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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.
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Viper FilmStream Camera NAB2002, April 7, 2002
Viper FilmStream CameraSummary 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 1.25m 5m 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 1.25m 5m
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 1080pat 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 1080iat 50, 59.94, 60 Hz • 1280 x 720pat 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!
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 theViper FilmStream Camerain the Mode?
It changes completely! It turns into a FilmStreamtmCamera (Then, do not call it a video camera anymore)
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)
CONVENTIONAL VIDEO CAMERA CCD signal after A/D Spectrum after gamma Spectrum after recording Spectrum after de-gamma = distortion products Frequency spectra 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
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
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
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 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
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 convertlog data to video for a viewing monitor • HD-reel is a robust, universal, very high speed, transfermedium (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 More audio Time code Dual SCSI / Fiber Channel 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
SDTV Dailies Non Linear Editing Post-Production 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
Viper FilmStream CameraSummary 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