The Future of Better Pixels has many vectors, most brilliantly steradianed by a projector with a laser light engine pushing out the photons. Not only are more able to be more efficiently used before burning up the system, but they can be effected to deliver a wider gamut so we can enjoy those deep muddy browns, those barely red brick colors in the shadows and some very heady Hawaiian Blue Hibiscus…which according to the shirt I saw are actually a Cyan mixed with Riviera Mediterranean.

Notwithstanding, Mr. CineTech Geek – James Gardiner – organized a Barco presentation recently, then put it on the interwebz for us all to learn from. Great conversations, great data and great thanks for the great amount of work that went into this. Extra bagels for this man while at CinemaCon.[……]

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The Future of Better Pixels has many vectors, most brilliantly steradianed by a projector with a laser light engine pushing out the photons. Not only are more able to be more efficiently used before burning up the system, but they can be effected to deliver a wider gamut so we can enjoy those deep muddy browns, those barely red brick colors in the shadows and some very heady Hawaiian Blue Hibiscus…which according to the shirt I saw are actually a Cyan mixed with Riviera Mediterranean.

Notwithstanding, Mr. CineTech Geek – James Gardiner – organized a Barco presentation recently, then put it on the interwebz for us all to learn from. Great conversations, great data and great thanks for the great amount of work that went into this. Extra bagels for this man while at CinemaCon.[……]

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Just a quick note for those who need but can’t find the open source OSX system monitoring tool MenuMeters, which got lost in the OSX 10.11 upgrade.

G[……]

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Just a quick note for those who need but can’t find the open source OSX system monitoring tool MenuMeters, which got lost in the OSX 10.11 upgrade.

G[……]

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J. Sperling Reich shows why he is partnered with Patrick von Sychowski at Celluloid Junkie, with an in depth look at Paramount’s Dynamic Release[……]

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J. Sperling Reich shows why he is partnered with Patrick von Sychowski at Celluloid Junkie, with an in depth look at Paramount’s Dynamic Release[……]

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Kommer Kleijn brings insight to the value of the DCP. Copied with his permission.

Recently there was a mail thread on the ISDCF reflector that included the following superb response from  to a paragraph. I am writing this as a cinematographer and as a representative of IMAGO, The European Federation of Cinematographers. 

I can fully understand any festival which wants open, non-encrypted ProRes (or any other common codec) files for playing them “risk free” from a cheap playback system. The festival poeple can check the movies beforehand, if necessary at home. Ok, there is a risk of pirarcy here. But that is always there. Small movies will hardly have the legal power to follow up a piracy copy made from a DCP projection. And Hollywood doesn’t send movies to small festivals…

I know many people see encryption as the only important difference between DCP and other formats, but please let us not forget that the DCP format provides SEVERAL major functionalities (a part from image quality) that other electronic picture formats do not have.

One family of functionality is, for sure, piracy protection and the auto-destruct (time-limit) function, both provided by the encryption and KDM system.

However, another very important difference between a DCP and any other video system or file formats is what we call ‘The calibrated Chain‘.

[……]

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Kommer Kleijn brings insight to the value of the DCP. Copied with his permission.

Recently there was a mail thread on the ISDCF reflector that included the following superb response from  to a paragraph. I am writing this as a cinematographer and as a representative of IMAGO, The European Federation of Cinematographers. 

I can fully understand any festival which wants open, non-encrypted ProRes (or any other common codec) files for playing them “risk free” from a cheap playback system. The festival poeple can check the movies beforehand, if necessary at home. Ok, there is a risk of pirarcy here. But that is always there. Small movies will hardly have the legal power to follow up a piracy copy made from a DCP projection. And Hollywood doesn’t send movies to small festivals…

I know many people see encryption as the only important difference between DCP and other formats, but please let us not forget that the DCP format provides SEVERAL major functionalities (a part from image quality) that other electronic picture formats do not have.

One family of functionality is, for sure, piracy protection and the auto-destruct (time-limit) function, both provided by the encryption and KDM system.

However, another very important difference between a DCP and any other video system or file formats is what we call ‘The calibrated Chain‘.

[……]

Read more