12K Anamorphic 35mm & 17K VIstaVision (FF)

12,228px X 10,190px = 27.03mm X 22.53mm (Anamorphic)
17,152px X 11,332px = 37.73mm X 24.92mm

The only way I can let myself go for VistaVision is for the correct 35mm 4-perf anamorphic size crop on that Full-Frame sensor and I already calculated for 2.4:1 off a 1.2:1 2X De-Squeeze. Otherwise Spherical Lenses need to be able to cover the image circle needed for the 17K. This is of course a 1.5:1 aspect ratio, but that is technically what VistaVision was because it was always meant for cropping due to the use for VFX.

At the same time I discovered how cheap it is for /i Technology to license. One Euro per year! So, I think if PL can be agreed upon with /i Technology (or, even /i3 Technology for the future metadata columns) for all lenses that can over this range, then we should be able to have some brilliant infrastructure with BRAW and Lens Metadata to get the best looking footage.

Here's the article I recently read: https://sonycine.com/articles/cine-lens ... FtJpiLhXzA

This is all based the current 12K sensor. Keeping the pixel density per millimeter. But if lens manufacturers fully immersed this metadata functionality it would improve the image color grading process and shot matching by a large exponent. I do love how easy it is to shoot Anamorphic on the UMP and then load it in Resolve, however...

ARRI still has a more accurate 2X Anamorphic Look based on sensor size for it as this is when comparing to original 35mm film. You can get a better 35mm Anamorphic Look with a VistaVision Sensor, and I know that all the Full Frame Party people mainly want Spherical Full Frame. So, I did the math. The 12K DCI can remain for Super 35mm Window and then Super 16mm at 6K can also remain. But 4K options... delete.

4K or UHD is a Standard for output, and HD is out. So, let's just oversample at minimum. Larger formats better force theater project to go far higher than 8K resolution. Let's go 10K flat for theater output. Then 15K for the largest screens, which will be IMAX or Dolby.

But home can settle on 8K. So, let's even go with better Stereo 3D for theaters to keep them alive at these higher resolutions. I'll let HFR or VFR be spoken of elsewhere. However, the size of the URSA Mini Pro is still perfect for a stereography beamsplitter rig.

Wireless lens control is clearly a huge help, and motorized rigs are becoming more common place. So, the tools are catching up to where we need to be for far better stereo 3D.

That 17K VV sensor would be dealing with 194,366,464 photosites per frame per sensor. A lot for a camera image processor to wrangle. A lot more for 3D to manage in raw.