Film and Television Production Technology › sony › docs › 05 › docs › Camera › Feb 27 2011 … · Cut List Final Color Timing. Historic television tape workflow Shoot
Post on 26-Jun-2020
4 Views
Preview:
Transcript
Film and Television Production Technology
Sony Pictures Technologies
Introduction秘 SONY CONFIDENTIAL
Sony Pictures Technologies• Toshino’s org charts go here
Sony Pictures Production• 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
What we are going to tell you• What is camera –
how the camera evolved
– If you sat down and designed a camera would you design it the way that it has evolved
Evolution of Production Technology
Production Technology• Current production techniques evolved from 35mm film or live TV
cameras
• 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 down long cables
• Since then high speed data transfer has evolved
– Premise cameras are now digital, high speed data transfer process evolved in the IT world to solve other problems and it’s available to us
• Every thing new across the industry is based on file workflows and tape will die out (nto that it has)
• Tape based workflows will dying out and being replaced with radically different methods based on commodity IT hardware
Simpler wording, less verbose
Historical film workflowShoot on
FilmProcess Film
Negative
Dailies Screening
“One light”Color Timing
NegativeConform
Telecine
Video Tape
Release Print
Edit
Cut List
FinalColor Timing
Historic television tape workflowShoot Video
Switcher 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
Conform
Editorial
Color Correction
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: standard definition, high
definition
• Conditioned picture
• 10 bit color
• Expensive dedicated hardware
• Industry specific technology
• Limited options for format conversion
• 20th century technologyJapanese translation please
F35 and Red Camera workflows
秘 SONY CONFIDENTIAL
Workflow comparisonSony
• Focus on selling individual “boxes”
• Depend of others to provide key system functions
• Complete image processing done in camera
• Video output
Red
• Focus on defining the system
• Provide key system software
• Image processing done in system using IT hardware
• File output
Japanese translation please
F35 Workflow – Sony Devices
On Set
Show output
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• Conform to AVID timelines
1. What does PIX and iPad does
Red Camera Workflow
On Set
Remove Red logos
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• 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
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 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
Sony s/w on 3rd party hardware
Join up L shape 4 boxes on Sony chart
The Power = Controling 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.
• We build the cameras – we let others work the rest out
– The result is that what people chose to put their efforts into is the 1,000’s of Red cameras. In the video buisness people put effort into supporting Sony products but as we move away from video will they continue to do that.
– Even when we do video and people watch it on Hulu or DirecTV it’s not video anymore, all deliver systems have moved away from video
– Video is a convenient standard (things tha work with video work with everyone’s product because it’s a stnadard).
Placeholder
What is a camera?
Not if I had a camera that evolved from 50 years of historyBut if I designed a camera using today’s technology andWhat we know now.
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
– No more processing than is necessary to get it to the next step
• Japanese translation goes here
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
• Japanese translation goes here
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
• Japanese translation goes here
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
Add back in the module by module definition
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
Japanese translation please
Stereographic Convergence byImage Shifting
秘 SONY CONFIDENTIAL
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
• Japanese translation goes here
ghj / 2009.05c 63
FULL WIDTH OF SENSOR
FULL FIELD OF VIEW
LEFT EYE RIGHT EYE
PLAN VIEW FROM TOP
LENS
CAMERA
SENSOR
FULL WIDTH OF SENSOR
FULL FIELD OF VIEW
LENS
CAMERA
SENSOR
INTERPUPILLARY DISTANCE (~6-7 cm)
ghj / 2009.05c 64
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
INTERPUPILLARY DISTANCE (~6-7 cm)
ghj / 2009.05c 65
FULL WIDTH OF SENSOR
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
FULL WIDTH OF SENSOR
RIGHT CROP SEES CONVERGED VIEW
FULL FIELD OF VIEW
CONVERGED FIELD OF VIEW
LENS
CAMERA
SENSOR
CONVERGED
CENTERLINE
INTERPUPILLARY DISTANCE (~6-7 cm)
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
– Second level– Third level
• Fourth level– Fifth level
Convergence Adjustment
F3 Untethered Workflow• Click to edit Master text styles
– Second level– Third level
• Fourth level– Fifth level
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
• Japanese translation goes here
Red Epic | Sony’s #1 Competition
秘 SONY CONFIDENTIAL
• Click to edit Master text styles– Second level– Third level
• Fourth level– Fifth level
Red Epic
Red Epic• Perceived(?) advantages of Epic
over F35:
– Costs much less
– Greater resolution (4k)
– Weighs less
– Works well untethered
– Smaller data size (Red RAW)
– Modular construction
– Less on-set complexity
– Complete solution from production to post
• Japanese translation goes here
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” sensor• 120fps, bursting to
150fps • 3k resolution• Available Late Spring –
Early Summer 2011• 5k Scarlet later in
summer• Red code RAW• $2750 for “brain”• Prime lenses are $900
each• $4650 for full shooting
package with zoom lens
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 including accessories $60k* w/o CCU
*Discounted
3D 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
– F65 (competitor 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
• Japanese translation goes here
Top Tier – 2k/HD Solution• 444 HD Camera
– F35 (competitor Red One MX. Alexa)
• On set
– Fully motorized rig
– Interaxial, convergence & alignment compensation
– 3D Box for monitoring
• Post
– Image adjustment through scaling
• Japanese translation goes here
Mid Tier - 2k Solution• 2k+ RAW Camera
– F3 (Competitor Red One. Alexa)
• 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
• Japanese translation goes here
Mid Tier – HD Solution• 422 HD Camera
– P1 (Competitor Red One)
• On set
– Rig with motorized interaxial
– Shoot parallel (no convergence)
– 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
• Japanese translation goes here
Digital Backbone秘 SONY CONFIDENTIAL
Digital Backbone Conceptual Overview
Production Backbone Conceptual Overview
Distribution Backbone Conceptual Overview
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
top related