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Filmmaking Techniques Digital Cameras for Digital Filmmking

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Filmmaking Techniques Digital Cameras for Digital Filmmking Compartir 0 Más Siguiente blog» Crear un blog Acceder SATURDAY, JULY 19, 2008 Time Zone Digital cameras for Digital Filmmking Online Users Ad Ventura Digital cameras Digital cinematography 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 Film Making Workshop camera produced by Red Digital Cinema 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 Super 35 film frame masked to the 16:9 aspect ratio, allowing the same depth of field to be produced in conjunction with lenses designed to cover the 35 mm film format. 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 cinematographers 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 Digital cinematography" 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 California 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.
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