Viper FilmStream Camera NAB2002, April 7, 2002

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3 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

4 The THOMSON HD-DPM+ sensor Million pixel CCD (including overscan) 5m5m 1.25  m

5 HD-DPM+ 9.2 million pixel CCD sensors Line n Line n+1 Line n+2 Line n Line n p720p 5m5m 1.25  m

lines line n-2 line n-1 line n line n+1 line 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

7 Slow Motion by shooting with 720P60 time 60 frames/second24 frames/second

8 Multi-format, dual aspect ratio 1920 x 1080p at 23.98, 24, 25, and 30 fps (output formats are psf) and fps, with internal 3:2 pull-down available as 1080i x 1080i at 50, 59.94, 60 Hz 1280 x 720p at 50, 59.94, 60 fps and23.98, 24, 25, and 30 fps, with internal frame repeats available as 59.94, 60, 50, and 60 Hz respect. Dual aspect ratios: 16:9 or widescreen (2.37:1) in 1080p All of this without format converters!

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

10 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

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

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

13 Introduction

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

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

16 Frequency spectra 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 = 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

18 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

19 From photons to bits

20 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

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

22 Log curve (close to Kodak’s Cineon curve)

23 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

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

26 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 log conversion and multiplex full- featured signal processing signal calibration parallel to serial conversion simplified signal processing inverse log parallel to serial conversion RGB to YUV conversion FilmStream HD-SDI viewing output docking connector Mode (FilmStream, RGB video, YUV video) Like a video tap on a film camera

28 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

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

30 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)

31 FilmStream or RGB-video system diagram HD-SDI viewing CVBS director’s friend df-cineFS capture + control desk director’s friend HDreel portable harddisk storage FilmStream/RGB/YUV HD-SDI viewing, CVBS Rec. Start Tally return Cam. Audio 1x To post-production SD off-line recorder AJA-HD10 HD-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-out box 12 V. power 2nd HD-SDI CVBS Voodoo HD-D5 HD-CAM YUV Video (HD-SDI) (Rec. Start) (Tally return) Cam. Audio 1x To post-production SD off-line recorder AJA-HD10MD HD-SD converter or Off-line tapeTo off-line editing More audio Time code On-line tape SDI

33 Post-Production SD Masters HD Masters Film Non Linear Editing EDL D Cinema Deliverable Auto Select Scanning SDTV Dailies Data Master 2K Data HD Tape HD (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 recorders

35 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

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