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The 4K TV system that most people know is IMAX --and it doesn't quite make 4K, which is a surprise to people. "How can that possibly be7," you say. "It's an enormous big frame." Well because of what I was talking about earlier: the physics of optics. When you take the entire system into account-from the lens of the camera, to the movement of the light through the projector, all slightly reducing resolution--you wind up with less than the full resolution you started with. IMAX theater in Myrtle Beach, South Carolina USA number of years ago some IMAX engineers and I don't think IMAX ever let these guys out of their lab again -- did this wonderfully elegant experiment at the Large Film Format Seminar at Universal Studios Imax theatre. They showed this film they made that began with 2 rows of 2 squares: black white, white black as if you had 4 pixels on the screen. Then they started to double and double and double the squares. Before they got to 4K TV the screen was gray. Do you know what the means? There was no longer any difference between black and white, which is what allows you to see sharpness. It's the contrast that we see, not the actual Information. Technically, the MTF (Modulation Transfer Function) was Zoro at 4K!

Let's Just pretend for a moment that IMAX truly is 4K. You watch IMAX at between one and one and a half picture heights from the screen. But in order to get to appreciate 4K on a regular movie screen, you would have to sit much closer than normal. In other words, when you go to a movie theater, and most of the modern theaters with stadium seating are designed so that the middle of the theater is 2 ½ to 3 picture heights from the screen, for most of us who watch movies, that's pretty where we want to be sitting. Maybe just a little bit closer from some of us who do this for a living, because we're maybe looking for artifacts or issues. If you sit much closer than 2 1picture heights, that's what you're seeing, artifacts, not movies! So if you had true 4K resolution in your local theater, everybody would have to sit in the first 6 rows. Otherwise, they wouldn't see any extra detail. Their eyes wouldn't LET them SEO it. You know this intuitively from passing by these beautiful new monitors at trade shows. You find yourself getting absolutely as close as possible to see the detail, and to see if there are any visible artifacts. At normal viewing distances, you can't So the whole 2K 4K thing is a little bit of a red herring Creative COW: What do you think about IMAX as a floor? John Galt: I don't like the frame rate. I saw Gorillas in the Mist and the gorilla was flying across the forest floor. Every frame they zoomed to travel like 3 feet (laughs). It's really annoying. I moan I loved Showscan: 70mm running at 60 lbs. in terms of a sense of reality, I think it was far superior to IMAX. That's why I subscribe to Jim Cameron's argument, which is we would get much better image quality by doubling the frame rate than by adding more pixel resolution.

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Vision Research chart on the Phantom HD digital cinema Canora showing the effect of speed on resolution: 1000 frames at 2K, but to get to 2000fps, the maximum resolution is 040x400 yet Phantom's pictures are inarguably gorgeous This is why I honestly think that in the future, one direction we're going to have to go is to higher frame rates, not more pixels. Somebody said that the perfect thing would be 60 frames a second at IMAX. Kodak would love that. (laughs] Once again it was audio that was the deciding factor in perpetuating 70mm for marquee presentations We talk about 70mm film but in fact the camera negative wian 05mm. The other 5mm was a 5-track magnetic sound frack. So that wan how, Dolby oncoding, you got 5 channels of audio. You got it in 70mm because it had multiple magnetic tracks Once you had the ability to write digital data onto 35mm film, you could get up to a7.1audio track encoded digitally on the film. So the need for the magnetic Sound on the film that 70mm provided just went away. And as soon as the multi-channel audio was on 35, that was basically the death knell for 70mm DYNAMIC RANGE & THE NONLINEAR TRANSFER FUNCTION We think that the next improvement in digital imaging quality is being able to extend the acone dynamic range that you can capture. We've been developing a new sensor technology called Dynamax. Now, I've boon tolling you that we don't need 4K--

well, this sensor in 37,5 megapixels You basically have 0 groen, 6 rod, and 6 blue photosites for every pixel. Using the "NEW MATH" it in a 17K sonsor! Are you lamiliar at all with high dynamic range imaging in atill photography? HDRI? In the still photography world, what is going on is that people are taking multiple exposures and combining them. Lot's say I do an exposure at a stop of 2.8. The next ono in at 4, then 5.0, then 8, and 11 Depending on what I'm shooting, the 2.8 exposure could completely blow out the highlights, but it would have lots of shadow detail. And the f11 exposure would retain the highlights, but there would be no detail in th0 mid logos and tho shadows. If we wear to combing them, we'd have a single image with the moot possible detail across the widest possible range, HDR example: multiple exposures combining to create 1 high dynamic rango imago Courtesy Stoven Bjorke So in Photoshop and some other programs, you can actually blend that imagos to create an ultra-high dynamic range image. And some of the images, you should just do a web search for high dynamic range imaging and you'll come up with what a lot of photographers have boon doing Some of the images are extraordinary, like paintings They just have extraordinary information. Some of them are quite surrealistic Today, that's only available in tho still photography world DynaMax is designed to do that for moving images. With that 0 rods, 6 groom and 6 bio photosites for each output pixel, you have the equivalent of shooting 6 imagos with different exposures at once and blond them.