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Blade Runner 2049: 4K VFX usage (7 replies and 5 comments)

Zippy
3 weeks ago
Zippy 3 weeks ago

Hi Roger,

Congrats to U, Denis and everybody whom worked on Blade Runner 2049. Blade Runner 2049 gets all positive reviews. Now that the review embargo has lift and speak free on Blade Runner 2049. I was wondering does Blade Runner 2049 have any 4K CGI/VFX here and there? Or at least something higher than 2K?

Were U also interviewed for the upcoming Blu-ray special features? 🙂

 

 

Roger Deakins
3 weeks ago
Roger Deakins 3 weeks ago

The film was shot at 3.4K, which is the full resolution with the Alexa in Open Gate. The entire workflow, including all the effects work, was kept at this originating resolution of 3.4K. The DCP was then made at 4K. The only 2K elements made for 'Blade Runner 2049' are for 3D projection.

Zippy
3 weeks ago

This is excellent news, Roger.

chrispurdydp
3 weeks ago

Hi Roger!

So excited to see the film. Am I correct in my understanding that the IMAX version of the film will be a 4K DCP using an extraction from the 3.4K Open Gate frame?

If so, was that 1.9:1 extraction something that was accounted for in-camera along with the 2.40 framelines when composing the shots? If not, what was your involvement in choosing those frame extractions for the IMAX release? 

Out of curiosity, what is it like to compose for multiple extractions, and what sorts of things you have to keep in mind when doing so?

Extremely looking forward to seeing the film, but I'm not sure which version to get tickets for.

Thanks!!!

Roger Deakins
3 weeks ago
Roger Deakins 3 weeks ago

As I have said elsewhere the IMAX version is NOT an 'extraction' of the wide screen frame. We used the extra area of the 4:3 Open Gate sensor to open up the frame for IMAX. No extraction! In this way the IMAX version really is larger than the wide screen version. You do see more image area.

It was not a problem to frame for both as we were, first and foremost, framing for a widescreen 2D film and the other deliverables were just an addition that we needed to allow for. It did mean keeping the area clear of lamps as much as possible and it also meant VFX needed to render a larger frame area. 

I oversaw the timing and framing of every version of the film.

JaxTeller
3 weeks ago

It's a shame some IMAX theaters are pushing for 3D. It's either seeing an expanded AR in 3D but with the usual quality laser projection or seeing this in regular 2D with inferior image quality on a silver screen.

chrispurdydp
3 weeks ago

Thank you for your response, Roger.

In general (not just with this film) do you feel that the part of the image that extends beyond the intended widescreen frame for an IMAX release is given as much thought and care by the visual effects team?

Roger Deakins
3 weeks ago
Roger Deakins 3 weeks ago

Definitely! The effects team has to take as much care of the IMAX as with the standard wide screen version.

Zippy
2 weeks ago
Zippy 2 weeks ago

So in other words, Roger you used a 3.4K DI. Or did you afterwards upres everything to use a 4K DI? I do you know you prefer 4K final masters.

Roger Deakins
2 weeks ago
Roger Deakins 2 weeks ago

The final DCP was made at 4K, yes.

Zippy
2 weeks ago

If we let the DCP delivery aside.

You finished Blade Runner 2049 on a 4K or 3.4K Digital Intermediate?

Roger Deakins
2 weeks ago
Roger Deakins 2 weeks ago

For the first time, in my experience, we could do the DI color timing at 4K. Previously to this I had always done my timing at 2K and then made an output DCP at 4K.

G.Improta
1 week ago
G.Improta 1 week ago

This is my first post on this forum, and I just want to take a line to thank Mr. Deakins for giving some of his time to this community and share with us his experience.

When there is an IMAX output we usually render all the VFX at full resolution with the appropriate overscan.
This obviously adds some time to the renders since it's a bigger area to calculate.
Also, all the compositing work has to consider the extra resolution required for integration work, like distortions and defocusing.

I did not work on this movie (I usually supervise 3D lighting and lookdev), I was busy on another title, but this is one of the few movies I am regretting not working on.
I loved the approach of building as much as possible and use the CG for "extending the visual experience".
It is visually stunning and the cinematography is just awesome.

G. Improta

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