1. Sweet 16
the Truth about Film for HDTV
Thierry PERRONNET
European Marketing Director Entertainment Imaging
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2. Agenda
Ø The International Film Market
Ø “5 reasons” : A test comparison between
S16 / HDcam / Varricam / Digit beta .
Ø Re explaination about what means HD ?
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3. Facts
International Film Market
Ø 2005 more feature film shot
ever
Ø Worldwide volume growth in
35mm of 3%
Ø Stable Market of 16mm over
the last 3 years
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4. State of the Industry
- TELEVISION :
- 35 MM
- mainly American TV Market : 90% of the WW TV market
- growth by 20 % on a WW basis.
- > + 27% in Hollywood
- S16 MM
- mainly European TV Market :70% of the WW TV market
- flat on a WW basis.
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5. TV dramas :
The American market -
main facts.
The American TV market (prime time analysis : 8 to 11 pm):
- From the 6 majors broadcast networks :
-> Real TV down by 45% in 2005.
-> Series are bought by 12 episodes instead of 22.
-> Fictions ( sitcoms, TV dramas, Movie of the Week) =
80% of prime time grid.
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6. TV dramas :
The American market –
main facts -
The American TV market :
Sitcom
30%
à 60 % shot on HD
Drama
70%
à all shot on film
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7. Internationale TV-
Productions
Ø Internationale TV-Productions shoot on film
(examples)
v Desperate Housewives
v Lost
v CSI Miami
v CSI: NY
v Law & Order
v Sex and the City
v The Simpsons
v ......
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8. Innovations for the
film market
Ø Stock manufacturers:
v Introduction of 12 new film types in the last 3 years
Ø Camera manufacturers:
v New or improved cameras:
• Aaton: A-Minima
• ARRI: Arriflex 235
• Panavision : Millenium upgrade
• 2 new film Cameras will be introduced this year at NAB.
Ø New Lense manufacturers:
v Cooke: Super 16
v Zeiss: Master Prime
v Arri: Ultra Prime & MasterPrime
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9. HDTV
Chances
for
Film
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10. HDTV
§ HD = High Definition
§ Television in higher definition/quality as today (SD=Standard Definition)
§ HDTV enthusiasm already early in the 90´s / analogue System
§ Broadcasting effort too high at that time / TV Sets too expensive
§ HDTV today
§ In Japan, USA and some other countries it is reality
§ In Europe: HD1, Premiere (Pay TV), Pro7-SAT.1 Group
2006: Canal+, BBC, BSkyB
§ Consumer
§ New TV Sets 16:9, mostly flat Screens / more affordable
§ Distribution by Satellite (DVB-S)
§ HD-DVD (Movies)
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11. HDTV
§ HD = One Standard? – No!
§ Picture Frequency: Countries @ 60Hz & Countries @ 50Hz
§ Picture Resolution: 1920 x 1080 and 1280 x 720
§ Picture Composition (Lines): progressive und interlaced
§ Europe (EBU)
§ Favourites 720p/50
§ 720 Lines progressive - 50 Full Frames / Sec.
§ Higher time wise Resolution
§ International (ITU)
§ 1080i/25 or 1080i/30 dominates
§ 1080 Lines interlaced @ 25 resp. 30 Full Frames / Sec.
§ Higher spatial Resolution
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12. HD Formats
Format H-Resolution V-Resolution p / i Fullframe/s Colorspace Datarate
(Lines)
HD 1080i 1920 1080 i 25 4:2:2 1,03 Gbit/s
HD 720p 1280 720 p 50 4:2:2 921,6 Mbit/s
SD 576i 720 576 i 25 4:2:2 207,4 Mbit/s
Film S16 (2048) (1152) psf (25) (4:4:4) 2,48 Gbit/s
Film 35 (4096) (2304) psf (25) (4:4:4) 9,91 Gbit/s
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13. HD Formats / Spatial Resolution
S D
5 76i
H D
7 20p
H D
1080i
S 16
(2K )
35
(4K )
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14. Technology Comparison
Digital Betacam HDCam S16 Film 35mm Film
Sensor 3 CCD 2/3" 3 CCD 2/3" Film ~ 2/3" Film ~ 1"
Resolution 768 x 576 1920 x 1080 >2048 x 1228 >4096 x 2457
1280 x 720
Image Structure fixed (pixel) fixed (pixel) dynamic (grain) dynamic (grain)
Composition interlaced interlaced -/- (progressive) -/- (progressive)
progressive
Color Sampling 4:2:2 4:2:2 RGB (4:4:4) RGB (4:4:4)
Quantisation 10 bit 8 bit 10 bit log (14 bit lin) 10 bit log (14 bit lin)
Compression 2:1 10:1 -/- (keine) -/- (keine)
1440 P/L
Alias yes little -/- (no) -/- (no)
Speed (to Light) 320 320 50 - 500 50 - 500
Lattitude 7 Stops 7,5 Stops > 11 Stops > 11 Stops
(Dynamic Range) 128:1 192:1 > 2048:1 > 2048:1
Frames / sec 25 25 1-150 1-150
Viewfinder Video Video optical optical
Corrections (Post) limited limited wide wide
Storage Media Tape Tape Film Film

15. Technology Comparison
Digital Betacam HDCam S16 Film 35mm Film
Sensor 3 CCD 2/3" 3 CCD 2/3" Film ~ 2/3" Film ~ 1"
Resolution 768 x 576 1920 x 1080 >2048 x 1228 >4096 x 2457
1280 x 720
Image Structure fixed (pixel) fixed (pixel) dynamic (grain) dynamic (grain)
Composition interlaced interlaced -/- (progressive) -/- (progressive)
progressive
Color Sampling 4:2:2 4:2:2 RGB (4:4:4) RGB (4:4:4)
Quantisation 10 bit 8 bit 10 bit log (14 bit lin) 10 bit log (14 bit lin)
Compression 2:1 10:1 -/- (no) -/- (no)
1440 P/L
Alias yes little -/- (no) -/- (no)
Speed (to Light) 320 320 50 - 500 50 - 500
Lattitude 7 Stops 7,5 Stops > 11 Stops > 11 Stops
(Dynamic Range) 128:1 192:1 > 2048:1 > 2048:1
Frames / sec 25 25 1-150 1-150
Viewfinder Video Video optical optical
Corrections (Post) limited limited wide wide
Storage Media Tape Tape Film Film

16. Image Composition / Lines
interlaced progressive
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17. Filter (de-interlace)
Bildquelle: Axel Henschel, bvk

18. Resolution
Image Details
ISO 12233
LW/PH
VISION2 500T
HD Scan S16 HDCam 24p 35 (1.85)

19. Alias / Subsampling Effects
cts
Original = 100% 67% 30%

20. Color Subsampling / Color Definition
Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y
CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB
Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y
CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB
Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y
CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB
Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y
CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB
Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y
CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB
Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y
CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB
Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y
CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB
Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y
CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB CR CB
4:4:4 (Y=Luminance, C= Chrominance) 4:2:2 (Y=Luminance, C= Chrominance)
Color Definition 1/2
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21. Dynamic Range
Highlights
Gold
From left to right
ISO VISION2 500T S16
- 12233
LW/PH
- VISION2 500T 35
VISION2 500T
- HDCam 24p
Chrome
Copper

22. “5 Reasons“
Comparison
S16 / Digital Origination
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23. “5 Reasons“ Comparison
Cameras & Lenses
S16 Film / ARRI SRIII / Zeiss Primes
HDCam / Sony F900-3 / Zeiss Digiprimes
DVCPro HD / Panasonic / Zeiss Digiprimes
Digital Beta / Sony WSP 700 / Fujinon
DoP & Director: Thomas Bresinsky, bvk
Production: ChromaTV, Hamburg & NordMedia, Hannover
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24. “5 Reasons“ Comparison
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26. Texture & Look

27. Image Composition

28. Color & Compression

29. Color & Compression

30. Color & Compression

31. Color & Texture (Look)

32. Color & Texture (Look)

33. Light Response & Clipping

34. Light Response & Clipping

35. Light Response & Clipping

36. Light Response & Clipping
HDW F900 / linear Response to Light Film / log Response to Light
(Set Up @ Preset - Factory Settings) (Kodak Vision2 5218)
HDW-F900 Sensitometric Curve
Camera Preset
100%
-6.0 -5.0 -4.0 -3.0 -2.0 -1.0 Normal +1.0 +2.0 +3.0 +4.0 +5.0
10%
1%
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37. Color Grading

38. Color Grading

39. § Digital Capture has improved over Years
§ Film improves as well continuesly / Your Advantage
§ Very wide Dynamic Range
§ Uncompressed Images
§ Full RGB Color Gamut (no subsampling)
§ Very easy to use / robust & reliable
§ Standard independent / Future proof Archival Media
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40. § TV Archive
§ A lot of Program available
§ Usable for HDTV?
§ Program on Film
§ Negative Film usually very suitable for HDTV
Quality Gain with modern Telecine Technology
§ Standard Definition Video Tapes:
§ No Potential for higher Definition

41. Example Granada TV, UK
§ “Darling Buds of May“
§ First S16 Filmproject of Granada TV 1989
§ Mainly EASTMAN EXR 100T 7248
§ Filmtechnology 2 Generations before VISION2
§ Largest-selling Series for Granada TV
(DVD Aftermarket)
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43. § HDTV is a Chance for Film
§ Program / Content in higher Quality will be needed
§ Consider HD Requirements for new Productions
§ USA TV Movies: Film - 35mm dominating (partly S16)
§ Europe TV Movies: Film - S16mm dominating @ lower cost
§ 35mm Film continues to be the best Input Quality for HDTV
§ Even S16 Film will be compatible with any HDTV Standard
§ Consider the future Value of your today's Production
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