Pixel Film Studios €? PROJECTION

Tutorial:\nvimeo.com\/299983378\nProjection 2\n3D Projection Mapping Tools for FCPX\nCreate a custom projection map within Final Cut Pro with Projection 2. Users now have the ability to create multiple extrusions along with three-dimensional objects within 3D space. Users also have complete control over camera and media position and rotation along with an anchor point indicator and indicator controls to easily get that perfect camera movement and focal\/pivot point.\nFrom 2D to 3D in FCPX\nWith Projection 2 users now have the ability to project 2D media onto fully customizable 3D surface directly within Final Cut Pro. Users can create multiple extrusions and objects all within 3D space. Projection offers complete control over media anchor point, camera position and rotation, projection media position and rotation, and more. Projection mapping has never been so fun and easy to do.\nCreate Multiple Extrusions or Objects\nWith Projection 2 users now have the ability to create multiple extrusions or objects all within 3D space. Create the perfect shape and move it vertices with a click. Users can now give dimension to a particular object within a scene, or create a windy road with multiple extrusions.\nComplete Control\nWith Projection 2 users now have complete control over anchor point to alter the camera's focal and pivot point of interest, the ability to move multiple vertices within 3D space and create an endless amount of 3D objects to fit absolutely any personal scene.\nDesigned for Final Cut Pro X\nProjection 2 was professionally designed to work seamlessly inside of Final Cut Pro X. As a generator effect, Projection 2 can be dragged and dropped and previewed in real time. 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Alternatively a digital movie could be a film reel that has been digitized using a motion picture film scanner and then restored, or, a digital movie could be recorded using a film recorder onto film stock for projection using a traditional film projector.

Pixel Film Studios – PROJECTION

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Digital cinema is distinct from high-definition television and does not necessarily use traditional television or other traditional high-definition video standards, aspect ratios, or frame rates. In digital cinema, resolutions are represented by the horizontal pixel count, usually 2K (20481080 or 2.2 megapixels) or 4K (40962160 or 8.8 megapixels). The 2K and 4K resolutions used in digital cinema projection are often referred to as DCI 2K and DCI 4K. DCI stands for Digital Cinema Initiatives.

TI's technology is based on the use of digital micromirror devices (DMDs).[39] These are MEMS devices that are manufactured from silicon using similar technology to that of computer chips. The surface of these devices is covered by a very large number of microscopic mirrors, one for each pixel, so a 2K device has about 2.2 million mirrors and a 4K device about 8.8 million. Each mirror vibrates several thousand times a second between two positions: In one, light from the projector's lamp is reflected towards the screen, in the other away from it. The proportion of the time the mirror is in each position varies according to the required brightness of each pixel. Three DMD devices are used, one for each of the primary colors. Light from the lamp, usually a Xenon arc lamp similar to those used in film projectors with a power between 1 kW and 7 kW, is split by colored filters into red, green and blue beams which are directed at the appropriate DMD. The 'forward' reflected beam from the three DMDs is then re-combined and focused by the lens onto the cinema screen. Later projectors may use lasers instead of xenon lamps.

In late 2005, interest in digital 3-D stereoscopic projection led to a new willingness on the part of theaters to co-operate in installing 2K stereo installations to show Disney's Chicken Little in 3-D film. Six more digital 3-D movies were released in 2006 and 2007 (including Beowulf, Monster House and Meet the Robinsons). The technology combines a single digital projector fitted with either a polarizing filter (for use with polarized glasses and silver screens), a filter wheel or an emitter for LCD glasses. RealD uses a "ZScreen" for polarisation and MasterImage uses a filter wheel that changes the polarity of projector's light output several times per second to alternate quickly the left-and-right-eye views. Another system that uses a filter wheel is Dolby 3D. The wheel changes the wavelengths of the colours being displayed, and tinted glasses filter these changes so the incorrect wavelength cannot enter the wrong eye. XpanD makes use of an external emitter that sends a signal to the 3D glasses to block out the wrong image from the wrong eye.

Digital distribution of movies has the potential to save money for film distributors. To print an 80-minute feature film can cost US$1,500 to $2,500,[46] so making thousands of prints for a wide-release movie can cost millions of dollars. In contrast, at the maximum 250 megabit-per-second data rate (as defined by DCI for digital cinema), a feature-length movie can be stored on an off-the-shelf 300 GB hard drive for $50 and a broad release of 4000 'digital prints' might cost $200,000. In addition hard drives can be returned to distributors for reuse. With several hundred movies distributed every year, the industry saves billions of dollars. The digital-cinema roll-out was stalled by the slow pace at which exhibitors acquired digital projectors, since the savings would be seen not by themselves but by distribution companies. The Virtual Print Fee model was created to address this by passing some of the saving on to the cinemas.[citation needed] As a consequence of the rapid conversion to digital projection, the number of theatrical releases exhibited on film is dwindling. As of 4 May 2014, 37,711 screens (out of a total of 40,048 screens) in the United States have been converted to digital, 3,013 screens in Canada have been converted, and 79,043 screens internationally have been converted.[26]

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