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Compression pour D-Cinema & Production S3D. GDR-ISIS – 27 mai 2010 Présentation : Patrick ZUCCHETTA Doremi Technologies & 3DLIZED. Year 2000 - The Compression Problem. Visually lossless characteristic desired for digital cinema

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compression pour d cinema production s3d

Compression pour D-Cinema& Production S3D

GDR-ISIS – 27 mai 2010

Présentation : Patrick ZUCCHETTA

Doremi Technologies & 3DLIZED

year 2000 the compression problem
Year 2000- The Compression Problem
  • Visually lossless characteristic desired for digital cinema
  • Digital cinema would be viewed on DLP Cinema projectors on large screens
    • No persistence in projector technology to mask artifacts
  • Many algorithms to choose from
  • Ideal algorithm will be royalty free
years 2000 2001 compression testing
Years 2000 – 2001- Compression Testing
  • Extensive private testing performed at the ETC Digital Cinema Lab in Hollywood
  • Large 50-foot screen used
  • DLP Cinema projector – no persistence
  • Test material from motion pictures supplied by Hollywood studios
    • Same test material used for all compressions in test
  • Tests included varieties of both DCT and Wavelet algorithms
test results
Test Results
  • Test results cannot be released as these were private tests
  • BUT one significant result can be reported:ALL compression technologies, whether DCT-based or Wavelet-based, required approximately the same bit rate to achieve visually lossless images.
test conclusion
Test Conclusion
  • The choice of image compression would not a technology choice, but an operational & business choice based on a set of requirements !
business requirements
Business Requirements
  • The compression must support layering so that a single file can be used to deliver to both 2K and 4K projectors.
  • The compression should be royalty-free.

JPEG 2000 uniquely meets these requirements !

4K

2K

JPEG2000

motion jpeg2000 features
Motion JPEG2000 Features
  • Based on Part 1 codec of JPEG2000 standard (15444-1)
    • lossless and lossy compression in one codec
    • scalability in resolution and quality
    • Accuracy depth up to 32 bit/component
    • Virtually no limit to width and height
    • Quality based, VBR, CBR coding, high efficiency (very high on animation)
more jpeg2000 features
More JPEG2000 Features
  • Motion Image specific additions
    • intraframe based coding scheme
    • MPEG-4 based file format
    • Synchronisation of audio and video
    • Metadata embedding
    • Multi-component, multi-sampling formats e.g. YUV422, RGB 444
d cinema specific advantages
D-Cinema Specific Advantages
  • Intraframe Coding
    • Easy editing,individual frame access
    • Relatively low memory demands
  • Scalability
    • Previews in different resolutions and qualities
  • Lossless and near lossless
    • Possible to use lossless mode in postproduction & archive
d cinema package
D-Cinema Package
  • D-Cinema encrypts the compressed file, and then wraps it with MXF.
  • Other compressions may be used in the D-Cinema Package.
quality advantages to jpeg2000
Quality Advantages to JPEG2000
  • Spatial Resolution 1080*2048 (2K) or 2160*4096 (4K)
  • Color resolution 4:4:4 (no color sub-sampling)
  • Accuracy 12 bits per color (68x 109)
  • Color space XYZ (the largest possible)
  • A master 4K DCP can be played in 2K resolution
  • Support of 3D with a single player & projector,

using a TI schema called triple flash 144Hz using

dual link HD-SDI as a separate Left & Right feeds

security advantages to jpeg2000
Security Advantages to JPEG2000
  • Cinelink II + Embedded Media Block
  • Forensic Watermarking for Iage and Sound (Theater piracy detection)
strong benefits of dci 1 0
Strong benefits of DCI 1.0
  • Recommendation defined to stay for long time, stable technical reference for projection industry !
  • Projected quality is >= to Answer Print,

so much better than any Commercial Theater Print !

  • Security of distribution & projection is VERY HIGH,

AES-128/KDM, Cinelink-II, Watermark, FIPS 140 Level 3 !

  • Same color grading than 35 mm for master DCP, cheaper production of DCP master compare to MPEG-2 !
  • 4K native playback as evolution path,

to fit higher playback quality expectations !

brief history d cinema 1
Brief history D-Cinema (1)
  • May 99 : Star Wars I shown on prototype digital projector
  • Aug 99 : 1° projector techno DLP
  • April 00 : TI select 1° OEM DLP Cinema (Christie, Barco)
  • July 01 : EDCF birth (European Digital Cinema Forum)
  • Aug 01 : Universal is 1° studio to supply a digital release in

MPEG (Jurassic Park III)

  • July 02 : 7x Studios in Hollywood form DCI

(Digital Cinema Initiative)

  • March 03 : TI launch DLP Cinema in resolution 2K
  • Nov 03 : Hollywood select scalable resolution 2K/4K
  • July 05 : DCI publishes recommendation 1.0
brief history d cinema 2
Brief history D-Cinema (2)
  • July 05 : AccessIT (AIX) start a roll-out of 4,000 screens
  • Oct 05 : AIX sign first VPF contract (Virtual Print Fee)
  • Dec 05 : 200x AIX screens operating with Christie & Doremi for

Chicken Little 3D (Disney) get 5.25% revenues from

1.5% of screens

  • Spring 06 : AIX update installations to 3D & forensic “watermark”
  • NATO publishes recommendations for D-Cinema
  • Dec 31, 2009 : 14,000 digital screens worldwide (Avatar 3D),
  • around 9,500 (70%) are using Doremi players
  • 2010 : Series II DLP with Embedded Media Block – 4K TI DLP to be launched Q4 – projection end 2010 : # 25,000 digital screen worldwide (17% world screens)
  • Transition to # >90% digital screens : # 3 years USA, # 5 years EUR
production 3d st r oscopique
Production 3D stéréoscopique

Création de 3DLIZED mi-2007 sur le constat

d’un besoin futur très important de contenus

S3D (3D stéréoscopique)

Background : Philippe GERARD spécialité

S3D, réalité virtuelle augmentée

(Université San Diego, INRIA)

3x sites : Siège (06), Bureau Technique et

Commercial à IVRY (94),

Equipe graphique & animation en Ukraine

production 3d st r oscopique18
Production 3D stéréoscopique

La mission de 3DLIZED :

(1) Créer une S3D confortable pour la vision

humaine et qui utilise du jaillissement

(Hollywood ne pratiquant quasiment plus que de la S3D

derrière l’écran)

(2) Amener une « 2° vie » en S3D à un

catalogue de contenus à forte valeur

production 3d st r oscopique19
Production 3D stéréoscopique
  • Notre prod. S3D se décompose en 4 offres:
  • Tournage S3D :
  • A partir de nos propres RIGs, développés
  • avec Alain Derobe (Stéréographe), avec
  • des caméras sélectionnés par nos soins
  • pour le meilleur rendu en S3D et un workflow
  • de post-production dédié !
  • L’étalonnage colorimétrique cinéma est
  • sous traitée à des labos Partenaires comme
  • DigimageCinema
production 3d st r oscopique20
Production 3D stéréoscopique

(2) Animation S3D :

A partir de scénarios client ou maison,

Équipe d’ Animation (3DSMAX…) Ukraine

Optimisation rendu S3D Equipe Tech Ivry

Ex de production : Fitou 3D pour Volfoni et

Europalaces (diffusé en avant séance Avatar)

production 3d st r oscopique21
Production 3D stéréoscopique

(3) Sous titrage et habillage S3D :

Une offre unique sur le marché :

- A partir de nos moteurs de rendu S3D,

calcul automatisé de la profondeur du

sous-titre S3D selon le contenu source pour

offrir un confort optimal de lecture !

- La même chaine de production s’applique à

l’habillage graphique (générique…)

production 3d st r oscopique22
Production 3D stéréoscopique

(4) Transformation 2D vers S3D :

( La « 3dlization » )

A partir d’un workflow maison, d’une

équipe de segmentation en Ukraine,

et de notre moteur de rendu S3D (Ivry),

livraison d’une version S3D (taille cinéma) à

partir de sources planes de type :

SDTV, HDTV, DCDM cinéma

Ex de production : Trailerdemo Ocean3D (J. Perrin)

Pubs 3D France Télévision / Ciel Ecrans (Rugby 3D)

production 3d st r oscopique23
Production 3D stéréoscopique
  • Pourquoi la transformation 2D vers S3D ?
  • Contenus d’archive à haute valeur
  • Tournage quasi impossible en S3D
  • (ex OCEAN de J PERRIN
  • Workflow plus simple/rapide :
  • Ex: conversion de pubs TV (SD/HD) en version
  • S3D sans repasser par une longue phase artistique
production 3d st r oscopique24
Production 3D stéréoscopique
  • Qq éléments de notre workflow 2D>S3D :
  • - Etat actuel de traitement : 1 mn ( 1440 images ) en 48h
  • (Equipe amont-aval: 3 pers, segmentation: 20 pers)
  • Besoin important de R&D pour améliorer les techniques de
  • segmentations automatisées (en particulier sur séquences
  • complexes : transparence d’objets, objets multiples en
  • grande quantité sur des multiples plans en profondeur,
  • objets déformables, objets de faible contraste…)
production 3d st r oscopique25
Production 3D stéréoscopique

Ex d’images (objets faible contraste) :

production 3d st r oscopique26
Production 3D stéréoscopique

Ex d’images (grande quantité d’objets multi-plans):

production 3d st r oscopique27
Production 3D stéréoscopique

Ex d’images : (présence de bulles, inconfort de

distance)

slide28

Merci !

Question : patrickz@doremitechno.org

Nos sites : www.doremicinema.com

www.3dlized.com