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MillimeterField Testing Embryonic HD Tools
Jul 25, 2006 12:57 PM, By Craig Erpelding
Members of the production team from the independent movie Spoon feel they are not only witnessing an evolution, but also participating in it. That team was, at press time, the only group of filmmakers in the world shooting in the field with a beta version of the new Silicon Imaging (SI) SI-1920HDVR high-definition camera system, using the only two prototypes available. With the technology, Silicon Imaging is basically attempting to link elements of a 1920x1080p HD camera, including a 2/3in. CMOS Altasens sensor, and a Windows XP-driven computer recording system, all powered by a large brick battery unit, with CineForm’s Visually Perfect software and RAW codec technology, foregoing tape and, at least for now, some of the traditional ergonomics of more established camera systems.
Given this situation, co-directors Simon Hansen and Sharlto Copley find themselves in the middle of the product’s development cycle. In fact, working closely with Silicon Imaging, the production is using the system to try and push the limits of low-budget movie-making, Copley says.
“We are doing everything you are supposed to avoid in a low-budget film—night exteriors, rain, action, stunts, weapons, mass crowd scenes,” says Copley. “To pull it off, we had to innovate.”
And as they innovate, the SI-1920HDVR evolves.
In recent months, Digital Content Producer has praised Silicon Imaging’s attempt to develop the camera system (click here for more), while also expressing reservations about the nature of the system’s overall design (click here for more). To those involved with testing the system, that’s all part of the ongoing process of developing a meaningful HD product, and they are looking to Spoon’s use of the technology for input.
“[The people at] CineForm [are] so adaptable to what the market says,” says Hansen. “If you send them an email saying you can’t get CineForm [to interface properly with] a software, or the codec doesn’t work well in this environment—within days, you get something back. I’ve never had that before. Same with Silicon Imaging. They are so progressive. I believe they are going to go a long way.”
That, of course, remains to be seen. But, certainly, the involvement of the Spoon team in the project is a major step forward from a developmental point of view.
Hansen and Copley got involved with the SI-1920HDVR development project when typical production setbacks delayed their original schedule. During that lag, Hansen, who originally planned to use a standard digital camera system with a traditional 1/3in. CCD, decided to research whether it would be possible to find a camera with a larger 2/3in. CCD, but at the time, of course, he found no such system available. Having a previous relationship with CineForm, however, Hansen asked officials there if they knew of anyone using, or developing, such a system in concert with CineForm technology.
They responded, “ 'Funny enough, we’re working with these new guys,' ” Hansen chuckles. Six days later, an agreement with Silicon Imaging was delivered.
"There's a noticeable difference. ... Jumping from 720p to 1080p, combined with the 1/3in. to 2/3in. move, was substantial,” Hansen adds.
While many initial production pitfalls were relatively easy fixes, the filmmakers admit the addition of a sophisticated viewfinder is something they are heavily promoting to Silicon Imaging, along with other significant changes. However, one of the most progressive ideas that both Hansen and Silicon Imaging were on board with from the beginning dealt with the concept of making the camera head, in essence, the camera.
“We believe the future of shooting HD [does not lie in] building big, heavy 435-style cameras when the head itself can do the job—especially when you consider that for 99 percent of what you shoot on a set, you are tethered to a video take-off, for everyone to view. You don’t need all that weight on the camera,” says Hansen. “The [SI] camera itself is miniscule—you can put it in corners—and it can give an amazing range of camera movements and positioning, which I believe is something that is going to stick.”
Regarding workflow, Hansen looks for changes there, as well.
“I think I’d like the ability to get CineForm into software packages, such as [Autodesk] Combustion, because Combustion will mostly read 8-bit AVI,” Hansen says. “We [hoped] Autodesk [would] assist CineForm in getting a 10-bit AVI importer into their software, but the workaround has probably been better because it has opened even more doors.”
The workaround Hansen speaks of is basically a 16-bit QuickTime file release via CineForm, which can export into a range of software tools, opening a whole new platform.
“We are going to try and bring in the QuickTime movie converter that they are creating for us, to basically batch convert files into movie files without rendering, so we can bring them into Combustion,” Hansen continues. “And the playback codecs can be used on all of our [NewTek] Lightwave 3D workstations, so we can sit with a server with all of this media on it in CineForm—either RAW or Prospect—and reference it from all of our edit, compositing, and animation stations on one network without bandwidth problems. With CineForm RAW, the file size came out a lot smaller because the SI camera is a single chip. If I understand it correctly, they are all working on having data rates of around 20MBps-30MBps. And the finished data rate is around 11MBps.”
The two directors say their experience is leading to all sorts of suggestions for improving the system. But despite the need for significant, additional development, they both say that they are convinced the Silicon Imaging approach will find a way to elbow into the HD marketplace, sooner or later.
