Archive

Sony Announces the F65 CineAlta Digital Motion Picture Camera

20 Megapixel sensor, 8k bayer, 4k 16 bit RAW!

Suffice to say, these are specs to dribble over. They are so impressive in fact, I might have to reduce my German allegiance, walk away from the Alexa I love and explore the virtues of ultra HD recording.

Here’s what Sony has to say about their new camera – shipping from January 2012:

The F65 exceeds the resolution of any previous digital motion picture camera (as of August 2011), the result of a remarkable Sony Super 35 image sensor. Sony has been developing semiconductor image sensors since 1973 and manufacturing commercial quantities since 1985. Through all the decades, our design goal has always been to match the photographic quality of 35mm film. But now we’re setting our sights even higher: to surpass the limits of human vision. The F65 image sensor is the first of this new breed.

Key Features

  • Industry’s first 8K 20M-Pixel CMOS imager for digital motion picture production
  • From this imager, the F65 will derive brilliant HD, 2K, True 4K resolution, and higher
  • 16bit Linear RAW output
  • F65 adheres to 1.9:1 aspect ratio, DCI Projection standard (4096 x 2160 or 2048 x 1080) Choice of picture composition as needed: 1.85:1, 1.78:1, 1.66:1, 1.33:1, 2.35 spherical, 1.3x anamorphic, or 2x anamorphic cropped
  • Wide dynamic range, low S/N ratio, and high sensitivity
  • Optional SR-R4 on board SRMemory recorder
  • HD-SDI Monitoring outputs with viewing LUT’s
  • The camera can shoot 1 to 120 fps
  • 16 bit-RAW recording in SRMemory card (sold sep.)

F65 Imager
The F65 imager contains a total of 20 Mega-pixels. Half are sensitive to GREEN, and the other half are equally shared by RED and BLUE pixels. The sensor will provide pristine super-sampled HD and 2K images, and this is the first sensor in the industry that provides a dedicated green photosite for each pixel in the 4K (4096 x 2160) output image. The green channel is the most significant in creating the Y (or Luminance) signal. Having twice the amount of GREEN photosites compared with traditional 4K Bayer pattern sensors provides a significant improvement in image resolution.

SRMemory Card
The SRMemory card is an ultra high-speed, high-capacity, and high-reliability flash memory media for SRMASTER series cameras, ideal for demanding professional applications including 3D production, high frame rate digital cinematorgraphy, and high-resolution digital cinematography.

IIF ACES
With its significantly wider colour space, Dynamic Range and other processing, the F65 is the first image capture system designed from the ground up to support the Academy IIF-ACES, Image Interchange Framework, Academy Colour Encoding Specification.

Archive

One of many reasons NOT to shoot DSLR

Canon DSLR cameras might be all the rage for shooting video nowadays. But the reality is there are many trade offs when doing so.

They might offer a relatively cinematic look but they are far far far from even close to a professional production camera. It feels almost bizarre having to write a blog entry about this, and then showing a clip which compares this camera with a serious production tool like Arri’s new Alexa Digital Cinema camera. But I feel compelled to do so because of the ridiculous level of misinformation about the quality of DSLR image capture. I can prattle off a list as long as my arm as to why these cameras are a second-rate choice for anyone who seriously values the quality of their project and also wants maximum reliability in the data they capture.

The clip above is a profoundly technical example of how, when only the bare minimum amount of grading is applied, the image from a Canon DSLR begins to crumble in post. And let’s face it – in the digital age with all the fabulous post production tools available to us, we need to be able to confidently manipulate our images in order to bring out the very best in every project!

This simple, yet striking test was shot by Nick Paton, ACS.

Archive

Aerials with the Tyler Mini Gyro

Just off the chopper after having shot aerials using the Tyler Mini Gyro. I first came across this great little device touring the corridors of the last SMPTE exhibition and have been waiting for an opportunity to try it. The mini Gyro allows us to produce gyro stabilized images for sequences like aerials, car to car and the like. All at a very very cost effective rate, renting out at around $700 per day. The gyro sits on a pogo stick-like contraption which helps to smooth out any bigger bumps and the camera effectively just floats there.

In the context of aerials I shot, I was able to jump into the chopper place the gyro mounted camera between my legs, take off and start shooting out the side door. Very attractive when you need to get higher standard aerials with limited setup time, or for remote area work. (www.minigyromounts.com.au)