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 www.philipperos.com Consequences$of$bitrate$and$compression$choices!

Camera Quantification Color Sampling Exhibition

Sony Subsampling PMW-F3 35 Mb/s 1920 x 1080 pixels x photosites Carte 4:2:0 Y-Cr-Cb SxS 8 bits COMPONENT Codec Mpeg2 256 grey TV Broadcasting 8 bits 4:2:0 levels by 3 colors split in Y encapsulé en MXF luminance (B&W) and RGB color Cr & Cb, red and blue

difference components

10 bits 4.4.4 You$can$get$a$Sony$F3$with$SE S Log ANOTHER Log$for$€$13,900$in$Europe$ (without$external$recorder$–$ Uncompressed SOLUTION full$set$incl.$Ki$Pro$recorder$ camera output costs$you$€$14,400)$

Gemini 1920 x 1080 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 Bitrate and codec Issues$related$with$frequencies?$

Countries$in$60$Hertz$(USA,$Canada,$Japon…):$ $$More$easy$when$edi+ng$and$mixing$with$23.98,$29.97,$59,94$fps$

Countries$in$50$Hertz$(Europe…):$ $$More$easy$when$edi+ng$and$mixing$with$24,$25,$50$fps$

$ Before$choosing$frequency:$ $$$Be_er$to$know$the$country$where$postproduc+on$will$be$done$ $$ In$Europe,$be_er$shoo+ng$and$postproducing$in$25$fps,$ or$in$24$fps$if$you$have$to$send$deliveries$to$USA,$Canada,$Japon$

Play+me$of$programmes$depends$on$contracts$and$depends$on$frequency.$$ Be_er$to$an+cipate$safe+es$during$edi+ng$for$all$foreign$deliveries.$

When$shoo+ng$abroad,$the$choice$of$shu_er$speed$depends$on$countryE speciﬁc$frequency$$

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Pixels$vs$$Photosites!

Great confusion or / and good marketing between: . Number of photosites . Size of the sensor . Number of sensors . Type of sensor The type of sensor will . Number of pixels recorded have a direct influence . Definition/ sharpness / MTF on the workflow and . Recording format therefore on the budget . Exhibition format

FINAL!DEFINITION! MarkeGng!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!deﬁniGon.!! Whitout!carefully!paying!aVenGon,!all!these!matched!informaGons!can!lead!to! wrong!decisions!and!to!wrong!process!(during!post:!SFX,!keying).!!

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Sensor$types! . The 3 Sensors cameras (examples)

F23 (Sony) HDW-F900 (Sony) AJ-HPX 3700 Panasonic EX-3 (Sony) 3-chip 2/3-inch 2/3" 3-CCD sensor 2/3" 3-CCD sensor 3 x ½ -CMOS sensor 1920 x 1080 x 3 1920 x 1080 x 3 1920 x 1080 x 3 1920 x 1080 x 3 photosites photosites photosites photosites

RGB OUTPUT Lens! Green!sensor!

Red!sensor!

Camera!block! CCD!or!CMOS!block! ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Sensor$types! . The 1 Sensor cameras - The Striped pattern (examples)

UNIT!CELL!! R! G! B!

R! G! B! Genesis F35 (Sony) R! G! B! (Panavision) Mono CCD sensor Mono CCD sensor Sriped pattern 1920 x 1080 x 3 MACRO!CELL!! 5760 x 2160 photosites photosites

R! G! B! R! G! B!R! G! B! R! G! B! R! G! B! R! G! B! R! G! B! R!

R! G! B! R! G! B!R! G! B! R! G! B! R! G! B! R! G! B! R! G! B! R! RGB OUTPUT

R! G! B! R! G! B!R! G! B! R! G! B! R! G! B! R! G! B! R! G! B! R!

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com 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.

B! G! B! G! B! G! B! G! B! G! G! R! G! R! G! R! G! R! G! R! 2 x G! G! for 1 x R! & 1 x B! B! G! B! G! B! G! B! G! B! G! G! R! G! R! G! R! G! R! G! R! B! G! B! G! B! G! B! G! B! G! G! R! G! R! G! R! G! R! G! R!

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.

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Sensor$types! . The 1 Sensor cameras - The Bayer pattern

A Bayer filter could We are in front of a lab, a software which be defined as a develops images and which: digital negative • Is not always built-in which is used during • Is not always done real time. post-production to • Can be done in various ways ( Irridas, Glue restore an RGB flow Tools, Phantom, Red, Arri, etc

Debayering

B! G! B! G! B! G! B! G! B! G! RGB OUTPUT G! R! G! R! G! R! G! R! G! R!

B! G! B! G! B! G! B! G! B! G!

G! R! G! R! G! R! G! R! G! R!

B! G! B! G! B! G! B! G! B! G!

G! R! G! R! G! R! G! R! G! R!

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Sensor$types! . The 1 Sensor cameras - The Bayer pattern (examples)

Epic Alexa F55 Delta F3 C500 F65 (Red Digital Pénélope (Arri) (Sony) (Sony) (Sony) Cinema) (Aaton) (Canon)

Debayering

B! G! B! G! B! G! B! G! B! G! RGB OUTPUT G! R! G! R! G! R! G! R! G! R!

B! G! B! G! B! G! B! G! B! G!

G! R! G! R! G! R! G! R! G! R!

B! G! B! G! B! G! B! G! B! G!

G! R! G! R! G! R! G! R! G! R! Math! Debayering!is!not!only!a!mathemaGc! process! process!but!also!an!arGsGc!process.!

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Pixels$vs$$Photosites! . The 1 Sensor cameras - The F65 pattern 24.7mm 28mm 13.1mm

• Super 35mm 3-perf. F65 • Total Pixel Count: 20.0M (Sony) 20K photosites • 8K$CMOS$Image$Sensor$ 4K recording Conventional 4K F65 Sensor Bayer Sensor G! G! G! G! G! G! 8K grid G! B! G! B! G! B! G! B! G! R! B! R! B! R! 4K grid G! G! G! G! G! G! R! G! R! G! R! G! R! G! R! B! R! B! R! B! G! B! G! B! G! B! G! B! G! G! G! G! G! G! G! R! B! R! B! R! R! G! R! G! R! G! R! G! R! G! G! G! G! G! G! G! B! G! B! G! B! G! B! G!

8K grid Photosites$arrayed$on$45Edegree$diagonals$allow$to$lower$the$aliasing$issues$ 4K grid

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com 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

CF Cards Grading Red Drives Conform Debayering Lab Release print RED EPIC Edit Print to film

Red Code Raw

CF Cards Debayering Grading Red Drives Conform Release print RED EPIC Edit Print to Lab film

Red Code Raw

CF Cards Debayering Grading Red Drives Conform Lab Release print RED EPIC Edit Print to film

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Production: Les Films d’Ici - Michael Kohlhaas Workflow by

Shoot Postproduction Film Screening

R & D Back up Creation of SAN-Sync customized LUT’s & Look Alexa Video Assist

Quantum LTO IV SAN drives Digital Screening Conform DPX files

2K 10-Bit Log

Dit Monitor

Dailies Resolve DNx HD 36 with preview LUTs Broadcasting

Dailies Dailies External rugged External rugged drive drive VFX Titles Grading

Editing Blu-ray

DVD!PAL! Mapping in Synch$ DCDM DCP For! Rec 709 producers!&! dailies$$ co7producers! by$ (Lut w / Gamma) Legal Range Internet assistant$ BROADCAST MASTER Fulll Range Avid Media Composer 5.5

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Red Epic camera workflow – Feature film – Kodak Cinelabs Romania

Shoot Kodak Cinelabs Postproduction Film Screening

Transfer R & D to film Creation of Epic Video Assist customized Control of Dailies LUT’s & Look 24’ LCD Cine-Tall DLP projector

Real time Real time debayering DCP debayering Digital Screening

RAW Ingest DCDM RAW Conforming (EDL, XML, AAF) Color management Dit Monitor

Real time Clipster Finishing debayering SAN & mastering Broadcasting

RAW RAW + XSERVE RAW + dailies RAID 5 dailies (Ingest station) External rugged The$End$ RAID 0 drive DSM Adobe Production Premium Titles & credits

Blu-ray Editing EDL SAN-Sync XML / AAF 10 Quantum LTO IV drives Back up Grading Internet LUT & Look Baselight / Truelight network

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Workflow: TV commercials workflow with the Red Epic

Shoot Postproduction Film ScreeningEPIC (Red Digital) R & D Back up Files Recording Creation of SAN-Sync customized LUT’s & OnLine Look Epic Video Assist postproduction Zürich Switzerland Quantum LTO IV Real time SAN drives debayering GRADING FOR ScratchLab Conform DPX files BROADCASTING Debayering with HD 2.5K or 5K metadata 10 bits log or 16 bits fp

Dit Monitor

Dailies DNx HD or ProRes with Rec 709 Broadcasting preview LUT RAW RAW + RAW + dailies RAID 5 dailies External rugged RAID 0 drive VFX Titles Grading for TV

Re-grading in Rec 709 Blu-ray Editing (Lut w / Gamma)

Legal Range Internet BROADCAST MASTER Fulll Range

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Workflow: TV commercials - Workflow with the Arri Alexa

Shoot Postproduction FilmALEXA Screening (Arri Digital) R & D Back up SxS Recording Creation of SAN-Sync customized LUT’s & OnLine Look Alexa Video Assist postproduction Zürich Switzerland Quantum LTO IV SAN drives GRADING FOR Conform DPX files BROADCASTING HD, 2K or 2.8K

10 bits log or 16 bits fp

Dit Monitor

Dailies DNx HD or ProRes with Rec 709 Broadcasting preview LUT RAW RAW + RAW + dailies RAID 5 dailies External rugged RAID 0 drive VFX Titles Grading for TV

Re-grading in Rec 709 Blu-ray Editing (Lut w / Gamma)

Legal Range Internet BROADCAST MASTER Fulll Range

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com 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 colour of final destination (example: 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

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Previsualization

Manufacturers • The lab’s knowledge about cameras and codecs Tests • The preparation of the cameras by the rental house under the Rental house supervision of the lab Lab • Artistic & technical control of the image through luts • Involvements of DPs, DITs and colourists

Luts Luts Luts Monitoring / shoot Monitoring / editing Grading

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Digital$dailies$checks$

Digital shoot on file Example SxS card

Digital shoot Check Check

Two types of control Data control Quality control Means: Means: Checksum, good migration Technical control, focus, exposure, etc. 0101101 >> 0101101 Need of reference monitor or DCI / ISO projection

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Sensor$types! SHOOT

Alexa

Viewfinder

Internal process in the camera

What!WYSIWYG?! WYSIWYG:!What!You! SeeIs!What!You!Get$

External recorders via Monitoring on set HDSDI video output

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Sensor$types! SHOOT POST-PRODUCTION

Alexa Role$of$ Luts$ Monitoring editing Luts

Internal real time deBayering Internal$process$in$the$camera$ SxS ProCard

Luts Luts Luts

Monitoring Confo / Grading Recording Previsualization

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Sensor$types! SHOOT POST-PRODUCTION

Alexa <$ Monitoring editing Same$image$$$$$$$$$ all$along$the$ workﬂow$

Monitoring Confo / Grading Recording Previsualization

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Sensor$types!

SHOOT What!WYSIWYG?! Alexa XT WYSIWYG:!What!You! SeeIs!What!You!Get$

XR Capture Drive Viewfinder Internal$raw$ recording$

Internal process in the camera

Codex on deck recorder

External recorders via Monitoring on set External Raw recoder HDSDI video output

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Sensor$types! SHOOT POST-PRODUCTION

Alexa XT DeBayering

Image reconstruction Color Space RGB

ARRIRAW Contrast Encoding Internal real time deBayering

Monitor. editing

Monitoring Confo / Grading Recording Previsualization

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Sensor$types! SHOOT POST-PRODUCTION

Alexa XT DeBayering Role of Image XR Capture reconstruction Drive Luts Color Space RGB

ARRIRAW Contrast Encoding Internal real time deBayering Luts

Monitor.Z$ editing

Luts Luts Luts

Monitoring Confo / Grading Recording Previsualization

Alexa XT Quality of

ARRIRAW recording Same$image$$$$$$$$$ all$along<<<<$ $the$ workﬂow$

Monitor. editing

Monitoring Confo / Grading Recording Previsualization

Alexa&& Internal recording Alexa&Plus&&&&&

2 x REC OUT 1920 x 1080 ProRes - 12-bit 4:4:4:4 1 x MON OUT 1920 x 1080 ProRes - 10-bit 4:2:2 (HQ) 2 x SxS Cards QuickTime HD 16:9 1920 x 1080 ProRes - 10-bit 4:2:2 1920 x 1080 ProRes - 10-bit 4:2:2 (LT)

1920 x 1080 ProRes - 10-bit 4:2:2 (Proxy) HD-SDI 1920 x 1080 - 10 bit 4:2:2 YCbCr Information overlay 2048 x 1152 ProRes - 12-bit 4:4:4:4 HD 16:9 2048 x 1152 ProRes - 10-bit 4:2:2 (HQ) 2K 16:9 2048 x 1152 ProRes - 10-bit 4:2:2 External recording MXF 2048 x 1152 ProRes - 10-bit 4:2:2 (LT)

1920 x 1080 ProRes - 10-bit 4:2:2 (Proxy) Sony SRW-1 1920 x 1080 - 10-bit 4:4:4 RGB HD-SDI

1920 x 1080 - 10-bit 4:2:2 YCbCr HD 16:9 NO$4:3$$>>$$ N0$REAL$2$x$ANAMORPHIC$$ T-Link

Codex on board 1920 x 1080 DnxHD 145 - 8-bit 4:2:2 recorder HD16:9 1920 x 1080 DnxHD 220x - 10-bit 4:2:2 2880 x 1620 12-bit uncompressed ARRIRAW 16:9 1920 x 1080 DnxHD 440 - 10 bit 4:4:4 ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Recording$op+ons$ Alexa! Alexa&Studio&& Internal recording

Alexa&M&& 4:3$$>>$REAL$2$x$ANAMORPHIC$$ 2 x REC OUT

1 x MON OUT 1920 x 1080 ProRes - 12-bit 4:4:4:4 Alexa&Plus&4:3& 1920 x 1080 ProRes - 10-bit 4:2:2 (HQ) 2 x SxS Cards QuickTime HD 16:9 1920 x 1080 ProRes - 10-bit 4:2:2 1920 x 1080 ProRes - 10-bit 4:2:2 (LT)

1920 x 1080 ProRes - 10-bit 4:2:2 (Proxy) Sony SRW-1 1920 x 1080 - 10-bit 4:4:4 RGB HD-SDI 2048 x 1536 ProRes - 12-bit 4:4:4:4

2048 x 1536 ProRes - 10-bit 4:2:2 (HQ) 1920 x 1080 - 10-bit 4:2:2 YCbCr HD 16:9 2K 4:3 2048 x 1536 ProRes - 10-bit 4:2:2 2048 x 1536 ProRes - 10-bit 4:2:2 (LT) T-Link Codex on board 1920 x 1536 ProRes - 10-bit 4:2:2 (Proxy) recorder ARRIRAW 1920 x 1080 DnxHD 145 - 8-bit 4:2:2 2880 x 2160 12-bit uncompressed 4:3 HD16:9 1920 x 1080 DnxHD 220x - 10-bit 4:2:2 2880 x 1620 12-bit uncompressed ARRIRAW 16:9 1920 x 1080 DnxHD 440 - 10 bit 4:4:4 ©: Philippe Ros AFC Cineamtographer & Digital Imaging Supervisor www.philipperos.com Recording$op+ons$ 1920 x 1080 - 10-bit 4:4:4 RGB External 2 x REC OUT HD-SDI 16:9 recording Clean image 1920 x 1080 - 10-bit 4:2:2 YCbCr nov.2013& Alexa&XT& Live output 1 x MON OUT HD-SDI 16:9 1920 x 1080 - 10 bit 4:2:2 YCbCr Information overlay 4:3$$>>$REAL$2$x$ANAMORPHIC$$&

1 x XR ARRIRAW 16:9 2880 x 1620 12-bit uncompressed Internal recording Capture ARRIRAW 4:3 2880 x 2160 12-bit uncompressed Drive 1920 x 1080 ProRes - 12-bit 4:4:4:4 Quick 1920 x 1080 ProRes - 12-bit 4:4:4:4 Time 1920 x 1080 ProRes - 10-bit 4:2:2 (HQ) 1920 x 1080 ProRes - 10-bit 4:2:2 (HQ) HD HD 1920 x 1080 ProRes - 10-bit 4:2:2 16:9 MXF 16:9 1920 x 1080 ProRes - 10-bit 4:2:2 1920 x 1080 ProRes - 10-bit 4:2:2 (LT) 1920 x 1080 ProRes - 10-bit 4:2:2 (LT)

1920 x 1080 ProRes - 10-bit 4:2:2 (Proxy) 1920 x 1080 ProRes - 10-bit 4:2:2 (Proxy)

2048 x 1152 ProRes - 12-bit 4:4:4:4 ALEXA XT 2048 x 1152 ProRes - 12-bit 4:4:4:4 2048 x 1152 ProRes - 10-bit 4:2:2 (HQ) 2048 x 1152 ProRes - 10-bit 4:2:2 (HQ) 2K 2K 2048 x 1152 ProRes - 10-bit 4:2:2 16:9 16:9 2048 x 1152 ProRes - 10-bit 4:2:2 ALEXA XT M 2048 x 1152 ProRes - 10-bit 4:2:2 (LT) 2048 x 1152 ProRes - 10-bit 4:2:2 (LT)

1920 x 1080 ProRes - 10-bit 4:2:2 (Proxy) 1920 x 1080 ProRes - 10-bit 4:2:2 (Proxy)

2048 x 1536 ProRes - 12-bit 4:4:4:4 ALEXA XT Plus 2048 x 1536 ProRes - 12-bit 4:4:4:4 2048 x 1536 ProRes - 10-bit 4:2:2 (HQ) XT& 2048 x 1536 ProRes - 10-bit 4:2:2 (HQ) 2K 2K 2048 x 1536 ProRes - 10-bit 4:2:2 4:3 4:3 2048 x 1536 ProRes - 10-bit 4:2:2 2048 x 1536 ProRes - 10-bit 4:2:2 (LT) ALEXA XT Studio 2048 x 1536 ProRes - 10-bit 4:2:2 (LT) Quick 1920 x 1536 ProRes - 10-bit 4:2:2 (Proxy) 1920 x 1536 ProRes - 10-bit 4:2:2 (Proxy) Time 1 x SxS Adapter with 1920 x 1080 DnxHD 145 - 8-bit 4:2:2 1920 x 1080 DnxHD 145 - 8-bit 4:2:2 HD 1 x SxS HD 1920 x 1080 DnxHD 220x - 10-bit 4:2:2 1920 x 1080 DnxHD 220x - 10-bit 4:2:2 16:9 PRO Card 16:9 1920 x 1080 DnxHD 440 - 10 bit 4:4:4 1920 x 1080 DnxHD 440 - 10 bit 4:4:4 MXF ©: Philippe Ros AFC Cineamtographer & Digital Imaging Supervisor www.philipperos.com Sensor$types! SHOOT POST-PRODUCTION

F55 (Sony)

Sony 4K XAVC recording

What!WYSIWYG?! What do we see all along WYSIWYG:!What!You!SeeIs! What!You!Get$ the workflow?

F55

Raw image from Bayer Monitoring editing filter

Good qualityInternal ofreal internal timedeBayering deBayering

SxS Pro+ Card

Limitation of quality due to Recording from Electronic Monitoring Confo / Grading HDSDI output viewfinder onsize set / cost of viewfinder

Good quality of F55 internal deBayering Monitoring editing

Internal real time deBayering

SxS Pro+ Card

Monitoring Confo / Grading Recording Previsualization

Good restitution Good quality WYSIWIG

What you see is what you get

F55

Monitoring editing Same$image$$$$$$$$$ all$along$the$ workﬂow$

Monitoring Confo / Grading Recording Previsualization

F55 + AXS-R5 (Sony)

Sony 4K Raw recording

What!WYSIWYG?! What do we see all along WYSIWYG:!What!You!SeeIs! What!You!Get$ the workflow?

F55 + AXS-R5

Raw image from Bayer Good quality of internal filter deBayering

Internal real time deBayering Limitation of quality due to size / cost of viewfinder

Recording from Electronic Monitoring Monitoring HDSDI output viewfinder on set Previsualization Good restitution WYSIWIG Good quality What you see is what you get

F55 + AXS-R5 DeBayering

Image reconstruction Color Space RGB

SONY RAW Contrast Encoding Internal real time deBayering

Monitor.Z$ editing

Monitoring Confo / Grading Recording Previsualization

F55 + AXS-R5

Same$image$$$$$$$$$ all$along$the$ workﬂow$

Monitor. editing

Monitoring Confo / Grading Recording Previsualization

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com Codec! MULTI CODEC XAVC HD HFR Mainstream 50p - 2K upgrade 4K TV 300 Mb/s CAMERAS SR Codec SxS Pro + MPEG4 SStP 64GB/128GB Codec External XAVC 4K Internal recording 10 bit 4:2:2 recording AXS-R5 440, RGB 220 Mb/s Codec SxS Pro + Sony 64GB/128GB SStP 2K PMW-F55 End 2013 10 bit 4:4:4 - 4:2:2 8,9 M photosites

SxS-1 / SxS Pro 100 Mb/s 32GB/64GB @30 fps Codec XAVC HD 10 bit 4:2:2 Codec RAW F65 SxS-1// SxS Pro 50 Mb/s 16 bit 32GB/64GB @30 fps Codec MPEG2 HD422 8 bit 4:2:2

Red Epic

Epic RedRaw recording

Internal process in the camera

What!WYSIWYG?! What do we see all along WYSIWYG:!What!You!SeeIs! What!You!Get$ the workflow?

Red Epic

Raw image from Bayer filter

Internal real time deBayering

Recording from Electronic Monitoring HDSDI output viewfinder on set

Red Epic On the other side the size of the camera can be a Raw image from Bayer great asset filter

MediumInternal quality real of Limitation of internaltime deBayering deBayering quality due to deBayering & size / cost of viewfinder

Recording from Electronic Monitoring Monitoring HDSDI output viewfinder on set Previsualization

Bad quality Medium quality Through HDSDI output Bad WYSIWIG

Red Epic DeBayering

Image reconstruction Color Space RGB REDCODE

RAW Contrast Encoding Internal real time deBayering

Monitor.Z$ editing

Monitoring Confo / Grading Recording Previsualization

Red Epic DeBayering Role of Image reconstruction Luts Color Space RGB REDCODE

RAW Contrast Encoding Internal real time deBayering Luts

Monitor.Z$ editing

Luts Luts

Monitoring Confo / Grading Recording Previsualization

Red Epic

Not$the$same$ image$all$along$ the$workﬂow$

Monitor. editing

Monitoring Confo / Grading Recording Previsualization