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DALSA Digital Cinema 03-70-00218-01
 
Image Sensor Architectures for DigitalCinematography
Regardless of the technology of image acquisition (CCD or CMOS), electronic image sensors must capture incoming light, convert it to electric signal,measure that signal, and output it to supporting electronics. Similarly, regardless of the technology of image acquisition, cinematographers can generally agree on a short list of capabilities that a capture medium needs in order to provide great images for big-screen feature films: capabilitiessuch as Sensitivity, Exposure Latitude, Resolving Power, Color Fidelity, Frame Rate, and one we might call “Personality.” This paper will use such alist to evaluate image sensor technologies available for digital cinematography now and in the near future.
Image Quality: Many Paths toEnlightenment
The comparison of image sensor technologies for motion picturesis both difficult and complicated. The combination of an imagesensor and its supporting electronics are analogous to a film stock; just as there is no single film stock that covers all situations or allcinematographers’ needs, there is no single sensor or camera thatis perfect for every occasion. Every decision involves tradeoffs.The same sensor can even be more or less suitable for anapplication depending on the camera electronics that drive andsupport it. But no amount of processing can retrieve informationthat a sensor didn’t capture at the scene.In designing the sensor and electronics for our Origin® digitalcinematography camera, DALSA drew upon its 25 years of experience in CCD and CMOS imager design. Given the demandsand limitations of the situation, we determined that the best imagesensor design for our purposes was (and still is) a frame-transferCCD with large photogate pixels and a mosaic color filter array. Itis not the only design that could have succeeded, but it is the onlydesign that
has
succeeded. No other design has demonstrated asimilar level of imaging performance across the range of criteriawe identified above. This is not to say that no other design willreach those performance levels; to bet against technologyadvancement would be short-sighted. On the other hand, theperformance Origin can demonstrate today is several generationsahead of the best we’ve seen from other technologies andarchitectures, and Origin’s design team is forging ahead toimprove it even more.
Imaging Requirements: “what docinematographers really want?”
Individual tastes and rankings will vary, but mostcinematographers would agree that any imaging medium can be judged by a short list of attributes including those describedbelow.
Sensitivity
Sensitivity refers to the ability to capture the desired detail at agiven scene illumination. Also known as
film speed
. Matchingimager sensitivity with scene lighting is one of the most basicaspects of anyphotography.Silicon imagers captureimage information byvirtue of their ability toconvert light intoelectrical energy throughthe photoelectric effect—incident photons boostenergy levels in thesilicon lattice and “knock loose” electrons to create electric signalcharge in the form of electron-hole pairs. Image sensor sensitivitydepends on the size of the photosensitive area (the bigger thepixel, the more photons it can collect) and the efficiency of thephotoelectric conversion (known as quantum efficiency or QE).QE is affected by the design of the pixel, but also by thewavelength of light. Optically insensitive structures on the pixelcan absorb light (absorption loss); also, silicon naturally reflectscertain wavelengths (reflection loss), while very long and veryshort wavelengths may pass completely through the pixel’s
 
Image Sensor Architectures for Digital Cinematography 2
DALSA Digital Cinema 03-70-00218-01
photosensitive layer without generating an electron (transmissionloss). (Janesick, 1)Sensitivity requires more than merely generating charge fromphotogenerated electrons. In order to make use of that sensitivity,the imager must be able to manage and measure the generatedsignal without losing it or obscuring it with noise.
Exposure latitude
Exposure latitude refers to
 
the ability to preserve detail in bothshadow and highlights simultaneously. Some of the most dramaticcinematic effects, as well as the most subtle, depend on wideexposure latitude. For film, latitude is described in terms of usablestops where each successive stop represents a halving (ordoubling) of light transmitted to the focal plane. For example, atf2.0 there is 50% less light transmitted than at f1.4; f2.8 transmitshalf as much as f2.0, and so on. Many film stocks deliver over 11stops of useful latitude, while broadcast and early digital moviecameras have struggled to deliver more than eight.In the electronic domain, exposure latitude is expressed asdynamic range, usually described in terms that involve the ratio of the device’s output at saturation to its noise floor. This can beexpressed as a ratio (4096:1), in decibels (72dB), or bits (12 bits).It should be noted that not all of a device’s dynamic range islinear. Above and below certain levels, device response is notpredictable and its output may not be useful. When comparingdevice dynamic ranges specifications, note whether the value isgiven as linear–the linear segment is by far the most useful part of the dynamic range. Low noise and a large charge capacity, oftencontradictory goals, are crucial to delivering great dynamic range.While extensive research goes into designing pixels to be assensitive and as quiet as possible in low light, performance inbright light is also very important. Film stocks have been refinedto respond to varied lighting with non-linear “toe” and “shoulder”regions for shadows and highlights; this is one of film’s definingcharacteristics. Very few electronic imagers can offer similarperformance. In contrast, we have all seen digital images in whichextremely bright areas “bloom” or “blow out” the highlightdetails. The larger a pixel’s charge capacity, the wider the range of illumination intensities it can manage. But to contain the brightesthighlights without losing detail or blowing out the rest of theimage, sensors need “antiblooming” structures to drain awayexcess charge beyond saturation. By their nature, CMOS pixelsoffer a high degree antiblooming; in CMOS designs there is almostalways a drain nearby to absorb charge overflow. Some (but notall) CCDs also offer antiblooming, although antiblooming almostalways involves a tradeoff with full-well capacity. For pixels thatare already limited in charge capacity by small active area, goodantiblooming performance can reduce exposure latitudesignificantly. The smaller the pixel, the greater the impact.
Resolving power 
Technically, the ability to image fine spatial frequencies throughan optical system should be defined as “resolution” (Cowan, 1)but in the electronic domain “resolution” is too often used tomean mere pixel count. For clarity we will use the phrase“resolving power” here. Resolving power is measured in unitssuch as line pairs per degree of arc (from the point of view of ahuman observer), line pairs per millimeter (on the imagingsurface itself), or line pairs per image height (in terms of a displaydevice, with viewing distances given).Clearly, resolving power is quite different from pixel count. Theperformance of the pixels (and the lens focusing light onto them)has a huge impact on how much resolving power an imagingsystem has. Two related terms are
sharpness
and
detail
, bothused to describe the amount and type of fine information availablein the image, and both heavily influenced by the amount of contrast available at various frequencies in an image (Cowan, 1).Discussion of resolving power, contrast, and frequencies begs theinclusion of the technical term
Modulation Transfer Function
 (MTF), which describes the geometrical imaging performance of asystem, usually illustrated as a graph plotting modulation(contrast ratio) against spatial frequency (line pairs per unit). AsMTF decreases, closely spaced light and dark lines will losecontrast until they are indistinguishably gray. Increasing thenumber of pixels in an imager will not improve its resolvingpower if the design choices made in adding pixels reduce MTF.This can happen if the pixels become too small, especially if theybecome smaller than the resolving power of the lens.
Figure 1.
The top image demonstrates much wider exposurelatitude or dynamic range, allowing it to preserve details inshadows and highlights
 
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DALSA Digital Cinema 03-70-00218-01
Some film negatives have been tested to exceed 4000 lines of horizontal resolving power. However, prints, even taken directlyfrom the negative, inherit only a fraction of the negative’s MTF(see ITU Document 6/149-E, published 2001). The image degradesduring each generational transfer from negative to interpositives,internegatives, answer prints, and release prints. Clearly,electronic sensors for digital cinematography will need to bethousands of pixels wide, but exactly how many thousands is lessclear. Whatever the display resolution, most cinematographerswould prefer to capture as much detail as possible at thebeginning of the scene-to-screen chain to have maximumflexibility in postproduction and archiving. The feature filmindustry has no consensus on sufficient resolution, but clearly“HD” (1920x1080) doesn’t capture as much information as a35mm film negative.Another factor affecting resolving power is pixel size. At a givenpixel count, bigger pixels mean fewer devices per silicon wafer(and therefore higher cost), so we are accustomed to designersmaking things ever smaller. Consumer digital camera sensorscontinue to make their pixels smaller to pack more pixels into thesame optical format. There are good reasons for not following thatroute in digital cinematography imagers.While they occupy more silicon, bigger pixels can provide aperformance advantage, such as higher charge capacity (moresignal). Fabricated with slightly larger lithography processes, theycan handle larger operating voltages for better charge transferefficiency and lower image lag. These signal integrity benefitsmust be traded off against power dissipation (battery life andheat), but properly designed, bigger pixels can deliver very lownoise and immense dynamic range.With larger pixels, a high pixel count creates a device considerablylarger than the standard 2/3” format common in 3-chip HDcameras. But for the purposes of digital cinematography, this isactually a positive—an imager sized like a 35mm film negativeallows the use of high-quality 35mm lenses, which help delivergood MTF. The 2/3” format is an artificial limiter (inherited from1950s television standards) and should be just one considerationin the overall design of a camera system. In the still camera world,most professionals quietly agree that 5- and 6-megapixel sensorsthat have the same dimensions as their 3-megapixel predecessors(i.e. smaller pixels) exhibit higher noise. Pixel quality and lensquality have a greater effect on overall image quality than pixelcount, above some minimum value.Resolving power is further complicated by the challenges of capturing color.
Color fidelity
Color fidelity 
refers to the ability to faithfully reproduce thecolors of the imaged scene. For cinematography, it is also vital tomaintain the flexibility to allow color to be graded to the desiredlook in postproduction without adversely affecting the otheraspects of image quality. The importance of predictable, stablecolor performance cannot be understated. Color digital imaging iscomplicated by the fact that electronic imagers aremonochromatic. Silicon cannot distinguish between a red photonand a blue one without color filters—the electrons generated arethe same for all wavelengths of light. To capture color, electronicimagers must employ strategies such as recording three differentstill images in succession (impractical for cinematography), usinga color filter array on a single sensor, or splitting the incident lightwith a prism to multiple sensors. These approaches all haveunique impacts on sensitivity, resolving power, and the design of the overall system. Since all electronic imagers share the samecolor imaging challenges, we will return to them after firsttouching on sensor architecture.
Frame rate
Frame rate measures the number of frames acquired per second.The flexibility to allow variable frame rates for various effects isvery useful. Television cameras are locked to a fixed frame rate,but like film cameras, digital cinematography cameras should beable to deliver variable frame rates. As usual, there is a tradeoff.Varying frame rates will have an impact on complexity,compatibility, and image quality. It will also have a considerableeffect on the bandwidth required to process the sensor signals andrecord the camera’s output.
Figure 2.
An imaging system’s resolving power can be tested withstandard resolution charts such as this “EIA 1956” chart.
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