Hamburg ConferenceBest Practices Preparing Content for Blu Ray

Content has come a Long WayThe Evolution of Media and how we consume it has gone through many evolutions but

in what ever form we consume it the quality of the original content is Key in how its has

been shot, stored and mastered.

keys to success for Quality Blu Ray Content

High Resolution master

Clean, dirt and scratch free

Artefact free clean up

Original Standard with no cross or up-conversions

Where available 5.1 Sound

Transferred in Original Aspect Ratio

Quality Extras, commentaries etc

A reliable, knowledgeable and Consistent, Quality Authoring house

Media typeHigh-density optical discEncodingMPEG-2H.264/MPEG-4 AVCVC-1

Source To ScreenThe source and condition of the master material supplied for Authoring is paramount.

In the case of originated HD and born Digital material, sticking to to the original format and specifications without upstream standards or cross conversions reduces ‘Artifacting’ issues.

Compression rates are also key with as close to a lossless form of compression being ideal.

The less processed an image sequence is, the better the computer can encode it.

 Sometimes, overuse of noise and grain reduction techniques can fool the computer into creating blurred images that would be better off without the processing.

 A QC pass on every level is mandatory in making sure there are no mishaps.  Having the Blu Ray Disc authoring done at the same vendor can really keep you sane.

Aspect Ratios In Television Terms; HD is pretty much all 16x9. When Mastering images to HD Images are sized within the available 1080x1920 / 16x9 frame, i.e.

– 16x9FH – uses the entire active area

– 16x9 original ratio - would have a letterbox

– 4:3/1.33:1 would be side matted

Aspect Ratio

The above framing scenarios are correct.

The Key thing is not to fake a wide screen image by blowing up a 4x3 image to fill the 16x9 frame.

However Original film ratios can be confusing as there are many:

Ultra Panavision 70 and MGM Camera 65 were, from 1957 to 1966

VistaVision, 1.50:1 ratio used standard 35 mm film running sideways through the camera gate, so that the sprocket holes were above and below frame,

CinemaScope: Aspect Ratio 2.66:1

Panavision format or 'Scope. Specified as 2.40:1 for Blu-ray Disc film releases (1920×800 resolution)

Restoration of the sound track to de-

crackle de-hiss and de-pop using

tools such as Sonic Solutions

Creation of 5.1 audio if unavailable

there is now technology to split out

tracks from the final full mix.

DTS is one of the best sound streams

for BD.  The streams are backwards

compatible with legacy audio

receivers and that's very important.

Sound Restoration

Creating High Definition Masters from 35mm Film

Wonderful medium both for preservation of picture and sound.

Ultra high resolution source for High Definition 1080 and above.

The resolution of 35mm film is far higher than 1080 and closer to 6 or 8K in digital terms. Can scan to 2, 4 or 6K resolution.

High resolution scanning allows output back to film as well as data files and new High Definition video masters.

Still from Black Narcissus(1947) before restoration

Screen grab of Black Narcissus taken from HD master

First Steps :Research

The First step in any restoration or

remastering project is the research to find

the original elements.

This often means checking ,multiple

sources and measuring the length of the

reels.

This is ensure to complete and uncut

original version is found.

Often original negatives have been sensor

cut and finding and inserting the missing

scenes can involve much detective work.

The next stage is condition checking:Comparisons made between the various reels of film combine the best possible elements.

Decisions are made on how best to repair any damage and, where multiple sources exist, to compare and eye match reel by reel.

Next is the Scan or TeleCine to Data or Tape

• SPIRIT 1 Datacine; equipped for standard and high definition. Used for HD and SD Video Mastering and Rushes

• SPIRIT 2 Datacine; High Spec Spirit 4K, 2K, HD and SD Datacine. Capable of HD/SD grading (Pogle Platinum and Pixi MegaDef Colour correction) but also 2K and 4K data scanning at very high speeds

Sony HD Cam SR: Still a popular Mastering Tape Format. Full resolution and less compression than HD Cam

Colour grading Dirt and ScratchRemoval in the Digital Domain

• Some of the Tools Used;

• Da-Vinci Revival; Uncompressed Pen-and-tablet de-spotting work station and is resolution independent.

• Pogle Platinum with Pixi secondary colour correctors; used to control the Spirit Datacines and colour correct film and tape Images.

• Smoke; Uncompressed and resolution independent Pen-and-tablet based Non linear Online and VFX work station

Edifis Scratchbox; Uncompressed

Pen-and-tablet de-spotting work station for SD and HD Formats.

TERANEX Xantus; Real-time

HD dirt, grain and scratch concealment.

Screen grabs taken from HD MasterScreen grabs before restoration

Lawrence Olivier Centenary – Henry V (1945)

Restorations mean Premiers

Digital Restoration and Re-Release Means Awards

In Addition to digital restoration work benefiting authoring to Standard Definition DVD and Blu Ray formats. High resolution scanning to DCP and output back to Film can support a Blu Ray Release

The FutureAs Seen at this Years NAB

Dolby 3D

In conjunction with Philips

Full HD Quality

Without Glasses

Compatible all Players