Mark Schubin, HD World, 2009 October 14 1 HD acquisition equipment choices & quality: What are the...

Mark Schubin, HD World, 2009 October 14Mark Schubin, HD World, 2009 October 14 11

HD acquisition equipment HD acquisition equipment choices & quality:choices & quality:

What are the options? What are the options?


The Reference HDTV The Reference HDTV CameraCamera

1920 pixels per line1920 pixels per line1080 lines per frame1080 lines per frame

2/3-inch (11mm) imager2/3-inch (11mm) imager3-chip3-chip

prism color separationprism color separationtripod/shoulder mounttripod/shoulder mount

59.94 images/sec59.94 images/sec$ tens of thousands$ tens of thousands

Grass Valley, Hitachi, Ikegami, JVC, Panasonic, SonyGrass Valley, Hitachi, Ikegami, JVC, Panasonic, Sony


The 2009 HDTV Camera The 2009 HDTV Camera LandscapeLandscape1920 pixels per line1920 pixels per line1080 lines per frame1080 lines per frame

2/3-inch (11mm) imager2/3-inch (11mm) imager3-chip3-chip

prism color separationprism color separationtripod/shoulder mounttripod/shoulder mount

59.94 images/sec59.94 images/sec$ tens of thousands$ tens of thousands

Grass Valley, Hitachi, Ikegami, JVC, Panasonic, SonyGrass Valley, Hitachi, Ikegami, JVC, Panasonic, Sony

540540413413

1/6-inch (3mm)1/6-inch (3mm)1-chip1-chip

sensor filtersensor filterice-cube sizeice-cube size

<1 images/sec<1 images/sec$120 $120 w/lens & storagew/lens & storage

5760576025402540

FF35 (43mm)FF35 (43mm)4-chip4-chip

[layered chip][layered chip]??

>1000 images/sec>1000 images/sec~$250,000 ~$250,000 barebare

ARRI, Astro, Camera Corps, Canon, Easylook, FFV, G~, HDAVS,ARRI, Astro, Camera Corps, Canon, Easylook, FFV, G~, HDAVS,Iconix, i-movix, LMC, Lux, NAC, Panavision, P+S, Red, Skyline,Iconix, i-movix, LMC, Lux, NAC, Panavision, P+S, Red, Skyline,

Silicon Imaging, Toshiba, Vision Research, Weisscam, Wige MediaSilicon Imaging, Toshiba, Vision Research, Weisscam, Wige MediaAiptek, DigiLife, DXG, Flip, Fujitac, GE, Insignia, Isonic, Jazz, Kodak, Konaki,Aiptek, DigiLife, DXG, Flip, Fujitac, GE, Insignia, Isonic, Jazz, Kodak, Konaki,

Memorex, Mercury, RCA, Samsonic, Samsung, Sanyo, SVP, ViMX, VivitarMemorex, Mercury, RCA, Samsonic, Samsung, Sanyo, SVP, ViMX, Vivitar


More VariationsMore Variations

Panasonic AG-HVX200:Panasonic AG-HVX200:Imagers: 960x540 w/Imagers: 960x540 w/½½-pixel diag. offset-pixel diag. offsetConstraints: 720p – 960 luma, 480 chromaConstraints: 720p – 960 luma, 480 chroma

1080i – 1280 luma, 640 chroma1080i – 1280 luma, 640 chromaOutput: 720p – 1280x720Output: 720p – 1280x720 1080i – 1920x10801080i – 1920x1080

filter mosaicsfilter mosaics

1080, 8101080, 810Sony HVR-V1Sony HVR-V1

Genesis &Genesis & F35:F35:

ImagerImager 5760x21605760x2160

Per colorPer color 1920x21601920x2160

OutputOutput 1920x10801920x1080

CMOS vs. CCD (& full vs. FT vs. IT vs. FIT)CMOS vs. CCD (& full vs. FT vs. IT vs. FIT) Photosensor fill factorsPhotosensor fill factors Rectangular vs. diamond sensor shapesRectangular vs. diamond sensor shapes Stripe vs. mosaic color filters (& Stripe vs. mosaic color filters (&

variations)variations) Offset imagers or notOffset imagers or not Optical viewfinder mirror or notOptical viewfinder mirror or not Interlace vs. progressiveInterlace vs. progressive

stackedsensors


Camera or Acquisition Camera or Acquisition System?System?

Lighting: huge effect on final image Lighting: huge effect on final image

Lens & Filtering: design, focal length, iris, front & back filtersLens & Filtering: design, focal length, iris, front & back filters

Imager & Camera Optics: more to comeImager & Camera Optics: more to come

Camera Image Processing: many parametersCamera Image Processing: many parameters

Compression Coding: varies with image, format, & storageCompression Coding: varies with image, format, & storage

Storage: no effect on image except Storage: no effect on image except money, time, size, weight, life, money, time, size, weight, life, labor, and labelinglabor, and labeling 32 GB32 GB

currentlycurrently(>6 x DVD)(>6 x DVD)


LightingLighting

(from www.lowel.com/edu(from www.lowel.com/educourtesy of Lowel)courtesy of Lowel)


Optical & Electronic Optical & Electronic ProcessingProcessing

without & with UltraPol filterwithout & with UltraPol filter(courtesy of Tiffen)(courtesy of Tiffen)

Panasonic VaricamPanasonic Varicamblack stretch +3, -3black stretch +3, -3

master gamma .35, .75master gamma .35, .75dynamic level 200, 500dynamic level 200, 500

(from (from Goodman’s GuideGoodman’s Guide,,courtesy of Robert Goodman)courtesy of Robert Goodman)


Can You Can You ReallyReally Fix It In Fix It In Post?Post?

without polarizing filterwithout polarizing filterwith polarizing filterwith polarizing filter(courtesy of Tiffen)(courtesy of Tiffen)

mounts & operatorsmounts & operatorscount, toocount, too

unstable imageunstable image

stable imagestable image


InteractionsInteractions looklook

filtering-processing-lighting-filtering-processing-lighting-iris-makeup-costume-setiris-makeup-costume-set

lighting-iris-distance-imagerlighting-iris-distance-imager stabilitystability

mount-lens-external stabilizermount-lens-external stabilizer shootingshooting

weight-compression-storageweight-compression-storage sensitivity-lightingsensitivity-lighting autofocus-operatorautofocus-operator

smallersmallerlighterlighter

less powerless powerlabeling,labeling,securitysecurity


Which Person Looks Which Person Looks Angrier?Angrier?

““Angry Man/Neutral Woman,” 1997Angry Man/Neutral Woman,” 1997copyright Aude Oliva, MIT and copyright Aude Oliva, MIT and

Philippe G. Schyns, University of GlasgowPhilippe G. Schyns, University of Glasgow


Introducing ContrastIntroducing Contrastco

ntr

as

contr

as

tt

resolutionresolutionDo you see a curve along the bottom?Do you see a curve along the bottom?


Contrast-Sensitivity Contrast-Sensitivity FunctionFunction

contr

as

contr

as

tt

resolutionresolution

curve variescurve varieswith retinalwith retinalangle andangle andobserverobserver


Modulation Transfer Modulation Transfer FunctionFunction

contr

as

contr

as

tt


““sharpness” issharpness” isproportionalproportional

to the square*to the square*of the areaof the area

under the curveunder the curve

curve shapecurve shapevaries duevaries due

to such factorsto such factorsas filtering,as filtering,

diffraction, imagerdiffraction, imagerresolution, etc.resolution, etc.

* ARRI says the area, not the square* ARRI says the area, not the square


Combining Vision & Combining Vision & TechnologyTechnology

contr

as

contr

as

tt


invisib

le

invisib

le

not reproduced

not reproduced

availableavailable& visible& visible


Why More Imager Why More Imager ResolutionResolution

SINC Function

0

0.2

0.4

0.6

0.8

1

1.2

1 2 3 4 5 6 7 8 9 10 11

Samples

Contr

astst



SINC Function

0

0.2

0.4

0.6

0.8

1

1.2

1 2 3 4 5 6 7 8 9 10 11

Samples

Contr

astst

If this is 1080 lines,If this is 1080 lines,then the contrast ratiothen the contrast ratioat 1080 lines is zeroat 1080 lines is zero

zerozerocontrastcontrast



SINC Function

0

0.2

0.4

0.6

0.8

1

1.2

1 2 3 4 5 6 7 8 9 10 11

Samples

Contr

astst

If this is 2160 lines,If this is 2160 lines,

64%64%contrastcontrast

then the contrast atthen the contrast at1080 lines is 64%1080 lines is 64%


Real MTF CurvesReal MTF Curves

EOS 10D 3072 x 2048

EOS 20D3504 x 2336

14% linear increase in sensors14% linear increase in sensors(1080 over 480 is 225%)(1080 over 480 is 225%)

courtesy Bob Atkins www.bobatkins.comcourtesy Bob Atkins www.bobatkins.comused with permissionused with permission


Real-World Sharpness Real-World Sharpness ChangeChange

again, just 14% more resolutionagain, just 14% more resolution

EOS 10D 3072 x 2048

EOS 20D3504 x 2336

courtesy Bob Atkins www.bobatkins.comcourtesy Bob Atkins www.bobatkins.comused with permissionused with permission


HDCAM/DVCPRO HD HDCAM/DVCPRO HD CompromiseCompromise

contr

as

contr

as

tt


loss of lotsloss of lotsof resolutionof resolutionbut very littlebut very little

sharpnesssharpness

^̂

& AVCHD& AVCHD


Cameras & Lenses For Cameras & Lenses For SharpnessSharpness

Does Anything Else Matter?Does Anything Else Matter?


1920 x 10801920 x 1080


1920 x 10801920 x 1080 960 x 540960 x 540capturedcaptured

at 1920 x 1080at 1920 x 1080


Even on the HD cupEven on the HD cupthe word “SHOW”the word “SHOW”

can’t be read clearlycan’t be read clearly(never mind (never mind

““WITHWITH JAY L JAY LenenO”)O”)..


Imaging FormatsImaging Formats

30 mm30 mm

21.4 mm21.4 mm


Imager SizeImager Size

2/3-inch2/3-inch

ARRI D-21, Dalsa,ARRI D-21, Dalsa,Panavision Genesis,Panavision Genesis,Red One, Sony F35Red One, Sony F35

Canon EOS 5D Mark IICanon EOS 5D Mark IIVision Research Phantom 65Vision Research Phantom 65

1/31/3

1/21/2

- 1/4-inch- 1/4-inch Dynamic RangeDynamic Range SensitivitySensitivity Lens QualityLens Quality Limitable Depth of FieldLimitable Depth of Field

- 1/5-inch- 1/5-inch

PanasonicPanasonicHDC-SD100HDC-SD100

1/6-inch1/6-inch

--


Optical Format Factor: The Optical Format Factor: The BasicsBasics

lens imagelens image

ØØxx

yy

xx

yyØØØØ

normal imagernormal imager widescreen imagerwidescreen imager

imagerimager ØØ AR AR x x y yP65P65 59.6 59.6 16:916:9 51.2 51.2

30.530.5FF35FF35 43.3 43.3 3:23:2 36.0 36.0 24.024.0S35S35 31 31 4:3 4:3 24.9 24.9

18.718.7ARRI DARRI D 30.8 ~4:3 30.8 ~4:3 24.9 24.9

18.218.2Red OneRed One 28.0 28.0 16:916:924.4 24.4 13.713.7GenesisGenesis 27.5 27.5 16:916:9 24.0 24.0

13.513.5Academy 27.3Academy 27.3 11:811:8 22.0 22.0

16.016.01-inch1-inch 16 16 4:3 4:3 12.8 12.8 9.69.61-inch1-inch 16 16 16:916:9 13.9 13.9 7.87.8

imagerimager ØØ AR AR x x y y2/3-inch2/3-inch 11 11 4:3 4:3 8.88.8 6.66.62/3-inch2/3-inch 11 11 16:9 16:9 9.69.6 5.45.41/2-inch1/2-inch 8 8 4:3 4:3 6.4 6.4 4.84.81/2-inch1/2-inch 88 16:9 16:9 7.07.0 4.04.01/3-inch1/3-inch 5.65.6 4:34:3

4.54.5 3.43.41/3-inch1/3-inch 5.65.6 16:916:9

4.94.9 2.72.71/4-inch1/4-inch 4.54.5 16:916:9 3.93.9 2.22.21/5-inch1/5-inch 3.63.6 16:916:9 3.13.1 1.81.81/6-inch1/6-inch 3.03.0 16:916:9 2.62.6 1.51.5


True or False?True or False?

Larger-format cameras offer wider Larger-format cameras offer wider anglesangles

Larger-format cameras are more Larger-format cameras are more sensitivesensitive

Larger-format cameras have less Larger-format cameras have less depth of fielddepth of field

Sony HDR-TG1,Sony HDR-TG1,3.6 mm 3.6 mm øø

Panavision Genesis, 38.1 mm Panavision Genesis, 38.1 mm øø

Sony HXR-MC1Sony HXR-MC13.6 mm ø3.6 mm ø

Panasonic HDC-DS100Panasonic HDC-DS1003 mm ø3 mm ø


True or False?True or False?

Larger-format cameras offer wider Larger-format cameras offer wider anglesangles

Larger-format cameras are more Larger-format cameras are more sensitivesensitive

Larger-format cameras have less Larger-format cameras have less depth of fielddepth of field

Answer: YesAnswer: Yes(i.e., the statements are both false (i.e., the statements are both false andand true)true)


The Format FactorThe Format FactorDivide equivalent factors of one format by Divide equivalent factors of one format by

another’s.another’s.

e.g., 2/3-inch imager 11-mm diagonal divided by e.g., 2/3-inch imager 11-mm diagonal divided by

1/3-inch imager 5.6-mm diagonal yields a format1/3-inch imager 5.6-mm diagonal yields a format

factor of ~2.factor of ~2.

Applies to many imaging characteristicsApplies to many imaging characteristics acceptance angle, sensitivity, dynamic range, depth acceptance angle, sensitivity, dynamic range, depth

of field, diffraction, lens MTFof field, diffraction, lens MTF


Acceptance AngleAcceptance Angle

Based on focal length and imager size:Based on focal length and imager size: 13.5 mm lens, 16:9 aspect ratio, horizontal:13.5 mm lens, 16:9 aspect ratio, horizontal:

55° – 1-inch (wide angle) – 10.3’ shot at 10’55° – 1-inch (wide angle) – 10.3’ shot at 10’ 39° – 2/3-inch (normal) – 7.1’ shot at 10’39° – 2/3-inch (normal) – 7.1’ shot at 10’ 29° – 1/2-inch (tighter) – 5.2’ shot at 10’29° – 1/2-inch (tighter) – 5.2’ shot at 10’ 20° – 1/3-inch (tighter still) – 3.6’ shot at 10’20° – 1/3-inch (tighter still) – 3.6’ shot at 10’ 17° – 1/4-inch (very tight) – 2.9’ shot at 10’17° – 1/4-inch (very tight) – 2.9’ shot at 10’ 13° – 1/5-inch (close-up) – 2.3’ shot at 10’13° – 1/5-inch (close-up) – 2.3’ shot at 10’ 11° – 1/6-inch (tight close-up) – 1.9’ shot at 10’11° – 1/6-inch (tight close-up) – 1.9’ shot at 10’

OO II

DD FF

O O II–– = = –– D D FF


OO II

DD FF

O O II–– = = –– D D FF

The Format Factor:The Format Factor:divide dimensions of formatsdivide dimensions of formats

(e.g., 11 mm 2/3” video divided by 5.6 mm 1/3” (e.g., 11 mm 2/3” video divided by 5.6 mm 1/3” ≈≈ 2)2)

Acceptance Angle (shot size):Acceptance Angle (shot size): 20 mm lens in 2/3” same as 10 mm in 1/3”20 mm lens in 2/3” same as 10 mm in 1/3” But 4.5 mm in 2/3” same as But 4.5 mm in 2/3” same as 2.32.3 mm in 1/3”, mm in 1/3”,

1.8 1.8 mm in 1/4”, mm in 1/4”, 1.51.5 mm in 1/5”, mm in 1/5”, 1.21.2 mm in 1/6” mm in 1/6”


Why Haven’t We Noticed?Why Haven’t We Noticed? Traditionally adjusted for imager format:Traditionally adjusted for imager format:

2/3-inch lens – 18 x 7.62/3-inch lens – 18 x 7.6 1/2-inch lens – 18 x 5.51/2-inch lens – 18 x 5.5

Not in interchangeable-lens small-format HD:Not in interchangeable-lens small-format HD: ““1/3-inch” lens – 16 x 5.5 (1/3-inch should1/3-inch” lens – 16 x 5.5 (1/3-inch should bebe 3.8)3.8)

2/3-inch equivalent 11 mm (45% less wide)2/3-inch equivalent 11 mm (45% less wide) Built-in lenses better adjustedBuilt-in lenses better adjusted

Panasonic AG-HVX200 4.2 mm (2/3-inch equivalent 8.4 Panasonic AG-HVX200 4.2 mm (2/3-inch equivalent 8.4 mm)mm)

Sony HDR-FX1, HVR-Z1U 4.5 mm (2/3-inch 9 mm)Sony HDR-FX1, HVR-Z1U 4.5 mm (2/3-inch 9 mm) Sony HDR-TG1 3.2 mm, HXR-MC1 (2/3-inch 9.8 mm)Sony HDR-TG1 3.2 mm, HXR-MC1 (2/3-inch 9.8 mm) Panasonic HDC-HS100 2.95 mm (2/3-inch 9mm)Panasonic HDC-HS100 2.95 mm (2/3-inch 9mm)

Good for tight, bad for hand-heldGood for tight, bad for hand-held

essentially same angleessentially same angle


Digital Determination &Digital Determination &

$700$7008.5-75 mm8.5-75 mm

freefree

15°

2/3-inch 16:9 focal lengths 2/3-inch 16:9 focal lengths 1.1 m - pinkie nail ~0.51.1 m - pinkie nail ~0.5°° 550 mm550 mm - pinkie ~1 - pinkie ~1°° 270 - thumb width ~2°270 - thumb width ~2° 184 mm184 mm - thumb top ~3° - thumb top ~3° 110 mm - salute ~5°110 mm - salute ~5° 73 mm - thumb ~7.5°73 mm - thumb ~7.5° 55 mm55 mm - fist ~10° - fist ~10° 36 mm - Director ~15°36 mm - Director ~15° 27 mm - spread ~20° 27 mm - spread ~20° 23 mm - dart 22.5°23 mm - dart 22.5° 11.5 mm11.5 mm - half 45° - half 45° 7.2 mm - dart+half 67.5°7.2 mm - dart+half 67.5° 5 mm5 mm - corner 90° - corner 90°

DirectorDirector

OpticalOpticalOrigamiOrigami

FunctionalFunctionalFingersFingers



(e.g., 11 mm 2/3” video divided by 5.6 mm 1/3” (e.g., 11 mm 2/3” video divided by 5.6 mm 1/3” ≈ ≈ 22))

Sensitivity (exclusive of microlens issues)Sensitivity (exclusive of microlens issues):: f/20f/20 in 2/3” same as in 2/3” same as f/10f/10 in 1/3” in 1/3” But But f/2f/2 in 2/3” same as in 2/3” same as f/1.0f/1.0 in 1/3”, in 1/3”,

f/0.8f/0.8 in 1/4-inch, in 1/4-inch, f/0.7f/0.7 in 1/5”, and in 1/5”, and f/0.5f/0.5 in 1/6” in 1/6”

Full outputFull output Quarter outputQuarter output Quarter outputQuarter output

microlenses work bestmicrolenses work bestat high f-stopsat high f-stops


Why Haven’t We Noticed?Why Haven’t We Noticed?

““The HVR-Z1U actually has better low The HVR-Z1U actually has better low light sensitivity than many of the older light sensitivity than many of the older HD cameras” – Andy Sommer, directorHD cameras” – Andy Sommer, director

Advances in technologyAdvances in technology Microlenses best at narrower aperturesMicrolenses best at narrower apertures

Insufficient information on sensitivityInsufficient information on sensitivity Full characterization:Full characterization:

T-stop, illuminant, illumination, reflectance, SNRT-stop, illuminant, illumination, reflectance, SNR What does “minimum illumination” mean?What does “minimum illumination” mean?

After a certain point, does it matter?After a certain point, does it matter?


Photosite-Based Dynamic Photosite-Based Dynamic Range Range

Based on individual Based on individual

sensor (not imager) size:sensor (not imager) size:

Range of 1/3-inch sensor (“pixel”) Range of 1/3-inch sensor (“pixel”) pitches:pitches:

2/3-inch comparison:2/3-inch comparison:

full rangefull range 1/4 range1/4 range

JVCJVC

1280 x 7201280 x 720

A,CA,C

19201920xx

10801080

2/3-inch2/3-inch1280 x 7201280 x 720

CanonCanon11

14401440xx

10801080

Z1,FX1Z1,FX1

960 x 1080960 x 1080

PanasonicPanasonic960960

xx540540

2/3-inch2/3-inch1920 x1920 x10801080

960x540x2960x540x2

¼”¼”SonySony


Depth of FieldDepth of Field Range of distances appearing to be in focus Range of distances appearing to be in focus

with the lens focused at some particular with the lens focused at some particular distancedistance

Complex equations based on f-stop*, focal-Complex equations based on f-stop*, focal-length*, shooting distance, and “circle of length*, shooting distance, and “circle of confusion*” (visually indistinguishable from confusion*” (visually indistinguishable from a dot)a dot)* format-factor-related* format-factor-related



(e.g., 11 mm 2/3” video divided by 5.6 mm 1/3” (e.g., 11 mm 2/3” video divided by 5.6 mm 1/3” ≈ ≈ 22))

Depth of Field (not macro or hyperfocal):Depth of Field (not macro or hyperfocal): Range of distances appearing to be in focus with the Range of distances appearing to be in focus with the

lens focused at some particular distancelens focused at some particular distance Complex equations based on f-stop*, focal-length*, Complex equations based on f-stop*, focal-length*,

shooting distance, and “circle of confusion*” (circle shooting distance, and “circle of confusion*” (circle that is visually indistinguishable from a dot)that is visually indistinguishable from a dot)

* format-factor-related* format-factor-related 20 mm 20 mm f/20f/20 in 2/3” same in 2/3” same asas 1010 mmmm f/10f/10 1/3” 1/3” ButBut 4.54.5 mmmm f/2 f/2 inin 2/3”2/3” samesame as as 2.32.3 mmmm f/1f/1 1/3”, etc.1/3”, etc.

hyperfocal regionhyperfocal region depth of field regiondepth of field region macromacro


Why Haven’t We Noticed?Why Haven’t We Noticed?

We’re engineers, not artistsWe’re engineers, not artists Is more DOF better?Is more DOF better?

© Paul van Walree www.vanwalree.com, used with permission© Paul van Walree www.vanwalree.com, used with permission100 mm f/4 100 mm f/22 28 mm f/4 28 mm f/22


What Is Resolution?What Is Resolution? Traditional video definition Traditional video definition (static spatial HxV (static spatial HxV

luma)luma):: 1920 x 1080, 1280 x 720, etc.1920 x 1080, 1280 x 720, etc.

Optical definition (linear resolution):Optical definition (linear resolution): line pairs per millimeter (lp/mm)line pairs per millimeter (lp/mm) (video resolution (video resolution ÷ 2) ÷ imager size in mm÷ 2) ÷ imager size in mm Imager Width lp/mmImager Width lp/mm

S35S35 23.8 40 23.8 40 1-inch1-inch 13.9 69 13.9 692/3-inch 2/3-inch 9.6 1009.6 1001/2-inch 1/2-inch 7.0 1387.0 1381/3-inch 1/3-inch 5.2 1985.2 1981/4-inch 1/4-inch 3.9 2453.9 2451/5-inch 1/5-inch 3.13.1 3163161/6-inch 1/6-inch 2.6 2.6 379 379

for 1920for 1920pixelspixels

per lineper line


20 40 60 80 LP/mm

100

MTF%

Relative MTF of HDTV 2/3-Inch, 1/2-Inch, and 1/3-Relative MTF of HDTV 2/3-Inch, 1/2-Inch, and 1/3-Inch LensInch Lens

Measured at Picture CenterMeasured at Picture Center

1/3-Inch1/3-Inch

1/2-Inch1/2-Inch2/3-Inch2/3-Inch

(from (from Small Format HD Acquisition,Small Format HD Acquisition, Larry Thorpe, Canon, Larry Thorpe, Canon, 2005 SMPTE Fall Technical Conference)2005 SMPTE Fall Technical Conference)


20 40 60 80 LP/mm

100

MTF% 1/3-Inch1/3-Inch

1/2-Inch1/2-Inch2/3-Inch2/3-Inch

B&H Photo Prices:B&H Photo Prices:Canon XL H1 HDV cc w/20x lens - $Canon XL H1 HDV cc w/20x lens - $ 9K 9KCanon J17Ex7.7BIRS 2/3” lens Canon J17Ex7.7BIRS 2/3” lens - $11.5K- $11.5KCanon HJ17Ex7.7B 2/3” HD lensCanon HJ17Ex7.7B 2/3” HD lens - $19K- $19K(not from B&H and much older):(not from B&H and much older):Canon HV12x12 1-inch HD lensCanon HV12x12 1-inch HD lens -- $112K$112K

Line-pairs per millimeter at maximum imager resolutionLine-pairs per millimeter at maximum imager resolutionLarge-format: Origin – 60, D20 – 61, Red – 93, Genesis – 120Large-format: Origin – 60, D20 – 61, Red – 93, Genesis – 120

1080 HD: 1-inch – 69, 2/3-inch – 100, 1/2-inch – 138, 1/3-inch – 1981080 HD: 1-inch – 69, 2/3-inch – 100, 1/2-inch – 138, 1/3-inch – 198

Lens Performance & Format Lens Performance & Format Factor Factor (11 mm 2/3” video divided by 6 mm 1/3” = (11 mm 2/3” video divided by 6 mm 1/3” =

1.83)1.83)


Why Haven’t We Noticed?Why Haven’t We Noticed? Formerly poor displays (even $40k Formerly poor displays (even $40k

models)models) Not an issue for SDNot an issue for SD Small viewing anglesSmall viewing angles No direct comparisonsNo direct comparisons Talking heads acceptableTalking heads acceptable Money talksMoney talksone of the most-viewedone of the most-viewed

motion-picture sequences:motion-picture sequences:the hand-held, 8-mmthe hand-held, 8-mmZapruder film of theZapruder film of the

Kennedy assassinationKennedy assassinationbuilt-in lenses arebuilt-in lenses arematched to camerasmatched to cameras


Understanding DiffractionUnderstanding Diffraction

Airy diskAiry disk

MTF reduced,MTF reduced,resolution unaffectedresolution unaffected

www.cambridgeincolour.com/tutorials/diffraction-photography.htmwww.cambridgeincolour.com/tutorials/diffraction-photography.htm


Diffraction and MTFDiffraction and MTF Monochromatic diffraction-based MTFMonochromatic diffraction-based MTF MDMTF = 1 - (1.22 x MDMTF = 1 - (1.22 x λλ x x f f x lp/mm)x lp/mm)

Rayleigh Criterion: Airy disks one radius Rayleigh Criterion: Airy disks one radius apartapart

almostalmost100% 100% MTFMTF

100% 100% MTFMTF


Violating the Rayleigh Violating the Rayleigh CriterionCriterion

f/8f/8

f/11f/11 f/16f/16 f/22f/22

Canon EOS 20D – 6.4 µm sensor pitchCanon EOS 20D – 6.4 µm sensor pitch

originals 232 x 173originals 232 x 173


1/3-inch 1/3-inch f/3.1f/3.11/2-inch 1/2-inch f/4.5f/4.52/3-inch 2/3-inch f/6.2f/6.2

1/3-inch 1/3-inch f/9.5f/9.51/2-inch 1/2-inch f/12.4f/12.42/3-inch 2/3-inch f/17f/17


f-f-number at MTF:number at MTF: 0%0% 50%50% 75%75% 2/3” 1088 pels/line2/3” 1088 pels/line --- 22.9 11.5--- 22.9 11.5 5.75.7 2/3” 1920 pels/line --- 13.0 6.52/3” 1920 pels/line --- 13.0 6.5 3.3 3.3 1/3” 1920 pels/line --- 1/3” 1920 pels/line --- 6.5 3.36.5 3.3 1.71.7

2/3” 1920 pels/line --- 20.5 2/3” 1920 pels/line --- 20.5 10.2 10.2 5.1 5.1 1/3” 1920 pels/line --- 10.3 5.1 1/3” 1920 pels/line --- 10.3 5.1 2.6 2.6

worst-case: worst-case: λλ = 630 nm (red) = 630 nm (red)

best-case: best-case: λλ = 400 nm (blue) = 400 nm (blue)

100%100%

92%92%

Practical lp/mm - DiffractionPractical lp/mm - DiffractionMDMTF = 1 - (1.22 x MDMTF = 1 - (1.22 x λλ x x f f x lp/mm)x lp/mm)


Why Haven’t We Noticed?Why Haven’t We Noticed? Even on a high-end 2/3-inch SD Even on a high-end 2/3-inch SD

camera, the Rayleigh criterion isn’t camera, the Rayleigh criterion isn’t violated until almost violated until almost f/23,f/23, and that and that resolution isn’t sentresolution isn’t sent

At At f/4,f/4, the red (worst-case) MTF at the red (worst-case) MTF at the maximum NTSC resolution is the maximum NTSC resolution is 93%93%

advanced compression of TK-31advanced compression of TK-31


Why Not Maximum Why Not Maximum Aperture?Aperture?

Flare, ghosts, vignetting, light Flare, ghosts, vignetting, light distributiondistribution

Lens aberrationsLens aberrations

““image height” means distance from center in any directionimage height” means distance from center in any direction


AberrationsAberrations All lenses have themAll lenses have them

Monochromatic – Seidel aberrations:Monochromatic – Seidel aberrations: astigmatism, coma, astigmatism, coma,

curvature of field (Petzval), curvature of field (Petzval), geometric distortion, geometric distortion, spherical aberrationspherical aberration

Color – chromatic aberrationsColor – chromatic aberrationsastigmatismastigmatism

lateral or transverselateral or transverse longitudinal or axiallongitudinal or axial

3-chip correctable, if fixed3-chip correctable, if fixed

photos & diagramsphotos & diagrams© Paul van Walree© Paul van Walree

www.vanwalree.comwww.vanwalree.comused with permissionused with permission


GreenGreenCCDCCD

ImageImagePlanePlane

FlangeFlangeBackBack

48mm48mm

BackBackFocusFocus

Lens MountingLens MountingReference SurfaceReference Surface

FinalFinalLens SurfaceLens Surface

BTA S-1005-A BTA S-1005-A International International

2/3-Inch2/3-InchHDTV StandardHDTV Standard

5u5u

10u10u

Camera Reference Camera Reference Focus Plane Focus Plane

CameraCameraBeam Beam

SplittingSplittingBlockBlock

courtesy ofcourtesy ofLarry ThorpeLarry Thorpe

Canon USACanon USA

not to scalenot to scale


Simple vs. Complex LensesSimple vs. Complex Lenses

Canon HJ17Ex7.7B, 36 elements

Focus Variator Compensator Relay


Aberrations & the Format Aberrations & the Format FactorFactor For simple lensesFor simple lenses

Most aberrations worse at low f, better at low F Most aberrations worse at low f, better at low F spherical longitudinal: ~(F/f)spherical longitudinal: ~(F/f)22; lateral: ~(F/f); lateral: ~(F/f)33

comatic: ~(F/f)comatic: ~(F/f)22

astigmatic, Petzval, & longitudinal chromatic: F/fastigmatic, Petzval, & longitudinal chromatic: F/f Most also worse on larger imagers, better at low Most also worse on larger imagers, better at low

lp/mmlp/mm linear distortion: ~Ilinear distortion: ~I33

% distortion, astigmatic, Petzval: ~I% distortion, astigmatic, Petzval: ~I22

comatic, lateral chromatic: ~Icomatic, lateral chromatic: ~I

all cancelall cancelfor samefor same

conditionsconditions

only I cancels for sameonly I cancels for sameconditions; Iconditions; I22 & I & I33 better betterfor small-format imagersfor small-format imagers

coma (I)coma (I) astigmatism (Iastigmatism (I22))


Digital Aberration CorrectionDigital Aberration Correction Lateral chromaticLateral chromatic

Relatively easy to correctRelatively easy to correct NHK UHDTV Astrodesign correctorNHK UHDTV Astrodesign corrector Panasonic most-popular lenses LUTPanasonic most-popular lenses LUT Thomson technology demo at IBCThomson technology demo at IBC

Other aberrations?Other aberrations? Look-up tables theoretically possibleLook-up tables theoretically possible needneed appropriateappropriate targettarget + + allall iris,iris, zoom,zoom,

focusfocus datadata

AG-HPX500AG-HPX500


Lens Resolution versus Aperture Lens Resolution versus Aperture SettingSetting

(Typical 2/3-Inch HD Portable Lens)(Typical 2/3-Inch HD Portable Lens)

22 44 6 6 8 8 10 10 12 14 12 14 16 16

Aperture in F - Stops Aperture in F - Stops

ResolutionResolutionLP/mmLP/mm

DiffractionDiffractionLimitedLimited

Focus-Focus-AberrationAberrationLimitedLimited

Desired Resolution = 82 LP/mmDesired Resolution = 82 LP/mm

250250

200200

150150

100100

5050MaximumMaximumResolutionResolution

>2.0 Stops>2.0 StopsF1.9F1.9

courtesy ofcourtesy ofLarry ThorpeLarry ThorpeCanon USACanon USA


The Sweet SpotThe Sweet Spot Between loss of sharpness due to lens Between loss of sharpness due to lens

aberrations and loss of sharpness due aberrations and loss of sharpness due to diffractionto diffraction

courtesy of Bob Atkins photographycourtesy of Bob Atkins photography


But Don’t Worry Too MuchBut Don’t Worry Too Much


We’ve come a long wayWe’ve come a long way

Questions?Questions?

1932 30-line mechanical-TV1932 30-line mechanical-TVrecording of Betty Boltonrecording of Betty Bolton

Mark Schubin, HD World, 2009 October 14 1 HD acquisition equipment choices & quality: What are the...

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