Is the film industry really ready for 12K? What it takes to create impressive sensors for cinema cameras 3
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John Rupkalvis

As long as there is still only one sensor and only one lens, the image quality will be inferior. You need stereoscopic 3-D for good imaging. Even standard definition 3-D is superior to 12K 2-D. 2-D images that are squashed flat are a severe distortion.

John Rupkalvis

As long as there is still only one sensor and only one lens, the image quality will be inferior. You need stereoscopic 3-D for good imaging. Even standard definition 3-D is superior to 12K 2-D. 2-D images that are squashed flat are a severe distortion.

James Rathmore

The answer to the question Hollywood ready for 12K will be made by 1) major digital cinema camera rental operations and 2) D.P.’s, Studio and Post-production facilities. The principals will have to answer if a need exist and will it be financially viable for the parties to invest in such technology. The dream of 12K will not be taken from a line in the movie Field of Dreams “If you build it, He will come” unless there is a viable return on investment plan.

Phil Rhodes

I’m not sure that 12K really is a dream, as you put it. I think it’s far more about having better colour resolution, more wiggle room, and perhaps less aggressive optical low-pass filtering. I don’t think anyone really needs to finish 12K pictures. Hopefully we’ll recognise that we’re really just taking a bunch of image data which can be generated in a variety of ways, and whether you like that image data or not becomes a completely creative matter.

João Augusto Quint de Souza

Not for the average middle production companies, I suppose.

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