The size of a 2K Full-Aperture frame is 12450k. So a 100 minute movie is approximately 1.8 terabytes. 2K (2048x1556) 10-bit Cineon/DPX frames are still pretty much the standard for Digital Intermediate right now, although the technology for 4K is beginning to creep in for those who can afford it. Spiderman 3 did a 4K DI, even though the visual effects were all done at 2K and uprezzed. For a 4K master, multiply by 4 = 7.2 TB.
The next step needs to be color resolution. The latest and greatest advancements in good old analog film technology in recent years has given us film stocks with a range of about 10-11 stops. This gives you the ability to over- or under-expose by a couple of stops and still have tons of decent usable information in the image. Try that with even the best digital camera today, and you're screwed. Your whites clip out at 100%, or your blacks get swallowed at 0 (or just turn into noise), and no amount of post-processing software, even on a RAW image, is going to get it back.
Right now, the only digital solution is to bracket your exposures. Works great when you have lots of time and your subjects don't move. For fast, on-the-go shots, there's no way.
They don't need to manage it in real time, or at all. Photorealistic rendering for film is all about hacks and cheats. James Blinn's 1988 paper started it all, and every SIGGRAPH paper from a Pixar employee since then has followed in his footsteps, even stealing the title. Do you know that Pixar's Photorealistic Renderman, the defacto standard for rendering CGI for motion pictures, didn't even support ray-tracing until the latest version?
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The size of a 2K Full-Aperture frame is 12450k. So a 100 minute movie is approximately 1.8 terabytes. 2K (2048x1556) 10-bit Cineon/DPX frames are still pretty much the standard for Digital Intermediate right now, although the technology for 4K is beginning to creep in for those who can afford it. Spiderman 3 did a 4K DI, even though the visual effects were all done at 2K and uprezzed. For a 4K master, multiply by 4 = 7.2 TB.
The next step needs to be color resolution. The latest and greatest advancements in good old analog film technology in recent years has given us film stocks with a range of about 10-11 stops. This gives you the ability to over- or under-expose by a couple of stops and still have tons of decent usable information in the image. Try that with even the best digital camera today, and you're screwed. Your whites clip out at 100%, or your blacks get swallowed at 0 (or just turn into noise), and no amount of post-processing software, even on a RAW image, is going to get it back. Right now, the only digital solution is to bracket your exposures. Works great when you have lots of time and your subjects don't move. For fast, on-the-go shots, there's no way.
They don't need to manage it in real time, or at all. Photorealistic rendering for film is all about hacks and cheats. James Blinn's 1988 paper started it all, and every SIGGRAPH paper from a Pixar employee since then has followed in his footsteps, even stealing the title. Do you know that Pixar's Photorealistic Renderman, the defacto standard for rendering CGI for motion pictures, didn't even support ray-tracing until the latest version?
The specs are 7680x4320 (16:9 aspect ratio, just like HD), 60 progressive frames/sec.
r 2003/Ultra/Ultra38.htm
Check the original paper at:
http://www.studio-systems.com/broadfeatures/MarAp