twitter, and he previously said he had “frame rate envy” after seeing The Hobbit in HFR. So I definitely expect to see this mutant epic in HFR 3D.

Letteri mentions realism as representing the future of visual effects:

Studio Daily: Leaving the business trends aside, what trends do you see technically and artistically in visual effects?

Joe Letteri: Generally, I see more of this trend toward realism. In a way, that’s what we’ve always done. But now, there’s more acknowledging that it is what we do. There’s more of a focus on understanding and trying to apply realism. Even though it’s more complex, it gives you the ability to standardize around a known quantity. There is less guesswork when you measure the real world.

What are you excited about now?

Smaug. He’s our next big character. You just got a few glimpses of him in the first film. I love the Riddles in the Dark, and I love Smaug. Seeing what we can do with Smaug is the next thing.

As I’ve been saying for a while now, I can’t wait to see Smaug.  His reveal at the end of An Unexpected Journey was perfect: from the thrush’s leisurely flight to the The Lonely Mountain, to it knocking the seed on the wall, then the camera taking us into the huge treasure chambers where we hear the amplified echoes of the thrush’s activity as we track over the hills of gold and treasure, leading into the final push-in on the dragon’s eye as we discover that Smaug had been sleeping under the gold coins all this time. I got chills.

Letteri’s love for Smaug and his excitement regarding Smaug as WETA’s “next big character” is very encouraging, as is the implicit promise of new techniques being used to bring Smaug and his environment to life.  We’ve never had a great talking dragon in the movies, not to mention a dragon whose belly is encrusted in dazzling golden coins and gems. Can’t wait to see how WETA plays with the lighting effects.

Even if An Unexpected Journey doesn’t win the best Visual Effects award tonight, I’d bet Smaug will win it for them in 2014.

Check out the StudioDaily.com interview for a lot more fascinating VFX-related discussion from Letteri.

RED taking preorders for 4K REDRAY Cinema Player

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redray_978x513_01Thanks to JL for giving me the heads up on this 4K media player by RED: The REDRAY 4K Cinema Player. The REDRAY player is capable of high frame rate (HFR) 3D at up to 60 fps per eye.

From RED’s site:

There is nothing like a true 4K 3D experience and REDRAY delivers with playback of 3D media at up to 60 fps per eye in 4K. Whether in a home theater or at the office, REDRAY’s flexible HDMI 1.4 connectors let you leverage the latest 3D and 4K LCD flat panel and projection display technologies.

RED describes REDRAY as “the first 4K Cinema Player to bring ultra high-definition content to your home, business or local theater using internet file based distribution.” It utilizes a 1TB internal drive and “advanced networking and low data rates” which allow for content distribution via FTP transfer or solid-state media.

In addition to providing content for Ultra HD flat panel displays and 4K projectors, REDRAY can also be used for “digital signage applications to drive up to four 1080P displays.”

RED’s site doesn’t specify a release date, saying that it’s “coming soon.”  You can preorder it for $1,450.

The only other 4K content delivery platform I’ve heard about so far is Sony’s server that comes preloaded with 10 4K-mastered titles, offered alongside the Sony Ultra HD TV.  But from what I’ve read it seems like Sony’s server is a closed platform: you can’t freely move files to and from it without someone from Sony doing it for you.  Sony is currently working on a 4K content download service, but whether it will offer non-Sony content remains to be seen.

JL also notes: “3D HFR 4K Projector to follow soon…”  From RED I assume. Once we have such a projector only a few small hurdles remain on the path to 3D HFR 4K content, primarily involving content distribution, digital file security, and date routing (although all of these could feasibly be overcome by operating entirely within RED’s ecosystem).  However it would be quite a sea change for the movie exhibition community to move to RED projection solutions when they currently use Christie, Sony, Barco, or NEC projectors / integrated media blocks.  I’m sure these companies won’t let RED be the only way to get 4K 60 fps 3D content to the screen.

A question for anyone who may know the answer: does HDMI 1.4 actually have the necessary bandwidth to deliver 4K content at 60 frames per second, in 3D? Wikipedia says that 4K at 24 fps in 2D is the maximum that HDMI 1.4 can handle, while RED’s site says that the REDRAY player can indeed deliver 3D content at 4K 60 fps per eye using “flexible HDMI 1.4 connectors.”

Is there anyone out there who can help clarify this?

Sony will unveil PlayStation 4 at February 20th event: might be HFR and 4K-capable

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playstation-logoSony just announced a special PlayStation Meeting to be held at 6:00 PM EST on February 20 in NYC. Past PlayStation Meetings have meant new Sony hardware unveils, so it looks extremely likely that this event, to be attended by media and investors, will be the debut of the PS4. Check out the teaser video for the event below:

The debut of the PS4 will be quite significant as far as the world of visual fidelity is concerned. As one of the primary forces behind the Blu-ray standard as well as the first company to offer 4K digital projector solutions back when digital projection was first arriving on the scene (around 2005-ish), it will be interesting to see how the PS4(k?) fits into Sony’s “raise the bar of image quality” MO.  4K support of some kind seems like a pretty safe bet.

05095872-photo-logo-4k.jpgThe Blu-ray Disc Association (BDA) in late 2012 established a task force to discuss the feasibility of 4K blu-ray discs.  I could see Sony very much wanting to come out and announce that the PS4 will be the first 4K capable Blu-ray drive, just as the PS3 was a successful trojan horse for getting Blu-ray players into millions of homes worldwide.

And if the PS4 has the optical drive capacity & bandwidth, internals, and HDMI spec necessary to process and output 4K images from disc, it may very likely be capable of handling high frame rate (HFR) or even HFR 3D output of movies from its disc drive as well.

Andy Parsons, President of the BDA, mentions HFR as one of the technologies that his “format extension study task force” will investigate:

The BDA recently decided to form a new task force to study just this sort of possibility. It’s called the format extension study task force, and it will do exactly what its name suggests: to study new technologies such as 4K, high frame rate, color enhancements, etc. Each technology that will be studied needs to be evaluated to determine technical feasibility, market demand, and potential impact on the installed base of Blu-ray players already in the marketplace, projected to be in excess of 50 million in the U.S. alone by the end of 2012.”

05609748-photo-logo-hfr-3d.jpgSo Sony might deliver two bombs on Feb. 20: 1), that the PS4 will be able to play 4K movies from disc or from the HDD, and 2), that the PS4 will support playback of 3D HFR-mastered content at frame rates of up to 60 fps per eye.

What I find unlikely, however, is that the PS4 would be capable of showing 3D (HFR or otherwise) at 4K resolution per eye.  But we shall see: Sony is known for going above and beyond current technical standards in its hardware.

And of course I can’t wait to see next-gen games from the likes of Naughty Dog, Sony Santa Monica, and Quantic Dream (hopefully QD’s PS4 game will be based on that amazing KARA demo).  This console generation has gone on far too long!  So I’ll have my eyes peeled to this PS4(k) event at 6:00 pm EST on Feb. 20th.