Digital Intermediate

Size: px

Start display at page:

Download "Digital Intermediate"

Jeffery Fields
5 years ago
Views:

1 DIITAL PODUCTION CHALLENE Intermediate Film shooting shooting postproduction workflow How to choose? Thursday 15 to Saturday 17 November 2012, Paris (France) Philippe os AFC DP & Imaging Supervisor : HDSytems The first quesons What is the feature or program s end destination? 35 mm theater exhibition? Imax? Imax 3D? D-cinema digital projection (2K / 4K)? 3D? HD digital projection, E-cinema, large displays? Ultra HD? HDTV broadcast? 3D broadcast? Internet? Current TV broadcast? DVD - HD distribution? : HDSytems Philippe os AFC DP & Imaging Supervisor 1

The DCP The first quesons The DCP or Cinéma Packaging is the release format for D-Cinéma ( Cinema), the

D-Cinema 2K frame format: 2048 pixels x 1080 lines (this is neither HD nor 2K).

FOMAT: Compressed, split up in reels SECUITY: Encrypted using 128-bit AES eusable hard disk capacity: 2

biz/ Philippe os AFC DP & Imaging Supervisor www.philipperos.

P 3 P 2 P Standard Definition From DVcam to etacam High Definition Telecine TeleScan DIITAL SD Standard

2 The DCP The first quesons The DCP or Cinéma Packaging is the release format for D-Cinéma ( Cinema), the frame being encoded in JPE D-cinema digital projection (2K / 4K)? 3D? D-Cinema 2K frame format: 2048 pixels x 1080 lines (this is neither HD nor 2K). D-Cinema 4K frame format: 4096 pixels x 2160 lines. FOMAT: Compressed, split up in reels SECUITY: Encrypted using 128-bit AES eusable hard disk capacity: 2 long- feature films Hard disk dimensions: 17 x 12 x 4 cm (L x l x h) : HDSytems Philippe os AFC DP & Imaging Supervisor SHOOT POST-PODUCTION EXHIITION FILM SENSOS CHEMICAL 35 mm / 70 mm Super 8 still camera Super mm 4 P 3 P 2 P Standard Definition From DVcam to etacam High Definition Telecine TeleScan DIITAL SD Standard Definition HD High Definition Film Projection SD / HD / 2K / 4K Projection 65 mm From EX-3 to EPIC, ALEXA, F65 2K Scan 2 K SD / HD Imax Cinema 4K Scan 4K 4 K TV roadcast DVD Internet : HDSytems Philippe os AFC DP & Imaging Supervisor 2

3 SHOOT POST-PODUCTION EXHIITION FILM SENSOS CHEMICAL Included in D.I. Super 8 still Intermediate camera 35 mm / 70 mm Super mm 65 mm 4 P 3 P 2 P Standard Definition From DVcam to etacam High Definition From EX-3 to EPIC, ALEXA, F65 Telecine TeleScan Cinema 2K Scan DIITAL SD Standard Definition HD High Definition 2 K Film Projection SD / HD / 2K / 4K Projection SD / HD Imax Cinema 4K Scan 44K K TV roadcast DVD Internet : HDSytems Philippe os AFC DP & Imaging Supervisor The first quesons This diagram represents only a chronological flow but does not allow to choose shooting and postproduction tools SHOOT POSTPODUCTION EXHIITION We prefer answering ques5ons in the opposite order SHOOT POSTPODUCTION EXHIITION : HDSytems Philippe os AFC DP & Imaging Supervisor 3

The digital intermediate The digital intermediate The process consists of the following components: Editorial Prep Scanning (when it s film) Assembling Color Correction Dustbusting Opticals Special

4 The digital intermediate The digital intermediate The process consists of the following components: Editorial Prep Scanning (when it s film) Assembling Color Correction Dustbusting Opticals Special VFX Previewing ecording Deliverables : HDSytems Philippe os AFC DP & Imaging Supervisor The digital intermediate DSM DCDM Non standardisé Standardisé Intermediate negative elease prints Film Screening DCP Standardisé Transfer to film DSM = negave cut DSM Color correction opticals DCDM = interpositive DCDM Compression Image Sound DCP = 35 mm copy print DCP Screening PCM - No Compression Subtitles addition DSM DCDM Source Master is the confo. enerally in DPX Cinema Distribution Master contains all of the digital material needed for projection. Images and sound. Color Space; x,y,z Tiff 16 bits HD Master Any combination of broadcast formats DVD - lu-ray : HDSytems Philippe os AFC DP & Imaging Supervisor 4

5 Format: good appellation? Or File types? How to define a digital data stream 7 parameters by Franck Montagne PostproducOon Supervisor / Instructor : Franck Monta Mode of treatment Color sampling aw 4:4:4 Y-Cb-Cr o 4:2:2 o 4:2:0 o 4:1:1 o 3:1:1 Quantification Color depth 16 bits 12 bits 10 bits 8 bits esolution Number of pixels 8K 4K 2K HD Frequence (speed) Type of scanning: Progressive 60, 50, 48 P (HF) 25 P 24 P Shooting interlace is not an option in DCI Codec itrate Container Level of compression Mbp/s Define the structure of the file : Franck Montagne Postproduction Supervisor / Instructor - Format File types Mode of treatment Color sampling aw 4:4:4 Y-Cb-Cr o 4:2:2 o 4:2:0 o 4:1:1 o 3:1:1 esolution Number of pixels 8K 4K 2K HD AVC-Intra 100 etacam DVCPO50 and DVCPO HD Proes (HQ, 422, LT, and Proxy) XDCAM HD422 TV roadcasting Displays 8K: 7680 x 4320 pixels 4K: 4096 x 2160 pixels Ultra HD: 3840 x 2160 pixels (over or with a minimum of) Old designation Quad Full HD (QFHD) HD: 1920 x 1080 pixels eal HD: 1280 x 720 pixels Theater elease DCI SPECIFICATIONS D-Cinema 2K frame format: 1:1,85: 2048 pixels x 1080 lines (this is neither HD nor 2K) 1:2,39: 2048 pixels x 858 lines D-Cinema 4K frame format: 1:1,85: 4096 pixels x 2160 lines. 1:2,39: 4096 pixels x 1716 lines Format: good appellation? Or File types? How to define a digital data stream 7 parameters by Franck Montagne : Franck Montagne Postproduction Supervisor / Instructor - 5

ole of Quantification & Sampling Quanficaon : colour depth Alexa (Plus) 12 bits 4:4:4:4 330 Mb/s 4096 shades of grey in the ed channel 4096 shades of grey in the reen channel 4096 shades of grey in

6 ole of Quantification & Sampling Quanficaon : colour depth Alexa (Plus) 12 bits 4:4:4:4 330 Mb/s 4096 shades of grey in the ed channel 4096 shades of grey in the reen channel 4096 shades of grey in the lue channel Colour depth: 4096 x 4096 x 4096= More than 68 milliard of colours Consequences of bitrate and compression choices ole of Color subsampling Example: 4:2:2 & 4:2:0 4:4:4 4:2:2 4:2:0 filtering filtering filtering Quality level Chroma sub sampling Practice of encoding images by implementing less resolution for Chroma Information ( and ) than for Luma information ( Y, grey pixels). It is used in many Video Encoding schemes both analog and digital and also in JPE Encoding. : HDSytems Philippe os AFC DP & Imaging Supervisor 6

Consequences of bitrate and compression choices What is the advantage for SFX and grading of having : 10 bits rather than

: Ø Keying made easier Ø Compositing made easier Ø etter rendering of flesh tones Ø Color correction made easier All these

: HDSytems 2012 http://hd-systems.biz/ Philippe os AFC DP & Imaging Supervisor www.philipperos.

the signal processing On the quantification` On the frequency (or speed) On the Codec type used (from 960 pixels to 4096

7 Consequences of bitrate and compression choices What is the advantage for SFX and grading of having : 10 bits rather than 8 bits? 10 bits rather than 10 bits Y-Pb-Pr? : Ø Keying made easier Ø Compositing made easier Ø etter rendering of flesh tones Ø Color correction made easier All these choices are not trivial. The consequences on the finished film s quality and cost must totally be taken into account. : HDSytems Philippe os AFC DP & Imaging Supervisor itrate and codec The bitrate (number of information per second) depends : On the image width On the image height On the signal processing On the quantification` On the frequency (or speed) On the Codec type used (from 960 pixels to 4096 pixels, even more) (from 720 pixels to 3072 pixels, even more) (aw, V or Component) (8 bits, 10 bits or 12 bits) (23.98, 24, 25, 29.97,30, 50, 59.94,60 im/sec) (Jpeg 2000, HDCal S, HDCam, Mpeg2 ) Codec : Coding Decoding Example : JPE 2000 (300 Mb/s) - HDCam S (440 Mb/s) HDCam (140 Mb/s) AVC-Intra 100 (100 Mb/s) Three important nooons itrate Compression Information reduction : HDSytems Philippe os AFC DP & Imaging Supervisor 7

Mainstream 4K TV SxS Pro + 64/128 300 Mb/s Codec XAVC 4K 10 bit 4:2:2 880, 440, 220 Mb/s Codec Internal recording MULTI CODEC CAMEAS XAVC HD HF 50p - 2K

M photosites SxS-1// SxS Pro 32/64 XAVC HD 10 bit 4:2:2 50 Mb/s @30 fps Codec MPE2 HD422 8 bit 4:2:2 Codec AW F65 16 bit : HDSytems 2012 http://hd-systems.

com Consequences of bitrate and compression choices The higher the bitrate, The lower the compression?

8 Mainstream 4K TV SxS Pro + 64/ Mb/s Codec XAVC 4K 10 bit 4:2:2 880, 440, 220 Mb/s Codec Internal recording MULTI CODEC CAMEAS XAVC HD HF 50p - 2K upgrade S Codec MPE4 SStP External recording AXS-5 SxS Pro + 64/128 SxS-1// SxS Pro 2/64 Codec SStP 10 bit 4:4:4-4:2:2 100 fps Codec Sony PMW-F55 8,9 M photosites SxS-1// SxS Pro 32/64 XAVC HD 10 bit 4:2:2 50 fps Codec MPE2 HD422 8 bit 4:2:2 Codec AW F65 16 bit : HDSytems Philippe os AFC DP & Imaging Supervisor Consequences of bitrate and compression choices The higher the bitrate, The lower the compression? The higher the image quality, The more expensive the producoon. Quality Production costs Post-production costs The lower the bitrate, the higher the compression, The higher the image quality, The less expensive the producoon : HDSytems Philippe os AFC DP & Imaging Supervisor 8

Consequences of bitrate and compression choices Camera Quantification Color Sampling Exhibition CANON C 300 3840 x 2160 photosites 50 Mb/s CF cards Codec Mpeg2 8 bits 4:2:2 encapsulé en MXF 1920 x

!!! Quality level AJA Ki Pro Mini Portable recorder Transcoding External recording 185 Mb/s Codec Apple Proes 422 (HQ) 1920 x 1080 pixels 10 bits 1024 grey levels by color Subsampling 4:2:2 Y-Cr-Cb

9 Consequences of bitrate and compression choices Camera Quantification Color Sampling Exhibition CANON C x 2160 photosites 50 Mb/s CF cards Codec Mpeg2 8 bits 4:2:2 encapsulé en MXF 1920 x 1080 pixels 8 bits 256 grey levels by color Subsampling 4:2:2 Y-Cr-Cb COMPONENT 3 colors split in Y luminance (&W) and Cr & Cb, red and blue difference components TV roadcasting 8 bits Uncompressed camera output 8 bit output only!!!! Quality level AJA Ki Pro Mini Portable recorder Transcoding External recording 185 Mb/s Codec Apple Proes 422 (HQ) 1920 x 1080 pixels 10 bits 1024 grey levels by color Subsampling 4:2:2 Y-Cr-Cb COMPONENT 3 colors split in Y luminance (&W) and Cr & Cb, red and blue difference components Theater elease : HDSytems Philippe os AFC DP & Imaging Supervisor Consequences of bitrate and compression choices Camera Quantification Color Sampling Exhibition CANON C x 2160 photosites 3 SDI 4K AW Uncompressed camera output 50 Mb/s CF cards Codec Mpeg2 8 bits 4:2:2 encapsulé en MXF ANOTHE SOLUTION 1920 x 1080 pixels 8 bits 256 grey levels by color Subsampling 4:2:2 Y-Cr-Cb COMPONENT 3 colors split in Y luminance (&W) and Cr & Cb, red and blue difference components TV roadcasting You can get a C500 for 22,500 in Europe (without external recording) emini Mb/s 4096 x 2160 pixels 10 bits 4:4:4 Portable recorder Transcoding External recording DPX 10 bit 4:4: grey levels by color Luminance information equal to chroma information Theater elease : HDSytems Philippe os AFC DP & Imaging Supervisor 9

Consequences of bitrate and compression choices Camera Quantification Color Sampling Exhibition Sony PMW-EX3 1920 x 1080 x 3 photosites 35 Mb/s Carte SxS Codec Mpeg2 Long OP HQ mode V 8 bits 4:2:0

10 Consequences of bitrate and compression choices Camera Quantification Color Sampling Exhibition Sony PMW-EX x 1080 x 3 photosites 35 Mb/s Carte SxS Codec Mpeg2 Long OP HQ mode V 8 bits 4:2:0 encapsulé en MXF 1920 x 1080 pixels 8 bits 256 grey levels by color Subsampling 4:2:2 Y-Cr-Cb COMPONENT 3 colors split in Y luminance (&W) and Cr & Cb, red and blue difference components TV roadcasting 8 bits Uncompressed camera output ANOTHE SOLUTION AJA Ki Pro Mini Portable recorder Transcoding External recording 185 Mb/s Codec Apple Proes 422 (HQ) or Apple Proes 422 Apple Proes (LT) Apple Proes (Proxy) 1920 x 1080 pixels 10 bits 1024 grey levels by color Subsampling 4:2:2 Y-Cr-Cb COMPONENT 3 colors split in Y luminance (&W) and Cr & Cb, red and blue difference components Theater elease : HDSytems Philippe os AFC DP & Imaging Supervisor Consequences of bitrate and compression choices Camera Quantification Color Sampling Exhibition Sony PMW-F3 x photosites 35 Mb/s Carte SxS Codec Mpeg2 8 bits 4:2:0 encapsulé en MXF 1920 x 1080 pixels 8 bits 256 grey levels by color Subsampling 4:2:0 Y-Cr-Cb COMPONENT 3 colors split in Y luminance (&W) and Cr & Cb, red and blue difference components TV roadcasting 10 bits S Log Uncompressed camera output ANOTHE SOLUTION You can get a Sony F3 with S- Log for 13,900 in Europe (without external recorder full set incl. Ki Pro recorder costs you 14,400) emini Mb/s 1920 x 1080 pixels 10 bits 4:4:4 Portable recorder Transcoding External recording DPX 10 bit 4:4: grey levels by color Luminance information equal to chroma information Theater elease : HDSytems Philippe os AFC DP & Imaging Supervisor 10

11 itrate and codec Issues related with frequencies? Countries in 60 Hertz (USA, Canada, Japon ): More easy when eding and mixing with 23.98, 29.97, 59,94 fps Countries in 50 Hertz (Europe ): More easy when eding and mixing with 24, 25, 50 fps efore choosing frequency: ecer to know the country where postproducon will be done In Europe, becer shoong and postproducing in 25 fps, or in 24 fps if you have to send deliveries to USA, Canada, Japon Playme of programmes depends on contracts and depends on frequency. ecer to ancipate safees during eding for all foreign deliveries. : HDSytems Philippe os AFC DP & Imaging Supervisor reat confusion or / and good marketing between: Number of photosites Size of the sensor Number of sensors Type of sensor Number of pixels recorded esolution / sharpness / MTF ecording format Exhibition format Pixels vs Photosites The type of sensor will have a direct influence on the workflow and therefore on the budget FINAL ESOLUTION MarkeOng stories The fact that a camera can deliver a 4 K image doesn t mean that it has the required numbers of photosites to deliver a real 4K resoluoon. Whitout carefully paying a[enoon, all these matched informaoons can lead to wrong decisions and to wrong process (during post: SFX, keying). : HDSytems Philippe os AFC DP & Imaging Supervisor 11

Sensor types The 3 Sensors cameras (examples) F23 (Sony) 3-chip

sensor 1920 x 1080 x 3 photosites AJ-HPX 3700 Panasonic 2/3"

sensor 1920 x 1080 x 3 photosites lue sensor Lens OUTPUT reen

com Sensor types The 1 Sensor cameras - The Striped pattern

sensor Sriped pattern 5760 x 2160 photosites F35 (Sony) Mono CCD

12 Sensor types The 3 Sensors cameras (examples) F23 (Sony) 3-chip 2/3-inch 1920 x 1080 x 3 photosites HDW-F900 (Sony) 2/3" 3-CCD sensor 1920 x 1080 x 3 photosites AJ-HPX 3700 Panasonic 2/3" 3-CCD sensor 1920 x 1080 x 3 photosites EX-3 (Sony) 3 x ½ -CMOS sensor 1920 x 1080 x 3 photosites lue sensor Lens OUTPUT reen sensor ed sensor Camera block CCDor CMOS block : HDSytems Philippe os AFC DP & Imaging Supervisor Sensor types The 1 Sensor cameras - The Striped pattern (examples) UNIT CELL MACO CELL enesis (Panavision) Mono CCD sensor Sriped pattern 5760 x 2160 photosites F35 (Sony) Mono CCD sensor 1920 x 1080 x 3 photosites OUTPUT : HDSytems Philippe os AFC DP & Imaging Supervisor 12

13 Sensor types The 1 Sensor cameras - The ayer pattern In the ayer pattern, green samples are arranged in a checkerboard pattern, and the red and blue samples are arranged in rectangular grid pattern. The density the green samples are twice that of the red and blue ones. 2 x for 1 x & 1 x The reason for why there are more green samples than red or blue samples is that the human visual system is more sensitive to luminance rather than chrominance. Luminance contains important spatial information, and we would like to preserve as much spatial detail as possible during the process. : HDSytems Philippe os AFC DP & Imaging Supervisor Sensor types The 1 Sensor cameras - The ayer pattern A ayer filter could be defined as a digital negative which is used during post-production to restore an flow We are in front of a lab, a software which develops images and which: Is not always built-in Is not always done real time. Can be done in various ways ( Irridas, lue Tools, Phantom, ed, Arri, etc Debayering OUTPUT : HDSytems Philippe os AFC DP & Imaging Supervisor 13

3840 x 2160 photosites Debayering OUTPUT

cameras - The F65 pattern 24.7mm 28mm 13.

ayer Sensor F65 (Sony) 20K photosites 4K

14 Sensor types The 1 Sensor cameras - The ayer pattern (examples) Alexa (Arri) Mono CMOS sensor 3392 x 2200 photosites Epic (ed Cinema) Mono CMOS sensor 5120 x 2700 photosites PMW-F3 (Sony) 1920 x 1080 HD recording C500 (Canon) Mono CMOS sensor 3840 x 2160 photosites Debayering OUTPUT Debayering is not only a mathemaoc process but also an arosoc process. Math process : HDSytems Philippe os AFC DP & Imaging Supervisor Pixels vs Photosites The 1 Sensor cameras - The F65 pattern 24.7mm 28mm 13.1mm F65 Sensor Super 35mm 3-perf. Total Pixel Count: 20.0M 8K CMOS Image Sensor Conventional 4K ayer Sensor F65 (Sony) 20K photosites 4K recording 8K grid 4K grid 8K grid 4K grid : HDSytems Philippe os AFC DP & Imaging Supervisor 14

Essential features of a digital workflow shooting ed digital cameras (One, MX, Epic) - 3 ways of Debayering after shoot.

Drives Conform Edit Debayering rading Print to film Lab elease print ed Code aw ED EPIC CF Cards ed Drives Conform Edit Debayering rading Print to film Lab elease print : HDSytems 2012

com Workflow: TV commercials workflow with the ed Epic Shoot Postproduction Film Screening Epic Video Assist & D Creation of customized LUT s & Look ack up SAN-Sync eal time debayering ScratchLab

15 Essential features of a digital workflow shooting ed digital cameras (One, MX, Epic) - 3 ways of Debayering after shoot. This features can be applied to all cameras using bayer pattern ed Code aw ED EPIC CF Cards ed Drives Debayering Conform Edit rading Print to film Lab elease print ed Code aw ED EPIC CF Cards ed Drives Conform Edit Debayering rading Print to film Lab elease print ed Code aw ED EPIC CF Cards ed Drives Conform Edit Debayering rading Print to film Lab elease print : HDSytems Philippe os AFC DP & Imaging Supervisor Workflow: TV commercials workflow with the ed Epic Shoot Postproduction Film Screening Epic Video Assist & D Creation of customized LUT s & Look ack up SAN-Sync eal time debayering ScratchLab Debayering with metadata SAN Conform Quantum LTO IV drives DPX files HD 2.5K or 5K 10 bits log or 16 bits fp Screening Editing Dit Monitor AW AW + AW + dailies AID 5 dailies External rugged AID 0 drive Dailies DNx HD or Proes with ec 709 preview LUT VFX Titles rading roadcasting lu-ray DCDM DCP Internet : HDSytems Philippe os AFC DP & Imaging Supervisor 15

ed Epic camera workflow Kodak Cinelabs omania Feature film Shoot Kodak Cinelabs Postproduction Film Screening Epic Video Assist & D Creation of customized LUT s & Look Control of Dailies 24 LCD

AW + dailies AID 0 AW + dailies External rugged drive XSEVE (Ingest station) SAN DSM Clipster Finishing & mastering The End Adobe Production Premium Titles & credits roadcasting Editing EDL XML / AAF

com Previsualization With new cameras using log curves, it is impossible to show producers the flat, low, desaturated image without pre-grading.

16 ed Epic camera workflow Kodak Cinelabs omania Feature film Shoot Kodak Cinelabs Postproduction Film Screening Epic Video Assist & D Creation of customized LUT s & Look Control of Dailies 24 LCD Cine-Tall DLP projector Transfer to film eal time debayering eal time debayering DCP Screening Dit Monitor AW Ingest AW Conforming (EDL, XML, AAF) Color management DCDM eal time debayering AW AID 5 AW + dailies AID 0 AW + dailies External rugged drive XSEVE (Ingest station) SAN DSM Clipster Finishing & mastering The End Adobe Production Premium Titles & credits roadcasting Editing EDL XML / AAF LUT & Look SAN-Sync 10 Quantum LTO IV drives ack up rading aselight / Truelight network lu-ray Internet : HDSytems Philippe os AFC DP & Imaging Supervisor Previsualization With new cameras using log curves, it is impossible to show producers the flat, low, desaturated image without pre-grading. A table of conversion (Lut: Look-up table) is used to correct the image and/or to simulate a space colour of final destination (example: Kodak or Fuji film lut for a film out). Lut How to see the same image all the way through the workflow? Monitoring / shoot Monitoring / editing rading : HDSytems Philippe os AFC DP & Imaging Supervisor 16

Tests ental house Previsualization Manufacturers The lab s knowledge about cameras and codecs Lab The preparation of the

Involvements of DPs, DITs and colourists Luts Luts Luts Monitoring / shoot Monitoring / editing rading : HDSytems 2012

com shoot on file dailies checks shoot Check Check Two types of control Data control Means: Checksum, good migration

17 Tests ental house Previsualization Manufacturers The lab s knowledge about cameras and codecs Lab The preparation of the cameras by the rental house under the supervision of the lab Artistic & technical control of the image through luts Involvements of DPs, DITs and colourists Luts Luts Luts Monitoring / shoot Monitoring / editing rading : HDSytems Philippe os AFC DP & Imaging Supervisor shoot on file dailies checks shoot Check Check Two types of control Data control Means: Checksum, good migration >> Lab control Means: Technical control, focus, exposure, etc. : HDSytems Philippe os AFC DP & Imaging Supervisor 17

Sensor types SHOOT POST-PODUCTION Alexa Plus (Arri) aw image from ayer filter ole of Monitoring editing eal Ome Debayering SxS ProCard ecording from from HDSDI camera output ood quality Electronic

18 Sensor types SHOOT POST-PODUCTION Alexa Plus (Arri) aw image from ayer filter ole of Monitoring editing eal Ome Debayering SxS ProCard ecording from from HDSDI camera output ood quality Electronic Monitoring Monitoring viewfinder Previzualisation set ood restitution WYSIWI What you see is what you get (not so far away) Confo / rading : HDSytems Philippe os AFC DP & Imaging Supervisor SHOOT Sensor types POST-PODUCTION Alexa Plus (Arri) Same image all along the workflow Monitoring editing ecording from from HDSDI camera output ood quality Electronic Monitoring Monitoring viewfinder Previzualisation set ood restitution WYSIWI What you see is what you get (not so far away) Confo / rading : HDSytems Philippe os AFC DP & Imaging Supervisor 18

SHOOT Sensor types POST-PODUCTION ed Epic (dc) aw image from ayer filter

Debayering ole of Extraction of flow endering Monitoring editing ecording

com SHOOT Sensor types POST-PODUCTION ed Epic (dc) Not the same image all

quality Monitoring Previzualisation Medium restitution No WYSIWI What you

19 SHOOT Sensor types POST-PODUCTION ed Epic (dc) aw image from ayer filter Data recording Debayering Image reconstruction 2K, 3K or «4K eal Ome Debayering ole of Extraction of flow endering Monitoring editing ecording from HDSDI output Electronic viewfinder Monitoring on set Confo / rading : HDSytems Philippe os AFC DP & Imaging Supervisor SHOOT Sensor types POST-PODUCTION ed Epic (dc) Not the same image all along the workflow Monitoring editing ecording from HDSDI OUTPUT Medium quality Monitoring Previzualisation Medium restitution No WYSIWI What you see is not what you get Confo / rading : HDSytems Philippe os AFC DP & Imaging Supervisor 19

DIGITAL'PRODUCTION'CHALLENGE'! Digital'Intermediate' ' Digital shooting ' Film shooting ' ' '

DIGITAL'PRODUCTION'CHALLENGE'! Digital'Intermediate' ' Digital shooting ' Film shooting ' ' ' DIGITALPRODUCTIONCHALLENGE! DigitalIntermediate Digital shooting Film shooting Digital postproduction Digital workflow How to choose? Thursday&13&to&Saturday&15November&2014,&Berlin&(Germany) Philippe