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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. Visually lossless characteristic desired for digital cinema

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Compression pour D-Cinema & Production S3D

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  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

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