A mind of the adequate resolution




In this decade, I’ve been witnessing the progress of the high resolution towards 4K and 8K. However, the words of whether the idea is truly right can be gradually heard from many people working in the movie industry.

It is well known that the effectiveness of the high resolution to the viewers changes, depending on the viewing distance when they watch.

In the first place, the dynamic range makes good visibility, compared to the high resolution. It is already proven. Of course, the high resolution makes the viewers impressed because of its clear images under the certain distance, but at the point where the capability of human’s eyes gets beyond, its impression couldn’t effect anymore when the viewing distance changes. In contrast, the movies having a good dynamic range get less influence by the viewing distance, and there is no big gap to the viewers wherever they watch.

Moreover, the recent problem at a shooting is that a size of the image circle of a camera sensor, a key lens and flange, and a processor performance are different each other; so that, you have to comprehend how to tune them with checking which situation fits them, or the “LOOK” makes different images even though you use the same 4K sensor and the same lens.
Just recently, I watched a TV drama, which was made by all 4K shooting and production. It is very challenging because it’s not only for digital broadcasting in Japan, but for aiming to an international market as well.

Nevertheless, I have to mention here that some scenes made me discouraged though there were parts that the 4K resolution raised up the quality as one of the directions. Since 4K is too high definition, it’s hard to get the accurate focus; so especially in the scenes of a low light condition, out of focus stood out and its low quality images were broadcasted without any changes. Plus, I have to question why these scenes weren’t re-directed or re-embroidered during the editing process. As “a fundamental editing,” failures at the shooting should be fixed by editing, such as using another shot instead of an ambiguous shot.

As to a story development, it’s uneasy to understand a scene setting and a character’s situation to the viewers because there is not an establishing shot, which is a basic shot to explain a situation, but a shot using only captions to describe the situation. So many kinds of shots are seen. Thus, more than the high resolution, most of scenes that were made just by ignoring the basic editing rules, are the serious problem, and it’s embarrassing to show it to the international market, to be honest.
Let’s get back to the topic of the resolution. For instance, in the music industry, even if music would be recorded in the High-res audio, music itself doesn’t become better. So, the truth can be applied in the film industry as well. How does the resolution affect your movie to accomplish your purpose? Can you really set up the storytelling, which takes an advantage of the resolution? Which size is needed as an “adequate resolution?” These points are always questioning to all filmmakers.
This issue features the movie, dared to choose 2K shooting and production by the professionals who always make a drama with high rating. They focus on the dynamic range more than the resolution even in the current state where 4K shooting gets a standard for theatrical movies.

Because the movie is a major content in Japan, making a Blu-ray and DVD, and broadcasting on TV are already decided; therefore, they centered the dynamic range to keep a sense of immersion and a view of the world wherever the viewers watch. By knowing a part of the back stage of the movie, why don’t you think about the worth and meaning of the high resolution again?