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SATURDAY, JULY 19, 2008 Time Zone Digital cameras for Digital Filmmking

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Digital cameras Digital cameras can be purpose designed professional cameras but cameras designed for domestic use are also used.

‘Red One’ Digital Camera The Red One was announced in 2006 and released in 2007 as the first Making Workshop camera produced by Camera Company. It has a 12 megapixel bayer pattern CMOS sensor, called the Mysterium. The Total Readers sensor measures 24.4 mm x 13.7 mm, and has 4520 by 2540 active pixels, though the camera only records data from a 4096 by 2304 pixel area in normal operation. The Mysterium sensor has about the same active area as a film frame masked to the 16:9 , allowing the same depth of field to be produced in conjunction with lenses designed to cover the 35 mm . ADventura The camera also allows the sensor to be used in a windowed mode in which the sensor can emulate the active area of a Super 16 film frame while capturing 2048 pixel resolution footage. This allows the camera to be used with Super 16 lenses. Red has measured the sensor's signal to noise ratio at greater than 66 dB, and claims 11.3 stops of total dynamic range. However, the dynamic range reported from many including Richard Bluck, place the camera's dynamic range significantly lower, Film Making Workshop at about 8 stops. This difference is probably attributable to the use of different mechanisms for measuring dynamic range. Red rates the Venkat Won "Nandi"Award from sensor at 320 ISO natively. A.P Govt.as Best Book Writer/Best Film Critic for the year of 2002. Lens Mount The Red One camera has an interchangeable lens mount. It ships with a PL mount, common for modern 35 mm and 16 mm motion picture cameras. The company has also released an adapter for 2/3" B4 lenses, and for Nikon F-mount lenses. Birger Engineering has announced it will soon release a Canon EF lens mount for the Red One, which will provide full electronic control of EF lenses. Other third parties may also have lens mounts in development for the Red One. Srivenkat Images

Recording formats The Red One can record at several resolutions. All recording is progressive scan. The Red One does not natively capture at standard definition or high definition resolutions. However, as part of the process of delivering the raw image data recorded by the camera, the RedCine desktop software can downscale footage to these resolutions. This process yields extremely high-quality output due to significant oversampling. Red has indicated that a future accessory (replacing an optical raw port that Red originally planned to bring to market) may allow the camera to record data from the sensor's full 4520×2540 active area, although few details about this are currently available.

Compression and workflow Redcode RAW is a variable bitrate wavelet codec which allows raw sensor data at resolutions of up to 4096x2304 to be compressed sufficiently for practical on-camera recording. Two variants are offered, one with a maximum data rate of 28MB/s (224 megabits), and one with a maximum data rate of 36 MB/s (288 megabits). FEEDJIT Live Traffic Feed Compared with the uncompressed data captured by the sensor, these bitrates represent compression ratios of about 12:1 and 9:1, respectively. Because Redcode is a wavelet codec, similar to CineForm RAW and JPEG2000, the blocking artifacts associated with other digital video compression algorithms are absent. However, sample images detailing Redcode specific artifacts have been posted on the manufacturer's forum. Redcode is a mathematically lossy codec, meaning that decompression does not fully restore the original image data captured by the camera. Red does claim the codec is "visually lossless", meaning that the information loss is not visible to the naked eye when images are viewed, however this is a subjective statement. Unlike cameras that record RGB data, the camera records raw data similar to the DALSA Origin and Silicon Imaging SI-2K. Recording raw data allows white balance, gamma and other image processing parameters like sharpening to be set during post production. Adjusting these settings directly on camera does not impact the raw data that is actually recorded. Such adjustment only influence live monitoring outputs, but are attached to the recorded data as metadata. Another consequence of the Red's raw-based workflow is that footage must be processed through a demosaicing algorithm before it can be viewed. Red has provided a QuickTime component which allows a fast demosaic to occur in real-time so the footage can be used in applications that support QuickTime without transcoding. Higher Live Traffic Feed quality output can be achieved by transcoding the footage through Red's RedCine or RedAlert! desktop software, although this process is much slower than real-time.

Lenses A visitor from Salta viewed Red has announced several Red-branded PL-mount lenses. The "Filmmaking Techniques: company is currently shipping a 300 mm f2.8 telephoto prime and an " 3 18-50mm T*3 zoom. Red has plans to introduce a 50-150mm T*3 mins ago zoom, an 18-85mm T*3 zoom, and a full set of prime lenses. Several third party vendors have opened up to Red, such as the widely A visitor from Mumbai, respected named Cooke, which is in development of a lens set with a Maharashtra viewed list price of $97,000. "Filmmaking Techniques" 9 hours 54 mins ago Recording media A visitor from Bangalore, The Red One records footage to data files on disk or flash based Karnataka viewed digital storage. The Red Drive is a 320 GB external hard-drive based digital "Filmmaking Techniques" magazine, containing two 2.5" hard drives in a RAID 0 configuration. 10 hours ago It can record over two hours of 4K footage. A Red Drive is usually A visitor from Pakistan mounted in a cradle attached to the camera's rod support system. The viewed "Filmmaking drive connects to the camera via a specialty locking connector, Techniques" 10 hours 31 though the camera and the drive communicate using the standard mins ago SATA protocol. The drive has FireWire 800, FireWire 400 and USB2 ports, and can be directly connected to a computer via any of those A visitor from Cairo, Al interfaces, at which point it appears as a standard external hard Qahirah viewed drive, and files containing the footage can be copied off like any "Filmmaking Techniques" other computer files. 19 hours 26 mins ago A visitor from Santo Red also offers a Compact Flash module for the camera, and 8 GB Domingo, Distrito flash cards. An 8 GB card can hold around 6 minutes of 4K footage and 20 minutes of 2K footage. Compact flash is preferable for cases Nacional viewed where the camera rig needs to be as light as possible or in situations "Filmmaking Techniques" 1 where sudden motion or intense vibration could cause dropped frames day 12 hours ago with hard drive based recording due to the mechanical nature of hard A visitor from Sunnyvale, drives. While the camera can use industry standard flash cards, most viewed are presently not fast enough to maintain the necessary data rates. "Filmmaking Techniques: Of particular note, Red's testing has shown that none of the 16 GB Filmmaking Technical cards presently on the market are fast enough. The company has announced plans to introduce a version of the Red crew" 1 day 14 hours ago Drive based around solid state disks, which should allow for A visitor from Preston, significantly longer recording times than compact flash cards while Lancashire viewed eliminating the issues related to recording to mechanical hard drives. "Filmmaking Techniques: This "Red Flash Drive" will be significantly more expensive than the Filmmaking Technical mechanical Red Drive, however. crew" 1 day 23 hours ago

Monitoring A visitor from Portland, Red offers two on-camera monitoring options for the Red One, a 5.6" LCD screen and an electronic viewfinder. The screen has a native Blog Archive resolution of 1024 by 600, while the electronic viewfinder has a native ▼ 2008 (40) resolution of 1280 by 848. Both the screen and the viewfinder connect ► September (3) through proprietary interfaces and rely on in-camera processing to generate their data displays, so they are only compatible with the Red ► August (2) One. ▼ July (25) 'Independence Day' Screenplay The camera also has HD-SDI and HDMI outputs for connection to [Part 2] external monitors. These presently operate at 720p. 'Independence Day' Screenplay The Red One can generate a variety of data overlays which can be [Part 1] displayed on its video outputs, including histograms, waveform plots, ‘Independence Day’ Official false color exposure aids, and two different "focus assist" displays. Trailer Unlike virtually all HD video cameras, the Red One does not generate a video stream in-camera which represents its final product. Its real- My next Screenplay article on time monitoring outputs do not reflect the resolution and dynamic …‘Independence Day’ ... range captured in the raw files it records. The camera's live outputs 3D computer graphics are intended to be used only for on-set monitoring, similarly to the Digital cameras for Digital way a video tap is often used with film-based acquisition. Filmmking Digital cinematography Audio The camera has four TA3 ("mini XLR") connectors, and can record up Technology: Real D Cinema to four channels of 24-bit 48 kHz digital audio. 3-D film Hollywood classic 'Titanic' Physical characteristics Deleted scenes 2 The Red One camera body weighs around ten pounds. Dimensions are 12.02" long x 6.34" tall x 5.2" wide. The camera is based around a Hollywood classic 'Titanic' Deleted scenes 1 modular design concept. It has many mounting points, and accessories like recording devices, viewfinders, etc. are mounted to Avril Lavigne’s ‘When You're the camera, rather than being integral parts of the body. Gone'- meets 'Titanic... “Titanic” Exclusive Screenplay Performance issues (Part Ten) Like many CMOS-based cameras, images captured by the Red One Making of 'Titanic' Behind The show rolling shutter artifacts. These occur because data is read from Scenes (part.6-6) the sensor line by line over a short period of time, rather than all at Making of 'Titanic' Behind The once, so each frame in an image sequence does not actually represent Scenes (part.5-6) a single instant in time. Rolling shutter artifacts can cause vertical objects to appear to lean as they move or as the camera pans past Making of 'Titanic' Behind The them, and can cause strobe effects like camera flashes or lighting Scenes (part.4-6) strikes to appear only on portions of frames, creating a "tearing" Making of 'Titanic' Behind The effect. Also, in some shots with heavily overexposed highlights (often Scenes (part.3-6) seen when the camera is pointed into the sun, for example), the Making of 'Titanic' Behind The brightest parts of highlights are rendered as purple or gray (one would Scenes (part.2-6) expect them to be white). This is apparently related to some sort of Making of 'Titanic' Behind The self-protection feature in the sensor. Red have indicated that they Scenes (part.1-6) are working on resolving this issue. Footage 'Titanic' Movie set making clip RedRelay.net has an extensive gallery of high-quality Red footage in (Exclusive) various formats available for download. Red itself also has some 'Titanic' Movie - Titanic Ship footage on its web site, although it is primarily older material shot on Sinking Clips2 prototype cameras. “Titanic” Exclusive Screenplay (Part Nine) Preorder “Titanic” Exclusive Screenplay Red ran a reservation for the Red One camera, requiring a $1000 (Part Eight) deposit, between April 24, 2006 and October 31, 2006. Around 1000 'Titanic' Movie - Titanic Ship cameras were reserved during that time. Reservations were reopened Sinking Clips1 from January 21, 2007 until January 24, 2007. The first 1080 reservation holders each received a machined titanium "R" with their “Titanic” Exclusive Screenplay future camera serial number engraved on it. Subsequently the camera (Part Seven) became available for general ordering, although as of March 2008, ► June (8) there is still a wait time of several months, as Red fills an order ► May (1) backlog for over 3000 units. ► April (1)

Starting early on, the company involved itself in online discussion ► 2007 (38) boards, primarily http://www.dvxuser.com/ and later http://www.reduser.net/ . This policy of taking reservations well before the camera was available, and of involving potential customers in the design and development process through online forum interactions, helped to build a strong online community for the camera well before it shipped, although it also generated controversy among those who were critical of enthusiasm for a product that was not yet available and that some even considered technically unfeasible.

Release On August 31, 2007, Red shipped the first 25 Red One cameras to pre-order customers. As of April 2008, Red is shipping up to serial number 1750 (though because of the way serial numbers are assigned, there is no way to know how many of those cameras have actually been shipped to customers), and over 4,000 cameras have been ordered.

Firmware updates Red began shipping cameras with feature-incomplete on-board software, with the intention of rolling out more features and bug fixes over time, via the camera's software updating mechanism. Since the initial release of the camera, new firmware releases have enabled sound, higher frame rates and better image quality, among other features. As with Red's policy of conducting so much of the camera's development out in the open, Red's policy of shipping the camera early and updating the software over time, a practice seen far more often in the computer industry than the film and video production world, has created some controversy. NAB 2007 At the National Association of Broadcasters 2007 show in Las Vegas, Nevada, three working Red One cameras were on display as well as all-day screenings of a recent 12-minute short entitled Crossing the Line directed by using two "alpha" versions of the Red camera nicknamed Boris and Natasha. The alpha versions had nothing but a record/stop button and shot at 4K/24 frame/s and a 180 degree shutter. All other features were unavailable. Initially expecting a standard camera test, when Jim Jannard, Jarred Land, and Deanan Dasilva from Red arrived in New Zealand, they were surprised to learn that Peter Jackson intended to shoot a ten minute short set in World War I featuring battles in trenches and in the air. The film was used to showcase the capabilities of the Red One camera in action rather than in controlled test environments. The film was shot in 2 days. Despite being feature-incomplete, Red assured booth visitors the camera would start shipping before the end of the year. At NAB 2007, Red announced that Redcode RAW data generated by the camera can be converted using propriety software called Red Cine into a range of formats, including DPX. Redcode RAW is also supported in Final Cut Pro 6. A new set of prime Red lenses was released which includes f2.8 15 mm, f1.9 25 mm, f1.9 35 mm, f1.9 50 mm and f1.9 85 mm lenses for $19,975 as well as a new 18 mm-50 mm (f2.8) zoom for $6,500. The previously announced 18-80 mm zoom has been slightly delayed. Also at NAB 2007, during the Final Cut Pro User Group Supermeet, the Red team appeared on stage. Although they were scheduled to show footage from the camera, they declined, citing copyright concerns. They also used the venue to announce that they would be developing a "Professional Pocket Cam" and their own 4k projector, but declined to give any more details.

Filmography Director has shot his two features recently screened at the Cannes Film Festival: Guerrilla and The Argentine entirely with the Red One camera. Soderbergh is very enthusiastic about the camera, saying that "this is the camera I've been waiting for my whole career: jaw-dropping imagery recorded onboard a camera light enough to hold with one hand. I don't know how Jim and the Red team did it—and they won't tell me—but I know this: Red is going to change everything." The upcoming motion picture Game is also to be shot on the Red One. The feature Sensored, starring Robert Picardo, currently in post- production, was shot using the Red One camera. '"The Last Dragon"', an official Australian-Chinese Co-production, will also be shot entirely on RED by director Mario Andreacchio in October 2008 in China. "Marmayogi" Tamil motion picture which is produced and directed by Kamal Hassan of South India will also be shot entirely on RED.

September 2006 theft On September 24, 2006, the Red offices in Lake Forest, California were broken into. No sensors or sensor information were stolen. Some of the stolen items, including a prototype camera shell, have since been recovered, and some items such as computers containing in-detail information on the Red One have not been recovered. Red has not revealed the circumstances of the recovery, due to the existence of an ongoing investigation. Red has offered a $100,000 reward for any information leading to the apprehension of those responsible.

Epic A 5K camera called "Epic" has been announced. It will have a S35 mm Mysterium X sensor and Red has announced that customers who bought the Red One and wish to upgrade may trade their existing cameras in for full credit towards the purchase of the Epic. The Epic is expected to sell for around $30,000.

Scarlet Red also announced a pocket professional camcorder to be called Red Scarlet set for release in 2009 with a price under $3,000.

Features 2/3 inch Mysterium X Sensor 3K resolution in Redcode RAW format with data rates up to 100 MB/s on dual compact flash frame rates of 1-120 frames per second. 180 frames/s for short periods 8x zoom lens full manual and automatic controls Wi-Fi wireless network capabilities auto focus and auto zoom

Sony’s CineAlta Digital Camera 's CineAlta 24P HD (high definition video) Cameras are a series of professional digital video cameras that offer many of the same features of a 35mm motion picture film camera.

Concept CineAlta is a brand name used by Sony to describe various products involved in content creation, production and exhibition process within digital cinema workflow. Now Sony's products branded by CineAlta include camera, camcorder, recorder, cinema server and projector. Format CineAlta cameras record onto HDCAM tapes, XDCAM Professional Discs or SxS flash memory cards. They have the ability to shoot at various frame rates including 24fps and have a resolution of up to 1920 by 1080 pixels.

History and use in motion pictures In 2000 George Lucas announced that Episode II of the Star Wars Prequel Trilogy would be the first major motion picture to be shot 100% digitally. Sony and 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 (also called the Panavision HD-900F after being "panavised"). For Star Wars Episode III: Revenge of the Sith the more advanced Sony HDC-F950 was used, with higher resolution and better color reproduction than its predecessor. The film was cropped to a 2.35:1 aspect ratio from its native 16:9 frame. As a result only 817 of the 1080 vertical pixels were actually used; but there is an anamorphic adaptor lens from Canon, which allows shooting in 2.35:1 without losing any pixels. Manuel Huerga's Salvador is the first movie shot with this adaptor. Russian Ark was recorded in uncompressed high definition video using a Sony HDW-F900. The information was recorded uncompressed onto a hard disk which could hold 100 minutes, thus allowing the entire film to be shot in a single 90 minute take. Four attempts were made to complete the shot; the first three had to be interrupted due to technical faults, but the fourth attempt was completed successfully. Extra material on the DVD release includes a documentary on the technology used.

Other notable movies that were shot with CineAlta cameras include: Sky Captain and the World of Tomorrow Sin City U2 3D Spy Kids 2: Island of Lost Dreams Cloverfield List of CineAlta Cameras F-23 HDW-F900R HDC-F950 HDC-1000W/1500L PDW-F355 PDW-F335 PMW-EX1

The Future of CineAlta In addition to F23, Sony has revealed some basic features of F35, a Sony version of Panavision's , which was equipped with a single S35 size CCD and PL lens mount. F35 is said to be available worldwide in the late fall of 2008 at a system price, not including lens, in the neighborhood of a quarter million dollars. Besides, Sony has also announced that Cinealta 4K, a 4K production suite including a 4K digital cinema camera and recorder, is being developed. The results are still a few years in coming.

Panavision’s Genesis Digital Camera The Genesis is Panavision's high-end digital , which uses a proprietary, full frame 35mm-width, 1.78:1 (16:9) aspect ratio, 12.4-megapixel RGB filtered CCD. It was first used by a feature crew to shoot 's Superman Returns and was shortly followed up thereafter by the World War I film Flyboys. However, the CGI-heavy nature of these two movies meant that ultimately the comedy Scary Movie 4 was the first theatrically released feature sourced primarily from the Genesis camera. Genesis has since been used by Dean Semler for shooting Click and Apocalypto.

Background Unlike the 2/3" 3-CCD RGB imaging system used in the CineAlta HD- 900F (used in Attack of the Clones), the Genesis uses a single 12.4 megapixel CCD chip with the same width as a Super 35mm film frame. The "Panavized" CineAltas didn't use Panavision's existing range of 35mm film lenses and have different depth-of-field characteristics. Most photographic lenses designed for film cameras cannot be adapted to work on 3-chip video cameras. In many cases, the prism block simply leaves no room for the rear element of the lens. In cases where the lens does fit, the resulting optical aberrations created by the prism (primarily spherical) would destroy image quality. Apart from this, the sensors on a "2/3 inch" video camera are closer in size to a 16mm film frame and so would produce a similar depth of field. Panavision originally tried to overcome this problem with optical adaptors that fitted between the cine lens and the video camera but these have all produced an unacceptable drop in image quality. Most productions using the Sony HDCAM cameras therefore used lenses of Zeiss, Angenieux, Canon and Fujinon.

Apart from this, there were a number of operational problems with both the lenses and cameras used for Attack of the Clones, and so for Revenge of the Sith, George Lucas severed his long-standing relationship with Panavision in 2003, obtaining newer-model Sony HDC-F950 cameras and lenses from Plus8Digital instead.

In an attempt to address these and other problems, Panavision followed this up in 2004 with the Genesis, a full bandwidth (4:4:4) camera with improved colorimetry and sensitometry-related specs and, probably most importantly, a Super 35 mm film-sized recording area, thus making it focally compatible with regular Cine Primo lenses and giving a true 35 mm depth of field.

Technical specification The Genesis uses a 12.4 megapixel CCD chip, arranged in a 5760x2160 horizontally RGB filtered array. The vertical resolution is cut in half to 1080 by pixel binning, so the final output pixel resolution is 1920x1080, about 2/3 the resolution of a 2k film scan. The chip has an HDTV-style 16:9 (1.78:1) aspect ratio, similar in size to Super35 3-Perf film. The CCD active area is .930 in. x .523 in. This is a significant breakthrough in that it allows just about any Panavision spherical 35mm cine lens to be used. However there are as yet unanswered questions about the resultant color quality, since single-chip NTSC and PAL color cameras using the exact same color- stripe sampling technique have always performed poorly compared to equivalent 3-chip models. The main imaging module of the Genesis is made by Sony, but the exact relationship between the two companies is unclear, since their joint partnership was dissolved in 2004 with Panavision's re-purchase of the 8% shareholding Sony bought in 2000. The Genesis can record in a custom Panalog , which is a log color space that it is also 4:4:4 unlike traditional HD. The tone- curve is different than the Cineon log format used for film post- production, but preserves highlight detail that would be lost with typical video gamma correction.

There have also been numerous complaints about the small black and white viewfinders available, which are virtually useless for critical focus. To address this, Panavision uses the Sony HDVF-C30W TFT color LCD viewfinder (960x540 pixels), which is compatible with both the CineAlta and the Genesis cameras. Digital cinema camera competitors to the Genesis the DALSA Origin and D-20 incorporate a reflex optical viewfinder to address this concern.

Filmography Feature shot with Panavision Genesis include: Apocalypto (2006) Asterix in the Olympic Games (2008) Balls of Fury (2007) Before the Devil Knows You're Dead (2007) The Comebacks (2007) The Condemned (2007) Click (2006) Deja Vu (2006) Fantastic Four: Rise of the Silver Surfer (2007) (limited portions) The Ferryman (2007) Flyboys (2006) Grindhouse (2007) (Planet Terror only) His Majestry Minor (2007) I Now Pronounce You Chuck and Larry (2007) The Lookout (2007) La Maison Bonheur (2006) Next (2007) The Other Boleyn Girl (2008) (2007) Slipstream (2007) Scray Movie IV (2006) Superbad (2007) Superman Returns (2006) A Tiger’s Tale Television series shot with the Panavision Genesis include Night Stalker, Conviction, What About Brian, Justice, 3 Labs., and "Cranford" (BBC TV Series). Some television pilots shot with the Genesis include Faceless,In Case Of Emergency, Brothers & Sisters, 52 Fights and Protégé.

Competitors Panavision has many competitors. Several competitors have very similar features and some are already in wide use by the film industry. Arriflex D-20 (35mm sensor size, 1080p output) Dalsa Origin (35mm sensor size, 4K output) GS Vitec noX (1.2", 2K output) RED ONE (35mm sensor size, 4K output) Silicon Imaging SI-2K (16mm, 2K) Thomson Viper Film Stream (2/3", 1080p output) Sony F-23 (Sony CineAlta) (2/3", 1080p output) Vision Research Phantom65 (65mm, 4K) Vision Research PhantomHD (35mm, 2K)

In development Stage Colorspace True35 (35mm, 2K) Sony F-35 (announced 2007, late 2008 release in the U.S.) (35mm sensor size, 1080p output) Drake camera (2/3", 720p)

Arriflex D-20 Digital Camera The Arriflex D-20 is a film-style digital motion picture camera made by Arri first introduced in November 2005. The camera's attributes are its optical viewfinder, modularity, and 35mm-width CMOS sensor.

Overview The D-20 uses a single CMOS sensor the width of a Super 35 film gate aperture. Effectively the D-20, when used with current 35 mm PL mount motion picture lenses, yields the same field of view and depth of field as that of Super 35 mm film motion picture cameras. The D-20 captures images in two main modes. In Data mode the sensor uses 2880x2160 active pixels generating RAW Bayer-data at 12 bit in a 4:3 aspect ratio. The RAW data then needs to be processed outboard to generate a full color image. A delivery aspect ratio for theatrical release, commonly 1.85:1, is achieved by cropping from the original image, similar to the cropping necessary when shooting 35 mm film. In Data mode the sensor size