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 Japanese translation goes here Cameras are getting simpler, not more complex Processing is being off-loaded to the cloud

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 Japanese translation goes here A minimalist approach supported by processing power in the rest of the system

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

5 Requirements Imager 8k Bayer pattern High dynamic range (How much detail do we want?) 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 10BaseT or Fiberchannel Control and Opportunistic download via n wireless Local monitoring via HD-SDI and HDMI HD-SDI 444 and 422 Local storage module CF card SSD module Japanese translation goes here

6 Requirements (cont d) 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 Configurable for untethered operation Modular construction Customer only installs modules they need Weight 2.5kg body only Xkg shooting configuration w/o lens Power options Battery pack DC power supply Japanese translation goes here

7 The Camera System Remote Control Module Monitors WiFi or Bluetooth SAN Base Station DP Interface Fiber Channel or 10GigE Direct Attach Sync generator HD-SDI Flash memory Realtime Base Station

8 Required System Components DP interface Measure and control exposure Manage color through LUTs Remote control module Measure and control exposure Manage color through LUTs Japanese translation goes here Monitor camera and signal status and levels Acquire and manage metadata

9 QLogic QLE Network adapter - PCI Express x8 Dual Port 10 Gigabit Ethernet Qlogic 8Gb PCI-E (X4) Dual Port Fiber Channel Host Bus Adapter Network Interfaces 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 Don t contend for bandwidth with other traffic Japanese translation goes here Fiberchannel Write directly to storage US$1, US$1,750.99

10 The competition - 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-2 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. Japanese translation Peter Jackson on purchasing 30 Red Epics for The Hobbit

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