Dedicated to the sensible and practical methods of teaching filmmaking. Being one of the professional Film Institutes in India, Flash Frame Visuals Academy of Film & Television is dedicated to create skillful and creative film professionals for the Indian Film Industry.
In recent years digital cinema has quickly progressed
towards 4K and beyond. Therefore it would be worthy to understand this enigma
called 4K. Firstly let’s understand what we mean by the term ‘Digital Cinema’?
In the early days, motion picture used to be shot on celluloid or film using
motion picture cameras manufactured by companies such as ARRI, Panavision,
Aaton etc. The capturing medium was 35mm film negative usually Kodak or Fuji.
The exposed negatives were taken to laboratory where they were developed and
printed on 35mm film print stock (positives). These film prints were projected
in cinema halls using film projectors running at 24 frames per second.
As digital technology advanced, digital projection replaced
film projection in many cinema halls. The idea was to do away with the costly process
of printing multiple copies of the film print and distributing it to various
cinema halls individually. With the advent of the Digital intermediate (DI)
process, film negative could be scanned at a high resolution and captured as a Digital
(Digital Picture Exchange - DPX) file. The DPX file could be color graded at a DI suite to enhance or achieve any specific look. This color graded file is
then transcoded (this is a process of digital to digital conversion to ensure
compatibility and efficient compression) and is ready for projection. Cinemas make
a one-time investment on digital projectors like Barco etc. and distributors
send out their films using memory devices like Hard-drives or broadcast their
film through satellite with security features. This has become an economical
option for the film industry and therefore being widely used.
The acquisition process
During the same period, several Digital Cameras (RED ONE MX,
ARRI ALEXA etc.) were introduced in the market for the purpose of shooting
motion picture. These cameras were attempting to provide a similar image
quality as film but the capturing medium is a digital image sensor (CMOS etc.).
There are two key attributes to be considered to gauge the image quality; they
are - latitude (or dynamic range) and resolution of the capturing medium. Latitude
is basically the range of brightness (from the blackest black to the whitest
white) a camera can capture. Higher the camera latitude, the captured image has
that much more details. It’s widely regarded that film negative has high
latitude, close to 15 to 16 stops (latitude is represented in terms of
stops). Digital cameras claimed to
provide high latitude close to 14 stops, but in actuality fell short of what
film negative can provide. This is because the stops are not standardized
across formats. (Note: In recent years with advancing technology some cameras
like RED DRAGON claim a latitude of 16.5+ stops which is more than film
Then consider the resolution aspect; motion picture is meant
to be seen on the big screen.The
35mm film print has an ideal resolution to handle the big screen, i.e.The image projected is of acceptable
clarity. Formats like 70mm and Vistavision were meant for even bigger screens
like IMAX etc. In the world of digital cameras the resolution was quantified in
terms of vertical pixels. Thus a standard definition television screen had a
resolution of 480p i.e. 480 vertical pixels. A high definition screen had a
resolution of 1080p i.e. a full HD image has 1920 horizontal pixels and 1080
vertical pixels. A 2K image has 2048p i.e. a resolution of 2048 * 1556 is
ideally considered as 2K. And a 4K image has 4096p i.e. a resolution of 4096 *
2160. There is an intermediate standard known as the Ultra high definition
television (UHDTV) which has a resolution of 3840 * 2160 which is also commonly
referred to as 4K
The initial RED
One Mx cameras were giving a 4K resolution image, which was the highest at that
But soon succeeded with the RED EPIC which gave 5K out and the
latest camera RED Dragon which gives a 6K out.
It is important to note here that higher the image
resolution, the workflow would need to handle higher volumes of data, which
would require more resources. For theatrical release 2K to 2.5K is
ARRI Alexa in comparison is a 2.8K camera with a highly advanced
3.5K sensor camera. It delivers far superior image density and more color
subsampling. It captures data as 12 bit logarithmic uncompressed ARRIRAW file.
Another 4K camera which is a highly affordable option is the Blackmagic Production Camera (having a super 35 frame sensor) which gives an
Ultra HD out. Also the Canon 1DC is the only 4K enabled digital SLR camera
(with a full frame sensor) in market right now. In contrast the Panasonic GH4 is a mirror less Micro four thirds camera which also gives 4K out. At this point
we should understand how the different sensor size affects the image
resolution. (See the image below)
Note: the Super 35 frame is equivalent to APS-H standard of
Here we can see that 35mm Full frame size is the largest
among the different formats which is the sensor size used in all Full Frame
DSLR cameras like the Canon 5D Mark 3, Canon 1DC, Nikon D3X etc.
The Super 35 frame size (APS-H equivalent) is the standard
motion picture size frame which is used in cameras such as ARRI 435, ARRI
Alexa, Red Epic Mx, Blackmagic Production Cameras etc.
The Micro Four thirds (MFT) frame size is used by Panasonic
cameras such as GH4, GH3 etc.
Here we need to note that camera sensor size is a factor in
determining image resolution but the spatial resolution of the sensor also
needs to be considered. For e.g. If we consider the Canon 5D and Panasonic GH4 cameras,
the 5D (full frame – 2x) gives a HD out whereas the GH4 (MFT – x) having a
sensor size much smaller than a full frame gives a 4K output. Therefore we also
need to consider the spatial resolution of sensor while considering a camera’s
If we consider the Canon 5D and Canon 1DC, both having full
frame sensor,we can say with
certainty that 1DC is a superior camera as it gives a 4K output, which can be
attributed to higher spatial resolution of the sensor.
If we consider the Panasonic GH4 and Canon 1DC, it is unwise
to state that the 1DC (full frame – 2x) has superior image quality compared to
the GH4 (MFT – x) purely due to the higher sensor size.
Thus concluding, 4K image is highly desired attribute in
cameras now days; in fact even mobile phones have 4K enabled cameras that are
out in the market. In such a scenario, it is firstly important to gauge our
requirement and make informed
choice regarding choice of cameras and whether 4K is essential for the project.
The volumes of data can be huge while shooting 4K and may increase the cost in
post processing. But there is also
much scope to enhance the image in the post with the 4K Raw file.
At Flash Frame Visuals Academy, students pursuing their Diploma in Direction, Cinematography and Editing courses are given detailed classes on the 4K technology with hands on training and live demos, from the script to screen.
The specialization semester for the students of Flash Frame Visuals Academy of Film & Television, Bangalore, India, began with a
four-day workshop with Mr.Tamal, who has worked as an Associate Cinematographer for KamalHaasan's film Vishwaroopam.
Students not just learnt the advanced levels of cinematography, but they were
made to do various challenging tasks and experiments with different kinds of
The session began with quite a relatable example: “You enter
a room and put on the light. The purpose is not specifically light the only
object that you want to see but rather light up the whole room where you can
see all things clearly and also you can easily identify the object you are
Lighting classes at Flash Frame Visuals Academy
Same is the logic when one does lighting for the sequence.
Of course one wants to focus on a specific person/artist/object. But for that
you have to carefully light the surroundings as well in such a way that eyes
see it all & yet concentrate on one specific thing.
From bright day effect to night lighting, FFVA students
experimented it all. Being under Tamal’s guidance, students were also thrown
into the situations where they had to come up with best lighting combination
with limited set of lights provided to them. That’s how they learnt different methodologies
Also apart from experimenting with still shadow effects,
they were made to undertake various motion sequences to play around with
shadows and other lighting variations.
Amongst other practical workshops that often take place at Flash Frame Visuals Academy, this one specially helped students think in advance while
planning for their future film projects. Students of Advanced Diploma in Cinematography were inquisitive enough to ask more questions, for which they were given live demo with all kinds of lighting accessories used in the film industry. Since they were made to work under real time field work, like that of a film shooting unit, we could see their confidence levels grow day by day as efficient film directors and Cinematographers.