Category Archives: Post

Post Production is post and prior—a lot of work taking other people’s material from dozens of sources and fitting it all into some other group’s needs. Very technical.

Discover8K.com Launched

It is all in the library, so many groups found out – and when the choices are made, what do you shoot in, what do you post in, what do you archive in, it is clear that the higher resolution the better.

Articles are abounding about the valuable reasons for shooting in 12K now that cameras are being released with that capability [(WE’LL ALL BE WATCHING 12K VERY SOON!*) and (WE’LL ALL BE WATCHING 12K VERY SOON!*)]. 

And now, the 8K Association has a website: Discover8K.com

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Confusing Definitions – Home and Away | Dolby Vision 4 and More

Hollywood SMPTE event on Wednesday, 25 September featured the Transition to Wide Color Gamut and The LA Colorist Meetup had an event on Thursday 26 September that covered the same topic with two panelists describing tools and theories of how to get there…and all the mysteries were uncovered. They weren’t solved, of course, but uncovered nonetheless. 

 And if the cinema exhibition side of the business thinks there is technology confusion in their field, they haven’t looked into the consumer side well enough. The technology and rollout is rife with confusing nomenclature and mismatches, just as it was 4 years ago when their version of ‘better bits’ started getting shown. And, the panelist pointed out, there is more to come in Post, Exhibition and the various delivery vehicles of Consumer.

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Confusing Definitions – Home and Away | Dolby Vision 4 and More

Hollywood SMPTE event on Wednesday, 25 September featured the Transition to Wide Color Gamut and The LA Colorist Meetup had an event on Thursday 26 September that covered the same topic with two panelists describing tools and theories of how to get there…and all the mysteries were uncovered. They weren’t solved, of course, but uncovered nonetheless. 

 And if the cinema exhibition side of the business thinks there is technology confusion in their field, they haven’t looked into the consumer side well enough. The technology and rollout is rife with confusing nomenclature and mismatches, just as it was 4 years ago when their version of ‘better bits’ started getting shown. And, the panelist pointed out, there is more to come in Post, Exhibition and the various delivery vehicles of Consumer.

[……]

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Confusing Definitions – Home and Away | Dolby Vision 4 and More

Hollywood SMPTE event on Wednesday, 25 September featured the Transition to Wide Color Gamut and The LA Colorist Meetup had an event on Thursday 26 September that covered the same topic with two panelists describing tools and theories of how to get there…and all the mysteries were uncovered. They weren’t solved, of course, but uncovered nonetheless. 

 And if the cinema exhibition side of the business thinks there is technology confusion in their field, they haven’t looked into the consumer side well enough. The technology and rollout is rife with confusing nomenclature and mismatches, just as it was 4 years ago when their version of ‘better bits’ started getting shown. And, the panelist pointed out, there is more to come in Post, Exhibition and the various delivery vehicles of Consumer.

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DCI – New HDR and Direct View Display Docs

DCI has released two new documents for industry review, one dealing with emissive technology (describing them as ‘often LED pixels’, but leaving the door open for anything) and the other which deals with HDR – High Dynamic Range – displays in post-production and exhibition theaters “so that consistent and repeatable color quality can be achieved.”

Both documents include a paragraph that begins: “This document is not a DCI Specification” plus a statement that invites review and comment and an email to send comments to, which other recent versions of these documents have done as well.

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DCI – New HDR and Direct View Display Docs

DCI has released two new documents for industry review, one dealing with emissive technology (describing them as ‘often LED pixels’, but leaving the door open for anything) and the other which deals with HDR – High Dynamic Range – displays in post-production and exhibition theaters “so that consistent and repeatable color quality can be achieved.”

Both documents include a paragraph that begins: “This document is not a DCI Specification” plus a statement that invites review and comment and an email to send comments to, which other recent versions of these documents have done as well.

[……]

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Deep Immersive Sounds, Plus…Cool Interview

As everyone knows, the First Rule of Fight Club is that you don’t talk about the Committee Work of the Society of Motion Pictures and Television Engineers. So, although Atmos Sound has been around since shortly after the CinemaCon 2012 introduction, with about 4,000 installations by now, and DTS showed their iteration of the Open Source MDA Object Oriented sound, DTS:X, at CinemaCon 2015…and Barco bought the Iosonno rights up about that same time to augment the Auro system with object oriented sound …one heard nary a word out of the committee halls of SMPTE about the known Immersive Audio objective: a single standard format for immersive sound so that any mix will play in any theater, regardless of the manufacturer of the compliant rendering system it was playing on.

And now that has changed: The first 3 SMPTE documents have been released toward that immersive effort. They won’t be interesting to anyone who isn’t making a rendering device since they merely (merely, the editor scoffs) describe the bitstream, establishes the metadata, and defines the names of the sound field groups and channels that make up an immersive track. 

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Deep Immersive Sounds, Plus…Cool Interview

As everyone knows, the First Rule of Fight Club is that you don’t talk about the Committee Work of the Society of Motion Pictures and Television Engineers. So, although Atmos Sound has been around since shortly after the CinemaCon 2012 introduction, with about 4,000 installations by now, and DTS showed their iteration of the Open Source MDA Object Oriented sound, DTS:X, at CinemaCon 2015…and Barco bought the Iosonno rights up about that same time to augment the Auro system with object oriented sound …one heard nary a word out of the committee halls of SMPTE about the known Immersive Audio objective: a single standard format for immersive sound so that any mix will play in any theater, regardless of the manufacturer of the compliant rendering system it was playing on.

And now that has changed: The first 3 SMPTE documents have been released toward that immersive effort. They won’t be interesting to anyone who isn’t making a rendering device since they merely (merely, the editor scoffs) describe the bitstream, establishes the metadata, and defines the names of the sound field groups and channels that make up an immersive track. 

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Light Illusion IBC Show Specials | Probes and Software

We are delighted to announce that in partnership with some of our hardware manufacturers we are able to offer a range of ‘IBC Show special discounts’ to celebrate the fact that Light Illusion has ceased attending any and all shows, as the viability they used to offer no longer applies in today’s world.

The discounts will be available throughout the duration of the IBC Show, and are limited to a set number of units as defined below.
When the limited number of units has been sold, the offer for that item is over.
(For all, other than the Jeti probes, this means the offers expire at the end of play on the 19th September)

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