[PConline Info] "Billy Lynn's Midfielder" If you haven't had time to look at it, it is estimated that you have heard that the 120-frame/3D/4K film technology revolution has been pushed to the cusp. How shocked? I'm sorry that there are only cinemas in Beijing and Shanghai in the mainland that support this screening standard. Xiao Bian in Guangzhou can only go to Wanda to experience a 60 frame/3D/2K version, although the effect of a two-fold discount, but used to seeing 24 frames of 3D movies to experience 60 frames of 3D, also shocked to let I remembered for a long time and lamented that this is the real movie.
The use of such high-standard technology is a great challenge to the structure, description, and performance of movie stories. With such a clear and high-speed capture, all kinds of embarrassment become hidden. Instead of focusing on portraying the magnificent scenes of war, Li An vividly captures the emotions of the characters and describes the truest human nature as a documentary under the simple narrative of moderation. The views on family, wealth, love and death have left blank and deserve the audience to ponder.
If you are a partner of Dalian, Chongqing, Jinan, Changchun, Nanjing, and Changsha, you can also experience the 120 frames/3D/2K version of this movie. (Why didn't Guangzhou Shenzhen!!)
In 3D and 4K, most of these two elements have been experienced, but 3D 4K movies do not show much, let alone 120 frames/3D/4K. Li An is not technically controlled. From the "fairy drift of the juveniles," he used 3D photography for the first time. However, he also started to complain about the 3D of 24 frames. After wearing 3D glasses, the screen shakes badly and the overall brightness is high. And the details are also greatly reduced. So he started brewing this "Billy Lynn" generous.
It may not feel much to see this series of parameters without comparison. If you know that the 3D movies we normally watch are 24 frames/2K/4.5fL (fL, Ford Lumber, the unit that detects brightness), then you know Billy Lynn's 120 frames/3D/4K/ How aggressive is 28fL?
The number of frames is well understood, which is a few frames per second. The film art has always been called the "24-truth truth" not because the human eye can only perceive the picture of 24 frames per second. The gods who play CS all know that to turn off the vertical synchronization and brush to 100 frames, the conditional reflection of people is far. Far more than 24 frames. But why did the 24 grid movie stay in the film history for so long?
The reason is actually very simple. In fact, technology can already be used to achieve higher-frame-rate movies. However, movies such as commercial art, from production to distribution, are often subject to cost and effect constraints, and there are many compromises. Especially in the previous film era, the number of frames was directly linked to the shooting cost, 60 frames per second, the cost of the movie was doubled, and the projection equipment also needed to be upgraded. The effect of the upgrade was driven by the upgrading of consumer viewing. In a short time, it can't fill the gap of production costs, so no one intended to pick up this pot.
Even in the digital age, the huge amount of data is very painful. A 24-frame/3D/2K movie data processing system is thousands of terabytes. An unprecedented movie like Billy Lynn does not even have a device or software that can be used to clip it at 120FPS. Finally, you can only import 60FPS to edit the clip and then compare it to the 120FPS version.
Is the difference between 120FPS and 24FPS really big? The difference is of course great, especially for 3D movies. The higher the frame rate, the more pictures per second are stuffed in. The smoother the look, the more realistic the motion of the movie is. When you get used to a 120-frame movie, you will feel that 24 frames are always awkward.
The timing of this year's 120-frame movie by Li An should be just right. The "Hobbit 1: Unexpected Journey" released in 12 years adopted a standard of 48 frames per second, which is a big impact on the film industry and bred the seeds of the development of high frame rate movies. However, in the Chinese market, which had reached 21.7 billion yuan at the time of the box office, there was no theater capable of showing the highest specifications of the movie.
Only 5 Cinemas Worldwide Can Display 120FPS/3D/4K Versions
Today, Li An recorded the movie with 120 frames per second, creating a new door for commercial movies. The top five countries in the world that can show the highest version of China occupy three (Shanghai, Beijing, and Taiwan). One can imagine that with the development and popularization of technology, the 120-frame movie will be accepted and loved by the general public.
Talk about 4K for several years, but the current popularity of 4K movies is still very low. Even if smart TVs are all 4K or even 8K, most of the video content transmitted to TVs is only 1080P. Most movie theater equipment only supports 1.5K-2K. In 2014, major Tier 1 cities began to deploy 4K projectors. Up to now, there are only one or two 4K studios in large-scale theaters.
Projector standard resolution
Most of the crew shooting films have been used 4K acquisition equipment, 4K/3D post-processing has gradually improved, the masters are also out of 4K, but because the major mainstream theater is still about 1.5K-2K projector Therefore, the movie distributed to the cinema is only 1.5K-2K. It is still a matter of cost. Old equipment updates will inevitably cause heavy theater bleeding. However, old equipment can still be "enough to use," so the speed of equipment replacement is still very slow.
If you haven't experienced 4K video in the movie theater, but you've definitely seen a 4K TV demonstration in the TV market, the picture will certainly be awesome. Especially on a screen as large as a movie theater, the difference between 4K and 2K resolution is obvious, and the resolution is much higher.
The fL Chinese name is Ford Lambert, which is the unit of brightness detection.
I remember that in the 15 years when "Speed â€‹â€‹and Passion 7" was released, many netizens complained that the movie's screen was dark and looked very uncomfortable. That's because the brightness of the projector lamp is not enough. Currently in the movie industry, the 2D brightness standard is 14FL. During the 3D screening process, the brightness is lost due to various technical reasons. The current standard is set at 4.5FL in the industry, but most of the current domestic 3D movies can only reach the brightness of 3FL. .
The RealD company certified 6fL standard was promoted in Hollywood movies. Some advanced cinema projectors allowed 3D movies to meet 6fL standards. The highest version of this "Billy Lynn" reached 28fL, which directly increased brightness by almost 5 times. The tolerance of 3D movies was greatly released. The details of the picture can be clearly seen in the darkest place and the brightest. This is a bit like the HDR technology of the TV industry this year.
Why does the average movie theater have a lower brightness when showing 3D movies? Is the brightness of the lamp lowered in order to save the cost and extend the life of the lamp? This problem cannot be explained as simple as that. The xenon lamps commonly used in movie theaters are high-risk items, and there is a large risk of exploding lights when they are used over time. When the lights are blown, the instrument can be damaged. If used under high brightness and high power consumption, the risk is even greater. Technical reasons are bound to make high-brightness movie screenings become mainstream.
So with the 28fL top projection effect of "Billy Lynn", only five cinemas in the world can reach the standard.
The development of film technology has gone from silent to sound, from black and white to color, from a square screen to a widescreen, from 2D to 3D. The movie is really amazing. It is not only a discipline that blends art with humanity, but also an important representative of the progress of digital media technology. From the history of the development of film technology, it is not difficult to find that every change is constantly promoted around the audience's perception experience. From the various aspects of sound and picture quality, it continuously fits the human sensory characteristics, and the ultimate goal is to achieve the same effect as seeing it from the screen.
This effect can also be called an immersive experience. Whether it is the current hot VR, AR technology, or the 120FPS/3D/4K/28fL technology described in this article, it is to create a more immersive experience.
But after all, movies are the art of living and the thinking of human nature. This kind of artistic behavior will undergo some changes in the way of expression because of technological progress. But will such changes always be positive? Maybe not necessarily.
If you read a book and listen to a story, you can also burst into tears or laugh with a movie. With a bunch of strangers gathered in the studio, looking at the repetitive pace of the movie, the back, or the smashing cigarettes, you can stare for a long time. At this time you can't think of the quality of the picture and can not think of color, but there is still a feeling of empathy.
The immersive film revolution has just emerged and is a bit embarrassing. The picture that 120FPS/4K can record is too realistic. Therefore, it is required that the actor's fictitious things such as performances, makeup, costumes, and props be flawless in order to achieve the effect that the film art must convey. For example, do you mind seeing the foundation of Fan Bingbing's face in the movie, or the margin of the costume drama wig? Excessive realism failed to filter out details that we didnâ€™t care about, focusing on the movie itself.
It is not that the evolution of technology is wrong, but that the director and actor who uses technology must also evolve in the way of expression. Technology can help the film to better express art. "Billy Lynn" is such a bold attempt. To tell the truth is insufficient in many places, but such exploration is very worthy of recognition.
There are also directors who try VR movies. I don't think that this kind of closed immersive experience can replace the movie theater projector. Even if the VR resolution is higher and the delay is lower, the art form it can express is always limited. Of course, maybe it is not trying to eliminate who, it just adds a new possibility.
In summary: Xu Zhiyuan interviewed Li An in the recent issue of â€œThirteen Invitationsâ€. Xu Zhiyuan asked, do you worry about your gentle personality and prevent you from making deeper explorations? Li An replied that the arts incident should not be completely erupted. The best sense of balance is to leave room for it. There is a space for recollection. It is not just you who are out. The audience also scored in half.
Not only are you out of strength, the audience also scored in half. And I want to say that the strength is not only technical, but also art has to account for more than half.
The story of Ethernet began in the ALOHA period. The exact time was after a student named Bob Metcalfe received a bachelor's degree from the Massachusetts Institute of Technology and moved to Harvard University across the river to pursue a PhD. During his studies, he came into contact with Abramson's work, and he was very interested in it. After graduating from Harvard, he decided to stay in Hawaii for vacation before going to Xerox Palo Alto Research Center to work in order to help Abramson work. When he arrived at the Palo Alto Research Center, he saw that researchers there had designed and built machines that would later be called personal computers, but these machines were solitary; he used the knowledge he gained to help Abramson work with his colleague David Boggs designed and implemented the first local area network. The local area network uses a long thick coaxial cable and runs at a rate of 3Mbps.
They named this system Ethernet, and people once thought that electromagnetic radiation could be transmitted through it.
The Carrier Sense Multiple Access (CSMA/CD) technology with collision detection specifies a method for multiple computers to share a channel. This technology first appeared in the ALOHAnet developed by the University of Hawaii in the 1960s, which uses radio waves as a carrier. This method is simpler than token ring network or main control network. When a computer wants to send information, it switches between the following actions and states:
Start-If the line is idle, start the transmission, otherwise skip to step 4.
Send-If a conflict is detected, continue to send data until the min echo receive interval is reached to ensure that all other transponders and terminals detect the conflict, and then skip to step 4.
Successful transmission-report to the higher-level network protocol that the transmission was successful, and exit the transmission mode.
Line is busy-keep waiting until the line is free.
Line is idle-before reaching the maximum number of attempts, go to step 1 to try again at random intervals.
Exceeded the maximum number of transmission attempts-report the transmission failure to the higher layer network protocol, and exit the transmission mode.
Because all communication signals are transmitted on the shared line, even if the information is only sent to one of the terminals (destination), it will be sent to all computers on the line in the form of broadcast. Under normal circumstances, the network interface card will filter out the information that is not sent to itself, and will send an interrupt request to the CPU when it receives the information whose destination address is its own, unless the network card is in Promiscuous mode. This "one talk, everyone listen" characteristic is the security weakness of the shared medium Ethernet, because a node on the Ethernet can choose whether to listen to all the information transmitted on the line. Sharing cables also means sharing bandwidth, so in some cases the speed of Ethernet may be very slow, such as after a power failure, when all network terminals are restarted.
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