Archive for ‘DCinema’ Category
Posted on 16:52, August 27th, 2010 by Many Ayromlou
You kinda knew this was going to happen sooner or later. Canon 5D MKII came out a couple of years ago, set the budget DCinema market on it’s head and caught the traditional ENG/Video guys (Sony/Panasonic) totally off-guard. Well I think Panasonic — for now, until Sony comes out with their NEX-VG10 Camera — is sending a couple of grenades into Canon’s camp with the “final” release of their AG-AF100 Memory Card Camera Recorder (MCCR? WTF?). Anyways, this little beastie is neat and can be had for a mere $6000. Not bad for a Pro level camera that can do everything from ENG style shooting to Mid-range DCinema shoots to MFTV movies/series. I think Panasonic might have another hit — like HVX200 — on their hands. Just the sheer fact that using readily available micro 4/3 to m42 mount adapters would give a young cinematographer access to kick-ass glass for cheap (search ebay for m42 lenses and you’ll see) or the fact that they too could start using the newisch Voigtländer 25mm f/0.95 for MicroFourThirds and create their own Barry Lyndon type effects/shots is fantastic news.
Although it all seems rosy for now, there is always the Sony factor as well. They’ve got the bigger, 35mm crop sensor, in their NEX-VG10 (28x22mm for sony vs. 17.1x13mm for pani) which translates into more DOF, smoother bokeh and such….but then again I’d be a happy camper with a f0.95 lens too :-). The AF100 incorporates a 4/3-inch, 16:9 MOS imager. The camcorder records 1080/60i, 50i, 30p, 25p and 24p (native) and 720/60p, 50p, 30p, 25p and 24p (native) in AVCHD’s highest-quality PH mode (maximum 24Mbps). The AF100 maximizes the potential of its high-resolution imager with built-in ND filtering and dramatically reduced video aliasing. Standard professional interfaces include HD-SDI out, HDMI, time code recording, built-in stereo microphone and USB 2.0. The AF100 features two XLR inputs with +48V Phantom Power capability, 48-kHz/16-bit two-channel digital audio recording and supports LPCM/Dolby-AC3. With two SDXC slots, the AF100 can record up to 12 hours on two 64GB SDXC cards in PH mode. Interesting times ahead…..
JVC today announced their upcoming DLA-SH7NL DCinema Projector. A 4K2K D-ILA projector incorporating three 1.27″ 4K2K D-ILA display devices and packing dual mercury lamps for 5000 Lumens of brightness. The new machine — like its predecessor DLA-SH4K — achieves a resolution of roughly 10MP (4096×2400 pixels), plus a stunning 10,000:1 native contrast ratio.
Posted on 12:16, January 19th, 2010 by Many Ayromlou
Well, it’s taken a bit of time, but I think with the announcement of DP1.2 specs last December, the specs (and hopefully soon the vendors) are ready for True Digital Cinema home implementation. The DisplayPort connector supports 1, 2, or 4 data pairs in a main link that also carries clock and optional audio signals, each with a symbol rate of 1.62, 2.7, or 5.4 Gbit/s. The video signal path supports 6 to 16 bits per color channel. This allows the updated DisplayPort 1.2 specification to drive 4K x 2K display (3840×2160) with 30 bits per pixel and 3D over a single 2m cable.
DP 1.2 supports a maximum of 5.4Gbps per lane, with 4 lanes providing a whopping 21.6Gbps throughput, more than enough for 10-bit 4xHD resolution (3840×2160). To achieve the 21.6 Gbps rate, the per-lane data rate is doubled from 2.7 Gbps to 5.4 Gbps max, over the four lanes that exist in the standard cable. For a single display, this enables up to 3840 x 2400 maximum resolution at 60Hz, or a 3D display (120Hz) at 2560 x 1600.
Display Port 1.2′s massive data rate will enable Multiple-Streaming, support for stereoscopic images beyond full HD, a high-speed data channel, and support for mini connectors.
Multi-Streaming — is the ability to transport multiple independent uncompressed display and audio streams over a single cable. This enables the use of multiple monitors connected by cable in a daisy chain or hub configuration. Whereas the current Display v1.1a standard can support one 2560 x 1600 monitor at 60Hz, DisplayPort v1.2 can support two such monitors with one port, or four 1920 x 1200 monitors.
Another new feature is the ability to support high-speed, bi-directional data transfer, allowing USB 2.0 or Ethernet data to be carried within a standard DisplayPort cable. For DisplayPort v1.2, the maximum data rate of this “AUX” channel has been increased from 1 Mbps (Mega-bit-per-second) to 720 Mbps, providing suitable bandwidth for USB 2.0. The DisplayPort cable can therefore support USB data to/from the display to support Display USB functions, in addition to sending the video and audio information. Standard Ethernet can also be transported in the DisplayPort cable.
On the audio front DisplayPort v1.2 adds the following new enhancements:
DisplayPort v1.2 also includes improved support for Full HD 3D Stereoscopic displays:
The only thing on my wish-list that they (VESA) omitted is support for true 4K DCinema (4096×2048) resolution. But I guess you can’t have everything……and there is always DP1.3 :-).
Posted on 22:46, November 11th, 2009 by Many Ayromlou
Well It was only a matter of time as they say…..first Sony, then JVC and now Epson.
Seiko Epson Corporation (“Epson”, TSE:6724) today announced that it has developed the world’s first* 4K-compatible high-temperature polysilicon (HTPS) TFT liquid crystal panel for 3LCD projectors. Measuring 1.64 inches diagonally, the new panel supports displays with resolutions up to 4096 × 2160 pixels.
With a resolution of nearly 8.85 megapixels, 4K panels offer four times the resolution of full HD (1920 × 1080), making them ideal for the high resolutions required by special applications such as industrial design, architectural design and simulations, as well as for presentations and projecting four full HD images at the same time.
* C2Fine: An original Epson technology for achieving high-quality, vivid images with high contrast by combining an inorganic liquid crystal alignment layer with vertical alignment technology
Yep, those crazy open source hackers over at dvinfo.net have done it again. You thought the RED camera brought about a revolution in dcinema, well, you ain’t seen nothing yet. Apertus is using the Elphel 353, free software and open hardware camera. The Elphel Camera which this entire project is based on is basically an excellent security camera that can do some real magic. The camera uses an Aptina CMOS bayer-pattern sensor with an optical format of 1/2.5″ (5.70mm x 4.28mm) and a native resolution of 2592×1944 (5 Megapixels). It features a 12 bit ADC and supports: region of interest, on-chip binning and decimation. Aptina claims that the chip has 70db of dynamic range at full resolution and 76db when using 2×2 binning. The camera has a standard C-mount but ships with an adapter ring that allows to mount CS-lenses as well.
The recording resolution can be freely adjusted to anything starting from 16×16 to 2592×1944 in 16 pixel steps. This includes Apertus AMAX (2224×1251), Apertus CIMAX (2592×1120), 2K (2048 × 1536), Full HD (1920×1080), HD (1280×720) and of course all lower resolution SD formats like DV PAL, DV NTSC, etc.
The lower the resolution the higher the maximal possible framerate. At the full sensor size (5 million pixels or 5 Megapixels) the maximal frame rate is 10 fps in normal color mode and 15 fps in JP4 RAW mode. JP4 achieves higher framerates in general as some camera internal calculations are skipped and need to be applied later in postproduction (like debayering/demosaicing).
The RAW recording mode in Apertus is called JP4 RAW. Because certain in-camera compression steps can be skipped JP4 RAW allows higher recording speed resulting in more fps. JP4 RAW requires postprocessing (DNG Converter) but in return offers the highest possible image quality.
The following connectors are available on the camera body:
The camera also supports the following recording media:
And if that’s not enough for you there is a extra bonus that comes from the ability of the camera to shoot Full HD in portrait (upright) mode. Upright screens are basically 1080p screens mounted sideways (portrait mode). This type of mounting is becoming increasingly more popular for events, exhibitions and advertising. If you want to spare yourself the hassle of building a right to mount the camera 90 degrees rotated you can whip out your Apertus rig and just start recording. This will give you a 1088×1020 image that’s ready for portrait playback.
Posted on 15:13, July 13th, 2009 by Many Ayromlou
Recently the Far North Living Lab started by the Nothern Research Institute in Norway did a successful transmission test of 2K Digital Cinema material to a Theater using BitTorrent technology. They used the (EU Funded) Tribler BitTorrent client to stream a full blown film at full 2K resolution.
The lab’s launch was held at a local movie theater where the film “Carved” by Jonas Rejman was projected, with consent from the copyright holder of course. This is a digital streaming world premiere for BitTorrent, and one that shows how the technology can actually help digital cinema and independent filmmakers.
At the moment most digital movies are distributed on hard disks costing up to $2000 for each copy. BitTorrent has the power to change this outdated distribution method and get smaller budget films onto the big screen.
The Far North Living Lab’s experiment shows that it’s even possible to stream movies if the connection is good enough, but Dr. Njål Borch, a senior researcher involved in the project added that downloading the film beforehand is probably a better option.
The lab’s next stunt will be to stream a live concert to the city of Beijing as well as a few selected rural areas.
We want to participate in the world even though we are physically placed way beyond what most people find inhabitable, Dr. Borch said. We’re not afraid of the future, the Internet will not kill creativity. Quite on the contrary – we are very excited!
Posted on 15:33, June 10th, 2009 by Many Ayromlou
RED has just announced a realtime 4k/5k debayer PCI-E card for your Mac or PC (OSX/Linux/Windows). You get 30fps at 4k and 25fps at 5k.
Posted on 16:37, January 27th, 2009 by Many Ayromlou
- Front-end machine is a Dell 2950 with 2 x 1 GigE Broadcom ports onboard and one myricom 10GigE card.
This should bring up a sane frontend machine.
- Before doing insert-ethers on the frontend, we have to edit /opt/rocks/lib/python2.4/site-packages/rocks/commands/sync/dns/plugin_dns.py since we have a portion of a larger subnet as our private address space. The Python file assumes a private class C address/mask which is not the case for me. We have to make the small change to make the file look like this (Thanks to Scott Hamilton for his post):
def reverseIP(self, addr, mask):
- This gets insert-ethers going but there is still the problem of being able to tell the program that you don’t want to start at 190 (which is the end of my address space) and count down whenever there is a new compute node online. I want to start at 180 and count down (180-190 space I want to reserve for admin stuff for the Xserve raids). So the command to issue is:
/* UDP Channels for Send and Recv */
This way the listening portion of ganglia can communicate with itself on port 8649 on each of the compute nodes and the collected stats can then be sent to aa.bb.cc.130 which is my frontend machine. Similarly on the frontend machine I modified /etc/gmond.conf to look like:
/* UDP Channels for Send and Recv */
Note the commented multicast address which is not in use anymore. This way all the clients (compute nodes) send their info to the server (frontend), who’s listening on port 8649. The Server itself also sends it’s own information to it’s own IP address (snakke eating it’s own tail kinda thing). Once this is done I do a “/etc/init.d/gmond restart” on all the machines (compute nodes and frontend). Now the website for ganglia should be happy and full of info about the nodes.
Posted on 15:27, October 26th, 2008 by Many Ayromlou
So I’ve been hearing a lot of whining about the new Canon 5D MKII’s being used as 35 mm cinema cameras. Everything from “Where is the fast auto focus?” — and here I thought 35 mm film gear was all about manual focus and adjustments — to “So how do I add filters/mattebox and such?”. Well fear not, Redrock Micro is here to save the day . Their new product “cinematization kit” — specifically designed to 5D MKII — is destined to ship November 1, ahead of the Canon camera.
Redrock accessories for Canon 5D MKII transforms the DSLR into production-ready cinema solutions by providing:
So start saving those pennies, you got two more days before the cage is released online.
Posted on 15:27, September 21st, 2008 by Many Ayromlou
When Canon announced their new 5D MKII DSLR Camera everyone was wowed by the 21MP sensor and all the other new goodies. What everyone has missed/neglected is the fact that this little beauty has the potential to become the new RED Camera. You see, with it’s 2K video output (1080P) in quicktime RAW format at 30 fps and superb low-light performance, Canon has created a dynamite hybrid camera for the photo jounalists (or anyone who doesn’t want to spend 20-30K on a RED camera). Vincent Laforet has done a very in depth review of this camera’s video capabilities on his blog (video is upcoming). To quote Vincent:
It produces the best video in low light that I’ve ever seen – at 1080p. A top commercial film editor who who regularly edits RED camera footage – and has seen the raw footage from the 5D MKII – says the 5D MKII is “far superior to the RED camera” in terms of low light performance…
We’re talking about a $2700 camera that can take the entire range of 35mm lenses offered by Canon (and now Zeiss as well), will shoot 2K RAW video in CF card (which is quicktime and hence drop-ready for Final Cut Pro). I think it’s time to get excited….start saving now :-)
Posted on 14:27, August 12th, 2008 by Many Ayromlou
The Quadro Plex D2 will be featured in technology demonstrations of real-time NVIDIA GPU-based raytracing, large scale CAD modeling and 4K HD power walls at SIGGRAPH 2008 in Los Angeles, August 12-14, 2008 (NVIDIA Booth 554). The Quadro Plex D Series VCS will be available in September 2008 with prices beginning at $10,750.
Posted on 21:24, July 29th, 2008 by Many Ayromlou
Great article by Barbara Robertson over at studiodaily.com, outlining the process of creating the VFX shots for the new Batman movie (The Dark Night). I have to admit I did not love the movie like many others, but the VFX were first rate and after reading this article I have a better appreciation of what went into it. WOWWEE 8-).
Yep, in the classic “mine is bigger than yours” fashion, JVC has once again upped the ante by introducing the worlds first single display device capable of 8K Super Hi-Vision. That’s 8192x432o pixels of joy AKA 35 bloody megapixels. We recently covered the introduction of JVC’s 4K D-ILA projector and well now the new game is called 8K.
Victor Company of Japan, Ltd. (JVC) announces a new addition to its lineup of proprietary D-ILA (Direct-Drive Image Light Amplifier) high-definition reflective liquid crystal devices for projectors. The newly developed 1.75-inch 8K4K D-ILA device has the world’s largest number of pixels and is able to display images of approximately 35 megapixels (8192 x 4320 pixels), the equivalent of more than 17 times the level of Full High-Definition. This means that a single display device can now produce Super Hi-Vision images and can display images with the highest number of pixels currently defined under international standards.
Yeah baby, If you’re gonna telecine your Super 8 summer trip reels, why not do it using the RED Digital Cinema Camera at glorious (or is it gruesome) 4K. All those scratches and nicks blown up to 4K….Yummm. Well I guess film restorers will be back in business. The rig is a prototype made by Movie Stuff Workprinter XP specifically for the RED camera. The Workprinter’s “trigger out” interfaces directly to the Red’s GPI input to trigger capture in stop motion mode up to 30 frames per second in the Red’s 4K mode). I wonder if they’re gonna do a 16mm version of this rig as well. Now that would be a cheap 16mm telecine :-).
Posted on 14:46, November 25th, 2007 by Many Ayromlou
If you’ve been tuned into Digital Cinema Projection for the past couple of years, you’d know that when it comes to 4K projection (4Kx2K image), sony’s SXRD series was pretty much the only game in town. DLP is limited to 2K and most of the projectors out there (Christie, Barco, NEC) are all 2K projectors. A downside of Sony’s projector is that although it is as hefty as a small car it only has a 2000:1 contrast ratio (measured less than that calibrated). Its rated aggresively for 40ft screens which is not nearly big enough for true cinema applications.
That was true until JVC announced their 1.27-inch 4Kx2K D-ILA (Direct-drive Image Light Amplifier) chip at InfoComm 2007. The chip can produce a 4096×2400 pixel image with a 20,000:1 contrast ratio. That’s nearly 10x the contrast ratio of the Sony behemoth.
The DLA-SH4K, which packs the 4k D-ILA chip, touts a 4,096 x 2,400 resolution, 10,000:1 contrast ratio, 3,500 lumens, a dual-link DVI input, multiscreen mode, an Ethernet port for remote operation and RS-232 / USB connectors. It measures 660 x 827 x 340 mm and is slated for launch in the first half of 2008.
Well many of you have probably been wondering why N.E.R.D. has been a bit slow for the past couple of months. Well, August was a bit of a nightmare month (although an enjoyable nightmare for the most part). I got a chance to go to Siggraph’07 in San Diego, followed by a European trip to end the other project I’ve been working on (Comedia II) at Ryerson. That trip passed through Amsterdam (WOOHOO) and ended in Stuttgart with a succesful demonstation of our high-resolution low bandwidth screen sharing app which was a part of Comedia II deliverables.
The screen sharing basically uses a Blackmagic Design Intensity card to share/deliver/encode the DVI output of a CAD/CAM workstation to a remote site and with the addition of our home-brew pointer control system, to allow multiple remote audiences to have collaborative engineering design review sessions.
September was pretty much spent planning and implementing our demo for the GLIF conference in Prague. This was a demonstration put together by some of the CineGrid consortium members. The demo involved connecting three sites (Ryerson University‘s Dcinema Lab, Calit2 at UCSD and Barrandov studios in prague) via 10GigE optical connections in a layer-2 network. Below you’ll find the overall net diagram prepared by Alan Verlo.
The idea behind the demo was as follows (point form to make it a bit easier to visualize):
1) DCinema footage was shot in Prague last weekend (Sept. 15-16) using a DALSA Origin 4K DCinema Camera.
On Tuesday morning we started the two way HD conference, connected the front-end of the Baselight system to the back and after some adjustments had the system up and running with 2K proxy output in Toronto and Prague. The Demo was a “First in the World” and will be (atleast I think so) the first of many more to come out of our lab and it’s collaboration with CineGrid partners around the world….So stay tuned. I’ve included a bunch of pictures I took during the build and the actuall demo, official CineGrid press release is coming soon and I will try to post the video that we shot at our end of the first session soon (it’s in DVCProHD and I need to book one of our suites to edit it together).
Posted on 12:45, July 25th, 2007 by Many Ayromlou
So we’ve been waiting for this for a while now. In Digital Cinema applications display technology throughput has always been a problem. Pumping ~10Gb/s of data to a screen is an issue, be it a projector and/or monitor. There have been a number of “hacks” to get these types of setups working (Dual or Quad DVI/HDMI ports). The problem usually is the seam. It is very hard to sync four DVI output chips properly and even harder to display the pixel information back on the screen (inside the projector/monitor).
DisplayPort technology is one attempt to solve this problem:
It’s just too bad that we can’t buy this NOW :-)