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Viper FilmStream CameraSummary and Contents
1. Multi-format, multi-frame rate, dual aspect ratio
2. Attractive ergonomics
3. Top-Performance Full-res RGB or YUV Video
4. FilmStream Concept
5. FilmStream Applications
5
HD-DPM+ 9.2 million pixel CCD sensors
Line n
Line n+1
Line n+2
Line n
Line n+1
1080p 720p
5m
1.25m
1920
4320
6
1920
1440
lines
line n-2line n-2
line n-1line n-1
line nline n
line n+1line n+1
line n-3line n-3
Aspect Ratio switching widescreen
Combining 3 vertical pixels
4320 / 3 = 1440 lines
1920x1080p24 in aspect ratio 2.37:1 by combining 3 vertical
pixels and using the centre 1080 lines
1080
lines
8
Multi-format, dual aspect ratio
• 1920 x 1080p at 23.98, 24, 25, 29.97 and 30 fps (output formats are psf) and 23.98 fps, with internal 3:2 pull-down
available as 1080i59.94
• 1920 x 1080i at 50, 59.94, 60 Hz
• 1280 x 720p at 50, 59.94, 60 fps and 23.98, 24, 25, 29.97 and 30 fps, with
internal frame repeats available as 59.94, 60, 50, 59.94 and 60 Hz respect.
• Dual aspect ratios: 16:9 or widescreen (2.37:1) in 1080p• All of this without format converters!
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3. Top-Performance Full-res RGB or YUV Video
•RGB 444 full resolution per color 1920 x 1080– Via dual-link HD-SDI– 10 bit per color– Also ideal for blue/green screen and video effects
• Including resizing
•YUV 422 via single link 1.5 Gbps HD-SDI– Simply connects to Voodoo, HD-D5, HD-CAM,
DVCPRO HD• Supported video formats varies per recorder type
•Extensive set of adjustable Video parameters– To create the picture you want
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It changes completely!
It turns into a FilmStreamtm Camera
(Then, do not call it a video camera anymore)
14
The Video way of shooting
•“Get the best possible result as soon as possible”
•Camera processing targeted to get to the best possible compromise for all kinds of scenes and scene lighting
•Many, many, tools have been invented– Gamma, knee (several parameters), matrix, gain,
white/black balance, contours (many parameters), black stretch,…..
•Most of these processing tools are irreversible
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Non-linear processes in bandwidth limited systems are irreversible(you need the higher order harmonics to reconstruct the original)
0
0.2
0.4
0.6
0.8
1
1.2
original
after gamma
best possiblereconstruction afterBW limitation
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Frequency spectraCONVENTIONAL VIDEO CAMERA
CCD signal after A/D
Spectrum after gamma
Spectrum after recording
Spectrum after de-gamma
FILMSTREAM CAMERA
CCD signal after A/D
Spectrum after log
Spectrum after recording
Spectrum after de-log
= distortion products
17
The Film way of shooting
•A lot of time and effort is spent to get the right impression in the theatre.
•“The right impression” is not related to optimising mathematical video parameters, but related to the emotion that should be transferred by the picture in combination with the story
•During post production the final result is determined
•Large dynamic range and resolution of Film helps
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The FilmStream Concept
•The FilmStream Concept is based on transferring every detail the CCDs have to offer to post-production– Detail in resolution– Detail in color space
•The Camera processing is completely “non-destructive”– No irreversible processing steps that limit freedom in
post-production– For every color, the full dynamic range of the CCD is
transferred to known data values at the output of the camera
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From photons to bits
FilmStream R-value
red photon count
FilmStream G-value
green photon count
FilmStream B-value
blue photon count
0 0 0 0 0 01 NR1 1 NG1 1 NB1.. .. .. .. .. .... .. .. .. .. .... .. .. .. .. .... .. .. .. .. .... .. .. .. .. ..
1023 >=NMAX 1023 >=NMAX 1023 >=NMAX
R- CCD G-CCD B-CCD
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In practice this means that:
•The FilmStream concept uses Full-Resolution RGB, 1920 x 1080 pixels per color
•No further quantisation, compression or subsampling
•Extremely accurate and reproducible transfer characteristics (logarithmic) that are transparent to post production– “Light to bits”: transparent and reproducible
•The output of the Camera is streaming full-res,10 bit, RGB data using dual link HD-SDI as a carrier– This is called FilmStream
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R-CCD
G-CCD
B-CCD
pre-process
A/D
A/D
A/D
full-featured
signalprocessing
R-CCD
G-CCD
B-CCD
pre-condition
A/D
A/D
A/D
log conversion
(captureeverything)
Video flow
recorder player edit
recorder player
de-log
colorcorrect
pictureadjust
edit
FilmStream flow
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Why a logarithmic curve?
1. Matches the human visual system perfectly– Eye is more sensitive in darker areas– Use the bits where you need them
2. Is going to be standardised– Or already in use as the Cineon transfer curve
3. Works quite well with the noise characteristics of CCDs
24
A way to avoid quantisation artefacts
10 100 1 103
1 104
100
90
80
70
60
50
40
sensor_noisei
quant_noisei
i
25
A better way of shooting
•On the set there is no time to tweak camera parameters– And it’s the wrong environment
•When your exposure is about right, you have captured the scene (just like film)– The viewfinder indicates when/where scene parts are
overexposed
•The camera operator can concentrate on framing, focusing, and setting the right exposure
• In post-production you have total freedom to change picture impression in any way you like
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NO adjustable video parameters!
•Changing settings only affects the viewing output– Acts like a Video assist tap– FilmStream output remains rock-solid
•No gain, blacks, and•No White balance!•No control panels
•Color filters can be used to influence the exposure of the CCDs: just like Film
27
Block diagram (simplified, FilmStream mode)
R-CCD
G-CCD
B-CCD
pre-condition
A/D
A/D
A/D
log conversion
andmultiplex
full-featured
signalprocessing
signalcalibration
parallelto serial
conversion
simplifiedsignal
processing
inverselog
parallelto serial
conversion
RGB to YUV
conversion
FilmStream
HD-SDIviewingoutput
docking connector
Mode (FilmStream, RGB video, YUV video)
Like a video tap on a film camera
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From field to post
•To record FilmStream data we use a field recorder based on hard-disk technology– Cable from camera to field recorder
•Either the disks are transferred to post-production, or the data is copied to data tape
•Thomson’s Specter recognises the FilmStream transfer characteristics and immediately the material can be processed
• Like importing a DPX file with Cineon material
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director’s friend•Review material, and even do some color
correction experiments– Data will not be modified
•director’s friend has built-in Look Up Tables (LUT) to convertlog data to video for a viewing monitor
•HD-reel is a robust, universal, very high speed, transfermedium (also within post)
31FilmStream or RGB-video system diagram
HD-SDI viewing
CVBS
director’s frienddf-cineFScapture +
control desk
director’s friendHDreel
portable harddiskstorage
FilmStream/RGB/YUV
HD-SDI viewing, CVBS
Rec. Start
Tally return
Cam. Audio 1x
To post-production SDoff-line
recorder
AJA-HD10HD-SD
converter
Off-line tapeTo off-line editing
More audio
Time code
SDI
(Off-line copy from SDI or CVBS)
HDreel
Dual SCSI / Fiber Channel
32
YUV-Video system diagram
Break-outbox
12 V. power
2nd HD-SDI
CVBS
VoodooHD-D5
HD-CAM
YUV Video (HD-SDI)
(Rec. Start)
(Tally return)
Cam. Audio 1x
To post-production SDoff-line
recorder
AJA-HD10MDHD-SD
converter
or
Off-line tapeTo off-line editing
More audio
Time code
On-line tapeSDI
33 Post-Production
SD Masters
HD Masters
Film
Non Linear Editing
EDL
D CinemaDeliverable
Auto SelectScanning
SDTV Dailies
Data Master
2K Data
HD TapeHD (YUV) 24p
HDreel DVS HDStation RGB
FilmStream
or YUV/RGB
real-time
SCSI or Fiber Channel
non-real-time file transfer(under investigation)
34
Overview, including recordersViper
FilmStream Camera (with Dir. Friend) Option 2 Option 3
On board recorder no yes yesLuminance resolution (H) 1920 1440 960Chroma resolution (H) 1920 480 480
ModeFilmStream,
RGB, YUV YUV YUVQuantisation 10 bit 8 bit 8 bit
Frame rate 24, 25, 30, 50, 60 24, 25, 30 several, max 60Format 1080 and 720 1080 720Aspect ratio 16/9 & 2.37/1 16/09 16/09
35
Viper FilmStream CameraSummary
1. Multi-format, multi-frame rate, dual aspect ratio
2. Attractive ergonomics
3. Top-Performance Full-res RGB or YUV Video
4. Unique FilmStream Concept