A Filmmaking Blog | VashiVisuals
His 67-minute video pulls back the curtain on the truths of resolution and image quality that all filmmakers have been struggling with in this constantly evolving technical world. His empirical testing shows that resolution (HD/2K/3K/4K/6K/8K/11k) is not the most important component of image capture and that Spatial Fidelity is by far the most important metric for delivering the ultimate image.
His term “Authoring the Image” encompasses many elements including: resolution, perceived sharpness, pixel count, lens choice, sharpening, compression, perceptual differences, grain, halation, optical aberration and order of operation.
You can watch both parts of his analysis here:
THE TAKE AWAYS
The cameras tested are: Arri Alexa XT, Sony F55, 35mm Film , RED Weapon, Arri Alexa 65, IMAX 15-Perf Film.
Here are the 3 Tenets that Steve Yedlin has set for all the comparisons:
All the images moving forward are based on a 4K workspace. The native capture size of each camera will be either upscaled or downscaled using Steve’s custom algorithms to fit the 4K delivery size. The results of even the first example are mind blowing. Using a 4K workspace, the 2K source upscaled actually looks sharper than the 6K source downscaled in this example.
To clarify even further we are looking at a 100% pixel for pixel image crop at 4K of the source 2K and 6K footage.
THE MAIN COURSE
Here are all 6 cameras viewed in a 4K workspace all resized using Steve’s algorithms so we can compare them at the current highest industry deliverable standard.
As a film editor it’s my responsibility to handle all formats, codecs and flavors of footage in my daily grind of crafting story. I created the post production workflows for DEADPOOL and GONE GIRL and it’s my job to be current on all new formats that will enter my edit bay. In my opinion, Steve Yedlin just blew the roof off the post production world and has explicitly shown that chasing K’s are not the solution. To achieve Spatial Fideltiy you must have resolution but also a strong dynamic range and clean capture sensor so that you can affect it downstream with full control.
THE MAGIC OF FILM GRAIN
The last take away that can be applied to any production regardless of budget that can impart cinematic imagery is film grain.
No matter what your capture format and codec is…adding film grain in either authentic scanned format or digital algorithm can actually add perceived sharpness to the final delivery format. Technically…adding grain to an image is a degradation but it does give the viewer a perceived perception of extra clarity.
The behind the scenes options of post production are extensive and both creative and technical. Thank you to Steve Yedlin for sharing his research, deep digging and openness to share the fruits of his labor. Personally, I am so grateful as he has dispelled so many myths in one feel swoop.
For more amazing Steve Yeldin info please check out: https://twitter.com/hashtag/BoringFilmTechStuff?src=hash
Until next time…
We discussed my journey from professional hockey player to editing 11 feature films in Hollywood and the creative process that spans both worlds.
I share how I starting shooting and editing films with a VHS cameras and decks in the 1980’s all the way up to working on: Deadpool, Gone Girl, 6 Below and Sharknado 2 and more.
Here’s the 16-minute video:
Here’s a bonus shot of me directing Jason in a short film a couple years ago in the same room we shot this interview.
Until next time…
Director Peter Hyams had experience in Sci-Fi with Capricorn One (1977) and Outland (1981) but bravely took on the unenviable task of following in Stanley Kubrick’s cinematic footsteps. Hyam asked for and received Kubrick’s blessing to direct the sequel…”Don’t be afraid. Just go do your own movie.”
Hyams and Clarke wrote the script in 1983 on different continents using cutting edge e-mail, Kaypro II computers and dial-up modems.
Shot in 71 days, the special effects included extensive spacecraft models and early CGI all captured with 65mm film.
The original Discovery One 50-foot model from “2001” was destroyed by Kubrick and he kept the original model designs under lock and key. Entertainment Effects Group (EEG) led by Richard Edlund used a 70mm copy of “2001” to analyze, copy and create a new Discovery One model.
Read the script:
Odyssey Archive has extensive pages devoted to “2010”.
In more and more prestige TV series, an odd aspect ratio is popping up on some of the most popular and well-reviewed shows.
The 2.00:1 aspect ratio has stealthily wormed its way into our viewing experiences without any of us knowing it.
Here’s how and why it was created.
Technically, the first use of the 2.00:1 aspect ratio was in the RKO SUPERSCOPE format for the 1954 production of VERA CRUZ.
In 1998, DP Vittorio Storaro proposed UNIVISIUM as a new film format with an aspect ratio of 2 to 1. He felt that the rise of electronic screens (TV, computer, portable…) needed a new format that could enhance and future-proof the visuals across all viewing platforms and situations. Vittorio has shot his last 10 feature films in the 2:1 ratio including his latest film Cafe Society for Woody Allen. Vittorio has even reframed several of his most famous films (Apocalypse Now, Reds, The Last Emperor) and released them in new DVD and Blu Ray editions.
In 2013 the 2.00:1 ratio also known as the 2:1 or even 18:9 aspect ratio became a very common format on TV.
It falls right in-between the common 16:9 and classic widescreen aspect ratio.
Here’s the recent chronological history of 8 popular TV shows that use this aspect ratio:
House of Cards (2013)
Marco Polo (2014)
The Crown (2016)
Stranger Things (2016)
A Series of Unfortunate Events (2017)
Fargo (Season 3 – 2017)
The Handmaid’s Tale (2017)
There has been a resurgence of the 2:1 aspect ratio in the feature film world as well.
It turns out that this aspect ratio is a logical middle ground between the 2.35 and 1.78 ratios.
Even the new Samsung S8 and the LG G6 smartphones have embraced the 2:1 aspect ratio in the consumer device market.
Some of the most recent feature films also utilize this aspect ratio including:
THE GIRL WITH THE ALL THE GIFTS
20TH CENTURY WOMEN
THE BOOK OF HENRY
In one of my most popular posts…I documented every aspect ratio in the history of film.
With so many options for the framing of TV and feature films and no industry standard anymore…the visual parameters belongs to the content creator and we can choose our own frame.
I will be adding a video to this page to dig deeper into the history of the 2:1 aspect ratio so check back soon…
Until next time…
The first time I heard “Fuck The Pain Away” was in Sofia Coppola’s film
LOST IN TRANSLATION (2003) starring Bill Murray and Scarlett Johansson. Great use of music to create an awkward moment in the strip club scene!
Canadian musician PEACHES wrote and recorded the song in 2000
for her album THE TEACHES OF PEACHES. I love the song, love her music, love her approach to life and finally had a chance to see her live.
On a cold night at Pappy & Harriet’s in Pioneertown…PEACHES brought the thunder. Sick show. I recorded the performance on my iPhone 6S Plus and decided to cut a video the next morning.
My goal was to try to make the most interesting video with only my one angle of footage shot from the side of the outdoor stage. I took it as a creative challenge to see what I could come up with. I also chose to not use 3rd party plug-ins and only use the built-in effects of Premiere Pro.
Sometimes failure can be a good thing. Sometimes the accidental can be refreshing. Sometimes not planning can create surprising results. Last week I bought a Polaroid OneStep SX-70 camera for $9.99 at a thrift store in Joshua Tree, California. I planned on shooting a great 8-photograph series in the Mojave Desert. I inserted my Impossible Project color film and then chaos ensued.
All 8-photographs exposed themselves and ejected from the faulty camera in 12 seconds. The shutter was apparently stuck and $23.49 worth of film flew out of the Polaroid as I screamed WTF and wildly swung the camera around while pointing it out the window.
My preparations on subject, exposure, composition, focus, lighting and framing were null and void and all I had were 8 shots taken automatically in 12 seconds by a screaming lunatic holding a click crazy camera.
You know what…I really love them. Here are the photographs in chronological order as they came out of the camera:
The takeaway I learned is ALWAYS test your Polaroid camera with an empty film pack as the battery inside the pack is the power source for the camera.
Until next time…
BLADE RUNNER 2049 comes out on October 6th, 2017. What a cast!
and Jared Leto for starters…
Here’s the announcement trailer:
The trailer has a thick sonic palette with some ripping, crunchy bass hits and the classic Vangelis high pitched synth dives amid apocalyptic rumbles.
Perfect for me to create a stylized Blade Runner 2049 ringtone. Enjoy!
I just got home from watching ROGUE ONE: A STAR WARS STORY and am still electrified with the exhilarating experience it provided. In my opinion it is the first STAR WARS film to recapture the spirit and feeling of the original STAR WARS (1977). Even though it is classified as a one-off and stand alone story, it transmitted to me the euphoric feeling and impact of the original film that I saw in the theaters 5 times much to the chagrin of my mother who took me each and every time.
As a film editor, I understand the marketing and have helped in creating the trailers for the 10 feature films I have edited. I have also worked with several trailer houses in Los Angeles that cut the trailers that we all consume in the theaters and online. The specific skillset and mindset that an editor must adopt to live in the world of movie trailer editing is no small task. The notes from the studio, producer, director and countless other people boggles the mind in terms of volume and contradictory requests. The trailer game is an ever-changing pursuit that tries to stay ahead of the intelligent public but must also find new ways to tease, cajole and intrigue. Get the asses into the seats! Show scenes that aren’t in the film. Manipulate dialog and visuals to make a scene more interesting. Shift the order of shots to make it more interesting or compelling. Add music not in the film to hit an emotional beat. Use every trick in the book to make an effective trailer.
ROGUE ONE: A STARS WARS STORY used one teaser, 3 trailers and several BTS promos to build a world that STAR WARS fans would hopefully want to visit and share in the experience. With the reshoots and adjustments that Gareth Edwards, Tony Gilroy and the studio made on the film, a lot of the footage in every incarnation made the final cut…but a lot of it never made the final cut. I have isolated 46 individual shots that were shared in the promotional material but never made the final cut of the film. The goal of the promotional push over the months leading up to the release of the film on December 16th, 2016 had one ultimate goal…to attract an audience.
The 4K restoration of Michael Mann’s seminal Los Angeles crime film HEAT (1995) is on the verge of being released. I wanted to revisit the titanic acting showdown between Al Pacino and Robert De Niro in their first ever on-screen scene. The two legends square off in a 6-minute and 17-second scene that alternates between only two over-the-shoulder close-ups. Michael Mann shot a wide profile shot with both actors in frame…but chose to stay within the intimate close proximity the close-ups provided.
Michael Mann’s attention to detail is clearly visible in his annotated script that stresses the importance of this pivotal scene. I have merged the written page with the film footage so you can analyze and learn what made the final cut, what was improvised and what was left out. I’ve also added some trivia nuggets into the video from the production of the scene. Enjoy HEAT – Script to Screen.