Viper FilmStream Camera NAB2002, April 7, 2002

Viper FilmStream Camera Summary 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

The THOMSON HD-DPM+ sensor 9.2 Million pixel CCD (including overscan) 4320 1.25m 5m 1920

HD-DPM+ 9.2 million pixel CCD sensors 1920 1080p 720p 4320 Line n Line n Line n+1 Line n+1 Line n+2 1.25m 5m

Aspect Ratio switching widescreen Combining 3 vertical pixels 4320 / 3 = 1440 lines line n-3 line n-2 1440 lines 1080 lines line n-1 line n line n+1 1920 1920x1080p24 in aspect ratio 2.37:1 by combining 3 vertical pixels and using the centre 1080 lines

Slow Motion by shooting with 720P60 time 60 frames/second 24 frames/second

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! 720p24 (FOX) remains not-standard for the LDK 7000; still needs to be dealt with through the special procedure.

2. Ergonomics Very Compact VTR Start also on the left side Instant viewfinder zoom

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

So, what happens when you put the Viper FilmStream Camera in the Mode?

It turns into a FilmStreamtm Camera It changes completely! It turns into a FilmStreamtm Camera (Then, do not call it a video camera anymore)

Introduction

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

Non-linear processes in bandwidth limited systems are irreversible (you need the higher order harmonics to reconstruct the original)

Frequency spectra = distortion products CONVENTIONAL 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

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

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

From photons to bits

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

Video flow FilmStream flow R-CCD pre- process A/D full- featured signal processing recorder player edit G-CCD A/D B-CCD A/D Video flow R-CCD pre- condition A/D log conversion (capture everything) recorder player de-log color correct picture adjust edit G-CCD A/D B-CCD A/D FilmStream flow

Log curve (close to Kodak’s Cineon curve)

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

A way to avoid quantisation artefacts

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

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

Block diagram (simplified, FilmStream mode) Mode (FilmStream, RGB video, YUV video) R-CCD pre- condition A/D log conversion and multiplex parallel to serial conversion FilmStream G-CCD A/D full- featured signal processing inverse log parallel to serial conversion HD-SDI viewing output B-CCD A/D signal calibration simplified signal processing RGB to YUV conversion docking connector Like a video tap on a film camera

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

Hard Disk Recording at the set by “director’s friend”

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 convert log data to video for a viewing monitor HD-reel is a robust, universal, very high speed, transfer medium (also within post)

FilmStream or RGB-video system diagram HD-SDI viewing CVBS FilmStream/RGB/YUV HD-SDI viewing, CVBS Rec. Start Tally return Cam. Audio 1x AJA-HD10 HD-SD converter SDI director’s friend HDreel portable harddisk storage director’s friend df-cineFS capture + control desk SD off-line recorder To post-production (Off-line copy from SDI or CVBS) HDreel Dual SCSI / Fiber Channel More audio Time code To off-line editing Off-line tape

YUV-Video system diagram Break-out box 12 V. power 2nd HD-SDI CVBS YUV Video (HD-SDI) (Rec. Start) (Tally return) Cam. Audio 1x AJA-HD10MD HD-SD converter Voodoo HD-D5 HD-CAM SD off-line recorder To post-production On-line tape or SDI More audio Time code To off-line editing Off-line tape

Post-Production SDTV Dailies Non Linear Editing EDL Film Auto Select Scanning 2K Data D Cinema Deliverable HD Tape HD (YUV) 24p SD Masters DVS HDStation RGB HDreel real-time FilmStream or YUV/RGB HD Masters SCSI or Fiber Channel non-real-time file transfer (under investigation) Data Master

Overview, including recorders

Viper FilmStream Camera Summary 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