Archive for May, 2009
Baselight Transfer (BLT)
RED ONE digital source needs to be managed near-set and in post-production to integrate into modern file-based workflows. REDCODE Raw source cannot be directly reviewed, needing to be converted and graded for offline dailies, and conformed and reconverted for online editing, grading and finishing.
Baselight Transfer (BLT) is a cost effective, billable digital telecine tool that seamlessly integrates REDCODE Raw source into standard non-linear editing, grading and finishing workflows.
BLT can be used near-set to instantly view REDCODE RAW camera rushes, to confirm ‘shot’ or ‘take’ integrity. It can also be used in a post-production environment to enable rapid conversion of REDCODE RAW content into either graded dailies or a conformed online making it the complete, high performance digital telecine solution for RED-based projects.
*The complete BLT RED toolset will also be available for all Baselight systems*
Some of the key features include:
real-time 2K (‘half-res’) decode and review from CF cards, Firewire drives, or file-system based disk packs
plays R3D natively on the timeline, in real-time, with simultaneous real-time GPU grading
plays 2K DPX in real-time with Truelight profile
ability to edit all RED decode parameters (including reading RSX files) on a per-shot basis, allowing ‘group grading’ of multiple shots simultaneously
creates DNxHD MXF, Quicktime, 1:1 MXF, TIFF etc. content direct from R3D – no intermediate processes required
supports CMX, AAF, and XML using Baselight’s statistical file based conform engine
ARRI D21 – The Film Style Digital Camera
The new ARRIFLEX D-21 combines leading edge digital technology with film camera features that have been refined over ARRI’s 90-year history. It allows directors and cinematographers to shoot in the same way as they would with 35 mm film, while taking advantage of the immediacy and economy of digital acquisition. Through ARRI Imaging Technology (AIT), the D-21 produces brilliant images with a cinematic look and feel. D-21 images have a high dynamic range, high contrast and the most film-like color reproduction of any digital motion picture camera on the market today.
Incorporating a rotating mirror shutter, optical viewfinder and compatibility with existing film accessories, the D-21 is immediately recognizable as an ARRI camera and film crews feel comfortable operating it. Further film style features include variable frame rate and robust construction. The D-21’s single, Super 35-size CMOS sensor exhibits the same cinematic depth of field as 35 mm film and the camera’s industry standard PL lens mount accepts the same unequalled variety of spherical lenses as used on 35 mm film cameras. Since the D-21 is the only digital high-end camera with a 4×3 aspect ratio sensor, it can make full use of anamorphic lenses.
The ARRIRAW format enables the D-21 to output raw uncompressed data. Alternatively, or simultaneously, the camera can output an uncompressed HD signal that works perfectly in the established HD infrastructure. With such flexibility, the D-21 easily adapts to a variety of production requirements and budgets.
In addition, the ARRIFLEX D-21 is the only digital high-end camera that can make full use of anamorphic lenses for the CinemaScope® format.
ARRIFLEX D-21 Main Features:
The ARRIFLEX D-21 is a film style digital camera that combines the immediacy of digital cameras with high-end film style functionality, handling and creative options. Its bright optical viewfinder has no delay, works without power and shows an additional image area outside the primary image. Based on innovative ARRI Imaging Technology (AIT), the D-21 produces outstanding images with a cinematic look and film-like motion and color reproduction. Through its single, Super 35-sized CMOS sensor, the D-21 accepts the unequalled variety of prime, zoom and specialty film lenses used on 35 mm film cameras. It has the same cinematic depth of field as 35 mm film and is capable of using anamorphic lenses for the CineScope® format.
• ARRIRAW T-Link
One of the obstacles that has held back the use of raw data in the past has been the problem of how to get data easily from the camera to a recorder. ARRI engineers have found a way to utilize a standard dual link HD-SDI connection to transport the raw D-21 Bayer data. This new transport method is called “ARRIRAW T-Link” (Transport Link). It allows any recorder capable of recording an uncompressed dual link HD-SDI stream to record raw D-21 Bayer data, greatly simplifying the raw data workflow for manufacturers and users alike.
The properties of the dual link HD-SDI connection are defined in SMPTE 372M. The standard specifies a maximum data rate of 2.97 Gb/s, which is enough bandwidth to carry the 12 bit D-21 raw Bayer data. SMPTE 372M also defines a number of standardized source signal formats to be sent through two BNC cables (affectionately known as Link A and Link B).
• The Optical Viewfinder
While most digital cameras use electronic viewfinders, the D-21 is equipped with the same optical viewfinder as all other ARRI cameras. Thus the D-21 viewfinder always shows an image area larger than the image being recorded, and it can be used even when the camera is not powered up.
Light entering the taking lens is diverted by a spinning mirror shutter and generates a bright, magnified full color image in the viewfinder. This direct light path, free of any electronic image processing, ensures fatigue-free viewing as well as zero delay, a crucial feature when shooting fast action, where a delay of even a few frames can be very confusing. But even something as mundane as following a person getting up from a chair can become horrifying guesswork if the viewfinder images is delayed.
• ARRI Imaging Technology
Each component of the D-21 has been purpose-built with one goal in mind: to create the most gorgeous cinematic images possible. Those images are the result of a custom designed CMOS sensor, a finely tuned optical low pass filter, a powerful imaging hardware engine and advanced image processing algorithms. Having full control of the D-21’s imaging chain down to the smallest detail allows an optimization of the whole system far beyond what would be possible with off-the-shelf components. The smart orchestration of all these proprietary components is ARRI Imaging Technology (AIT).
AIT, which is in constant development, combines ground-breaking research and development with knowledge, feedback and suggestions gleaned from an on-going dialogue with professional filmmakers. AIT provides super sharp, alias-free images through over sampling, finely tuned optical low pass filter and advanced image reconstruction algorithms.
Image processing advances incorporated into the D-21 include increased sensitivity, with ‘linear’ HD output ranging between EI 100 and EI 800 equivalent, as well as optimized sharpness and enhanced, film-like color reproduction.
AIT also ensures that crews can concentrate on the creative aspects of making images, by automating many of the technical aspects. The D-21 has, for instance, an automated black balancing circuit (Correlated Double Sampling – CDS), which continuously calibrates the black level of each pixel in each frame without any user intervention. In addition, an automated Defect Pixel Correction (DPC) guarantees that no single defective pixel will ever be visible. DPC is a highly sophisticated process that analyzes every pixel plus a surrounding pixel field in every frame (for a staggering total of 2.5 billion pixels per second) in real-time as the camera is running. Through AIT, the D-21 produces outstanding images with a cinematic look and feel, high contrast, the highest dynamic range and the most film-like color reproduction of any digital motion picture camera.
• A Film Sized Sensor & Film Lenses for a Film Look
Depth of field is the one of the most powerful creative tools available to cinematographers, and the shallow depth of field of 35 mm film cameras has become associated with cinematic imagery in the minds of movie audiences over the last 100 years. The D-21’s sensor has the same size as a Super 35 mm film frame to give cinematographers the same versatility and control of depth of field.
Having a wide range of lenses available is of immense importance, as it gives cinematographers the greatest flexibility in expressing their vision. The 35 film format enjoys the widest variety of prime, zoom and specialty lenses available for any format, and the D-21 is compatible with all those lenses thanks to its industry standard PL lens mount. Since the D-21 is the only high-end digital camera with a 4×3 aspect ratio like 35 mm film, it is also the only digital camera that can take full advantage of the unique CinemaScope look of anamorphic lenses.
Further enhancing the film-like quality of D-21 images is the camera’s rotating mirror shutter, which functions exactly as it does on 35mm ARRI film cameras. This method of progressive image capture results in the most film-like motion portrayal possible. The ARRIFLEX D-21 is the only digital high-end camera that can make full use of anamorphic lenses for the CinemaScope® format.
• Flexible Output Options
Different projects have different production requirements, budgets and distribution channels; the equipment chosen has to be flexible enough to accommodate those differences. The unique construction of the ARRIFLEX D-21 allows various output signals to be generated, accommodating diverse production needs and pipelines.
In HD Mode, HD output options include ‘Linear’ or Logarithmic output, 4:2:2 YPbPr or 4:4:4 RGB, Normal or Extended Range, as well as frame rates of up to 60 fps and an optional fiber optic link. HD Mode allows the D-21 to deliver its unique images into the existing HD infrastructure. Alternatively, or even concurrently, the D-21 can work in Data Mode, whereby the uncompressed, 12 bit raw Bayer data from the D-21’s 4×3 sensor is available in full resolution. The ARRIRAW T-link (Transport Link) is a method of transporting the ARRIRAW data over a standard dual link HD-SDI connection. The data files which result from processing of the ARRIRAW recordings are as easy to grade as those scanned from film, because a special color conversion matrix and LUTs (look-up tables) in post create the same pixel raster and colorimetry as film scans.
D-21 Data Mode Main Features
Best Image Quality
* records uncompressed, unprocessed 12 bit raw Bayer sensor data (ARRIRAW)
* the output option with the highest dynamic range and lowest noise
* improved image quality through advanced image reconstruction in post
* 2880 x 2160 (4:3) at 24 and 25 fps, 2880 x 1620 (16:9) at 30 fps
CinemaScope® Format
* full use of anamorphic lenses
Greatest Flexibility on the Set
* ARRIRAW T-Link: transport ARRIRAW via dual link HD-SDI
* simultaneous data and HD output for HD video monitoring and off-line editing
* ingest converted data files from data recorder to NLE
Greatest Flexibility in Post
* finer detail and crisper edges
* higher resolution better for compositing
* familiar workflow: 2K files have the same resolution and colorimetry as 2K scans from film
* color conversion and lookup table decisions can be made in post
* simple image reposition and cropping
* upgraded image reconstruction can be applied to archived raw data for better image quality
ARRI D21 Signal Output Specifications:
HD Mode – HD-SDI (SMPTE 292M):
- 1920 x 1080 4:2:2 YCbCr 10 bit @ 23.976, 24, 25, 29.97, 30PsF
HD Mode – dual link HD-SDI (SMPTE 372M):
- 1920 x 1080 4:2:2 YCbCr 10 bit @ 48, 50, 59.94, 60PsF,
- 1920 x 1080 4:4:4 RGB 10 bit @ 23.976, 24, 25, 29.97, 30PsF
Data Mode – ARRIRAW T-Link
(ARRIRAW transmission protocol mapped into RGBA dual link HD-SDI stream according to SMPTE 372M):
- 2880 x 2160 RAW 12 bit Bayer data @ 23.976p, 24p, 25p,
- 2880 x 1620 RAW 12 bit Bayer data @ 29.97p, 30p
• A True ARRI Camera
The D-21 is a true ARRI camera; it runs silently and has the same robust construction and ergonomic design ARRI cameras are famous for. Its controls are also simple and straightforward for fast and safe operation.
The D-21 is also compatible with a broad selection of film accessories. Mounted on a standard sliding baseplate, the D-21 shares matte box, support rod and follow focus options with the ARRI 35 mm film cameras. The extensive range of available accessories allows the D-21 to be configured for any style of shooting. A studio setup might involve a production matte box and follow focus, extension eyepiece with leveler and a heavy zoom lens, while a stripped-down setup would permit hand-held or Steadicam shooting.
The FEM-2, a Functional Expansion Module that attaches to the side of the D-21, houses a built-in radio module for lens and camera control with the ARRI Wireless Remote System (WRS). It also contains motor drive electronics that allow the ARRI Controlled Lens Motors (CLM) to be plugged directly into the D-21, minimizing the number of boxes attached to the camera.
The D-21’s modular system architecture allows upgrading when advances in sensor, electronics or firmware technology become available, thus ensuring a long product cycle for the camera.
Digital Camera Workflow and Laser Pacific
Digital Camera Workflow
Data Dailies
LaserPacific supports a variety of workflow options for projects shooting on RED or RAW. Whether you are looking for a tapeless workflow or integrating RED material into other projects, whether cutting on FCP, AVID, or any other offline system we have a path for you. LaserPacific’s dedication to your image and our experience in Television and Feature Films allows us to manage your data file’s color space and texture for your target viewing environment and LaserPacific’s award winning aIM services can be used with for production screenings.
Workflow
LaserPacific understands the importance of dailies. Timely delivery of high quality images is paramount. Color correction, synch of dual system audio, accurate FLX and ALE information, and the ability to create a variety of deliverables are not aspects of post-production that go away when working with data acquisition. LaserPacific Data Dailies performs all these services in a manner consistent with film production workflow that takes these issues off the hands of the production. As our of our clients once told us, “I love you guys at LaserPacific – You stay up late so you we don’t have to.” Editorial materials can be provided for any offline system in any codec required. After dailies are complete we also provide backup to LTO tape and/or storage in our MPAA reviewed secure data facility. For feature films returning for completion of their DI we offer an easy way to use offline EDL’s to trace back to the original R3d’s or RAW’s. LaserPacific Data Dailies provides ease of mind and quality assurance without sacrificing turn around.
Image Management
LaserPacific’s approach to handling data is primarily informed by a respect for your images. Our processes are optimized for the color space you will finish in and can be adjusted as needed for shows that want greater latitude in finishing or want a more polished look in dailies or both! For feature films we utilize aIM to ensure a consistency of image from dailies through to print film and digital cinema without jumping from color space to color space.
We’ll help you See Red
LaserPacific will help you see Red in a whole new light. The Red One camera has certainly gotten the industry’s attention and at the same time, the various options available in post production finishing for Red, can sometimes sound confusing. Want the straight talk on Red? LaserPacific has it. Whether you are doing a feature, television show, music video or commercial, LaserPacific can walk you through a digital post workflow that really flows.
For more information on Digital Camera Workflows, contact:
Rob Smith, VP Emerging Digital Technology and Workflows 323-462-6266 x 2203 rsmith@laserpacific.com
Red Exposure 101 by Jim Jannard
Exposure 101…
by Jannard
This topic has been covered before. Many of you know all this stuff. But there are new RED shooters everyday and some that are still struggling with exposure. Buried in this post is a question for the community. We’d love your opinion.
There is plenty of DR in a RED ONE to make great images… many have proven that. But the range is limited enough that you can easily miss the window if you are not careful. Let’s recap a very simplistic starting point for exposure to keep you out of trouble.
Under-exposure leads to noise. Over-exposure leads to clipped highlights. So… don’t do either, unless you really want to.
1. Make sure your monitor/LCD’s brightness is set correctly. The RED LCD’s need 4 or 5 clicks down from full bright in most circumstances. If set too bright… it seduces you to stop down and under-expose.
2. ETTR. Expose to the right. Just under the point of clipping. That keeps you away from noise in the shadows and keeps detail in the highlights. In a dark scene you may choose to allow some specular highlights clip. See False Color or Zebras below.
Use your tools.
Quickly set approximate exposure by looking at the LCD.
Check the color bar next to the histogram (which corresponds to False Color colors and originates from RAW). Turn out the top red box. That is the equivalent to clipped. Don’t worry about the orange, yellow or other colors… they are probably supposed to be lit.
The Stop Lights next to the color bar are from the RGB path! Don’t let them fool you. Sometimes they are on and you still have detail in the highlights. We are likely to change this in a future build to represent RAW and not the RGB path. Thoughts?
Use False Color. Red means clipped and purple means super dead. I set my top left LCD button to False Color in User Prefs. If it (something in the scene) is red… it is dead (clipped). There are time when you might be OK with that, but False Color tells you exactly what is clipped. You choose instead of guess.
Use Zebras. They will tell you exactly which highlights are blowing (you need to know)… you can also set them for the shadows, they “buzz alert” when you are likely to encounter a lot of noise. You can set the top and bottom limits to each of them.
If anyone cares to add… please do.
Jim
Digital Vision Film Master Road Show in India
Posted by gbalaji in Digital Cinema, Digtial Vision, Real Image on May 21, 2009
