American Cinematographer - December 2017 - 22
and the HMI is 18,000. Wattage is one of the four main properties of electricity - the other three being amps, volts and
ohms - and it is a constant in a given fixture. A 1,000-watt
fixture will always require 1,000 watts to produce its light.
Watts are the product of amps and volts, and they are, in
essence, the measurement of the work being done in an electrical system.
So far, this has been pretty straightforward. But here's
where Ks get confusing. With regard to digital images, K is a
measurement of the number of pixels or photosites - and the
term has been commandeered as marketing jargon, a yardstick
by which to measure the prowess of a particular camera
system, a rallying cry in the ongoing "war of the Ks" wherein
each manufacturer vies to outdo the rest in delivering an everincreasing K count. But what does any of it really mean?
First, let's talk about pixels in a display or projection
system. In the digital arena, Ks no longer compute to a true
value of 1,000 or even a standard base of 10. Instead, digital
systems use binary values, or a base of 2, because we're dealing
with digital bits. In binary systems, every bit can define only two
levels of information: a value of 0 or 1. This means that 1 kilobit
is not 1,000 bits, but rather 1,024 bits - 210. That's an important distinction, and one that's often overlooked.
So, with a digital image, 1K stands for 1,024 pixels or
photosites. The measurement was originally used for digital
film-scanning specifications and has carried over to describe
other digital cinema systems: cameras, projectors and display
formats.
In display/exhibition systems, 2K and 4K are our most
common pixel counts - aside from 1080 HD displays. A big
point to understand is that 2K and 4K are categories of image
sizes. To allow for different aspect ratios, there are variations of
exact pixel counts within each category. The Digital Cinema
Initiatives is an organization that was formed in 2002 by the
major motion-picture studios - Disney, Fox, MGM, Paramount, Sony, Universal and Warner Bros. - to establish standards and specifications for digital exhibition; they defined the
pixel counts for each aspect ratio in each K category.
For 2K:
1.78:1 (16:9)
1.85:1
1.9:1
2.39:1
1920x1080*
1998x1080
2048x1080
2048x858
For 4K:
1.78:1 (16:9)
1.85:1
1.9:1
2.39:1
3840x2160*
3996x2160
4096x2160
4096x1716
* Not technically a DCI specification, but DCI compliant.
In television standards, Ultra High Definition (UHD) -
which many call "4K" - is 3840x2160. UHD is also often
22
December 2017
called "Quad Full HD" or "QFHD," as it is made up of four
1920x1080 segments - two on top and two on bottom. Mathematically, we see that 1920 x 2 = 3840, and 1080 x 2 = 2160.
Some cameras can shoot in this format as well.
Still with us? Hold on - it gets worse.
The Ks can also refer to the number of photosites, or
"sensels," on the digital sensor in a camera. And this is where
things really get sticky. This is where the battle of the Ks is truly
fought.
Ever since the introduction of the Red One camera, manufacturers have been racing to out-K their competitors. The Red
One recorded up to 4.5K to 4480x2304 photosites (1.9:1). In the
1.78:1 aspect ratio, that was 4096x2304; in the 2:1 aspect ratio,
it comes out to 4096x2048.
Again, bear in mind that 2K, 4K, 6K and 8K are categories. They
aren't exact numbers, and often the numbers within a category
fall short of the K value they represent. The specific photositecounts for each category can also vary depending on the camera
manufacturer and the specific aspect ratio/format you're shooting.
2K Photosite counts:
Sony F65 (2K)
Arri Alexa SXT (2.8K)
Arri Alexa SXT (2.6K)
Arri Alexa SXT (2.8K)
Arri Alexa Mini (2K)
Arri Alexa Mini (2K Ana.)
Arri Alexa Mini (UHD)
2048x1080 (1.9:1)
2880x1620 (1.78:1)
2578x2160 (1.2:1)
2880x2160 (1.33:1)
2048x1152 (1.78:1)
2048x858 (2.39:1)
3840x2160 (1.78:1)
3K Photosite counts:
Arri Alexa SXT (3.2K)
Arri Alexa SXT (3.4K Open Gate)
3200x1800 (1.78:1)
3424x2202 (1.55:1)
4K Photosite counts:
AJA Cion (4K)
4096x2160 (1.9:1)
Sony F65 (4K)
4096x2160 (1.9:1)
Canon 5D Mark IV (4K)
4096x2160 (1.9:1)
Canon C700 (4.5K)
4512x2376 (1.9:1)
Sony F55 (4K)
4096x2160 (1.9:1)
Sony F55 (4K)
3840x2160 (1.78:1)
Sony FS7 (4K)
4096x2160 (1.9:1)
Sony FS7 (4K)
3840x2160 (1.78:1)
Blackmagic Design Ursa/Ursa Mini (4.6K) 4608x2592 (1.78:1)
Arri Alexa 65 (4K "VistaVision" 8-perf 35) 4320x2880 (1.50:1)
Kinefinity KineMax S35 Mode (4K)
3840x2160 (1.78:1)
Kinefinity KineMax S35 Mode (4K)
3840x1600 (2.40:1)
Kinefinity KineMax M4/3 Mode (4.3K) 4320x3240 (1.33:1)
Kinefinity KineMax M4/3 Mode (4K)
4096x3072 (1.33:1)
Kinefinity KineMax M4/3 Mode (4K)
4096x1716 (2.39:1)
Panasonic AU-EVA1 (4K)
4096x2160 (1.9:1)
Panasonic AU-EVA1 (4K)
3840x2160 (1.78:1)
Panasonic GH5 (4K)
4096x2160 (1.9:1)
Panasonic GH5 (4K)
3840x2160 (1.78:1)
Panasonic VariCam LT (4K)
4096x2160 (1.9:1)
Panasonic VariCam LT (4K)
3840x2160 (1.78:1)
American Cinematographer
Table of Contents for the Digital Edition of American Cinematographer - December 2017
Contents
American Cinematographer - December 2017 - Intro
American Cinematographer - December 2017 - Cover1
American Cinematographer - December 2017 - Cover2
American Cinematographer - December 2017 - 1
American Cinematographer - December 2017 - 2
American Cinematographer - December 2017 - 3
American Cinematographer - December 2017 - 4
American Cinematographer - December 2017 - Contents
American Cinematographer - December 2017 - 6
American Cinematographer - December 2017 - 7
American Cinematographer - December 2017 - 8
American Cinematographer - December 2017 - 9
American Cinematographer - December 2017 - 10
American Cinematographer - December 2017 - 11
American Cinematographer - December 2017 - 12
American Cinematographer - December 2017 - 13
American Cinematographer - December 2017 - 14
American Cinematographer - December 2017 - 15
American Cinematographer - December 2017 - 16
American Cinematographer - December 2017 - 17
American Cinematographer - December 2017 - 18
American Cinematographer - December 2017 - 19
American Cinematographer - December 2017 - 20
American Cinematographer - December 2017 - 21
American Cinematographer - December 2017 - 22
American Cinematographer - December 2017 - 23
American Cinematographer - December 2017 - 24
American Cinematographer - December 2017 - 25
American Cinematographer - December 2017 - 26
American Cinematographer - December 2017 - 27
American Cinematographer - December 2017 - 28
American Cinematographer - December 2017 - 29
American Cinematographer - December 2017 - 30
American Cinematographer - December 2017 - 31
American Cinematographer - December 2017 - 32
American Cinematographer - December 2017 - 33
American Cinematographer - December 2017 - 34
American Cinematographer - December 2017 - 35
American Cinematographer - December 2017 - 36
American Cinematographer - December 2017 - 37
American Cinematographer - December 2017 - 38
American Cinematographer - December 2017 - 39
American Cinematographer - December 2017 - 40
American Cinematographer - December 2017 - 41
American Cinematographer - December 2017 - 42
American Cinematographer - December 2017 - 43
American Cinematographer - December 2017 - 44
American Cinematographer - December 2017 - 45
American Cinematographer - December 2017 - 46
American Cinematographer - December 2017 - 47
American Cinematographer - December 2017 - 48
American Cinematographer - December 2017 - 49
American Cinematographer - December 2017 - 50
American Cinematographer - December 2017 - 51
American Cinematographer - December 2017 - 52
American Cinematographer - December 2017 - 53
American Cinematographer - December 2017 - 54
American Cinematographer - December 2017 - 55
American Cinematographer - December 2017 - 56
American Cinematographer - December 2017 - 57
American Cinematographer - December 2017 - 58
American Cinematographer - December 2017 - 59
American Cinematographer - December 2017 - 60
American Cinematographer - December 2017 - 61
American Cinematographer - December 2017 - 62
American Cinematographer - December 2017 - 63
American Cinematographer - December 2017 - 64
American Cinematographer - December 2017 - 65
American Cinematographer - December 2017 - 66
American Cinematographer - December 2017 - 67
American Cinematographer - December 2017 - 68
American Cinematographer - December 2017 - 69
American Cinematographer - December 2017 - 70
American Cinematographer - December 2017 - 71
American Cinematographer - December 2017 - 72
American Cinematographer - December 2017 - 73
American Cinematographer - December 2017 - 74
American Cinematographer - December 2017 - 75
American Cinematographer - December 2017 - 76
American Cinematographer - December 2017 - 77
American Cinematographer - December 2017 - 78
American Cinematographer - December 2017 - 79
American Cinematographer - December 2017 - 80
American Cinematographer - December 2017 - 81
American Cinematographer - December 2017 - 82
American Cinematographer - December 2017 - 83
American Cinematographer - December 2017 - 84
American Cinematographer - December 2017 - 85
American Cinematographer - December 2017 - 86
American Cinematographer - December 2017 - 87
American Cinematographer - December 2017 - 88
American Cinematographer - December 2017 - 89
American Cinematographer - December 2017 - 90
American Cinematographer - December 2017 - 91
American Cinematographer - December 2017 - 92
American Cinematographer - December 2017 - 93
American Cinematographer - December 2017 - 94
American Cinematographer - December 2017 - 95
American Cinematographer - December 2017 - 96
American Cinematographer - December 2017 - 97
American Cinematographer - December 2017 - 98
American Cinematographer - December 2017 - 99
American Cinematographer - December 2017 - 100
American Cinematographer - December 2017 - 101
American Cinematographer - December 2017 - 102
American Cinematographer - December 2017 - 103
American Cinematographer - December 2017 - 104
American Cinematographer - December 2017 - 105
American Cinematographer - December 2017 - 106
American Cinematographer - December 2017 - 107
American Cinematographer - December 2017 - 108
American Cinematographer - December 2017 - 109
American Cinematographer - December 2017 - 110
American Cinematographer - December 2017 - 111
American Cinematographer - December 2017 - 112
American Cinematographer - December 2017 - 113
American Cinematographer - December 2017 - 114
American Cinematographer - December 2017 - 115
American Cinematographer - December 2017 - 116
American Cinematographer - December 2017 - 117
American Cinematographer - December 2017 - 118
American Cinematographer - December 2017 - 119
American Cinematographer - December 2017 - 120
American Cinematographer - December 2017 - 121
American Cinematographer - December 2017 - 122
American Cinematographer - December 2017 - 123
American Cinematographer - December 2017 - 124
American Cinematographer - December 2017 - 125
American Cinematographer - December 2017 - 126
American Cinematographer - December 2017 - 127
American Cinematographer - December 2017 - 128
American Cinematographer - December 2017 - Cover3
American Cinematographer - December 2017 - Cover4
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