1 / 28

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. Visually lossless characteristic desired for digital cinema

Ava
Download Presentation

Compression pour D-Cinema & Production S3D

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript


  1. Compression pour D-Cinema& Production S3D GDR-ISIS – 27 mai 2010 Présentation : Patrick ZUCCHETTA Doremi Technologies & 3DLIZED

  2. 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

  3. 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

  4. 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.

  5. Test Conclusion • The choice of image compression would not a technology choice, but an operational & business choice based on a set of requirements !

  6. 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

  7. 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)

  8. 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

  9. 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

  10. 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.

  11. 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

  12. Security Advantages to JPEG2000 • Cinelink II + Embedded Media Block • Forensic Watermarking for Iage and Sound (Theater piracy detection)

  13. 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 !

  14. 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

  15. 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

  16. D-Cinema Workflow Solution

  17. 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

  18. 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

  19. 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

  20. 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)

  21. 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…)

  22. 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)

  23. 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

  24. 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…)

  25. Production 3D stéréoscopique Ex d’images (objets faible contraste) :

  26. Production 3D stéréoscopique Ex d’images (grande quantité d’objets multi-plans):

  27. Production 3D stéréoscopique Ex d’images : (présence de bulles, inconfort de distance)

  28. Merci ! Question : patrickz@doremitechno.org Nos sites : www.doremicinema.com www.3dlized.com

More Related