Film and Television Production Technology. Sony Pictures Technologies

Transcription

1 Film and Television Production Technology Sony Pictures Technologies

2 Introduction 秘 SONY CONFIDENTIAL

3 Sony Pictures Technologies Toshino s org charts go here

4 Sony Pictures Production Motion pictures* Top tier Premium/network television** Lower budget motion pictures* Mid tier Cable television** Game shows** Run and gun tier Sports Live events** Reality TV** Documentary** ** Sony Pictures Television * Sony Pictures Entertainment

5 Evolution of Production Technology 秘 SONY CONFIDENTIAL

6 Premise If we design a camera starting with a blank sheet of paper, would we design it the way cameras have evolved over the last 50 years? What do we know now, what do we have now, that we didn t have then? Japanese translation please

7 Evolution of Production Technology Many production techniques grew out of the limitations of 35mm film and live TV Sony cameras evolved from traditional broadcast designs where the need was to send an analog signal down long cables High speed data transfer technology developed in the IT world to solve other problems is available to us Everything new across the industry uses file based workflows running on commodity IT hardware Video will die out Japanese translation please Slide changed

8 Historic film workflow Shoot on Film Process Film Edit Telecine Video Tape Negative Cut List Negative Conform One light Color Timing Final Color Timing Release Print Dailies Screening

9 Historic television tape workflow Shoot Video Switcher Record to Tape On-line Conform Tape Master Camera Control Studio Monitor Off-line Edit Edit Decision List (EDL)

10 Today s File based workflow Shoot Digitally Transfer Files Digital Backbon e Conform Color Correction GB 256 Digital Intermediate Untethered operation (no cables) On Set Dailies Editorial Edit Decision List (EDL) Digital Cinema Or Broadcast Master

11 Files vs. Video Files Video Any resolution: 1920x1080, 2k, 4k, 8k etc. Defer de-bayer 16 bit color Few resolutions: standard definition, high definition Conditioned picture Commodity IT hardware Leverages technology outside of our industry Rich options for format conversion State of the art Expensive dedicated hardware 10 bit color Industry specific technology Limited options for format conversion Japanese translation please Slide changed 20th century technology

12 F35 and Red Camera workflows 秘 SONY CONFIDENTIAL

13 Workflow comparison Sony Red Focus on selling individual boxes Depend of others to provide key system functions Complete image processing done in camera Video output Focus on defining the system Provide key system software Image processing done in system using IT hardware Japanese translation please File output

14 F35 Workflow Sony Devices On

15 F35 Workflow Sony Devices Record to HDCam SR Increase font size Shoot and output HD video Shot annotations Flag deleted clips Script notes Create XML for editorial Recording for on-set preview

16 F35 Workflow Sony Devices Playback HDCam SR tapes to DVS Ingest DPX files to Production Backbone Ingest for dailies Color correction Conform to AVID timelines

17 Red Camera Workflow On Set

18 Red Camera Workflow Shoot in 5k 14-bit RAW R3D codec at 3.5x compression Record to SSD or CF Camera contrast and log curves Untethered operation Load R3D RAW onto LightIron on-set system Color look Transcode to 1280x720 H.264 PIX viewing QTs Export AAF for offline editorial batchingest

19 Light Iron System for Red RAID US$8,000 to US$20,000 depending on capacity RedCine-X & RedAlert Software Mac Pro < US$10,000 Red Rocket Realtime 4K RGB playback and realtime R3D transcoding. US$5,000

20 Transfer to portable G-RAID via ESata RAW Images (no deletes) ProRes422 for editorial H.264 PIX viewing QTs Sound files (broadcast WAV) Shot annotations Flag deleted clips Script notes Create XML for editorial Red Camera Workflow

21 Red Camera Workflow Load G-RAID files to Production Backbone (RAW, ProRes & H.264 QT) Dailies all encoded on set 1920x1080 ProRes422 Delivered on G-RAID to Production Backbone Import AAF and reconnect to ProRes422 dailies Grade in 4K with R3D Red RAW de-bayer RAW file in 4K in realtime on playback Conform to AVID timelines

22 Sony and Red Systems Sony Products Red Products Red Software on 3rd Party Hardware

23 The Power = Controlling the System 秘 SONY CONFIDENTIAL

24 Sony has to deliver the System By focusing on the box we lose control over the system Customers buy functionality All the things customers need are still in the system They re just not in a few dedicated boxes If we lock ourselves into selling pieces of hardware others will take control of the total solution Japanese translation please

25 Who Provides the System? Traditional Sony view: We build the cameras and tape decks, we let others work the rest out The result: Innovative companies chose to put their efforts into the 1,000 s of Red cameras In the video business people put effort into supporting Sony products because video is a convenient standard Video products work with any brand of camera As we move away from video, can Sony trust others to control its future? Japanese translation please

26 What is a camera? 秘 SONY CONFIDENTIAL

27 What is a 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 Japanese Translation goes here

28 What is a Camera? Has no onboard processing in the camera except as needed for local monitoring or transmission Operates easily in untethered handheld applications Simplifies and automates Metadata embedding No more processing than is necessary to get it to the next step Provides a comprehensive interface for the Director and Director of Photography Japanese translation goes here Slide Changed

29 A to D Storage Lens Battery Network Interface Imager Modular construction

30 Camera Components Imager Lens mount Imager A/D converter RAW interface Local control module Monitor output module /1080 Network interface adapter 8Gbps dual link Fiberchannel Dual link 10Gbps Ethernet Japanese translation goes here

31 Camera Components Storage adapter Accepts SSD media with capacity up to 500GB Wireless interface module(s) Remote control interface Opportunistic download Real time monitor feed Electronic viewfinder Power options One or more battery packs AC adapter Japanese translation goes here

32 The Camera System Recordable Media Dock Remote Control Module DP Interface Complete Software Solution LUT Rendering Monitor Network Server WiFi or Bluetooth Fiber Channel or 10GigE Live Operation Modules

33 Director of Photography interface IOS and Android application Select Camera Look Up Tables (LUTs) to manage color Measure and control exposure Monitor feedback of camera and signal status and levels Enter additional notes as needed Japanese translation here please

34 Remote Control Module Measure and control exposure Manage color by creating LUTs as metadata Monitor camera and signal status and levels Acquire and manage metadata Manage camera modules such as network interfaces Japanese translation here please

35 Storage (1) Recordable Media Dock For unloading SSD media esata, NAS and USB 3.0 interfaces Add-on function to dump media to LTO-5 Japanese translation here please

36 Storage (2) Network Server Application Software running on Linux/Mac/Windows server Manages real time transfer of RAW images and metadata Manages opportunistic wireless transfer of RAW images and metadata Managed through UI and web services (Conductor) Japanese translation here please

37 LUT Rendering Monitor Receive image files with embedded metadata (LUTs) Apply and render LUTs and display the corrected image in real time When used with the remote control, allows monitoring of the impact of real time camera adjustment Japanese translation here please

38 Data Movers for Live Operation Transfer module Manages transfer of RAW images and metadata from camera to render module for real time display and transmission Functionally same as network server application Wireless receiver module Processing as appropriate for bandwidth limitations for real time display and transmission Japanese translation here please

39 Render Module Inserted at or before the vision mixer/switcher Applies accumulated LUTs Use Ellcami Can also be used in a variety of Post Production roles Feeds to non-render capable monitors (e.g. consumer sets in offices or viewing rooms) In preparation of dailies materials for use in editing systems Japanese translation here please

40 Network Interfaces 10Gbps Ethernet Retail price US$1, QLogic QLE Network adapter - PCI Express x8 Dual Port 10 Gigabit Ethernet Retail Price US$1, Gbps Fibrechannel Qlogic 8Gb PCI-E (X4) Dual Port Fiber Channel Host Bus Adapter

41 Introduction to 3D 秘 SONY CONFIDENTIAL

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65 3D Camera Rigs 秘 SONY CONFIDENTIAL

66 TYPES OF 3D CAMERA RIGS Side-by-Side Beam Splitter

67 Beamsplitter Camera Rig 50% reflective mirror Right eye camera Left eye camera

68 Prototype F35 THead

69 Neutron rig on left used for Red cameras Quasar rig on right used for F35 Japanese translation please

70 Stereographic Convergence by Image Shifting 秘 SONY CONFIDENTIAL

71 Spiderman Convergence Adjustment Spiderman is shooting with parallel camera axis No convergence built in The Epic frame is wider than is needed Sony Imageworks (special effects department) is using the excess width to adjust convergence by shifting the image within the frame Japanese translation goes here

72 FULL FIELD OF VIEW FULL FIELD OF VIEW LENS LENS CAMERA CAMERA PLAN VIEW FROM TOP SENSOR SENSOR FULL WIDTH OF SENSOR FULL WIDTH OF SENSOR LEFT EYE INTERPUPILLARY DISTANCE (~6-7 cm) RIGHT EYE

73 FULL FIELD OF VIEW FULL FIELD OF VIEW PARALLEL FIELD OF VIEW PARALLEL FIELD OF VIEW PARALLEL CENTERLI NE PARALLEL CENTERLI NE LENS LENS CAMERA CAMERA PLAN VIEW FROM TOP SENSOR SENSOR FULL WIDTH OF SENSOR RIGHT CROP SEES STRAIGHT AHEAD FULL WIDTH OF SENSOR LEFT CROP SEES STRAIGHT AHEAD LEFT EYE INTERPUPILLARY DISTANCE (~6-7 cm) RIGHT EYE

74 FULL FIELD OF VIEW FULL FIELD OF VIEW CONVERGED FIELD OF VIEW CONVERGED FIELD OF VIEW CONVERG ED CENTERLI NE CONVERG ED CENTERLI NE LENS LENS CAMERA CAMERA PLAN VIEW FROM TOP SENSOR SENSOR FULL WIDTH OF SENSOR FULL WIDTH OF SENSOR LEFT CROP SEES CONVERGED VIEW LEFT EYE INTERPUPILLARY DISTANCE (~6-7 cm) RIGHT EYE RIGHT CROP SEES CONVERGED VIEW

75 F65 and F3 3D file workflows 秘 SONY CONFIDENTIAL

76 F3 Tethered Workflow Click to edit Master text styles Second level Third level Fourth level Fifth level

77 F65 Tethered Workflow Click to edit Master text styles Second level Third level Fourth level Fifth level

78 Convergence Adjustment

79 F3 Untethered Workflow Click to edit Master text styles Second level Third level Fourth level Fifth level

80 Color Management 秘 SONY CONFIDENTIAL

81 Color Look Up Tables (LUT) LUT1 RAW Image LUT2 LUT3

82 Raw Image with LUT LUT1 RAW + LUT Raw image has the most information Baked in Baked in color has less information

83 Role for Sony in Color Management In 20th Century Kodak was the keeper of color science, in the 21st Century it can be Sony Sony products could accept raw images and apply LUTs as needed E.g. Professional monitors, broadcast switchers Japanese translation goes here

84 Red Epic Sony s #1 Competition 秘 SONY CONFIDENTIAL

85 Click to edit Master text styles Red Epic Second level Third level Fourth level Fifth level

86 Red Epic Perceived advantages of Epic over F35: Costs much less Greater resolution (4k) Weighs less Works well untethered Smaller data size (Red RAW) Modular construction Less on-set complexity Complete solution from production to post Japanese translation goes here

87 Camera Systems Compared Sony F35 Red Epic Arri Alexa Native resolution 1920 x 1080 RGB Bayer 2880 x 1620 Bayer Record SRW1 Direct attach CF or SSD Direct attach SxS and/or T-Link recorder Weight 5kg camera + 8.5kg SR deck 2.5kg camera + 1kg SSD 6kg camera + 2.5kg Codex recorder Power supply AC or Battery pack Battery Battery or AC Untethered operation Possible but not practical Yes Yes Ingest to backbone SRW5100 plus DVS Direct attach CF or SSD dock Direct attach SxS and/or Disk pack dock Camera Package (Camera and recording) $200k $58k $100k Package breakdown $150k F35s $50k SRW1 Tape Deck $58k for Epics, EVF, control screen, SSD module and four 128GB SSD cards $80k for Alexas, EVF and five 32GB SxS Pro cards $20k for Codex onboard recorder

88 Scarlet Expect Red to raise the stakes and continue to erode Sony s market Japanese translation please 2/3 sensor 120fps, bursting to 150fps 3k resolution Available Late Spring Early Summer k Scarlet later in summer Red code RAW $2750 for brain Prime lenses are $900 each $4650 for full shooting package with zoom lens

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

90 3D Customer requirements 秘 SONY CONFIDENTIAL

91 Solutions to match production budgets Motion pictures* Top tier Premium/network television** Lower budget motion pictures* Mid tier Cable television** Game shows** Run and gun tier Sports Live events** Reality TV** Documentary** ** Sony Pictures Television * Sony Pictures Entertainment

92 Top Tier - 4k/2k Solution 4k+ RAW Camera F65 (competitor Red Epic) On set Rig with motorized interaxial Shoot parallel (no convergence) 3D Box for monitoring Post Over sized image allows convergence and alignment compensation without scaling Software tools Japanese translation goes here

93 Top Tier 2k/HD Solution 444 HD Camera F35 (competitor Red Scarlet, Alexa) On set Fully motorized rig Interaxial, convergence & alignment compensation 3D Box for monitoring Post Image adjustment through scaling Japanese translation goes here

94 Mid Tier - 2k Solution 2k+ RAW Camera F3 (Competitor Red Scarlet, Alexa) On set Rig with motorized interaxial Shoot parallel (no convergence) 3D Box for monitoring Post Over sized image allows convergence and alignment compensation without scaling Software tools Japanese translation goes here

95 Mid Tier HD Solution 422 HD Camera P1 (Competitor Red Scarlet) On set Rig with motorized interaxial Shoot parallel (no convergence) 3D Box for monitoring and on set finishing for live events and sports Post Convergence and alignment compensation by scaling 3D Box or software tools Japanese translation goes here

96 Digital Backbone 秘 SONY CONFIDENTIAL

97 Digital Backbone Conceptual Overview

98 Production Backbone Conceptual Overview

99 Distribution Backbone Conceptual Overview

100 Wrap up 秘 SONY CONFIDENTIAL

101 Wrap Up Red is eroding Sony s market and will continue to do so until Sony responds More productions want to use Red and Alexa Red cameras are being used in film schools getting future directors and DPs used to using them Complete system speeds production while reducing costs Applies to both 2D and 3D production Sony Pictures Technologies wants to partner with PSG to develop the new camera systems Placeholder