Film and Television Production Technology 27 2011 v4.pptx.pdf2.5kg camera + 1kg SSD 6kg camera +...

Film and Television Production Technology

Sony Pictures Technologies

Notes / Ignore this slide• .

•

• Show him what a DI does. Sharpening eyes, relighting scene.

•

• What they do in the Smoke room.

•

• Color management. Not baking it in, metadata and LUTs. Goose up that.

•

• What can we sell, what the products are. All the things you need to do are still in the system, power of the system is where we can sell stuff.

•

• Build him to the same understanding as we have, in tiny steps.

•

• Whole digital backbone concept. His area is the front end of it.

•

• Drawings we had yesterday are too simple. Acknowledge the existiing way of producign which grew out of TV and how the industry has movied beyond that. Once you raise the question of what is a camera talk about what the Red or a Sony file based camera uses generic IT technology and how that simplifies life.

•

• Power is in the system and the software, by focussing on the box we limit the ability to make the system as powerful as we can. People pay for functionality. If we lock ourselves into a piece of hardware we limit what we can provide.

•

• Talk about the F3 project and present as an integrated thing with F65. Uprez software to improve performance of F3.

•

• Focus on camera related production systems.

Introduction秘 SONY CONFIDENTIAL

Evolution of Production Technology

Production Technology• Existing way of producing movie and TV content

grew from the limitations of film and early TV cameras

• Sony digital cameras evolved from traditional broadcast designs when the need was to send an analog signal across a studio

• Since then data transfer has evolved

• Tape based workflows are dying out and being replaced with radically different methods based on commodity IT hardware


Film workflowShoot on

FilmProcess Film

Negative

Dailies Screening

“One light”Color Timing

NegativeConform

Telecine

Video Tape

Release Print

Edit

Cut List

FinalColor Timing

Television tape workflowShoot Video

Vision Mixer

Record to Tape

Off-line Edit

On-line Conform

Tape Master

Camera Control

Studio Monitor

Edit Decision List (EDL)

Today’s File based workflowShoot

Digitally

On Set Dailies

Transfer Files

Digital Backbon

e

Color Correction

Editorial

Conform Digital Cinema

OrBroadcast

Master

Digital IntermediateUntethered operation (no cables)

Edit Decision List (EDL)

256GB

Files vs. VideoFiles• Any resolution: 1920x1080, 2k, 4k, 8k etc.

• Defer de-Bayer

• 16 bit color

• Commodity IT hardware

• Benefits from technology outside of our industry

• Rich options for format conversion

• State of the art

Video• Few resolutions: multiples of 1920x1080

(e.g. not 4k)

• Conditioned picture

• 12 bit color

• Expensive dedicated hardware

• Industry specific technology

• Limited options for format conversion

• Last century’s technology

F35 and Red Camera workflows

秘 SONY CONFIDENTIAL

Workflow comparisonSony

• Focus on selling boxes

• Let other people provide key system functions

• Processing done in camera

• Video output

Red

• Focus on selling system

• Provide all key system functions

• Processing done in system

• File output

F35 Workflow – Sony Devices

On Set

F35 Workflow – Sony Devices

• Shoot and output HD video

• Record to HDCam SR

• Recording for on-set preview

• Playback HDCam SR tapes to DVS

• Ingest DPX files to Production Backbone

• Ingest for dailies

• Color correction in HD • Conform to AVID timelines

Red Camera Workflow

On Set

Red Camera Workflow

• Record to SSD or CF• Camera contrast and log curves• Untethered operation

• Load R3D RAW onto LightIron on-set system

• Color look & stereo convergence pass• Transcode to SbS stereo 1920x1080

ProRes422• Transcode to 1280x720 H.264 PIX

viewing QTs• Export AAF for offline editorial batch-

ingest

• Shoot in 5k 14-bit RAW• R3D codec at 3.5x compression

Light Iron System for Red

Mac Pro< US$10,000

Red RocketRealtime 4K RGB playback

and realtime R3D™ transcoding. US$5,000

RAIDUS$8,000 to US$20,000depending on capacity

RedCine-X & RedAlertSoftware

Free

Red Camera Workflow• Transfer to portable G-RAID via

ESata• RAW Images (no deletes)• ProRes422 (LT) edit media• H.264 PIX viewing QTs• Sound files (broadcast WAV)

• Shot annotations• Flag deleted clips• Script notes• Create XML for editorial

Red Camera Workflow

• Dailies all encoded on set SbS stereo 1920x1080 ProRes422

• Delivered on G-RAID to Production Backbone

• Import AAF and reconnect to ProRes422 dailies

• Load G-RAID files to Production Backbone (RAW, ProRes & H.264 QT)

• Grade in 4K with R3D Red RAW• de-Bayer RAW file in 4K in real-

time on playback• Conform to AVID timelines

Sony and Red Systems

Sony Products

Red Products Red Software on 3rd Party Hardware

The Power of the System秘 SONY CONFIDENTIAL

The Power of the System• What can we sell, what the products are. All the things you need to do are still in the

system, power of the system is where we can sell stuff.

• Sony file based camera uses generic IT technology and how that simplifies life.

• Power is in the system and the software, by focusing on the box we limit the ability to make the system as powerful as we can. People pay for functionality. If we lock ourselves into a piece of hardware we limit what we can provide.

Placeholder

What is a camera?

What is a Camera?• A networked terminal that converts information from

the physical world into useable digital information

• Integral part of an overall system that defers those functions which can be done later to downstream components

• A minimalist approach supported by processing power in the rest of the system • Japanese Translation

goes here

What is a Camera?• Has no onboard processing in the

camera except as needed for local monitoring or transmission to storage

• Operates easily in untethered handheld applications

• Provides a comprehensive interface for the Director and Director of Photography

• Simplifies and automates Metadata embedding


Lens

Imager

A to D

Network Interface

Battery

Storage

Modular construction

Camera Components• Imager

– Lens mount

– Imager

– A/D converter

– RAW interface

• Local control module

• Monitor output module

– 422 720/1080

• Network interface adapter

– 8Gbps dual link Fiberchannel

– Dual link 10Gbps Ethernet


Camera Components• Storage adapter

– Accepts SSD media with capacity up to 500GB

• Wireless interface module(s)

– Remote control interface

– Opportunistic download

– Real time monitor feed

• Electronic viewfinder

• Power options

– One or more battery packs

– AC adapter


Remote Control Module

DP Interface

LUT RenderingMonitor

Network Server

Live Operation Modules

RecordableMedia Dock

Fiber Channel or 10GigE

WiFi orBluetooth

The Camera System

Complete Software Solution

Digital Backbone秘 SONY CONFIDENTIAL

Digital Backbone Conceptual Overview

Production Backbone Conceptual Overview

Distribution Backbone Conceptual Overview

Introduction to 3D秘 SONY CONFIDENTIAL

3D Camera Rigs秘 SONY CONFIDENTIAL

TYPES OF 3D CAMERA RIGS

•Side-by-Side

•Beam Splitter

50% reflective mirror

Right eye camera

Left eye camera

Beamsplitter Camera Rig

Prototype F35 T-Head

• Neutron rig on left used for Red cameras

• Quasar rig on right used for F35

Stereographic Convergence byImage Shifting


Spiderman Convergence Adjustment

• Spiderman is shooting with parallel camera axis

– No convergence built in

• The Epic frame is wider than is needed

• Sony Imageworks (special effects department) is using the excess width to adjust convergence by shifting the image within the frame


ghj / 2009.05c 65

FULL WIDTH OF SENSOR

FULL FIELD OF VIEW

LEFT EYE RIGHT EYE

PLAN VIEW FROM TOP

LENS

CAMERA

SENSOR


FULL FIELD OF VIEW

LENS

CAMERA

SENSOR

INTERPUPILLARY DISTANCE (~6-7 cm)

ghj / 2009.05c 66

FULL WIDTH OF SENSORRIGHT CROP SEES STRAIGHT AHEAD

FULL FIELD OF VIEW

PARALLEL FIELD OF VIEW

LEFT EYE RIGHT EYE

PLAN VIEW FROM TOP

LENS

CAMERA

SENSOR

PARALLELCENTERLI

NE

FULL WIDTH OF SENSORLEFT CROP SEES STRAIGHT AHEAD

FULL FIELD OF VIEW

PARALLEL FIELD OF VIEW

LENS

CAMERA

SENSOR

PARALLELCENTERLI

NE


ghj / 2009.05c 67


LEFT CROP SEES CONVERGED VIEW

FULL FIELD OF VIEW

CONVERGED FIELD OF VIEW

LEFT EYE RIGHT EYE

PLAN VIEW FROM TOP

LENS

CAMERA

SENSOR

CONVERGED

CENTERLINE


RIGHT CROP SEES CONVERGED VIEW

FULL FIELD OF VIEW

CONVERGED FIELD OF VIEW

LENS

CAMERA

SENSOR

CONVERGED

CENTERLINE


F65 and F3 3D file workflows秘 SONY CONFIDENTIAL

F3 Tethered Workflow• Click to edit Master text styles

– Second level– Third level

• Fourth level– Fifth level

F65 Tethered Workflow• Click to edit Master text styles



Convergence Adjustment

F3 Untethered Workflow• Click to edit Master text styles



Color Management秘 SONY CONFIDENTIAL

Color Look Up Tables (LUT)

LUT1

LUT2

LUT3

RAWImage

Raw Image with LUT

LUT1

Baked inRAW + LUT

Raw image has the most information

Baked in color has less information

Role for Sony in Color Management

• In 20th Century Kodak was the keeper of color science, in the 21st Century it can be Sony

• Sony products could accept raw images and apply LUTs as needed

– E.g. Professional monitors, broadcast switchers

Why 4k?

• Do we do this in this presentation or at Colorworks?

Red Epic | Sony’s #1 Competition


• Click to edit Master text styles– Second level– Third level


Red Epic

Red Epic• Compared to the F35, the Epic:

– Costs much less

– Has better resolution (4k)

– Weighs less

– Works well untethered

– Has smaller data size (Red RAW)

– Modular construction

– Less on-set complexity

– Complete solution from production to post


Camera Systems ComparedSony F35 Red Epic Arri Alexa

Native resolution 1920 x 1080 RGB 5120 × 2700 Bayer 2880 x 1620 Bayer

Record SRW1 Direct attach CF or SSD Direct attach SxS and/orT-Link recorder

Weight 5kg camera + 8.5kg SR deck

2.5kg camera + 1kg SSD 6kg camera + 2.5kg Codex recorder

Power supply AC or Battery pack Battery Battery or AC

Untethered operation

Possible but not practical Yes Yes

Ingest to backbone SRW5100 plus DVS Direct attach CF or SSD dock

Direct attach SxS and/or Disk pack dock

Camera Package (Camera and recording)

$200k $58k $100k

Package breakdown

• $150k F35s• $50k SRW1 Tape Deck

• $58k for Epics, EVF, control screen, SSD module and four 128GB SSD cards

• $80k for Alexas, EVF and five 32GB SxS Pro cards

• $20k for Codex onboard recorder

Scarlet

Expect Red to raise the stakes and continue to erode Sony’s market

2/3” SensorVery Low Cost

Red as a Broadcast CameraRed Epic HDC1550R

1080p / 59.94fps 秘秘

720p / 59.94fps 秘秘

HD-SDI i/f 秘秘

Onboard recording 秘 XNetwork remote control 秘秘

CCU 秘 (additional cost)

Genlock input 秘秘

S/N Ratio 66dB 54dB

Price $40k $60k* w/o CCU

*Discounted

Customer requirements秘 SONY CONFIDENTIAL

Solutions to match production budgets

• Motion pictures*

• Premium/network television**

• Lower budget motion pictures*

• Cable television**

• Game shows**

• Sports

• Live events**

• Reality TV**

• Documentary**

Top tier

Mid tier

“Run and gun” tier

* Sony Pictures Entertainment

** Sony Pictures Television

Top Tier - 4k/2k Solution• 4k+ RAW Camera

– e.g. F65 or Red Epic

• On set

– Rig with motorized interaxial

– Shoot parallel (no convergence)

– 3D Box for monitoring

• Post

– Over sized image allows convergence and alignment compensation without scaling

– Software tools


Top Tier – 2k/HD Solution• 444 HD Camera

– e.g. F35

• On set

– Fully motorized rig

– Interaxial, convergence & alignment compensation


• Post

– Image adjustment through scaling


Mid Tier - 2k Solution• 2k+ RAW Camera

– e.g. F3 or Red One

• On set




• Post

– Over sized image allows convergence and alignment compensation without scaling

– Software tools


Mid Tier – HD Solution• 422 HD Camera

– e.g. P1 or HDC1550R

• On set



– 3D Box for monitoring and on set finishing for live events and sports

• Post

– Convergence and alignment compensation by scaling

– 3D Box or software tools


Wrap up秘 SONY CONFIDENTIAL

Wrap Up• Red is eroding Sony’s market and will continue to do so until Sony

responds

– More productions want to use Red and Alexa

– Red cameras are being used in film schools getting future directors and DPs used to using them

– Complete system speeds production while reducing costs

– Applies to both 2D and 3D production

• Sony Pictures Technologies wants to partner with PSG to develop the new camera systemsPlaceholder

Film and Television Production Technology 27 2011 v4.pptx.pdf2.5kg camera + 1kg SSD 6kg camera +...

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