DOCSLIB.ORG

Ultra Slow Motion Camera

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ultra Slow Motion Camera Ultra Slow Motion Camera 3-Chip High Definition High Speed Camera System Quick Guide Mar 14, 2014 1 Table of Contents 1 Firmware Version 2 Quick Overview of Specifications 3 Setup and Connections 4 CCU Quick Guide 5 Format Selection and H / V Phase Adjustment 6 Capture Size 7 Monitor Information Caption 8 OCP Quick Guide 9 Slow Controller Quick Guide 10 Table of Recording Speed and Time 11 Camera Head Menu 12 Trouble Shooting 13 Precautions when using SHED-HDX Systems of Telecast Fiber Systems, Inc. 14 Camera Head / CCU / OCP / Slow Controller / Pin Assignment of Connectors 2 1 Firmware Version This document is based on the following firmware versions. Please refer to the versions before you read this document. ・ Version : Camera Head You can check the versions at MENU(1/2) > OTHER INFO > VERSION in 11. Camera Head Menu I/F PART UPDATE ・ FW ：01.08.19 ・ PIF ：01.00.07 ・ MEM ：02.04.00 ・ SNS ：02.07.00 PROC PART UPDATE ・ FW ：01.12.05 ・ PROC1 ：01.37.41 ・ PROC2 ：01.74.00 ・ Version : OCP Press INFO button on OCP You can check the versions at INFORMATION 5/5 on the touch screen. Please check if the versions and Check Sum of OCP-200 / CCU-970HM are as follows. OCP-200 (SDHC) Hi-Moiton2 Program No. Program No. STR-5088V14.02.00 STR-5634V01.12.05 Check Sum 8099 Check Sum CCU-970HM Program No. Program No. STR-5633V01.00.04 Check Sum Check Sum 7444 ・ Version : Slow Controller Version information is displayed on the LCD panel approx. 2secs after turning on the power and “initialize…” message. Please confirm the version is “MDC50T-NAC09 S0130-53”. 3 2 Quick Overview of Specifications 2.1. Camera Head 1 Image Sensor 3x CMOS (Global Shutter), 2/3-inch Optical System 2 Effective picture elements 1920x1080 3 Lens Mount B4 Mount 4 Sensitivity F8 at 2000lx (5600K, 89.9% reflectance, at 1080 mode) 5 Signal-to-noise ratio 61.9dB at LIVE, 58.5dB at REPLAY* *FRCR-ON, FRGA-4, FRTH-3 at 1080 mode 6 Operation temperature -15 to +40 degrees C 7 Storage temperature -30 to +60 degrees C 8 Memory 96GB (32GB x 3ch) 9 Frame rate 24 to 1000 fps, 1fps step 10 Recording time 38 Sec. (300fps) 11 Power Consumption 186W (with Lens and 2”VF) 12 Dimensions (W x H x D) 146 x 326 x 456 mm 13 Weight 7 Kg (without VF and lens) 2.2. CCU 1 FORMAT 1080i or 720p / 59.94 or 50Hz 2 Power supply AC 100 / 110 / 117 / 220 / 240 V ±10% 3 Power consumption approx. 290 - 510VA (Camera , 9"VF and CCU) 4 Operating temperature -0 to +45 degrees C 5 Storage temperature -30 to +60 degrees C 6 Dimensions (W x H x D) 483 x 133 x 454 mm 7 Weight 28 Kg 4 3 Setup and Connections 3.1 OB Style 5 3.2 Standalone Style 6 4 CCU Quick Guide 4.1 Rear Panel A AC IN AC100V/110V/117V/220V/240V ±10% B OPT Optical Fiber Connection C MIC OUT MIC Direct Output from the MIC Input of Camera D SLOW-CTRL Slow Controller Connection E TRUNK RS-422 Communication with Camera Head(Optional) F TALLY IN Tally Signal Input G INTERCOM Intercom Signal Connection H RET IN Return Signal Inputs via max. 4ch x HD-SDI I OCP OCP Cable Connection J GENLOCK Genlock Signal Connection for either HD Tri-sync or SD-BB Signal K SYNC OUT HDTV tri-level Signal Output for external devices L WFM WFM Connection, 1 for LIVE-OUT, 2 for REPLAY-OUT (*) M HD-SDI OUT There are 6 (six) BNC Connections as follows 1 HD-SDI 1 Live Output at All Times (*) 2 HD-SDI 1 Live Output at All Times (*) 3 HD-SDI 2 Replay Output (*) 4 HD-SDI 2 Replay Output (*) 5 PM1(Picture Monitor 1) Output for OCP Operator. Characters Signal is overlaid 6 PM2(Picture Monitor 2) Output for V/T Operator. Characters Signal is overlaid (*) When the system format is set in 1080I59/720P59/1080I50/720P50, the output image becomes this. When the system format is set in 1080P59/1080P50, all the output images are Live or replay. SYNC OUT TRUNK SLOW-CTRL RET IN OCP OPT TALLY IN GENLOCK AC IN MIC OUT INTERCOM HD-SDI WFM OUT 7 4.2 Front Panel A POWER 1 MAIN Power switch of CCU 2 HEAD Power switch of Camera Head B CABLE Indicator 1 OPTICAL LEVEL Status of Optical communication of camera cable ・ ○●●● 1.OK The cable is in good condition ・ ○●●○ 2.ATTENTION Cleaning recommended, but still usable ・ ○●○○ 3.WARNING Problem in communication. Must clean the cable ・ ●○○○ 4.NG Not usable. Change the cable. 2 CAMERA CABLE Status of camera cable ・ ●NORMAL Status is normal. ・ ●OPEN The cable may be disconnected or snapped ・ ●SHORT The cable may be short-circuited. C MIC 1 ON Turns ON Sound communication from MIC of CCU front to Camera Head 2 OFF Turns OFF Sound communication from MIC of CCU front to Camera Head 3 PTT Turns ON MIC of CCU front only while the switch is at PTT position. D INCOM 1 PRIV Deactivates Engineer line of INTER COM connector on the rear panel of the CCU. 2 COMM Activates Engineer line of INTER COM connector on the rear panel of the CCU E REMOTE / LOCAL Please set to LOCAL. REMOTE is inactive. F FAN ALARM The indicator lights on when CCU fan stops. 8 5 Format Selection and H / V Phase Adjustment 5.1 Format Selection The Hi-Motion II supports 1080I59, 720P59, 1080P59, 1080I50, 720P50 and 1080P50 system format. These are selectable as the image signal output. A How to change System Format of different frequency (e.g. 1080/59.94i <-> 1080/50i) Change both settings on the Camera Head and the CCU as follows. The Camera must be changed first and the CCU second. NOTE: GENLOCK must be disconnected before the setting. 1. Open the HEAD MENU on the VF output and change the FORMAT SELECT of CAMERA HEAD FORMAT on ENGINEER(1//2). 2. Turn off the power of the Camera 3. Show the color bar on PM1 output of the CCU by pressing BARS button on the OCP. 4. Press SETUP button on the OCP and press CHARACTER button on the touch screen. 5. Keep pressing MENU button on the OCP to open the Main Menu of the CCU 6. Select one in the SYSTEM FORMAT by turning the Select Knob or the Next Knob, and press ENTER button. 7. Change the Frame Rate that is the same as the Camera Format. 8. Turn off the power of the CCU and reboot the system to complete the settings. B How to change System Format of the same frequency (e.g. 1080/59.94i <-> 720/59.94p) Change settings on the CCU as follows, so that the Camera settings are changed automatically. NOTE: GENLOCK must be disconnected before the setting. 1. Show the color bar on PM1 output of the CCU by pressing BARS button on the OCP. 2. Press SETUP button on the OCP and press CHARACTER button on the touch screen. 3. Keep pressing MENU button on the OCP to open the Main Menu of the CCU 4. Select one in the SYSTEM FORMAT by turning the Select Knob or the Next Knob, and press ENTER button. 5. Change the Frame Rate. At that time, the camera reboots automatically. 6. Turn off the power of CCU and reboot the system to complete the settings. 9 5.2. Output video when set to 1080P When the system format is set to 1080P, unlike 1080I/720P setting, all output images of the camera head and CCU become the common image. - When select the LIVE image, all output images become the LIVE image. - When select the PLAY image, all output images become the PLAY image. This section explains the switching the output image when set to 1080P. A Switching between LIVE and PLAY images The Switching between LIVE and PLAY images is applied to all output images by performing the following operation. 1. Set the value of the selection item [PM1] of the OCP to either LIVE or PLAY. 2. Press the STANDBY button on the slow controller, and set LIVE or PLAY image. 3. Select VIDEO OUTPUT MODE on the head menu MENU (1/2) page, select VF OUT SEL, and then set LIVE or PLAY. 4. Select VIDEO OUTPUT MODE on the head menu MENU (1/2) page, select MON OUT SEL, and then set LIVE or PLAY. * When set the PLAY image, VF output becomes the same PLAY image. Like 1080I/720P setting, you cannot always output LIVE image. B Switching between recording and playing When operating recording and playing, the output image is sometimes different from the image set in 1080l/720P. ●Operation when outputting LIVE image 1. Showing a selected block which is on recording - Once the trigger is inputted, recording ends and the image switches from LIVE to PLAY showing still image of the block. 2. Showing a selected block which has been already recorded - Press STOP button and then switches from LIVE to PLAY showing still image of the block. - Press PLAY button and then switches from LIVE to PLAY showing replay image of the block. - Operate by JOG/SHTL/T-Bar and then switches from LIVE to PLAY showing replay image of the variable speed of the block. 3. Moving to the other block - When the other block is selected, LIVE/PLAY image switches according to the status of the selected block.
Load more

Recommended publications
  • Slow Motion Video
    Slow Motion Video MediaTek Technology White Paper May 2015 Slow Motion Video Introducing Slow Motion Video MediaTek’s Slow Motion Video technology allows the device user to easily capture, replay, and share a fast moving object any time. Slow Motion Video can record video at a high frame rate such as 120fps, 180fps or higher, playback in slower speed such as 1/2x,1/4x, and 1/16x. And, the user can easily share this slow motion video. High frame rate recording allow users to capture more details and wonderful moments for a fast moving object. Compared with normal camera recording, which only can capture 24fps – 30fps, high frame-rate recording can capture as much as 120,180fps, which allows for more fluent recording. Mediatek provides a whole solution for high frame-rate recording, so that business partners can easily combine their high frame rate camera sensors with Mediatek ICs to provide many new wonderful features. Now VGA@120fps for MT6752, HD@180fps for MT6595 and MT6795 are supported, and higher, such as HD@240fps, will be available on later MediaTek octa-core ICs. Slow Motion Video playback allows user to slow down the playback speed so as to enjoy a fully playback experience. Playing the high frame rate recorded video will bring much more fluent watching experience. But as we all know, the human video processing capability is limited, so humans cannot capture details of a fast moving object if replayed in 1x speed. By using the slow motion playback, the user can not only distinguish each amazing moment but also can enjoy interesting viewing experience.
    [Show full text]
  • I a Fast F / 1.4 Lens with a 10X Zoom. Bright Enough To
    A fast f/1.4 lens with a 10x zoom. Bright enough to I guarantee a sharp image and powerful enough to put you right on top of any subject. Aperture control activated by a highly sensitive CdS photo­ 2 cell automatic exposure system . The aperture is regulated by a shock-resistant servo motor for consistently accurate setting. Split image focusing in a bright, large viewfinder. The 3 viewfinder also displays the exposure reading, warning marks, variable angle shutter setting, film-end caution lamp, and film transport indicator lamp. A Four filming speeds, including 18 fps, 24 fps, single-frame, A. and instant slow motion at 54 fps. Slow motion and regular speed filming can be quickly alternated to follow rapid action with fascinating precision. Variable shutter angle for fade-in, fade-out, lap dissolve, and Ssuperimposition. The shutter angle can be continuously changed from OO .to 1500 for precise control of fading at any aperture setting. And the auto-fader mechanism can control up to 60 frames of lap dissolve for professional quality movies. Built-in macro shooting for close-ups without special ac­ 6cessories or sophisticated techniques. Subjects as close as 10mm (3/8") from the front of the lens can be brought into astound ingly sharp focus. Timing accessories to permit unmanned single-frame or 7continuous shooting. Unmanned nature photography, includ­ ing plants, animals or cloud formations, can give an exciting new look at the world. Electronic flash contact for synchronization of si'ngle-frame Sshooting . With the remote control mechanism and magnetic trigger system, electronic flash synchronization is easy.
    [Show full text]
  • Cinematography
    CINEMATOGRAPHY ESSENTIAL CONCEPTS • The filmmaker controls the cinematographic qualities of the shot – not only what is filmed but also how it is filmed • Cinematographic qualities involve three factors: 1. the photographic aspects of the shot 2. the framing of the shot 3. the duration of the shot In other words, cinematography is affected by choices in: 1. Photographic aspects of the shot 2. Framing 3. Duration of the shot 1. Photographic image • The study of the photographic image includes: A. Range of tonalities B. Speed of motion C. Perspective 1.A: Tonalities of the photographic image The range of tonalities include: I. Contrast – black & white; color It can be controlled with lighting, filters, film stock, laboratory processing, postproduction II. Exposure – how much light passes through the camera lens Image too dark, underexposed; or too bright, overexposed Exposure can be controlled with filters 1.A. Tonality - cont Tonality can be changed after filming: Tinting – dipping developed film in dye Dark areas remain black & gray; light areas pick up color Toning - dipping during developing of positive print Dark areas colored light area; white/faintly colored 1.A. Tonality - cont • Photochemically – based filmmaking can have the tonality fixed. Done by color timer or grader in the laboratory • Digital grading used today. A scanner converts film to digital files, creating a digital intermediate (DI). DI is adjusted with software and scanned back onto negative 1.B.: Speed of motion • Depends on the relation between the rate at which
    [Show full text]
  • Operations for All Camera Formats and Frame Rates As of Multicam 15.1 APPLICATION NOTE
    APPLICATION NOTE Operations for all camera formats and frame rates as of Multicam 15.1 APPLICATION NOTE Contents Introduction 3 Standard cameras � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 SDI connections � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 IP connections � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 High speed cameras 4 Super Motion wiring� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 5 Benefits 6 Continuous support � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 6 Same UI for every supported camera � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 6 Native Super Motion archive � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 6 High speed cameras supported 7 Super Motion � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 7 Hyper Motion � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 7 LEGAL INFO DISCLAIMER TECHNICAL SUPPORT No part of this documentation or publication The information in this document is believed For the latest news, upgrades, documentation, may be reproduced, transcribed, stored in a to be correct as of the date of publication� and products, please visit the EVS website at retrieval system, translated into any language, However, our policy
    [Show full text]
  • Photography Techniques Intermediate Skills
    Photography Techniques Intermediate Skills PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Wed, 21 Aug 2013 16:20:56 UTC Contents Articles Bokeh 1 Macro photography 5 Fill flash 12 Light painting 12 Panning (camera) 15 Star trail 17 Time-lapse photography 19 Panoramic photography 27 Cross processing 33 Tilted plane focus 34 Harris shutter 37 References Article Sources and Contributors 38 Image Sources, Licenses and Contributors 39 Article Licenses License 41 Bokeh 1 Bokeh In photography, bokeh (Originally /ˈboʊkɛ/,[1] /ˈboʊkeɪ/ BOH-kay — [] also sometimes heard as /ˈboʊkə/ BOH-kə, Japanese: [boke]) is the blur,[2][3] or the aesthetic quality of the blur,[][4][5] in out-of-focus areas of an image. Bokeh has been defined as "the way the lens renders out-of-focus points of light".[6] However, differences in lens aberrations and aperture shape cause some lens designs to blur the image in a way that is pleasing to the eye, while others produce blurring that is unpleasant or distracting—"good" and "bad" bokeh, respectively.[2] Bokeh occurs for parts of the scene that lie outside the Coarse bokeh on a photo shot with an 85 mm lens and 70 mm entrance pupil diameter, which depth of field. Photographers sometimes deliberately use a shallow corresponds to f/1.2 focus technique to create images with prominent out-of-focus regions. Bokeh is often most visible around small background highlights, such as specular reflections and light sources, which is why it is often associated with such areas.[2] However, bokeh is not limited to highlights; blur occurs in all out-of-focus regions of the image.
    [Show full text]
  • Examining How Students Make Sense of Slow-Motion Video
    Examining How Students Make Sense of Slow-Motion Video Min Yuan, Nam Ju Kim, Joel Drake, Scott Smith and Victor R. Lee Utah State University, Logan, Utah [email protected], {namju1001, jrichdrake}@gmail.com, {scott.smith1, victor.lee}@usu.edu Abstract: Slow-motion video is starting to appear in science classrooms as a source of data for students to examine. However, seeing important features in such video requires a particular kind of student engagement and supported acts of noticing. This poster reports on an exploratory study of what students noticed and talked about when viewing slow-motion video during a classroom design experiment focused on bodily activity as it relates to motion and animation. Introduction Slow-motion video (SMV) is an important way for scientists to analyze physical phenomena (e.g., Mazur, Krehbiel, & Shao, 1995). SMV is created when cameras capture motion at high framerates (>120 frames per second); when this video is played back at a standard rate (~30 fps), the motion is slowed. As prices drop for camera equipment necessary to generate high quality SMV, such video is being integrated into school science curricula (e.g., Heck & Uylings, 2010). With SMV capture capabilities being built into smartphones and other mobile devices (e.g., point-of-view cameras), we expect more classrooms will turn to SMV as a source of data for students to use during classroom inquiry experiences. These SMV capture devices can facilitate students’ noticing and observing of complex phenomena that are otherwise invisible, such as the frequency of oscillation in the intensity of a light bulb and the detailed body movements when throwing a baseball.
    [Show full text]
  • General Slow Motion
    GENERAL SLOW MOTION ABOUT THIS CHALLENGE In this challenge, students will explore the math OK Go used to create parts of the video “The One Moment.” They will learn about frame rates and how they connect to math concepts. Students will have the opportunity to review rates of change, multi- digit division, and fraction multiplication through practice equations. Then, they will be able to apply their knowledge of these concepts to create a slow-motion music video! CONTENT AREA Grade Levels: 5-6 Content Area: Mathematics: Pre-Algebra, Algebra Context for Learning: Before starting this challenge, students must be somewhat familiar with multiplication, fractions, multiplication of fractions, long division, graphing, and using equations to make calculations. TOPICS ACADEMIC LANGUAGE Units Unit Conversion Frame Rate Units Rates Long division Beat Slow Motion Multiplication of Graphing Rates Fractions Equations EDUCATOR GUIDE | PAGE 1 www.OKGoSandbox.org STANDARDS Common Core State Standards: CCSS.MATH.CONTENT.5.NBT.B.5: Fluently multiply multi-digit whole numbers using the standard algorithm. CCSS.MATH.CONTENT.5.NBT.B.6: Find whole-number quotients of whole numbers with up to four-digit dividends and two-digit divisors, using strategies based on place value, the properties of operations, and/or the relationship between multiplication and division. Illustrate and explain the calculation by using equations, rectangular arrays, and/or area models. CCSS.MATH.CONTENT.5.MD.A.1: Convert among different-sized standard measurement units within a given measurement system (e.g., convert 5 cm to 0.05 m), and use these conversions in solving multi-step, real world problems.
    [Show full text]
  • 10 Tips for Better Camp Videos
    Video Tools by Taco Hornbaker 10 TIPS FOR BETTER CAMP VIDEOS Video packs multisensory power. It moves emotions and captures attention even in a media-saturated world. Video is the original viral, and it continues to draw extremely high rates of digital engagement and shareability. It’s one of the most effective ways to show and tell the stories of camps and conference centers. Smartphones have delivered video to our pockets and made it possible for camp and conference constituents to carry, watch and share camp stories r e k a b n r o H from almost anywhere. What an amazing opportunity! But it’s good video o c a T y b , h c that cuts through the digital clutter. These tips and tools can help improve n a R y e l l a V r your videos and help you better engage broader audiences. Roll ’em. e ̈ v i R f o y s e t r u o C ® 22 www.ccca.org June/July 2016 PRACTICAL TIPS AND TOOLS TO HELP YOU VISUALLY TELL YOUR STORY June/July 2016 www.ccca.org 23 ® 1. Depth of Field 2. Slow Motion Depth of field is the distance between Using slow motion effectively creates the nearest and farthest object in focus. beautiful cinematic footage that brings This is a major shooting style often out the emotions of the film to the seen in films but unnoticed when viewer. To accomplish that correctly, used correctly. try filming your video at 60 frames per Shallow: A shallow depth of field second (FPS) or higher.
    [Show full text]
  • Cinematography in the Piano
    Cinematography in The Piano Amber Inman, Alex Emry, and Phil Harty The Argument • Through Campion’s use of cinematography, the viewer is able to closely follow the mental processes of Ada as she decides to throw her piano overboard and give up the old life associated with it for a new one. The viewer is also able to distinctly see Ada’s plan change to include throwing herself in with the piano, and then her will choosing life. The Clip [Click image or blue dot to play clip] The Argument • Through Campion’s use of cinematography, the viewer is able to closely follow the mental processes of Ada as she decides to throw her piano overboard and give up the old life associated with it for a new one. The viewer is also able to distinctly see her plan change to include throwing herself in with the piano, and then her will choosing life. Tilt Shot • Flora is framed between Ada and Baines – She, being the middle man in their conversations, is centered between them, and the selective focus brings our attention to this relationship. • Tilt down to close up of hands meeting – This tilt shows that although Flora interprets for them, there is a nonverbal relationship that exists outside of the need for her translation. • Cut to Ada signing – This mid-range shot allows the viewer to see Ada’s quick break from Baines’ hand to issue the order to throw the piano overboard. The speed with which Ada breaks away shows that this was a planned event. Tilt Shot [Click image or blue dot to play clip] Close-up of Oars • Motif – The oars and accompanying chants serve as a motif within this scene.
    [Show full text]
  • Slow Motion Camera Apk
    Slow motion camera apk Continue Slow Motion Editor slow motion video or slow motion camera to create amazing videos with fast movement, slow motion and reverse video edits! You want to make magical videos that have slow motion and fast motion, but your default camera doesn't allow this, so Speed Motion Video is the perfect choice for you. With Video Effect and Slowmo, you can create videos with the effects and speed you want with only one operation. Slow Motion video editor and video speed editor Slow Motion video sports activity scenes. Slow Motion Video Editor App allows you to edit videos from your gallery or grab from the app and publish on Android. Get this mighty but easy-to-use director for sharing on Facebook, Instagram, inShot, Go Pro, Wasap, Splice, YouTube, Twitter, Telegram, Vimeo and more. Video Filters and Video Effects- Slow Motion - Speed Up Video - Speed Of Motion : Make slow motion video using slow motion video editor! You can also make a magical quick motion video. Slow Motion Video FX allows you to choose the speed of the film output.- Slow Motion Video Maker - The Latest: Slow Motion for Me to convert the video into a slow-motion video. Now the trend is for slow motion videos as some objects fall like - a tablespoon, nuts, seeds and ... Make it slow.- Slow Motion Video Zoom Player: Record you spit water and slow down its slow motion video with slo-mo effect- Slow Motion Cam Recorder Fast Lapse Motion Video : Slow Motion Editor will also help make your speech fast, slow motion video, slow down video using a slow motion camera - you'll sound like a tiny mouse! - Video Speed Control : Set the effect of speed as -16x, -8x, -8x, -8x, -2x, -2x, -2x, No 2x, No 4x, No 8x and No.
    [Show full text]
  • Introducing Sony's Latest 4K Live Camera Systems with Share Play
    Introducing Sony’s Latest 4K Live Camera Systems with Share Play operation Share Play allows one-person operation to control editing and output of slow-motion highlights. This new operation utilizes file sharing over a single network (10G or faster), linking a Sony 4K live camera system with a video server. In this document, we will introduce the benefits of Share Play and the capabilities of Sony’s latest 4K live camera systems. The Emerging 4K/8K Generation TV broadcasting is moving steadily into the 4K era, en route towards a coming generation of even higher resolutions. South Korea has already launched commercial 4K cable and satellite broadcasting, while Japan is looking to start 4K/8K broadcast in the latter half of 2018, following a testing period that began this year (2016). Brazil, India, and numerous European countries have also begun tests for 4K programming and transmission. 4K Camera Development at Sony Sony released its first 4K camera—the F65, in 2012 that features an 8K CMOS sensor. Subsequently, the PMW-F55 with super 35mm CMOS sensor, was introduced in 2013. The company continues to develop 4K production workflows to meet the needs of the emerging 4K era. The transition from HD to 4K will take some time, since most of the current programs are still produced for HD broadcast. As such, Sony’s approach in offering systems that deliver the highest picture quality in both HD and 4K production is through the design of 4K equipment that maintains compatibility with, and enhances the capabilities of existing HD systems and assets.
    [Show full text]
  • The Essential Reference Guide for Filmmakers
    THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey.
    [Show full text]