Roadshow tv moscow s16mm thierry perronnet ok 2006

Sweet 16

the Truth about Film for HDTV Thierry PERRONNET

European Marketing Director Entertainment Imaging

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Agenda

Ø  The International Film Market

Ø  “5 reasons” : A test comparison between S16 / HDcam / Varricam / Digit beta .

Ø Re explaination about what means HD ?

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Facts International Film Market

Ø 2005 more feature film shot ever

Ø Worldwide volume growth in 35mm of 3%

Ø Stable Market of 16mm over the last 3 years

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-  TELEVISION :

-  35 MM -  mainly American TV Market : 90% of the WW TV market -  growth by 20 % on a WW basis.

- > + 27% in Hollywood

-  S16 MM -  mainly European TV Market :70% of the WW TV market -  flat on a WW basis.

State of the Industry

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TV dramas : The American market -

main facts. The American TV market (prime time analysis : 8 to 11 pm):

- From the 6 majors broadcast networks :

-> Real TV down by 45% in 2005.

-> Series are bought by 12 episodes instead of 22.

-> Fictions ( sitcoms, TV dramas, Movie of the Week) = 80% of prime time grid.

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TV dramas : The American market –

main facts -

The American TV market :

Sitcom30%

Drama70%

à all shot on film

à 60 % shot on HD

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Internationale TV-Productions

Ø Internationale TV-Productions shoot on film (examples) v Desperate Housewives v Lost v CSI Miami v CSI: NY v Law & Order v Sex and the City v The Simpsons v ......

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Innovations for the film market

Ø Stock manufacturers: v  Introduction of 12 new film types in the last 3 years

Ø Camera manufacturers: v New or improved cameras:

•  Aaton: A-Minima •  ARRI: Arriflex 235 •  Panavision : Millenium upgrade

•  2 new film Cameras will be introduced this year at NAB.

Ø New Lense manufacturers: v Cooke: Super 16 v Zeiss: Master Prime v Arri: Ultra Prime & MasterPrime

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HDTV Chances

for Film

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HDTV §  HD = High Definition

§  Television in higher definition/quality as today (SD=Standard Definition) §  HDTV enthusiasm already early in the 90´s / analogue System §  Broadcasting effort too high at that time / TV Sets too expensive

§  HDTV today §  In Japan, USA and some other countries it is reality §  In Europe: HD1, Premiere (Pay TV), Pro7-SAT.1 Group

2006: Canal+, BBC, BSkyB §  Consumer

§  New TV Sets 16:9, mostly flat Screens / more affordable §  Distribution by Satellite (DVB-S) §  HD-DVD (Movies)

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HDTV §  HD = One Standard? – No!

§  Picture Frequency: Countries @ 60Hz & Countries @ 50Hz §  Picture Resolution: 1920 x 1080 and 1280 x 720 §  Picture Composition (Lines): progressive und interlaced

§  Europe (EBU) §  Favourites 720p/50 §  720 Lines progressive - 50 Full Frames / Sec. §  Higher time wise Resolution

§  International (ITU) §  1080i/25 or 1080i/30 dominates §  1080 Lines interlaced @ 25 resp. 30 Full Frames / Sec. §  Higher spatial Resolution

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HD Formats

Format H-Resolution V-Resolution p / i Fullframe/s Colorspace Datarate(Lines)

HD 1080i 1920 1080 i 25 4:2:2 1,03 Gbit/sHD 720p 1280 720 p 50 4:2:2 921,6 Mbit/s

SD 576i 720 576 i 25 4:2:2 207,4 Mbit/s

Format H-Resolution V-Resolution p / i Fullframe/s Colorspace Datarate(Lines)

HD 1080i 1920 1080 i 25 4:2:2 1,03 Gbit/sHD 720p 1280 720 p 50 4:2:2 921,6 Mbit/s

SD 576i 720 576 i 25 4:2:2 207,4 Mbit/s

Film S16 (2048) (1152) psf (25) (4:4:4) 2,48 Gbit/sFilm 35 (4096) (2304) psf (25) (4:4:4) 9,91 Gbit/s

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S D 576i

HD 720p

HD 1080i

S 16 (2K )

35 (4K )

HD Formats / Spatial Resolution

S D 576i

HD 720p

HD 1080i

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Technology Comparison Digital Betacam HDCam S16 Film 35mm Film

Sensor 3 CCD 2/3" 3 CCD 2/3" Film ~ 2/3" Film ~ 1"Resolution 768 x 576 1920 x 1080 >2048 x 1228 >4096 x 2457

1280 x 720

Image Structure fixed (pixel) fixed (pixel) dynamic (grain) dynamic (grain)Composition interlaced interlaced -/- (progressive) -/- (progressive)

progressive

Color Sampling 4:2:2 4:2:2 RGB (4:4:4) RGB (4:4:4)Quantisation 10 bit 8 bit 10 bit log (14 bit lin) 10 bit log (14 bit lin)Compression 2:1 10:1 -/- (keine) -/- (keine)

1440 P/L

Alias yes little -/- (no) -/- (no)

Speed (to Light) 320 320 50 - 500 50 - 500

Lattitude 7 Stops 7,5 Stops > 11 Stops > 11 Stops(Dynamic Range) 128:1 192:1 > 2048:1 > 2048:1Frames / sec 25 25 1-150 1-150Viewfinder Video Video optical optical

Corrections (Post) limited limited wide wideStorage Media Tape Tape Film Film

Technology Comparison Digital Betacam HDCam S16 Film 35mm Film

Sensor 3 CCD 2/3" 3 CCD 2/3" Film ~ 2/3" Film ~ 1"Resolution 768 x 576 1920 x 1080 >2048 x 1228 >4096 x 2457

1280 x 720

Image Structure fixed (pixel) fixed (pixel) dynamic (grain) dynamic (grain)Composition interlaced interlaced -/- (progressive) -/- (progressive)

progressive

Color Sampling 4:2:2 4:2:2 RGB (4:4:4) RGB (4:4:4)Quantisation 10 bit 8 bit 10 bit log (14 bit lin) 10 bit log (14 bit lin)Compression 2:1 10:1 -/- (no) -/- (no)

1440 P/L

Alias yes little -/- (no) -/- (no)

Speed (to Light) 320 320 50 - 500 50 - 500

Lattitude 7 Stops 7,5 Stops > 11 Stops > 11 Stops(Dynamic Range) 128:1 192:1 > 2048:1 > 2048:1Frames / sec 25 25 1-150 1-150Viewfinder Video Video optical optical

Corrections (Post) limited limited wide wideStorage Media Tape Tape Film Film

interlaced progressive

Image Composition / Lines

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Filter (de-interlace)

Bildquelle: Axel Henschel, bvk

HD Scan S16 35 (1.85) HDCam 24p

ISO 12233 LW/PH VISION2 500T

Resolution Image Details

cts

Original = 100% 67% 30%

Alias / Subsampling Effects

Color Subsampling / Color Definition

C R C B C R C B C R C B C R C B C R C B C R C B C R C B C R C B C R C B C R C B C R C B C R C B








Y Y Y Y Y Y Y Y Y Y Y Y








4:4:4 (Y=Luminance, C= Chrominance)

C R C B C R C B C R C B C R C B C R C B C R C B
















4:2:2 (Y=Luminance, C= Chrominance) Color Definition 1/2

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ISO 12233 LW/PH VISION2 500T

Chrome Copper

Gold From left to right - VISION2 500T S16 -  VISION2 500T 35 -  HDCam 24p

Dynamic Range Highlights

“5 Reasons“ Comparison

S16 / Digital Origination

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Cameras & Lenses S16 Film / ARRI SRIII / Zeiss Primes HDCam / Sony F900-3 / Zeiss Digiprimes DVCPro HD / Panasonic / Zeiss Digiprimes Digital Beta / Sony WSP 700 / Fujinon DoP & Director: Thomas Bresinsky, bvk Production: ChromaTV, Hamburg & NordMedia, Hannover


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HDCam

HD 4:2:2 uncompressed 10bit linear Camera Tapes

Avid DS Nitris SPIRIT Telecine


Dev. Film

Disk

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Texture & Look

Image Composition

Color & Compression

Color & Texture (Look)

Light Response & Clipping

Film / log Response to Light (Kodak Vision2 5218)

HDW F900 / linear Response to Light (Set Up @ Preset - Factory Settings)

HDW-F900 Sensitometric Curve Camera Preset

1%

10%

100%-6.0 -5.0 -4.0 -3.0 -2.0 -1.0 Normal +1.0 +2.0 +3.0 +4.0 +5.0

Light Response & Clipping

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Color Grading

§  Digital Capture has improved over Years

§  Film improves as well continuesly / Your Advantage §  Very wide Dynamic Range §  Uncompressed Images §  Full RGB Color Gamut (no subsampling) §  Very easy to use / robust & reliable

§  Standard independent / Future proof Archival Media

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§  TV Archive §  A lot of Program available §  Usable for HDTV?

§  Program on Film §  Negative Film usually very suitable for HDTV

Quality Gain with modern Telecine Technology

§  Standard Definition Video Tapes: §  No Potential for higher Definition

Example Granada TV, UK

§  “Darling Buds of May“ §  First S16 Filmproject of Granada TV 1989 §  Mainly EASTMAN EXR 100T 7248 §  Filmtechnology 2 Generations before VISION2

§  Largest-selling Series for Granada TV (DVD Aftermarket)

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§  HDTV is a Chance for Film

§  Program / Content in higher Quality will be needed §  Consider HD Requirements for new Productions §  USA TV Movies: Film - 35mm dominating (partly S16) §  Europe TV Movies: Film - S16mm dominating @ lower cost

§  35mm Film continues to be the best Input Quality for HDTV §  Even S16 Film will be compatible with any HDTV Standard

§  Consider the future Value of your today's Production HJHJ

Roadshow tv moscow s16mm thierry perronnet ok 2006

Technology

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