Posted On: 07/12/2015 1:09:39 PM
Post# of 2009
Actually, the amount of non-native (meaning digitally shot 4K) content on UF is 90+%. And they did not touch Interstellar or G. I. Joe - those final digital copies were supplied by Paramount directly, as would be the case with any feature coming from a large studio. All of that digitizing and encoding/transcoding work is either done entirely in house on the studio side or otherwise via Deluxe or Technicolor.
I'd argue the leap from SD to HD was much greater - although I am a fan of true 4K. The largest issue with 4K remains:
How it was shot natively, e.g. camera, frame rate, HDR/non-HDR. etc. and compression level of the encode. So when you take a crappy film, shot on crappy film stock, poorly preserved, simply scanning it to digital (which is all NTEK essentially does) really makes for a poor outcome. Particularly when they try and compress into a size that is far too small for the inefficient coding tools they are using.
I'd argue the leap from SD to HD was much greater - although I am a fan of true 4K. The largest issue with 4K remains:
How it was shot natively, e.g. camera, frame rate, HDR/non-HDR. etc. and compression level of the encode. So when you take a crappy film, shot on crappy film stock, poorly preserved, simply scanning it to digital (which is all NTEK essentially does) really makes for a poor outcome. Particularly when they try and compress into a size that is far too small for the inefficient coding tools they are using.
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