![]() ![]() Film grain and noise can be left as it is or added without low bit rate artifacts like blocking, banding, and patterns in the noise in the shadows. DCPs use high bit depth (12 bit, 2.6 gamma) and high bitrate JPEG2000 compression (250 mbit). DCPs are shown on big screens where compression artifacts are more visible than on a smaller screen.At the same time, others use vintage lenses to avoid a video look. All 35 mm prints had film grain, some filmmakers add it in post-production to avoid a clinical look. DCPs can have a colder video D65 white point, but many films are made with the warmer D60 white point. The Xenon bulbs have a white point around D60. When a 35 mm print is screened in a movie theatre, the Xenon bulb in the projector decides the white point. Some cinemas may have side and top masking for 2.2 and other aspect ratios used in recent films. Side and top/bottom masking improves the perceived contrast in cinemas, but are only required for 2.39 and 1.85. Read more about making a DCP in Resolve here. T here are 4 DCI DCP resolutions used on films in cinemas:Įxample: Choosing 4096×1716 DCI Scope 2.39 in Davinci Resolve when making a 4K Scope DCP What lenses and cine-cameras are used on other filmsĬinemas have two standard settings for aspect ratio: Flat 1.85 and Scope 2.39.Example: ARRI Alexa 35 with 2X anamorphic recording in 4K DCI SCOPE.Choosing sensor size and resolution (2K/4K).Recommended cine-camera settings and practices. ![]()
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