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Re: Consumer Reaction To Digi-Projection




-----Original Message-----
From: DCSOS at aol.com <DCSOS at aol.com>
To: telecine at xyzoom.alegria.com <telecine at xyzoom.alegria.com>
Date: Thursday, August 19, 1999 3:32 AM
Subject: [TIG] Consumer Reaction To Digi-Projection


>I am re posting here a small portion of a lenthy piece from the Village
, film in theaters will disappear, replaced by
>digital projection systems

This is possible for distribution.  AMC and other theater chains could
"broadcast" features from a central location: one operator, 2000 screens!


 and, soon enough, by productions that don't
>involve celluloid even at the shooting stage.

Not for a while.  Wenever video looks good at 2k/24 FPS, just say "OK, now
do it at 48 FPS, 300 FPS, 12000 FPS (military cameras go much faster)"

Animations/CGI are already starting to skip film for production, but it is
hard to beat film prints (IP's, etc.) in the archive: human readable, cheap,
and in 3000 years someone/thing might be able to figure out how to project
it.

The challenge (and opprotunity!) for the people in this list is to be able
to color correct and transfer media across many software "decoders", and the
challenge for facilities will be to automate it.  The number of formats in
table 3 is a drop in the bucket: multiply that by the difference in gamma
between Mac and Windows, projection, digital film printing, crt, lcd,
plasma, progressive, interlaced, etc.   You thought that doing both NTSC and
PAL transfers was a pain!

I believe that media will exist in some sort of meta-data container (like
quicktime) and when it is read by different displays it will be
automatically "corrected."  This is already happening: look at the default
"sharpening" filters on many rear projection TV's: the buzzing that is
removed in the telecine (at great expense, of course!) is put right back in
in the consumer space.

One of the challenges will be to develop a resolution independent and
software oriented workflow in TK.   Those with deep pockets have already
started.  There may be a place for a software encoding/decoding "assistant"
in the bay writing javascript for the various platforms: creating the meta
data in the container.  The way that animation houses have "in house"
software, telecine houses may become specialists in certain types of
coding/decoding and win projects based on their software prowess, rather
than their gear.

Chris Adams
freelance Colorist
cjcadams at pipeline.com






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