Right. And you could achieve those things by experimenting with different lenses/distances on S35. I still think it would be nicer to advance what we have on the S35 front with respect to noise, DR, and rez so that our existing lenses can be utilized.
I would really like to have 5k @ 96 fps with 360 degree shutter to be the new "default" record format ... that way for normal viewing (i.e. 4k dcp, 2k dcp or 1080p - all 180 degree shutter at 24 fps) it would be easy to process. Also for the high end theaters like imax (i.e. something that would be fully compelling to go to ... i mean ... theaters need to be mind blowing to drag the crowd back), they would display at 5k and 96 fps. I don't want the movie to be 3d unless the glasses have zero ghosting between the stereo images and are 96 fps(i.e. all the glasses that are used have way too much ghosting for my brain, and also under 60 fps i see flicker on 3d movement).
5k at 96 fps also allows clean voxel based processing on a single camera (i.e. no need in most cases for a two camera system for 3d), as long as the camera is slightly moving. This allows the data to be moved into things like openexr 3d streams and stuff (i.e. integration to games) really easily which allows multi use of the data (i.e. multi channel distribution). Interesting enough, people like Ridley Scott have a approach to VFX which is highly physical model based, which I think works really well with this kind of processing. I am in Douglas Trumbull camp on this, but i think his 120 fps's odd ratio for the shutter, 24x5 at 360 degree shutter, creates a sampling which is a bit tricky for 48 fps - the transitional fps strategy.
Patrick, your idea makes very good sense.
In other words, you can make the S35 optics and angles of view resemble a "larger format" picture/characteristics/perspective/DOF etc-
But you can NOT simulate higher resolution... either you have it or you don't.
Still [patiently] waiting for my EPIC-645....
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