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IBC 2013 Day 2: 4K and Monetization

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By Tim Spitzer
Managing Director
Goldcrest Post New York
www.goldcrestfilms.com/

The buzz and bywords of IBC are two dishes which don’t easily fit on the same plate, but were in equally omnipresent display: 4K and monetize. Whoever makes the tasty dish out of those ingredients is my champion.

Things I saw day two that charmed me:

Fraunhofer had three such items at their booth.

Because of my interest in auto stereoscopic displays for POP advertising, I liked Fraunhofer’s real time stereoscopic to Multiview converter.  It did an awesome job.  There were a range of Multiview displays at IBC,  which uniformly displayed very smooth field of view.  Gone were the sweet spot zones with uncomfortable transitions in between.

Multiview is now a realistic product for advertising use. The converter allows conventional 3D streams of info to be played on and be optimized to a variety of manufacturers Multiview displays.

This toolset is available as an Adobe AFX plug-in suite.

Easy DCP is a DCI compliant set of DCP creation and viewing tools.  Their toolset is available for direct purchase, and has also been integrated into some high end finishing systems such as Quantel’s Rio platform. (BTW, my facility uses Quantel kit extensively so my familiarity introduces a journalistic bias). There are three modules: creator, player, and KDM generator. I’ll leave it to you to decide if you want to spring for a hardware based solution (great speed, great cost) or this very cost effective alternative.  It is the old what is the volume of work, turnaround time, cost equation we all look at with gimlet eyes.

Cingo, is a Fraunhofer audio application for the second screen.  Cingo runs on tablets and turns the stereo audio output into a quite enjoyable surround experience. This currently runs on Google Nexus and Nexus 10 tablets.  We’ll wait to see what implementation hits other devices, but I’d be happy with this on my iPad! Other features include a “loudness optimization” for listening in a noisy environment.  It worked on the IBC showfloor, New York subways?

What scared me? – the biggest and brightest  display

Eyevis had eye popping vertical displays with terrifyingly compelling visual draw. They use an LED backlight which makes the image glow.  Not sure if I loved or hated (hated) these displays as they made you look at them.  If our world was heavily populated with these screens, the real world would even further dim back in our interest.

What is happening with film? Restoration.  Please note I am an ArriScan zealot. ArriScan has introduced both 16mm and 35mm liquid gates.  They can use perchlorethylene (dry cleaning fluid without the anti-fungal agent) or a much more ecologically friendly fluid. Perc is almost impossible to use in the US because of EPA regulations.  Liquid gate is an amazing technolgy. Because the fluid has the same index of refraction as the base side of the motion picture film, it fills in any scratches or digs which have not gone into the image layers of the film and allow light to pass straight through the image making the scratch disappear.  This has long been the conventional laboratory technology used in printing off cut original negative, but has not been available on scanners with the exception of retrofitted optical printers. This technology, because it allows the original image to be revealed, is preferable to removing scratches electronically which requires filling in data from neighboring frames or areas of the image.  Other restoration tools at the Arri Booth included a sprocket less drive assembly and sprocket less gate. These are great for damaged or non-standard film types.

To add to my list of “Players” in the AS-02 market, Amberfin, DVS, Quantel, also include Digimetrics  Aurora product line of QC tools.

The thoughts and opinions here don’t necessarily reflect those of postPerspective.


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