In Broadcast - November 2017 - 23

23

www.inbroadcast.com | Vol: 7 - Issue 11 | November 2017

The Arrival Of Ultra Resolution Capture cont'd...
unique, cinematic look. SAM's Rio
finishing system is one of the few
software tools able to work with the
files and the Cinematic Image Mapping
Controls.
Of course, a focus on resolution
alone is largely dismissed by
creatives since what matters is
applying the appropriate look for
the story. Temporal resolution - or
dynamic range - is considered a
more perceptually noticeable tool to
delivering greater contrast and colour
depth.
This is exacerbated by the widening
gap between the image quality which
can be captured and the quality of
the final image on display. While an
increasing amount of content for
feature films or TV are acquired 4K
only a few titles will be mastered
for 4K theatrical projection or home
entertainment distribution.

Full Frame Monstro sensor for RED's Weapon

ProRes and Avid DNxHR, which
makes that potential time consuming
task of creating dailies something
you can do on the fly if you explore
that workflow. 8K is where things get
heavier if we're talking uncompressed
DPX sequences and that's a big hurdle
to undertake for some studios.
"I know the post houses I've worked
with, literally all of them in the last
year or so, I was the first person to
bring 8K into their houses," says
Holland. "And in reality, the workflow
isn't that difficult if you're targeting 4K
or 2K output."
Lens manufacturers are getting on
board with the larger format size and
there's a great deal of cinema glass
at all sorts of budget levels that cover
VistaVision, in particular. The Tokina
Cinema Vista Primes were the first
new set designed for the format. Cooke
offers S7s, Leica has large format
Thalia primes, there are the Zeiss
CP.3s, Sigma Art, and many others
which work very well with Vistavision
and Full Frame 35 formats.
"I've even adapted and modified
some vintage and modern glass from
Leica, Mamiya, Olympus, and the more
recently released Zeiss Otus Primes,"
reports Holland. "It's been a wonderful
and exciting world to explore from
a cinematography perspective as all
of it was creatively and technically
challenging to find lenses I liked for
each project. When I began primarily
working in 8K VistaVision I certainly

heard a lot of 'you can't pull
focus for that format or
resolution', but seriously,
this format has been
around for many years and
we have more advanced
focus 'helpers' on camera
and on set than we did
before, so for me that was
never part of the hurdle for me. In
fact, my first 8K VV project I shot at
T1.5-T2.8 just to showcase some of
the appeal of the larger format size in
relationship to the depth of field."
RED is leading the way in pushing
sensor resolution, recently adding
the Monstro, a full frame sensor for
Weapon cameras. This combination,
captures 8K full format motion at up
to 60fps, produces 35.4 megapixel
stills, and delivers data speeds of up to
300MB/s.
Sony has launched the 6K Venice
and continues to market the 8K F65
CineAlta. Venice houses a 36x24mm
full-frame sensor and is compatible
with anamorphic, S35mm and fullframe PL mount lenses. Future
firmware upgrades are planned to
allow the camera to handle 36mm
wide 6K resolution.
Panavision's Millennium DXL Camera
outputs 4K proxy files - ProRes or DNx
- and large-format 8K RAW files. At
the core of the camera is a proprietary
image mapping process called Light
Iron Color, developed by LA post
facility Light Iron, which provides a

Sony's new kid: The Venice camera

According to Holland the argument
about which characteristic is more
important - resolution or HDR - simply
misses the point. "It's about improving
the overall image quality. That is
what is important when it comes to
getting our carefully captured images
to the discerning and deserving eyes
of the audiences who experience our
efforts. Motion pictures have always
been where science, technology,
and art have met and over the years
there's been great efforts to improve
the visual fidelity to produce a more
immersive image for the audience.
That's in my opinion part of the core
of how we advance forward in our
industry and in our medium."
When it comes to
shooting 8K Civan
says resolution at
this point isn't about
resolution anymore.
"The effective pixels
are so small, and so
good, that they act less like digital
dots and more like paint."

InFocus

Broadcast 8K
NHK's 8K system encompasses
cameras (Ikegami's SHK-810 handheld
system and Sony Systems Camera
UHC-8300, plus others from Hitachi),
switchers (from NEC), Lawo consoles
for 22.2 channel audio and giant LCD
displays (from LG).
Belgium codec developer Image
Matters is backing a European
project intended to skip 4K and help
broadcasters leapfrog directly from
HD and to 8K. Called 8K SVIP, the
collaboration between Belgium and
Czech manufacturers and researchers
intoPIX, Cesnet, Image Matters and
AV Media aims to gives broadcasters
the tools to migrate from HD and 4K,
and to develop advanced transport
technologies to manage 8K signals
over SDI and IP.
IntoPix has already been selected by
NHK as the compression technology
for broadcast of Super Hi-Vision.
Using a TICO 8K codec the bitrate
of an uncompressed 8K stream
is reduced to 48 Gb/s (60hz, 10
bit, 4:2:2) making it possible to
squeeze an 8K signal down a single
12G SDI cable with
a claimed latency
of less than 0.2
milliseconds.
German developer
Cinegy has also been
teasing
audiences
at tradeshows with 8K recording and
playback demos, highlighting the
performance advantages of its NVIDIA
GPU accelerated video codec, Daniel2.
Cinegy is now in public beta with
Daniel2 codec-based applications.
Company CTO Jan Weigner has
claimed that Daniel2 can decode
up to 1100 frames per second at 8K
translating into more than 17,000
frames of full HD decoded per second.
"It is the world's fastest professional
video codec, leaving any other codec
lightyears behind."
Cinegy is already touting the performance at 16K of this technology.

Compression of Choice: IntoPIX TICO 8K


http://www.inbroadcast.com http://www.red.com/products/weapon https://www.sony.co.uk/pro/product/broadcast-products-camcorders-digital-motion-picture-camera/venice/overview/?cmp=ppc-bc-14179&aaca=923463788&aaad=46981806195&aake=sony%20venice&aama=e&aapl=&aata=&aacr=222571763022&aade=c&gclid=Cj0KCQiAuZXQBRDKARIsAMwpUeRjz1Xaq5-Grx-UR3eSx7VSVMaPMTmYRHTn9KGFEjTFAO87oyk4UvYaArpDEALw_wcB http://image.matters.pro/

Table of Contents for the Digital Edition of In Broadcast - November 2017

Contents
In Broadcast - November 2017 - Intro
In Broadcast - November 2017 - Cover1
In Broadcast - November 2017 - Cover2
In Broadcast - November 2017 - Contents
In Broadcast - November 2017 - 4
In Broadcast - November 2017 - 5
In Broadcast - November 2017 - 6
In Broadcast - November 2017 - 7
In Broadcast - November 2017 - 8
In Broadcast - November 2017 - 9
In Broadcast - November 2017 - 10
In Broadcast - November 2017 - 11
In Broadcast - November 2017 - 12
In Broadcast - November 2017 - 13
In Broadcast - November 2017 - 14
In Broadcast - November 2017 - 15
In Broadcast - November 2017 - 16
In Broadcast - November 2017 - 17
In Broadcast - November 2017 - 18
In Broadcast - November 2017 - 19
In Broadcast - November 2017 - 20
In Broadcast - November 2017 - 21
In Broadcast - November 2017 - 22
In Broadcast - November 2017 - 23
In Broadcast - November 2017 - 24
In Broadcast - November 2017 - 25
In Broadcast - November 2017 - 26
In Broadcast - November 2017 - 27
In Broadcast - November 2017 - 28
In Broadcast - November 2017 - 29
In Broadcast - November 2017 - 30
In Broadcast - November 2017 - 31
In Broadcast - November 2017 - 32
In Broadcast - November 2017 - 33
In Broadcast - November 2017 - 34
In Broadcast - November 2017 - 35
In Broadcast - November 2017 - 36
In Broadcast - November 2017 - 37
In Broadcast - November 2017 - 38
In Broadcast - November 2017 - 39
In Broadcast - November 2017 - 40
In Broadcast - November 2017 - 41
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In Broadcast - November 2017 - 62
In Broadcast - November 2017 - 63
In Broadcast - November 2017 - 64
In Broadcast - November 2017 - 65
In Broadcast - November 2017 - Cover3
In Broadcast - November 2017 - Cover4
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