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films in order to
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trajectory and try to
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happens if I have no
resources?' Now, having
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people haven't seen
for a while."

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-Picture emerging
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-De Palma's new
project with
Said Ben Said

-De Palma to team
with Pacino & Pressman
for Paterno film
Happy Valley

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De Palma interviewed
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Thursday, November 28, 2013
RESTORED 'OBSESSION' IN BERKELY
SCREENING DEC 13 AS PART OF SONY PICTURES 2K/4K RESOLUTION SERIES


A 2K restoration of Brian De Palma's Obsession will screen December 13 at the Pacific Film Archive in Berkeley, California. The screening is part of a series exploring 2K and 4K restorations from Sony Pictures, which, according to Steve Seid on the BAM/PFA website, has been restoring films it acquired from Columbia Pictures. Some of the 4K retorations in the series (including Taxi Driver, Bonjour Tristesse, and Alamo Bay) will be introduced by archivist Grover Crisp, senior vice president of asset management, film restoration and digital mastering at Sony Pictures, according to Seid.

In the series description, Seid explains what will be discussed:

---------------------------------

But first the facts: what we see in digitally equipped movie theaters is high-definition digital cinema. It’s termed 2K, meaning a picture standard that produces an image that is 1920 x 1080 pixels or just over two million bits of information. [*Editor's note-- see the comments below for James Curran's clarification of this description.] However, there is a standard beyond 2K that is used for scanning older films called 4K, which contains about eight million bits of screen info. This same 4K standard is used for film restoration because it allows for the manipulation of picture elements at a level far superior to its general exhibition format. Occasionally, as in this series, 4K is used as an exhibition format for special screenings.

Contemporary films originate on a digital platform, making digital cinema the native exhibition standard. A prickly issue arises when an older film, born photochemical, is transferred to digital for projection. Suddenly, the “film” finds itself occupying the screen in absolute stability, the subliminal flicker gone, the light values subtly altered, the contrast and depth redefined. Does this misrepresent the experience of film history? Perhaps. Or does it resurrect a history that might otherwise be lost to us? Again, perhaps.

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Posted by Geoff at 12:26 AM CST
Updated: Monday, December 2, 2013 12:16 AM CST
Post Comment | View Comments (2) | Permalink | Share This Post

Sunday, December 1, 2013 - 10:31 PM CST

Name: "James Curran"
Home Page: http://www.honestillusion.com

I know you're just quoting Steve Seid, but a bit of that needs clarification.

It’s termed 2K, meaning a picture standard that produces an image that is 1920 x 1080 pixels or just over two million bits of information.

Actually that would be two million pixels, which each pixel being 24 (or possible 32) bits, or nearly 50 million bits.   A 4K image would be 4 times that (twice as high, twice as wide)

Monday, December 2, 2013 - 12:14 AM CST

Name: "Geoff"
Home Page: http://www.angelfire.com/de/palma

Thanks, James!

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