Canon U.S.A., Inc. 1
SMPTE Wash DC2014 Annual Technology Conference,
May 22nd 2014
Large-Format Digital Acquisitionfor
Broadcast Television:
Friend or Foe?
Laurence ThorpeCanon U.S.A., Inc.
Canon U.S.A., Inc. 2
Large Format: Friend or Foe ?
What is meant
by
Large Format ?
Canon U.S.A., Inc. 3
35mm
Film
1.37
Super 35mm
Film
1.3316.0
21.95 24.92
18.67
SMPTE 59 – 1988
Style C Specification
SMPTE 59 – 1988
Style A Specification
24.92
13.87
SMPTE 59 – 1988
Style D Specification
Super 35mm
Film
1.79
3-Perf
4-Perf
Motion Picture Film
Canon U.S.A., Inc. 4
Relative Image Format Sizes (mm)
HDTV
2/3-Inch
1.78
35mm
Film
1.37
Super 35mm
Film
1.3316.0
21.9524.92
18.67
9.6
5.4
6.97
3.9 2.9
5.2
1/2-Inch 1/3-Inch
Canon U.S.A., Inc. 5
Developed by ARRI
Adopted by most Motion Picture Film Cameras
PL Mount
Canon U.S.A., Inc. 6
Large Format: Friend or Foe ?
The quite recent history
of
Digital Large Format Origination
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Digital Cinema Standardization96 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011
Television Broadcasting
Agenda
Digital Cinema Agenda
BeginDigitalCinema
Standardization
ITUGeneva
SMPTE Standardization
Large ScreenDigital Imaging
(LSDI)
Digital Cinema Initiative (DCI)
DCI Spec(2k and 4K)
Hollywood
SMPTE 2036-1-2007(2k and 4K and 8K)
ITU-R Rec BT.1769(2k and 4K and 8K)
SMPTE 2048-1-2012(2k and 4K Production)
SMPTE ST 428 – 19:2010 (series)(D-Cinema Distribution Master)
Canon U.S.A., Inc. 8
Emergence of Digital Cinematography
1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012
1st
HD
Camcorder2/3-inchTri-ImagerHD-basedDigital Cinematography
24P System
“Film Camera” Revisions
Digital “Film Cameras”
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1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012
1st
HD
Camcorder
2/3-inchTri-ImagerHD-basedDigital Cinematography
24P System
“Film Camera” Revisions
Digital “Film Cameras”
35mmSingle-ImagerHD / 2KDigital Cinematography
Genesis
Dalsa
ARRI D-20/21
Phantom
Arrival of 35mm Digital Cinematography
Canon U.S.A., Inc. 10
2006 Red Makes its 4K Debut
Canon U.S.A., Inc. 11
1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012
1st
HD
Camcorder
2/3-inchTri-ImagerHD-basedDigital Cinematography
24P System
“Film Camera” Revisions
Digital “Film Cameras”
35mmSingle-ImagerDigital Cinematography
Genesis
Dalsa
ARRI D-20/21
RED One
Phantom
F35
History of Digital Cinematography
Canon U.S.A., Inc. 12
EOS 5D Mk II
Sep 2008 Arrival of an Upstart
The hybrid HD DSLR
Full FrameCMOS Image Sensor
Developed at the request of AP and Reuters who sought :• High resolution still images for newspapers
• Addition of motion video for website publishing
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1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012
1st
HD
Camcorder
2/3-inchTri-imagerHD-basedDigital Cinematography
24P System
“Film Camera” Revisions
Digital “Film Cameras”
35mmSingle-imagerDigital Cinematography
Genesis
Dalsa
ARRI D-20/21
RED One
Phantom
F35
5D Mk II
History of Digital Cinematography
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5D Mk II Penetrates Hollywood
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Full-Frame 35mm36 x 24mm
Super-35mm
24.6 x 13.8 mm
5.2 x 2.9 mm
1/3-inch
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Success of the 5D Mk II
• Extremely shallow Depth of Field – Excited many Directors of Photography and Cinematographers
• Full Frame 35mm Image Sensor – Offers a very wide angle of view
Canon U.S.A., Inc. 17
Success of the 5D Mk II
• Extremely shallow Depth of Field – Excited many Directors of Photography and Cinematographers
• Full Frame 35mm Image Sensor – Offers a very wide angle of view
• Availability of wide range of EF lenses
• Unusually high sensitivity
• Very good color reproduction
Canon U.S.A., Inc. 18
Success of the 5D Mk II
• Extremely shallow Depth of Field – Excited many Directors of Photography and Cinematographers
• Full Frame 35mm Image Sensor – Offers a very wide angle of view
• Availability of wide range of EF lenses
• Unusually high sensitivity
• Very good color reproduction
• Very Low Cost
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Shortcomings of the 5D Mk II
• Low cost Downconversion to 1920 x 1080 HD video format– Resulted in significant aliasing
• Unusually shallow Depth of Field – Made maintaining focus a major challenge
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Shortcomings of the 5D Mk II
• Low cost Downconversion to 1920 x 1080 HD video format– Resulted in significant aliasing
• Unusually shallow Depth of Field – Made maintaining focus a major challenge
• No 24P – only 30P
• Audio
• Manual control– ideally using familiar camera controls, of aperture, shutter, and ISO.
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Large-Format Single-Sensor Cameras
2008 to Date
Emergence of Multiple Manufacturers
of
Large-Format Single-Sensor Cameras
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Panavision GENESIS
ARRI ALEXA
Sony F35
Sony SWR-9000PL
Sony F3
RED Epic
Panasonic AF100
RED One MX
Phantom FLEX Weisscam HS-2
Sony FS700
Black MagicDesign
Sony NEX-FS100
RED Scarlet
Aaton Penelope
• Aaton• Arri• Black Magic Design • Canon• Dalsa
• AJA
Sony F65
• For-A• NAC• Panavision • RED• Vision Research• Weisscam
Canon EOS C500
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Keisoku GikenN50
AJA Ki Pro Quad
Convergent Design
Astrodesign HR-7510
S.Two OB2
Sound Devices
Gemini 444
Codex S Recorder
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Large Format Single Sensor
• Today, consideration of large format single sensor cameras is bound up in discussions of HD or 2K or 4K
• It is important to recognize that HD is still the center of the broadcast television universe
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Driving Force Behind Large Format Cameras
• Movie Origination– High-budget Feature Films– Low-budget Feature Films
• TV Commercial Production– High-budget national spots– Low-budget local spots
• Independent Filmmaking
• Broadcast Television Production
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Video Origination
Small-Format
Tri-Sensor
HD Camera
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LENS
Flange Back
Camera-Lens
Mounting Flange
Green
Image
Sensor
Three Image Sensor Camera
OLP
27
ND
CCIR
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RGBDigital Video
Processor
Codec
Solid StateRecordingMedium
Lens Imaging Digital RecordBlock Processing Playback
System
R
G
B
Direct OriginationofFull RGB 444
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Video Origination
Large-Format
Single-Sensor
Camera
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Flange to Aperture Depth
(51.99mm)
Camera
Flange
Aperture
Aperture
Plane
LENS
Flange to Imager Depth
(52mm)
Focal Plane
Lens
Flange
SolidState
Imager
Single-Sensor Large Format Camera
Canon U.S.A., Inc. 31
RAW Image File Creation
Black / WhiteRepresentation
CFA Single-Sensor
Linear Pixel Data
ProprietaryFile Format and Syntax
Encoded Color Information
The RAW Output of the Single Sensor
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DemosaickingProcess
FinalImage
Processing
R
G
B
Gamma-ColorSpace
Interpolate Sparsely-sampled images
to reconstruct full-plane RGB images
The Debayering Process
Decode&
Reconstruct R G B
RAW Image File Creation
Black / WhiteRepresentation
Color Filter Array Single-Sensor
Linear Pixel Data
ProprietaryFile Format and Syntax
Encoded Color Information
Reconstruction of Full RGB 444
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Image Quality
The Essential Imaging Difference
Between
Large and Small Image Formats
is one of
Depth of Field
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Controlling Depth of Field
• Image Format Size is the primary determinant
• Modified by
– Lens Focal Length
– Object Distance from Lens
– Lens Aperture Setting
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Depth of Field
Depth of
Field
Depth of
Focus
Anything within DOF Zone will appear as if it were in focus
Depth of Field ( DOF )
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Hierarchy in Image Format Size
Small
Image Format Size
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Small Image Formatis associated with a Long Depth of Field
Depth of Field Depth of Focus
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Small Image Format Size
Creative Values
of the
Long Depth of Field
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Long Depth of Field
Long Depth of Field
is regularly exploited in program genres
where the desire is to convey
maximum visual information
about environs
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NEWS:Need to see the Reporter
Need to see Action being reported
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NEWS:Need to see the ReporterNeed to see Action being reported
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Sometimes required to capture the totality of a given environment
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Sometimes desirable to capture the totality of a given environment
Canon U.S.A., Inc. 44Sometimes expecteded to capture the totality of a given environment
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Long Depth of Field
Sometimes required to capture the totality of a given environment
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Sometimes required to capture the totality of a given environment
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Long Depth of Field
The 2/3-inch image format size
supports a Deep Depth of Field
The 1/3-inch image format supports
an even Deeper Depth of Field
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Hierarchy in Image Format Size
Large
Image Format Size
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Depth of
Field
Depth of
Focus
Large Image Format
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Large Image Format Size
Creative Value
of the
Shallow Depth of Field
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Shallow Depth of Field
Shallow Depth of Field
is exploited in program genres
where the desire is to direct the viewers attention to a specific subject
by blurring backgrounds
and sometimes also foregrounds
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Shallow Depth of Field can be creatively exploited to direct attention to a specific subject within a scene
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Shallow Depth of Field Focuses Attention
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Defocused Foreground and Background Concentrates attention on the subject of interest
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Very shallow Depth of Fieldused to direct attention tothe loneliness of the subjectwhile the surrounding environment is “detuned”
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Rack Focusing exploits Shallow Depth of FieldTo synchronize imagery with the person speaking. This is used in TV drama and movies
Rack Focusing
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With DOF as a Background
Let us now Look
at
All that is presently available
in
Image Format Sizes
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9.6mm
5.4
mm
2/3-inch
6
mm
5.2mm
2.9
mm
6.97mm
3.92mm
1/3-inch
1/2 -inch
The 1/3-inch image format is x3.5 times
smaller than that of the 2/3-inch HDTV format
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Global Interchange of HD Lenses and CamerasBTA S-1005-A Standard (B4 Mount)
2/3-inch Cameras
– Grass Valley/Thomson
– Hitachi
– Ikegami
– Panasonic
– Sharp
– Sony
2/3-inch Lenses
– Angenieux
– Canon
– Cooke
– Fujinon
– Zeiss
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2/3-inch is dominant in the Television Studioand in Television Sports
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2/3-inch Tri-Sensor Camcorders are Ubiquitous
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1/3-inch Tri-Sensor Cameras are now flourishing in ENG
2/3-inch Tri-Sensor Camcorders are Ubiquitous
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1/3-inch Single-Sensor Cameras
Are now Significantly Augmenting
the Arsenal of ENG Acquisition
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Choices in Image Sensor Size
The New Era
of
Large-Format Single-Sensor Cameras
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Full Frame 35mm
Super 35mm
1/3-inch
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Panavision GENESIS
ARRI ALEXA
Sony F35
Sony SWR-9000PL
Phantom FLEX
Weisscam HS-2
Canon EOS 300
Canon EOS 100
Large Format HD Cameras
Super 35mm
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Choices in Image Sensor Size
Television
Historical Perspective
on the
Image Format Sizes
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1960 1970 1980 1990 2000 2010
Era of 30mm Plumbicon Pickup Tube
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1960 1970 1980 1990 2000 2010
Era of 30mm Plumbicon Pickup Tube
Era of 2/3-inch Pickup Tube
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1960 1970 1980 1990 2000 2010
Era of 30mm Plumbicon Pickup Tube
Era of 2/3-inch Pickup Tube
Era of 2/3-inch CCD and CMOS Image Sensor
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1960 1970 1980 1990 2000 2010
Era of 30mm Plumbicon Pickup Tube
Era of 2/3-inch Pickup Tube
Era of 2/3-inch CCD and CMOS Image Sensor
Era of 1/2-inch, 1/3-inch and 1/4-inch CCD & CMOS
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1960 1970 1980 1990 2000 2010
Era of 2/3-inch Sensor
Era 1/3-inch and 1/4-inch
Era of Large-Format Single-Sensor
Full Frame 35mm
Super 35mm
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11mm
9.6mm
5.4
mm
2/3-inch
30mm Pbo
11mm
21mm
The Long-lived30 mm Pbo
had a considerably
shallower Depth of Field than today’s
2/3-inch cameras
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28.2mm
Super 35mm The contemporary Super 35 mm single-sensor
Cameras have a modestly shallower
Depth of Field than the former
30 mm Pbo
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21mm
28.2mm
30mm Pbo
Super 35mm The contemporary Super 35 mm single-sensor
Cameras have a modestly shallower
Depth of Field than the former
30 mm Pbo
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11mm5.4
mm
2/3-inch
11mm
21mm
28.2mm
30mm Pbo9.6mm
Super 35mm The contemporary Super 35 mm single-sensor
Cameras have a modestly shallower
Depth of Field than the former
30 mm Pbo
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Large-Format Single-Sensor Cameras
What are the Implications
for
Broadcast Television Production ?
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Broadcast Television Production
Television Program Genres– Episodic– Drama
– Sports
– Light Entertainment Shows• Reality• Sitcom• Cooking• Court• Talk
– News – News Magazine
– Documentary
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Large Format Camera: Friend or Foe?
Choosing the Right Camera
for a
Specific Program Genre
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Criteria for Choosing a Camera/Camcorder
• Image Quality – Aesthetics and “Look” sought for a specific program genre
• Ergonomics– Size, form factor, weight, – Disposition of interfaces and controls
• Deliverables– Signal outputs, recording formats and files
• Costs– Basic camera/camcorder, accessories
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Image Quality
Primary Determinants of Image Quality
– Image sensor size
– Number of image sensors
– Lens choices
Cinematographers speak of:
– The Image Sensor as the “Canvas”
– The Lens as the “Brush”
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Multiple Dimensions of Image QualityStill Imaging
1. Depth of Field
2. Sensitivity1. Brightness of the image
3. Picture Sharpness
4. Tonal Reproduction1. Contrast Range for the nominally exposed image
5. Dynamic Range1. Total exposure latitude of the image
6. Color Reproduction 1. Reproduction of facial skin tones
2. Color gamut
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Multiple Dimensions of Image Quality
Motion Imaging
– Standard Picture Capture Rates• 60P, 30P, 24P, 60i
– Slow Motion• Variable Frame Rates up to 120fps
– Fast Motion• Variable Frame Rates down to 1 fps
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HDTV Acquisition
The HDTV Lens and Camera
are an
Intimately Intertwined
Imaging System
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HDTV Acquisition and Image QualityImage Quality HD LENS HD CAMERAFactors
• Sensitivity
• Sharpness
• Tonal Reproduction
• Exposure Latitude
• Color Reproduction
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HDTV Acquisition and Image QualityImage Quality HD LENS HD CAMERAFactors
• Sensitivity Optical ElectronicSensitivity Sensitivity
• Sharpness MTF (Optical) MTF (Opto-electronic)
• Tonal Reproduction Black Black Reproduction
Reproduction +Transfer Characteristic
• Exposure Latitude Optical SensorDynamic Range Dynamic Range
• Color Reproduction Spectral Spectral Response
ResponseElectronic Matricing
X
X
X
X
X +
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New Innovation in HDTV Origination
How a 4K Single Image Sensor
Produces
Exceptional HDTV Performance
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Super 35mm
4Kand
2K / HD
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Single 4K
Image SensorBayer
Color Filter Array (CFA) 3840
2160
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1920 1920
1920
1080 1080
2160
The 4K Bayer Color Filter Arraycan be spatially separated into:
RED 1920 x 1080Blue 1920 x 1080
Green 1 1920 x 1080Green 2 1920 x 1080
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DirectHigh-speed
Parallel Readout
1920
1080
1920
1920
1920
1080
1080
1080
+
R
G
B
Gb
Gr
Direct Readout from 4K Image Sensor:
R G B 4 : 4 : 4
3840“Super” Green
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2160
Gr ：1080
Gb：1080
Gr
Gb
Horizontal Sample Period
One LinePeriod
1/2-pixel
1/2-pixel
At the Photosite level
At the Readout level
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1080Nyquist
2160 43200
100％
CMOSAperture
TotalResponse
TVL/ph
HorizontalMTF Optical
Low Pass Filter
Contending with Aliasing
1st Order Sideband 2nd Order Sideband
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Horizontal MTF
100 %
1080 2160 4320
1080 2160 4320
1st Order Sideband
1st Order Sideband
2nd Order Sideband
CMOS Aperture
CMOS Aperture
TVL/pH
TVL/pH
H and V Spatial Offsetin the Photosite Sampling
Horizontal MTF
100 %
G r
G b
1/2-pixel
1/2-pixel
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Horizontal MTF
100 %
1080 2160 4320
1080 2160 4320
2nd Order Sideband
CMOS Aperture
CMOS Aperture
TVL/pH
TVL/pH
Horizontal MTF
100 %
G r
G b
+
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1080 2160 43200
100％ CMOSAperture
TVL / pH
Horizontal MTF
OpticalLow PassFilter
Must Still Contend with 2nd Order Sideband
2nd Order Sideband
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1080 2160 43200
100％ CMOSAperture
OpticalLow Pass FilterTotal
GreenResponse
TVL/ph
Horizontal MTF
FIRCosineFilter
2nd Order Sideband
One LinePeriod
Horizontal Sample Period
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1080 21600
100％
MTF
Defeating Nyquist
Remaining Alias stimulation
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“Super Green” Directly Benefits Luma Output
Y = 0.213R + 0.715G + 0.072B
(Rec 709 standardized matrix)
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1080
0 200 400 600 800 1000
100％
TotalResponse
HorizMTF
TVL/ph
SMPTE 30 MHz Filter
70%
Nyquist
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+Gr
Gb
Green Gr
Green Gb
80Ke-Saturation
12 x sq rt 2e-Noise Floor
40Ke-Saturation
12e-Noise Floor
40Ke-Saturation
12e-Noise Floor
Readout
Readout
Green
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CreateBit serial
Data Interface
R G B + A
R G+ B
3G SDI
SMPTE ST 425-1-2011
High-speed
Parallel Data
Readout
2048
1080
2048
2048
2048
1080
1080
1080
R
Gr
Gb
B
4KCMOS
Image Sensor
+ G+
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R
Gr
Gb
B
CMOS Image Sensor System
1080
1080
1080 Y
Cr
Cb
RGB Digital Processing
4:4:4:4Progressive
Readout(High Bit-Depth)
8.3 Mpixel
PhotoSite
OptoElectronic Transform
+
High Bit-Depth
4:4:4Processing
“Super”GreenHigh
SpeedReadout
3G SDI
Serial 12-bit 4 : 4 : 4 @60P
10-bit 4 : 2 : 2 @120P
ToOn
BoardMPEG-2Codec
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Special HD / 2K Imaging Attributes of C500
• No De-Bayer process
– No reconstruction errors
• No Compression
– No related artifacts
• RGB 4 : 4 : 4
– Full Color Space
• Super Green
– Produces high MTF Luma with very low aliasing
• 12-Bit
– Faithful reproduction of Wide Dynamic Range
• Canon Log
– Protects 12-stop Dynamic Range in recording
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Broadcast Television Production
What Might be the Applications
for
Large-Format Single-Sensor Cameras
in
Broadcast Television ?
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Broadcast Television Production
Television Program Genres– Episodic– Drama
– Light Entertainment Shows• Reality• Sitcom• Cooking• Court• Talk
– News – News Magazine
– Documentary
– Sports
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Broadcast Television ProductionImage Quality Ergonomics Deliverables Costs
Episodic Very High Not so Important Highest Quality Can be High(Shallow Depth of Field)
Drama
Light Entertainment ShowsReality
Sitcom Acceptable Very Important Reasonably High Must be LowCooking (Deep Depth of Field)CourtTalk
News Acceptable (Deep DOF) Very Important Reasonably High Must be Low
News Magazine High (Shallow DOF) Not so Important Very High Can be High
Documentary Acceptable Very Important Reasonably High Must be Low(Both Deep & Shallow DOF)
Sports Very High (Deep DOF) Not so Important Highest Quality Can be High
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Large Format Cameras: Friend or Foe?
• The Large-format Single-Sensor Camera
– Clearly has important applications in various broadcast television program genres
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Large Format Cameras: Friend or Foe?
• The Large-format Single-Sensor Camera
– Clearly has important applications in various broadcast television program genres
• In the sense that such cameras augment the production arsenal
– it is submitted that they are FRIEND indeed to the Broadcaster
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Thank Youfor
Your Attention
