Optical Sandwich, a picture post facility in Dublin, Ireland, is an excellent example of the new trend that combines film development, production and post production within one studio. Director Lance Daly, founder of Optical Sandwich, chose ASSIMILATE.

Red Digital Cinema have followed on from the announcement of thier "Mysterium X" sensor upgrade for the Red One with the news of a totally new sensor in development called "Monstro".

LOS ANGELES - "Reach for Me," the first feature-length motion picture to be shot and produced entirely in 4K, will be screened tonight on Sony's 4K Digital Cinema Projection Systems. Directed by Levar Burton and produced by AMediaVision Productions, the movie was captured using DALSA's Origin 4K cinematography camera, with 4K image processing and digital intermediate (DI) managed by Post Logic.

Just when 4K seemed to be the pinnacle of resolution for digital cinema, Red Digital Cinema have once again caught everyone off guard with the 5K "Epic".

Cinema admissions across Scandinavia and the Baltic States are forecast to rise by 15% by 2011 according to the latest report, Cinemagoing Scandinavia* from leading cinema research analysts, Dodona Research. The strongest performers are expected to be the larger markets of Denmark and Norway, aided by their robust domestic film industries, and the small Baltic nations, which are experiencing continuing economic growth.

When Sharlto Copley and Simon Hansen of South Africa's Atomic Visual Effects set out to shoot their first feature "Spoon" they were ready to accept the inevitable limitations of thier budget and shoot DV. However, being an innovative bunch, not quick to give up without a fight, they fought hard for alternatives.

"Sharlto and I have always tried to do innovative things and to make our work look better than the budget would conventionally allow. The idea of making a commercial style popular film on an indie budget is the holy grail of every endeavour we have embarked on in the past 12 years."

I hope that the previous part in this series titled “The data-centric pipeline” was helpful. I am going to build on it now in discussing how we can calculate the uncompressed data rate of media at various resolutions and color bit depths.

The technologies and the markets that use them continue to mature, but the comparison is still a lot like apples vs. oranges: they can both be good for you. DALSA offers both.

So what’s the big fuss over 2K, 4K or “digital cinema”...?

Everybody knows Sony and George Lucas put an end to all this with CineAlta HD and Star Wars Episode One?

HD is HD, right?

Wrong!

What I am about to argue will upset some, but it’s the truth and the sooner the entire production industry wakes up to it, the better. For the skeptics I will back it up with undisputable scientific fact.

As is the case with so many “in” catch phrases these days, especially the ones that propagate from technology trade fairs and then circulate in a buzz of ambient noise throughout the hall, most of the people whouse the term “data-centric pipeline” don’t have much of an idea what it means, and this particular term is not even that new.