The guy who made your industry’s favorite moon face

Georges Méliès was a French filmmaker and stage magician whose name still lands like a practical effects mic drop. He is best known for “A trip to the moon“, where we get the shot of the rocket in the moon’s eye – and yes, you propably know that this is the logo of the Visual Effects Society And that Méliès made another “short” around 1897, missing from public view for more than a century, which has resurfaced online.

Forty five seconds, zero chill

Gugusse et l’Automate runs for 45 seconds. It is silent, fast, and built like a vaudeville punchline that refuses to stop for breath. On screen, a magician shares the stage with a robot dressed like Pierrot. They fight. The robot commits to the bit with the kind of confidence usually reserved for final delivery. Until last month, the film had not been publicly viewable for more than a century. There is also a big historical brag floating around it, including the claim that it is the first “robot in science fiction”-film ever made. You watch it and decide if it is that or Lang’s Metropolis.

A family reel stash walks into a conservation lab

The comeback starts with a road trip and a family archive: Bill McFarland traveled from Grand Rapids, Michigan to the Library of Congress National Audio-Visual Conservation Center in Culpeper, Virginia, bringing reels that once belonged to his great-grandfather, William Delisle Frisbee. Frisbee used them in a traveling showbusiness in western Pennsylvania, moving between nearby towns to screen early moving pictures with music accompaniment.

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If you have ever hauled a hard drive across town because someone, somewhere, needed to see the cut on a different screen, congratulations. You are spiritually aligned with a nineteenth century touring projection workflow.

What was actually done to the film

McFarland’s copy of Gugusse et l’Automate is described as a duplicate at least three times removed from the original. The conservation work took more than a week to scan and stabilise the film for digital preservation. The resulting presentation is described as viewable online in 4K.

If you want a clean, non-mystical reason to care, it is this: seeing early screen illusion work in motion is a direct line to the instincts VFX still leans on today, just the raw DNA of spectacle doing its job.

And we found the story here:

https://www.thisiscolossal.com/2026/03/gugusse-et-lautomate-georges-melies/

The post A Lost Méliès Gag Film Resurfaces in 4K first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

This upcoming mini-series will focus on proper color monitoring with minimal cost. It will mainly be demonstrated in DaVinci Resolve (in short: DR) on MacOS, but most of the steps for calibration are just the same under Windows or Linux. The first part, though, deals with the difficulties some user are experiencing with driver software for Blackmagic’s I/O devices and their compatibility with M-series Macs.

Hardware

An important part of the business model run by Blackmagic Design (in short: BM) from Australia is giving away very capable software for free, or for a really decent price in the Studio version, and making money with hardware. While they are now also manufacturing a whole ecosphere of cameras and live recording gear, one mainstay always were I/O devices that circumvent the potential issues from the operating system interfering with color management. These devices are made to connect directly to the editing and grading software and should show the image as it is, without any unknown alterations.

While some users rely on direct output from the GPU (at least on a Mac), using a proper interface is still the sure approach. Unfortunately, not all older devices by BM are compatible with those quite capable machines with Apple’s own silicon, the M-series. It’s not really easy to find out which ones are not compatible by consulting their website, since the current “Read more” link is only listing all devices that work with Intel-based Macs and Apple Silicon alike. But if you are trying to save money by looking for something second-hand, they don’t list the older devices that will work only with Intel Macs.

Among the DeckLink series, which would need a Mac Pro or an external enclosure anyway, these are the Mini Monitor, the HD Extreme 3 and 3D, and also the DeckLink SDI, Duo, Quad and Studio models. The older Intensity Pro is also limited to Intel Macs, as are all the external Thunderbolt 2 devices: the UltraStudio Express, Intensity Shuttle Thunderbolt, Mini Monitor (the Recorder too). If you own an Intel Mac, these can still be a solution for small money, even if they are limited to HD. You will need older drivers, though, since the current Desktop Video version 14.5 needs Sonoma (macOS 14) or Sequoia (15).

BM is offering all older software on their support site. So you can still use e.g. an Intel iMac 2017 (non-Pro), which is limited to Ventura, with version 12.9. After all, DR 19 is still officially supported under Ventura. They should all work under Windows 10 or 11, but for the Thunderbolt (in short: TB) devices you’ll need the right port, of course. On a Mac, those machines we would still consider usable for DR 19 usually have a TB 3 port, but those older devices have TB 2. Don’t get the wrong adapter: those very cheap ones that may look right are just connecting to Mini DisplayPort. You’ll need the expensive original by Apple, if you don’t find the cheaper AKiTiO T3T second-hand.

Of course, you may say that it’s easier to buy one of the new, compatible UltraStudio devices, if you don’t have one of the older interfaces and some cables lying around. But there’s no 4K/UHD version of those small, less expensive interfaces in a self-contained form. The UltraStudio 4K Mini (see header) carries a hefty price tag, if all you need is output to a screen. We don’t expect many users to buy the expensive Mac Pro just for its card slots, when the equally capable Mac Studio is not much more than half the price. But for all those with a recent Mac, there’s an alternative: while you can’t use an eGPU with Apple silicon, PCIe cards for I/O, like the DeckLink Mini Monitor 4K, will work in a ThunderBolt enclosure.

Software

On a PC you’ll need to install Desktop Video as an admin, and you should uninstall any older versions first. The latter is also advisable on a Mac, but the tight security measures by Apple can make things a bit more tricky. Watch carefully any message that is popping up while installing, even if you usually tend to click all that boring stuff away. Check if none of them is hidden by other windows or a second screen. With any version of 14 before 14.5, you should see two messages, as below. Make sure to follow the advice!

With these settings under Sequoia (aka MacOS 15.3.1), we had no problems seeing the video output from DR (19.1.3), Premiere Pro (25.1), After Effects (25 beta), Final Cut Pro X (11.0.1) and even Sony Catalyst Browse (2024.1.1), but we didn’t try Avid yet. Of course, you will still be looking at a screen that is unknown to the whole system, so that screen has to be calibrated. See our next post!

The post Color Monitoring for Cheapskates?Part 1 first appeared on DIGITAL PRODUCTION and was written by Uli Plank.

This article originally appeared in Digital Production 02 : 2014.

In my article “4K & HFR” in DP O7/13, I covered the technical basics on the subject of “True 4K”. Now it’s time to put it into practice.

To get you started, here is a summary of the most important facts:

• • A 4K monitor/projector has 8.85 megapixels at 4,096 × 2,160 according to the DCI standard. As we know, a pixel consists of three colour pixels: red, green and blue. This means that 8.85 megapixels times three equals 26.5 megapixels in RGB.
  • However, a camera sensor labelled as 4K only has a total of 8.85 megapixels for RGB for 4,096 × 2,160, and only 2,048 for green on the horizontal. However, it would actually have to have 26.5 megapixels to achieve the same resolution as the monitor. A camera sensor currently labelled as 4K therefore only achieves a luminance resolution of 2K! Tip: Just google Bayer pattern sensor.
  • To deliver true, full 4K, i.e. 26.5 megapixels for RGB, you would need an 8K×4K sensor as a minimum, which neither the Epic Dragon sensor nor the Sony F65 currently achieves.
  • In order to be able to see real 4K (which currently only exists in the photo and animation sector), you must not be further than 1.5 times the image height away from the image.
  • In order to be able to perceive real 4K while the image content is moving, you need an image motion resolution/frame rate above the perception threshold of around 90 to 100 frames per second (HFR = high frame rate)

With this in mind, it is fair to ask: does it make sense to even try to produce 4K at the moment?

Projection

The good news is that there are actually applications where 4K makes sense even with the current technical framework conditions: for large projections at events (example: car shows). Anywhere where viewers (e.g. visitors to trade fair stands) can get close to the screens. Or in the field of design and development, where only artificially digitally generated images are presented, sometimes also many still images or paused virtual live 3D animations.

With computer-generated images, there is usually no limit to the frame rates, as long as the computing power is sufficient. The automotive industry has been working with 4K projections under these “conditions” for around ten years.

There is another aspect to large projections: Even if you can no longer perceive 4K from a distance of 1.5 times the image height to the screen, the pixel structure can still be perceived from a distance of 10 times the image height with a 2K or HD projection, especially with high-contrast graphics or fonts. A 4K projection, even of HD content, would therefore look much better in the last cinema row, because the scalers built into 4K projectors convert this pixel structure into smooth lines. Or if you produce the graphics in 4K and the film content in HD, it looks better on the 4K projector than on an HD projector.

Alternative applications

Another application variant for 4K was presented by Canon in its latest roadshow: Photo shoots with the Canon 1D in 4K video mode. Here at least 24 images per second can be recorded in 4K (but only in Motion JPEG, quite heavily compressed with limited dynamic range compared to raw photos).

The photographer then no longer presents printed photos, but short snippets of movement on 4K monitors with a long pause in between – sometimes just a blink of the eye or a twitch of the corner of the mouth. A completely new art form? Well, not quite. Basically a video installation, albeit in unprecedented image quality, which certainly fulfils the increased image quality demands of viewers.

For consumers, there are also some areas of application for 4K that they can already utilise. Viewing photos: Even an iPhone takes photos with 8 megapixels, as many pixels as a Sony F5 or F55 4K sensor has. A photo from a Canon 5d has over 20 megapixels, a Nikon D800 has 36 megapixels – such photos look simply fantastic on 4K displays. You can see the full quantum leap of 4×HD.

If you want to achieve this quality in 4K moving images: timelapses, i.e. series of individual images from such cameras, are the only true 4K content to date, apart from computer animations. Current new games consoles or games computers can also reproduce 4K up to 60 FPS.

However, there are also other examples. Sony F65 users tell us: “We bought an F65 because we saw that a Red or an Alexa reach their limits on the huge screens that Audi operates at these trade fairs. The images just look soft.” (The quote comes from the application report of a 4K production with the Sony F65, in which the frame rate problem is also vividly described: Kropac-Media at http://bit.ly/1dqNb9f.)

Apart from timelapses, maximum resolution in images can only be achieved digitally and artificially, or you have to come up with multiple resolutions and scale very carefully. However, there is still a lack of cameras that can produce true 4K and, above all, those that significantly exceed true 4K resolution (26 megapixels plus!) and do so at a simultaneous frame rate of at least 60 FPS. The most common argument in favour of 4K productions that I have heard recently was: “Then we can still zoom into the image because we have so much resolution.” Or: “We only shoot the slow motion in 2K, that’s still enough for HD utilisation.” However, if you record 2K cropped with a Bayer pattern sensor, you are left with significantly less resolution than HD. 2KBayerpattern resolution is just about good enough for 16:9 SD.

HFR – more than 30 FPS required

Another quote from the aforementioned application report reads: “In our tests, we realised that 4K resolution is only half the battle. The essential thing is recording in 50p. This is what creates the real wow effect. Only then does the material look really sharp.”

HD at 59.94 frames per second has been the standard for BMW trade fair films for over ten years. Audi now also requires every large-scale projection in 4K to be delivered in at least 50p, both filmed content and 2D/3D animations. For cinema projection, the frame rate in the DCI standards has been increased to up to 60 frames per second, particularly for stereo 3D. Almost all high-end finishing systems (such as those from Quantel and DVS) can also process at least 2K to 60 FPS in stereo 3D or 4K 2D at 60 FPS.

However, consumer TV sets and computer displays pose a problem when it comes to 60 FPS. I recently visited a production company that is currently producing films in 4K for a TV set manufacturer for product presentations of 4K TV sets. This visit led to a joint field research odyssey, which I would like to report on below because it clearly illustrates the “teething troubles” of 4K.

Great expectations and unvarnished reality

With its 65 inches, the TV set supplied by the manufacturer for testing already offered an impressive picture size, creating anticipation of brilliant images. In addition, the playback device from the same manufacturer – a kind of tablet with a docked keyboard – was supposed to make 4K easy and simple for anyone to operate with the swipe of a finger, so to speak. So much for the marketing. And that was the reality: after several attempts to connect and disconnect the 4KTV device to various HDMI ports on the computer (Windows 8.1), it recognised itself with 4K, i.e. 4,096 × 2,160. When the first images lit up, the colleague who had previously dragged the heavy device into the office by the sweat of his brow couldn’t contain his excitement: It looks great! Sitting on the sofa about three metres away, he didn’t notice the image deficiencies or the lack of sharpness. About one metre away from the screen, however, the unvarnished 4K reality was revealed in the form of massive image resolution losses.

Massive loss of image resolution

Now we began our search for the causes of the disappointing picture quality when viewed up close. To anticipate, at the end of this search, which can certainly be described as an odyssey, we were enriched by the following findings:

• • • Monitor sends incorrect resolution information to graphics card.
    • Graphics card scales up Quad HD to DCI standard (because the Quad HD film is displayed in full screen).
    • Then the monitor scales down from DCI standard back to its native Quad HD resolution and zooms into the picture using overscan.

Here is our field research odyssey in detail:

• • Check: Resolution / image content

As we didn’t have a 4K test chart, we produced one: First, we downloaded my HD test chart from digitalproduction.com (http://bit.ly/1b2tUXr) and created a Quad HD, i.e. 3,840 × 2,160, in After Effects and then also in 4,096 x 2,160 by filling it up. The aim: to determine whether the monitor has DCI standard or Quad HD.

• • Check: Resolution/picture reproduction devices/playback system

Loading the test chart revealed that a resolution below HD could already be seen in the result when this still image was played back. So we looked in the graphics card settings to see what was offered as an alternative. The next entry was 3,840 × 2,160 – but without the additional information “native”, which was also missing for 4,096 × 2,160. This is often the case with computer displays so that it is easier to set the appropriate native resolution or it is initially used automatically. However, the image only became a little sharper, it was still not pixel native.

• • Check: Resolution/picture display device/TV set

We searched for the scaling or overscan in the display menu, as there is no standard designation here and it can be called “full”, “1:1”, “native” and similar. When we found the setting, it still looked blurred, but pixel-perfect. My test chart has various elements that can be used to quickly differentiate such a problem.

• • Check: Image processing functions/ TV set

• TV set manufacturers apparently assume that the majority of picture content played back to consumers at home is of such poor picture quality that the TV sets process the picture quality with a considerable number of functions. However, these picture enhancement functions prove to be counterproductive for high-quality picture material. It is therefore advisable to switch off or correctly set all these functions, which affect saturation, colour space, colour temperature, frame rate algorithms and, in particular, sharpness. Normally, sharpening is always active and inactive at a value of 0, but on our device it turned out that image sharpening was inactive at 50 (the default value). I was only familiar with this type of setting from cameras that can also go into the negative, i.e. can even blur the image. After I had deactivated the image sharpening function, the test chart finally looked perfect and pixel-perfect.

• • Check: Frame rate/image display devices

• In the graphics card settings, the frame rates were hidden in the Advanced Settings. After we had changed the resolution from 409 2,160 to 3,840 × 2,160, we were now able to set 25 FPS, 29.97 and 30 FPS instead of just 23.97 or 24 FPS. As the 4K film had been produced at 25 FPS, we now set 25 FPS accordingly. This showed that the higher frame rates of up to 30 FPS could also be activated at 3,840 × 2,160 – a further indication that this was the native picture resolution of the TV set’s panel. To be able to display 4,096 × 2,160, the internal scaler has to utilise additional computing capacity, which is at the expense of the frame rates. In the end, we exported the 4K file at a significantly lower data rate, i.e. from the original 300 megabits to 25 megabits. Fortunately, the production company had produced the file in Quad HD, i.e. in 3,840 × 2,160, which now also corresponded to the resolution of the TV set. After all these tedious changes to the settings, the 4K film looked halfway decent if you were standing two metres or more away from the screen.

• Final check: Motion resolution

Now that the TV set was also displaying the native frame rate of the film and we were able to play the H.264 film with the now significantly lower data rate of 25 Mbit almost smoothly, the differences in quality from almost motionless image content to the faster ones were already drastically visible if you stood close enough to the 4K TV set. There are at least two reasons for this fluctuating picture resolution quality:

a. Sensor resolution for slow motion: In order to achieve higher frame rates, the resolutions of the camera sensor usually have to be cropped. This means that the available pixel quantity is not fully utilised – often in order to save storage capacity. For example, even the Sony F65 only achieves 4K × 1K at 120 FPS, i.e. only a quarter of the resolution. However, the sensor has 8K × 2K.

b. Motion blur due to excessively long exposure times: Motion blur. The higher the actual still image resolution and the closer the viewer looks at the image on higher-resolution image devices, the more noticeable the differences in image resolution. Arri has already shown in various presentations impressive tests how dramatic the image resolution losses are with 4K due to motion blur. It therefore often makes more sense to produce consistently in HD or 2K with at least 60 FPS than 4K with 24 FPS. Especially when 4K cannot be real 4K.

HDMI 2.0 must come soon

At least the TV set in our field research had an HDMI interface of standard 1.4, which is the minimum required for 4K. The computer/playback device also had HDMI 1.4, although HDMI 1.4 is only specified up to 30 FPS. But the frame rate was automatically selected by the graphics card/TV set: 24 FPS. An average consumer would already be overwhelmed by the task of setting the device correctly.

Only HDMI 2.0 will support 60 FPS. Until the end devices can handle this, 60 FPS films should not be released. However, they can be produced, as various consumer TV manufacturers are already pointing out that their devices will be easily upgradeable to HDMI 2.0. “Easy” because the HDMI interfaces are often built into docked boxes to enable such upgrades. You can already produce at 48 or 50 or 60 – and then simply output half the images.

For example, “The Hobbit” was shot at 48 and not 60 in order to be able to deliver a normal 24 FPS for 2D cinema exploitation, which doesn’t shutter so violently. With 60 FPS, the film would have been shot much faster and the exposure would have been shorter, which would have led to more shutter problems. So if you want to be downwards compatible, you always have to shoot in such a way that you only have to halve the FPS. So 60 FPS for a 30 FPS output or later 60 FPS.

With HDMI 2.0, 30 FPS can also be displayed with up to 12-bit colour depth, making a higher colour resolution than in post-production possible for the first time. However, only the previous 8-bit colour depth will be possible again at 60 FPS. Either way, the amount of data and therefore the technical requirements will increase dramatically.

Bear in mind that wireless HDMI transmission only works up to Full HD. Wireless 4K will not be possible for a long time yet. The requirements for cable lengths and their quality will also increase considerably with 4K. Especially if instead of 30 FPS, 60 FPS, i.e. twice or even almost three times the 24 FPS data rate, has to be delivered via the cable.

Tip: To solve such a problem in production, you can still fall back on classic SDI technology. There are various affordable products in the adapter sector from Blackmagic, AJA etc. The first 4K live productions provide corresponding reports of experience: we will still have to work with HD technology for a long time to come, especially when monitoring 4K productions, as the effort and costs would otherwise explode: Videos and additional material from a live music production: http://www.4k-concerts.com

Conclusion

Even if the sensor/camera and TV set have been optimally selected/adjusted, the decisive factor for achieving true 4K quality is the production. In the case of our 4K TV device field research, the content was produced with Red Epic in Quad HD and with Sony F700, whose sensors are read out cropped in Quad HD. So only with just under 8.3 megapixels in RGB. A Quad HD TV set has 24.9 megapixels, i.e. around three times the resolution in RGB and around twice the resolution in luminance on the horizontal plane. Accordingly, graphics/fonts/logos are crisp and sharp, but the “4K film content” behind them is still quite soft, although no longer pixelated. The majority of readers probably know from their VFX experience that they sometimes have to degrade the artificially generated, crisply sharp graphic content by means of grain, noise, chroma aberrations and blurring so that it harmonises with the “real shots”. Well, this additional workload will also remain with 4K. I dread the thought of having to accommodate SD archive material in 4K.

The post 4K production – what do you really need? first appeared on DIGITAL PRODUCTION and was written by Michael Radeck.

Following the last major Unreal Engine 4.22 update and the introduction of the new “Chaos” physics system, Epic Games also has many attractive free assets on offer in June. This month’s Unreal Marketplace includes a shader pack, PBR materials and more. Here is a brief overview of the highlights including download links:

4K Materials: Wood FlooringVol.01 and Vol.02

The two material volumes each contain 25 PBR materials and are now permanently available free of charge. The texture maps are seamless and are available in a resolution of 4096px x 4069px. The materials are based on photographs of oak, walnut, bamboo and beech.

Advanced Mission And Notification System V3 – Nocte Studios

Further information and the asset pack download can be found here.

Brushify – Environment Shaders Pack – JoeGarth

Further information and the asset pack download can be found here.

Path Follow – Cooper

Further information and the asset pack download can be found here.

Reactive Water – Patrick Bendermacher

Further information and the asset pack download can be found here.

Steampunk Props Pack – Karl Muller

Further information and the asset pack download can be found here.

Licence & use

The content from the Marketplace can be used for all commercial projects with the following exceptions, which you can read about in detail here:

• The content may not be resold, even after modifications.
• You may also share Marketplace products with the team, but only for the limited purpose of the respective project that is being jointly developed.

Further information: To the Epic Games website

The post Unreal Engine | Free Assets in June first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

News from Blackmagic Design – in addition to the new Ursa Mini Pro and updates for the Pocket Camera, there are also new Decklink cards and DaVinci Resolve 15.3. Here is an overview of the new features:

URSA Mini Pro 4.6K G2

The second generation of the URSA Mini Pro – 4.6K G2 has arrived and offers a new Super 35mm 4.6K sensor for HDR shots (15 dynamic levels) and frame rates of up to 300 frames per second. In addition to EF mounts, it is now also possible to switch to F, PL and B4 mounts. As with the new Cinema Pocket Camera 4K, the new URSA Mini Pro G2 now has a USB-C port to enable direct recording to SSDs. A full licence for the DaVinci Resolve software is also included with the purchase. Cost point: €6,435

• Sensor: Super 35mm, 4.6K sensor (25.34mm x 14.25mm)
• Dynamic range: 15 f-stops
• Frame rates: 23.98; 24; 25; 29.97; 30; 50; 59.94 and 60 fps
• High FPS: 120 fps in 4.6K, 150 fps in 4K DCI, 300 fps in HD Blackmagic RAW.
• Mount: Interchangeable EF mount included. PL, B4 and F are optionally available separately
• ND filter: ND filter wheel for setting the four possible ND filter positions in f-stops: Clear (no filter), 2, 4 and 6 stops.
• Further data: Click here for the overview & data sheet.

Blackmagic RAW: Pocket Cinema Camera 4K

The free Blackmagic Camera 6.2 update enables the new Pocket Cinema Camera 4K to use the Blackmagic RAW (1.2) codec. However, the Cinema DNG format will no longer be available once the update has been installed, according to Grant Petty, partly due to patent issues. Anyone who still needs the format for current projects should therefore wait with the update. Other new features in 6.2 include support for ACES colour gamuts and changes to the touch interface. Find out more here.

Download the 6.2 update

DaVinci Resolve 15.3

In line with the camera updates , DaVinci Resolve version 15.3 provides support for the new Blackmagic URSA Mini Pro 4.6K G2 camera, the latest Blackmagic RAW SDK 1.3, as well as various performance improvements. Click here to download.

DeckLink

With the DeckLink Quad HDMI Recorder(€579), Blackmagic Design offers a new PCIe card with which four different HDMI sources from SD, HD, Ultra HD, 4K and even computer formats can be recorded simultaneously. With four independent HDMI 2.0b inputs, the card is suitable for live mixing, recording computer games in real time, streaming and more. Click here for the specs.

With an update for the already offered DeckLink 8K Pro(645 €), the four 12G-SDI connections can be used for the independent capture and playback of 4 separate video streams.

Further information: Visit the Blackmagic Design website

The post Blackmagic: An update round first appeared on DIGITAL PRODUCTION and was written by Bela Beier.