This document summarizes a Cinegrid project at the 2010 Holland Festival to film Viktoria Mullova performing J.S. Bach solo violin sonatas in 4K resolution using multiple cameras and high resolution audio. Key aspects included: 1) Filming the performance over two days to allow for testing and retakes using RED One cameras and a 3D stereo rig. 2) A complex post-production workflow to edit and color grade the 4K and 3D footage, correct disparity and convergence, and master the audio at 192kHz/24-bit. 3) Distributing the content through a HD television broadcast, 4K projections, and an HD Blu-Ray with 3

1. Lieven Bertels!
Holland Festival!

2. Cinegrid at Holland Festival
2010 on first 4K project at Holland Festival
• Follow-up
‘07
Era la Notte (capture+streaming)
• Setting new challenges:
– performing arts filming with multicam cutting/directing
– seamless integration in performing arts workflow
– HD live feed and 4K editing, 5.1 HD (192kHz/24bit)
sound
– wider distribution of end result: 4K projection / HD
BluRay
– Experimenting with 3D

3. Choice of project
Needs:
– Visually attractive
– Internationally appealing content, not language-based
– Straightforward performing arts production
– Rights-free content
– Technically possible to install cameras / tech booth
– More than one performance to allow rehearsals /
retakes

4. Visually attractive
Zaha Hadid Architects Bach Pavilion

5. Visually attractive
… in the Amsterdam Gashouder, a disused factory
plant

6. Internationally appealing content
Viktoria Mullova / J.S. Bach solo violin sonatas
– repertoire in public domain
– star musician with extensive international career,
used to cameras and microphones, retakes etc.
– has recorded this repertoire before
– concert planned twice in this venue, with the
possibility to test-film other concerts before this one

7. Workflow
• Mixture of TV / Digital Film Shooting / 4K Stereo
– Multicam rig with live cutting, TV director
– RED 4K cameras with separate focus pullers
– One stereo rig for bonus material
• Principally a double live shoot with audience
• Quick turnaround in HD: TV broadcast in same
week

8. Short extract

9. Video gear and specs
Cameras: 4 x RED ONE with Mysterium sensor, 4K
Optics: Angenieux 17-102mm and 25-250mm
Focus pulling: Service Vision Scorpio Remote/C-Motion
Multicam output: HD-SDI
Video mixer: Panasonic AV-HS400A HD-SDI
3D-image: 2 x RED ONE with Mysterium sensor, 4K
Element Technica 'Quasar' stereo rig
Angenieux Optimo Rouge 16-42mm lenses

10. Audio gear and specs
Microphones: 5 x DPA 4006 Omnidirectional, ‘decca tree’ +
2
1x Schoeps MK2s
preamps: Focusrite RED 1
ADC: Digital Audio Denmark AX24 | 192 PHD (192k/
24)
Recorder: Protools 8 HD
TV Stereo Mix: Yamaha 02R
Custom reverb: Altiverb custom IR-sampling of space
Audio recording T/C-referenced to image master clock

11. Production setup
• Temporary video booth in backstage area
• 2 fixed cameras on tripods: 1 front row, 1 back
row
• 1 camera on 12ft travel rails, stage left / “coté
cour”
• 1 camera (3D rig) on supertechno 30ft crane
• VERY stringent cable run demands on behalf of
the pavilion architects: zero visibility for
audience

12. Cable run design

13. Cable run design

16. Quick turnaround on shooting
days
• Because of staff cost and equipment rental cost
• Limited availability of artist
Get-in on concert day 1 AM, tech rehearsal PM
out-takes and reshooting close-ups on PM day 2

21. Post-production workflow -
image
off-line editing: Final Cut Pro in ProRes422HQ
Color grading: Filmmaster/Nucoda (RED rocket card)
(grading on RAW files through 2K
proxies)
Disparity correction: Filmmaster/Nucoda
Convergence correction: Fusion
Online master format: 4K DPX 16bit

23. Post-production workflow -
audio
off-line editing: Final Cut Pro in 48kHz/24bit stereo
Preliminary clean-up: Protools in 48kHz/24 bit stereo
Audio post-conform: TBC – possibly Protools from offline
EDL
Audio remix/re-edit: TBC – Protools HD or Sadie
Altiverb convolution reverb
Cedar restoration tools
Mastering format: 5.1 surround B-WAV, 192kHz / 24 bit

24. Evaluation: pitfalls and lessons
learnt
Technically:
• Complexity of converging different workflow types
(TV, Film, 3D)
• Focus challenges – 4K viewfinders needed
• Complexity of post-production workflow
• Limited benefits vs. huge resource cost of HD Audio
• Sync, logging and post-conform problems when using
separate audio recording (despite T/C link)

25. Evaluation: pitfalls and lessons
learnt
Artistically:
• HD TV, 4K projection and 3D ask for three different types
of photography and edit
• 2D material hard to edit into 3D material of this type
• More exploration into full potential of 4K editing needed
(post-production zoom and scan)
We find ourselves in a situation very similar to the first
decade of stereo sound recording (1958-1968)

26. Future of the project
• HD TV broadcast of full concert – spring 2011
• 4K projection of demo excerpts and full concert
(stereo projection of 3D demo clip)
• HD BluRay (with 3D bonus material) spring 2011
+ 4K mono and stereo material made available to
Cinegrid network for research and demo

27. Cinegrid @ HF 2010 partners
• Holland Festival • Loods, Lux & Lumen
• Waag Society • Altiverb
• NTR Dutch Cultural • studio Frank van der
TV Weij
• Cam-a-Lot • University of
• More2cam Amsterdam
• Dutchview • Westergasfabriek
• Manchester
International Festival

28. Cinegrid Amsterdam Partners
• SURFnet • Media Guild
• University of • TNO
Amsterdam • Holland Festival
• SARA • Blender
• Film and TV Academy • DELL
• Waag Society • Sandberg Institute

29. Goals of the
Amsterdam Cinegrid consortium!
• Research, development, production, and
showing of high quality digital media!
• Exchange of knowledge, training of media
professionals!
• Develop business models, formats, partnerships!
• Spin-off: new services, companies, talent,
economic stimulus!

30. Sponsors!
Dutch Ministery of Economic Affairs!
European Union Regional Development Fund!
City of Amsterdam!
Province of Noord-Holland!