NEWS RELEASE Silicon Imaging Oscar Filmmaking Digital Cinema ...

Ari

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NEWS RELEASE Silicon Imaging Oscar Filmmaking Digital Cinema ...

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• Publié par: yvevuqyb
• Nombre de lectures: 93
• Langue: Français

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NEWS RELEASE

Contact:

Ari Presler

Phone:

518-374-3358

NAB Booth:

SL11605

Effective Date:

April 20, 2009

Silicon Imaging Oscar Filmmaking Digital Cinema Cameras go 3D

Hollywood, CA - Silicon Imaging, the company that enabled the digital shooting of this years Oscar winning

Best Picture Slumdog Millionaire, is now changing the face of stereo-3D cinematography and production.

The company unveiled the world’s first integrated 3D cinema camera and stereo visualization system at

NAB 2009.

The SI-3D shoots uncompressed raw imagery from two synchronized cameras and encodes

directly to a single stereo CineFormRAW QuickTime file, along with 3D LUT color and convergence

metadata.

The stereo file can to be instantly played back and edited in Full 3D on an Apple Final Cut

timeline, without the need for proxy conversions.

Traditionally, 3D content was captured from two independent left and right cameras, each with its own

settings, color controls, record start, timecode, content management and monitoring outputs.

A variety of

complex devices would be used to synchronize the recordings or combine the outputs for viewing.

The

content would then have to go through a tedious process of being ingested or converted to formats

compatible with the editing or grading systems, matched up from the independent left and right sources,

flipped if the shot was on a beam splitter and the timeline adjusted to have the first frame overlapped.

A

color grade could then be applied, convergence adjusted and finally a stereo image viewed for dailies

playback.

“The SI-3D camera system streamlines the entire stereo-3D content acquisition and post production

process;” states Ari Presler, CEO of Silicon Imaging.

“Combining two cameras into a single control,

processing and recording platform enables shooting and instant playback like a traditional 2D camera with

the added tools needed on-set to analyze and adjust the lighting, color, flip orientation and stereo depth

effects.

In post, a unified stereo file plus associated metadata can be immediately graded for dailies,

edited, and viewed in either 2D or 3D.”

The SI-3D system uses two remote SI-2K Mini cameras with an P+S interchange lens mount connected to

a single processing system via gigabit Ethernet where they are synchronized and controlled through the

familiar SiliconDVR touchscreen interface.

On-set, each camera can be viewed individually or in stereo

mixed modes using modern 3D LCD and DLP displays.

Various tools are used to visualize and adjust the

focus, lighting and 3-D effects including alignment grid overlays, false color zebras, digital zooming, edge

detection, spot meters, dual histograms, parallax shifts, anaglyph mixing and wiggle displays.

Unlike modern HD cameras, which develop and compress colorized imagery, the SI system captures raw

“digital negatives” where they are non-destructively developed and colorized for preview using the

cinematographer's desired "look" for the scene.

This color metadata, along with stereo convergence, flip

orientation from beam splitter rigs and alignment data are encoded into a single CineFormRAW QuickTime

stereo file.

These files can be edited directly in Apple Final Cut without the need for conversion or

rendering. With the addition of CineForm’s Neo3D, convergence plus stereo or individual eye color

adjustments can be dynamically controlled and modified, while viewing live 3D playback using side-by-

side, over-under, or interlaced output modes.

“Driven by increasing numbers of 3D film projects planned by Hollywood studios, the demand for efficient

3D camera and post workflows has increased significantly in the last two years,” said David Taylor, CEO of

CineForm, Inc.

“The combination of the Silicon Imaging SI-3D camera with CineForm high-fidelity

compression-based 3D workflow will significantly reduce overall project complexity and costs.”