Illya Friedman

Unfortunately, the best answer I can give is *soon*. Are you asking specifically in regards to the start date of a project? There's a new color combination for the EVO which can be seen at the S.Two booth during NAB. I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc

The shutter angle is of course adjustable from 45-200 degrees. I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc

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

DALSA has been working with IRIDAS for quite some time, but integrated support for DALSA RAW data is brand NEW and fantastic! Using the tools from Speedgrade and Framecycler without rendering is simply tremendous for DPs and filmmakers. You can read the press release here: http://www.iridas.com/press/pr/20080328.html BTW, there are more announcements coming soon! I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc

I'd say CineForm is making new and more accessible 4K workflows. It was certainly possible before, you would just need the appropriate post people/facility on you side. I also think the S.Two workflow will become very popular this year. It's nice (and important) to have many workflow options. I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc

Agreed! I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc

I just discovered this thread. One small correction- DALSA RAW files are actually uncompressed 16-bit .DPX. I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc

That's sounds right. We have some cameras in Europe now, London and Paris, and of course here in North America. We haven't entered into an agreement with anyone in Australia, Asia or India. Although I've been receiving many inquiries since IBC 2007. I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc

For those of you who have been asking for CineForm workflow options with DALSA 4K RAW, it has arrived. This includes both CineForm RAW? and CineForm 444? !!! Details can be found here: http://www.cineform.com/press/rel080326-Prospect4K.htm It's remarkable what the geniuses at CineForm can do. And I'm thrilled we're working together. More announcements coming soon! I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc

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

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

Hello All, This Motorola commercial with David Beckham was shot with the DALSA Origin in 4K. Here's a link: http://www.dalsa.com/dc/4K_gallery/4K_gallery.asp I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc

Forgot to mention. I love all the colors that are in the flames, particularly the one that you don't usually get to see with other digital cameras. Like the blue at the bottom of the frame just to the right of center. There's no artificial light used for the shot, all the light is coming from the flames. :) I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc

Looks like it worked just fine.... Frame is from a horror movie with a working title of "Wick". I had to slightly resize the 2K jpeg to get it under 100K. This shot is a real IR torture test. As you can see, we do just fine even with extreme amounts of IR light. No external filters were used, the lens is a DALSA 4K Prime. I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc

Just testing to see what happens when I upload a 2K jpeg here.....

http://www.hollywoodreporter.com/hr/conten...b5d24b0de0debdd In case anyone missed it, there's a nice story in the Hollywood Reporter about Hyenas. I. Illya Friedman DALSA Digital Cinema Division Woodland Hills, CA www.dalsa.com/dc

The "VIP code" is GEN18

Hello All, DALSA will be at the Q Technology Pavilion at HD EXPO on Wednesday and Thursday this week in Burbank. The Q area is "invite only", which means you'll need to pre-register at http://www.futureq.net/attend.html They say the deadline is today, but I know with other events the registration time tended to stay open a bit later. Feel free to send me a PM if you weren't able to RSVP. I'll see what I can do. I. Illya Friedman DALSA Woodland Hills, CA www.dalsa.com/dc

Hello all, It's was just brought to my attention that the good people at Cinematography.com have decided to start a forum devoted to DALSA's 4K digital cinema equipment. Thanks! I'll try to check in regularly to answer questions, as well as post notices of DALSA events and news. I. Illya Friedman DALSA Digital Cinema Division Woodland Hill, CA

Because of the native aspect ratio of the sensor, the squeeze is quite mild at only 1.22:1 Full details on the anamorphics haven't been released yet. Official details are coming soon- perhaps as soon as Cine Gear. As of right now, there's no compression in the Evolution. However there's a MATHEMATICALLY lossless (L2) 2:1 wavelet compression in the on board Flashmag. Note- this is not the same as the significantly more lossy "VISUALLY lossless" compression. The L2 compression enables 40-minutes of record time in the Flashmag, or 20-minutes of uncompressed 4K RAW recording. The flashmag also provides a live "downconvert" (for lack of a better single word that explains all the processes that are actually happening to the 4K RAW data) to 1920x1080p RGB via Dual or Single Stream HD-SDI. Of course the other benefit of the Flashmag is that it allows unteathered recording. Flashmag More new stuff coming soon! I. Illya Friedman Dalsa Woodland Hills, CA

Sorry for the delay. I've been so busy since NAB, I haven't been back to this forum until just today. Yes to the zoom. There's a couple in the works. The L Series lenses are exceptionally sharp, I don't want to quote specs that aren't printed officially on the sheet yet, but I can tell you they are resolving a LOT of line pairs. The offical info on the glass should be ready by CineGear. The lenses have a uniform outter front diameter and are significantly smaller and lighter compared to Master primes. The footage of Anthony Hopkins on our website was shot with the L series lenses: http://www.dalsa.com/dc/news/news.asp?itemID=281 I.

Read my post at the end of this thread: http://www.cinematography.com/forum2004/in...22225&st=15 I also want to echo what Mr. Mullen correctly added. If you want to shoot with ANY standard spherical lenses and are willing to use an extraction- which if I recall correctly is about 3.5-3.6K almost any focal length 35mm PL lens (zoom or prime regardless of speed) will function perfectly on the Origin II without vignetting. Karl, I agree with your comments about the Zeiss Master Primes being some of the finest widely available lenses right now. And although there's not many Master Primes out there, DALSA is fortunate enough to have some for rental and comparisons. Unless I'm mistaken I don't think you've tested the DALSA L Series (A&S) primes. They are only available from one place right now- DALSA, Woodland Hills. I recommend doing the "Pepsi challenge" of lenses for yourself before drawing any conclusions. If you're at NAB next week, please see me at our booth, I'm happy to show you the camera, sensor, and lenses. I. Illya Friedman DALSA

Okay Karl you lost me, what camera (the one not compatible with fast 35mm lenses) are you referring to? I. Illya Friedman Dalsa

Thanks for the wrap up David, it was good to see you again last night. Something that I don't think was mentioned in the meeting (and most people don't immediately catch) is that because the Palomar sensor is slightly wider than a 35mm Academy 1.85 frame the sensor has an LMF of 1.25. In other words, to find the equivalent spherical 35mm lens horizontal field of view on the Origin; simply multiply lens the focal length by 1.25. Any lens you put on the Origin already has a wider horizontal FOV when compared to it working on a 35mm film camera. Here's an example, for the same horizontal field of view as a 20mm lens on a 35mm camera, you would use a lens with a 25mm focal length on the Origin. (20mm x LMF (1.25) = 25mm, 100 x 1.25 = 125mm etc.) Currently the widest full coverage lens is the 19mm Dalsa L Series prime. On the Origin it's about the same FOV as a 15mm lens on a 35mm camera. Illya Friedman Dalsa illya.friedman@dalsa.com