The Hobbit Archives

HPA 2018: RealD’s TrueMotion Finesses HFR Footage in Post

By Debra Kaufman
February 23, 2018

At the HPA Tech Retreat, RealD senior scientist Tony Davis and cinematographer Bill Bennett, ASC shot and mastered imagery in a variety of high frame rates. One of the chief challenges, said Bennett, is achieving a result with a cinematic aesthetic. “As we move towards HDR displays, we’ve discovered that high contrast images tend to judder as they move across the screen,” said Bennett. The two proposed a solution whereby images are acquired at a very high frame rate, but then adjusted in post. Continue reading HPA 2018: RealD’s TrueMotion Finesses HFR Footage in Post

New Software Can Delete People or Objects from HD Video

By emeadows
March 19, 2013

Researchers at the Max Planck Institute for Informatics (MPII) have developed video inpainting software that can delete people or objects from high-definition video footage. How is it done? The software analyzes every video frame and calculates which pixels should replace a moving area that’s been marked for removal, explains Gizmag. The article provides an impressive video demonstration of the technology. Continue reading New Software Can Delete People or Objects from HD Video

High Frame Rate 3D Version of The Hobbit is Insanely Gorgeous

By David Tobia
December 12, 2012

Peter Jackson’s “The Hobbit: An Unexpected Journey,” shot in 48-frames-per-second HD, “looks nothing like you’ve ever seen before,” writes Wired. “In the 48-frames-per-second version… Middle-earth in 3D looks so crisp it’s like stepping into the foreground of an insanely gorgeous diorama.”
The movie will also be released December 14 in standard 24-frames-per-second, but the HFR 3D version allows for more precise images and smoother 3D action because it doubles the “visual data” and decreases blur during quick camera motions.
While the 48-frames-per-second approach is great for action sequences, Wired questions its effectiveness during naturalistic scenes. “The flicker, depth of field and imperfect ‘grain’ that lends character to 35-millimeter film historically fostered a collective dreamlike state for audiences who gathered in the dark to lose themselves in images that were never intended to exactly replicate the ‘real’ world.”
“In delivering the kind of high-def detail by which every wrinkle gets full attention, fast frame takes getting used to,” suggests the article. “At times, scenes unfold as if part of an extravagantly well-lit, art-directed reality-based series or soap opera.”
The 48-frames-per-second method combined with 3D almost makes the film seem something beyond real, suggests Wired, and definitely takes some adjustment for people used to watching standard film.