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Re: 2K work with Spirit

I believe that the biggest obstacle to 2K work from the Spirit is that (as
I understand its process), it does not actually generate 2K images. CCD
pickups don't have a "5th gear for highway" - they don't double their pixel
resolution all of a sudden.

At the NAB demonstration of the Spirit which I attended, this specific
issue was targetted: how 2K files were generated from the 1080 res pickup
for feature work. The answer given was that a bicubic uprez'ing process
occurred to synthesize the additional pixel information (in Photoshop, that
would be the "best quality" uprez selection). The footnote added by the
operator was that "you can't see the difference!". I can totally believe
that the synthetic 2K file doesn't look much different than the 1K file

I have noticed some feature projects this year using 1K processing for
their post effects work, and it does not compare well with 2K work. At
least, it didn't intercut very successfully with the surrounding live
action footage - pretty much the benchmark for expert and layman alike.

I have not seen material on a digital workstation or on film which has been
passed through both the traditional hi-rez scanning/recording path and the
new datacine/recording path. Until the differences between the two can be
assessed, I would find it difficult to commit a project to the "new" way.
That being said, I have already had producers discuss the possibility with
me. Hopefully test materials will be generated for a valid judgement. 

The colour/density/gamma correction tools available with the Spirit (and
C-Reality? soon?) are very intriguing. There is nothing like them in the
traditional "hi-rez" scanning system. I would personally love to have my
cake and eat it too. Specifically with the Spirit, the promise of reduced
flair issues letting the colour correction of the Interpositive or
Internegative or LoCon print track truer than possible before is very
exciting. I mean, actually having your lab grading remain meaningful in the
electronic mastering process - wow !

And yes, I think that the sheer volume of bit-barfing from a whole feature
being graded and transferred is a significant head-scratcher for the
current techni-wallas.

Dan "is this martini 1K or 2K" Radford

> I am interested to know if some facilities are proposing (or about to) 2K
> grading for feature films. After the introduction of Megadef and Davinci
> I don't see any reason for not doing it, except that transfering today
> of 2K material on data tape will still take a while. Are you waiting for
> faster system than DTF  to match Spirit output speed ?    

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