Sony’s HDCAM SR recording from 4K to 3D to MXF to DPX
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Sony reveals HDCAM SR strategy to revolutionize high-end production and widen market appeal
Nov 25, 2009
“Today, we have shown the power of a total HDCAM SR solution as well as a future-proofed roadmap that offers a path to 4K and 3D native recording. It doesn’t get any better.”
Product Roadmap to deliver:
- Camcorder for life: New SRW-9000 ships today at affordable price point and with future upgrade path
- Open and Efficient File-based Workflow with MXF and SR Lite
- Workflow Benefits with EDL data and colour correction using CDL files
- Delivery of new SR memory as media of future
- Strong tape archive strategy and realignment of media pricing
Power of Images, London UK - Sony Professional today unveiled a series of announcements for its HDCAM SR range that offers unprecedented developments in the areas of acquisition, storage, archive and workflow efficiency. Delivering new opportunities for high end acquisition and post production, Sony’s HDCAM SR technology is set to go beyond today’s quality standards and bring the benefits of file-based SR operations at a more cost-effective price point. For the high-end user, the roadmap delivers the next evolution in SR beyond today’s quality standards and the arrival of new products and solution to deliver file-based acquisition and production. For the more mainstream market, Sony delivers an SR strategy that brings the benefits of file-based SR operations at a more cost-effective price point. The scale of the developments is unprecedented in the history of the format.
Camcorder for life: 2/3’’ or 35mm PL mount option and file-based memory upgrade path for SRW-9000
Launched at NAB 2009 as the next generation of digital 24P technology, Sony’s SRW-9000 combines the format’s renowned image quality with the versatility of a one-piece camcorder. It ships from today for less than the popular HDCAM F900R as a full HD (1920 x 1080) resolution camcorder using 2/3-inch CCDs and is capable of 4:2:2 10-bit recording as well as being configurable up to 4:4:4 in multi-frame rate from 1 to 60p.
Within the industry, the SRW-9000 is recognised as the highest quality 2/3’’ camcorder on the market . Today, based on customer feedback and recognising a market requirement for a 35mm PL mount ‘B’ camera to the prestigious F35, Sony is unveiling an upgrade path for the SRW-9000 to 35mm to further strengthen the flexibility the camcorder can provide.
The F35 will maintain its prestige position in the camera range with further refinements delivered to customers in the future. “When Sony’s SRW-9000 launched in April. It was undoubtedly a no-compromise product that is head and shoulders above anything else available. Today’s news sees us add to the momentum and interest around the product as well as reinforce its market leadership in terms of price, media and long-term investment potential,” explained Olivier Bovis, General Manager, Content Creation Group, Sony Professional.
“While SR is already a file-based format, supporting data recording in 4k and DPX today, file-based recording continues to gain momentum and the move to non-linear acquisition is also becoming increasingly important. Therefore Sony is today committing to a future upgrade path to SR memory for the SRW-9000,” he added.
Open Workflow with MXF and SR Lite
Since its introduction, HDCAM SR has established itself as a mainstay of post production. As HD programming has become more commonplace, so has the demand for higher video bit rates, higher frame rates, and greater format flexibility as well as workflow optimisation. Across the SR range, Sony can deliver up to 1080/60P and 50P recording through the use of 880 Mb/s data rate and today introduced a next generation file transfer and storage technology. Based on the open MPEG-4 SStP (Simple Studio Profile) codec together with an MXF wrapper, which ensures data remains compressed during transfer and enables an almost real time exchange over the GB Ethernet connection. SR Lite (220Mbps*) is available to provide more flexibility for the SStP file based workflow. HDCAM SR can now deliver increased workflow efficiency with a de-facto standard and open codec that is ideal for high end broadcast production. In addition, HDCAM tape can also be integrated into the MXF SStP file-based operation as the system is backward compatible. In addition, using the benefit of SR compression the storage requirements are reduced to a quarter, so a compressed future 4k file has the same storage transfer characteristics as native 2k today. These three transfer rates of 880Mbps, 440Mbps and 220Mbps will all be available in future products, but more importantly within the current SRW-5800 with some straightforward hardware updates.
Workflow Benefits with EDL data and colour correction using CDL files
To derive the greatest benefit from a Digital Cinema camera, every HDCAM SR cassette has a Telefile label built-in as contactless memory storage. This data can be used to generate an EDL that relates exactly to the actual shooting as an automatic logging system. Currently, Sony is working with the Filmlight Truelight box as an on, or near set first pass grading system. CDL files, an industry standard, are generated and will be recorded onto SR tape. Providing an automated EDL and CDL directly to the grading suite will tremendously speed up the process of a one light grade.
Delivery of new SR memory as media of the future
Sony’s technology will enable users to move to a revolutionary and unique Nonlinear Media. The new memory cards deliver transfer rates of up to 6Gbp/s and a native acquisition from 3D 1080p all the way up to 4k. Initially available in 250GB and 500GB, the storage reliably transfers data 9x faster than any other device!
Plans to deliver an upgrade path to SR memory on the existing SRW-9000 have been announced together with a memory adapter for the F35.
“We have unveiled the media of the future,” noted Sony’s Olivier Bovis. “There is nothing else capable of this level of quality native recording anywhere on the market today. Sony has extensive experience of taking customers from tape to file-based workflow. Today, we have shown the power of a total HDCAM SR solution as well as a future-proofed roadmap that offers a path to 4K and 3D native recording. It doesn’t get any better.”
HDCAM SR Tape
The new HDCAM SR roadmap and the strong commitment to move to file base workflow will see SR tapes offer value at every point in the workflow from acquisition with the first SR tape camcorder, to archiving with further opportunities foreseen with upgrades to the SRW-5800 VTR. While acquisition is moving to file-based working over time, archive solutions will remain tape-based. Combined with the new pricing policy delivered today, SR Tape remains the most robust and reliable option for archive and with the future upgrades to the SRW-5800 it will record content at twice real time.
HDCAM SR features:
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Breathtaking HDCAM SR Picture Quality
The SRW-9000 is a one-piece HDCAM-SR camcorder that delivers full HD resolution images and employs 2/3-type IT CCD. Combining this CCD with a high-precision 14-bit A/D converter and digital signal processing, the camcorder is able to capture and reproduce stunning-quality 1080/60P and 1080/50P images with low noise and high sensitivity. Furthermore, Sony’s BP-GL Series of on-board batteries can be attached to provide an additional power supply. With its self-contained recording media (based on the HDCAM-SR format) and compact one-piece design, the SRW-9000 delivers powerful mobility and comfortable shooting – both indoors and outside.
Full-bandwidth RGB 4:4:4 Digital Image Capturing
With the addition of the optional HKSR-9003 RGB 4:4:4 Processing Board, the SRW-9000 offers a full-bandwidth digital 4:4:4 high-definition Red, Green, and Blue signal processing and output capability for highly demanding picture productions. The SRW-9000 also offers S-LOG Gamma with the same optional board, allowing users to flexibly adjust images in the post-production process.
Variable Frame Rate Image Capturing
By adding the HKSR-9002 Picture Cache Board, the SRW-9000 is capable of recording images at a variable frame rate from 1 fps to 60 fps in 4:2:2 mode. And by combining the HKSR-9002 with the HKSR-9003, it can perform the same function even in 4:4:4 mode.
Wide Choice of Viewfinders
The SRW-9000 accepts three types of viewfinder, including the HDVF-20A/200, HDVF-C35W, and HDVF-C30WR. The newly introduced HDVF-C30WR is especially suited for use with the SRW-9000, offering improved focus assist functions, a color brightness level indicator, and numerous other beneficial features. Moreover, with pre-installed viewing LUTs (look-up tables) for S-Log Gamma, this viewfinder provides users with easier focus adjustment and a more intuitive photo-shooting operation.
Versatile Gamma Settings
Including unique S-LOG Gamma (HKSR-9003), HyperGamma, and customizable gamma curve (standard).
Picture Cache Re-recording Capability
Everything captured up to a maximum of three seconds before the REC button is pressed is recorded to HDCAM-SR tape when the camcorder is in stand-by mode.
I/O Expandability
When using the HKSR-9001, additional dual-link HD-SDI outputs and an additional AUX input port are provided, allowing the camcorder to be connected with an external audio multiplexing device.
Wide Range of Accessories
The SRW-9000 is compatible with a wide range of accessories for the HDW-F900, F23, SRW-1, and ARRI.
Digital Cinema Presentation in KPCA, Kerala
Posted by gbalaji in Digital Cinema on November 15, 2009
Yesterday done presentation about Digital Cinema in Kerala for Kerala Producers Council Association. From Producers to directors to Cinematographer to other Technicians attend the seminar. Especially Cinematographer grilled me with existing Digital Cinema Exhibition and its unhappiness over the projection output and there were healthy discussions and debates.
I putforth my representation to Producers Association members with two points:
- Support from Producers & all other Unions for growth of Digital Cinema in India
- Insurance & Bank finance for Digital Cinema Projects include shoot & Data. The reason is a project of mine was on hold for the same above reason that one of the bank stopped the finance for the project since the project was shot digital. In other case Insurance companies are not ready to cover feature films shot digitally and for data.
You can download and watch the presentation from here
FLUT Color Science from Red One explained
A Look Up Table, is a table of values that represent a mathematical formula that has already been calculated for every value you could want. So instead of doing the calculation you look up the answer you want by tracing along a table. We use look up tables in programming when we it’s easier just to hand over the values than to try to describe the formula and/or when we need speed and have plenty of memory and memory access is faster than the actual calculation. (In some cases the table is combined with calculation)
From the point of view of a user a Look Up Table, just means a transformation, in our case the transformation of one color value to another.
A floating point number is a way of writing a number where the decimal point can move. (In computers its the binary point.) This is incontrast to a “fixed point” number where there is a certain fixed number of digits on either side of the point. Floating points are useful because they allows you to represent really large numbers by moving the point all the way to the end or tiny numbers (between 1 and zero) by moving the decimal point all the way to the front and to use either type of number together in whatever math you are doing.
From the point of view of the user floating points mean, more precision, so the color transformations are less likely to cause posterization for example.
Since floating point numbers are already in use internally in most post production software this could also help make Red’s color science more portable.
by
IBloom
http://www.crimsonworkflow.com/home.htm
Will Canon ever stop – Canon 1D Mark IV
Posted by gbalaji in Canon, Digital Cinema on October 21, 2009
Check out…
Thanks Vincent, Stu and Nelson for the wonder video.
Stereoscopic 3D editing in Avid MediaComposer 4.0.2
in V3.5, Media Composer support left and right eyes sources as an over/under file. This means that the left eye is 1920 x 540 and is on the top part of the frame, and the right eye is also 1920 x 540 and is the bottom part of the frame. So the single 1920 x 1080 contains both eyes. Avid MetaFuze can create this format from a series of left and right sources. MetaFuze is a free download available from www.avid.com/metafuze
Once in Avid, there are settings to allow the source/record monitor to show left or right eye only, and while in Full screen mode, there is a setting to output “cherkerboard” over the DVI. With a compatible monitor that supports this mode, you can view the footage as stereo 3D. These monitors are available from Mitsubishi and Samsung and use active shutter glasses. These monitors are rear screen DLP – get the 1080p version with 120Hz. I use a DVI to HDMI cable from my graphics card.
Michael
Check the user forum link here - http://community.avid.com/forums/p/70208/392558.aspx#392558
Myth of Film Look
Posted by gbalaji in Digital Cinema on October 9, 2009
The article below has been taken from digital media online website here.
The film look is a Crock – response and clarification
“Any visual technique used by a filmmaker is simply a tool leveraged for an aesthetic story-telling purpose…. The effectiveness, impact and worth of any given technique a filmmaker employs is derived from its suitability to the context of the film. In simple terms, does the technique match the story..?”
Thus my concern prompting the post is that far too many indie-filmmakers are going for ultra-shallow DOF and using Rack focus NOT because these techniques suit the story or are the right Tools; but simply because they think it ‘looks’ better or will make their film feel more ‘professional’.
The issue is as I then said… “If a single aesthetic choice becomes so dominant and common and ubiquitous across all genre’s of filmmaking, regardless of the creative problems posed by individual films, then it ceases to be grounded technique – it becomes stale, meaningless, banal, a default position rather than a creative choice.”
As a result we have a whole generation of filmmakers who measure their aesthetic mark by how shallow their focus can be and how often they can Rack-Focus their shots. NOT by whether such techniques are the Best or even a Good solution to their creative problems.
Thus I wrote…“the problem is not Shallow and Rack Focus unto themselves as techniques but rather that they are not used as deft Tools and problem solving Options.”
Let me re-iterate to avoid further misguided bile aimed my way… Rack focus and Shallow DoF is great when it’s used for the right reasons. But like any technique, when it’s overused and/or misused without careful consideration of what would service the story best, then we have a problem.
This problem is one I believe to be prevalent across all bands of filmmaking; from indie to big-budget.
This problem is suffocating cinema’s visual language. It’s the equivalent of having a whole dictionary of words but everyone is choosing to use only those that start with ‘A’.
We have let Shallow and Rack-Focus techniques become aspirational ‘ideals’ rather than options and possibilities.
Before you urge yourself to protest once more let me pose you a question… The last time you shot a scene using Shallow / Rack-Focus techniques did you actually consider what other options might be available to you and the shot? Did you try other techniques? Did you experiment with staging and positioning for different effects? Did you ask yourself what would suit best the scene from a character, story or audience perspective…? Or did you just go for Shallow/Rack because it ‘looks cool’…? Because you ‘Like it’ or Because ‘that’s just the way things are done’….?
This is not a disparaging personal comment on you or your films (i havent seen them), it’s just a self-evaluative question for any indie filmmaker to ask.
Indeed might I suggest that the simple questions “How else might I do this…?’ and ‘What other possibilities are there…?” is the very beating soul of all art. If you’re not asking yourself these 2 questions then you are not an artist…
Did you agree with the author. Post on your comments.
Dynamic Range Capabilities of Digital Cinema Camera
Posted by gbalaji in Digital Cinema on September 14, 2009
The below article has been taken from 3cp website for learning purpose only.
“Dynamic Range Capabilities of Digital Cameras”
by Yuri Neyman, ASC (Gamma & Density)
Lately—especially after our RED camera seminar and the entrance of 3cP into the RED One and Panavision Genesis “market”—we’ve received a lot of questions about the claimed 11, 13, or 16 f-stop “capabilities” of certain cameras. Here is our point of view on this contentious subject.
We’re really talking about two separate definitions: Observable Dynamic Range/Latitude and Potential Dynamic Range/Latitude.
Observable Dynamic Range/Latitude (ODR) is what the human eye can see in “spotting” mode when the angle of vision is no greater than 90°, and the observable field of vision is much brighter than the surrounding environment (like a film screen or computer/TV monitor in a darkened room).
In this kind of environment we can see no more than 4.5-5.5 T-stops, which must reflect / include all the variations in our surroundings, which may reach a contrast range of up to 1:2,000,000 contrast range (a landscape with a sun in the frame, or 1:100,00 in a case of a room interior against a daytime window without a fill light).
The physiology of vision in this environment is very different from our vision of nature, when our eye is in scanning and adaptable mode and we are able to perceive very high contrast images in full detail.
Please reference this densitometric measurement of an actual sensitogram of positive (print) film.
Negative film can see around 7 T-stops (see the sensitiogram of the negative film with related markings (white, grey, black, etc ) below. Also it will be helpful for an understanding of the problem to view the combined negative film / positive film curves which result when the negative film is printed onto the positive film for viewing.
Figure 1 – Negative film example:
Figure 2 – Postive film example:
Figure 3 – Combination of the Negative and Positive Curve
(How to reproduce the correct psychological “feeling” of this contrast range inside of the available 5.5 -7 f-stops is a different question and belongs to different discussion, but it was done successfully by many generations of experienced cinematographers and this process continues today.)
Potential Dynamic Range/Latitude (PDR) is what a digital camera can register, but the human eye cannot see it fully due to the limitation of the “spotting” mode of vision.
The best light sensitive digital chips today can be no more than 16-bit depth luminance which can be equated with Potential Latitude/Dynamic Range of no more than 16 T-stops, which cannot be directly perceived by the human eye on the screen, but can be seen only due to “second pass exposure manipulations” similar to “dodging/burning” and other altering and enhancing techniques typically done during the grading process.
But Potential Dynamic Range/Latitude (PDR) can be an important characteristic of the camera/digital light-sensitive element, providing that at least: cameras/digital light-sensitive elements are tested under identical illuminance and optical conditions: 18% (D(r)=0.74) neutral gray reflectance chip represented as .35-.33 mV; and reproduction curve of 5 neutral gray reflectance chips with reflectance of 4.5%, 9%, 18%, 36%, and 72% representing a straight line.
In our opinion, measuring these dual indexes—Observable Dynamic Range/Latitude (ODR) and Potential Dynamic Range/Latitude (PDR)—for each digital camera will satisfy both segments of our industry: practical working cinematographers and R&D enterprises and camera manufacturers.
Starting March 15—when we will release for sale version 3.1 of 3cP for RED Cameras—G&D will start to apply those indexes to all cameras for which 3cP has a “pre-fabricated” digital cinematography workflow, starting with the Panavision Genesis and RED One. Indexing of other cameras will follow, per cinematographer’s and manufacturer’s requests.
Yuri Neyman, ASC<
ARRI unveils new digital cinema camera in IBC 2009
Posted by gbalaji in ARRI, Digital Cinema on September 12, 2009
ARRI unveils new digital cinema camera in this year IBC 2009. 3 Cameras shown as prototype in new ARRI CMOS censor technology named “ALEV III Sensor”. They planned to release mid 2010. Starting price of camera starts from 50000 Euro.
Check out this IBC video to know more about the upcoming digital cinema cameras from ARRI