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Viper FilmStream Camera

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

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  1. Viper FilmStream Camera NAB2002, April 7, 2002

  2. 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

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

  4. 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

  5. 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

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

  7. 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!

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

  9. 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

  10. So, what happens when you put theViper FilmStream Camerain the Mode?

  11. It changes completely! It turns into a FilmStreamtmCamera (Then, do not call it a video camera anymore)

  12. Introduction

  13. 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

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

  15. 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

  16. 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

  17. 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

  18. From photons to bits

  19. 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

  20. 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

  21. Log curve (close to Kodak’s Cineon curve)

  22. 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

  23. A way to avoid quantisation artefacts

  24. 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

  25. 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

  26. 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

  27. 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

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

  29. 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)

  30. 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

  31. 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

  32. 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

  33. Overview, including recorders

  34. 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

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