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Digital'intermediate' ' ' ' ' ' ' ' ' ' Digital'Intermediate' ' ' ' ' ' ' ' ' ' Film shooting Digital shooting Digital postproduction Digital workflow How to choose ? Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com` The$first$ques+ons! 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? ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com The DCP The$first$ques+ons! 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 (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. FORMAT: Compressed, split up in ‘reels’ SECURITY: Encrypted using 128-bit AES ! Reusable!hard!disk!capacity:!! ! 2!long7feature!films! $ Commun!hard!disk!dimensions:!! ! 17!x!12!x!4!cm!(L!x!l!x!h)! $$ ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com SHOOT POST-PRODUCTION SCREENING FILM SENSORS CHEMICAL 35 mm / 70 mm ! Super 8 Digital still ! camera ! ! Film DIGITAL screening Super 16 Standard Definition SD SD / HD / 2K / 4K Standard Telecine Definition From DVcam to 35 mm Digital Betacam ! 4 P HD ! 3 P High High Digital 2 P TeleScan Definition Definition screening 65 mm From EX-3 to SD / HD / ULTRA HD EPIC, ALEXA, F65 2 K 2K Scan ! Imax ! Digital 4 K TV Broadcast - DVD 4K Scan 4K Cinema Mobile Blu-Ray Internet ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com SHOOT POST-PRODUCTION SCREENING FILM SENSORS CHEMICAL 35 mm / 70 mm Included!in!D.I.!!!!!!!!!!!!! ! Super 8 Digital still Digital!Intermediate! ! camera ! ! Film DIGITAL screening Super 16 Standard Definition SD SD / HD / 2K / 4K Standard Telecine Definition From DVcam to 35 mm Digital Betacam ! 4 P HD ! 3 P High High Digital 2 P Definition TeleScan Digital! Definition screening 65 mm Cinema! From EX-3 to SD / HD / ULTRA HD EPIC, ALEXA, F65 2 K 2K Scan ! Imax ! Digital 4 K TV Broadcast - DVD 4K Scan 4K Cinema Mobile Blu-Ray Internet ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com The$first$ques+ons! This diagram represents only a chronological flow but does not allow to choose shooting and postproduction tools SHOOT POSTPRODUCTION EXHIBITION We'prefer'answering'ques5ons'in'the'opposite'order$ SHOOT POSTPRODUCTION EXHIBITION ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com The$digital$intermediate$ The digital intermediate The process consists of the following components: . Editorial Prep . Scanning (when its film) . Assembling . Color Correction . Dustbusting . Digital Opticals . Special VFX . Digital Previewing . Recording . Digital Deliverables ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com KW 2 DSM$/$DCDM$/$DCP$ DSM DCDM Digital Release prints Film Screening Digital Source Master Intermediate Digital Cinema Distribution negative Master contains all of the digital The DSM is the result of the material needed for projection. mastering process of the post- Images and sound. production and contains the Color Space; x,y,z Tiff 16 bits finalised image and audio data. These serve as starting point for the creation of the Digital Cinema Transfer to film Package (DCP). The DSM can also be used to convert a master for archival purposes. DCP = 35 mm Digital Screening copy print Color Sound! correction and! Digital DSM DCDM subGtles! DCP opticals addiGon!! Compression DSM No standard DCDM Standard HD Master Any combination of DVD - Blu-ray DCP Standard broadcast formats ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Role of Quantification & Sampling Alexa (SxS recording) F35 (Sony) EOS C300 (Canon) 12 bits 4:4:4:4 10 bits 4:4:4 8 bits 4:2:2 330 Mb/s 440 Mb/s or 880 Mb/s 50 Mb/s 4096 shades of grey in the 1024 shades of grey in 256 shades of grey in the Red channel the Red channel Red channel 4096 shades of grey in 1024 shades of grey in 256 shades of grey in the the Green channel the Green channel Green channel 4096 shades of grey in 1024 shades of grey in 256 shades of grey in the the Blue channel the Blue channel Blue channel Colour depth: Colour depth: Colour depth: 256 x 256 x 256 with 4096 x 4096 x 4096= 1024 x 1024 x 1024= component Y Cb Cr sampling: More than 68 milliard More than 1 milliard 16 777 216 colours of colours of colours but less possibilities due to compression ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Consequences$of$bitrate$and$compression$choices! 4:4:4 4:2:2 4:2:0 Digital ! filtering Digital ! filtering Digital ! filtering ! Quality level Chroma sub sampling Role of Color subsampling Example: 4:2:2 & 4:2:0 Practice of encoding images by implementing less resolution for Chroma Information (R and B) than for Luma Difference of storage between 4:4:4 and 4:2:2: 25% information ( Y, grey pixels). It is used in many Video Encoding schemes — both analog and digital — and also in JPEG Difference of storage between 4:4:4 and 4:1:1: 50% Encoding. ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Consequences$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. ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Bitrate$and$codec! The bitrate (number of information per second) depends : . On the image width (from 960 pixels to 4096 pixels, even more) . On the image height (from 720 pixels to 3072 pixels, even more) . On the signal processing (Raw, RVB or Component) . On the quantification` (8 bits, 10 bits or 12 bits) . On the frequency (or speed) (23.98, 24, 25, 29.97,30, 50, 59.94,60 im/sec) . On the Codec type used (Jpeg 2000, HDCal SR, HDCam, Mpeg2…) Codec : Coding – Decoding Example : JPEG 2000 (300 Mb/s) - HDCam SR (440 Mb/s) – HDCam (140 Mb/s) – AVC-Intra 100 (100 Mb/s) Three!important!noGons! Information Bitrate Compression reduction ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Consequences$of$bitrate$and$compression$choices! The!higher!the!bitrate,! The!higher!the!image!quality,! The!lower!the!compression! The!more!expensive!the!producGon.! ? Production costs Quality Post-production costs The!lower!the!bitrate,!!!!!!!!!!!!!!!!!!!!!! The!higher!the!image!quality,! the!higher!the!compression,!!!!!!!!!!$ The!less!expensive!the!producGon$ ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Consequences$of$bitrate$and$compression$choices! Camera Quantification Color Sampling Exhibition CANON Subsampling C 300 50 Mb/s 1920 x 1080 pixels 3840 x 2160 photosites CF 4:2:2 Y-Cr-Cb cards 8 bits COMPONENT Codec Mpeg2 256 grey TV Broadcasting 3 colors split in Y 8 bits 4:2:2 levels by encapsulé en MXF luminance (B&W) and RGB color Cr & Cb, red and blue ! difference components 8 bits 4.2.2 8 bit Uncompressed output camera output only!!!! Quality level AJA Subsampling Ki Pro Mini 1920 x 1080 pixels 185 Mb/s 10 bits 4:2:2 Y-Cr-Cb COMPONENT Codec 1024 grey Portable recorder 3 colors split in Y Apple levels by Transcoding luminance (B&W) and Theater Release ProRes RGB color Cr & Cb, red and blue difference components External 422 (HQ) recording ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Consequences$of$bitrate$and$compression$choices! Camera Quantification Color Sampling Exhibition CANON Subsampling C 500 50 Mb/s 1920 x 1080 pixels 3840 x 2160 photosites CF 4:2:2 Y-Cr-Cb cards 8 bits COMPONENT Codec Mpeg2 256 grey TV Broadcasting 3 colors split in Y 8 bits 4:2:2 levels by encapsulé en MXF luminance (B&W) and RGB color Cr & Cb, red and blue ! difference components 3G SDI 4K RAW ANOTHER Uncompressed SOLUTION camera output Gemini 4096 x 2160 pixels Mb/s 10 bits 4:4:4 RGB Portable recorder 1024 grey Luminance DPX information equal to Transcoding levels by 10 bit 4:4:4 RGB color chroma information Theater Release External recording ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Consequences$of$bitrate$and$compression$choices! Camera Quantification Color Sampling Exhibition Sony Subsampling PMW-EX3 35 Mb/s 1920 x 1080 pixels 1920 x 1080 Carte 4:2:2 Y-Cr-Cb x 3 photosites SxS 8 bits COMPONENT Codec Mpeg2 256 grey TV Broadcasting Long GOP HQ mode VBR levels by 3 colors split in Y 8 bits 4:2:0 luminance (B&W) and encapsulé en MXF RGB color Cr & Cb, red and blue ! difference components 8 bits 4.2.2 ANOTHER Uncompressed SOLUTION camera output AJA Ki Pro Subsampling Mini 1920 x 1080 pixels 185 Mb/s 4:2:2 Y-Cr-Cb 10 bits COMPONENT Codec 1024 grey Portable recorder 3 colors split in Y Apple ProRes 422 (HQ) levels by Transcoding luminance (B&W) and Theater Release or RGB color Cr & Cb, red and blue Apple ProRes 422 difference components External Apple ProRes (LT) Apple ProRes (Proxy) recording ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor
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