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

Transcription

1 DIGITALPRODUCTIONCHALLENGE! DigitalIntermediate Digital shooting Film shooting Digital postproduction Digital workflow How to choose? Thursday&13&to&Saturday&15November&2014,&Berlin&(Germany) Philippe Ros AFC Cinematographer & Digital Imaging Supervisor The&first&quesDons What is the feature or program s end destination?! D-cinema digital projection ( / 4K)? 3D?! 35 mm theater ehibition? Ima? Ima 3D?! digital projection? E-cinema? Large displays?! Ultra? TV broadcast? 3D broadcast?! Internet? VOD? Mobile phones?! Current TV broadcast?! DVD - distribution? 1&

2 The DCP The&first&quesDons The DCP or Digital Cinéma Packaging is the release format for D-Cinéma (Digital Cinema), the frame being encoded in JPEG 2000.! D-cinema digital projection ( / 4K)? 3D? D-Cinema frame format: 2048 piels 1080 lines (this is neither nor ). D-Cinema 4K frame format: 4096 piels 2160 lines. FORMAT: Compressed, split up in reels SECURITY: Encrypted using 128-bit AES Reusableharddiskcapacity: 2longDfeaturefilms & Communharddiskdimensions: 17124cm(Llh) & SHOOT POST-PRODUCTION SCREENING FILM SENSORS CHEMICAL Super 8 Super mm 65 mm 4 P 3 P 2 P Digital still camera Standard Definition From DVcam to Digital Betacam High Definition From EX-3 to RED EPIC DRAGON, SONY F65, ARRI ALEXA 65 Telecine TeleScan Scan DIGITAL SD Standard Definition High Definition 2 K SD / / / 4K Digital screening 35 mm / 70 mm Film screening SD / / ULTRA Ima Digital Cinema 4K Scan 4K 4 K TV Broadcast - DVD Mobile Blu-Ray Internet 2&

3 SHOOT POST-PRODUCTION SCREENING FILM SENSORS CHEMICAL Super 8 Super mm 65 mm 4 P 3 P 2 P Digital still camera Standard Definition From DVcam to Digital Betacam High Definition From EX-3 to RED EPIC DRAGON, SONY F65, ARRI ALEXA 65 IncludedinD.I. DigitalIntermediate Telecine TeleScan Digital Cinema Scan DIGITAL SD Standard Definition High Definition 2 K SD / / / 4K Digital screening 35 mm / 70 mm Film screening SD / / ULTRA Ima Digital Cinema 4K Scan 44K K TV Broadcast - DVD Mobile Blu-Ray Internet The&first&quesDons This diagram represents only a chronological flow but does not allow to choose shooting and postproduction tools SHOOT POSTPRODUCTION EXHIBITION Wepreferansweringques5onsintheoppositeorder& SHOOT POSTPRODUCTION EXHIBITION 3&

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! Digital Opticals! Special VFX! Digital Previewing! Recording! Digital Deliverables The&digital&intermediate& Digital Intermediate negative Release prints Film Screening Transfer to film Color correction Digital opticals DSM DCDM Compression Image Sound DCP = 35 mm copy print DCP Digital Screening DSM DCDM PCM - No Compression Subtitles addition Digital Source Master is the confo graded. Generally in DPX Digital Cinema Distribution Master contains all of the digital material needed for projection. Images and sound.color Space;,y,z Tiff 16 bits DSM No standard DCDM DCP Standard Standard Master Any combination of broadcast formats DVD - Blu-ray 4&

5 Format: good appellation? Or File types? How to define a digital data stream 7 parameters by Franck Montagne PostproducOonSupervisor/Instructor! Mode of treatment Color sampling Raw RGB 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! Resolution Number of piels 8K U 4K! Frequence (speed) Type of scanning: Progressive 60, 50, 48 P (HFR) 25 P 24 P Shooting interlace is not an option in DCI! Codec Level and type of compression! Bitrate Mbp/s! Container Define the structure of the file : Franck Montagne Postproduction Supervisor / Instructor - Format& &File&types! Mode of treatment Color sampling Raw RGB 4:4:4 Y-Cb-Cr o 4:2:2 o 4:2:0 o 4:1:1 o 3:1:1! Resolution Number of piels 8K 4K AVC-Intra 100 Digital Betacam DVCPRO50 and DVCPRO ProRes (HQ, 422, LT, and Proy) XDCAM 422 TV Broadcasting Displays 8K: piels 4K: piels Ultra : piels (overorwithaminimumof) Old designation Quad Full (QF) : piels Real : piels Theater Release DCI SPECIFICATIONS D-Cinema frame format: 1:1,85: 2048 piels 1080 lines (this is neither nor ) 1:2,39: 2048 piels 858 lines D-Cinema 4K frame format: 1:1,85: 4096 piels 2160 lines. 1:2,39: 4096 piels 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&

6 Role of Quantification & Sampling Alea (Arri SS ) 12 bits 4:4:4:4 330 Mb/s F35 (Sony) 10 bits 4:4:4 440 Mb/s or 880 Mb/s EOS C300 (Canon) 8 bits 4:2:2 50 Mb/s 4096 shades of grey in the Red channel 4096 shades of grey in the Green channel 4096 shades of grey in the Blue channel 1024 shades of grey in the Red channel 1024 shades of grey in the Green channel 1024 shades of grey in the Blue channel 256 shades of grey in the Red channel 256 shades of grey in the Green channel 256 shades of grey in the Blue channel Colour depth: = More than 68 billion of colors Colour depth: = More than 1 billion of colors Colour depth: with component Y Cb Cr sampling: More than 16 million of colors but less possibilities due to compression Consequences&of&bitrate&and&compression&choices 4:4:4 4:2:2 4:2:0 Digital filtering Digital filtering Digital filtering Quality level Chroma sub sampling Practice of encoding images by implementing less resolution for Chroma Information (R and B) than for Luma information ( Y, grey piels). It is used in many Video Encoding schemes - both analog and digital - and also in JPEG Encoding. Role of Color subsampling Eample: 4:2:2 & 4:2:0 Difference of storage between 4:4:4 and 4:2:2: 25% Difference of storage between 4:4:4 and 4:1:1: 50% 6&

7 Media&the&8 Th &parameter MEDIA WHAT IS IMPORTANT TO KNOW ABOUT MEDIA PERFORMANCES Type of file format recordable (Codec, frame rate, resolution, bitrate, color sampling, quantification, container) High speed capacities. Frame rate is an important parameter Recording times/capacities Minimum/maimum read/write speed Some manufacturers guarantee speeds, some not. Transfer speeds (offload) linked to readers/accessories/adapters. Transfer speeds vary and are dependent on host device. Combination between camera and media (eample: Arri Amira approves or not media) WHAT IS IMPORTANT TO KNOW ABOUT THE WAY CAMERA MANUFACTURERS ARE HANDLING & CHOOSING THE MEDIA - THE RECONSTRUCTION Eample: SS Cards, they are designed for motion picture and they contain safety tools (controller with an intelligence function). Files can be reconstructed in a special Sony center in Brussels Interfaces, connections Computerized world has no mercy! Lifespan of: Hardware/software is between 3 and 5 years Physical interface or firmware interface is between 5 to 10+ years A media drive is 3 to 5 years Universal serial Bus USB 1.1 = 17 Mbits/sec USB 2.0 = 480 Mbits/sec USB 3.0 = 4,8 Gbits/sec FireWire = IEEE 1394 = i.link Fire Wire 400 = 400 Mbits/sec Fire Wire 800 = 800 Mbits/sec 4 pins 6 pins 9 pins Ethernet Ethernet = 10 Mb/sec Fast Ethernet = 100 Mb/sec Gigabit Ethernet = 1000 Mb/sec RJ 45 socket Eternal Serial Advanced Technology Attachment S-ATA = 1,2 Gbits/sec S-ATA II = 3 Gbits/sec Thunderbolt = 10 Gbits/sec : Franck Montagne Postproduction Supervisor / Instructor - 7&

8 Consequences&of&bitrate&and&compression&choices What is the advantage for SFX and grading of having :! 10 bits rather than 8 bits?! 10 bits RGB rather than 10 bits Y-Pb-Pr? : " Keying made easier " Compositing made easier " Better rendering of flesh tones " 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. Bitrate&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 piels to 4096 piels, even more) (from 720 piels to 3072 piels, even more) (Raw, RVB or Component YCbCr) (8-bit, 10-bit, 12-bit, 16-bit, 32-bit) (23.98, 24, 25, 29.97,30, 50, 59.94,60 fps, ) (Jpeg 2000, ProRez, XAVC, Mpeg2 ) Codec : Coding - Decoding Eample : JPEG 2000 (300 Mb/s) - ProRes 12-bit 4:4:4:4 (280Mb/s) - AVC-Intra 100 (100 Mb/s) ThreeimportantnoOons Bitrate Compression Information reduction 8&

9 Consequences&of&bitrate&and&compression&choices The higher the bitrate, The lower the compression Quality? The higher the image quality is. The more epensive the production is Production costs Post-production costs The lower the bitrate, the higher the compression, The higher the image quality, The less epensive the production is Consequences&of&bitrate&and&compression&choices Camera Quantification Color Sampling Ehibition CANON C photosites 50 Mb/s CF cards Codec Mpeg2 8 bits 4:2:2 encapsulé en MXF piels 8 bits 256 grey levels by RGB color Subsampling 4:2:2 Y-Cr-Cb COMPONENT 3 colors split in Y luminance (B&W) and Cr & Cb, red and blue difference components TV Broadcasting 8 bits Uncompressed camera output 8 bit output only!!!! Quality level AJA Ki Pro Mini Portable recorder Transcoding Eternal 185 Mb/s Codec Apple ProRes 422 (HQ) piels 10 bits 1024 grey levels by RGB color Subsampling 4:2:2 Y-Cr-Cb COMPONENT 3 colors split in Y luminance (B&W) and Cr & Cb, red and blue difference components Theater Release 9&

10 Consequences&of&bitrate&and&compression&choices Camera Quantification Color Sampling Ehibition CANON C photosites 50 Mb/s CF cards Codec Mpeg2 8 bits 4:2:2 encapsulé en MXF piels 8 bits 256 grey levels by RGB color Subsampling 4:2:2 Y-Cr-Cb COMPONENT 3 colors split in Y luminance (B&W) and Cr & Cb, red and blue difference components TV Broadcasting 3G SDI 4K RAW Uncompressed camera output ANOTHER SOLUTION Gemini Mb/s piels 10 bits 4:4:4 RGB Portable recorder Transcoding DPX 10 bit 4:4: grey levels by RGB color Luminance information equal to chroma information Theater Release Eternal Consequences&of&bitrate&and&compression&choices Camera Quantification Color Sampling Ehibition Sony PMW-EX photosites 35 Mb/s Carte SS Codec Mpeg2 Long GOP HQ mode VBR 8 bits 4:2:0 encapsulé en MXF piels 8 bits 256 grey levels by RGB color Subsampling 4:2:2 Y-Cr-Cb COMPONENT 3 colors split in Y luminance (B&W) and Cr & Cb, red and blue difference components TV Broadcasting 8 bits Uncompressed camera output ANOTHER SOLUTION AJA Ki Pro Mini Portable recorder Transcoding Eternal 185 Mb/s Codec Apple ProRes 422 (HQ) or Apple ProRes 422 Apple ProRes (LT) Apple ProRes (Proy) piels 10 bits 1024 grey levels by RGB color Subsampling 4:2:2 Y-Cr-Cb COMPONENT 3 colors split in Y luminance (B&W) and Cr & Cb, red and blue difference components Theater Release 10&

11 Consequences&of&bitrate&and&compression&choices Camera Quantification Color Sampling Ehibition Sony PMW-F3 photosites 35 Mb/s Carte SS Codec Mpeg2 8 bits 4:2:0 encapsulé en MXF piels 8 bits 256 grey levels by RGB color Subsampling 4:2:0 Y-Cr-Cb COMPONENT 3 colors split in Y luminance (B&W) and Cr & Cb, red and blue difference components TV Broadcasting 10 bits S Log Uncompressed camera output ANOTHER SOLUTION Gemini Mb/s piels 10 bits 4:4:4 RGB Portable recorder Transcoding DPX 10 bit 4:4: grey levels by RGB color Luminance information equal to chroma information Theater Release Eternal Bitrate and codec Issues&related&with&frequencies?& Countries&in&60&Hertz&(USA,&Canada,&Japon ):& & &More&easy&when&ediDng&and&miing&with&23.98,&29.97,&59,94&fps& Countries&in&50&Hertz&(Europe ):& & &More&easy&when&ediDng&and&miing&with&24,&25,&50&fps& & && Before&choosing&frequency:& & &&BeZer&to&know&the&country&where&postproducDon&will&be&done& In&Europe,&beZer&shooDng&and&postproducing&in&25&fps,& or&in&24&fps&if&you&have&to&send&deliveries&to&usa,&canada,&japon& PlayDme&of&programmes&depends&on&contracts&and&depends&on&frequency.&& BeZer&to&anDcipate&safeDes&during&ediDng&for&all&foreign&deliveries.& When&shooDng&abroad,&the&choice&of&shuZer&speed&depends&on&countrya specific&frequency&& 11&

12 Great confusion or / and good marketing between:! Number of photosites! Size of the sensor! Number of sensors! Type of sensor! Number of piels recorded! Resolution / sharpness / MTF! Recording format! Ehibition format Piels&vs&&Photosites FINALRESOLUTION There are no piels on a sensor but photosites. Piels appears during sampling and The type of sensor will have a direct influence on the workflow and therefore on the budget Marketing 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 resolution. Whitout carefully paying attention, all these matched informations can lead to wrong decisions and to wrong process (during post: SFX, keying). Sensor&types! The 3 Sensors cameras (eamples) F23 (Sony) 3-chip 2/3-inch photosites W-F900 (Sony) 2/3" 3-CCD sensor photosites AJ-HPX 3700 Panasonic 2/3" 3-CCD sensor photosites EX-3 (Sony) 3 ½ -CMOS sensor photosites Bluesensor Lens RGB OUTPUT Greensensor Redsensor Camerablock CCDorCMOSblock 12&

13 Sensor&types! The 1 Sensor cameras - The Striped pattern (eamples) UNITCELL MACROCELL Genesis (Panavision) Mono CCD sensor Sriped pattern photosites F35 (Sony) Mono CCD sensor photosites RGB OUTPUT Sensor&types! The 1 Sensor cameras - The Bayer pattern In the Bayer 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 for 1 & 1 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. 13&

14 Sensor&types! The 1 Sensor cameras - The Bayer pattern A Bayer filter could be defined as a digital negative which is used during post-production to restore an RGB 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, Glue Tools, Phantom, Red, Arri, etc Debayering RGB OUTPUT Sensor&types! The 1 Sensor cameras - The Bayer pattern (eamples) F65 (Sony) Alea (Arri) Epic (Red Digital Cinema) F55 (Sony) Delta Pénélope (Aaton) F3 (Sony) C500 (Canon) Debayering RGB OUTPUT DebayeringisnotonlyamathemaOc processbutalsoanarosocprocess. Math process 14&

15 Piels&vs&&Photosites! The 1 Sensor cameras - The F65 pattern 24.7mm 28mm 13.1mm Super 35mm 3-perf. Total Piel Count: 20.0M 8K&CMOS&Image&Sensor& F65 (Sony) 20K photosites 4K 8K grid F65 Sensor Conventional 4K Bayer Sensor 4K grid Photosites&arrayed&on&45adegree&diagonals&allow&to&lower&the&aliasing&issues& 8K grid 4K grid Essential features of a digital workflow Digital shooting Red digital cameras (One, MX, Epic) - 3 ways of Debayering after shoot. This features can be applied to all cameras using bayer pattern Red Code Raw RED EPIC CF Cards Red Drives Debayering Conform Edit Grading Print to film Lab Release print Red Code Raw RED EPIC CF Cards Red Drives Conform Edit Debayering Grading Print to film Lab Release print Red Code Raw RED EPIC CF Cards Red Drives Conform Edit Debayering Grading Print to film Lab Release print 15&

16 Workflow: TV commercials workflow with the Red Epic Epic Shoot Real time debayering Video Assist R & D Creation of customized LUT s & Look ScratchLab Debayering with metadata Postproduction SAN Conform Back up SAN-Sync Quantum LTO IV drives DPX files 2.5K or 5K 10 bits log or 16 bits fp Film Film Screening Screening EPIC (Red Digital) Files Recording OnLine postproduction Zürich Switzerland GRADING FOR BROADCASTING Editing Dit Monitor RAW RAW + RAW + dailies RAID 5 dailies Eternal rugged RAID 0 drive Dailies DN or ProRes with Rec 709 preview LUT VFX Titles Grading for TV Re-grading in Rec 709 (Lut w / Gamma) Broadcasting Blu-ray BROADCAST MASTER Legal Range Fulll Range Internet Red Epic camera workflow Feature film Kodak Cinelabs Romania Shoot Kodak Cinelabs Postproduction Film Screening Epic Video Assist R & D Creation of customized LUT s & Look Control of Dailies 24 LCD Cine-Tall DLP projector Transfer to film Real time debayering Real time debayering DCP Digital Screening Dit Monitor RAW Ingest RAW Conforming (EDL, XML, AAF) Color management DCDM Real time debayering RAW RAID 5 RAW + dailies RAID 0 RAW + dailies Eternal rugged drive XSERVE (Ingest station) SAN DSM Clipster Finishing & mastering The&End& Adobe Production Premium Titles & credits Broadcasting Editing EDL XML / AAF LUT & Look SAN-Sync 10 Quantum LTO IV drives Back up Grading Baselight / Truelight network Blu-ray Internet 16&

17 Workflow: TV commercials - Workflow with the Arri Alea Alea Shoot Video Assist R & D Creation of customized LUT s & Look Postproduction SAN Conform Back up SAN-Sync Quantum LTO IV drives DPX files, or 2.8K 10 bits log or 16 bits fp Film ALEXA Screening (Arri Digital) SS Recording OnLine postproduction Zürich Switzerland GRADING FOR BROADCASTING Editing Dit Monitor RAW RAW + RAW + dailies RAID 5 dailies Eternal rugged RAID 0 drive Dailies DN or ProRes with Rec 709 preview LUT VFX Titles Grading for TV Re-grading in Rec 709 (Lut w / Gamma) Broadcasting Blu-ray BROADCAST MASTER Legal Range Fulll Range Internet Previsualization With new cameras using log curves, it is impossible to show to producers and directors 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 color of final destination (eample: 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 Grading 17&

18 Tests Rental 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 Grading Digital&dailies&checks& Digital shoot on file Eample SS card Digital shoot Check Check Two types of check Data check Means: Checksum, good migration >> Quality check Means: Technical control, focus, eposure, etc. Need of reference monitor or DCI / ISO projection 18&

19 SHOOT Sensor&types POST-PRODUCTION ARRIRAW Alea XT ARRIRAW Internal real time debayering XR Capture Drive Internal Role of Luts Luts DeBayering Color Space Contrast Encoding Image reconstruction RGB Monitor. Z& editing Luts Recording Eternal Luts Monitoring Previsualization Luts Confo / Grading Sensor&types SHOOT POST-PRODUCTION ARRIRAW Alea XT Same&image&&&&&&&&& all&along&the& <<<<& workflow& Monitor. editing Recording Eternal Monitoring Previsualization Confo / Grading 19&

20 SHOOT Sensor&types POST-PRODUCTION F55 + AXS-R5 Internal real time debayering SONY RAW Onboard Role of Luts Luts DeBayering Color Space Contrast Encoding Image reconstruction RGB Monitor. editing Luts Eternal Luts Monitoring Previsualization Luts Confo / Grading SHOOT Sensor&types POST-PRODUCTION F55 + AXS-R5 Same&image&&&&&&&&& all&along&the& workflow& Monitor. editing Eternal Monitoring Previsualization Confo / Grading 20&

21 Sensor&types SHOOT POST-PRODUCTION Red Epic Internal real time debayering REDCODE RAW Role of Luts Luts DeBayering Color Space Contrast Encoding Image reconstruction RGB Z& Monitor. editing Recording Luts Monitoring Previsualization Luts Confo / Grading Sensor&types SHOOT POST-PRODUCTION Red Epic Not&the&same& image&all&along& the&workflow& But&camera&has& the&advantage&of& a&smaller&size!& Monitor. editing Recording Monitoring Previsualization Confo / Grading 21&

22 Recording options Sony F55 + AXS-R5 Option board CBKZ-55PD ProRes & DN Version 5.0 Dec 2014 Eternal from AXS-R bit 4:2:2 RECORDING + MONITORING Closer to RAW demozaicing SLog 2 -SDI Access Memory Card AXS-512 S24 AXS-R5 Onboard RAW Recorder RAW Internal 4K 17:9 17:9 Onboard bit Lin 4K RAW bit Lin RAW : No Crop factor, no telephoto conversion, need CBK-55F Optical Filter to reduce aliasing Real-time 4K output Eternal Live output MI Terminal 1 MON OUT F55 + Recorder ProRes - 12-bit 4:4:4: ProRes - 10-bit 4:2:2 HQ ProRes - 10-bit 4:2: Dn 220/185/ bit 4:2: Dn 145/120/115 8-bit 4:2:2 Up to 4K or QF 4 REC OUT Option board CBKZ-55PD 4K 17: XAVC 4K 10-bit 4:2:2 4096/ bit 4:2:0 4K or QF MONITORING 4096/ K/QF 10-bit 4:4:4 Up to 30p 10-bit 4:2:2 Over 30p PRODUCTION + MONITORING Real-time 4K live production output Each Channel 10-bit 4:4:4 Up to 30p 10-bit 4:2:2 Over 30p Configurable 4 3G-SDI or 2 -SDI Outputs 2 -SDI Monitor Up to Outputs 4K or QF SS PRO+ QA<$ SS-1 SS PRO QA<$ MPEG4 SStP SR FILES QF 17: XAVC QF 10-bit 4:2: XAVC 10-bit 4:2: XAVC 10-bit 4:2: SR SStP - 10-bit 4:4: SR SStP - 10-bit 4:2: MPEG2 8-bit 4:2: MPEG2 8-bit 4:2:2

23 Recording options Sony F55 + AXS-R5 Eternal from AXS-R bit 4:2:2 RECORDING + MONITORING Closer to RAW demozaicing SLog 2 -SDI NO 2 ANAMORPHIC Access Memory Card AXS-512 S24 AXS-R5 Onboard RAW Recorder Option board CBKZ-55PD RAW ProRes & DN Internal 4K 17:9 17:9 Onboard Version 5.0 Dec 2014 FPS range comparison p 1-60p 2160 S&Q 16-bit Lin 4K RAW p 1-240p bit S&Q Lin RAW : No Crop factor, no telephoto conversion, need CBK-55F Optical Filter to reduce aliasing Real-time 4K output Eternal Live output MI Terminal 1 MON OUT F55 + Recorder / / 25 ProRes / 29.97p - 12-bit 4:4:4: / / 25 / ProRes /50-10-bit 4:2:2 HQ ,94p /59,94i ProRes - 10-bit 4:2: /25/29.97p 1080 Dn 220/185/ bit 4:2:2 NO 24P /59,94i 1080 Dn 145/120/115 8-bit 4:2:2 Up to 4K or QF 4 REC OUT Option board CBKZ-55PD 4K 17: p p XAVC S&Q 4K 10-bit 4:2:2 Fps range: Up to 30 fps 4096/ bit 4:2:0 4K or QF MONITORING Fps range: Up to 60 fps 4096/ K/QF 10-bit 4:4:4 Up to 30p 10-bit 4:2:2 Over 30p PRODUCTION + MONITORING Real-time 4K live production output Each Channel 10-bit 4:4:4 Up to 30p 10-bit 4:2:2 Over 30p Configurable 4 3G-SDI or 2 -SDI Outputs 2 -SDI Monitor Up to Outputs 4K or QF SS PRO+ QA<$ SS-1 SS PRO QA<$ MPEG4 SStP SR FILES QF 17: p p XAVC S&Q QF 10-bit 4:2: p p XAVC S&Q 10-bit 4:2: p p XAVC S&Q 10-bit 4:2: Up 1080 to 30 SR fps SStP - 10-bit 4:4: Up 1080 to 30 SR fps SStP - 10-bit 4:2: MPEG2 8-bit 4:2: / 25 / / 30p 60p - 50/59.97i p 720 Up MPEG2 to 60p 8-bit 4:2:2

24 Recording options Sony F5 + AXS-R5 Eternal from AXS-R bit 4:2:2 RECORDING + MONITORING Closer to RAW demozaicing SLog 2 -SDI Access Memory Card AXS-512 S24 AXS-R5 Onboard RAW Recorder RAW Internal 4K 17:9 17:9 Onboard Version 5.0 Dec bit Lin 4K RAW bit Lin RAW : No Crop factor, no telephoto conversion, need CBK-55F Optical Filter to reduce aliasing Real-time 4K output Eternal Live output MI Terminal 1 MON OUT F5 + Recorder ProRes - 12-bit 4:4:4: ProRes - 10-bit 4:2:2 HQ ProRes - 10-bit 4:2: Dn 220/185/ bit 4:2: Dn 145/120/115 8-bit 4:2:2 Up to 4K or QF 4 REC OUT Option board CBKZ-55PD 4096/ bit 4:2:0 4K or QF MONITORING 4096/ K/QF 10-bit 4:4:4 Up to 30p 10-bit 4:2:2 Over 30p PRODUCTION + MONITORING Real-time 4K live production output Each Channel 10-bit 4:4:4 Up to 30p 10-bit 4:2:2 Over 30p Configurable 4 3G-SDI or 2 -SDI Outputs 2 -SDI Monitor Up to Outputs 4K or QF SS PRO+ QA<$ SS-1 SS PRO QA<$ MPEG4 SStP SR FILES 17: XAVC 10-bit 4:2: XAVC 10-bit 4:2: SR SStP - 10-bit 4:4: SR SStP - 10-bit 4:2: MPEG2 8-bit 4:2: MPEG2 8-bit 4:2:2

25 Recording options Sony F5 + AXS-R5 Eternal from AXS-R bit 4:2:2 RECORDING + MONITORING Closer to RAW demozaicing SLog 2 -SDI NO 2 ANAMORPHIC Access Memory Card AXS-512 S24 AXS-R5 Onboard RAW Recorder RAW Internal 4K 17:9 17:9 Onboard Version 5.0 Dec 2014 FPS range comparison p 1-60p 2160 S&Q 16-bit Lin 4K RAW p 1-120p bit S&Q Lin RAW : No Crop factor, no telephoto conversion, need CBK-55F Optical Filter to reduce aliasing Real-time 4K output Eternal Live output MI Terminal 1 MON OUT F5 + Recorder / / 25 ProRes / 29.97p - 12-bit 4:4:4: / / 25 / ProRes /50-10-bit 4:2:2 HQ ,94p /59,94i ProRes - 10-bit 4:2: /25/29.97p 1080 Dn 220/185/ bit 4:2:2 NO 24P /59,94i 1080 Dn 145/120/115 8-bit 4:2:2 Up to 4K or QF 4 REC OUT Option board CBKZ-55PD Fps range: Up to 30 fps 4096/ bit 4:2:0 4K or QF MONITORING Fps range: Up to 60 fps 4096/ K/QF 10-bit 4:4:4 Up to 30p 10-bit 4:2:2 Over 30p PRODUCTION + MONITORING Real-time 4K live production output Each Channel 10-bit 4:4:4 Up to 30p 10-bit 4:2:2 Over 30p Configurable 4 3G-SDI or 2 -SDI Outputs 2 -SDI Monitor Up to Outputs 4K or QF SS PRO+ QA<$ SS-1 SS PRO QA<$ MPEG4 SStP SR FILES 17: p p XAVC S&Q 10-bit 4:2: p p XAVC S&Q 10-bit 4:2: Up 1080 to 30 SR fps SStP - 10-bit 4:4: Up 1080 to 30 SR fps SStP - 10-bit 4:2: / 25 / / 30p MPEG2 60p - 50/59.97/60i 8-bit 4:2: p 720 Up MPEG2 to 60p 8-bit 4:2:2

26 Recording options Alea XT Eternal Live output 1 or 2 MON OUT 2 REC OUT -SDI -SDI Uncompressed Clean image bit 4:2:2 YCbCr MONITORING Information overlay bit 4:4:4 RGB bit 4:2:2 YCbCr Sup 10.1 June 2014! ProRes - 12-bit 4:4:4:4 XQ ProRes - 12-bit 4:4:4: ProRes - 10-bit 4:2:2 HQ ProRes - 10-bit 4:2:2 Internal XR Capture Drive 14:9 ARRIRAW OPENGATE 4:3 ARRIRAW 2.8K Full 4:3 ARRIRAW 2.8K Crop bit uncompressed bit uncompressed bit uncompressed d ARRIRAW 2.8K bit uncompressed ProRes - 12-bit 4:4:4:4 XQ ProRes - 12-bit 4:4:4: ProRes - 10-bit 4:2:2 HQ ProRes - 10-bit 4:2:2 ALEXA XT ProRes - 12-bit 4:4:4:4 XQ ProRes - 12-bit 4:4:4: ProRes - 10-bit 4:2:2 HQ ProRes - 10-bit 4:2:2 XT ALEXA XT M ALEXA XT Plus ProRes - 12-bit 4:4:4:4 XQ ProRes - 12-bit 4:4:4: ProRes - 10-bit 4:2:2 HQ ProRes - 10-bit 4:2: ProRes - 12-bit 4:4:4:4 XQ ProRes - 12-bit 4:4:4:4 4: ProRes - 10-bit 4:2:2 HQ ProRes - 10-bit 4:2:2 ALEXA XT Studio SS PRO Card CFast 2.0 Card 4: ProRes - 12-bit 4:4:4:4 XQ ProRes - 12-bit 4:4:4: ProRes - 10-bit 4:2:2 HQ ProRes - 10-bit 4:2: Dn bit 4:4: Dn 220/185/ bit 4:2:2 with SS Pro or CFast 2,0 adapter Dn bit 4:4: Dn 220/185/ bit 4:2: Dn 145/120/115 8-bit 4:2: Dn 145/120/115 8-bit 4:2:2

27 Recording options Alea XT Eternal Live output 1 or 2 MON OUT 2 REC OUT -SDI -SDI Uncompressed Clean image bit 4:2:2 YCbCr MONITORING Information overlay bit 4:4:4 RGB bit 4:2:2 YCbCr Sup 10.1 June 2014! 0, fps ProRes - 12-bit 4:4:4:4 XQ 0, fps ProRes - 12-bit 4:4:4:4 0, fps ProRes - 10-bit 4:2:2 HQ 0, fps ProRes - 10-bit 4:2:2 0, fps ProRes - 12-bit 4:4:4:4 XQ 0, fps ProRes - 12-bit 4:4:4:4 0, fps ProRes - 10-bit 4:2:2 HQ 0, fps ProRes - 10-bit 4:2:2 Internal XR Capture Drive FPS range Comparison ALEXA XT w/ High Speed license XT ALEXA XT M ALEXA XT Plus 14:9 ARRIRAW OPENGATE 4:3 ARRIRAW 2.8K Full bit FPS range: uncompressed 0, :3 ARRIRAW 2.8K Crop bit FPS range: uncompressed 0,75-96 ARRIRAW 2.8K 2880 d bit FPS range: uncompressed 0, bit FPS range: uncompressed 0, , fps ProRes - 12-bit 4:4:4:4 XQ 0, fps ProRes - 12-bit 4:4:4:4 0, fps ProRes - 10-bit 4:2:2 HQ 0, fps ProRes - 10-bit 4:2:2 0, fps ProRes - 12-bit 4:4:4:4 XQ 0, fps ProRes - 12-bit 4:4:4:4 0, fps ProRes - 10-bit 4:2:2 HQ 0, fps ProRes - 10-bit 4:2:2 0, fps ProRes - 12-bit 4:4:4:4 XQ 0, fps ProRes - 12-bit 4:4:4:4 4:3 0, fps ProRes - 10-bit 4:2:2 HQ 0, fps ProRes - 10-bit 4:2: ALEXA XT Studio 60/120 GB 4: , fps ProRes - 12-bit 4:4:4:4 XQ 0, fps ProRes - 12-bit 4:4:4:4 0, fps ProRes - 10-bit 4:2:2 HQ 0, fps ProRes - 10-bit 4:2:2 CFast 2.0 Card with 0, fps Dn bit 4:4:4 0, fps Dn 220/185/ bit 4:2:2 0, fps Dn 145/120/115 8-bit 4:2: CFast 2,0 adapter , fps Dn bit 4:4:4 0, fps Dn 220/185/ bit 4:2:2 0, fps Dn 145/120/115 8-bit 4:2:2

28 Recording options Alea XT Eternal Live output 1 or 2 MON OUT 2 REC OUT -SDI -SDI Uncompressed Clean image bit 4:2:2 YCbCr MONITORING Information overlay bit 4:4:4 RGB bit 4:2:2 YCbCr Sup 10.1 June 2014! 0, fps ProRes - 12-bit 4:4:4:4 XQ 0, fps ProRes - 12-bit 4:4:4:4 0, fps ProRes - 10-bit 4:2:2 HQ , fps ProRes - 10-bit 4:2: , fps ProRes - 12-bit 4:4:4:4 XQ 0, fps ProRes - 12-bit 4:4:4:4 0, fps ProRes - 10-bit 4:2:2 HQ 0, fps ProRes - 10-bit 4:2:2 Internal XR Capture Drive FPS range Comparison ALEXA XT w/ High Speed license XT ALEXA XT M ALEXA XT Plus 14:9 ARRIRAW OPENGATE bit FPS range: uncompressed 0, :3 ARRIRAW 2.8K Full bit FPS range: uncompressed 0, :3 ARRIRAW 2.8K Crop bit FPS range: uncompressed 0,75-96 ARRIRAW 2.8K 2880 d bit FPS range: uncompressed 0, , fps ProRes - 12-bit 4:4:4:4 XQ 0, fps ProRes - 12-bit 4:4:4:4 0, fps ProRes - 10-bit 4:2:2 HQ 0, fps ProRes - 10-bit 4:2:2 0, fps ProRes - 12-bit 4:4:4:4 XQ 0, fps ProRes - 12-bit 4:4:4:4 0, fps ProRes - 10-bit 4:2:2 HQ 0, fps ProRes - 10-bit 4:2:2 0, fps ProRes - 12-bit 4:4:4:4 XQ 0, fps ProRes - 12-bit 4:4:4:4 0, fps ProRes - 10-bit 4:2:2 HQ 0, fps ProRes - 10-bit 4:2:2 4: ALEXA XT Studio 4: , fps ProRes - 12-bit 4:4:4:4 XQ 0, fps ProRes - 12-bit 4:4:4:4 0, fps ProRes - 10-bit 4:2:2 HQ 0, fps ProRes - 10-bit 4:2:2 0, fps Dn bit 4:4:4 0, fps Dn 220/185/ bit 4:2:2 0, fps Dn 145/120/115 8-bit 4:2: SS PRO /PRO+ 64/128GB Card with SS Pro adapter , fps Dn bit 4:4:4 0, fps Dn 220/185/ bit 4:2:2 0, fps Dn 145/120/115 8-bit 4:2:2

29 Recording options Alea XT Eternal Live output 1 or 2 MON OUT 2 REC OUT -SDI -SDI Uncompressed Clean image bit 4:2:2 YCbCr MONITORING Information overlay bit 4:4:4 RGB bit 4:2:2 YCbCr Sup 10.1 June 2014! 0, fps ProRes - 12-bit 4:4:4:4 XQ 0, fps ProRes - 12-bit 4:4:4:4 0, fps ProRes - 10-bit 4:2:2 HQ 0, fps ProRes - 10-bit 4:2:2 12-bit 4:4:4:4 XQ Not Applicable 0, fps ProRes - 12-bit 4:4:4:4 0, fps ProRes - 10-bit 4:2:2 HQ 0, fps ProRes - 10-bit 4:2:2 Internal XR Capture Drive FPS range Comparison ALEXA XT w/ High Speed license XT ALEXA XT M ALEXA XT Plus 14:9 ARRIRAW OPENGATE bit FPS range: uncompressed 0, :3 ARRIRAW 2.8K Full bit FPS range: uncompressed 0, :3 ARRIRAW 2.8K Crop bit FPS range: uncompressed 0,75-96 ARRIRAW 2.8K 2880 d bit FPS range: uncompressed 0, , fps ProRes - 12-bit 4:4:4:4 XQ 0, fps ProRes - 12-bit 4:4:4:4 0, fps ProRes - 10-bit 4:2:2 HQ 0, fps ProRes - 10-bit 4:2:2 0, fps ProRes - 12-bit 4:4:4:4 XQ 0, fps ProRes - 12-bit 4:4:4:4 0, fps ProRes - 10-bit 4:2:2 HQ 0, fps ProRes - 10-bit 4:2:2 12-bit 4:4:4:4 XQ Not Applicable 0, fps ProRes - 12-bit 4:4:4:4 0, fps ProRes - 10-bit 4:2:2 HQ 0, fps ProRes - 10-bit 4:2:2 4: ALEXA XT Studio 4: , fps ProRes - 12-bit 4:4:4:4 XQ 0, fps ProRes - 12-bit 4:4:4:4 0, fps ProRes - 10-bit 4:2:2 HQ 0, fps ProRes - 10-bit 4:2:2 0, fps Dn bit 4:4:4 0, fps Dn 220/185/ bit 4:2:2 0, fps Dn 145/120/115 8-bit 4:2: GB SS Pro Card with SS Pro adapter , fps Dn bit 4:4:4 0, fps Dn 220/185/ bit 4:2:2 0, fps Dn 145/120/115 8-bit 4:2:2

30 Recording options Alea XT Eternal Live output 1 or 2 MON OUT 2 REC OUT -SDI -SDI Uncompressed Clean image bit 4:2:2 YCbCr MONITORING Information overlay bit 4:4:4 RGB bit 4:2:2 YCbCr Aug 2014! ProRes - 12-bit 4:4:4: ProRes - 10-bit 4:2:2 HQ ProRes - 10-bit 4:2:2 Internal ProRes - 12-bit 4:4:4:4 XQ XR Capture Drive 14:9 ARRIRAW OPENGATE 4:3 ARRIRAW 2.8K Full 4:3 ARRIRAW 2.8K Crop bit uncompressed bit uncompressed bit uncompressed ARRIRAW 2.8K bit uncompressed ProRes - 12-bit 4:4:4:4 XQ ProRes - 12-bit 4:4:4: ProRes - 10-bit 4:2:2 HQ ProRes - 10-bit 4:2:2 ALEXA XT ProRes - 12-bit 4:4:4:4 XQ ProRes - 12-bit 4:4:4: ProRes - 10-bit 4:2:2 HQ ProRes - 10-bit 4:2:2 XT ALEXA XT M ALEXA XT Plus ProRes - 12-bit 4:4:4:4 XQ ProRes - 12-bit 4:4:4: ProRes - 10-bit 4:2:2 HQ ProRes - 10-bit 4:2: ProRes - 12-bit 4:4:4:4 XQ ProRes - 12-bit 4:4:4:4 4: ProRes - 10-bit 4:2:2 HQ ProRes - 10-bit 4:2: Dn bit 4:4: Dn 220/185/ bit 4:2: Dn 145/120/115 8-bit 4:2:2 ALEXA XT Studio SS PRO Card CFast 2.0 Card with SS Pro or CFast 2,0 adapter 4:3 4:3 - REAL 2 ANAMORPHIC ProRes - 12-bit 4:4:4:4 XQ ProRes - 12-bit 4:4:4: ProRes - 10-bit 4:2:2 HQ ProRes - 10-bit 4:2: Dn bit 4:4: Dn 220/185/ bit 4:2: Dn 145/120/115 8-bit 4:2:2