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About Raspberry Pi HQ Camera Lenses Created by Dylan Herrada
All About Raspberry Pi HQ Camera Lenses Created by Dylan Herrada Last updated on 2020-10-19 07:56:39 PM EDT Overview In this guide, I'll explain the 3 main lens options for a Raspberry Pi HQ Camera. I do have a few years of experience as a video engineer and I also have a decent amount of experience using cameras with relatively small sensors (mainly mirrorless cinema cameras like the BMPCC) so I am very aware of a lot of the advantages and challenges associated. That being said, I am by no means an expert, so apologies in advance if I get anything wrong. Parts Discussed Raspberry Pi High Quality HQ Camera $50.00 IN STOCK Add To Cart © Adafruit Industries https://learn.adafruit.com/raspberry-pi-hq-camera-lenses Page 3 of 13 16mm 10MP Telephoto Lens for Raspberry Pi HQ Camera OUT OF STOCK Out Of Stock 6mm 3MP Wide Angle Lens for Raspberry Pi HQ Camera OUT OF STOCK Out Of Stock Raspberry Pi 3 - Model B+ - 1.4GHz Cortex-A53 with 1GB RAM $35.00 IN STOCK Add To Cart Raspberry Pi Zero WH (Zero W with Headers) $14.00 IN STOCK Add To Cart © Adafruit Industries https://learn.adafruit.com/raspberry-pi-hq-camera-lenses Page 4 of 13 © Adafruit Industries https://learn.adafruit.com/raspberry-pi-hq-camera-lenses Page 5 of 13 Crop Factor What is crop factor? According to Wikipedia (https://adafru.it/MF0): In digital photography, the crop factor, format factor, or focal length multiplier of an image sensor format is the ratio of the dimensions of a camera's imaging area compared to a reference format; most often, this term is applied to digital cameras, relative to 35 mm film format as a reference. -
CINERAMA: the First Really Big Show
CCINEN RRAMAM : The First Really Big Show DIVING HEAD FIRST INTO THE 1950s:: AN OVERVIEW by Nick Zegarac Above left: eager audience line ups like this one for the “Seven Wonders of the World” debut at the Cinerama Theater in New York were short lived by the end of the 1950s. All in all, only seven feature films were actually produced in 3-strip Cinerama, though scores more were advertised as being shot in the process. Above right: corrected three frame reproduction of the Cypress Water Skiers in ‘This is Cinerama’. Left: Fred Waller, Cinerama’s chief architect. Below: Lowell Thomas; “ladies and gentlemen, this is Cinerama!” Arguably, Cinerama was the most engaging widescreen presentation format put forth during the 1950s. From a visual standpoint it was the most enveloping. The cumbersome three camera set up and three projector system had been conceptualized, designed and patented by Fred Waller and his associates at Paramount as early as the 1930s. However, Hollywood was not quite ready, and certainly not eager, to “revolutionize” motion picture projection during the financially strapped depression and war years…and who could blame them? The standardized 1:33:1(almost square) aspect ratio had sufficed since the invention of 35mm celluloid film stock. Even more to the point, the studios saw little reason to invest heavily in yet another technology. The induction of sound recording in 1929 and mounting costs for producing films in the newly patented 3-strip Technicolor process had both proved expensive and crippling adjuncts to the fluidity that silent B&W nitrate filming had perfected. -
History of Widescreen Aspect Ratios
HISTORY OF WIDESCREEN ASPECT RATIOS ACADEMY FRAME In 1889 Thomas Edison developed an early type of projector called a Kinetograph, which used 35mm film with four perforations on each side. The frame area was an inch wide and three quarters of an inch high, producing a ratio of 1.37:1. 1932 the Academy of Motion Picture Arts and Sciences made the Academy Ratio the standard Ratio, and was used in cinemas until 1953 when Paramount Pictures released Shane, produced with a Ratio of 1.66:1 on 35mm film. TELEVISION FRAME The standard analogue television screen ratio today is 1.33:1. The Aspect Ratio is the relationship between the width and height. A Ratio of 1.33:1 or 4:3 means that for every 4 units wide it is 3 units high (4 / 3 = 1.33). In the 1950s, Hollywood's attempt to lure people away from their television sets and back into cinemas led to a battle of screen sizes. Fred CINERAMA Waller of Paramount's Special Effects Department developed a large screen system called Cinerama, which utilised three cameras to record a single image. Three electronically synchronised projectors were used to project an image on a huge screen curved at an angle of 165 degrees, producing an aspect ratio of 2.8:1. This Is Cinerama was the first Cinerama film released in 1952 and was a thrilling travelogue which featured a roller-coaster ride. See Film Formats. In 1956 Metro Goldwyn Mayer was planning a CAMERA 65 ULTRA PANAVISION massive remake of their 1926 silent classic Ben Hur. -
Panaflex Millennium Manual
THE PANAFLEX MILLENNIUM Operations Manual PANAVISION 6219 De Soto Avenue Woodland Hills, CA 818.316.1000 91367 text Nolan Murdock Gary Woods design and production Roger Jennings Richard J. Piedra Susan J. Stone photos Christina Peters © Copyright 2000, Panavision, Inc. Second edition: 09/00 THE PANAFLEX MILLENNIUM Operations Manual Table of Contents SECTION ONE _______________ GENERAL SPECIFICATIONS 1.1 .................................. Cable Specifications 1.2 .................................. Camera Specifications 1.3 .................................. Camera Illustrations 1.4 .................................. Side Camera Views 1.5 .................................. Front and Rear Camera Views 1.6 .................................. Ground Glass Options SECTION TWO ______________ PACKING AND SHIPPING 2.1 .................................. Packing and Transport 2.2 .................................. Accessory Cases SECTION THREE _____________ ASSEMBLY 3.1 .................................. Camera Assembly 3.2 .................................. Digital Display 3.3 .................................. Iris Rod Bracket 3.4 .................................. On-Board Monitor and Bracket 3.5 .................................. Panalens Lite with Video 3.6 .................................. Witness Camera Monitor and Bracket 3.7 .................................. Auxiliary Carrying Handle 3.8 .................................. Follow Focus 3.9 .................................. Eyepiece Option 3.10 ................................ Eyepiece Leveler -
Cinerama to Digital Cinema: from the Zenith to the Decline Written by Enric Mas ( ) January 11, 2016
Enric Mas nitsenblanc.cat Cinerama to digital cinema: from the zenith to the decline Written by Enric Mas ( http://nitsenblanc.cat ) January 11, 2016 I try to imagine what the audience felt when they first saw a movie in Cinerama... but I cannot. I wonder, did they feel the same as I did when I saw a projection in 70 mm IMAX for the first time? Some clues tell me the answer is no. Howard Rust, of the International Cinerama Society, gave me an initial clue: “I was talking to a chap the other day who’d just been to see IMAX. ‘Sensational’, he said. ‘But, you know… it still doesn’t give you the same pins and needles up and down the back of your spin that Cinerama does’ ”. 1 What is its secret? Why is every film seen in Cinerama a unique event that is remembered for decades? We have another clue in a man who had worked with D.W. Griffith in That Royle Girl (1925), who produced and directed technically innovative short films, where black performers appeared, a rarity at the time, including the first appearance of Billie Holiday (Symphony in Black: A Rhapsody of Negro Life , 1935). He created a new imaging system (Vitarama) for the World’s Fair in New York (1939), joining 11 projectors of 16 mm, which reached a vertical image of 75 degrees high and 130 degrees wide, 2,3 developments which led to the most advanced artillery simulator in the world, which was used to train future aircraft gunners in World War II. -
Panavision Millennium DXL2 Operation Guide
PANAVISION.COM PANAVISION MILLENNIUM DXL2 TABLE OF CONTENTS Table of Contents 2 Audio During Playback 113 Compliance Statements 4 Timecode, Genlock, Multi-Camera Setup 114 Safety Instructions 6 Timecode 114 Product Introduction 7 Genlock 116 R3D File Format and REDCODE 7 Master/Slave Operation 118 Post Production 7 Set Up Stereo/3D Configuration 122 Camera System Components 8 Camera Array 123 Camera Body 8 Compatible Timecode Devices 123 Media 13 Compatible Genlock Devices 124 DXL Hot Swap Module 14 Upgrade Camera Firmware 125 FIZ Module 21 Verify Current Camera Firmware 125 Lens Mount 21 Upgrade Camera Firmware 125 Additional Components 21 Camera System Maintenance 126 Basic Operations 22 Camera Body and Accessory Exterior Surfaces 126 Power Operations 22 Water Damage 126 Set Up the DXL Hot Swap Module 25 Troubleshoot Your Camera 127 Record 27 General Troubleshooting 127 Basic Menus and User Interface 28 Error Messages 131 GUI Menu Introduction 28 APPENDIX A: Technical Specifications 132 Home Page 29 Panavision Millennium DXL2 132 User Page 31 APPENDIX B: Mechanical Drawings 133 Monitor Page 33 Front View 133 Audio Page 34 Back View 134 Menus Only Accessible Via Home and User Side View (Right) 135 Pages 35 Side View (Left) 136 Detailed Menus 42 Top View 137 Project Settings 42 APPENDIX C: Input/Output Connectors 138 Monitoring 57 USB Power 141 Media Menu 65 DC-IN 141 Look Menu 67 6G/3G HD-SDI 142 User Presets Menu 73 3G HD-SDI 143 Network Menu 80 RETURN 143 Maintenance 86 14V Aux Power Out 144 Playback 104 AUX Power Out 145 Audio System 106 TIMECODE 146 Audio Overview 106 GENLOCK 146 Control 107 GIG-E 147 Monitor Mix 110 LCD/EVF Ports 147 Audio Output 112 14V Aux Power Out 147 Audio Meter (VU Meter) 112 24V Aux Power Out 148 COPYRIGHT © 2020 PAN AVISION INTERNATIONAL, L.P. -
Panaflex Users7 Manual Second Edition
Panaflex Users7 Manual Second Edition David W. Samuelson Focal Press Boston Oxford Johannesburg Melbourne New Delhi Singapore Contents FOREWORDTOTHE FIRST EDITION xiii INTRODUCTION xiv ACKNOWLEDGMENTS xviii THE FILM PRODUCERS' PANAFLEX PANAVISION CAMERAS FOR ALL TYPES OF FILM MAKING 2 The PANAFLEX system Other PANAVISION cameras PANAVISION LENSES FOR ALL FORMATS 4 PANAVISIONS wide choice of formats and lenses ANAMORPHIC or SPHERICAL? 6 Counting the costs THE PROS AND CONS OF ACADEMY, ANAMORPHIC & SUPER-35 CINEMATOGRAPHY 8 Academy cinematography Anamorphic cinematography Super-35 cinematography PANAVISIONS SPECIAL EQUIPMENT 10 Cost saving equipment Laboratory equipment PANAVISIONS NEW TECHNOLOGIES 12 Time code Research and development PANAVISION AND FUTURE TECHNOLOGIES 14 PANAVISION at the cutting edge of technology THE HIDDEN ECONOMIES OF 'GOING PANAVISION' 16 PANAVISION credits Van'eryALL-TIME FILM RENTAL CHAMPS OF THE US-CANADA MARKET 17 "BEST PICTURE" ACADEMY AWARDS 18 ACADEMY ACCOLADES 19 Producers who have won Oscars and Oscar Nominations for films photographed with PANAVISION cameras and/or lenses SELECTING PANAVISION EQUIPMENT 24 Conditions of business TYPICAL PANAVISION EQUIPMENT CHOICES 25 THE FILM DIRECTORS' PANAFLEX THE'GO PANAVISION'DECISION 28 PANAVISION cameras don't need blankets over them to keep the sound recordist quiet Customized equipment PANAVISION FORMATS TO SUIT THE SCRIPT 30 65mm Anamorphic large screen formats Academy, TV and Widescreen formats Super-35 PANAVISION 3-PERF Regular 16 and Super 16 Television PANAVISION -
Film Essay for "This Is Cinerama"
This Is Cinerama By Kyle Westphal “The pictures you are now going to see have no plot. They have no stars. This is not a stage play, nor is it a feature picture not a travelogue nor a symphonic concert or an opera—but it is a combination of all of them.” So intones Lowell Thomas before introduc- ing America to a ‘major event in the history of entertainment’ in the eponymous “This Is Cinerama.” Let’s be clear: this is a hyperbol- ic film, striving for the awe and majesty of a baseball game, a fireworks show, and the virgin birth all rolled into one, delivered with Cinerama gave audiences the feeling they were riding the roller coaster the insistent hectoring of a hypnotically ef- at Rockaway’s Playland. Courtesy Library of Congress Collection. fective multilevel marketing pitch. rama productions for a year or two. Retrofitting existing “This Is Cinerama” possesses more bluster than a politi- theaters with Cinerama equipment was an enormously cian on the stump, but the Cinerama system was a genu- expensive proposition—and the costs didn’t end with in- inely groundbreaking development in the history of motion stallation. With very high fixed labor costs (the Broadway picture exhibition. Developed by inventor Fred Waller from employed no less than seventeen union projectionists), an his earlier Vitarama, a multi-projector system used primari- unusually large portion of a Cinerama theater’s weekly ly for artillery training during World War II, Cinerama gross went back into the venue’s operating costs, leaving sought to scrap most of the uniform projection standards precious little for the producers. -
AG-AF100 28Mm Wide Lens
Contents 1. What change when you use the different imager size camera? 1. What happens? 2. Focal Length 2. Iris (F Stop) 3. Flange Back Adjustment 2. Why Bokeh occurs? 1. F Stop 2. Circle of confusion diameter limit 3. Airy Disc 4. Bokeh by Diffraction 5. 1/3” lens Response (Example) 6. What does In/Out of Focus mean? 7. Depth of Field 8. How to use Bokeh to shoot impressive pictures. 9. Note for AF100 shooting 3. Crop Factor 1. How to use Crop Factor 2. Foal Length and Depth of Field by Imager Size 3. What is the benefit of large sensor? 4. Appendix 1. Size of Imagers 2. Color Separation Filter 3. Sensitivity Comparison 4. ASA Sensitivity 5. Depth of Field Comparison by Imager Size 6. F Stop to get the same Depth of Field 7. Back Focus and Flange Back (Flange Focal Distance) 8. Distance Error by Flange Back Error 9. View Angle Formula 10. Conceptual Schema – Relationship between Iris and Resolution 11. What’s the difference between Video Camera Lens and Still Camera Lens 12. Depth of Field Formula 1.What changes when you use the different imager size camera? 1. Focal Length changes 58mm + + It becomes 35mm Full Frame Standard Lens (CANON, NIKON, LEICA etc.) AG-AF100 28mm Wide Lens 2. Iris (F Stop) changes *distance to object:2m Depth of Field changes *Iris:F4 2m 0m F4 F2 X X <35mm Still Camera> 0.26m 0.2m 0.4m 0.26m 0.2m F4 <4/3 inch> X 0.9m X F2 0.6m 0.4m 0.26m 0.2m Depth of Field 3. -
Astrophotography a Beginner’S Guide
Astrophotography A Beginner’s Guide By James Seaman Copyright © James Seaman 2018 Contents Astrophotography ................................................................................................................................... 5 Equipment ........................................................................................................................................... 6 DSLR Cameras ..................................................................................................................................... 7 Sensors ............................................................................................................................................ 7 Focal Length .................................................................................................................................... 8 Exposure .......................................................................................................................................... 9 Aperture ........................................................................................................................................ 10 ISO ................................................................................................................................................. 11 White Balance ............................................................................................................................... 12 File Formats .................................................................................................................................. -
Widescreen Weekend 2010 Brochure (PDF)
52 widescreen weekend widescreen weekend 53 2001: A SPACE ODYSSEY (70MM) REMASTERING A WIDESCREEN CLASSIC: Saturday 27 March, Pictureville Cinema WINDJAMMER GETS A MAJOR FACELIFT Dir. Stanley Kubrick GB/USA 1968 149 mins plus intermission (U) Saturday 27 March, Pictureville Cinema WIDESCREEN Keir Dullea, Gary Lockwood, William Sylvester, Leonard Rossiter, Ed Presented by David Strohmaier and Randy Gitsch Bishop and Douglas Rain as Hal The producer and director team behind Cinerama Adventure offer WEEKEND During the stone age, a mysterious black monolith of alien origination a fascinating behind-the-scenes look at how the Cinemiracle epic, influences the birth of intelligence amongst mankind. Thousands Now in its 17th year, the Widescreen Weekend Windjammer, was restored for High Definition. Several new and of years later scientists discover the monolith hidden on the moon continues to welcome all those fans of large format and innovative software restoration techniques were employed and the re- which subsequently lures them on a dangerous mission to Mars... widescreen films – CinemaScope, VistaVision, 70mm, mastering and preservation process has been documented in HD video. Regarded as one of the milestones in science-fiction filmmaking, Cinerama and IMAX – and presents an array of past A brief question and answer session will follow this event. Stanley Kubrick’s 2001: A Space Odyssey not only fascinated audiences classics from the vaults of the National Media Museum. This event is enerously sponsored by Cinerama, Inc., all around the world but also left many puzzled during its initial A weekend to wallow in the nostalgic best of cinema. release. More than four decades later it has lost none of its impact. -
Does Size Matter.Sanitized-20151026-GGCS
Does Size Matter? What’s New in Small Cameras and Should I Switch? Doug Kaye dougkaye.com [email protected] • Portfolio at DougKaye.com • Co-Host of All About the Gear • Cuba & Street Photography Workshops • Frequent guest on This Week in Photo • Active on Social Media • Portfolio at DougKaye.com • Co-Host of All About the Gear • Cuba & Street Photography Workshops • Frequent guest on This Week in Photo • Active on Social Media The Acronyms • DSLR: Digital Single-Lens Reflex • MILC: Mirrorless Interchangeable-Lens Camera • APS-C: ~1.5x Crop-Factor Sensor Size • MFT: Micro Four-Thirds • LCD: Liquid Crystal Display (rear) • OVF: Optical Viewfinder • EVF: Electronic Viewfinder MILCs • Mirrorless • Interchangeable Lens • Autofocus • Electronic Viewfinder Who’s Who • The Old Guard • Nikon & Canon • The Upstarts • Sony & Fujifilm (Full-Frame and APS-C) • Olympus & Panasonic/Lumix (MFT) • Leica? Samsung? iPhone? DSLR vs. Mirrorless MILC History MILC History • 2004: Epson RD-1 (1st Mirrorless) • 2006: Leica M8 (1st Digital Leica) • 2008: Panasonic G1 (1st MFT) • 2009: Leica M9 (1st Full Frame) • 2010: Sony NEX-5 (1st M-APS-C, Hybrid AF) • 2012: Fuji X-Pro1 (Hybrid VF, X-Trans) • 2013: Olympus OM-D E-M1 • 2014: Sony a7S (High ISO), a7R (36MP) • 2015: Sony a7 II, a7R II, a7S II (Full-Frame IBIS) MILC Advantages • Smaller & Lighter • Simpler & Less Expensive • EVF vs. OVF • Always in LiveView Mode (WYSIWYG) • Accurate Autofocus • Quieter & Less Vibration • Simpler Wide-Angle Lens Designs • Compatible w/Other Lens Mounts MILC Disadvantages • EVF vs. OVF? • Continuous Autofocus Speed/Accuracy • Lack of Accessories • Legacy Wide-Angle Lens Issues Sensor Size • Full 35mm Frame (FF): 1x • APS-C: 1.5x • MFT: 2x Pixel Size • Larger Pixels Capture More Light • Higher ISO, Lower Noise • Broader Dynamic Range • 16MP APS-C = 36MP Full Frame • 16MP MFT = 64MP Full Frame Field of View (FoV) • Smaller sensors just crop the image.