rgb hd a pixel is a pixel is a pixel… - or - how many pixels does it take to make a movie?
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RGB HD A Pixel is a Pixel is a Pixel… - or - How Many Pixels Does it Take to Make a Movie?. RICK HARDING Sony Electronics, Inc. Acquisition Choices: 35mm – 4:3 aspect ratio – 4096 x 3080 – 4K resolution RGB HD – 16:9 aspect ratio – 1920 x 1080 - 2K resolution Film is Better, Right! - PowerPoint PPT PresentationTRANSCRIPT
RGB HDA Pixel is a Pixel is a Pixel…
- or -
How Many Pixels Does it Take to Make a Movie?
RICK HARDING
Sony Electronics, Inc.
Acquisition Choices:
35mm – 4:3 aspect ratio – 4096 x 3080 – 4K resolution
RGB HD – 16:9 aspect ratio – 1920 x 1080 - 2K resolution
Film is Better, Right!
Well, ya, but……..
Enter the Digital Intermediate
“The Great Equalizer”
So What Does That Have To Do With Anything?
The D.I. - A Few Facts
Fact 1:
The processes that lead to industry wide acceptance of the Digital Intermediate, commonly employed 1828 horizontal samples when recording to Academy Aperture 35mm.
Fact 2:
•The industry has universally declared that printing negatives created from 2K files at these resolutions are superior to printing negatives created through conventional optical reduction methods.
Fact 3:
Displayed vertical pixel resolutions from spherical 35mm film elements in both 1.85 and 2.40 film exhibition will typically requires less than 1080 vertical lines when recording 1828 horizontal pixels.
12% wasted data
12% wasted data
24% of file data will
likely only be used for
archive
When shooting full aperture spherical 35mm – Full vertical sample will never be displayed in any distribution product.
A Look at the Numbers (4K 2K reduction for post)
+
The Numbers Applied to Scanning
+
The Numbers Applied to Scanning
+
1.33 Aperture
1.37 Aperture
Physical area reduction in Academy Aperture:
11.4% Horizontal - 14.2% vertical
The Numbers Applied to Recording
+
Common File Size
2048 x 1556
Commonly Recorded at 1806 x 1307
to2048 x 1493
The Numbers Applied to Recording
+Typically 1828 x 988 to 2048 x 1107
Displayed Pixels
1.85 Projector Matte
Academy Aperture
The Numbers Applied to 1.85 Exhibition
+ 1828 x 1556 to 2048 x 1556 interpolated Pixels
Derived from 2048 x 853 original samples
Full Aperture OCN Anamorphic Academy Aperture
The Numbers Applied to 2.40 Exhibition
Designed To Accommodate All Distribution Aspect Ratios
1.85 = 1920 x 1037
2.40 = 1920 x 800
1.33 = 1436 X 1080
1.78 – No Arbitrary Aspect Ratio
1)Given applied pixel count to the final film products that established the D.I. process, could 10 bit 1920 x 1080 RGB HD be considered a viable acquisition alternative to film for feature quality end results?
2)Given applied pixel count to the final film products that established the D.I. process, could 10 bit 1920 x 1080 RGB HD be considered a viable alternative to 2K data workflows for 35mm film post?
3) If working in 10 bit RGB HD acquisition and post, do I need to work uncompressed?
Important Questions:
• Full Band 4:4:4 1920 x 1080 Recorder – No pre filtering or sub sampling
• 10 bit Linear or Log RGB, or 10 bit linear, or 10 bit color gamut R’G’B’ - NOT bound to 709 color space
• MPEG 4 SP compression scheme
− DPCM and DCT parallel processes
− Intra-Frame and Intra-Field compression
• 440 Mbps and 880 Mbps recording
• Virtually Loss-less Compression
An Enabling Technology
Increasing Bit rates
Incr
easi
ng
R
eso
luti
on
MPEG4Low bit rate
BT601
MPEG2 MPEG4SP
64k 30M 300M 2G
1080 60P
2M
1080 60I
440M 880M
Positioning of MPEG4 SP
vs. Uncompressed Data
Testing procedure:
• 2048 x 1080 DPX file provided by DCI
• 1920 x 1080 extraction converted to RGB HD and recorded to HDCAM SR
• HDCAM SR recording played back to server and converted to TIFF file
• Sample extraction taken from both the original DPX file and the new TIFF file created from recorded playback server from HDCAM SR.
• Sample extraction from both files blown up 500x in Adobe Photoshop 6.0.
• Test duplicated for the ASC Technical Committees on the DCI/ASC Mini-Movie, displaying uncompressed data files in real-time via 2K digital projection.
Approximate area of sample extractions
Original 2K DPX file courtesy of the Digital Cinema Initiative (DCI)
Image “A”
Image “B”
Image “A”
Image “B”
Original 2K DPX Extraction
RGB HD Extraction
Applying HDCAM SR Technology
Linear HD Workflow Using HDCAM SR
Ingest
Edit
Restoration
Grade
Record
1
2
3
4
5• Familiar workflow
• Tape centric exchange of media/metadata
• Does not occupy finite server space
• Applicable to existing 4:2:2 HD infrastructures
SD conversion from HD Master
Dirt and Scratch removal from film
based images
4:4:4
4:4:4 HD Telecine Transfer
Adaptable to 4:2:2 HD Facilities
RGB Post Flow in Conventional InfrastructureTelecine Dailies in 4:4:4 HD w/
locked production audio
4:2:2
4:4:4
4:4:4
Dailies Screening
Temp EFX Titling
4:2:2 HD/SD Off-Line Edit
4:4:4 EFX/Title EDL4:4:4 Video
Conform
Preview Screening
Home Video Distribution
Masters from FINAL 4:4:4
Archival Master
Audio Mix & Layback
Edited 4:4:4: Master
DVD screeners
Conform in Server
or 444 switchers now available.
RGB Film Recording
4:4:4 Color Correction
RGB Non-Linear Systems
Now RGB Desk Top solutions
Final Cut Pro and Adobe also offer RGB Post Solutions
RGB Working IntermediateTelecine Dailies in 4:4:4 HD w/
locked production audio
4:2:2
4:4:4
4:4:4
Dailies Screening
Temp EFX Titling
4:2:2 HD/SD Off-Line Edit
4:4:4 EFX/Title EDL
4:4:4 Color Correction
4:4:4 VideoConform
Preview Screening
Home Video Distribution
Masters from FINAL 4:4:4
Archival Master
Audio Mix & Layback
Edited 4:4:4: Master
4K Scan of OCN Select Shots
In Server 4K
Conform
FINAL EDL
FINAL CDL
Film Recording(Printing Neg)
4K Digital Intermediate
FINALAUDIO
Release Printing
DCDM
4K Archival Data Master
Note: Assumes full aperture composite effects work in super 2K. - Server based RGB video conversion for preview screenings
Full Aperture Composite EFX
SRW Home Video Distribution
Masters from FINAL 4K Archival
File
Optional
CDL processes not yet standardized
Archival Elements:
Original Camera Negative (OCN) or Digital recording - cut or selects takes
Interpositive (IP) from cut OCN or Conformed Data Files (2K/4K)
Conformed 1.78 RGB Working Intermediate (WI)
Deliverables from the “Working Intermediate”:
Printing Negative (1.78 matted or anamorphic)
Full Frame 16x9 HD 4:2:2 or 4:4:4 Master (HDCAM SR w/conformed audio)
Letterbox 16x9 HD 4:2:2 or 4:4:4 Master (HDCAM SR w/conformed audio)
525/625 4x3 Full Frame Master (derived from SR format conversion)
525/625 4x3 Letterbox Master (derived from SR format conversion)
525/625 16x9 Anamorphic Master (derived from SR format conversion)
Thinking Differently About Archive & Deliverables
Post:Considering the transparency of the HDCAM SR codec, it is now practical to consider real-time RGB 10 bit Log or linear recording as an efficient means of data management in both linear and non-linear operations for Digital Intermediate post.
Production:Given applied pixel counts in the processes of the 2K Digital Intermediate, shooting in 4:4:4 RGB HD WILL produce comparable end product results to 35mm film production while offering significant savings in stock, lab, scanning, and dailies expense.
Conclusions
How About Over Cranking and Under – You Can’t Do That in Digital
You Can Now!
Yeah, But…..
RGB HDA Pixel is a Pixel is a Pixel…
How Many Pixels Does it Take to Make a Movie?
RICK HARDING
Sony Electronics, Inc.