convert digital photo to cinescope slide format

CONVERT DIGITAL PHOTO TO CINESCOPE SLIDE FORMAT MOVIE

Lighting a Desert: Magnificent BTS Footage of NOPE September 26, 2022.IMAX Goes AI to Deliver Better Streaming Imagery September 27, 2022.Avatar (2009): To See Or Not To See? We Got The Answer September 28, 2022.Sony Announces the FX30 4K S35 Cinema Camera September 28, 2022.EXTRACTION 2: Extreme ‘Oner’ Shot on ALEXA Mini LF September 29, 2022.Sony FX30 Tests Demonstrate Serious Rolling Shutter Artifacts September 29, 2022.Except when I worked freelance at a film to video/digital editing house in the ninties, I’ve never seen an original 35mm negative before, they’re too rare and valuable to remove from a vault.Īnd it was “The Adventures of Robin Hood” with Errol Flynn.” My GOD, I’ve never seen such a beautiful piece of film before. 35mm traditional prints are at least 3 or 4 steps removed from that original piece of film and ate never as good. In the transfer, they can “size” the original pixels to match the filmstock grain exactly, matching exactly what an original negative would look like straight from the camera. I still believe that Kodachrome 64 is superior to an an FX fullfame sensor, even though they’re roughly the same size and supposedly equivalent.īut for cinema, 35mm is a step down from what an Arri or Red camera can capture in a raw format. Before DSLR sensors could do better than 1MP, room (slide, specifically) was the only way to get high enough resolution images useful for publication. It’s the equivalent of shooting E-6 (Ektachrome) or Kodachrome, scanning it at a higher resolution than a DSLR could do, then printing it in a magazine, just in “reverse”. It gave us something that film acquisition couldn’t give us, and it gave us something that digital acquisition couldn’t give us” Fraser elaborated to the Go Creative Show ( watch the interview below): “But it gave us the feeling we had been picturing a certain texture that’s painterly but feels timeless…The film has softened the edges of the digital. “It was an involved process that hasn’t really happened before in commercial films,” Fraser explains. It was derived from a novel technique that was implemented for the first time in a commercial feature.

CONVERT DIGITAL PHOTO TO CINESCOPE SLIDE FORMAT MOVIE

Thus, the movie that you see in the theater has undergone a process of emulation. While Dune was shot digitally, it then transferred onto 35 mm film which was then scanned back into digital. Solution: Shooting digital, transferring to 35mm film, then scanned back into digital “We just want to use the digital look, but to create softness…When we projected film, it just didn’t give us the feeling that we were after,” he stated and described his feeling about shooting on film: “It felt, as Denis put it, a little bit nostalgic like we were watching something that has happened in the past…The digital, particularly when projected in IMAX, felt more contemporary, but it was a little too crisp”. However, on the other hand, digital looks too sharp. However, the pure film was too nostalgic for a Sci-Fi movie, ad Fraser elaborated that film stock indeed looked a little bit dated for that kind of movie. Fraser admitted that he was eager to shoot Dune on IMAX film. Picture: ARRI “Digital felt too crisp, and film looked too nostalgic”įor testing, Fraser tried many formats, focusing on film cameras. Anyway, the film was shot in pure digital format (ARRIRAW). It’s important to note that back then there were no ‘IMAX-Certified’ cameras, as the ‘ Filmed in IMAX’ program was announced later on. According to resources, the film was shot for the IMAX format with an IMAX-certified ALEXA LF camera and an IMAX-certified Mini LF (the prototype), equipped with Panavision’s large-format lenses in the Ultra Vista and H-series lineup, with select scenes seeing the aspect ratio opened up to 1.90:1. Hence, DP Greig Fraser ASC, ACS, and director Denis Villeneuve used a prototype of the ARRI ALEXA Mini LF camera during the last months of shooting. Principal photography of Dune began in March 2019. COURTESY OF CHIA BELLA JAMES/WARNER BROS Dune cinematography

DP Greig Fraser ASC, ACS during the shoot of Dune. All that to create the most accurate emulation possible, reducing the digital sharpness, and elevating softness.

The movie was shot digital (on the ARRI ALEXA LF and Mini LF), then was transferred to 35mm film, and then was scanned back to digital. The process of making Dune was pretty novel in terms of creating the imagery.

Convert digital photo to cinescope slide format