Film and Television Production Technology · limitations of 35mm film and live TV • Sony cameras evolved from traditional broadcast designs where the need was to send an analog

Film and Television Production Technology

Sony Pictures Technologies

1

Introduction秘 SONY CONFIDENTIAL

2

Sony Pictures Production

• Motion pictures*

• Premium/network television**

• Lower budget motion pictures*

• Cable television**

• Game shows**

• Sports

• Live events**

• Reality TV**

• Documentary**

Top tier

Mid tier

“Run and gun” tier

* Sony Pictures Entertainment

** Sony Pictures Television

3

Evolution of Production Technology

秘 SONY CONFIDENTIAL

4

Premise

• If we design a camera starting with a blank sheet of paper, would we design it the way cameras have evolved over the last 50 years?

• What do we know now, what do we have now, that we didn’t have then?

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘 50 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘 ?

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘 ?

5

Evolution of Production Technology

• Many production techniques grew out of the limitations of 35mm film and live TV

• Sony cameras evolved from traditional broadcast designs where the need was to send an analog signal down long cables

• High speed data transfer technology developed in the IT world to solve other problems is available to us

• Everything new across the industry uses file based workflows running on commodity IT hardware

• “Video” will die out

• 35mm 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

• IT 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘 IT 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

• 秘秘秘” Video” 秘秘秘秘秘秘

6

Historic film workflow

Shoot onFilm

Process Film

Negative

Dailies Screening

“One light”Color Timing

NegativeConform

Telecine

Video Tape

Release Print

Edit

Cut List

FinalColor Timing

7

Historic television tape workflow

Shoot Video

Switcher Record to Tape

Off-line Edit

On-line Conform

Tape Master

Camera Control

Studio Monitor

Edit Decision List (EDL)

8

Today’s File based workflow

Shoot Digitally

On Set Dailies

Transfer Files

Digital Backbon

e

Conform

Editorial

Color Correction

Digital Cinema

OrBroadcast

Master

Digital IntermediateUntethered operation (no cables)

Edit Decision List (EDL)

256GB

9

Files vs. Video

Files

• Any resolution: 1920x1080, 2k, 4k, 8k etc.

• Defer de-Bayer ( 秘秘秘秘秘秘秘秘秘秘秘 )

• 16 bit color

• Commodity IT hardware

• Leverages technology outside of our industry

• Rich options for format conversion

• State of the art

Video• Few resolutions: standard definition, high

definition

• Conditioned picture ( 秘秘秘秘秘秘秘秘秘秘秘 )

• 10 bit color

• Expensive dedicated hardware

• Industry specific technology

• Limited options for format conversion

• 20th century technology

10

F35 and RED Camera workflows


11

Workflow comparison

Sony• Focus on selling individual “boxes”

秘秘秘秘秘秘秘秘秘秘秘

• Depend on others to provide key system functions秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

• Complete image processing done in camera秘秘秘秘秘秘秘秘秘秘秘秘

• Video output秘秘秘秘秘

RED• Focus on defining the system

秘秘秘秘秘秘秘秘秘

• Provide key system software秘秘秘秘秘秘秘秘秘秘秘 (RED CINE)

• Image processing done in system using IT hardware

秘秘秘 IT 秘秘秘秘秘秘秘秘秘秘

• File output秘秘秘秘秘秘秘

12

F35 Workflow – Sony Devices

On Set

13


• Shoot and output HD video

• Record to HDCam SR

• Recording for on-set preview

• Shot annotations• Flag deleted clips• Script notes• Create XML for editorial

14


• Playback HDCam SR tapes to DVS

• Ingest DPX files to Production Backbone

• Color correction• Conform to AVID timelines

• Ingest for dailies

15

RED Camera Workflow

On Set

16

RED Camera Workflow

• Record to SSD or CF• Camera contrast and log curves• Untethered operation

• Load R3D RAW onto LightIron on-set system

• Color look• Transcode to 1280x720 H.264 PIX

viewing QTs• Export AAF for offline editorial batch-

ingest

• Shoot in 5k 14-bit RAW• R3D codec at 3.5x compression

17

Light Iron System for RED

Mac Pro< US$10,000

RED RocketRealtime 4K RGB playback

and realtime R3D™ transcoding. US$5,000

RAIDUS$8,000 to US$20,000depending on capacity

REDCine-X & REDAlertSoftware

18

RED Camera Workflow• Transfer to portable G-RAID via

ESata• RAW Images (no deletes)• ProRes422 for editorial• H.264 PIX viewing QTs• Sound files (broadcast WAV)

• Shot annotations• Flag deleted clips• Script notes• Create XML for editorial

19

RED Camera Workflow

• Dailies all encoded on set 1920x1080 ProRes422

• Delivered on G-RAID to Production Backbone

• Import AAF and reconnect to ProRes422 dailies

• Load G-RAID files to Production Backbone (RAW, ProRes & H.264 QT)

• Grade in 4K with R3D RED RAW• de-Bayer RAW file in 4K in real-

time on playback• Conform to AVID timelines

20

Sony and RED Systems

Sony Products

RED Products RED Software on 3rd Party Hardware

21

The Power = Controlling the System


22

Sony has to deliver the System

• By focusing on the “box” we lose control over the system

• Customers buy functionality

• All the things customers need are still in the system

– They’re just not in a few dedicated boxes

• If we lock ourselves into selling pieces of hardware others will take control of the total solution

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘

– 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

23

Who Provides the System?• Traditional Sony view:

– We build the cameras and tape decks, we let others work the rest out

• The result:

– Innovative companies chose to put their efforts into the 1,000’s of RED cameras

• In the video business people put effort into supporting Sony products because video is a convenient standard

– Video products work with any brand of camera

– As we move away from video, can Sony trust others to control its future?

• 秘秘秘秘秘秘秘秘秘秘

– 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

• 秘秘秘秘 :

– 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘RED 秘秘秘秘秘秘秘秘秘秘秘

• Video 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

– Video 秘秘秘秘秘秘秘秘秘秘秘秘秘秘

– 秘秘秘秘秘秘 Video 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

24

What is a camera?秘 SONY CONFIDENTIAL

25

What is a Camera?

• A networked terminal that converts information from the physical world into useable digital information

• Integral part of an overall system that defers those functions which can be done later to downstream components

• A minimalist approach supported by processing power in the rest of the system

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

26

What is a Camera?

• Has no onboard processing in the camera except as needed for local monitoring or transmission

• Operates easily in untethered handheld applications

• Simplifies and automates Metadata embedding

• No more processing than is necessary to get it to the next step

• Provides a comprehensive interface for the Director and Director of Photography

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘

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27

Lens

Imager

A to D

Network Interface

Battery

Storage

Modular construction

28

Camera Components

• Imager

– Lens mount

– Imager

– A/D converter

– RAW interface

• Local control module

• Monitor output module

– 422 720/1080

• Network interface adapter

– 8Gbps dual link Fiberchannel

– Dual link 10Gbps Ethernet

• 秘秘秘秘秘秘秘秘秘

– 秘秘秘秘秘秘秘

– 秘秘秘秘

– A/D 秘秘

– RAW 秘秘



– 422 720/1080

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

– 8Gbps dual link 秘秘秘秘秘秘秘秘秘

– Dual link 10Gbps Ethernet

29

Camera Components

• Storage adapter

– Accepts SSD media with capacity up to 500GB

• Wireless interface module(s)

– Remote control interface

– Opportunistic download

– Real time monitor feed

• Electronic viewfinder

• Power options

– One or more battery packs

– AC adapter

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

– SSD ( 秘 500GB) 秘秘

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

– 秘秘秘秘

– 秘秘秘秘秘秘秘秘

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• 秘秘秘秘秘秘秘

– 秘秘秘秘秘秘秘秘秘 (1-2 秘 )

– AC 秘秘秘秘

30

Remote Control Module

DP Interface

LUT RenderingMonitor

Network Server

Live Operation Modules

RecordableMedia Dock

Fiber Channel or 10GigE

WiFi orBluetooth

The Camera System

Complete Software Solution

31

Director of Photography interface

• IOS and Android application

• Select Camera Look Up Tables (LUTs) to manage color

• Measure and control exposure

• Monitor feedback of camera and signal status and levels

• Enter additional notes as needed

• Apple IOS 秘 Android 秘秘秘秘秘

• 秘秘秘秘 Look Up Tables(LUTs) 秘秘




32

Remote Control Module

• Measure and control exposure

• Manage color by creating LUTs as metadata

• Monitor camera and signal status and levels

• Acquire and manage metadata

• Manage camera modules such as network interfaces


• LUTs 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘



• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

33

LUT Rendering Monitor

• Receive image files with embedded metadata (LUTs)

• Apply and render LUTs and display the corrected image in real time

• When used with the remote control, allows monitoring of the impact of real time “camera adjustment”

• 秘秘秘秘秘 (LUTs) 秘 RAW 秘秘秘秘秘秘秘秘秘

• LUTs 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

34

Storage (1)

• Recordable Media Dock

– For unloading SSD media

– eSata, NAS and USB 3.0 interfaces

– Add-on function to dump media to LTO-5


– 秘秘秘秘秘 SSD 秘

– IF: eSATA, NAS, USB 3.0

– 秘秘秘秘 :LTO-5 秘秘秘秘秘

35

Storage (2)

• Network Server Application

– Software running on Linux/Mac/Windows server

– Manages real time transfer of RAW images and metadata

– Manages opportunistic wireless transfer of RAW images and metadata

– Managed through UI and web services (Conductor)

• 秘秘秘秘秘秘秘秘秘秘秘秘秘

– 秘秘 OS: Linux/MacOS/Windows Server

– RAW 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

– RAW 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

– 秘秘 UI 秘秘秘 Web Service(Media Backbone Conductor) 秘秘秘

36

Data Movers for Live Operation

• Transfer module

– Manages transfer of RAW images and metadata from camera to render module for real time display and transmission

– Functionally same as network server application

• Wireless receiver module

– Processing as appropriate for bandwidth limitations for real time display and transmission

• 秘秘秘秘秘秘秘

– 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘RAW 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

– 秘秘秘秘秘秘秘秘秘秘秘秘秘秘

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

– 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

37

Render Module

• Inserted at or before the vision mixer/switcher

• Applies accumulated LUTs

• Use Ellcami

• Can also be used in a variety of Post Production roles

– Feeds to non-render capable monitors (e.g. consumer sets in offices or viewing rooms)

– In preparation of dailies materials for use in editing systems

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

• LUTs 秘秘秘秘秘

• Ellcami 秘秘秘

• 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

– RAW 秘秘秘秘秘秘秘秘秘秘秘秘秘( 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘 )

– 秘秘秘秘秘秘秘秘秘秘秘秘秘秘

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Qlogic 8Gb PCI-E (X4) Dual Port Fiber Channel Host Bus Adapter

Retail PriceUS$1,750.99

QLogic QLE8042 - Network adapter - PCI Express x8 – Dual Port 10 Gigabit Ethernet

Retail priceUS$1,568.01

Network Interfaces

• 10Gbps Ethernet

• 8Gbps Fibrechannel

39

3D Camera Rigs秘 SONY CONFIDENTIAL

40

TYPES OF 3D CAMERA RIGS

•Side-by-Side

•Beam Splitter

41

50% reflective mirror

Right eye camera

Left eye camera

Beamsplitter Camera Rig

42

Prototype F35 T-Head

43

• Neutron rig on left used for RED cameras

• Quasar rig on right used for F35

秘 : 秘 RED 秘 ET 秘 Neutron 秘秘秘 : 秘 F35 秘 ET 秘 Quasar 秘秘

44

Stereographic Convergence byImage Shifting


45

Spiderman Convergence Adjustment

• Spider-Man is shooting with parallel camera axis

– No convergence built in

• The EPIC frame is wider than is needed

• Sony Imageworks (special effects department) is using the excess width to adjust convergence by shifting the image within the frame

• Spider-Man 秘 3D 秘秘秘 2 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

– 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

• EPIC 秘秘秘秘秘秘秘秘秘秘秘秘 5K

• Imageworks(SPE 秘 VFX 秘秘 ) 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

46

ghj / 2009.05c 47

FULL WIDTH OF SENSOR

FULL FIELD OF VIEW

LEFT EYE RIGHT EYE

PLAN VIEW FROM TOP

LENS

CAMERA

SENSOR


FULL FIELD OF VIEW

LENS

CAMERA

SENSOR

INTERPUPILLARY DISTANCE (~6-7 cm)

ghj / 2009.05c 48

FULL WIDTH OF SENSORRIGHT CROP SEES STRAIGHT AHEAD

FULL FIELD OF VIEW

PARALLEL FIELD OF VIEW

LEFT EYE RIGHT EYE

PLAN VIEW FROM TOP

LENS

CAMERA

SENSOR

PARALLELCENTERLINE

FULL WIDTH OF SENSORLEFT CROP SEES STRAIGHT AHEAD

FULL FIELD OF VIEW

PARALLEL FIELD OF VIEW

LENS

CAMERA

SENSOR

PARALLELCENTERLINE


ghj / 2009.05c 49


LEFT CROP SEES CONVERGED VIEW

FULL FIELD OF VIEW

CONVERGED FIELD OF VIEW

LEFT EYE RIGHT EYE

PLAN VIEW FROM TOP

LENS

CAMERA

SENSOR

CONVERGEDCENTERLINE


RIGHT CROP SEES CONVERGED VIEW

FULL FIELD OF VIEW

CONVERGED FIELD OF VIEW

LENS

CAMERA

SENSOR

CONVERGEDCENTERLINE


F65 and F3 3D file workflows秘 SONY CONFIDENTIAL

50

F3 Tethered Workflow

• Click to edit Master text styles– Second level– Third level

• Fourth level– Fifth level

51

F65 Tethered Workflow



52

Convergence Adjustment

53

F3 Untethered Workflow



54

Color Management秘 SONY CONFIDENTIAL

55

Color Look Up Tables (LUT)

LUT1

LUT2

LUT3

RAWImage

56

Raw Image with LUT

LUT1

Baked inRAW + LUT

Raw image has the most information

Baked in color has less information

57

Role for Sony in Color Management

• In 20th Century Kodak was the keeper of color science, in the 21st Century it can be Sony

• Sony products could accept raw images and apply LUTs as needed

– E.g. Professional monitors, broadcast switchers

• 20 秘秘秘 Kodak 秘秘秘秘秘秘秘秘21 秘秘秘秘秘秘秘秘秘秘秘

• 秘秘秘秘秘秘 RAW 秘秘秘秘秘秘秘秘秘秘 LUTs 秘秘秘秘秘秘秘秘秘


– 秘秘秘秘秘秘秘秘秘秘

58

RED EPIC | Sony’s #1 Competition


59



RED EPIC

60

RED EPIC

• Perceived advantages of EPIC over F35:

– Costs much less

– Greater resolution (5k)

– Weighs less

– Works well untethered

– Smaller data size (RED RAW)

– Modular construction

– Less on-set complexity

– Complete solution from production to post

• EPIC 秘 F35 秘秘秘秘秘秘秘 ( 秘秘 )

– 秘秘秘

– 秘秘秘秘 (5K)

– 秘秘

– 秘秘秘秘 / 秘秘秘秘

– 秘秘秘秘秘秘秘秘秘秘秘 (RED RAW)


– 秘秘秘秘秘秘秘秘秘

– 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

61

Camera Systems ComparedSony F35 RED EPIC Arri Alexa

Native resolution 1920 x 1080 RGB 5120 × 2700 Bayer 2880 x 1620 Bayer

Record SRW1 Direct attach CF or SSD Direct attach SxS and/orT-Link recorder

Weight 5kg camera + 8.5kg SR deck

2.5kg camera + 1kg SSD 6kg camera + 2.5kg Codex recorder

Power supply AC or Battery pack Battery Battery or AC

Untethered operation

Possible but not practical Yes Yes

Ingest to backbone SRW5100 plus DVS Direct attach CF or SSD dock

Direct attach SxS and/or Disk pack dock

Camera Package (Camera and recording)

$200k $58k $100k

Package breakdown

• $150k F35s• $50k SRW1 Tape Deck

• $58k for EPICs, EVF, control screen, SSD module and four 128GB SSD cards

• $80k for Alexas, EVF and five 32GB SxS Pro cards

• $20k for Codex onboard recorder

62

SCARLET

RED 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

• 2/3” sensor• 120fps, bursting to

150fps • 3k resolution• Available Late Spring –

Early Summer 2011• 5k SCARLET later in

summer• RED code RAW• $2750 for “brain”• Prime lenses are $900

each• $4650 for full shooting

package with zoom lens

Expect RED to raise the stakes and continue to erode Sony’s market

63

RED EPIC HDC1550R

1080p / 59.94fps 秘秘

720p / 59.94fps 秘秘

HD-SDI i/f 秘秘

Onboard recording 秘 X

Network remote control 秘秘

CCU 秘 (additional cost)

Genlock input 秘秘

S/N Ratio 66dB 54dB

Price $40k including accessories $60k* w/o CCU

RED as a Broadcast Camera

*Discounted

64

3D Customer requirements秘 SONY CONFIDENTIAL

65

Solutions to match production budgets

• Motion pictures*

• Premium/network television**

• Lower budget motion pictures*

• Cable television**

• Game shows**

• Sports

• Live events**

• Reality TV**

• Documentary**

Top tier

Mid tier

“Run and gun” tier

* Sony Pictures Entertainment

** Sony Pictures Television

66

Top Tier - 4k/2k Solution

• 4k+ RAW Camera

– F65 (competitor RED EPIC)

• On set

– Rig with motorized interaxial

– Shoot parallel (no convergence)

– 3D Box for monitoring

• Post

– Over sized image allows convergence and alignment compensation without scaling

– Software tools

• 4K + 秘 RAW 秘秘秘

– F65 (RED EPIC 秘秘 )

• On set

– 秘秘秘秘秘秘秘秘秘秘秘秘

– 秘秘秘秘 2 秘秘秘秘秘秘 ( 秘秘秘秘 )

– 3D Box 秘秘秘秘秘秘

• Post

– 4K 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

– 秘秘秘秘秘秘秘秘秘秘秘

67

Top Tier – 2k/HD Solution

• 444 HD Camera

– F35 (competitor RED SCARLET, Alexa)

• On set

– Fully motorized rig

– Interaxial, convergence & alignment compensation


• Post

– Image adjustment through scaling

• 444 HD 秘秘秘

– F35(Alexa 秘 RED SCARLET 秘秘 )

• On set


– 2 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

– 3D Box 秘秘秘秘秘秘

• Post

– 秘秘秘秘秘秘秘秘秘秘秘秘秘

68

Mid Tier - 2k Solution• 2k+ RAW Camera

– F3 (Competitor RED SCARLET, Alexa)

• On set




• Post

– Over sized image allows convergence and alignment compensation without scaling

– Software tools

• 2k+RAW 秘秘秘

– F3(RED SCARLET 秘 Alexa 秘秘 )

• On set



– 3D Box 秘秘秘秘秘秘秘

• Post

– 2K 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

– 秘秘秘秘秘秘秘秘秘秘秘

69

Mid Tier – HD Solution• 422 HD Camera

– HDC-P1 (Competitor RED SCARLET)

• On set



– 3D Box for monitoring and on set finishing for live events and sports

• Post

– Convergence and alignment compensation by scaling

– 3D Box or software tools

• 422 HD 秘秘秘

– HDC-P1 (RED SCARLET 秘秘 )

• On set



– 3D Box 秘秘秘秘秘秘秘秘秘秘秘 Live 秘秘秘秘秘秘秘秘秘秘秘秘秘 3D 秘秘

• Post

– 秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘秘

– 3D Box 秘秘秘秘秘秘秘秘秘秘秘秘秘秘

70

Digital Backbone秘 SONY CONFIDENTIAL

71

Why a Digital Backbone?

72

DISTRIBUTION BACKBONE (DBB)PRODUCTION BACKBONE (PBB)

Sony United Implementation Team• Sony Pictures Technologies• Sony DADC• Sony Professional Solutions Group

Sony United Implementation Team• Professional Solutions Group (PSG)

• Professional Solutions A merica (PSA) in San Jose• CWS• Atsugi

• Cross Functional SPE Team• Technologies • Columbia Pictures, Screen Gems• Television• Post Production & Studio Operations• Imageworks, Digital Media Group

Although the distribution and production segments of the backbonewill be integrated, two different implementation approaches are being used.

Two Initiatives, One Backbone

73

Wrap up秘 SONY CONFIDENTIAL

74

Documents

Film and Television Production Technology · limitations of 35mm film and live TV • Sony cameras evolved from traditional broadcast designs where the need was to send an analog