SME 2018: Technicolor-Postworks Colorist Anthony Raffaele Talks 4K and HDR

Learn more about 4K and HDR streaming at 流媒体的下一个事件.

Read the complete transcript of this interview:

蒂姆Siglin: Welcome back to the second day of 流媒体 East 2018. 我是蒂姆·西格林, 流媒体特约编辑，非营利组织HelpMeStream的创始人兼执行董事. Today, I've got with me Anthony Raffaele from Technicolor-Postworks. You were on a keynote panel this morning that was really well received. Tell us a little bit about what the panel was about.

安东尼·拉斐尔·: 这是, 基本上, 由Netflix赞助，讨论了流媒体环境下的4K和HDR, as an overall in the creative process at this point. 它的发展方向是什么，陷阱是什么，背后的创意兴奋点是什么.

蒂姆Siglin: I've done some research recently for a couple companies in the industry. We've asked experts in the industry do they own a 4K streaming device, 答案绝对是肯定的. 然后你问他们你的内容中有多少是4K的，答案是大约10%. So, 用4K或8K拍摄, 在红色轨道上, 创建4K内容, where does Netflix see as sort of at the current state right now, 看4K电视的人?

安东尼·拉斐尔·: As far as the content that 我们创造, 我们创造, everyone is pretty much mastering at this point. There's a huge amount of mastering to 4K.

蒂姆Siglin: 好吧. 这是未来的计划.

安东尼·拉斐尔·: And most of the shows I'm working on for Netflix or other providers, they're either pretty much 100% shooting in 4K, and then maybe a small percentage aren't finishing in 4K. 再一次。, they're mastering to 4K, and then delivering something else.

蒂姆Siglin: 在过去, 经验法则是用两倍于你想要传递的分辨率来拍摄. This sort of seems to be a conundrum in the industry right now, in that we've got RED is ostensibly 5 or 6K, 但在现实中, 它更接近4K.

安东尼·拉斐尔·: 是的.

蒂姆Siglin: 我们是否会遇到后期制作问题，因为我们拍摄的分辨率与我们掌握的分辨率相同?

安东尼·拉斐尔·: 我想说这是有陷阱的. Once you start resizing and stuff like that, you're now pushing in on a 4K image. It'll still be 4K, but you're losing some of the resolution field. Some people are shooting larger than 4K. 他们正在拍摄8K，所以他们可以掌握到4K，并有一些调整大小的回旋余地之类的东西.

蒂姆Siglin: 当然，8K的问题在于，目前业界还没有相应的标准.

安东尼·拉斐尔·: 不，是为了射击.

蒂姆Siglin: Is most of what's being shot in 4K being shot at 4:4:4, 10-bit HDR?

安东尼·拉斐尔·: 它是444，通常是长捕获. 你有HDR能力. I don't know a lot of people who are shooting linearized footage. 再一次。, 因为这一切都是为了未来，确保你在一天结束时拥有细节和保真度.

蒂姆Siglin: 精确的. 这是, 很明显, 4:4:4的好处, 而不是4:4:2, 特别是如果你是后期制作. So, 你认为你正在制作的作品有什么趋势, 它们被传送到有线电视、OTT或传统广播的方式? Do you feel like the shift is here, now, toward OTT? 或者我们还会在这个多元世界里生活几年?

安东尼·拉斐尔·: 我认为 the adaptation of where we're headed is down the road. Right now, we're just kind of staging ourselves for that spot. The next big shift will be HDR 4K monitors, 这就是, 我认为, people really see the bang for their buck, 当他们买了一台HDR电视.

Someone on the panel had mentioned the Best Buy test, 当你看一个显示器和另一个显示器时，你可以清楚地看到这个显示器更好. That's what you'll see as people start to go to the stores and buy new televisions. Then we'll be giving out more content in that.

蒂姆Siglin: 那3D呢?? That was a huge issue a couple years ago at the consumer electronics shows.

安东尼·拉斐尔·: 当时很流行. 现在依然如此. There's still a lot of mastering to 3D. I don't really know a lot of people who are utilizing it.

蒂姆Siglin: But it's stereoscopic tricks, as opposed to shooting true 3D.

安东尼·拉斐尔·: 是的. 它没有被射杀. It's usually being roto’d out somewhere.

蒂姆Siglin: 有趣的. So, I guess the last question is: 1080p HDR as opposed to 4 k HDR for delivery.

安东尼·拉斐尔·: 这其实是一个很好的例子. 我已经向人们展示了1080p HDR vs. 4 k HDR. Some people don't even necessarily see the difference.

蒂姆Siglin: 有趣的.

安东尼·拉斐尔·: Because HDR is such a huge enhancement, you almost--

蒂姆Siglin: 颜色很流行.

安东尼·拉斐尔·: 颜色很流行, there's more definition in the shadows and highlights.

蒂姆Siglin: 说得好.

安东尼·拉斐尔·: So, you're gaining this huge scope of definition, anyway. 即使是高清.