Film and Television Production Technology. Sony Pictures Technologies
|
|
- Solomon Rich
- 6 years ago
- Views:
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
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
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
Next Generation Camera. Getting ahead of the curve
Next Generation Camera Getting ahead of the curve 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
More informationNext Generation Camera. Getting ahead of the curve
Next Generation Camera Getting ahead of the curve 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
More informationSPE Dailies Solutions. SPE Tech / PMC / Colorworks / 24P Dailies 6/07/11
SPE Dailies Solutions SPE Tech / PMC / Colorworks / 24P Dailies 6/07/11 1 Summary of topics covered SPE Dailies Solution Objectives Vendor Selection Criteria Evaluation process List of all Dailies solutions
More informationTechnical Focus. DIGITAL PRODUCTION CHALLENGE 2011 Thursday 24 to Saturday 26 November 2011, Oslo
DIGITAL PRODUCTION CHALLENGE 2011 Thursday 24 to Saturday 26 November 2011, Oslo Technical Focus By Philippe Ros Director of photography, AFC Digital Imaging Supervisor www.philipperos.com Technical Focus
More informationALEXA Dailies using Resolve 9
ALEXA Dailies using Resolve 9 WORKFLOW GUIDELINE Digital Workflow Solutions, 19 October 2012 Version History Version Author Change Note 2010-12-15 Martin First document 2012_03_03 Martin Update for Resolve
More information4k/4K ist nicht UHDTV. Stefan Hofmann Panasonic Marketing Europe/PSCEU/ProAV
4k/4K ist nicht UHDTV Stefan Hofmann Panasonic Marketing Europe/PSCEU/ProAV HD Camera and 4K Camera HDTV Camera 4K Camera ITU R BT.709 5 Color Gamut ITU R BT.2020 4K Creation Cameras 1920 x 1080 Pixel
More informationCinemaDNG RAW Workflow for Blackmagic Cameras
CinemaDNG RAW Workflow for Blackmagic Cameras Blackmagic Cameras are capable of shooting to two types of Dynamic Range : Video and Film. Each option can be recorded in Apple ProRes 422 or CinemaDNG RAW
More informationALEXA XR Module Workflows
ALEXA XR Module Workflows WHITE PAPER 6 March 2013 Introduction In 2013, ARRI introduced the ALEXA XR Module which, for the first time, allows uncompressed in-camera ARRIRAW recording. This not only makes
More informationHere are the answers to the most frequently asked questions about Matrox MXO2.
Matrox MXO2 Revealed Here are the answers to the most frequently asked questions about Matrox MXO2. How does Matrox MXO2 connect to my Mac? What inputs does Matrox MXO2 have? Does Matrox MXO2 support ProRes
More informationNetflix Originals: Production and Post-Production Requirements v2.1
Netflix Originals: Production and Post-Production Requirements v2.1 Scope Provide a set of technical requirements for production and post-production workflows to ensure that a high level of quality is
More informationRED, Raw and Beyond HD
RED, Raw and Beyond HD Digital Cinema and the Digital Negative Resolution Colour Space Bit Depth RAW format Exposure Histograms Workflow options Mike Jones Head of Technological Arts International Film
More informationAvid Xpress Pro for the Independent Filmmaker. Avid Post Production
Avid Xpress Pro for the Independent Filmmaker Avid Post Production Table of Contents Introduction.................................................................................1 Production...................................................................................1
More informationINTRODUCTION... 3 OVERVIEW... 4 DAILIES CREATION STEPS... 5 ADDITIONAL METADATA USING ALE ONE STEPALE RE-LINK ADDITIONAL RESOURCES...
TABLE OF CONTENTS INTRODUCTION... 3 OVERVIEW... 4 DAILIES CREATION STEPS... 5 ADDITIONAL METADATA USING ALE... 13 ONE STEPALE RE-LINK... 15 ADDITIONAL RESOURCES... 16 APPENDIX... 17 INTRODUCTION This guide
More informationSONY FS RAW SETUP GUIDE
SONY FS RAW SETUP GUIDE 4K RAW up to 60p 4K RAW burst up to 120p 4K RAW to 4K Apple ProRes 422 (HQ) 2K RAW up to 240p 4K RAW to HD Apple ProRes 422(HQ) up to 60p 1080p video to Apple ProRes 422(HQ) up
More informationXAVCTM. Specification Overview. Revision 2 Sep. 13 th, 2013 First Edition Nov. 1 st, 2012
XAVCTM Specification Overview Revision 2 Sep. 13 th, 2013 First Edition Nov. 1 st, 2012 http://www.xavc-info.org/ 1 1) Introduction The H.264/MPEG-4 Part-10 Advanced Video Coding technology is predominantly
More informationDCIMastering FOCUS SHEET. Marquise Technologies 2012 Page 1
DCIMastering FOCUS SHEET Marquise Technologies 2012 Page 1 M I S T DCI MASTERING M I S T DCI mastering features are the only efficient alternative for creating an accurate and compliant DCP. The DCP packaging
More informationCinemaDNG Workflow. Using the CinemaDNG File Format in Cinema Workflows. Goals and Benefits TECHNICAL PAPER
a TECHNICAL PAPER Using the CinemaDNG File Format in Cinema Workflows TABLE OF CONTENTS 1 Goals and Benefits 3 Workflow Schematic 4 Workflow Steps 8 Using Metadata with CinemaDNG 9 Reference Documentation
More informationContinuous Shutter for variables Preset Rotary Shutter Angles from 11.2 to including 144 and 172.8
CMOS E Shutter Distortion Mechanical Rotary Shutter Continuous Shutter for variables Preset Rotary Shutter Angles from 11.2 to 180.0 including 144 and 172.8 Eliminates more filtering front of lens Eliminates
More informationBlack Magic Cinema Camera 2.5k - Guide
Black Magic Cinema Camera 2.5k - Guide The Black Magic Cinema Camera (BMCC) offers filmmakers the possibility of shooting highresolution images, with a wide dynamic range in an uncompressed RAW image.
More informationSetup Guide Odyssey7Q + FS700 Updated 18-Aug-2014 Firmware Release v
Setup Guide Odyssey7Q + FS700 Updated 18-Aug-2014 Firmware Release v2.11.110 4K RAW up to 60p 4K RAW burst up to 120p 2K RAW up to 240p 4K RAW to Apple ProRes 422(HQ) up to 60p 1080p video to Apple ProRes
More informationSPE Dailies Project. SPE Tech / PMC / Colorworks / 24P Dailies 3/27/11
SPE Dailies Project SPE Tech / PMC / Colorworks / 24P Dailies 3/27/11 Summary of topics covered SPE Dailies Solution Objectives Vendor Selection Criteria Evaluation process List of all Dailies solutions
More informationHow Archion and Blackmagic Resolve Create the Ultimate DPX Workflows
How Archion and Blackmagic Resolve Create the Ultimate DPX Workflows The high processing and storage demands of 4K video require higher-than-ever speed and storage capacity. When it comes to collaborative
More informationOdyssey7Q Odyssey7Q+ ARRIRAW (16:9 or 4:3) 23.98/24/25/30/48/59.98/60. Updated February 23, 2015 Firmware Release v
ARRIRAW SETUP GUIDE Odyssey7Q Odyssey7Q+ ARRIRAW (16:9 or 4:3) 23.98/24/25/30/48/59.98/60 Updated February 23, 2015 Firmware Release v5.10.100 ProRes 422 (HQ) ProRes 422 ProRes 422 (LT) ODYSSEY + ALEXA
More informationDeckLink SDI. DeckLink SDI. No other capture cards have more video and audio connections than DeckLink!
DeckLink SDI SD/HD video card with SDI, HDMI and analog connections No other capture cards have more video and audio connections than DeckLink! Now it s easy to connect and to capture and playback SDI,
More informationSONY FS700 SETUP GUIDE
SONY FS700 SETUP GUIDE 4K RAW up to 60p 4K RAW burst up to 120p 4K RAW to 4K Apple ProRes up to 30p 4K RAW to UHD Apple ProRes up to 30p 2K RAW up to 240p 4K RAW to 2K Apple ProRes up to 60p 4K RAW to
More informationF65RAW Viewer Operation Guide
F65RAW Viewer Operation Guide V0.9 Beta Dec 22, 2011 2011 Sony Corporation F65RAW Viewer Operation Guide Dec-22, 2011 1 Contents 1. Overview... 3 2. Hardware Requirements and Installation... 4 2.1. Requirements...
More informationALEXA Dailies using Resolve
Introduction ALEXA Dailies using Resolve ALEXA Workflow Guidelines 001 Shooting ProRes logc files with the Alexa camera usually requires dailies processed in Rec 709 video color space. Blackmagic s Resolve
More informationAvid HD Workflows. Avid Postproduction
Avid HD Workflows Avid Postproduction Table of Contents Introduction................................................................................. 1 Avid and HD.................................................................................
More informationALEXA. MXF/DNxHD with SUP 9.0 WHITE PAPER. Date: 4 December 2013
ALEXA MXF/DNxHD with SUP 9.0 WHITE PAPER Date: 4 December 2013 1. Version History/Last Changes Version Author Change Note 2012-03-06 Temmler Changes to Consolidate step 4, added Chapter 5 Avid DS. 2012-04-05
More informationALEXA & AMIRA Dailies using Resolve 15.2
ALEXA & AMIRA Dailies using Resolve 15.2 WORKFLOW GUIDELINE Date: 16 November 2018 Version History Version Author Change Note 2010-12-15 Martin First document 2012_03_03 Martin Update for Resolve 8.2 and
More informationCamera Packages. RED Epic - Basic Package. RED Epic - Full Package
Camera Packages RED Epic - Basic Package RED Epic Camera Side SSD Module Sliding Top Handle Adjustable RED Battery Plate AC Power Adapter 18-50mm RED Zoom Lens RED Pro 5.0 Touchscreen LCD RED Epic Side
More informationSPE Dailies Project. SPE Tech / PMC / Colorworks / 24P Dailies 3/27/11
SPE Dailies Project SPE Tech / PMC / Colorworks / 24P Dailies 3/27/11 1 Summary of topics covered SPE Dailies Solution Objectives Vendor Selection Criteria Evaluation process List of all Dailies solutions
More informationCANON C500 SETUP GUIDE. Odyssey7Q Odyssey7Q+ 4K RAW 2K Half RAW 120 QHD RAW 2K 12-BIT DPX HD 12-BIT DPX
CANON C500 SETUP GUIDE Odyssey7Q Odyssey7Q+ 4K RAW 2K Half RAW 120 QHD RAW 2K 12-BIT DPX HD 12-BIT DPX 2K 10-BIT DPX HD 10-BIT DPX HD 422 DPX HD Apple ProRes 422 (HQ) 2K Apple ProRes 422 (HQ) Updated December
More informationTS5 FASTEC. Cine DATA SHEET
FASTEC FASTER THAN VISION Cine DATA SHEET May, 2018 TS5 In the Studio, on the shoot, in the field...high-speed imaging in the palm of your hand! Its superior image quality and dynamic range make it a great
More informationALEXA XR Module Workflows
ALEXA XR Module Workflows WHITE PAPER 27 March 2013 Introduction Most of the big Hollywood features that were shot in ARRIRAW were recorded on Codex recorders. The technology used by Codex, its reliability,
More informationFinal Cut Studio. Native Long-GOP Editing. Brett R. Halle Sr. Director, Pro Video Applications Engineering Apple Computer, Inc.
Final Cut Studio Native Long-GOP Editing Brett R. Halle Sr. Director, Pro Video Applications Engineering Apple Computer, Inc. HPA Technology Retreat - February 24, 2006 Introduction NLE traditionally based
More informationBONES. PlayoutMaster. 1
BONES PlayoutMaster www.dft-film.com 1 BONES PlayoutMaster DPX to File / Video Conversion Tool BONES PlayoutMaster is a new software tool from DFT Digital Film Technology that generates file, video and
More informationThe Case for Script-based Collaboration
The Case for Script-based Collaboration Enable a true Digital Workflow LIMECRAFT 001. Executive Summary Limecraft Workflows for High-end Video Production End-to-end solution Television, Film, Corporate
More informationR 118 TIERING OF CAMERAS FOR USE IN TELEVISION PRODUCTION
R 118 TIERING OF CAMERAS FOR USE IN TELEVISION PRODUCTION VERSION 2 Geneva April 2017 Page intentionally left blank. This document is paginated for two sided printing EBU R 118 Tiering of Cameras for use
More informationThis means that Avid users now have the same simple workflow available to them as users of Apple Final Cut Pro:
Using AJA with Avid NLEs Opening up the Avid workflow to read native ProRes QuickTime files directly through the Ki Pro gives our customers access to new ways of working that increase productivity and
More informationMXF/DNxHD with ALEXA SUP 6.0
MXF/DNxHD with ALEXA SUP 6.0 WHITE PAPER Digital Workflow Solutions, 5 April 2012 Version History Version Author Change Note 2011-12-20 Grafwallner First document draft 2012-02-15 Temmler AMA Volume Plugin
More informationCanon C500 RAW SETUP GUIDE. 2K 10-BIT DPX HD 10-BIT DPX HD 422 DPX Apple ProRes 422 (HQ) 4K RAW QHD RAW 2K 12-BIT DPX HD 12-BIT DPX
Canon C500 RAW SETUP GUIDE 4K RAW QHD RAW 2K 12-BIT DPX HD 12-BIT DPX 2K 10-BIT DPX HD 10-BIT DPX HD 422 DPX Apple ProRes 422 (HQ) Updated October 29, 2014 Firmware Release v3.10.100 FS RAW RECORDING CAPABILITIES
More informationBlackmagic Micro Studio Camera 4K
Blackmagic Micro Studio Camera 4K The world s smallest Ultra HD live studio camera! The Blackmagic Micro Studio Camera 4K is an incredibly tiny Ultra talkback, tally indicator, PTZ control output, built
More informationPublication Summer 2014
Publication Summer 2014 Professional Camcorder World TM 2014 is the eigth GLOBAL survey of professional camcorders and is seen as the most comprehensive, census-style syndicated market research survey
More informationNew Features in Final Cut Pro 6
New Features in Final Cut Pro 6 This is an overview of the new features in Final Cut Pro 6. For more information about these features and their use, see the Final Cut Pro 6 User Manual. Open Format Timeline
More informationUsing SNS EVO Shared Storage with Adobe Premiere Pro CC
STORAGE CONFIGURATION GUIDE Using SNS EVO Shared Storage with Adobe Premiere Pro CC Contents 3 Shared Storage Architecture / Workflow Overview 4 The EVO Workflow 4... ShareBrowser built-in MAM 4... Slingshot
More informationProducts Presentation 2015
Products Presentation 2015 The Streambox Advantage Award Winning IP Video Codec ACTL3-AP and video transport LDMP Advanced compression technology for higher-quality HD/SD video contribution. Exclusive
More informationApple ProRes RAW. White Paper April 2018
Apple ProRes RAW White Paper April 2018 Contents Introduction 3 About Raw Video 4 Data Rate 6 Performance 8 Using ProRes RAW in Final Cut Pro 12 Using Log Conversion with Built-in Camera LUTs 13 Using
More informationStore Register Your Product Premium Services Repair Support Community. XAVC Sonys implementation of Advanced Video Coding :31 PM
Store Register Your Product Premium Services Repair Support Community F5 & F55 Board Register Sign In Help Sony Community Large Sensor Cameras F5 & F55 XAVC Sonys implementation of Advanced Video Coding
More informationSuper 35mm Format HDTV Camera System
Super 35mm Format HDTV Camera System Super 35 Format CMOS Sensor High Definition Camera HDK-97ARRI The HDK-97ARRI is a high-end broadcast system camera equipped with a Super 35mm format CMOS sensor and
More informationBlackmagic Studio Camera
Blackmagic Studio Camera The world s smallest broadcast camera with the world s largest viewfinder! Introducing Blackmagic Studio Camera, the world s most advanced broadcast camera for live production!
More informationFLEXXITY. Playout. File & Video Mastering Software
FLEXXITY TM Playout File & Video Mastering Software FLEXXITY Playout File and Video Conversion & Mastering FLEXXITY Playout is a transcoding and mastering application in the new FLEXXITY specialized software
More informationCineForm First Light v1.2
CineForm First Light v1.2 Introduction to First Light: CineForm First Light is a simple, yet powerful application that allows you to fully utilize CineForm's Active Metadata technology for non-destructive
More information576 E USA
PIX 260i Production Video Recorder Video Audio Network Control The rack-mounted PIX 260i is a file-based video recorder/player that seamlessly replaces tape-based video decks in production and post-production
More informationHDV Editing Made Simple (And Fast) Convergent Design
HDV Editing Made Simple (And Fast) Convergent Design www.convergent-design.com HDV Editing Made Simple (And Fast) Two Simple Rules 1. Convert HDV I-Frame CODEC 2. Keep it All Digital Rule #1 Convert HDV
More informationBest Canon Lens For Hd Video 7d General Purpose
Best Canon Lens For Hd Video 7d General Purpose It is good for video AF in later Canon Rebel models and is considerably wider than the 50mm lens above, which makes it a great little all purpose lens to
More informationT2 INTELLIGENT DIGITAL DISK RECORDERS
T2 INTELLIGENT DIGITAL DISK RECORDERS BUSINESS CASE Three decks for the price of one 1 record and 2 playout channels work independently and simultaneously. Versatile platform for ingest, transmission,
More informationARRIRAW SETUP GUIDE. ARRIRAW (16:9 or 4:3) 23.98/24/25/30/48/59.98/60. Updated November 17, 2014 Firmware Release v
ARRIRAW SETUP GUIDE ARRIRAW (16:9 or 4:3) 23.98/24/25/30/48/59.98/60 Updated November 17, 2014 Firmware Release v3.10.100 ODYSSEY7Q + ALEXA AT A GLANCE HD 10-Bit Format Frame Rate Data Bit Single or Frame
More informationBlackmagic Production Camera 4K EF
Blackmagic Production Camera 4K EF Technical Specifications Description The Blackmagic Production Camera 4K is a complete self contained solution for shooting extremely high resolution Ultra HD 4K content!
More informationSetup Guide Odyssey7Q + ALEXA Updated 25 JUL 2014 Firmware Release v
Setup Guide Odyssey7Q + ALEXA Updated 25 JUL 2014 Firmware Release v2.10.141 ARRIRAW (16:9 or 4:3) 23.98/24/25/30/48/59.98/60 Variframe: Fast Motion (16:9 or 4:3) Variframe: Slow Motion (16:9 or 4:3) Odyssey7Q
More informationProMAX Cache-A Overview
ProMAX Cache-A Overview Cache-A Archive Appliances With the proliferation of tapeless workflows, came an amazing amount of data that not only needs to be backed up, but also moved and managed. This data
More informationBlackmagic URSA Mini 4.6K EF
Product Technical Specifications Blackmagic URSA Mini 4.6K EF The compact URSA Mini camera with EF lens mount, 4.6K Super 35 sensor and an incredible 15 stops of dynamic range, is lightweight and perfectly
More information10-bit HD over FireWire
E D I T 10-bit HD over FireWire B e c a u s e i t m a t t e r s. Introduction 10-bit HD over FireWire Io HD supports Apple s ProRes 422 codec in hardware, enabling true 10-bit video editing with a Mac
More informationDATA SHEET. Phantom Miro LAB-, LC- and R-Series Cameras
DATA SHEET For the most current version visit www.phantomhighspeed.com Subject to change Rev June 2016 Phantom Miro LAB-, LC- and R-Series Cameras Phantom Miro LAB-, LC- and R-Series Cameras Setup, capture,
More informationV2.1.1 Release Notes July 28, 2009
V2.1.1 Release Notes July 28, 2009 This Release Notes document describes the key product features, enhancements, bug fixes and known issues for hardware and software systems utilizing Pipeline, Pipeline
More informationR&S CLIPSTER Mastering excellence.
R&S CLIPSTER Mastering excellence. 5215.7639.32 01.02 www.rohde-schwarz.com/clipster Rohde-Schwarz_Clipster_fly_en_5215_7639_32_v0102.indd 3 09.11.18 16:09 R&S CLIPSTER the gold standard for mastering
More informationStreamingChurch.tv Equipment Recommendations
StreamingChurch.tv Equipment Recommendations Minimum Better Best Camera Almost Any Consumer Camcorder Analog, SD output $300 - $500 Canon VIXIA HF G20 $800 Vaddio Wallview 100 PTZ Camera System 3 Cameras
More informationP fn. Pomfort Metadata Workflow for Avid Media Composer. Overview. Table of Contents. White Paper May 2011
P fn Pomfort Metadata Workflow for Avid Media Composer White Paper May 2011 Overview Metadata support for Avid Media Composer was released May 2011 as part of the on-set media management solution Silverstack
More informationAdobe Premiere pro cs3 Using Adobe Premiere Pro with Sony XDCAM content
Adobe Premiere pro cs3 Using Adobe Premiere Pro with Sony XDCAM content Workflow Guide Adobe Premiere Pro CS3 software provides native support for Sony XDCAM cameras with no transcoding, real-time editing,
More informationDIGITAL MEDIA CAMCORDER DIGITAL MEDIA RECORDER GRASS VALLEY REV PRO DRIVES & REMOVABLE MEDIA
DIGITAL MEDIA CAMCORDER DIGITAL MEDIA RECORDER GRASS VALLEY REV PRO DRIVES & REMOVABLE MEDIA INTRODUCING THE INFINITY SERIES Grass Valley has taken a monumental leap in redefining our role as a technology
More informationDaVinci Resolve to AVID - How to make AVID Project and.mxf MediaFiles
DaVinci Resolve to AVID - How to make AVID Project and.mxf MediaFiles Use this workflow to transcode or convert Blackmagic Cinema DMG, XAVC, XAVC s, and XAVC HD footage shot with the Alexa MINI, Sony A7s,
More informationCANON C500 SETUP GUIDE
CANON C500 SETUP GUIDE Odyssey7Q Odyssey7Q+ 4K RAW 2K Half RAW 120 QHD RAW 2K 12-BIT DPX HD 12-BIT DPX 2K 10-BIT DPX HD 10-BIT DPX HD 422 DPX HD Apple ProRes 2K Apple ProRes Updated February 23, 2015 Firmware
More informationAdobe Premiere pro cs4 Using Adobe Premiere Pro with Sony XDCAM content
Adobe Premiere pro cs4 Using Adobe Premiere Pro with Sony XDCAM content Workflow Guide Adobe Premiere Pro CS4 software provides native support for Sony XDCAM, XDCAM EX, and XDCAM HD cameras and content
More informationCorus Acceptable Camera List Specifications for Original Productions. Issue Date: April 15, 2018
Corus Acceptable Camera List Specifications for Original Productions Issue Date: April 15, 2018 CONTENTS PURPOSE... 3 MINIMUM HD CAMERA REQUIREMENTS... 4 HIGH DEFINITION CAMERAS... 5 a) Category One Cameras...
More informationThe folder Icon allows you to create a folder for placing export settings for file management and organization.
EXPORT When the EXPORT tab is selected, on the right side is the Batch Monitor and on the left is the Export Settings. We will describe the Export Settings first, then the Batch Monitor. The number of
More informationCadrage Director s Viewfinder USER MANUAL
For ios & Android User Manual February 2018 Current App Versions: ios: 3.0.1 Android: 4.0 www.cadrage.at Table of contents GET STARTED QUICKLY 4 BASIC FUNCTIONALITY 6 Introduction 6 The Main View 6 Prime
More informationGenesis : The first complete 35mm Digital Cinematography System
Genesis : The first complete 35mm Digital Cinematography System GENESIS & Super35 16:9 film image size compared to 2/3" CCD image size 3 perf. 16:9 35 mm film camera apertur e 13.5mm (13.87mm) 2/3" CC
More informationTS5 DATA SHEET. In the Plant, in the Studio, in the Field...High-speed imaging in the palm of your hand!
DATA SHEET April, 2016 TS5 In the Plant, in the Studio, in the Field...High-speed imaging in the palm of your hand! An essential tool for the analysis of human and animal movement. Single cameras may be
More informationSony Pmw-ex3 Xdcam Ex Hd Camcorder Specs
Sony Pmw-ex3 Xdcam Ex Hd Camcorder Specs Widescreen Video Capture. Yes. Camcorder Media Type. Flash card. Optical Sensor Type. 3 Exmor CMOS. Optical Sensor Size. 1/2". Video Recording Modes. It uses the
More informationAPPLICATION NOTES EVS 3RD PARTY INTEGRATION: VIZ ARDOME. Corporate. North & Latin America. Asia & Pacific. Other regional offices.
EVS 3RD PARTY INTEGRATION: VIZ ARDOME Corporate North & Latin America Asia & Pacific Other regional offices Headquarters Headquarters Headquarters Available at +32 4 361 7000 +1 947 575 7811 +852 2914
More informationMaster Flow Project. for 4K File Base Workflow
F65RAW Workflow Master Flow Project for 4K File Base Workflow Project has Kicked Off!! Goal Launch file base workflow with F65RAW at F65/R4 release Sep/2011 LA /IBC Event Announce alliance partners to
More informationDevelopment in 4K Workflow Technical Guide
Development in 4K Workflow Technical Guide 4K Workflow Development To record 4K footage, an external recorder is required. Workflow varies depending upon the recorder used. Canon provides a RAW development
More informationCinedeck MCC. Multi-Channel Controller. USER GUIDE - Cinedeck MCC Version RX3G - ZX 20, 40, 45 - MX
Cinedeck MCC Multi-Channel Controller USER GUIDE - Cinedeck MCC Version 14.01.03.1 RX3G - ZX 20, 40, 45 - MX Contacting Cinedeck General Information: For non-support general inquiries, please contact us
More informationResearch White Paper WHP 141. Tapeless and paperless: automating the workflow in tv studio production BRITISH BROADCASTING CORPORATION.
Research White Paper WHP 141 September 2006 Tapeless and paperless: automating the workflow in tv studio production J. Fletcher, D.G. Kirby and S. Cunningham BRITISH BROADCASTING CORPORATION BBC Research
More informationCAMERAS & ACCESSORIES
CAMERAS & ACCESSORIES All our camera kits come with tripods, batteries and memory cards so you are ready to start shooting straight away! Sony PMW-F3 Camera & Lens Kit The PMW-F3 is equipped with an Exmor
More informationviaplatz 4K/8K and VPR
2017.8.TE-002 viaplatz 4K/8K and VPR - Multi-functional Video Production Hub - August 2017 NTT-TX Corp. 1 Trend of Video Production Workflow Evolution Demands in Video Production Diverse Requirements For
More informationGV STRATUS Newsroom Bundles. June 2016
Newsroom Bundles June 2016 APPLICATION NOTE NEWSROOM BUNDLES Newsroom Bundles from Grass Valley, a Belden Brand, bring the power of to smaller news operations. delivers the full resources of the newsroom
More informationQuantel Rio Rio Assist. V3.0 rev 1 New Feature List
Quantel Rio Rio Assist V3.0 rev 1 New Feature List Note: This is a major release and requires a database schema change. After installation the first run up will migrate the base, desk and dict folders
More informationMatrox MXO Product Guide
Table of Contents Table of Contents MXO for Mac Overview...3 Key features...3 Video output for the latest MacBook Pros and imacs...4 Ideal for native digital workflows...4 Inexpensive HD monitoring on
More informationLarson Studios Delivery Specifications April 2015
Larson Studios Delivery Specifications April 2015 Please follow these delivery specifications for audio content that WILL require an audio assembly upon turnover * DO NOT convert audio sample rate or bit-depth
More informationHANDS ON INFO. High Definition Gear Check (F900).
HANDS ON INFO High Definition Gear Check (F900). Insure the camera menu has been preset by the hire company to factory condition before performing the following checks. The check list is a guide only;
More informationUsing M-Link H.264 over BGAN Video delivery from Livewire Digital Ltd
Using M-Link H.264 over BGAN Video delivery from Livewire Digital Ltd Version 3 (Feb 2013) Whilst the above information has been prepared by Inmarsat in good faith, and all reasonable efforts have been
More informationLarson Studios Delivery Specifications April 2015
Larson Studios Delivery Specifications April 2015 Please follow these delivery specifications for audio content that WILL NOT require an audio assembly upon turnover If there are any questions, please
More informationMedia 100 Suite Version Release Notes. Boris FX - Media 100 is pleased to offer Media 100 Suite Version
MEDIA 100 A BUSINESS UNIT OF BORIS FX Media 100 Suite Version 2.0.1 Release Notes Boris FX - Media 100 is pleased to offer Media 100 Suite Version 2.0.1. This is an upgrade release from all previous versions
More informationManage shots with a scriptable timeline for a collaborative VFX workflow.
HIERO 1.0 Manage shots with a scriptable timeline for a collaborative VFX workflow. HIERO enables VFX artists to manage shots more effectively by conforming them into a timeline, playing back, and then
More informationWorking Workflows: Red and Beyond
Working Workflows: Red and Beyond New Formats and Deliverables Gary Adcock Studio 37 RIchard Harrington RHED Pixel Purpose A clear discussion of emerging formats and technology Discuss appropriate scenarios
More informationPhantom HD Gold. Phantom HD Gold. Datasheet. Mechanical Drawing. Sensor Spectral Response. {tab= Description} 1 / 9
Phantom HD Gold Datasheet Mechanical Drawing Sensor Spectral Response {tab= Description} 1 / 9 A camera specifically designed to address the demanding needs of the digital cinematographer - Second generation
More informationHDSLR Workflow. Jordan Oplinger Jimmy Shelton
HDSLR Workflow Jordan Oplinger Jimmy Shelton 1 Welcome to CinemaCake 2 Josh 3 CinemaCake: Employee Training An inside look into the CinemaCake Kitchen Pre-Shoot Checklists Equipment On-Site Production
More informationCollaborating Between Autodesk Visual Effects and Finishing Applications & Autodesk Lustre
Autodesk Inferno 2008 User s Guide v1: Essentials Autodesk Visual Effects, Finishing and Grading Collaborating Between Autodesk Visual Effects and Finishing Applications & Autodesk Lustre August 2009 2009
More informationPRODUCTION BACKBONE DAM TV PRODUCTION INGEST/DELIVERY PROCESS. Post files to PBB Storage Drop ALE into Hot Folder CONCEPTUAL ALE.
PRODUCTION BACKBONE TV PRODUCTION INGEST/DELIVERY INGEST / DELIVERY Post files to Drop into Files Files AV Proxy VFR Assets and Media Backbone Local PIX Workflow Initiated Parse File Request to Push files
More information