1 The Director of Photography – an overview

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Digital intermediates 95 Figure 9.2 Screen brightness using linear sampling Figure 9.3 Screen brightness using logarithmic sampling Recorded values Recorded values SHADOWS Scene brightness HIGHLIGHTS SHADOWS Scene brightness HIGHLIGHTS With linear sampling, the steps between each brightness sampled are exactly the same throughout the tonal range of the master image, as in Figure 9.2. Because of the shape of the brightness response curve, a finer gradation between recorded values will occur in the highlights than in the shadows.With logarithmic sampling, as shown in Figure 9.3, there are more steps in the area of the shadowed part of the scene than in the highlights, and this results in the recorded values being evenly spaced across the tonal range. There is another advantage to logarithmic sampling. Original camera negative will usually have an overall density range of 2.0D from the clearest part of the film to the darkest. The industry standard Kodak specified Cineon (.CIN) film file format for digital recording, the most widely used in the DI world, works on the basis that between each digital sample there will be a density change of 0.002D on the
96 Practical Cinematography camera negative. If we sample in a linear pattern, the 11-stop dynamic range of a modern camera negative will need a 13-bit file to hold all that data using 0.002 intervals of density between samples.This means that, in order to get sufficient data for the shadows to look real, there must be 8192 options of recordable brightness for each pixel. However, if a tonal range of 11 stops on the camera negative is sampled in a logarithmic way, the same amount of necessary information can be recorded on a 10-bit file, which has only 1024 options. This means much smaller files are needed but the audience will still see an image of equivalent quality. Image acquisition At the start of the DI process it is necessary to scan the photographic image so that we can write it in the binary code. The most important decision is what digital resolution we use and this is described by referring to the number of pixels the horizontal width of the picture is broken up into.There is much discussion in the post-production world as to how many horizontal pixels are needed, with almost as many opinions as there are post-production houses, so I am going to give my opinion, and I have taken very good advice on this. A 35 mm master camera negative is almost universally agreed to have the equivalent of a digital image of 4000 pixels horizontally.Therefore, if you wish to take a shot, manipulate it digitally and return it to the cut camera master negative, you must scan at 4000 pixel resolution in order that no discernible degradation in picture quality occurs when you make the photographic intermediates. If you are going to scan your camera master and do all your intermediates digitally, only returning to film for the release print, or at the worst the intermediate photographic negative, then scanning your original at 2000 pixels horizontally will be enough and can produce an image on the cinema screen every bit as good as the purely photographic method described above. Incidentally, we refer to a picture with 4000 horizontal pixels as having a 4k resolution and one with 2000 pixels as 2k. Why the difference? The traditional route from camera master negative to the cinema release print usually looks like this: 1 Camera negative – printed to intermediate positives. 2 Intermediate positive – printed to intermediate negatives. 3 Intermediate negatives – printed to cinema release prints. 4 Cinema release print – to cinema screen. It is an inescapable fact that every time you make a photographic copy you must lose some picture quality; therefore, if you go through this process starting with 4k camera negative you will end up on the screen with something having a poorer resolution. To satisfy the resolution of an audience sitting in the optimum viewing position in a cinema, the screen picture quality must have a horizontal resolution equivalent to 1000 pixels or better. Only then will they consider the image to be sharp. In order to achieve this, one must start with a camera negative having a 4k resolution and that will, after the degradation due to the copying process, give roughly a 1.2k image on the cinema screen and this, therefore, satisfies the audience criteria.
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Dedication To the memory of my fath
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Focal Press An imprint of Elsevier
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vi Contents 5 Lenses 49 Artistic de
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viii Contents 17 Testing 146 Why so
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202 Index Colour correction (contd)
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204 Index Lenses (contd) Panavision
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1 The Director of Photography – an overview

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