Quest for the Sweet Spot to Turn 17,500 Hours of Film into an Asset.
Presentation on the Netherlands Institute of Sound and Vision's research into digitizing large quantities of film materials to an HD/2K format.
The presentation of this white paper in progress was held at the AMIA/IASA conference in Philadelphia, november 2010.
2. QUEST FOR THE SWEET SPOT
Sound and Vision is one of the six partners
of the program 'Images for the Future’
Program started in 2007, finishes in 2014
17.500 hours of film material must be
digitised by mid 2014
2010 = pivotal moment: from SD to HD / 2K
Average amount of production = 3.000
hours/year
11/06/2010
7. RESEARCH QUESTIONS
Best way to scan several types of source
material?
Best format to store the scanned material
(and, possibly, what level of compression
that can be applied?)
Best way to convert this material to a
broadcast-compatible video format?
What are the practical capabilities of existing
tools and formats?
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8. SCANNING OUTCOMES
Native resolution
Resolution high enough to capture source
detail
10-bit logarithmic transfer curve
Color correction needed in case of colour
fading
Native scanning RGB Colour space
Research into DPX vs JPG2000
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9. USE OF JPG2000 FOR PRESERVATION
Industry focused on DCI DCDM / DCP
No standard application for wrapping
JPEG 2000 in MXF container
Little tools available for validating /
controlling of code stream
Little benefits in storing mathematically
lossless over direct output DPX format
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10. FORMATS
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DPX
- SMPTE 268M-2003 v2
- 10 bit log
- RGB or single channel BW
- Scanner colour space (specified
and with LUT for Rec.709 -
XDCAM HD)
BWAV
- EBU tech 3285-2001 v1
- 24 bit linear PCM, 48 kHz
sample rate
XDCAM HD 422
- SMPTE 381, 382,
XDCAM_MXF_HD422_v080
- MXF OP1a: SMPTE 377, 378,
379
- Timecode Track in material
package MXF (EBU Rec 122)
11. Relativeimportanceincollection
Cinematographical & technical quality
Sports
(old)
Sports
(more
recent)
Sports
(selected)
Tele-
recordings
News
News
(selected)
Current
Affairs
Current
Affairs
(selected)
Drama
Drama
(selected)
Documentaries
Documentaries
(selected) Opdrachtfilms
Polygoon
(35mm)
Advertorials
Standard resolution
HD resolution
2K resolution
RESOLUTIONS
11/06/10
17.500 hrs of film (22.500 incl. EYE)
3 years
Broadcast: Audio Visual Archive Centre
Non-broadcast: Film Archive of the RVD (State Information Service), Polygoon Newsreel Archive, Film and Science Foundation, Small Gauge Film Museum
BROADCAST 1955 – 1989
Total Volume: Broadcast mat.: 16mm pos reversal
Non-broadcast: 8 – 35mm
Overall 4:3 – 50% BW
Request: 170 titles of film / month
+ Kennisinstellingen, universiteiten, educatie -> partners & doelpubliek
Formaten: XD CAM HD 422
• XDCAM HD 422
• SMPTE 381, 382, XDCAM_MXF_HD422_v080
• MXF OP1a: SMPTE 377, 378, 379
• Timecode: EBU Rec 122, Timecode Track in material package MXF
EDCINE TWO-TIER STORAGE DATA MODEL:
MAP (master archive package) for long-term preservation
IAP (intermediate Access package) for access
OAIS: SIP (Submission Information Package) + AIP (Archival Information Package - MAP of IAP) - DIP (DIssemination Information Package)
Direction that S&V is taking
Scanning, coding & compression parameters
Film = incompatible with today’s video standards? Difficult relation to video technology
- $: 4K not an option
Previous experience during IftF
Ultrasonical cleaning
One Light Scan (prevent from clipping)
Digibeta, MXF D-10 (= SD video standard), MPEG-1 Proxies
Research: HD CAM SR (BBC approach): declining support, proprietary, lossy compression
Different types of source material
2008: Review of video tape based solutions - HDCAM-SR was reviewed as an option, based on the BBC approach.
- declining support in the industry for video tape-based solutions in general and HDCAM SR in specific
the proprietary and lossy nature of the compression were regarded as the main drawbacks.
As a result the decision was taken to select a data format – instead of video – and implement a tapeless solution
First pilot: DPX on shelf, JPEG2000 as Intermediate Access
2009: 2nd pilot – testing JPEG2000 production systems
+ Fraunhofer research
+ market scan
2010 Implementation
1) downsampling only when NR larger than intended output res
For Sound & Vision: economical balance of scanning resolution against quality of the material
10 bit: best compatibility, enough dynamic range to capture usable range of densities
Easily converted using a LUT (XYZ: not well supported outside of digital cinema – more bits needed)
Tools on the market for JPEG
Production process parameters for JPEG?
What compression can be applied?
+ DCDM = Digital Cinema Distribution Master
+ First pilot study in 2008: JPEG 2000 not yet an industry standard for archival purposes.
Mathematically lossless profiles and practical applications for JPEG 2000 production and repurposing lacking
Mainly focused on digital projection resulting in lossy compression.
+ The overall conclusion of this pilot and research was that important functionality – e.g. system supported quality control – is not yet available and that the market will need more time to embrace the JPEG 2000 compression as an archival standard for film material.
DPX format: 1st version 1994, update 2003
Ultrasonical cleaning
One Light Scan (prevent from clipping)
Digibeta, MXF D-10 (= SD video standard), MPEG-1 Proxies
+ gestructureerde uitwisseling van metadata en procesdata obv XML