1. Viper FilmStream Camera
NAB2002, April 7, 2002

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
9.2 Million pixel CCD (including overscan)
4320
1.25m
5m
1920

5. 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

6. 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

7. Slow Motion by shooting with 720P60
time
60 frames/second
24 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 1080i59.94
1920 x 1080i at 50, 59.94, 60 Hz
1280 x 720p at 50, 59.94, 60 fps
and , 24, 25, and 30 fps, with internal frame repeats available as , 60, 50, 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.

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 turns into a FilmStreamtm Camera
It changes completely!
It turns into a FilmStreamtm 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 = 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

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, 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. 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

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)
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

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
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

32. 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

33. 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

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