Wednesday 25 July 2018

Sony puts more pixels in a smartphone camera than anyone else


RedShark News
These days, high-end smartphone models require even greater imaging quality from their cameras. Taken at face value then, Sony’s claim that its new sensor rivals that of high-performance SLR cameras takes some beating.
The technology giant has announced the upcoming release of the IMX586 CMOS imager that features 48 megapixels (8,000x6,000 pixels), the most of any camera sensor in a smartphone currently on the market, trumping the 40MP in Huawei’s P20 Pro for example.
More than that, Sony has managed to cram the pixels onto a chip just 8mm diagonal resulting in the possibility it could be fitted into a wider range of smartphone cameras without causing big design headaches.
The Japanese firm has been able to keep the size down without cutting down on the number of pixels by using technology which enables each pixel to use signals from the four adjacent pixels, which helps create brighter, higher quality photos.
Generally, miniaturisation of pixels results in poor light collecting efficiency per pixel, accompanied by a drop in sensitivity and volume of saturation signal.
However, Sony says that this product was designed and manufactured with techniques “that improve light collection efficiency and photoelectric conversion efficiency over conventional products”, resulting in the smaller pixel size.
The increased pixel count enables high-definition imaging even on smartphones which use digital zoom.
In addition to these advantages, original Sony exposure control technology and signal processing functionality are built in, “enabling real-time output and a superior dynamic range four times greater than conventional units,” it states.
Even scenes with both bright and dark areas can be captured with minimal highlight blowout or loss of detail in shadows.
It also promises features like image plane phase-difference AF, and supports 4K shooting up to 90fps, while HD 1080p recording goes up to 240fps, and 720p recording can be shot at 480fps.
While Sony’s own smartphone business has shrunk (sales fell from 33 million units in 2012 to just 14.6 million last year), the firm has managed to beef up its imaging sensor business – a technology which is becoming as vital as the system on a chip (SOCs) at the heart of all smartphones - and that includes Apple which now buys Sony sensors to put in the iPhone.
Last month it announced it would invest 1 trillion yen ($9 billion) on image sensors over three years, saying that having a lead in sensors is crucial for massive emerging technologies like self-driving cars and artificial intelligence.
According to banking group and analysts Macquarie, Sony already owns half of the global market for smartphone imaging technology.
Due to start shipping in the autumn we could expect to see phones housing the IMX586 on the market from, say Mobile World Congress, next February.


Tuesday 24 July 2018

Sport leads the 5G charge


IBC
The potential for 5G to revolutionise the media and entertainment industries is now being tested by sports producers and broadcasters.
A critical milestone on the road to 5G was achieved last month - official approval of standalone specifications by international telecoms standards organisation 3GPP.
Effectively, the agreement means the industry is now in the final leg of the race to roll out 5G commercially, allowing broadband-equivalent download speeds over mobile networks.
Underscoring the mobile industry’s excitement about the huge revenue generating potential of this fifth and final generation cellular network (so good is 5G there won’t be a 6G), 3GPP chair Georg Mayer said: “Two years ago, 5G was seen as a vision or even just a hype — with the closing of [the new specification] 3GPP has made 5G a reality within a very short time.”
The agreed specifications allow chip, device and network developers to launch 5G products which are not tied to legacy 4G technologies.
They will provide a platform for the launch of 5G networks, which in turn is expected to drive the take up of the cellular Internet of Things [IoT].
Nokia’s EVP and Head of Business Area Networks Fredrik Jejdling believes the technology promises “new capabilities that will impact people’s lives and transform industries.”
That’s because 5G networks will be able to handle more data and connect more devices simultaneously and do this all at much faster speeds than is possible using existing technology.
5G will connect the Internet of Things, help to transform cities into smart cities and drive new modes of industry, sometimes breathlessly dubbed the fourth industrial revolution.
The technology will also play a pivotal role in delivering new immersive media applications, like ubiquitous UHD HDR streams and virtual reality.
Coming to a live event near you
The first impact of 5G in the broadcast industry is likely to be felt in live events.
The latest demonstration of its potential was during the World Cup, in a match between Morocco and Iran. Feeds from cameras at St Petersburg’s Kresovsky Stadium were routed 600 km over a 5G connection to Moscow. There, viewers in a designated ‘5G zone’, were able to watch the game in VR, switching between camera angles on the fly.
The 5G platform has long been touted as a potential key link in the 4K video delivery chain thanks to its multi-gigabit speeds and latencies as low as a millisecond.
Fox Sports put this to the test for camera contribution during last week’s U.S. Open Championship, in a collaboration with Fox Innovation Labs, Intel, Ericsson, and AT&T. Ericsson provided the 5G radios, baseband and 4K video encoder and decoder; Intel supplied its 5G Mobile Trial Platform, a device capable of transmitting 1.6 Gbps and 5G to IP translation, while AT&T set up a temporary network connection to deliver the 4K shots from the seventh hole.
An earlier proof of concept was made at the Winter Olympics in South Korea, in February. 4K cameras were fitted to the front of Olympic bobsleighs to offer a bullet’s eye view which was cut into the live production (output in HD). The Olympic broadcasting organisation expressed keen interest in exploring the use of 5G further with a view to eventually replacing traditional contribution solutions over RF.
These limited trials are just the beginning. It won’t be long before coverage of an entire tournament is routed over 5G to be remotely produced.
While broadcasters can use the existing 4G mobile network to contribute live signals today (mainly for store and forward), the bandwidth tends to be congested and the signal interrupted. By contrast, 5G provides a guaranteed bit rate and latency.
“The ability to perform network slicing with 5G means that wireless contribution becomes a viable reality,” explains BT Director of Mobile Strategy Matt Stagg. “It means we can look at replacing the satellite truck with 5G connectivity and move all production back to a central hub. This has massive operational cost savings.”
Stagg’s vision for a commercial 5G sports production product is one where a producer could decide how much bandwidth and latency they needed at a certain time, duration and location.
“We are a very long way away from that happening but that’s the current model for satellite or fibre booking and one that 5G will replace,” he asserts. “With 5G, everything can be done remotely using 5G cameras. 5G guarantees broadcast grade delivery.”
He says BT Sport is looking at what 5G can do for its own sports coverage, its wider media and broadcasting business and what it could mean for other broadcasters. It has “glass to glass” tests in the works.
ITN Chief Technology Officer Bevan Gibson agrees with 5G’s potential.
“Network segmentation and the ability to lock bandwidth down to a particular user will be much more common place as we get into ultra-local and ultra-high speed networks. You will be able to carve off a gig or two for particular use. So, a broadcaster at a stadium could access a slice of the network and wouldn’t have to put in costly infrastructure.”
Weighing up risks
However, Gibson is more cautious in recommending the technology’s immediate benefits.
“It may be fine for Tier 2 sports where 5G could make coverage more cost-effective than before but for world class events my concern would be network contention,” he says. “If 5G connects hundreds of thousands of other objects from phones to gas metres will the bit of spectrum you have allocated work? Rights holders and producers would want certainty.”
Gibson believes 5G could be of more use in the short term for broadcasting from unplanned events, such as a natural disaster or a terror incident.
Likewise, production company Sunset + Vine - one of whose main clients is BT Sport - is less gung-ho than some about 5G’s contribution for top end sports distribution.
“Certainly, 5G would provide a less expensive back-up path [than fibre/satellite] but I wouldn’t be comfortable relying on it as the only contribution circuit for the main programme feed,” says Sunset + Vine Director of Technical Operations Mark Dennis.
“When clients have paid so much to cover a job then reliance on a product you don’t have 100% control over would be a worry.
“That said, 5G does open up massive possibilities for sports contracts where budgets are very restrictive. It also offers tremendous flexibility for access. Instead of putting in an expensive RF infrastructure you could put in a 5G backpack and broadcast anywhere.”
Manufacturers like LiveU and Teradek will be racing to bring out the first bonded cellular 5G live streaming solution.
Dennis adds: “Instead of the delay you have now using cellular links, you could do live two-ways from the team hotel, in the dressing room - anywhere in the world there’s a 5G connection. It will be a massive bonus for getting more colour and more stories from major events.”
Smart stadiums
We’ve all suffered from the inability to access the internet in a crowded environment such as a mass spectator event when the network is being drained by dozens of other people trying to do the same thing.
5G to the rescue. Nokia estimates that 5G can provide up to 40 times more capacity in a stadium than even 4.5G - opening up opportunities for fans, stadiums and service providers alike.
A pop concert for 18,000 spectators at the Mercedes-Benz Arena in Shanghai last February was streamed live in HD to users at the venue using a mobile app on their device, cutting latency to just 0.5 seconds. Technology from Nokia and Intel enabled the video to be stored locally and routed straight to attendees instead of traveling across the backhaul network.
“5G will open up multi-platform second screen experiences in the stadia,” says Dennis. “If you can get Diva [the interactive live sports streaming platform from Deltatre] working on 40,000 smartphones in a ground it will make VAR [video assistant refereeing) very interesting indeed because everyone would have access to multiple angles of a key incident.”
Another 5G trial, this time with Japanese telco KDDI and Samsung, streamed 4K video of a baseball game live to fans on 5G tablets in the Okinawa Cellular Stadium. Each video provided different angles of baseball play, athlete statistics and ballpark information.
Samsung considered the trial “a leap forward in content delivery”, offering “high-speed, high-quality content that can be viewed by many people simultaneously, in a crowded and dense venue.”
An earlier test made by Verizon at a baseball game in Minneapolis invited customers to view stereoscopic video feeds on untethered VR goggles.
This is a flavour of the experience that visitors to London’s O2 arena can expect when a 5G network opens there later this year. The network will initially be in a couple of locations, including the exclusive O2 blueroom and the venue’s store, before extending coverage across the venue by the end of 2020.
Meanwhile, BT has partnered with Nokia and Qualcomm to explore how 5G can be used to improve the streaming of sports events. The idea is to take feeds from 4K cameras at a stadium, couple them with a 5G modem and use 5G to send the camera feeds to a centralised mixing facility. The resulting mix could then be sent back to spectators in the ground – or wider afield to users at home.
BT is working to trial this scenario at various events in the UK right now.
One billion 5G connections in five years
North America will lead the global 5G charge, with all major US operators planning to roll 5G out between late 2018 and mid-2019, according to Ericsson’s latest Mobility Report.
Carriers AT&T and Verizon will have deployed in five U.S cities each by the end of 2018. Sprint, currently negotiating a $26.5 billion merger with T-Mobile, is playing catch-up.
By end of 2023, close to 50% of all mobile subscriptions in North America are forecast to be for 5G, followed by North East Asia at 34%, and Western Europe at 21%.
Europe lags behind although in October, BT-owned mobile operator EE will switch on what it claims to be the UK’s first live 5G network, in London’s Tech City. It will only be a trial.
Globally, Ericsson forecasts over one billion 5G subscriptions by the end of 2023, accounting for around 12% of all mobile subscriptions and accounting for more than 20% of mobile data traffic worldwide.
As with previous mobile access technologies, 5G is expected to be deployed first in dense urban areas with enhanced mobile broadband and fixed wireless access as the first commercial use cases. Other use cases will come from industries such as automotive, manufacturing, utilities, and healthcare.
First-generation, 5G data-only devices are expected later this year. The first commercial smartphones supporting 5G are expected early next year, while support for very high spectrum bands is expected in early to mid-2019.
Intel and Qualcomm are racing to put 5G chips into handsets, laptops and PCs. Intel for instance has a deal with Dell, HP, Lenovo, Asus, Acer and Microsoft to put its 5G modems inside a range of notebook PCs.
From eSports to holography
With Telstra and Ericsson, Intel recently conducted one of the world’s first eSports professional gaming experiences over a live 5G connection on Australia’s Gold Coast.
On a 5G network, latency is considered ‘ultra-low’ at six milliseconds, compared to 20 milliseconds on 4G. This is a crucial reduction in lag for eSports, where tiny delays in responsiveness between pressing a button and getting a result can affect who wins.
Mobile carriers like Telstra believe the combination of 5G and eSports will be a key driver for generating revenue from the 250 million eSports enthusiasts expected to be playing worldwide by 2021.
“Applications today are capped by 4G speeds but the world of 5G opens everything up,” says Dennis. “We are trialing the use of 360-cameras to put fans right in the middle of the action.”
Formula 1, for example, has trialed 360-cameras on board racecars and in the driver’s cockpit, allowing viewers to switch between angles.
While interactive 360- streamed video and superfast 4K downloads are often touted as the main new media applications, BT Sport wants to look beyond this.
“If you are going to do immersive media then don’t do the same as before only slightly better,” says Stagg. “There are elements to 5G that enables us to do things we cannot have done before. Things we may not yet have thought of.”
Begin able to augment the big screen experience with replays of action with six degrees of movement is one example. “We want to put ourselves in the position of a fan unable to attend the game. What would they want to see? How close to the actual game can we get them?”
Stagg says holography is “a perfect example” of the applications BT Sport wants to explore.
“The baseline is a live event streamed to mobile in HD 1080p 60. That’s the very least our customers will expect. Beyond that anything is possible.”


Friday 20 July 2018

UK communications regulator ready to help broadcasters fight challenge from Amazon and Netflix

Videonet
Ofcom, the British media watchdog, is chomping at the bit for UK broadcasters to gang together to form a streaming service and save what it sees as the future of the country’s public service broadcasting. It has even hinted at forcing regulation on the sector to favour PSB (public service broadcaster) content over that of foreign-owned SVOD rivals.
All this is in stark contrast to 2009 when the Competition Commission nipped ITV, Channel 4 and BBC Worldwide’s joint SVOD proposal, Kangaroo, in the bud and left the door wide open for Netflix and Amazon to hoover up. The Commission was itself wound up in 2014 [its functions have transferred to the Competition & Markets Authority], with latest figures released by Ofcom revealing the damage done by its decision.
The new Media Nations report paints a stark picture; few can be surprised. The headline statistic is that subscribers to SVOD services (including Sky’s NOW TV) have passed the number for regular Pay TV (15.4 million in Q1 of 2018, compared to Pay TV’s 15.1 million). That matters less to Ofcom than the fact that people are spending less time watching scheduled TV overall: two-thirds (three hours 33 minutes or 71%) of daily viewing time – and slipping – was of broadcast content across all devices, with 1 hour 28 minutes – and rising – being non-broadcast content.
Couple that with a drastic reduction in spend by the UK’s four main broadcasters on UK-made programming (a record low of £2.5 billion last year, nearly 30% less than the 2004 peak of £3.4 billion) and Ofcom’s concern ratchets up. 
While Kangaroo was blocked for being “too much of a threat to competition” the boot is now on the other foot. Netflix and Amazon are deemed to pose too much of a threat to the status quo. BBC Director General Tony Hall has previously characterised the battle as David versus Goliath.
Yet there’s no turning back the tide. Even if the original broadcaster joint venture had not been vetoed, the digital giants would still be dominant. Their business has grown globally regardless of how strong their business is in the UK.
Netflix has 8.2m subscribers in the UK and 4.3m British households are signed up to Amazon Prime Video, according to BARB. Ofcom’s urgency seems to be prompted by the dwindling volume of what it terms ‘British TV’: that is culturally distinct, original locally made programming.
Its conclusion, given the undeniable shift in viewing habits, is that a pooled resource streaming platform is the best means to continue to get this content to people. Ofcom’s position is not new, though it is recent, and could not be a stronger nudge that it would wave through any new proposal – perhaps also involving NBCU – without hesitation.
Indeed, the regulator’s Chief Executive, Sharon White, compared the digital threat to PSBs with the devastating impact of online retailers on UK High Streets. “British broadcasters need to do more to tackle head-on the threat of their own online competition,” White told ITV this week.
She went further: “We think it’s important that Parliament considers levelling the playing field between Netflix and Amazon and British broadcasters so that British TV is just as easy to find on Internet TV as it is on traditional TV.”
Apparently, Ofcom will inform the government of exactly what this means after the summer break, but according to ITV this may include obliging Smart TV vendors to promote the content made by PSBs on their homepages over that of a Netflix. Going further still, the regulator could force Netflix and Amazon “to make more UK-originated programmes and distinctive content, perhaps even news,” according to ITV – one of the principals involved.
It is tempting to see this as an attempt to ringfence ‘made in Britain’ content from the forces massing beyond the wall. Yet Ofcom has previously encouraged opening up to trade with the rest of the world.
“By working with the likes of Facebook, YouTube, Netflix, Amazon, and Apple, PSBs can benefit from these companies’ immense global reach,” White told an Enders/Deloitte conference in March. “They may look to share expertise in technology, marketing and programme-making, in return for investment or prominence on digital platforms.”
There are many issues with an approach that looks to influence the balance of power, not least that it is hard to see how regulating against a Netflix or a Google would pass fair competition rules. Would the licence fee sustain funding of purely British content? Wouldn’t a British Netflix quickly descend into a niche market for travelogues about steam trains, gardening, canal boat holidays and woodland wildlife?
Note that CanalPlay, the SVOD offer from Canal+, recently shuttered in the face of online competition. In what was effectively a eulogy, Maxime Saada, Chairman of the Canal+ board, declared that “we had a French Netflix; it was killed”.
Offering content that is unique, high-quality and ideally exclusive or original does not come cheap. Canal+/Vivendi was seemingly not willing or able to fund this, particularly, as noted by the analyst firm Futuresource, “when its addressable market is more localised than the likes of Netflix or Amazon Prime.”

UK Media Regulator Calls for British Netflix

Streaming Media

In a marked shift from almost a decade ago, a consolidated UK broadcaster VOD service is on the cards after the UK media regulator appeared to greenlight such a development.

Ofcom, the British media and telecoms overseer, re-iterated calls for the main four UK broadcasters—Channel 4, ITV, BBC and Channel 5—to collaborate on content and distribute it over a shared online platform.
“We have seen a decline in revenues for pay TV, a fall in spending on new programs by our public service broadcasters, and the growth of global video streaming giants. These challenges cannot be underestimated,” said Sharon White, Ofcom’s CEO. 
She said Britain’s public service broadcasters (PSBs) must “collaborate to compete” with the FAANG companies (Facebook, Amazon, Apple, Netflix, and Google), in a complete reverse of the situation a decade ago just as Netflix and YouTube were rising to prominence.
In 2009 the UK’s Competition Commission blocked Project Kangaroo—a joint venture between ITV, Channel 4 and BBC Worldwide—because of the fear it might have killed interest in video-on-demand services.
In its final report, the Commission “decided that this joint venture would be too much of a threat to competition in this developing market and has to be stopped.”
The frailty of this decision has been apparent for several years but Ofcom’s latest figures are the starkest reminder yet of OTT dominance of the UK media landscape.
According to Ofcom’s Media Nations report, subscriptions to Netflix and Amazon (and Sky’s Now TV) reached 15.4 million in the first quarter of 2018, exceeding the total for pay TV—15.1 million—for the first time.
More worryingly for the nation’s PSBs, the report found that the amount of time spent by viewers watching scheduled programming on a TV has continued to decline and, in 2017, stood at an average of 3 hours 22 minutes a day, down nine minutes on 2016, and 38 minutes since 2012.
Among children and viewers aged 16 to 34, the decline was steeper, leading to the over-65s watching four times as much broadcast television as children in 2017.
Netflix is taken by 9.1 million UK homes, up 32.7% in a year. Amazon Prime grew by 32.7% to 4.8 million. Paid SVOD is also catching up on free catchup on-demand TV. While a third of people visit BBC iPlayer, 28% use Netflix and 12% claim to use Amazon Prime Video. That compares with just 16% who use catch-up service ITV Hub.
In a speechto staff at the BBC in March, BBC director general Tony Hall warned that the success of the “west coast giants”—the FAANG companies—threatened to undermine British values unless reform keeps with what he called “breath-taking, seismic change.”
Ofcom seems to agree, calling on UK broadcasters to commit more resources to jointly produce more UK-based original content at a time when spend by UK PSBs on local programming has dropped almost a billion pounds a year from a high of £3.4 billion in 2004 to £2.5 billion last year.
It has also indicated, though gave no details, that further measures might be taken to protect British TV content including having smart TV manufacturers prioritise PSB content on their homepages and even “obliging” the likes of Netflix and Amazon “to make more UK-originated programs and distinctive content, perhaps even news” according to ITV News in an interview with White.
Whether Ofcom permits a joint OTT video service between the UK PSBs, Strategy Analytics believes it won’t make much difference to the competition Netflix is imposing. 
“Be it from a content discovery, marketing/awareness or even financial standpoint, it is doubtful how the PSBs will benefit—all the more as they are already performing well on their own, particularly BBC iPlayer,” says analyst Brice Longnos.
No regulation around smart TV providers will help either, says Longnos. “At the end of the day, the competition should be around the production value of their content and the consumer experience. If the PSBs can team up on that aspect, they have a chance to gain further foothold in the OTT landscape.”
 Any broadcaster aiming to repel FAANG (currently valued over $3 trillion) is facing a formidable challenge. Those companies have the financial muscle and customer reach to dominate the market. Most observers agree that high-quality content, tailored for the local market, is vital to survival.
“Broadcasters should aim to complement FAANG services with their own local or unique content, rather than challenge directly,” says Brian Paxton, head of video consulting at Cartesian. “Content is the main differentiator in this fragmented market space and will drive viewing on an OTT service. In the last few years, the primary challenge has become content discovery. Broadcaster consolidation helps this issue … but does not resolve it.” 
Arguably, any such move is long overdue and not enough to compete with the online giants. Digital players are investing heavily in locally produced content, too. Netflix spent £100 million making Brit royalty blockbuster series The Crown, for example.
Paolo Pescatore, an independent analyst, says, “We shouldn’t underestimate the value of local content and regional differences. As FAANG spend more on local programming, then there is no reason why that broadcasters shouldn’t partner with them.”
He also believes broadcasters should work more closely with telcos, which have a direct relationship with their subscribers. “This way, they can unlock opportunities to provide users with more immersive experiences and identify new sources of revenue.”
As to whether these partnerships will be successful, it very much depends on how they go about it. There’s a chance to offer the “best of both worlds”—i.e. marrying the quality of TV content with the addressability and targeting of digital advertising—but to do this, they will need to focus on improving the consumer experience and innovate, not replicate, the failing TV advertising model on their combined OTT platforms in the world of ad-free premium video access created by Netflix and co. 
As Ovum analyst Matt Bailey puts it, “Broadcasters need to work together to create advertising contexts and formats that are interactive, relevant, informative, and enjoyable to digital consumers used to controlling what they see and hear if they are to give themselves a chance of succeeding against FAANG.”

Capturing Wildlife in Super Low-light - all you need to know


Content marketing for VMI


Filmmakers wanting to shoot in extreme low light or even no light conditions have never had it so good. Camera technology had advanced to enable the recording of the most unbelievable images in almost total darkness.
https://vmi.tv/training/useful-stuff/Capturing-Wildlife-in-Super-Low-light
The principal beneficiaries of this are natural history filmmakers for whom capturing wildlife in its natural habitat means as little disturbance as possible. 

Most productions will use a specialist low-light camera as a B-camera, used for particular sequences to record unique behaviour, but the nature of much natural history filming means that kit is needed in the field for weeks or months with a consequent knock-on to the budget and this article quotes Natural History film makers' experience using both the Canon ME20-FSH and also Sony A7S Mk II to compare and contrast their capabilities to capture productions in extremely low light.

While filmmakers could choose to shoot infra-red, a method now familiar to viewers in the form of serviceable but generally indistinct black and white images, or military grade thermal images like the Selex, by some margin most decisions centre around the Sony A7S Mk II and the Canon ME20-FSH.  
Both Sony A7S Mk II and Canon ME20-FSH are fantastic units for low light shooting but their characteristics - and prices - do differ.

The main considerations in choosing between A7S Mk II and Canon ME20 are:
1 Cost. The Canon ME20 is more expensive than the Sony and there is no way around that and no camera truly suitable for low light operation fits in the middle ground. For a ballpark figure the A7S carries a bookable rate of £85 per day against the approx. daily rate of £350 for the ME20.

2. IR versus colour. The Sony A7S Mk II shoots using an Infra Red (IR) filter whereas, the Canon offers this and additionally the ability to shoot in colour at night thanks to a 2.2MP sensor with sensitivity rated in excess of ISO 4 million (+75dB). 

3. HD versus UHD. The A7S will shoot 4K, whereas the Canon ME20 will only record HD (1920x1080). When more and more productions need to meet 4K deliverables, perhaps this is a deal breaker.

A side by side comparison is frequently conducted to assess their suitability for given projects
Because of all these variables, many producers and DPs arrange a side by side test replicating as far possible the expected conditions in the field. We asked those who have used both sets of equipment why they made the selections that they did.

The BBC Natural History Unit (NHU) for example evaluated both cameras prior to embarking on Blue Planet 2 for a scene to record the bioluminescence display of mobula rays.  This required a camera capable of filming in extreme low light and the BBC used both the Sony A7S Mk II and Canon ME20, though the majority of sequences were captured by the A7S Mk II.  Both cameras were mounted in suitable underwater housings to film this sequence which had before been captured.

Feedback is provided here on the basis of personal experience and does not imply any level of official testing or approval by the Corporation.

Joe Treddenick, Assistant Producer, NHU Landmark, BBC Natural History Unit explains, "After our side by side test at VMI, we deemed that it was possible to push the Canon slightly further in terms ISO before noise became too much of a problem. Also, it produced more randomised noise than the A7S, which was more linear (banding), meaning that it was easier to clean up in post."

He emphasises that the Sony AS7 Mk II is another great option for low light capture.

It's easy to use, cost effective and can record at a good resolution [A7S Mk II]. However, while we used both cameras on this production, we found that the Canon ME20 was easier to effectively de-noise in post than the A7S II.

Producer Robin Dimbleby also found that the A7S II “required a lot more work,” in post than the ME20 in order to clean up image. "You do sacrifice a lot of sharpness in trying to resolve the noise when using the Sony A7S Mk II," he says.

Dimbleby has used the ME20 on productions with Offspring, most recently in South Africa and Kenya filming the nocturnal behaviour of a lion pack for Sky One’s Big Beasts: Last of the Giants with DP Mark Payne-Gill.
“The A7S delivers an electronic rendering of 4K – it is not a native 4K sensor,” explains Dimbleby. "This means that if there is any noise which you try to resolve in post, you are also destroying resolution. If you record a high ISO on the A7S you are no longer shooting in 4K - shooting beyond HD for sure – but not 4K. So, this gives you pause for thought. HD images from the ME20 shot in low light will deliver a much cleaner image with no uprezzing in post than uprezzing to 4K with the A7S."

Handling gain

While the ME20 records HD in low light with minimal noise, it does record a level of gain (noise) which can prove unacceptable if not handled correctly. To aid filmmakers, Canon has given the ME20 various ‘sweet spots’ to capture extreme low light images with as little perceptible noise as possible. Producers and operators need to be aware of this peculiarity in order to minimise the noise being filmed.

“The ME20 seemed to have a sweet spot at 42 dB, it terms of a minimal grain to light ratio,” reports Treddenick. “But as with all low light filming, the most important factor was having a fast lens on the front of it. We found we could take the ISO slightly higher on the Canon before the grain became too noticeable, but it was marginal.”

Before travelling to the Indonesian jungle to film Tarsier monkey for Offspring Films’ Monkeys: An Amazing Animal Family (Sky 1), Payne-Gill tested the ME20 and found it produced excellent results up to 45dbs (approx. 140,000 ISO) “after which noise became noticeable but with noise reduction would still produce incredible results. We got close-ups of the animal's faces with their massive pupils and in colour so we could properly tell their story.”

For a sequence in Offspring Film’s production about the Elephant shrew, Payne-Gill’s team were able to use very low soft key lighting at dusk and night time provided by an Aladdin 'A' light and Eyelight LEDs, without effecting the creature’s behaviour.

“As a result, we only needed to shoot between 18 and 21dbs (approx 50,000 -70,000 ISO),” says Payne-Gill.
DP Lee Jackson and his AC Garth McConnell used the ME20 in Botswana for a follow up to Naledi: One Little Elephant for Off the Fence Productions.

“You have to be very careful not to use the incorrect ISO,” Jackson warns. “You can experiment with different levels of ISO on location and you can see it change on a monitor. In post a lot of the noise can be removed with software. You need to be careful of the strong pink glare in the IR lights, though. The ME20 only needs minimal IR illumination.

“Our regular max was 48db, though sometimes we pushed to 52 db,” Jackson informs. “Our post guys did some noise reduction with some of our early footage and reported back with promising results. This allowed us to push some of our shots, especially when there was no moonlight.”

Shooting in IR or shooting in colour

The traditional method for filming in low-light conditions makes use of infrared illumination, a technique that only yields footage in black and white. The ME20 is uniquely capable of capturing colour video in similar conditions without the need for an IR filter.

“It is useful to have the option to film in IR when filming species that cannot tolerate anything but red light, but in terms of overall capability the ME20’s ability to record in low light in colour is the camera’s best attribute,” says Treddenick.

Off the Fence filmed the live birth of an elephant in Naledi: One Little Elephant using IR lights. For the follow up, the producers wanted to film another elephant birth in colour.

“This time, we wanted something different, something original,” says Jackson.  “We were monitoring gain in complete darkness using the Odyssey 7Q+. I found the IR function to be best used as a monitoring application, switching to colour mode when [animal] behaviour changed. We found that there was usable footage with colour in the shadows, however, there need to be at least a gentle fill."

For Offspring Film’s production about the Elephant shrew in the African savannah, producer/director Anwar Mamon with Payne-Gill selected the ME20.

Obviously, telling the story of an animal’s life over 24 hours means filming at night,” explains Mamon. “The traditional way of doing this is to use IR imaging which gives you a look which is quite cold. In contrast for this series, the commissioning channel wanted to give the show a warmth and that meant making the animals look natural by capturing as much colour as possible.

When editing a sequence featuring the tiny nocturnal Tarsiers the producers felt they had to show the audience a shot of the ME20 as part of the editorial.

The results looked like we were filming day for night so we showed the presenter explaining to camera that we were using a new high-tech camera otherwise the audience wouldn’t believe that we filming these animals in their actual environment rather than in a zoo, says Dimbelby.

“Rather than seeing something that has already been filmed and seen, which are heavily lit night time and infrared sequences, you can push the boundaries of what is possible and set your show apart by using full colour at night,” he adds.

Dimbleby and Payne-Gill have also shot during a full moon with both the Sony and Canon units in Kenya. “We were having to enhance the monitor to see what the camera was seeing and by doing that made a mistake of then not lifting the ISO on the A7S,” says Dimbelby. “So, what we thought we were exposing was actually a lot darker when we saw the rushes. We never had that issue with the ME20. With both cameras we were recording to an offboard Convergent Design Odyssey but the difference with the ME20 was that we were seeing and capturing a true image of what we were filming.”

Field work

For Dimbleby, the ME20 is the “go-to camera in the field” not least because of its sturdier metal construction. He has taken it to Indonesia for another block of NHNZ filming.

"It’s a heftier unit, more waterproof and battle hardy whereas the A7S is a smaller, more fiddley camera to deal with. Normally we’d take the Canon into the field already rigged and ready to go. We’d carry the camera body with lens and Odyssey on a tripod rather than taking a pelicase or portabrace into the field. It’s a very light camera to lug around even attached to hefty tripod legs.

"The A7S is a lot lighter but it doesn’t balance the same way. Even if you use a shorter lens it won’t balance so well since it’s all to do with weight of the glass. Plus, the sheer physical heft of the ME20 means you can trust it won’t break. You’d put your AS7 in a housing or camera trap to the protect camera when you leave it whereas we’ve filmed with the ME20 in rain and never had a problem. We’ve had issues with condensation and water ingress in the lenses but not the body.”

Jackson’s experience of the ME20 is that it’s “a relatively light rig” but one that “could be a little clumsy if you were moving ‘run & gun’ style.”

He adds, “It has a solid industrial body, a simple menu construction and cooling fans which handle condensation well allowing it to remain running for long periods. Fans also keep the sensor cool allowing for a cleaner IR image.”

Conclusions
The Canon ME20-FSH, which only captures HD and is up to five times more expensive to rent than a camera such as the Sony A7S Mk II, is consistently being chosen by producers and DPs for ground-breaking wildlife sequences.

On balance, and provided due consideration is given to handling levels of noise, the ME20 is widely voted a superior tool to deliver full colour HD images in all conditions, including the dead of night.
“Disturbing elephants while they were sleeping at night was most definitely a ‘no, no’ but the ME20’s ability to literally see in the dark enabled us to achieve the look that the director’s wanted,” says Jackson. “It’s a super powerful IR HD camera.”

Providing some balance, Colin Jackson, Innovation Lead, BBC NHU concludes, “Overall the ME20 in extreme low light situations has a marginal edge over the A7SII generally in terms of noise. But for many requirements in low light, the A7SII is a simpler and more cost-effective solution.”

Dimbley advises, If you end up with a muddy looking shot you won’t want to use it even if it’s in 4K. Resolution is a bit of a myth for filmmakers since most of us want to prioritise the story rather than enter a resolution arms race. That’s why we retain a lot of HD sequences in programming destined for 4K delivery [meeting Sky’s delivery specification]. The ME20 delivers the more ground breaking modern image that audiences want to see.”


Games engines are making photorealistic AR for live broadcast easy

The race is on to perfect virtual environments and virtual production. Everyone from VFX tools developer Foundry and Hollywood studios like Paramount to James Cameron and Weta Digital for the new Avatar movies are looking to evolve technology that permits a director to film photoreal CG assets with live action in real time on set.
Much of the research is centered on games engines, like those from Epic Games (maker of the Unreal Engine) or Unity, which were originally designed to render polygons, textures and specular lighting as fast as possible.
The tech is not confined to feature film. New TV entertainment formats mixing physical and virtual objects and characters and people in real time include FremantleMedia and The Future Group’s Lost in Time. Impossible without state-of-the-art real-time 3D rendering of a games engine, some call this concept ‘interactive mixed reality’.
Games engines can create a level of realism unrivalled by any broadcast character generator but they need to be reprogrammed first so that the games software matches camera-acquired signals like timecode.
TFG for example turned to Ross Video to rewrite the Unreal code to comply with genlock. This software is being sold by Ross as graphics engine Frontier.
NewTek has allied with Epic Games to bring live video sources into Unreal Engine over the NewTek NDI (video over IP) network without needing additional codecs or multiple video cards.
Now the convergence of live video production and gaming engines has gone a step further with AJA’s support of Unreal built into its KONA 4 and Corvid 44 video transfer cards.
Epic’s release of Unreal Engine 4.20 includes a plug-in based on the AJA SDK supporting HD/SDI video and audio input and output to the cards. This includes full support for timecode and fully gen-lockable video enabling integration of augmented reality and graphics in live broadcast transmissions.
Bill Bowen, chief technical officer at AJA is quoted saying, “There is a rising tide of momentum for Unreal Engine in broadcast across virtual sets for live broadcast, virtual production and eSports.”
His counterpart at Epic, Kim Libreri, claims, there’s been a growing demand from its customers working in live broadcast for video support in Unreal and hints that more traditional broadcast gear will follow and be hooked up to the engine.
Even Andy Serkis, performance capture pioneer and director of forthcoming Jungle Book adaptation Mowgli, is in on the game.
“Using game engine technology to achieve high quality rendering in realtime means that, once something is shot on set, there will be no post production,” he told IBC. “I believe that is where we are headed and with VR, AR and interactive gaming platforms emerging it’s the most exciting time to be a storyteller.”
The film and TV industry is evolving rapidly toward the real-time production of live action seamlessly blended with CG animated and performance captured characters, blended into virtual environments.

Wednesday 18 July 2018

Craft Leaders: Jean-Clément Soret, Colorist


IBC
Jean-Clément Soret on the mystery of being a colourist and the different requirements of grading commercials, film and TV.
The exceptional light cast on the northern French port of Le Havre is world famous for inspiring the 19th-century impressionism movement. Growing up there a century later Jean-ClĂ©ment Soret couldn’t help but be influenced by this huge cultural legacy as he pioneered digital colour grading.
“Le Havre was run by the local communist party at the time I was living there.
“It meant that public libraries and museums were a big part of the cultural life of the town. It also meant that the richer bourgeoisie had to pay inheritance tax on their assets which led many of them to let go of the paintings they had acquired over the years and gift them to the art gallery. When you are a student it’s great to have access to all that culture for next to nothing.”
Monet and fellow painters Pissarro, Sisley and Boudin brought a breath of fresh air to the discipline through ground-breaking use of lighter colours, the separation of tones and creation of shape and volume through touches and colour rather than drawn outlines.
Similar terminology is often used to describe the craft of the colourist. Colourists ensure that all shots in each scene match by balancing colour saturation and luminance. The best graders also understand the psychological effect of colour to enhance the narrative.
Technician to artist
Jean-Clément, or JC as he is also known, wanted to be a musician. He studied audiovisual technology intending to be a sound engineer but landed his first job in 1987 at Paris laboratory and post-production facility Éclair, where he learned about film stocks, processing and densitometry while working with film colour timers.
“The telecine equipment was analogue but at the cutting edge,” says Soret. “It was on the point of transitioning from technical transfer of the print to rudimentary colour correction. I could see the potential, that the technology was going to get more sophisticated and that it was just a matter of time before the process would no longer need a technician but an artist.”
Most of his time was spent transferring prints to video tape exposing him to a treasure trove of different film stocks including flammable nitrate, processing techniques such as dye-transfer and aesthetics from contemporary French movies to Russian classics of the 1930s.
“I was careful to take all of this in so when it came to do colour correction myself I had all this vast library of images to reference and apply to the job.”
A stint working at post house Duran on music videos introduced him to VFX and machines like Quantel Harry, bringing him into contact with experimental photographers and directors like Stephane Sednaoui, Michel Gondry, Frederic Planchon, J.P. Jeunet and Darius Khondji.
It was this work that got him noticed abroad and in 1997 he was offered a position at MPC as creative head of colour grading. He’s been there ever since, a fixture on the London post scene culminating in being named global creative director of colour grading at the facility as well as supervising digital intermediate colourist at Technicolor Post in London.
Commercials winner
Along the way he has picked up numerous outstanding industry accolades. He is a five-time winner of Best Colourist at the British Arrow Craft Awards and was voted Best UK Colourist four years in a row and Best UK VFX artist by Televisual Magazine. He also received a Fellowship award at the British Arrow Craft Awards in 2013.
His iconic commercials work includes Levis Pharmacy, Honda Cog, Three Mobile The Pony, Channel 4’s Paralympic’s Superhumans and several John Lewis Christmas campaigns including The Long WaitSnowman and Buster the boxer.
“Working on an ad campaign is a bit like composing a jingle,” says Soret. “Every second has to be very efficient. You are aware that product or message needs to get noticed one way or another because you need to grab the attention of your audience.
“A lot depends on the client. Some are very open minded, others know exactly what they want. It’s up to the colourist to judge the room and take the decision forward.”
Movies, on the other hand, are more like conducting a symphony.
“You know you have the attention of the audience who have paid to see the work. You can use the darkness to suggest rather than showing everything. You are allowed more subtly in the image.”
There are different ways of approaching long and short form material too. “With spots you can spend a day or two maximising every last pixel of a frame but because of the volume needed to grade for film you don’t have that level of refinement.”
The other significant difference is that commercials grading tends to be directed by the spot’s director or creative agency. With feature film the director of photography is more likely to be involved.
Soret has graded numerous features including The Other Boleyn Girl, Mandela: Long Walk To Freedom, Snatch and Lynne Ramsay’s You Were Never Really Hereand Serenity, a forthcoming thriller directed by Steve Knight, lensed by cinematographer Jess Hall, and starring Matthew McConaughay.
Working with Anthony Dod Mantle
His most established and rewarding collaboration has been with director Danny Boyle and cinematographer Anthony Dod Mantle. Soret worked on the multiple Academy Award-winning Slumdog Millionaire, and all of Danny Boyle’s projects since 28 Days Later. He also graded other projects for Dod Mantle including director Ron Howard’s In the Heart of the Sea, and Kursk director Thomas Vinterberg’s take on the Russian submarine disaster. All this, plus time to fit in TV work Babylon, Midnight Sun and Black Mirror.
 “A lot of what a colourist does are things a DP wished they were able to do on set but couldn’t, perhaps because of lack of time,” says Soret. “We can’t relight scenes but we can emulate some effects – using a vignette to brighten the foreground and darken the background is routine, for example. Some projects are about enhanced colour timing, some about photography improvement, others about turning everything upside down.”
His belief that colour grading has become an extension of the cinematographer’s work is exemplified in his work with Dod Mantle.
“He is with me all the time on a project looking in detail at every image. We create camera moves together, change depths-of-field, colour, contrast and saturation and vary the texture effects. Sometimes I would have done the opposite – but when you watch the sequence back you understand why he chose a certain look. We are in the same territory.”
The films of which he is most proud are both shot by Dod Mantle, directed by Boyle; Sunshine, the 2007 sci-fi and Steve Jobs which used 16mm, 35mm and digital film to tell its story over three distinct time periods.
Boyle was recently announced as director of the 25th Bond starring Daniel Craig. Logically, he would call on his regular cinematography and grader. “I would love to work on a Bond but there are a lot of politics,” says Soret.
Colour grading used to be known as a post production’s dark art, where astonishing images were conjured by some sort of alchemy in a windowless suite.
“I feel that a colourist still carries a little mystery - less so than before perhaps, but there’s still an element of unpredictability that is attractive,” says Soret. “If you give me the same image and brief one day to the next you would not get the same result as I did the day before.
“That’s what I find interesting– that colourists are still able to put a lot of themselves into the image.”