Sony's CineAlta 24P HD cameras are a series of professional
digital video cameras that offer many of the same features of a 35mm motion
picture film camera. CineAlta
is a brand name used by Sony to describe various products involved in content
creation, production and exhibition within a digital cinema workflow. Now
Sony's products branded by CineAlta include camera, camcorder, recorder, cinema
server and projector.
CineAlta cameras record onto tapes, professional discs or flash memory
cards. They have the ability to shoot at various frame rates including 24fps and
have a resolution of up to 1920 x 1080 pixels.
In 2000 George Lucas announced that 'Star Wars: Episode II - Attack of the Clones/Star Wars
II: Attack of the Clones/Attack of the Clones: The IMAX
Experience' [ph: David
Tattersall] would be the first major motion picture to be shot 100% digitally.
Sony
and Panavision had teamed up to develop the High Definition 24P camera that
Lucas would use to accomplish this and thus the first CineAlta camera was born:
the Sony HDW-F900.
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Sony CineAlta HDW-F900R [The HDW-F900 camcorder has now been refined into the next-generation HDW-F900R, offering a variety of further enhanced functionalities. The HDW-F900R camcorder records images in accordance with the CIF (Common Image Format) standard, which specifies a sampling structure of 1920 x 1080 active pixels (horizontal x vertical). Plus, as well as recording at 24P, the HDW-F900R camcorder is switchable to record at 25P, 29.97P progressive scan, and also at 50 or 59.94 Hz interlaced scan.] |
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Sony CineAlta F23 |
[without digital recorder] |
The F23 camera system is the pinnacle of Sony's 2/3" CineAlta line of 24P acquisition products for digital television and motion picture content creation. With cinematographers in mind, the F23 was designed to provide the highest picture quality with a wide color gamut and over 12 stops of exposure latitude. The F23 also features cinema camera style controls, a robust B4 lens mount, and a ergonomic chassis design that accepts traditional film camera accessories. In addition, the SRW-1 HDCAM SR recorder can be directly docked on either the top or tail of the camera system, or tethered by dual link HD-SDI cabling for mounting flexibility. When the SRW-1 is equipped with the optional HKSR102 board, the F23 can record overcranking, undercranking, slow shutter, and interval recording. The F23 also captures in full 1920 x 1080 progressive in either 4:4:4 RGB color, or 4:2:2 YCbCr.
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Sony CineAlta F35 |
In addition to the F23, Sony has introduced [in November 2008] the new CineAlta F35, a Sony version of Panavision's Genesis, which was equipped with 3 pieces of 35mm CCD and PL lens mount. The 35 refers to the size of the sensor as in the F23 [2/3 inch]. The new F35 shares the same body as the F23 but features a single Super 35mm size CCD sensor and will enable cinematographers to use 35mm PL-mount optics. The F35 will be a 1920 x 1080p HD camera and will deliver 4:4:4 picture quality, variable frame rates of 1-50fps and an extraordinary dynamic range between the highlights and shadows. Like the F23, the F35 is also designed to record on to an HDCAM SR recorder, which can be docked directly on to the back or top of the camera, or connected remotely via cable. The F35 is designed to extend Sony's CineAlta line up not to replace the F23. The F23 and F35 will address distinct production environments and both will co-exist together. Some cinematographers are committed to 2/3 inch lenses while others prefer 35mm.
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Sony CineAlta F65RS [Utilizes a 20 Megapixel Super 35mm CMOS imager, whose active image area is 24.7mm X 13.1mm. The F65 has an integral PL mount which is standard for film cameras. The F65 has a base sensitivity of 800EI (Exposure Index). In this mode you have 7 stops latitude over key and 7 stops under providing phenomenal Dynamic Range. The rotary shutter has a range of 11.5 degrees to 180 degrees. This eliminates CMOS motion artifacts. The F65RS also outputs shutter pulse for 3-D/Motion Control rig application. When the camera is used in 16bit RAW File mode (Digital Negative), in post one can render multiple resolutions such as 4K Cinema (4096 X 2160) & 2K Cinema (3840 X 2160) HDTV.] |
Sony CineAlta SRW9000 [successor to HDW-F900 & F900R] [The SRW9000 inherits many of the excellent qualities of the HDW-F900/F900R. In standard configuration, the SRW9000 is capable of top-quality 4:2:2 Y/Cb/Cr 10-bit recording at 1080/23.98P/24P/25P and 29.97P/1080/50i and 59.94i. The SRW9000 can also record 4:2:2 720/50P and 59.94P signals, for users who require further creative performance, a variety of option cards can be added. This allows for users to benefit from full-bandwidth 1080 RGB 4:4:4 capturing, SR Motionvariable frame rate capturing, as well as S-LOG gamma, and additional signal inputs and outputs.] |
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Sony CineAlta SRW9000PL |
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Sony CineAlta PMW-F3K [The PMW-F3 inherits DNA from the F35, as well as most of the features and file-based workflow capabilities of the PMW-EX1R and EX3 XDCAM EX solid-state memory camcorders. The PMW-F3 is equipped with the newly developed Exmor Super 35 CMOS image sensor, PL lens mount, and SxS card for 1920 x 1080 full-HD recording. The PMW-F3 features future expandability, including RGB 4:4:4 baseband output with S-LOG gamma for external recording which means it can be used in an HDCAM-SR workflow. It also offers a 3D-LINK option, which allows two camcorders to be controlled simultaneously for 3-D stereoscopic shooting. The PMW-F3K is an affordable and 'ready-to-use' solution with three Sony fixed focal length PL lenses (35/50/85mm, T2.0).] |
Sony CineAlta PMW-F3L [Without lens.] |
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The Viper FilmStream Camera, with three 9.2-million pixel Frame Transfer CCDs, captures a 1920 × 1080 pixel image. In addition to uncompressed RGB output, the Viper is also capable of outputting RAW sensor data, which allows for more control in post-production. The camera has a unique feature known as Dynamic Pixel Management, which allows the camera to change its aspect ratio by vertically ganging pixels. This allows the cinematographer to shoot at different aspect ratios without cropping the image [thus losing resolution] or using anamorphic lenses. The Viper lacks on-board recording. The signals from the camera may be recorded to either tape or disk, depending on what mode the camera is used in.
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The Viper is a product of Thomson S.A. Thomson was founded in 1879 by Elihu
Thomson and Edwin Houston. In 1893 their French subsidiary, Compagnie Française
Thomson-Houston, was founded. From this French company the modern Thomson S.A.
evolved. In 2000, Thomson acquired Technicolor and the Dutch Philips Professional Broadcast,
followed, in 2002, by the American company Grass Valley Group [founded in 1959]. Philips Professional Broadcast
and Grass Valley, under
the brand name Grass Valley, produced the Viper FilmStream. In 2010,
Thomson [now named Technicolor] sold Grass Valley. Grass Valley continued
producing the LDK HD Production cameras. The production of the Viper was discontinued.
The Viper was first used on the short movie 'Indoor Fireworks'
[2003, Rudolf Buitendach; ph: Marc
Felperlaan], though the first feature shot entirely with the Viper was 'Silence Becomes You'
[2004-05, Stephanie Sinclaire; ph: Arturo Smith]. Other Viper films: 'Collateral'
[2003; Viper + CineAlta HDW-F900 + film; dir: Michael Mann; ph: Paul
Cameron & Dion
Beebe], 'Miami Vice' [2005; Viper + CineAlta HDW-F900 + film; dir:
Michael Mann; ph: Dion
Beebe], 'Zodiac' [2005, David Fincher; ph: Harris
Savides], 'Killer Pad' [2006, Robert Englund; ph: David Stump; 'Killer
Pad' is being shot with two Viper Digital Cinematography cameras in FilmStream mode,
which provides the greatest available latitudes and
image quality available in today's digital equipment. The FilmStream signal is
being recorded to the S.two DFR [Digital Field Recorder] digital disk recorder. This allows for the use
of digital look up tables on set and for immediate playback and review of each
take during the production],
'The Curious Case of Benjamin Button' [2006-07, David Fincher; ph: Claudio
Miranda], etc.
One of the Viper's strengths is its ability to shoot with extremely low light
levels, which allowed much of 'Collateral' to be shot on the streets of Los
Angeles at night without the need for substantial supplemental lighting equipment.
While the Viper is designed to produce full resolution RAW images in 4:4:4 log data,
it can also produce 4:4:4 RGB video images.
Cinematographer Tom
Burstyn used the Viper in the 4:2:2 HDStream
mode for the first season [2004] of the tv-series 'The
4400'.
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After aborted attempts to create a film-style video camera in the 1970s and 1980s, Panavision
joined the digital revolution in July 2000, establishing DHD Ventures in
partnership with Sony. The new company's objective was to raise the quality of
high definition digital video to the standards of top-level Hollywood
motion-picture production. This cooperative venture was established largely at
the instigation of George Lucas to serve his designs for the 'Star Wars' prequels.
The collaboration resulted in the Sony HDW-F900 CineAlta HDCAM high definition
video camera [also called the Panavision HD-900F after being
'Panavised'].
'In 1997, Panavision and Sony announced their collaboration on the development of a
24 frame, progressive capture digital high definition camera suitable for use by
filmmakers to create images for the motion picture screen. Panavising the Sony HDW-F900 camera required
a disassembly of the stock camera and replacement of the top cover, carrying
handle, bottom supports and mounts with more robust and flexible mounts and
handles. Also, a complete new faceplate, lens lock and iris rod support system
have been installed. A newly designed Ultraview Viewfinder with enhanced
optical performance and easier to use controls replaces the standard viewfinder.
These changes and more were made in order to produce a film friendly system that
utilizes many of the standard Panavision accessories, such as the follow focus,
matte box, heads, etc.
In addition to the mechanical modifications to the camera, a unique optical
pre-filter gives you better color matching with film emulsions and enhanced
resolution for blue screen effects cinematography.
Historically, 525 and 625 line video systems were constrained in their
performance by almost everything but optics. However, with the introduction of
the first progressive output 2/3", 2 million pixel [per color] CCD camera
it was immediately apparent that optics were going to be critical to maximizing
the performance of a Digital Cinematography System.
The 2/3" CCD imager is actually only 11mm in diagonal [as compared to the
27.5 mm diagonal of a 35mm motion picture film frame]. Therefore, for any given
screen size, the 2/3" CCD will require 2.5 times more horizontal
magnification than a 35mm film frame. This required that our new Primo Digital lens series be
designed to have 2.5 times the performance of our best cine
lenses. All Primo Digital lenses are optimized for maximum image quality at fast maximum apertures of
T1.6-1.9 [F1.45-1.75], thus enabling depths of field similar to 35mm cine
formats.' [From the Panavision website.]
The new system was used in the making of Lucasfilm's 'Star Wars: Episode II - Attack of the Clones/Star Wars II: Attack of the Clones/Attack of the Clones: The IMAX Experience', described as 'the first digital major feature film'.
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HD-900F |
Genesis |
The next step in the evolution of the digital cinema camera also involved collaboration between Sony and Panavision; this time, Panavision participated in all stages of development. The aim was to create a system that could use the entire range of the company's 35mm spherical lenses. This led to the 2004 introduction of the Genesis HD camera. Its Super 35mm film–sized recording area made it focally compatible with regular 35mm lenses, giving it a true 35mm depth of field. The electronics were manufactured by Sony. The chassis and mechanics were designed by Panavision.
'For the cinematographer, shooting with Genesis means no compromise on depth of field control, portability, sensitivity, dynamic range or color. Genesis was designed as a Panavision camera. It uses the same Primo lenses and the same accessories as our film cameras. The Genesis Super 35mm sensor is a 12.4 mega pixel, true RGB sensor, with the same number of pixels for each of the three primaries, unlike Bayer pattern cameras that have half as many red or blue pixels as green ones. Genesis was designed with digital intermediates in mind. It offers a unique gamma and colorimetry that enables seamless intercutting with all 35mm film emulsions. Genesis shutter angles range from 3.8° to 360° and frame rates from 1-50fps. The 360° shutter is new territory for film cinematographers, yielding one more stop of exposure, with increased motion blur. Genesis can record either to the new Panavision Solid State Recorder SSR-1 [uncompressed 4:4:4 or 4:2:2 recording - 21 minute capacity in 23.98 fps 4:4:4 SP mode - 43 minute capacity in 23.98 fps 4:2:2 LP mode], or to the Sony HDCAM-SR videotape recorder [4:4:4 RGB recording - maximum 50 minutes recording per cassette at 24fps]. Both units dock directly [top or rear] to Genesis, ensuring a totally portable package without cables to external recording devices.' [From the Panavision website.]
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Ph Russell Carpenter with the Genesis - "21" |
The Genesis was first used on 'Superman Returns' [2005; Genesis + film; dir: Bryan Singer; ph: Newton Thomas Sigel] and 'Flyboys' [2005, Tony Bill; ph: Henry Braham].
See also:
Modern Motion
Picture Cameras - Panavision
See also: Film Formats - Panavision
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The Arriflex D-21 [successor to the D-20] combines leading edge digital technology with film camera
features that have been refined over ARRI's 90-year history. It allows
directors and cinematographers to shoot in the same way as they would with 35mm
film, while taking advantage of the immediacy and economy of digital
acquisition.
Through ARRI Imaging Technology, the D-21 produces brilliant images with a
cinematic look and feel. D-21 images have a high dynamic range, high
contrast and the most film-like color reproduction of any digital motion picture
camera.
Incorporating a rotating mirror shutter, optical viewfinder and compatibility with existing
film accessories, the D-21 is immediately recognizable as an ARRI camera
and film crews feel comfortable operating it. Further film style features
include variable frame rate and robust construction.
The D-21's single, Super 35-size CMOS sensor exhibits the same cinematic
depth of field as 35mm film and the camera's industry standard PL lens mount
accepts the same unequalled variety of spherical lenses as used on 35mm film
cameras. Since the D-21 is the only digital high-end camera with a 4 x 3
aspect ratio sensor, it can make full use of anamorphic lenses.
The ARRIRAW format enables the D-21 to output RAW uncompressed data.
Alternatively - or simultaneously - the camera can output an uncompressed HD
signal that works perfectly in the established HD infrastructure.
While most digital cameras use electronic viewfinders, the D-21 is equipped
with the same optical viewfinder as all other ARRI cameras. Thus the D-21
viewfinder always shows an image area larger than the image being recorded, and
it can be used even when the camera is not powered up.
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Light entering the taking lens is diverted by a spinning mirror shutter and generates
a bright, magnified full color image in the viewfinder. This direct light path,
free of any electronic image processing, ensures fatigue-free viewing as well as
zero delay, a crucial feature when shooting fast action, where a delay of even a
few frames can be very confusing.
Most crucial of all is the fact that an optical viewfinder shows an image larger than
that being recorded and therefore allows the operator to see not just what is in
frame, but also what is just outside the frame. This safety area permits
meticulous composition and helps the operator prevent unwanted objects from
entering a shot.
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ALEXA is unique in that it can
simultaneously record Apple QuickTime/ProRes files, output uncompressed HD video
or uncompressed ARRIRAW data. This output versatility makes it ideal for a
myriad of productions and workflows from telenovellas to feature films.
As the best recording media for the
QuickTime/ProRes files, ARRI has chosen SxS cards because of their high data
throughput. Two SxS cards fit into a module on the camera's left side for
convenient on-board recording and are hot swappable.
Two outputs which can be configured to 3G
or 1.5G HD-SDI deliver an uncompressed high definition video stream with various
options such as recording in 4:2:2 or 4:4:4 and ITU Rec709 or Log C tone mapping
and color matrixes.
The two recording links can alternatively
be used to output the ARRIRAW T-link signal, which can be recorded by a number
of certified third party on-board recorders. ARRIRAW is the only way to access
the full potential of ALEXA's sensor [ALEV III CMOS] which has color and dynamic range
capabilities far beyond standard HD. ARRI's own ARRIRAW Image Converter [ARC]
provides image reconstruction features for the Windows, LINUX and Mac OS
platforms. As a result of long term corporate initiatives with key development
partners within the ARRIRAW Partner Program, a number of post production tools
can now natively work with ARRIRAW files. These output formats are well established standards that integrate the cameras
seamlessly into the existing HD infrastructure. [From the ARRI website.]
In 2011, ARRI introduced 2 new ALEXA models: the ALEXA Studio with an optical viewfinder and a 4:3 sensor, and the ALEXA M with a separate camera head and body. The ALEXA Plus is an upgrade to the ALEXA camera, adding built-in wireless remote control, the ARRI Lens Data System [LDS], additional MON OUT video and RS power outputs, lens synchronization for 3D and built-in position and motion sensors.
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See also: Darius Khondji
See also: Modern Motion Picture Cameras - ARRI
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The Red Digital Cinema Camera Company was founded in 2005 by Jim Jannard. The company's main product is a digital cinematography camera called the Red One. The camera is capable of recording compressed image data at resolutions up to 4096 x 2304, directly to flash or hard disk based digital storage. The camera body is priced at $17,500, far below most comparable products, and as a result it may make high-resolution digital cinematography accessible to many more productions. Announced in 2006 and released in 2007, it is the first camera produced by Red Digital Cinema Camera Company.
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Red One body |
The Red One body is designed for flexibility and functionality. Weighing in at 10
lbs, this is a streamlined package specifically designed to maximize your
shooting options. Matched with a 35mm PL lens mount, it allows you to take
advantage of the world’s finest optics. Red One's modular design means you can
upgrade as we add new features and accessories, as well as benefiting from performance improvements
with each new free firmware upgrade.
Typical high-end HD camcorders have 2.1M pixel sensors and record with 3:1:1 color
sub-sampled video at up to 30fps. Red One offers the Mysterium, a 12 megapixel
Super 35mm cine sized [24.4 x 13.7mm] CMOS
sensor, which provides 4K [up to 30 fps], 3K [up to 60 fps] and
2K [up to 120 fps] capture, and all this with wide dynamic range and color space
in 12 bit native RAW. In addition, you get the same breathtaking depth of field
and selective focus as found in film cameras using equivalent 35mm PL mount
lenses. Mysterium boasts greater than 66db Dynamic Range thanks to its large 29
sq. micron pixels. And 12,065,000 pixels deliver resolution that can only be
called Ultra High Definition.
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Shoot lightweight EFP style or load it up to shoot a feature film. Options include Red-Rail mounting accessories that 'grow' the camera body. The Red One body and Red-Rail components provide numerous mounting points to allow hundreds of optional Red and third party accessories. Choose between the convenience and durability of recording directly to Compact Flash, in-camera, or outputting signal to Red Flash Drive or Red Drive [RAID] for even longer recording options.
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Doph Geoff Boyle with the RED on the tv-series "Wallander" |
'The Red One is not a HD camera; it is like a large digital SLR [single-lens
reflex] camera, except it captures metadata at 24-30fps at 4K, 60fps at 3K, and
up to 120fps in 2K resolution.
Filmmakers who consider their work art had better become technicians fast if they intend on
using the Red One, as it does not have the color palette tool in the
creation of the nuanced finessed brushstrokes you are accustomed to getting from
film. You simply cannot be green if you want to go Red. The Red One
currently uses a CMOS digital sensor capturing images at 4520k pixels of
resolution by 2540k pixels of resolution. It is retrofitted with a film PL
mount, which means its digital sensor is able to gather light, utilizing and
taking advantage of the finest optical quality film lenses ever made. This gives
the Red One the equivalent characteristics of 35mm film's narrow depth of
field in terms of focus.
The most exciting aspect of Red One technology is that it enables you to
watch and approve dailies instantly, whereas film needs to be processed and
scanned in order to be outputted and viewed. Furthermore, the Red One's
proprietary hard drives allow up to 3-hour takes compared with 10-minute takes
in traditional film. Without a doubt the Red One's tapeless workflow
acquisition is unparalleled in facilitating post-production schedules and
budgets, but at what cost visually?
On film shoots you are able to overexpose your negative, blow out the highlights
and recover them later. Personally, I overexpose film negative by two-thirds of
a stop in order to get a thicker negative, in other words more image
information. There is an assumption that with Red One the look is not 'baked'
into the RAW files when you shoot, and that with color correction software you
have infinite information to manipulate. Not true. The Red One is
not immune to digital exposure rules and it has a hard floor for the blacks and
a hard ceiling for the whites. If you blow out the pixels on
a Red One digital sensor they will 'hard clip,' leaving you with no image
information to manipulate. The reason digital cameras have limited exposure
latitude is that they capture information in a linear color range space, as
opposed to film which captures information in a logarithmic color range space.
The human eye perceives contrast, light and detail logarithmically, so it is no
surprise audiences still have a natural disposition toward a 'filmic' versus 'digital'
look so deep into our digital generation. In defense of the Red One I
will say its wavelet compression and 12-bit color space do hold highlights in a
fairly pleasing and organic manner for a digital camera, but nothing has ever
compared to the controlled and pleasing manner negative film's highlights roll
over the exposure curve.
So here's the rub: On digital cameras many filmmakers skew toward slight
underexpose in order to preserve highlights. Although underexposure in the
digital world is a fantastic technique for both protecting whites and achieving
great-looking velvety blacks, this is not the case with the Red One. When
you underexpose the Red One you essentially waste linear bits of metadata
the camera could have captured. When you open up underexposed Red One
footage in the RAW conversion, you end up with digital noise, milky blacks and
posterization. Posterization is the undesirable concept of spreading too little
continuous information too far apart in a digital camera's linear range,
resulting in bands that run across the image, particularly at the points when
two colors without sufficient tonal information meet.
So what is the solution to nailing exposure on the Red One?' [From article
by Daron Keet on the P³ Update website.]
Go to the RED website.
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> Vision Research in Wayne, New Jersey, USA, is the producer of the Phantom Digital high-speed camera. The forerunner of the company was founded in 1950.
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Phantom HD GOLD - maximum speed at full resolution [2048x2048 pixels] is 555 fps; max speed at reduced resolution [256x256] is 4,410 fps |
Phantom Flex - depending on the shooting mode and resolution, the Flex is capable of shooting from 5 fps to over 10,750 fps [640x480] |
> Silicon Imaging, Inc. in Niskayuna, New York, USA, was founded in 2000.
The company produces digital cameras for industrial use and digital
cinematography. The full-featured, all-in-one portable design of the
Silicon Imaging
SI-2K combines a digital cinema class 2048x1152 resolution camera head,
IRIDAS color-management technology, and the power of CineForm RAW™, to
deliver a direct-to-disk raw recording platform with unprecedented
image quality and shooting flexibility.
Among the films [partly] shot with the
SI-2K are 'Slumdog Millionaire' [2007; the SI-2K Mini; ph: Anthony Dod
Mantle],
'Sherlock Holmes' [2008; ph: Philippe
Rousselot] and '127 Hours' [2010; with SI-2K Mini; ph:
Enrique Chediak & Anthony Dod Mantle].
The SI-3D is the world’s first integrated
3D Cinema quality camera and
stereo visualization system. It shoots
uncompressed raw 2K or HD footage from two synchronized cameras, outputs
dual video streams for independent
Left/Right or Stereo Mixed displays and records directly to a single stereo
QuickTime file along with 3D LUT color and
convergence metadata. The 3D content can be instantly edited, without the need
for proxy conversion or ingestion. SI-3D streamlines the
entire stereo-3D content acquisition and post production workflow.
Among the films [partly] shot with the SI-3D system is 'Saw 3D' [2010;
ph: Brian Gedge].
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SI-2K |
SI-3D [with two SI-2K Mini cameras] |
> The Canon EOS 5D Mark II is a 21.1 Megapixel
full-frame CMOS Sensor digital single-lens reflex [DSLR] camera. The 5D Mark
II is the first digital EOS to offer recording of Full HD video in Live View
Mode. Capable of shooting clips almost half an hour long at full 1080
resolution, the EOS 5D Mark II does amazing double duty, making it possible to
shoot broadcast quality video by simply changing settings. For
the first eighteen months of its release, the camera only had a 30 fps [30p]
video mode. In March 2010, Canon released a firmware upgrade to add a 25p mode
for PAL format compatibility and a 24p mode for compatibility with motion
picture film cameras. Third parties also produce firmware for the 5D Mark II
adding many additional video and cinematography related functionalities.
The 'House M.D.' 6th season finale episode [#131] 'Help
Me' [2010; ph: Gale Tattersall] was shot entirely on the Canon 5D Mark II, replacing the usual 35mm film format.
The Canon
EOS 7D is an 18.0 Megapixel APS-C size CMOS sensor digital single-lens
reflex camera. The 7D was the first Canon camera with a dedicated movie mode
switch. The advanced movie mode makes manual exposure control and selectable
frame rates possible. Full HD Video is captured at 1920x1080 resolution at 30p
[29.97], 24p [23.976] or 25p frames per second, for up to 4GB per clip. Movies
are saved as .MOV files and can be viewed in Full HD with HDMI output. Other
recording sizes include HD at 1280x720 [50p/60p (59.94) fps] or SD/VGA at
640x480 [50p/60p (59.94) fps]. Boasting the most advanced EOS movie capturing
features to date, the EOS 7D does not just shoot video clips, it offers the
enhanced image quality, smooth frame rates and adaptive exposure compensation
necessary in a professional movie-making tool. [Using quotes from the CANON
website.]
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18.0 Megapixel APS-C size CMOS Sensor [Canon EOS 7D] |
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Canon EOS 5D Mark II |
Canon EOS 7D |
See also: Shane Hurlbut, Robert Primes & Nancy Schreiber
Other manufacturers of [professional] digital video cameras are, e.g. Panasonic, Ikegami, Canon, Sony, JVC and Weisscam [high-speed].
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> EFP:
Electronic Field Production is a television industry term referring to
television production which takes place outside of a formal studio, in a
practical location or special venue.
> CMOS:
Complementary metal-oxide-semiconductor is a major class of
integrated circuits. CMOS technology is used in microprocessors,
microcontrollers, and other digital logic circuits. CMOS technology is also used
for a wide variety of analog circuits such as image sensors and data converters.
> HD:
High-definition video generally refers to any video system of higher
resolution than standard-definition video, most commonly at display resolutions
of 1280 × 720 [720p] or 1920 × 1080 [1080i or 1080p].
> Chroma subsampling is the practice of encoding images by implementing more
resolution for luminance information than for color information. It is used in
many video encoding schemes, both analog and digital. Because of storage and
transmission limitations, there is always a desire to reduce [or compress] the
signal. Since the human visual system is much more sensitive to variations in
brightness than color, a video system can be optimized by devoting more
bandwidth to the luma component [usually denoted Y'], than to the color
difference components Cb and Cr. The 4:2:2 Y'CbCr [Y' is the luma
component and Cb and Cr are the blue and red chroma components] scheme for
example requires two-thirds the bandwidth of 4:4:4 R'G'B' [= Red,
Green & Blue]. This reduction results in almost no visual difference as
perceived by the viewer.
> CCD:
A charge-coupled device is an analog shift register, enabling analog
signals [electric charges] to be transported through successive stages
[capacitors] controlled by a clock signal. Charge coupled devices can be used as
a form of memory or for delaying analog, sampled signals. Today, they are most
widely used for serializing parallel analog signals, namely in arrays of
photoelectric light sensors. This use is so predominant that in common parlance,
CCD is [erroneously]
used as a synonym for a type of image sensor even though, strictly speaking, CCD
refers solely to the way that the image signal is read out from the chip.
Digital color cameras generally use a Bayer mask over the CCD. Each square of four
pixels has one filtered red, one blue, and two green [the human eye is more
sensitive to green than either red or blue]. The result of this is that
luminance information is collected at every pixel, but the color resolution is
lower than the luminance resolution. Better
color separation can be reached by three-CCD devices [3CCD] and a dichroic beam
splitter prism, that splits the image into red, green and blue components. Each
of the three CCDs is arranged to respond to a particular color. Some
semi-professional digital video camcorders [and most professionals] use this
technique. Another advantage of 3CCD over a Bayer mask device is higher quantum
efficiency [and therefore higher light sensitivity for a given aperture size].
This is because in a 3CCD device most of the light entering the aperture is
captured by a sensor, while a Bayer mask absorbs a high proportion [about 2/3]
of the light falling on each CCD pixel.
> Pixel:
A pixel [short for picture element, using the common abbreviation 'pix'
for 'pictures'] is a single point in a graphic image. Each such information
element is not really a dot, nor a square, but an abstract sample. With care,
pixels in an image can be reproduced at any size without the appearance of
visible dots or squares; but in many contexts, they are reproduced as dots or
squares and can be visibly distinct when not fine enough. The intensity of each
pixel is variable; in color systems, each pixel has typically three or four
dimensions of variability such as red, green, and blue [RGB], or cyan, magenta,
yellow, and black [CMYK].
> RAW: A camera raw image file
contains minimally processed data from the image sensor of either a digital
camera, image scanner, or motion picture film scanner. Raw files are so named
because they are not yet processed and therefore are not ready to be printed or
edited. Raw image files are sometimes called digital negatives, as they
fulfill the same role as negatives in film photography: that is, the negative is
not directly usable as an image, but has all of the information needed to create
an image. Likewise, the process of converting a raw image file into a viewable
format is sometimes called developing a raw image, by analogy with the film
development process used to convert photographic film into viewable prints.
> REDCODE RAW [R3D] is a proprietary
multimedia audio/video file format owned by Red Digital Cinema Camera Company
and featuring lossy compression for both audio and video contents. It is used as
native recording format of the Red One 4K digital camera and recorded on
proprietary Hard Disk Drives or CompactFlash cards, but can be extracted from
there and be trivially handled in any file-based audio/video, IT and home
environments. [From Wikipedia,
the Free Encyclopedia.]