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slowtiger wrote:767: Isn't it funny that it is so hard to maintain the established quality of 35mm film in the digital domain? Everytime I spot artifacts in an animated movie I cringe. I also spot them in life action, though none of my friends does (anymore).

One could, just for fun, define the specs for an artifact-safe movie ... "NTSC colours only ... no uniform colours anywhere ... all pans and other movements must be done in multiples of 8 px ... no more than 20% of the screen shall be moving at any given moment ..."

As time goes on, I've noticed that people's expectations and standards (or lack of) continue to degrade. Digital television is nearly unwatchable. Digital projection is generally annoying. How in the world did the 'industry' go from trying things like Cinerama, VistaVision, 70mm, etc. to compressed big screen video? Where's the immersive experience? Sadly, the digital push will probably eliminate film. And, there won't be any going back. Banded sky will become a 'feature'. And, we get to pay extra for it. Maybe I could create some spectacles that introduce random visual artifacts to everyday life. Digital reality, it must be better...

Artifact safe specs. I like that.

Paul, the link you shared was fun, thanks.

The Red camera. What a piece of trash. Further proof that marketing turns off brains, permanently. (that's in reference to a comment in the AH films clip-I had to use a Red recently at a client's request-for some live action elements).

So, this brings up that maybe TV Paint should expand their color space? Or is that unthinkable?

Digital is the bane of my existence.

User 767 wrote:

slowtiger wrote:...Banded sky will become a 'feature'...

Digital is the bane of my existence.

I like this reproach. spoken like a true fed-up soldier.
I'm still dreaming about the day I will stop desiring to create in the visual medium, and become a tree farmer or a something.
why this ono-wrought enslavement?

That is precious, Asaf! It reminds me of the Jules Feiffer cartoon where a guy is sitting in front of his easel, grudgingly painting away, and he's saying something like: Paint, paint, paint... I always wanted to be a shoe salesman but I have to sit in front of a canvas every day for the rest of my life and paint, paint, paint...

I just had my frames evaluated at this new filmout place in Philadelphia and here's what they wrote:

Hi Paul,
I wanted to report back on our initial evaluation of everything.

All files look to be 8-bit files, including the DPX files. 10-bit would be ideal, though my guess is that you're working at 8-bit which will work out just fine. The 10-bit would give you a bit more latitude in handling the color-correction, but after evaluating with our colorist, he feels confident that working with the 8-bit material will work great.

The JPG looks a bit more compressed than the TARGA or DPX files so it would definitely benefit the project to have you export either of these. Our Resolve system needs to work with DPX so if exporting them on your system is too problematic we could convert the Targas here.
The frames look pretty amazing on the big screen.


The Italics are mine. Isn't that what it all comes down to?

SUPPORT YOUR LOCAL FILMOUTER!

edit: Perhaps I should explain; The DPX format out of TVP takes about 6 or 7 seconds per frame to render, which could be a major pain. I'd have to export every 20 minute reel from Vegas back into TVP, from where I would render out as a DPX image sequence file onto an external HD for the filmout place -- and do this 5 times!

Therefore I tested also JPEG frames which I exported out of Vegas (the only choice for exporting an image file, using a plugin) and therefore again, I tested exporting from TVP as Targas.