Cinema Gamma

The chemical nature of exposing motion picture film as opposed to the electronic acquisition of imagery digitally through CCDs has a lot to do with why the color-space of video is often compensated for in post-production by adjusting the “gamma.” Again, the newer camcorders have built-in features to adjust gamma and other color-curve characteristics on the fly, resulting in footage that appears more “filmic” to the human eye. The Panasonic DVX100A has several built-in cinema gamma settings that create this look when the image is captured. Post-production tools such as Magic Bullet (discussed below) are useful in adding these gamma corrections later in the production cycle.

16:9 Native Format

Viewing audiences have long translated the “letterbox” format (that is, the 16:9 screen ratio) to signify “professional cinema;” so much so in fact that “widescreen” has become the new norm, with 16:9 HDTVs becoming the preferred choice among consumers taking Home Theatre configurations to a new level. New display technologies are quick to promise a total “film-like” viewing experience right from within your own living room. New camera systems, right down to the consumer level, are now offering native or near-native 16:9 resolution capability.

High-Definition (HD) Video

The emergence of new low-cost High Definition (HD) cameras and post-production tools once again promises to revolutionize the way motion pictures are being made. New camera systems from companies like Panasonic and JVC suddenly offer the very real promise of 1080-24p to productions within the most frugal of budgets. Now, more than ever before, attention will focus on getting the HD image to appear as “film-like” as possible. HD’s high resolution greatly helps improve the captured images’ contrast range and resolution, but is still only a part of the ‘film look’ puzzle.