Web Analytics
   Date   

Re: 9x7 Large Format Camera Announced

Daniel Rozsnyó
 

To me it seems like made from an industrial camera head:

    https://www.ximea.com/en/products/cameras-filtered-by-resolution-and-sensors/high-resolution-color-camera-gpixel-gmax3265

    The 9x7 matches with their distinct shape, four LEDs on the side.. the fan grill, etc.


So Pawel, can you explain, how are you able achieve 14 and 16 stops of DR, with a sensor whose ADC is just 10 and 12 bits, and that INCLUDES noise?

Al the samples have detail ruined by crude NR and the DR seems about to be 12 stops as on an aged DSLR.

The rating to 14-15 stops is really way off, but it is today a necessity to say this about every cam (and even the FX9 does not stand it with proper IMATEST).



Regards,

Ing. Daniel Rozsnyo
camera developer
Prague, CZ




On 9/14/20 4:14 AM, Pawel Achtel ACS wrote:

Giant Screens Get Sharper

 

The first ACHTEL 9x7 cameras are available for purchase and production hire. Purchase prices start from AUD $200k.

 

Enquiries: 9x7@...

Website: achtel.com/9x7

 

Pawel Achtel ACS B.Eng.(Hons) M.Sc.

“Sharp to the Edge”

 

ACHTEL PTY LIMITED, ABN 52 134 895 417

Website: www.achtel.com

Mobile: 040 747 2747 (overseas: +61 4 0747 2747)

Email: Pawel.Achtel@...

Facebook: facebook.com/PawelAchtel

Twitter: twitter.com/PawelAchtel

 



Re: 9x7 Large Format Camera Announced

Ulf Soderqvist
 

Extremely impressive!

Ulf Soderqvist
Cinematographer
imdb.me/ulf
Malibu, CA

On Sun, Sep 13, 2020, 7:15 PM Pawel Achtel ACS <pawel.achtel@...> wrote:

Giant Screens Get Sharper

 

Press Release: 14th September 2020

 

 

With the launch this week of the new ACHTEL 9x7 camera, the world’s largest cinema screens are about to get sharper. Much, much sharper.

 

The ACHTEL 9x7, designed specifically for IMAX and Giant Screen production, has almost twice the resolution of industry-leading RED Monstro cameras and over twenty-six times their maximum data rate, or bandwidth. But it’s not just in terms of resolution that this extraordinary, new camera leads the way.

 

Shooting natively in the 4:3 aspect ratio of the giant screen industry, unlike the cameras of most other potential competitors, it will no longer be necessary to compromise image quality, and significantly increase post-production costs, with ‘shot extensions’ or by stitching together multiple shots in order to create full-sized images of the necessary proportions. And, by keeping every pixel at maximum, RAW quality all the way from its state-of-the-art BSI sensor to the camera recorder, the quality of the final images are unmatched by any other camera on the market today.

 

This latest, Back-Side Illuminated sensor design features true Global Shutter readout, Wide Colour Gamut, high colour accuracy, low noise, high light sensitivity and high frame-rates - all features essential for today’s best, big-screen movies. And because, uniquely, it’s able to record uncompressed, RAW images at an impressive 10 GB/s (about twice the maximum data rate of today's Thunderbolt 3), the ACHTEL 9x7 is able to preserve the most minute of details in shadows and mid-tones as well as highlights. The absence of compression, a compromise we’ve all come to expect and live with since the advent of digital cinematography, means that no details are lost, and gradations of colour and luminance are as smooth as technically possible.

 

Australian cinematographer and camera inventor, Pawel Achtel ACS, is no novice when it comes to inventing and producing high-end camera technology. His company’s DeepX and 3Deep camera systems for underwater cinematography featured revolutionary designs, using carefully tested and matched Nikonos underwater lenses mounted on RED cameras. And, the company's patented 3D beam-splitter was recently used extensively on James Cameron’s latest Avatar sequels, in New Zealand, prompting the legendary Hollywood director to write that the results were the best underwater 3D images he’d ever seen. By far.

 

“Finding lenses sharp enough for the ACHTEL 9x7 is one of our biggest problems at the moment,”

 

Pawel Achtel said from his Sydney workshop this week.

 

“We’re constantly testing all the best lenses on the market today and are finding that only a few, select lenses maintain the maximum quality attainable with this camera.”

 

The camera head - which provides the option of all popular lens mounts - is remarkably small even by today’s standards, measuring just 80 x 80 x 70 mm and, because it can be placed up to 20 metres away from the rest of the camera (connected only via fibre optic cable), the ACHTEL 9x7 - capable of shooting at up to 70 frames/second - can go where few giant screen cameras have gone before.

 

The first ACHTEL 9x7 cameras are available for purchase and production hire. Purchase prices start from AUD $200k.

 

Enquiries: 9x7@...

Website: achtel.com/9x7

 

Pawel Achtel ACS B.Eng.(Hons) M.Sc.

“Sharp to the Edge”

 

ACHTEL PTY LIMITED, ABN 52 134 895 417

Website: www.achtel.com

Mobile: 040 747 2747 (overseas: +61 4 0747 2747)

Email: Pawel.Achtel@...

Facebook: facebook.com/PawelAchtel

Twitter: twitter.com/PawelAchtel

 

 

 

 


9x7 Large Format Camera Announced

Pawel Achtel, ACS
 

Giant Screens Get Sharper

 

Press Release: 14th September 2020

 

_A7R0001

 

With the launch this week of the new ACHTEL 9x7 camera, the world’s largest cinema screens are about to get sharper. Much, much sharper.

 

The ACHTEL 9x7, designed specifically for IMAX and Giant Screen production, has almost twice the resolution of industry-leading RED Monstro cameras and over twenty-six times their maximum data rate, or bandwidth. But it’s not just in terms of resolution that this extraordinary, new camera leads the way.

 

Shooting natively in the 4:3 aspect ratio of the giant screen industry, unlike the cameras of most other potential competitors, it will no longer be necessary to compromise image quality, and significantly increase post-production costs, with ‘shot extensions’ or by stitching together multiple shots in order to create full-sized images of the necessary proportions. And, by keeping every pixel at maximum, RAW quality all the way from its state-of-the-art BSI sensor to the camera recorder, the quality of the final images are unmatched by any other camera on the market today.

 

This latest, Back-Side Illuminated sensor design features true Global Shutter readout, Wide Colour Gamut, high colour accuracy, low noise, high light sensitivity and high frame-rates - all features essential for today’s best, big-screen movies. And because, uniquely, it’s able to record uncompressed, RAW images at an impressive 10 GB/s (about twice the maximum data rate of today's Thunderbolt 3), the ACHTEL 9x7 is able to preserve the most minute of details in shadows and mid-tones as well as highlights. The absence of compression, a compromise we’ve all come to expect and live with since the advent of digital cinematography, means that no details are lost, and gradations of colour and luminance are as smooth as technically possible.

 

Australian cinematographer and camera inventor, Pawel Achtel ACS, is no novice when it comes to inventing and producing high-end camera technology. His company’s DeepX and 3Deep camera systems for underwater cinematography featured revolutionary designs, using carefully tested and matched Nikonos underwater lenses mounted on RED cameras. And, the company's patented 3D beam-splitter was recently used extensively on James Cameron’s latest Avatar sequels, in New Zealand, prompting the legendary Hollywood director to write that the results were the best underwater 3D images he’d ever seen. By far.

 

“Finding lenses sharp enough for the ACHTEL 9x7 is one of our biggest problems at the moment,”

 

Pawel Achtel said from his Sydney workshop this week.

 

“We’re constantly testing all the best lenses on the market today and are finding that only a few, select lenses maintain the maximum quality attainable with this camera.”

 

The camera head - which provides the option of all popular lens mounts - is remarkably small even by today’s standards, measuring just 80 x 80 x 70 mm and, because it can be placed up to 20 metres away from the rest of the camera (connected only via fibre optic cable), the ACHTEL 9x7 - capable of shooting at up to 70 frames/second - can go where few giant screen cameras have gone before.

 

The first ACHTEL 9x7 cameras are available for purchase and production hire. Purchase prices start from AUD $200k.

 

Enquiries: 9x7@...

Website: achtel.com/9x7

 

Pawel Achtel ACS B.Eng.(Hons) M.Sc.

“Sharp to the Edge”

 

ACHTEL PTY LIMITED, ABN 52 134 895 417

Website: www.achtel.com

Mobile: 040 747 2747 (overseas: +61 4 0747 2747)

Email: Pawel.Achtel@...

Facebook: facebook.com/PawelAchtel

Twitter: twitter.com/PawelAchtel

 

 

 

 


Re: Mathers takes the plunge and orders an URSA Mini Pro 12K

Brian Heller
 

It was the highlight of CML.  We looked forward to each installment.

Brian Heller
IA 600 DP




On Aug 1, 2020, at 1:14 AM, Bob Kertesz <bob@...> wrote:

As some of you may remember, I was an early adopter and quite active
in the rollout of the RED One
If I remember correctly, the article you wrote was titled "How I spent
$90,000 on a $16,500 camera."

It was one of the very few honest evaluations of that beast and what it
actually cost to begin shooting with it.

-Bob

Bob Kertesz
BlueScreen LLC
Hollywood, California

Mostly Retired Engineer, Video Controller, and Live Compositor
Extraordinaire.

High quality images for almost five decades - whether you've wanted them
or not.©

* * * * * * * * * *


Re: Mathers takes the plunge and orders an URSA Mini Pro 12K

Bob Kertesz
 

As some of you may remember, I was an early adopter and quite active
in the rollout of the RED One
If I remember correctly, the article you wrote was titled "How I spent
$90,000 on a $16,500 camera."

It was one of the very few honest evaluations of that beast and what it
actually cost to begin shooting with it.

-Bob

Bob Kertesz
BlueScreen LLC
Hollywood, California

Mostly Retired Engineer, Video Controller, and Live Compositor
Extraordinaire.

High quality images for almost five decades - whether you've wanted them
or not.©

* * * * * * * * * *


Mathers takes the plunge and orders an URSA Mini Pro 12K

James Mathers
 

I've been following the CML discussions, sample footage, and posts, mostly by John Brawley and have decided to take the plunge and buy an URSA Mini Pro 12K.  I think it really checks off a lot of boxes required for the- next generation Digital Cinema camera. 

    It is hard to spend money when there is so much uncertainty in the world, and I honestly don't have any imminent projects to shoot with it right now, but I guess nobody really does.  However, I have a couple of films looking very promising once things get going again that I think this camera would be well suited for.  Since I have a significant investment in S35 format glass, I like that this camera fits into my current lens and camera support infrastructure.

    As some of you may remember, I was an early adopter and quite active in the rollout of the RED One, and I plan to similarly share my experience and test footage from this new camera...the good, the bad, and if it happens to be...the ugly. 

    I actually ordered the camera the first day I became aware of it, so I am expecting to receive shipment in the first batch by mid-August.  In the meantime I can only cross my fingers and hope the camera is everything I expect it to be.

James Mathers
Cinematographer and Founder of DCS
Studio City, CA


Wednesday discussion

Geoff Boyle
 

This week we’ll be talking about a new very large format system with 2 maybe 3 cinematographers who have been testing it and representatives of the companies involved.

Of course by now you know it’s an update for the Fuji GFX100 combined with an Atomos Ninja update.

For those days where Full Frame just isn’t big enough but a camera the size of an Alexa65 is just too much 😊

 https://zoom.us/j/94426303343?pwd=WVhPbDJENGNHYjdrai9tUzZrcG00Zz09

For your calendar:-

 https://zoom.us/meeting/tJApde-rrjgpHtckAZ2oiER9hSj5MbKG_yt3/ics?icsToken=98tyKuCsqjksGdSWsx2ERowIBojoM-nziHZegrdelz7fUS9aRzGvPtFIZ599O__v


Los Angeles 9 am, New York Noon, London 5 pm, Amsterdam 6 pm, Mumbai 9:30 pm, 11 pm Bangkok

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

 

 


Re: LUT for low dynamic range

Geoff Boyle
 

Contrast 1.6 pivot 0.5 or something close.

 

This brings the DR down to about 5 stops.

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

 

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of Video Assist Hungary
Sent: 29 June 2020 08:05
To: cml-raw-log-hdr@...
Subject: [cml-raw-log-hdr] LUT for low dynamic range

 

Hi all

Allow me to check my logic with you.

I was asked to do a LUT to simulate a camera with a dynamic range of 5 stops on an Alexa. That would mean to lose about 9 stops - it was not specified where.

I suppose i could grab levels controls and make a much steeper gamma curve. But the same result would be achieved by raising the highlights a lot, and maybe adjusting mid tones a bit, right? That would result in clipped whites, so a camera that has less stops ‘on the top’? Or similarly crushing the blacks?

Thanks
Balazs Rozgonyi
Ceo video Assist hungary


LUT for low dynamic range

Video Assist Hungary
 

Hi all

Allow me to check my logic with you.

I was asked to do a LUT to simulate a camera with a dynamic range of 5 stops on an Alexa. That would mean to lose about 9 stops - it was not specified where.

I suppose i could grab levels controls and make a much steeper gamma curve. But the same result would be achieved by raising the highlights a lot, and maybe adjusting mid tones a bit, right? That would result in clipped whites, so a camera that has less stops ‘on the top’? Or similarly crushing the blacks?

Thanks
Balazs Rozgonyi
Ceo video Assist hungary


Re: ProRes "RAW"?

Matt Frazer
 

Hello Bruce,

Let mew see what I can provide for answers.

Monitoring latency - how many frames of delay between real life and what we see on the Atomos monitor (and what gets piped out downstream to SDI from that)?
From my very unscientific test, latency is around 2 frames or less in ProRes RAW, I measure about 4 Frames for ProRes. I think that the people who feel the S1H has high latency is due to the stabilization system being on during the testing. Remember that the Sensor is floating in the S1H so when you pan the camera, the sensor wants to stay in its original place in space. when the sensor can no longer move against your hand movement, it will snap back to the middle and this looks like latency, it is not. With that said I do feel that the RAW has slightly less latency than normal ProRes.  As of right now, we cannot output a signal from the Ninja V when RAW is input. Sorry.

Does using raw make this faster (because less processing is being done on the camera) or slower (because the Atomos now needs to process), or the same?

As stated above RAW appears to have less latency.
Metadata - it is mentioned that metadata is passed through pre-frame, but precisely what metadata is included? Is there a way to also stream this data out either from the Atomos or the camera itself? Doing combined live action / virtual set work, it would be useful to say use different Panasonic or Sigma L-series zooms and have it pipe out what lens we're using and what focal length we're at so I can send that camera data along with picture to Unreal Engine to make the virtual set match up.
Probably easier to tell you what isn't included in the Metadata but yes you will know what Lens, focal length, True F-stop you used at the time of production. It is important to note that currently FCPX shows a limited amount of this data but services like https://www.metadata2go.com gives a rather complete list of metadata for the file (more than MediaInfo) and this service appears to be free of charge. I wish we could output this in realtime to an external device but it is not possible at this time.
Bonus question - any plan to let us control those beautiful L-series Panasonic lenses with a real remote follow focus via USB? Seems like a waste having motors built into your lenses (with bidirectional communication and power) but no way to pull focus using a proper knob!
Or are those motors just not up to snuff for doing proper cinematic focus pulls? If you can do it, I think it'd be a great low-cost, lightweight, professional setup and could help Panasonic sell a more lenses and cameras and also quieten everyone complaining you can't use the S1V on a gimbal because the autofocus isn't great - point them to the remote follow focus to say you actually are a step ahead! My 2c.
From your lips to follow focus manufacturers ears! We have a USB API available for follow focus manufacturers but thus far only Tilta and DJI have bit and not in a remote follow focus system but a follow focus wheel attached to either their cage or gimbal. Yes the motors are capable of some exciting things with their ability to be programmed for linear throws (most mirrorless cameras are focus by wire and pulls are a guessing game) and you can even set the degrees of rotation from close to infinity so if you want a 360 agree throw, NP. If you want 90 Degrees, NP. Here is a video that shows how-to setup the lenses for linear throw.

https://www.youtube.com/watch?v=dcf6M21nYl8&list=PLWqMzMiAOe5hKg7k0y5_yEhEUghdcqROg&index=5 

I hope this is helpful,


Matt Frazer
Business Development Manager - LUMIX
Panasonic Consumer Electronics Company of North America


Re: ProRes "RAW"?

Feli di Giorgio
 

I don’t know if this question has already been asked in this thread, but I am curious if there are any plans to bring Prores RAW to older Alexa models like the EV/Classic and Plus via an external recorder? 

The main candidates would be Convergent Design and Atomos of course. 

I’m not an engineer, but I doubt that Arri could add that feature to the EV/Plus cameras for internal recording to the SxS cards, due to the lack of processing power. The XT could probably handle it due to it’s beefed up processing board. But I could be wrong.

I have an older Alexa EV paired with an Odyssey 7Q+ and Prores RAW would be a big deal.
I would even buy a new recorder if necessary to get this feature.



Thanks


Feli di Giorgio


VFX / Los Angeles


_______________________________________________
Feli di Giorgio - feli2@... - www.felidigiorgio.com



Re: ProRes "RAW"?

Bruce Allen
 

Thank you to Matt and Dan (as well as Geoff for this amazing group). It's fantastic to have folks from the actual manufacturers posting here. I have a few questions not covered by the info I could find on FDtimes, etc.

Monitoring latency - how many frames of delay between real life and what we see on the Atomos monitor (and what gets piped out downstream to SDI from that)?
Does using raw make this faster (because less processing is being done on the camera) or slower (because the Atomos now needs to process), or the same?

Anamorphic format size - I'm confused why it's 21mm x 16mm? To enable 50fps mode? Obviously closer to academy (25mm x 18mm) would be awesome too. Alexa mini in 4:3 mode is close to that and what I use the most. My next request would be for a full frame version with 1.8x squeeze option for those Cookes but maybe that's a bit niche. Unless Panasonic wants to make us some full-frame anamorphic lenses too :) I remember the LA7200 anamorphic adapter from the DVX era - you guys can do it.

Metadata - it is mentioned that metadata is passed through pre-frame, but precisely what metadata is included? Is there a way to also stream this data out either from the Atomos or the camera itself? Doing combined live action / virtual set work, it would be useful to say use different Panasonic or Sigma L-series zooms and have it pipe out what lens we're using and what focal length we're at so I can send that camera data along with picture to Unreal Engine to make the virtual set match up.

Bonus question - any plan to let us control those beautiful L-series Panasonic lenses with a real remote follow focus via USB? Seems like a waste having motors built into your lenses (with bidirectional communication and power) but no way to pull focus using a proper knob!
Or are those motors just not up to snuff for doing proper cinematic focus pulls? If you can do it, I think it'd be a great low-cost, lightweight, professional setup and could help Panasonic sell a more lenses and cameras and also quieten everyone complaining you can't use the S1V on a gimbal because the autofocus isn't great - point them to the remote follow focus to say you actually are a step ahead! My 2c.

Bruce Allen
Technical Director - Trailer Park Group
Los Angeles, CA


Re: ProRes "RAW"?

Matt Frazer
 

Hello Collin,

1. is the 12bit Raw log encoded or linear? 
2. Can the S1H record internally while also outputting Raw?
The content is Linear encoded but within FCP we have worked with Apple and Atomos to design a RAW to LOG conversion so you can use a LOG workflow. Linear or LOG, the choice is yours.

Unfortunately, we cannot record anything internal while the camera outputs RAW data over HDMI. Sorry.

Matt Frazer
Business Development Manager - LUMIX
Panasonic Consumer Electronics Company of North America


Re: ProRes "RAW"?

James Mathers
 

Now that the S1H embargo is lifted, we have published Matt Frazer's DCS Technology Spotlight interview:  https://vimeo.com/410009980

There is also an interview with Geoff here:  https://vimeo.com/407775400

Many others are being posted daily, and you can see them all here:  http://www.digitalcinemasociety.org/3524-2

The idea to continue to inform the community about new products and services much as we would have done with our interviews from the show floor at NAB. In this case, however, we are conducting these interviews from our homes.  You can visit the DCS homepage throughout the week, (which coincides when with NAB would have taken place,) as we add to the collection.

Thanks,
James Mathers
Cinematographer and Founder of DCS
Studio City, CA USA


Re: ProRes "RAW"?

Colin Elves
 

Hi Matt,

A couple of quick questions: 

1. is the 12bit Raw log encoded or linear? 
2. Can the S1H record internally while also outputting Raw?

Thanks!

Colin Elves
DP, Berlin

On 21 Apr 2020, at 08:49, Matt Frazer <panamatt@...> wrote:

Hello Everyone,

Now that Panasonic has made public the full specifications of the S1H RAW implementation and so to has Atomos, I can now freely answer any questions you might have for Panasonic about the FW2.0 update. I have had the FW for several weeks now and am well versed in the use of the S1H and Ninja V.

In addition, I want to direct you to several articles in Film and Digital Times that covers the S1H, Ninja V and ProRes RAW on pages 44-57 9 https://www.fdtimes.com/pdfs/free/101FDTimes-2.04-April2020-150.pdf ). I think you'll find them informative and they fill in many of the blanks you might have for how this is done and what is included.

And finally, Panasonic USA will be hosting an "Ask Me Anything" for the S1H FW 2.0 on Tuesday, April 21st at 4:30pm EST. This will be a Facebook Live event and can be accessed here: https://www.facebook.com/events/166216197960807/ 

I look forward to helping in anyway I can.

Cheers,


Re: ProRes "RAW"?

Matt Frazer
 

Hello Everyone,

Now that Panasonic has made public the full specifications of the S1H RAW implementation and so to has Atomos, I can now freely answer any questions you might have for Panasonic about the FW2.0 update. I have had the FW for several weeks now and am well versed in the use of the S1H and Ninja V.

In addition, I want to direct you to several articles in Film and Digital Times that covers the S1H, Ninja V and ProRes RAW on pages 44-57 9 https://www.fdtimes.com/pdfs/free/101FDTimes-2.04-April2020-150.pdf ). I think you'll find them informative and they fill in many of the blanks you might have for how this is done and what is included.

And finally, Panasonic USA will be hosting an "Ask Me Anything" for the S1H FW 2.0 on Tuesday, April 21st at 4:30pm EST. This will be a Facebook Live event and can be accessed here: https://www.facebook.com/events/166216197960807/ 

I look forward to helping in anyway I can.

Cheers,

Matt

I've let it through this time but next time it's not appropriately signed it'll vanish - Geoff


Re: Canon C300mk3 and R5 announcement.

Colin Elves
 

Although looks like there might be some funny noise in the reds when shooting slowmo. Noisy reds Seemed to be a thing on the C200 as I recall. 



On 20 Apr 2020, at 21:15, Colin Elves <colin@...> wrote:

I must admit, I’m intrigued by the dual gain architecture available on the C300mk3 - a stop and a half extra DR on the C500mk2 would put it in line with the Alexa, no? According to this ‘hands-on’ review the extra Dr is in the shadows - so highlight range is unchanged (I’m guessing so can keep the same Clog2 gamma curve, no need to adjust: https://www.newsshooter.com/2020/04/21/canon-c300-mark-iii-hands-on-footage/

8K Raw up to 30fps and 4K Raw up to 120fps on the R5 Mirroless camera is also interesting. 

It seems Canon has decided to go for Sony’s knees…

Colin Elves
DP, Berlin.
_._,_._,_


Canon C300mk3 and R5 announcement.

Colin Elves
 

I must admit, I’m intrigued by the dual gain architecture available on the C300mk3 - a stop and a half extra DR on the C500mk2 would put it in line with the Alexa, no? According to this ‘hands-on’ review the extra Dr is in the shadows - so highlight range is unchanged (I’m guessing so can keep the same Clog2 gamma curve, no need to adjust: https://www.newsshooter.com/2020/04/21/canon-c300-mark-iii-hands-on-footage/

8K Raw up to 30fps and 4K Raw up to 120fps on the R5 Mirroless camera is also interesting. 

It seems Canon has decided to go for Sony’s knees…

Colin Elves
DP, Berlin.


Re: ProRes "RAW"?

Matt Frazer
 

Hello Domenic,

At this time the only product that can accept RAW over HDMI from Atomos is the Ninja V. I have no idea if they are planning to add this to any other legacy recorders or if they have the necessary chipset to accept the bandwidth needed to pass RAW. anything additional I would add is me guessing so I will keep that speculation to myself.

BTW, Atomos is a pretty terrific partner to work with from my perspective. They really do care about the people who use their products and obsess over delivering a great customer experience. I have worked with the folks at Atomos for about 8 years or so and they are a fun group of people. I think if they can make RAW over HDMI work on legacy recorders, they will make it happen but it might just be an issue of the era of the HDMI port that limits this.

Cheers,
Matt


How often do you see dead pixels?

Art Adams
 

Not often, but the latest repair ( not sensor related) at Arri for one of our Alexa Mini’s showed one dead pixel, which apparently they are able to hide.

 

This is standard procedure in most cameras. Some automate the process internally and ask you to do it quite often. In our case, you’d capture a raw file and use ARRI Raw Converter to create a mask that hides it. The process isn’t completely automatic and requires a little more work on your part, but we feel it’s more accurate. You shouldn’t have to do it very often at all.

 

Here’s a video on how it’s done:

 

https://www.youtube.com/watch?v=7ZHLPPgxdZw&feature=youtu.be

 

Or we’ll take care of it if you send the camera in for service.

_______________________________________________________
Art 
Adams
Cinema Lens Specialist
ARRI Inc.
3700 Vanowen Street
BurbankCA 91505
www.arri.com 

 
aadams@...

Get all the latest information from www.arri.comFacebookTwitterInstagram and YouTube.






This message is confidential. It may also be privileged or otherwise protected by work product immunity or other legal rules. If you have received it by mistake, please let us know by e-mail reply and delete it from your system; you may not copy this message or disclose its contents to anyone. Please send us by fax any message containing deadlines as incoming e-mails are not screened for response deadlines. The integrity and security of this message cannot be guaranteed on the Internet.


421 - 440 of 1984