Next Generation Camera. Getting ahead of the curve

Transcription

1 Next Generation Camera Getting ahead of the curve

2 Background Sony cameras evolved from traditional broadcast designs when the need was to send an analog signal across a studio Today, the camera is part of the process but only a part and the true power is now in the system Cameras are getting simpler, not more complex Processing is being off-loaded to the cloud Spiderman chose the Red Epic over the F35 because of: Cost Resolution Weight Data size (R3D RAW files are smaller) On-set complexity (Red is simpler) Complete solution from production to post And their software is free

3 The Next Generation Camera A networked terminal that converts information from the physical world into useable digital information Integral part of an overall system that defers those functions which can be done later to downstream components A minimalist approach supported by processing power in the rest of the system More stuff about the camera goes here

4 The Camera A to D Storage Lens Battery Network I/F Imager Modular construction

5 Requirements Imager 8k modified Bayer pattern High dynamic range Data outputs RAW images No onboard processing in the camera except as needed for local monitoring or transmission to storage Metadata 1080p/720p RGB Interfaces Real time RAW over 10Gb Ethernet or Fiberchannel Control and Opportunistic download via n wireless Local monitoring via HD-SDI and HDMI Local storage module CF card SSD module Modular construction Customer only installs modules they need Complete metadata Lens data (focal length, aperture, etc.) Camera setup parameters (exposure, etc) Director of Photography input (LUTs etc.) GPS derived data Geolocation Time reference (precision reference to automate TC) Inertial, angular and motion data Slate data received wirelessly Additional production notes as needed Weight 2.5kg boady only < 6kg shooting configuration including recorder but w/o lens Power options Battery pack DC power supply Configurable for untethered operation

6 The Camera System Remote Control Module Flash memory DP Interface WiFi or Bluetooth SAN Base Station Complete Software Solution Fiber Channel or 10GigE Monitors Real Time Base Station HD-SDI

7 Required System Components DP interface Measure and control exposure Manage color through LUTs Remote control module Measure and control exposure More stuff about the system components goes here Manage color through LUTs Monitor camera and signal status and levels Acquire and manage metadata

8 Network Interfaces 10Gbps Ethernet 8Gbps Fiberchanel Using Ethernet for isochronous data Connect as a point to point data link Isolate camera data transmission from camera control & metadata transmission Don t connect to a blocking switch Retail price Don t contend for bandwidth with other US$1, traffic QLogic QLE Network adapter - PCI Express x8 Dual Port 10 Gigabit Ethernet Write directly to storage Retail Price US$1, Using Fiberchannel Qlogic 8Gb PCI-E (X4) Dual Port Fiber Channel Host Bus Adapter

9 Red The Competition

10 Red Epic Sensor 14 Megapixel Mysterium-X Pixel Array 5120x2700 S/N Ratio 66dB Dynamic Range 13.5 Stops, Up To 18 Stops With HDRx Lens Coverage 27.7 x 14.6mm = 31.4mm (Diag) Acquisition Formats: 5K Raw (Full Frame, 2:1, Anamorphic), 4.5K Raw (2.4:1), 4K Raw (16:9, HD, 2:1 Anamorphic), 3K Raw (16:9, 2:1 Anamorphic), 2K Raw (16:9, 2:1 Anamorphic), 1080p RGB (16:9), 720p RGB (16:9) Project Frame Rates 23.98, 24, 25, 29.97, 48, 50, Delivery Formats: 4K : DPX, TIFF, OpenEXR, 1080p RGB or 4:2:2, 720p 4:2:2 in Quicktime, JPEG, Avid AAF, MXF. Output SMPTE Timecode, Metadata Monitor Output: HD-SDI And HDMI With Frame Guide, Look- Around, 2K, and more Digital Media Redflash (CF) Module: (8, 16Gb Media), Redflash (SSD) Module: (64, 128, 256Gb) Audio 2 Channel, Uncompr, 24-bit, 48Khz. Monitoring Options: Red LCD 5 Touchscreen Display, Bomb EVF High Definition Viewfinder Remote Control Wireless, Ethernet, RS232, USB Weight 2.7kg. Body Only Construction Aluminum Alloy

11 Peter Jackson talks about the Red Epic I find the picture quality [of RED cameras] appealing and attractive, and with the Epic, Jim and his team have gone even further. It is a fantastic tool, the Epic not only has cutting edge technology, incredible resolution and visual quality, but it is also a very practical tool for film makers. Many competing digital systems require the cameras to be tethered to large cumbersome VTR machines. The Epic gives us back the ability to be totally cable free, even when working in stereo. Peter Jackson on purchasing 30 Red Epics for The Hobbit, quoted from Red web site Click to edit Master text styles Second level Third level Fourth level Fifth level

12 Red s Modular Construction Click to edit Master text styles Second level Third level Fourth level Fifth level

13 Red as a Broadcast Camera Red Epic HDC1550R 1080p / 59.94fps 720p / 59.94fps HD-SDI i/f Onboard recording X Network remote control CCU (additional cost) Genlock input S/N Ratio 66dB 54dB Price $40k $60k* w/o CCU *Discounted