[Tig] NEW Kodak Super 16 mm "FILM SYSTEM" for HD
Tue Mar 8 12:23:27 GMT 2005
I don't think I have seen this story posted yet. I decided to
post the article. Get ready to RUMBLE. This story should create some noise. It is
written as if the story was to be held until the opening of NAB. But it is all over
the net. I have known about this planned film for awhile and it should be quite amazing.
Doesn't look like KODAK is getting out of the film business yet. They still have a
few things up their sleeve.
Regards, Bill Hogan
Kodak has unveiled a Super 16 mm film system designed for cost-effective production of
content in either standard- or high-definition television format here at the annual
National Association of Broadcasters (NAB) conference. The KODAK VISION2 HD System
packages a new type of film with advanced hybrid motion imaging processing technology
utilizing proprietary Kodak color science.
"Our scientists designed this system to leverage breakthroughs in emulsion and film
scanning technologies," says Robert Mayson, general manager of Image Capture and vice
president of Kodak 's Entertainment Imaging Division. "It enables cinematographers to
maximize the unique production values and superior quality of a film look with the
flexibility of using 16 mm cameras. The hybrid system allows filmmakers to maximize the
efficiency of the motion picture workflow with today's advanced technologies from pre- to
The new system combines KODAK VISION2 HD Color Scan Film 7299 used in conjunction with a
KODAK VISION2 HD Digital Processor. The latter is a new post production tool used to
adjust digital files of scanned film to emulate the imaging characteristics of any current
Kodak negative, including grain, contrast and colors.
Cinematographers can choose to rate the scan-only film for an exposure index (E.I.) of
either 500 or 320. The new film offers an extended dynamic range and broader exposure
latitude coupled with the sharpness and fine grain imaging characteristics similar to the
500-speed KODAK VISION2 5218/7218 Color Negative Film.
In addition to mimicking the imaging characteristics of different emulsions, the system
compensates for under- and over-exposure, as well as for variations in color temperatures.
Mayson notes that it isn't necessary to use color correction filters on camera lenses when
shooting in natural or artificial daylight.
"We have received enthusiastic feedback from cinematographers who have tested the new
system," he reports. "They see it as a viable option for producing television
documentaries and narrative programs with high production values at affordable costs."
Mayson notes that efficiencies include working with a single, multi-purpose film that
inherently reduces short-ends and time needed for magazine changes. The system also
provides creative control of the "look" throughout the workflow from preproduction through
post production. The post production facility specified by a filmmaker will be provided
with a KODAK VISION2 HD Digital Processor. A set of 640 pre-set look-up tables (LUTs) is
used during telecine transfer to emulate the imaging characteristics of all current Kodak
Vision and Vision2 stocks and some of the older Eastman EXR films.
"The KODAK VISION2 HD Digital Processor saves time in post production by enabling the
colorist to find the ideal starting point for a transfer more quickly," Mayson observes.
The scanned images are between one light and best light quality. Those images can either
be used as dailies, or an additional primary or secondary color correction session can be
scheduled. KODAK Display Manager, a component of the system, ensures consistent and
accurate monitor calibration, so everyone, including the director, editor and
cinematographer, sees exactly the same images.
A version of the KODAK Look Manager System can be used as an optional component with this
system. This system allows cinematographers to previsualize looks in video space during
preproduction, including emulating different filters, lenses, films and post production
processes. They, in effect, create a recipe that can be shared with other members of the
creative team, including the director, camera crew, film lab, dailies timer and the
colorist, who will time the program. The recipe for the desired look can be sent to post
where it can be quickly and consistently re-created.
"We believe that this system provides a compelling alternative for producers who want a
film-look on an HD budget," Mayson concludes. "It offers the additional advantage of
originating your programs on a proven archival medium that is future proof, which will pay
dividends even if the produced content isn't aired in HD format today."
Mayson adds that the new HD film system is not a replacement for either the 35 mm format
or the current line of Kodak color negative films. "This is simply another tool that gives
producers more options and more flexibility," he says.
The KODAK VISION2 HD System and KODAK VISION2 HD Color Scan Film are currently available.
About Kodak Entertainment Imaging
Kodak 's Entertainment Imaging division is the world-class leader in providing film,
digital and hybrid motion imaging products, services, and technology for the television ,
feature film, commercial, music video, and documentary industries.
For more information, visit www.kodak.com/go/motion, or contact your local Kodak office.
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