How to make digital movies

There are three ways to make it: one is computer generation; The second is to shoot with a high-definition digital camera; Third, after shooting with a film camera, it will be digitized into the computer hard disk.

Judging from the effects of these three shooting methods, the resolution and color reproduction of film are far from what digital movies can catch up with (before 2009). This is related to the different imaging principles. Silver halide film is based on natural photographic imaging, and its particle fineness is much larger than that of photoelectric pixels designed by CCD artificially. With the continuous improvement of computer technology, the resolution of high-definition digital cameras will gradually approach or even reach the level of film cameras, but in terms of color reproduction, high-definition digital cameras still can't reach film cameras.

Therefore, for a long time to come, the best way to make cinema-level digital movies is still to shoot movies early, convert them into digital signals for post-editing, and then convert them into digital video technology. Because the image quality of the previous material shooting has been determined, it will be converted into digital projection in the later stage. The color and details of silver halide are accurately located by digital technology, and its projection effect far exceeds that of film projector, avoiding the shortcomings of film flicker and blur.

The "digital version" cinema blockbuster is the successful practice of the above technology.

In addition, according to the research results of Alai Digital Technology Research Laboratory, a famous German traditional film camera brand, in 2009, after they infinitely expanded the CCD pixel (8K) of the digital camera, under the best conditions in the laboratory, the image definition reached amazing fineness, even the human pore fluff could be clearly seen, but there is still a big gap between the digital camera and the film camera in terms of color reproduction and saturation, and it is almost impossible for digital technology to realize film color conversion. Because the color of digital technology depends entirely on the color type of artificial simulation, for example, the color of a certain point in the object is not available in the CCD coupling circuit, then CCD can only find the closest one to replace it. Once this happens, the degree of color reduction will be greatly reduced.

In addition, the sensitivity of digital cameras is still very weak. Under the same conditions, film cameras only need one lamp or even no lamp, while digital cameras need two or more lamps to make up for the photosensitive problem of CCD. In contrast, the degree of detail reduction of digital technology is greatly reduced. When the contrast between the bright part and the dark part of the subject is strong, digital technology will have serious problems in capturing and "tolerating" details. That is to say, when we watch a digital film, when the contrast between light and dark is strong, the dark details of the digital film will be few, even black, but the film can present very subtle details and color contrast.

The person in charge of the laboratory finally concluded: "Under the current conditions, from the perspective of film art, there is still no sufficient reason for digital technology to completely replace film technology, nor can it see the decisive advantage of digital technology."

So from a technical point of view, the prospect of digital technology is closer to TV art than movies. Today, 30 years after the appearance of digital technology, the mainstream of film shooting in the world is still film camera, which probably explains the problem. The biggest advantage of digital technology lies in the cost and the preservation effect of master tapes. Under the same conditions, the storage time of celluloid film can only be within 50 or even 30 years. Because silver halide has certain volatility, the digital technology of hard disk is almost lossless in time.