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Originally featured on BroadcastEngineering.com
Sep 24

Written by:
9/24/2013 3:20 AM  RssIcon

As part of the Manhattan Edit Workshop, Jem Schofield, founder of the C47 (an online and offline resource for production based training and information), working cinematographer and an Apple certified trainer, will look at how best to take advantage of the power and flexibility of the variety of new digital cinema cameras from companies like Arri, Blackmagic, Canon, JVC, Panasonic, Red, Sony, and others to create great art.

In this session, entitled “Digital Cinema Evolved – The Journey from 4K DSLR/RAW to Art,” (Wednesday, November 13, from 11:00 AM - 12:00 PM) Schofield will lead an interactive presentation on the benefits and challenges of 4K and RAW shooting. He’ll also reveal some industry secrets for affordable RAW camera acquisition and explain in detail the process of transforming that footage into unique works of art.

In his daily training and production services business, Schofield regularly instructs professionals on the differences between full HD (1920 x 1080 pixel resolution at a 16:9 aspect ratio) and UltraHD 4K (3,840 by 2,160 pixels for broadcast, 4096 x 2160 for raw image capture and how to work with both formats.

He says that an increasing amount of today’s content captured for feature films, episodics (for television and the web), sporting events, commercials and visual effects are being acquired with digital cinema cameras at resolutions higher than Full HD (2K, 4K and above). While some of this content—like episodics, sporting events and commercials—is being down-converted and then delivered to broadcast and the web in HD resolutions, the actual “digital masters” for most of this content is usually finished, output and archived at much higher resolutions so as to “future proof” the content for current and future distribution channels.

Acquiring images at resolutions in 4K, Schofieldsaid, also allows for greater creative opportunities in postproduction, especially when delivering Full HD content to both broadcast television and the web. When content is finished for Full HD distribution, but originates as higher resolution “negatives”, creatives gain the ability to reframe, zoom and manipulate that content for motion graphics, visual effects, green screen, background plates and sporting events.

This session will also look at how high-end content, which has historically been captured on film, is now being shot with digital cinema cameras and the capabilities of these next-generation camera systems to capture images with extraordinary latitude and detail that provide a very attractive, high-resolution alternative to film production.

This session is open to registered Conference Attendees only.

 

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