Illya Friedman Posted March 25, 2008 Posted March 25, 2008 Hello all, This story appeared in the Hollywood Reporter yesterday. http://www.hollywoodreporter.com/hr/conten...b8bc80e760240b1 I hear that the sequence looks absolutely AMAZING! I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc
Guest tylerhawes Posted March 25, 2008 Posted March 25, 2008 I'm glad to see some big projects using the Origin. Ever since the ASC comparison test last year, I've thought the Origin had the best overall image of the digital cinema cameras. Being able to grade RAW is now unlocking the full potential in post, too.
Mike Brennan Posted March 25, 2008 Posted March 25, 2008 I'm glad to see some big projects using the Origin. Ever since the ASC comparison test last year, I've thought the Origin had the best overall image of the digital cinema cameras. Being able to grade RAW is now unlocking the full potential in post, too. Here here! 14bit A/D from the Origin CCD is superior to 12bit A/D 16bit A/D to match 16bit Origin output would be better! Mike Brennan
Illya Friedman Posted March 26, 2008 Author Posted March 26, 2008 Some cool big new things we can announce pretty soon (and some little ones) too. :D I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc
Premium Member Kevin Zanit Posted March 26, 2008 Premium Member Posted March 26, 2008 Very cool, I didn't let the cat out of the bag ;) Very impressed with the things Dalsa are up to these days. Illya, got your email btw, I'll look into it. Kevin Zanit
Premium Member Phil Rhodes Posted March 26, 2008 Premium Member Posted March 26, 2008 > 14bit A/D from the Origin CCD is superior to 12bit A/D > 16bit A/D to match 16bit Origin output would be better! One least-significant of 16bits -96dB. If you think any current sensor has a noisefloor that low I will join you in encouraging people to use higher bit depth A/Ds. Until that becomes possible we may as well stick to ten, and stop fooling ourselves that error diffusion by random noise is actually worth spending a lot of time and trouble recording at source when it can be just as easily reapplied later. P
Guest tylerhawes Posted March 26, 2008 Posted March 26, 2008 Until that becomes possible we may as well stick to ten, and stop fooling ourselves that error diffusion by random noise is actually worth spending a lot of time and trouble recording at source when it can be just as easily reapplied later. How about 12 bits then. 16 might be a waste, but I think we can go to 12 and still be getting useful information.
Premium Member Bill Totolo Posted March 27, 2008 Premium Member Posted March 27, 2008 Hello all, This story appeared in the Hollywood Reporter yesterday. http://www.hollywoodreporter.com/hr/conten...b8bc80e760240b1 I hear that the sequence looks absolutely AMAZING! I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc Congratulations Illya and the Dalsa family.
Brian Drysdale Posted March 27, 2008 Posted March 27, 2008 Using uncompressed RAW was mentioned in some reports on the Bond shoot. Is this an option on Codex digital disks? I'm Just asking because I read that it used JPEG 2000.
Stuart Brereton Posted March 27, 2008 Posted March 27, 2008 One least-significant of 16bits -96dB. If you think any current sensor has a noisefloor that low I will join you in encouraging people to use higher bit depth A/Ds. Until that becomes possible we may as well stick to ten, and stop fooling ourselves that error diffusion by random noise is actually worth spending a lot of time and trouble recording at source when it can be just as easily reapplied later. P How I wish that I knew what any of that meant. ;)
Brian Drysdale Posted March 27, 2008 Posted March 27, 2008 How I wish that I knew what any of that meant. ;) I think he's talking about film grain.
Nate Downes Posted March 28, 2008 Posted March 28, 2008 How about 12 bits then. 16 might be a waste, but I think we can go to 12 and still be getting useful information. I deal with a 20-bit ADC system off of a CCD and find it still inadequate to capture the full range.
Guest tylerhawes Posted March 28, 2008 Posted March 28, 2008 Using uncompressed RAW was mentioned in some reports on the Bond shoot. Is this an option on Codex digital disks? I'm Just asking because I read that it used JPEG 2000. I'm going to go out on a limb here and reply, since I don't know the answer to this specifically with Codex. However, even if it is JPEG2000 compressed, it is still the RAW image, uninterpreted and unprocessed (except the compression), so you should still be able to debayer as usual, only the source is not as good as uncompressed. This is what RED does, since from what I understand of REDCODE it is essentially their proprietary adaptation of JPEG2000.
Site Sponsor Robert Houllahan Posted March 28, 2008 Site Sponsor Posted March 28, 2008 I had a Baselight-4 loaded with allot of demo footage for three months, I thought the 4K northlight scans looked best but all the Origin demo footage was really impressive, the only real 35mil alternative I thought too bad no nice grain... -Rob-
Illya Friedman Posted March 31, 2008 Author Posted March 31, 2008 I just saw the teaser poster for the movie, and figured I'd share it... I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc
Illya Friedman Posted June 19, 2008 Author Posted June 19, 2008 Hello all, I just happened to find this picture on the "broadcast buyer" website. It's from the set of James Bond. Each Codex recorder in this picture is connected to a DALSA camera. I. Illya Friedman DALSA Digital Cinema Division Woodland Hills, CA www.dalsa.com/dc Visit us at CINE GEAR EXPO this FRIDAY and SATURDAY (6/20 & 6/21)
Premium Member Paul Bruening Posted June 19, 2008 Premium Member Posted June 19, 2008 I'm so ignorant of how Dalsa works that it is pitiful. Someone explain to me how one of those units plus the camera head works. Are those the units that the cam downloads to between scenes or are these part of the live data stream?
Andrew McCarrick Posted June 19, 2008 Posted June 19, 2008 I'm so ignorant of how Dalsa works that it is pitiful. Someone explain to me how one of those units plus the camera head works. Are those the units that the cam downloads to between scenes or are these part of the live data stream? The camera outputs 4k DPX files via fiber optic cables to the Codex Digital (or S.TWO) Digital recorder... where it is stored and also converted to HD for previewing (via HD-SDI out) purposes.
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