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Canon U.S.A., Inc. 1
SMPTE Wash DC2014 Annual Technology Conference,
May 22nd 2014
Large-Format Digital Acquisitionfor
Broadcast Television:
Friend or Foe?
Laurence ThorpeCanon U.S.A., Inc.
Canon U.S.A., Inc. 3
35mm
Film
1.37
Super 35mm
Film
1.3316.0
21.95 24.92
18.67
SMPTE 59 – 1988
Style C Specification
SMPTE 59 – 1988
Style A Specification
24.92
13.87
SMPTE 59 – 1988
Style D Specification
Super 35mm
Film
1.79
3-Perf
4-Perf
Motion Picture Film
Canon U.S.A., Inc. 4
Relative Image Format Sizes (mm)
HDTV
2/3-Inch
1.78
35mm
Film
1.37
Super 35mm
Film
1.3316.0
21.9524.92
18.67
9.6
5.4
6.97
3.9 2.9
5.2
1/2-Inch 1/3-Inch
Canon U.S.A., Inc. 6
Large Format: Friend or Foe ?
The quite recent history
of
Digital Large Format Origination
Canon U.S.A., Inc. 7
Digital Cinema Standardization96 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011
Television Broadcasting
Agenda
Digital Cinema Agenda
BeginDigitalCinema
Standardization
ITUGeneva
SMPTE Standardization
Large ScreenDigital Imaging
(LSDI)
Digital Cinema Initiative (DCI)
DCI Spec(2k and 4K)
Hollywood
SMPTE 2036-1-2007(2k and 4K and 8K)
ITU-R Rec BT.1769(2k and 4K and 8K)
SMPTE 2048-1-2012(2k and 4K Production)
SMPTE ST 428 – 19:2010 (series)(D-Cinema Distribution Master)
Canon U.S.A., Inc. 8
Emergence of Digital Cinematography
1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012
1st
HD
Camcorder2/3-inchTri-ImagerHD-basedDigital Cinematography
24P System
“Film Camera” Revisions
Digital “Film Cameras”
Canon U.S.A., Inc. 9
1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012
1st
HD
Camcorder
2/3-inchTri-ImagerHD-basedDigital Cinematography
24P System
“Film Camera” Revisions
Digital “Film Cameras”
35mmSingle-ImagerHD / 2KDigital Cinematography
Genesis
Dalsa
ARRI D-20/21
Phantom
Arrival of 35mm Digital Cinematography
Canon U.S.A., Inc. 11
1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012
1st
HD
Camcorder
2/3-inchTri-ImagerHD-basedDigital Cinematography
24P System
“Film Camera” Revisions
Digital “Film Cameras”
35mmSingle-ImagerDigital Cinematography
Genesis
Dalsa
ARRI D-20/21
RED One
Phantom
F35
History of Digital Cinematography
Canon U.S.A., Inc. 12
EOS 5D Mk II
Sep 2008 Arrival of an Upstart
The hybrid HD DSLR
Full FrameCMOS Image Sensor
Developed at the request of AP and Reuters who sought :• High resolution still images for newspapers
• Addition of motion video for website publishing
Canon U.S.A., Inc. 13
1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012
1st
HD
Camcorder
2/3-inchTri-imagerHD-basedDigital Cinematography
24P System
“Film Camera” Revisions
Digital “Film Cameras”
35mmSingle-imagerDigital Cinematography
Genesis
Dalsa
ARRI D-20/21
RED One
Phantom
F35
5D Mk II
History of Digital Cinematography
Canon U.S.A., Inc. 16
Success of the 5D Mk II
• Extremely shallow Depth of Field – Excited many Directors of Photography and Cinematographers
• Full Frame 35mm Image Sensor – Offers a very wide angle of view
Canon U.S.A., Inc. 17
Success of the 5D Mk II
• Extremely shallow Depth of Field – Excited many Directors of Photography and Cinematographers
• Full Frame 35mm Image Sensor – Offers a very wide angle of view
• Availability of wide range of EF lenses
• Unusually high sensitivity
• Very good color reproduction
Canon U.S.A., Inc. 18
Success of the 5D Mk II
• Extremely shallow Depth of Field – Excited many Directors of Photography and Cinematographers
• Full Frame 35mm Image Sensor – Offers a very wide angle of view
• Availability of wide range of EF lenses
• Unusually high sensitivity
• Very good color reproduction
• Very Low Cost
Canon U.S.A., Inc. 19
Shortcomings of the 5D Mk II
• Low cost Downconversion to 1920 x 1080 HD video format– Resulted in significant aliasing
• Unusually shallow Depth of Field – Made maintaining focus a major challenge
Canon U.S.A., Inc. 20
Shortcomings of the 5D Mk II
• Low cost Downconversion to 1920 x 1080 HD video format– Resulted in significant aliasing
• Unusually shallow Depth of Field – Made maintaining focus a major challenge
• No 24P – only 30P
• Audio
• Manual control– ideally using familiar camera controls, of aperture, shutter, and ISO.
Canon U.S.A., Inc. 21
Large-Format Single-Sensor Cameras
2008 to Date
Emergence of Multiple Manufacturers
of
Large-Format Single-Sensor Cameras
Canon U.S.A., Inc. 22
Panavision GENESIS
ARRI ALEXA
Sony F35
Sony SWR-9000PL
Sony F3
RED Epic
Panasonic AF100
RED One MX
Phantom FLEX Weisscam HS-2
Sony FS700
Black MagicDesign
Sony NEX-FS100
RED Scarlet
Aaton Penelope
• Aaton• Arri• Black Magic Design • Canon• Dalsa
• AJA
Sony F65
• For-A• NAC• Panavision • RED• Vision Research• Weisscam
Canon EOS C500
Canon U.S.A., Inc. 23
Keisoku GikenN50
AJA Ki Pro Quad
Convergent Design
Astrodesign HR-7510
S.Two OB2
Sound Devices
Gemini 444
Codex S Recorder
Canon U.S.A., Inc. 24
Large Format Single Sensor
• Today, consideration of large format single sensor cameras is bound up in discussions of HD or 2K or 4K
• It is important to recognize that HD is still the center of the broadcast television universe
Canon U.S.A., Inc. 25
Driving Force Behind Large Format Cameras
• Movie Origination– High-budget Feature Films– Low-budget Feature Films
• TV Commercial Production– High-budget national spots– Low-budget local spots
• Independent Filmmaking
• Broadcast Television Production
Canon U.S.A., Inc. 27
LENS
Flange Back
Camera-Lens
Mounting Flange
Green
Image
Sensor
Three Image Sensor Camera
OLP
27
ND
CCIR
Canon U.S.A., Inc. 28
RGBDigital Video
Processor
Codec
Solid StateRecordingMedium
Lens Imaging Digital RecordBlock Processing Playback
System
R
G
B
Direct OriginationofFull RGB 444
Canon U.S.A., Inc. 30
Flange to Aperture Depth
(51.99mm)
Camera
Flange
Aperture
Aperture
Plane
LENS
Flange to Imager Depth
(52mm)
Focal Plane
Lens
Flange
SolidState
Imager
Single-Sensor Large Format Camera
Canon U.S.A., Inc. 31
RAW Image File Creation
Black / WhiteRepresentation
CFA Single-Sensor
Linear Pixel Data
ProprietaryFile Format and Syntax
Encoded Color Information
The RAW Output of the Single Sensor
Canon U.S.A., Inc. 32
DemosaickingProcess
FinalImage
Processing
R
G
B
Gamma-ColorSpace
Interpolate Sparsely-sampled images
to reconstruct full-plane RGB images
The Debayering Process
Decode&
Reconstruct R G B
RAW Image File Creation
Black / WhiteRepresentation
Color Filter Array Single-Sensor
Linear Pixel Data
ProprietaryFile Format and Syntax
Encoded Color Information
Reconstruction of Full RGB 444
Canon U.S.A., Inc. 33
Image Quality
The Essential Imaging Difference
Between
Large and Small Image Formats
is one of
Depth of Field
Canon U.S.A., Inc. 34
Controlling Depth of Field
• Image Format Size is the primary determinant
• Modified by
– Lens Focal Length
– Object Distance from Lens
– Lens Aperture Setting
Canon U.S.A., Inc. 35
Depth of Field
Depth of
Field
Depth of
Focus
Anything within DOF Zone will appear as if it were in focus
Depth of Field ( DOF )
Canon U.S.A., Inc. 37
Small Image Formatis associated with a Long Depth of Field
Depth of Field Depth of Focus
Canon U.S.A., Inc. 39
Long Depth of Field
Long Depth of Field
is regularly exploited in program genres
where the desire is to convey
maximum visual information
about environs
Canon U.S.A., Inc. 45
Long Depth of Field
Sometimes required to capture the totality of a given environment
Canon U.S.A., Inc. 47
Long Depth of Field
The 2/3-inch image format size
supports a Deep Depth of Field
The 1/3-inch image format supports
an even Deeper Depth of Field
Canon U.S.A., Inc. 51
Shallow Depth of Field
Shallow Depth of Field
is exploited in program genres
where the desire is to direct the viewers attention to a specific subject
by blurring backgrounds
and sometimes also foregrounds
Canon U.S.A., Inc. 52
Shallow Depth of Field can be creatively exploited to direct attention to a specific subject within a scene
Canon U.S.A., Inc. 54
Defocused Foreground and Background Concentrates attention on the subject of interest
Canon U.S.A., Inc. 55
Very shallow Depth of Fieldused to direct attention tothe loneliness of the subjectwhile the surrounding environment is “detuned”
Canon U.S.A., Inc. 56
Rack Focusing exploits Shallow Depth of FieldTo synchronize imagery with the person speaking. This is used in TV drama and movies
Rack Focusing
Canon U.S.A., Inc. 57
With DOF as a Background
Let us now Look
at
All that is presently available
in
Image Format Sizes
Canon U.S.A., Inc. 58
9.6mm
5.4
mm
2/3-inch
6
mm
5.2mm
2.9
mm
6.97mm
3.92mm
1/3-inch
1/2 -inch
The 1/3-inch image format is x3.5 times
smaller than that of the 2/3-inch HDTV format
Canon U.S.A., Inc. 59
Global Interchange of HD Lenses and CamerasBTA S-1005-A Standard (B4 Mount)
2/3-inch Cameras
– Grass Valley/Thomson
– Hitachi
– Ikegami
– Panasonic
– Sharp
– Sony
2/3-inch Lenses
– Angenieux
– Canon
– Cooke
– Fujinon
– Zeiss
Canon U.S.A., Inc. 62
1/3-inch Tri-Sensor Cameras are now flourishing in ENG
2/3-inch Tri-Sensor Camcorders are Ubiquitous
Canon U.S.A., Inc. 63
1/3-inch Single-Sensor Cameras
Are now Significantly Augmenting
the Arsenal of ENG Acquisition
Canon U.S.A., Inc. 64
Choices in Image Sensor Size
The New Era
of
Large-Format Single-Sensor Cameras
Canon U.S.A., Inc. 66
Panavision GENESIS
ARRI ALEXA
Sony F35
Sony SWR-9000PL
Phantom FLEX
Weisscam HS-2
Canon EOS 300
Canon EOS 100
Large Format HD Cameras
Super 35mm
Canon U.S.A., Inc. 67
Choices in Image Sensor Size
Television
Historical Perspective
on the
Image Format Sizes
Canon U.S.A., Inc. 69
1960 1970 1980 1990 2000 2010
Era of 30mm Plumbicon Pickup Tube
Era of 2/3-inch Pickup Tube
Canon U.S.A., Inc. 70
1960 1970 1980 1990 2000 2010
Era of 30mm Plumbicon Pickup Tube
Era of 2/3-inch Pickup Tube
Era of 2/3-inch CCD and CMOS Image Sensor
Canon U.S.A., Inc. 71
1960 1970 1980 1990 2000 2010
Era of 30mm Plumbicon Pickup Tube
Era of 2/3-inch Pickup Tube
Era of 2/3-inch CCD and CMOS Image Sensor
Era of 1/2-inch, 1/3-inch and 1/4-inch CCD & CMOS
Canon U.S.A., Inc. 72
1960 1970 1980 1990 2000 2010
Era of 2/3-inch Sensor
Era 1/3-inch and 1/4-inch
Era of Large-Format Single-Sensor
Full Frame 35mm
Super 35mm
Canon U.S.A., Inc. 73
11mm
9.6mm
5.4
mm
2/3-inch
30mm Pbo
11mm
21mm
The Long-lived30 mm Pbo
had a considerably
shallower Depth of Field than today’s
2/3-inch cameras
Canon U.S.A., Inc. 76
28.2mm
Super 35mm The contemporary Super 35 mm single-sensor
Cameras have a modestly shallower
Depth of Field than the former
30 mm Pbo
Canon U.S.A., Inc. 77
21mm
28.2mm
30mm Pbo
Super 35mm The contemporary Super 35 mm single-sensor
Cameras have a modestly shallower
Depth of Field than the former
30 mm Pbo
Canon U.S.A., Inc. 78
11mm5.4
mm
2/3-inch
11mm
21mm
28.2mm
30mm Pbo9.6mm
Super 35mm The contemporary Super 35 mm single-sensor
Cameras have a modestly shallower
Depth of Field than the former
30 mm Pbo
Canon U.S.A., Inc. 79
Large-Format Single-Sensor Cameras
What are the Implications
for
Broadcast Television Production ?
Canon U.S.A., Inc. 80
Broadcast Television Production
Television Program Genres– Episodic– Drama
– Sports
– Light Entertainment Shows• Reality• Sitcom• Cooking• Court• Talk
– News – News Magazine
– Documentary
Canon U.S.A., Inc. 81
Large Format Camera: Friend or Foe?
Choosing the Right Camera
for a
Specific Program Genre
Canon U.S.A., Inc. 82
Criteria for Choosing a Camera/Camcorder
• Image Quality – Aesthetics and “Look” sought for a specific program genre
• Ergonomics– Size, form factor, weight, – Disposition of interfaces and controls
• Deliverables– Signal outputs, recording formats and files
• Costs– Basic camera/camcorder, accessories
Canon U.S.A., Inc. 83
Image Quality
Primary Determinants of Image Quality
– Image sensor size
– Number of image sensors
– Lens choices
Cinematographers speak of:
– The Image Sensor as the “Canvas”
– The Lens as the “Brush”
Canon U.S.A., Inc. 84
Multiple Dimensions of Image QualityStill Imaging
1. Depth of Field
2. Sensitivity1. Brightness of the image
3. Picture Sharpness
4. Tonal Reproduction1. Contrast Range for the nominally exposed image
5. Dynamic Range1. Total exposure latitude of the image
6. Color Reproduction 1. Reproduction of facial skin tones
2. Color gamut
Canon U.S.A., Inc. 85
Multiple Dimensions of Image Quality
Motion Imaging
– Standard Picture Capture Rates• 60P, 30P, 24P, 60i
– Slow Motion• Variable Frame Rates up to 120fps
– Fast Motion• Variable Frame Rates down to 1 fps
Canon U.S.A., Inc. 86
HDTV Acquisition
The HDTV Lens and Camera
are an
Intimately Intertwined
Imaging System
Canon U.S.A., Inc. 87
HDTV Acquisition and Image QualityImage Quality HD LENS HD CAMERAFactors
• Sensitivity
• Sharpness
• Tonal Reproduction
• Exposure Latitude
• Color Reproduction
Canon U.S.A., Inc. 8888
HDTV Acquisition and Image QualityImage Quality HD LENS HD CAMERAFactors
• Sensitivity Optical ElectronicSensitivity Sensitivity
• Sharpness MTF (Optical) MTF (Opto-electronic)
• Tonal Reproduction Black Black Reproduction
Reproduction +Transfer Characteristic
• Exposure Latitude Optical SensorDynamic Range Dynamic Range
• Color Reproduction Spectral Spectral Response
ResponseElectronic Matricing
X
X
X
X
X +
Canon U.S.A., Inc. 89
New Innovation in HDTV Origination
How a 4K Single Image Sensor
Produces
Exceptional HDTV Performance
Canon U.S.A., Inc. 92
1920 1920
1920
1080 1080
2160
The 4K Bayer Color Filter Arraycan be spatially separated into:
RED 1920 x 1080Blue 1920 x 1080
Green 1 1920 x 1080Green 2 1920 x 1080
Canon U.S.A., Inc. 93
DirectHigh-speed
Parallel Readout
1920
1080
1920
1920
1920
1080
1080
1080
+
R
G
B
Gb
Gr
Direct Readout from 4K Image Sensor:
R G B 4 : 4 : 4
3840“Super” Green
Canon U.S.A., Inc. 94
2160
Gr :1080
Gb:1080
Gr
Gb
Horizontal Sample Period
One LinePeriod
1/2-pixel
1/2-pixel
At the Photosite level
At the Readout level
Canon U.S.A., Inc. 95
1080Nyquist
2160 43200
100%
CMOSAperture
TotalResponse
TVL/ph
HorizontalMTF Optical
Low Pass Filter
Contending with Aliasing
1st Order Sideband 2nd Order Sideband
Canon U.S.A., Inc. 96
Horizontal MTF
100 %
1080 2160 4320
1080 2160 4320
1st Order Sideband
1st Order Sideband
2nd Order Sideband
CMOS Aperture
CMOS Aperture
TVL/pH
TVL/pH
H and V Spatial Offsetin the Photosite Sampling
Horizontal MTF
100 %
G r
G b
1/2-pixel
1/2-pixel
Canon U.S.A., Inc. 97
Horizontal MTF
100 %
1080 2160 4320
1080 2160 4320
2nd Order Sideband
CMOS Aperture
CMOS Aperture
TVL/pH
TVL/pH
Horizontal MTF
100 %
G r
G b
+
Canon U.S.A., Inc. 98
1080 2160 43200
100% CMOSAperture
TVL / pH
Horizontal MTF
OpticalLow PassFilter
Must Still Contend with 2nd Order Sideband
2nd Order Sideband
Canon U.S.A., Inc. 99
1080 2160 43200
100% CMOSAperture
OpticalLow Pass FilterTotal
GreenResponse
TVL/ph
Horizontal MTF
FIRCosineFilter
2nd Order Sideband
One LinePeriod
Horizontal Sample Period
Canon U.S.A., Inc. 101
“Super Green” Directly Benefits Luma Output
Y = 0.213R + 0.715G + 0.072B
(Rec 709 standardized matrix)
Canon U.S.A., Inc. 102
1080
0 200 400 600 800 1000
100%
TotalResponse
HorizMTF
TVL/ph
SMPTE 30 MHz Filter
70%
Nyquist
Canon U.S.A., Inc. 103
+Gr
Gb
Green Gr
Green Gb
80Ke-Saturation
12 x sq rt 2e-Noise Floor
40Ke-Saturation
12e-Noise Floor
40Ke-Saturation
12e-Noise Floor
Readout
Readout
Green
Canon U.S.A., Inc. 104
CreateBit serial
Data Interface
R G B + A
R G+ B
3G SDI
SMPTE ST 425-1-2011
High-speed
Parallel Data
Readout
2048
1080
2048
2048
2048
1080
1080
1080
R
Gr
Gb
B
4KCMOS
Image Sensor
+ G+
Canon U.S.A., Inc. 105
R
Gr
Gb
B
CMOS Image Sensor System
1080
1080
1080 Y
Cr
Cb
RGB Digital Processing
4:4:4:4Progressive
Readout(High Bit-Depth)
8.3 Mpixel
PhotoSite
OptoElectronic Transform
+
High Bit-Depth
4:4:4Processing
“Super”GreenHigh
SpeedReadout
3G SDI
Serial 12-bit 4 : 4 : 4 @60P
10-bit 4 : 2 : 2 @120P
ToOn
BoardMPEG-2Codec
Canon U.S.A., Inc. 106
Special HD / 2K Imaging Attributes of C500
• No De-Bayer process
– No reconstruction errors
• No Compression
– No related artifacts
• RGB 4 : 4 : 4
– Full Color Space
• Super Green
– Produces high MTF Luma with very low aliasing
• 12-Bit
– Faithful reproduction of Wide Dynamic Range
• Canon Log
– Protects 12-stop Dynamic Range in recording
Canon U.S.A., Inc. 107
Broadcast Television Production
What Might be the Applications
for
Large-Format Single-Sensor Cameras
in
Broadcast Television ?
Canon U.S.A., Inc. 108
Broadcast Television Production
Television Program Genres– Episodic– Drama
– Light Entertainment Shows• Reality• Sitcom• Cooking• Court• Talk
– News – News Magazine
– Documentary
– Sports
Canon U.S.A., Inc. 109
Broadcast Television ProductionImage Quality Ergonomics Deliverables Costs
Episodic Very High Not so Important Highest Quality Can be High(Shallow Depth of Field)
Drama
Light Entertainment ShowsReality
Sitcom Acceptable Very Important Reasonably High Must be LowCooking (Deep Depth of Field)CourtTalk
News Acceptable (Deep DOF) Very Important Reasonably High Must be Low
News Magazine High (Shallow DOF) Not so Important Very High Can be High
Documentary Acceptable Very Important Reasonably High Must be Low(Both Deep & Shallow DOF)
Sports Very High (Deep DOF) Not so Important Highest Quality Can be High
Canon U.S.A., Inc. 110
Large Format Cameras: Friend or Foe?
• The Large-format Single-Sensor Camera
– Clearly has important applications in various broadcast television program genres
Canon U.S.A., Inc. 111
Large Format Cameras: Friend or Foe?
• The Large-format Single-Sensor Camera
– Clearly has important applications in various broadcast television program genres
• In the sense that such cameras augment the production arsenal
– it is submitted that they are FRIEND indeed to the Broadcaster
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