When a lens is more than just a lens


TV-Bay Magazine
Read ezine online

Matching shots between different cameras can be tricky at the best of times. But how do you match lens characteristics between a live action shoot and a CGI composition? The CP.3 XD lenses from Zeiss offer an efficient solution to this with their frame accurate meta-data.

The ZEISS CP.3 Cinema Primes have all the characteristics that have made ZEISS lenses sought after for decades. Sharp, crisp images. Immaculate build quality. Theyre well known for their sheer value too. The new CP.3 prime lenses and their metadata-enabled siblings, the CP.3 XD prime lenses, stand out because they perform like top-end lenses, while their prices mean that theyre accessible to all levels of professional filmmaking.

CGI and VFX play an essential role in many - if not most - productions today. Were a long way from the early days of CGI where computers were mainly used to create alien creatures and physically impossible special effects. Today the computer arts have a much more prosaic, but arguably even more important role, which is to replace scenery. Its often cheaper and easier in todays environment to create a backdrop (or even foreground objects) artificially than to shoot them on location. Imagine shooting a scene in front of the White House. Its not going to happen. But with CGI it can.

The same goes for virtually any kind of science fiction. And now, even costume dramas rely extensively on artificially generated scenery. It saves time, effort and fundamentally makes certain types of production viable, where they wouldnt have been without the technology.

The pinnacle of CGI and VFX is where live action and computer generated worlds appear in the same scene - without the audience noticing. Matching live action to CGI is an art in itself: its easy to imagine the difficulties. But theres one area in particular where theres a very significant room for improvement. Its the process of matching the characteristics and settings of lenses to the computer generated world.

Most of the time, this is a manual process. It involves entering lens characteristics into the CGI software, so that the CGI application can compensate for the difference between the light entering the lens and leaving it. All lenses have a characteristic effect on an image. Theres the fixed effect of each lens, which includes Shading and Distortion, and theres the real time settings of the lens too (Iris, Focus, etc). Each and every one of these parameters will need to be taken into account by the CGI software, in order to map the lenss image onto the computer generated components.
Until now, entering and maintaining this data has been a laborious manual process. But now, with ZEISS eXtended Data technology implemented in the CP.3 XD lenses, the process is, as far as possible, completely automatic. Real-time metadata for focus, Iris, Shading and Distortion is easily transferred to the applications that need to make use of it.

High end facilities will profit from this because they can complete their work faster - and quite possibly better. Smaller production units will be able to work faster and save money - and perhaps undertake projects that they wouldnt have considered viable before.

For a DITs (Digital Imaging Technicians) and on-set personnel, eXtended Data means that not only the images but vital information about the images can be sent digitally, safely and quickly to post production. In some cases it might also mean that its easier to visualise the finished look on-set, which is a huge boost to productivity - and confidence - to the creatives at the sharp end of the production.

CP.3 XD lenses are already proving to be invaluable to users and post facilities alike. Jonathan Jones, Creative Director, Ember Films, told us:

ZEISS eXtended Data will allow us to speed up the post production process and allow multiple camera units to work more effectively together, all twinned with the optical quality you can expect from ZEISS.

We found the idea of being able to record detailed lens information frame by frame and adjust distortion very impressive. This will open up an exciting new world of creative possibilities.

In the world of motion graphics and live capture, the possibility of seamlessly retaining detailed lens information is massive.

In future, there will be even more CGI. There will be more VFX. But thats just the start. As we move beyond the rectangular screen towards Extended Reality (XR, which includes Virtual Reality and 360 degree video) its important to choose lenses carefully.

ZEISS CP.3 lenses with eXtended Data are ready for this new world; a place where metadata becomes almost as important in the workflow as the image itself. Theyre a sound investment for now, and a great choice for the years to come.


Tags: iss128 | zeiss | lenses | lens | prime | cp.3 | cgi | vfx | KitPlus
Contributing Author KitPlus

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Carl Zeiss on BroadcastShow LIVE at IBC 2013

    Carl Zeiss on BroadcastShow LIVE at IBC 2013

  • Zeiss at BVE 2016

    Zeiss at BVE 2016

  • Cooke Optics technology at IBC 2014

    Cooke Optics technology at IBC 2014

  • Cooke Optics talk anamorphic at IBC 2014

    Cooke Optics talk anamorphic at IBC 2014

  • Canon on BroadcastShow LIVE at IBC 2013

    Canon on BroadcastShow LIVE at IBC 2013

  • Cooke Optics at BVE 2012

    Cooke Optics at BVE 2012

  • New Filters from Schneider Optics at NAB 2018

    New Filters from Schneider Optics at NAB 2018

  • BeyondHD - Drones at BVE 2015

    BeyondHD - Drones at BVE 2015

  • Cooke Optics on BroadcastShow LIVE at IBC 2013

    Cooke Optics on BroadcastShow LIVE at IBC 2013

  • Cooke at IBC2011

    Cooke at IBC2011

  • Glensound Beatrice Dante Intercom at ISE 2019

    Glensound Beatrice Dante Intercom at ISE 2019

  • Glensound Anthens 2 Dante Turntable Pre-Amplifier at ISE 2019

    Glensound Anthens 2 Dante Turntable Pre-Amplifier at ISE 2019

  • Divine - New Intelligent Monitor Speaker from Glensound

    Divine - New Intelligent Monitor Speaker from Glensound

  • Bella 22 MK11 Network Audio Monitor from Glensound at IBC 2019

    Bella 22 MK11 Network Audio Monitor from Glensound at IBC 2019

  • AES3 to Dante / AES67 converters from Glensound at NAB 2019

    AES3 to Dante / AES67 converters from Glensound at NAB 2019

  • Glensound Express IP Mini at NAB 2019

    Glensound Express IP Mini at NAB 2019

  • Glensound 4 x Loudspeaker monitoring subrack at BVE 2019

    Glensound 4 x Loudspeaker monitoring subrack at BVE 2019

  • Broadcasters mobile phone rack with HD voice from Glensound at IBC 2018

    Broadcasters mobile phone rack with HD voice from Glensound at IBC 2018

  • Glensound show Beatrice the AES67 Network audio intercom beltpack at IBC 2018

    Glensound show Beatrice the AES67 Network audio intercom beltpack at IBC 2018

  • Virgil OB headphone amplifier from Glensound at NAB 2018

    Virgil OB headphone amplifier from Glensound at NAB 2018

  • PARADISO Lite commentary unit from Glensound at BVE 2018

    PARADISO Lite commentary unit from Glensound at BVE 2018

  • Schneider Filters and Cine-Tilt Lens at IBC 2017

    Schneider Filters and Cine-Tilt Lens at IBC 2017

  • Glensound Dante Intercom System at IBC 2017

    Glensound Dante Intercom System at IBC 2017

  • Live Sports Broadcast Commentator from Glensound at NAB 2017

    Live Sports Broadcast Commentator from Glensound at NAB 2017

  • Fujinon 18-55 Lens at BVE 2017

    Fujinon 18-55 Lens at BVE 2017

  • Glensound at IBC 2016

    Glensound at IBC 2016

  • Glensound at NAB 2016

    Glensound at NAB 2016

  • Glensound at BVE 2016

    Glensound at BVE 2016

  • Glensound Expedition at IBC 2015

    Glensound Expedition at IBC 2015

  • Glensound at BVE 2015

    Glensound at BVE 2015

  • Glensound Dante at IBC 2014

    Glensound Dante at IBC 2014

  • Glensound Atomic Copper at NAB 2014

    Glensound Atomic Copper at NAB 2014

  • Glensound Cub at BVE 2014

    Glensound Cub at BVE 2014

  • Glensound on BroadcastShow LIVE at IBC 2013

    Glensound on BroadcastShow LIVE at IBC 2013

  • Glensound with the USB Commentary Mixer at IBC 2013

    Glensound with the USB Commentary Mixer at IBC 2013

  • Glensound: RECCE HD at NAB 2013

    Glensound: RECCE HD at NAB 2013

  • Polecam: Z10 zoom lens at NAB 2013

    Polecam: Z10 zoom lens at NAB 2013

  • True Lens at BVE 2013

    True Lens at BVE 2013

  • Lens Adaptor at BVE 2013

    Lens Adaptor at BVE 2013

  • Glensound at BVE 2013

    Glensound at BVE 2013

  • Glensound at BVE North 2012

    Glensound at BVE North 2012

  • Glensound at IBC 2012

    Glensound at IBC 2012

  • Glensound at NAB 2012

    Glensound at NAB 2012

  • Glensound at BVE 2012

    Glensound at BVE 2012

  • Polecam Antelope Pico at IBC 2014

    Polecam Antelope Pico at IBC 2014

  • Polecam Toshiba Minicams at BVE 2014

    Polecam Toshiba Minicams at BVE 2014

  • Zylight on BroadcastShow LIVE at IBC 2013

    Zylight on BroadcastShow LIVE at IBC 2013

  • MTF at IBC2011

    MTF at IBC2011

  • Bradley at IBC2011

    Bradley at IBC2011

  • ChyronHego update Prime Graphics Platform to 3.5 at IBC 2019

    ChyronHego update Prime Graphics Platform to 3.5 at IBC 2019

  • ChyronHego Prime Broadcast Graphics at NAB 2019

    ChyronHego Prime Broadcast Graphics at NAB 2019

  • ChyronHego show their PRIME Workflow at IBC 2018

    ChyronHego show their PRIME Workflow at IBC 2018

  • Prime Focus Technologies showcases latest product innovations at NAB 2018

    Prime Focus Technologies showcases latest product innovations at NAB 2018

  • Prime Focus Technologies Showcase Work Order Management at IBC 2017

    Prime Focus Technologies Showcase Work Order Management at IBC 2017

  • Prime Focus Technologies at IBC 2016

    Prime Focus Technologies at IBC 2016

  • Prime Focus Technologies at NAB 2016

    Prime Focus Technologies at NAB 2016

  • ChyronHego Channel Box Prime at IBC 2015

    ChyronHego Channel Box Prime at IBC 2015

  • Primestream on BroadcastShow LIVE at IBC 2013

    Primestream on BroadcastShow LIVE at IBC 2013

  • Prime Focus at IBC 2012

    Prime Focus at IBC 2012

  • Prime Focus at IBC2011

    Prime Focus at IBC2011

  • Primera at IBC2011

    Primera at IBC2011

  • Bristol VFX at IBC2011

    Bristol VFX at IBC2011

  • Blackmagic and Fusion at IBC 2014

    Blackmagic and Fusion at IBC 2014


Related Shows
  • KitPlusTV summarise the Broadcast and Pro Video News 14th December 2020

    KitPlusTV summarise the Broadcast and Pro Video News 14th December 2020


Articles
Streaming Technologies Explained
Bruce Devlin - new

The word streaming can relate to different technologies from different manufacturers in different scenarios and in this short article we are going to take a little tour of what it all means. 

Tags: mr mxf | streaming | hls | dash | cmaf | mpeg | Bruce Devlin - new
Contributing Author Bruce Devlin - new Click to read
REVIEW - Hollyland MARS 400S PRO Digital Wireless Transmission System
Phil Vinter

Built by Hollyland and costing around £600 the Mars 400S is an easy-to-use wireless video transmitter/receiver system – it will be right up the alley of anyone who, like me, considers an instruction manual to be nothing more than box padding.

Read Phils Full review here, and link to the video review.

Tags: HOLLYLAND | MARS 400 | wireless | tx | rx | Phil Vinter
Contributing Author Phil Vinter Click to read
HOLLYLAND LARK 150 Review
Phil Vinter

The exponential growth of video supercharged a technological revolution that began in the early noughties with the advent of DSLR cameras.
The cinematic-style shallow depth of field image video quality from DSLRs was a revelation, but, back then audio was the big drawback. As demand has grown so the technology has improved and today’s one-man-band small rig set ups can capture pretty good sound into a DSLR style camera.

Phil Vinter reviews the latest release from HOLLYLAND and it's a thumbs up from us.

Tags: HOLLYLAND | radio mic | audio | LARK-150 | CVP | Phil Vinter
Contributing Author Phil Vinter Click to read
How to successfully buy AV and Broadcast Equipment at Auction
Dan Main

Perhaps you wouldn't expect an auctioneer to tell you this - but yes, there are risks to buying equipment at auction; just probably not the risks that you think.

So what are the real risks to buying at auction, and how can they be managed?

To watch the interview with Dan please click here

Tags: auction | tips | buying at an auction | fraud | auction risks | Dan Main
Contributing Author Dan Main Click to read
AJA Video Systems - Ki Pro GO User Review with Spellbinder Films
Ben Sherriff The Ki Pro GO is a portable multi-channel H.264 recorder offering up to 4-channels of simultaneous HD and SD recording to off the shelf USB drives with redundant recording capabilities. Our friend Ben Sherriff tales a look
Tags: AJA | ki pro go | dit | h.264 | recorder | live events | usb recording | 10bit | Ben Sherriff
Contributing Author Ben Sherriff Click to read