Cesar Rubio

Someone in another forum wrote this regarding my still preference of Alexa-M after Nov 3rd... "I would agree, the most recent announcements from both Red & Canon are no threat to Arri's Alexa cameras. The Alexa has been proven on set and in post to have a familiar, simple straightforward workflow that's easy for experienced DPs and editors to pick up without jumping through hoops. Plus, you can get 4:4:4 out of an Alexa in 2k. If you're on a smaller budget, the Sony F3 is probably the biggest bang for the buck in it's price range, and like the Alexa, the on set & post workflow is easy and doesn't require jumping through any hoops." To which I replied: -The Scarlet and the Canon C300 offerings are ok in the resolution department for 3-D Cinema as far as I am concerned...(I will write an article about "war resolutions" soon). My only complain with both systems is the in-camera compression, Scarlet wins against the C300 in that regard though. Me still preferring the Alexa-M is because you can record Uncompressed Raw (Arriraw). The 1080p 444 Arri workflow although good for HDTV productions, it just won't "cut the cake" in terms of resolution for Cinema. The same for the Sony F3, 1080p Bayer capture is only good for a 720p finish. So capturing 1080/50-60p with such camera, will give you a good 720/50-60p output which is good for HDTV. And I would definitely use the full 444 uncompressed output on the F3 to external recorders.... Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

Ok, I forgot this.... While I would probably accept a certain degree of in-camera compression for 3-D HDTV productions (depending on the circumstances of each project, and budget), I would NOT accept any compression for 3-D Cinema capture. Hence I would record Uncompressed footage out of these 1080p 2/3" 3 sensors cameras. For 3-D Cinema we need 48 or 60 progressive frames BTW... Cesar Rubio Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

Here are other 3-D camera systems (when paired two cameras) that are good for 3-D HDTV productions (using a beamsplitter rig that is...) Sony: http://pro.sony.com/.../product-HDCP1/ Panasonic: http://pro-av.panaso...1800/index.html Ikegami: http://www.ikegami.com/br/products/hdtv/hdtv_camera_frame2.html They would be perfect for 3-D Cinema as well, if they could do exact 48 or 60 frames per second. I think it's possible with a firmware upgrade... 1080p resolution, with 3 sensors camera capture is good enough for normal Cinema screens at around 35 feet wide. And for 3-D distribution, that increases the perceived resolution for the dual projected images, you could potentially target 50 feet 3-D screens as well... Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

Ok regarding the Lumiere camera.... I only got one response from them indicating the sensor size 1.25" That is something like 17.7mm wide. To pack 4096 pxs across that size, the pixels size must be 4.3 microns Not too bad, but I would prefer at least 5.5 um pixel size. They never replied to my question of what was the ISO/ASA at 0dB, nor to a link to see a video made with the camera. Somebody mentioned (in another forum) skew problems due to the CMOS rolling shutter with that cam being really bad... And at around $100K USD per camera head, they need to get their "act together" if they want to compete in this market. I am still with Alexa-M for 3-D Cinema productions....yes, even with the recent November 3rd announcements. Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

This is how a good Stereographer starts...seeing his/her first 3-D images, and LOVE Them! I started loving 3-D photos, when I saw my first 3-D View-Master reel when I was 12 years old, back in 1978. Here my beloved David Rubio enjoying 3-D! ( and having a "3-D withdrawal", just like me when I could not get my hands in a View-master, I would invent just anything comparable, I even made one with cardboard and draw my own "reels"...;-) ) https://picasaweb.go...gCOH-0eip4b7fVw Both of my two beautiful sons, David and Alexander Rubio (D&A Rubio) love 3-D movie in the Cinema and at home. They both started watching Field-Sequential 3-D DVD's since they were very little, here are some: http://www.amazon.co.../R1RADU948J0V2U Now they have a proper 3-D HDTV where they watch newer Blu-ray 3-D discs! http://www.amazon.co.../R1B6P3G55R0PK1 Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

Ok, I added the pictures showing my single computer recorder: https://picasaweb.go...CPXW7uDwovSW_AE And you can see there, the best helper I've ever had in my life, my beautiful son David Rubio...and I will ever have (except for Alexander his brother of course!) Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

Sorry, I meant better "Blooming Suppression"...smear is about he same in both sensors. That's a drawback on CCD technology, CMOS don't show smear...but...well I don't have to explain you, since you already know the strengths and failings of both sensors approach. Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

These are my two first Uncompressed Raw 1080/24p 3-D videos recorded with my MVC's (Machine Vision Cameras) 3-D system. Streampix did not offer audio recording back then, so I used Adobe Audition and then sync the video in post. But since Audition stopped recording in the middle of the first recording, in post I made a "voice-over" with Adobe's Soundbooth software. The first video was recorded July 13th, 2008 in Fort Atkinson Wisconsin, USA. http://www.youtube.c...h?v=6vHWBMzhXRU The second video was using telephoto (50mm Nikon lenses in a 1" CCD sensor cameras) and you can see my beautiful and loved son, David Rubio! 1080/24p Video taken in July 20th, 2008 in our home in Wisconsin USA. (sorry, the left video is slightly out of focus...I had come back from work and I was really tired!) http://www.youtube.com/watch?v=IU1DsSNKts8 Thanks, Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

Here are my first two 3-D videos using my MVC's 3-D system. I used Cineform Raw compression on the fly. Both are 1080/24p 12 bit videos. The videos are side by side because Youtube 3-D did not existed back then in early 2008. The first video was recording one computer per camera as seeing here in these pictures: https://picasaweb.go...CPXW7uDwovSW_AE March 1st, 2008 in Cambridge Wisconsin USA. http://www.youtube.c...h?v=w63kuB3IQvc The second was using a single computer for both cameras, I don't have the picture right now to show the setup, but later on I will post it. March 24th, 2008 in Lake Ripley in Cambridge Wisconsin USA. http://www.youtube.c...h?v=4DqJ2A5f5CM Thanks, Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

These guys here are working in an interesting 3-D camera system, and its an OPEN SOURCE project if you are interested in participating with ideas or work. (Apertus 3D) http://cinema.elphel...c.php?f=11&t=49 If you don't want to read the whole topic, and wants to "cut to the chase", go here to see pictures of the current 3-D set-up: (scroll to the bottom post) http://cinema.elphel...&t=49&start=160 Here is a 3-D video made with the rig: http://apertus.org/en/node/135 Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

Hi Andre, first off, welcome to Cinematography.com! It's great to have camera engineers discussing their products in public forums...that takes some B...:lol: I don't know, the other day I was watching a little bit of the video you posted (other than the Youtube video, but I can't remember at the moment where it is posted) and I kind of saw that frame split issue in fast movement scenes, but it could have been the extreme video compression for web streaming...(or my internet connection speed) I used the Prosilica GE-1910c camera and here you can see a couple of video grabs images taken with the cam: Kodak 2/3" CCD Images Unfortunately the images are at 1/4 resolution and you cannot see the noise in the background shadow areas. I don't have the full rez images at the moment, but if I can get them later, I will re-post that info here again. For comparison purposes, you can see the images produced with a Kodak 1" CCD taken with the AVT Pike F-210c camera, here: Kodak 1" CCD Images The only improvement I saw on the 2/3" over the 1" CCD is a slightly more sensitivity (ISO/ASA 250 on the 2/3" vs ISO/ASA 160 on the 1") and a better smear handling on the 2/3". Well, I am not very interested in what camera manufacturers claim about optical resolutions, what I care more is how that videos and images look at the "naked" eye. A 1080p Bayer sensor resolution I would rate it as a 720p resolution on a 3 sensor camera. The Basler acA2000-340kc camera has the CMOSIS CMV2000 CMOS sensor and also the IO Industries Flare 2K cameras line. I hope to test the Basler camera soon, to review it and post images and video on the web. No, thanks YOU Andre! And it's great than more companies are introducing professional quality 3-D camera systems like yours, 5 years ago we did not have much to choose from...:wacko: Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

Sorry that link in now broken. Please use this one: https://picasaweb.go...gCLWnquyL6PfVSw Thanks, Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

OMG! I have “inside” information about a super small 4K up to 124 fps camera head, that is coming to the market in 1Q 2012! And the best of all, is that it will be able to record to small form factor Uncompressed Raw recorders! And by the track record of that company, even though I don't have pricing of it yet, I would imagine that it will be in the $18K USD or less range. (but I could be wrong in that assumption) Can't say more info at this time though...sorry, I wish I could. Times are getting really interesting in the 3-D Cameras field! Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

Well, I can't find much info on the web about the Lumiere camera...(other than the introduction to market price of the 2-D version cam) I've just sent an e-mail to ViewPLUS requesting some info: The 3 most important things that I want to know of the camera are these: 1- What sensor size the camera uses 2- What is the "base" ISO/ASA at 0dB? 3- If it's possible to record from two camera heads into the recording PC? (at 3.5K/60p) I don't know, but if the answers are within my expectations, I think I have found my favorite 3-D Cinema camera system! I prefer two separate Lumiere 4K heads to be able to change stereo base (or interaxial) distances: http://www.viewplus.co.jp/product/camera/lumiere_en.html Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

Here is another 3-D Camera system from Japan...this one is 4K/60p Uncompressed Raw! http://www.viewplus.co.jp/product/camera/lumiere3d_en.html Impressive! Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

The sensor in the SI-2K mini is alright...apparently it can do 1080/60p. The SI-1920HD camera can do that (and it was the predecessor to the SI-2K mini) http://www.siliconimaging.com/index1.htm The problem with the SI-2K mini is with the single Gig-e interface, it can only do 1080/30p. For 1080/60p it would need double Gig-e like the AVT-Prosilica GX line of cameras. But I am intrigued by the Cunima, why it cannot do 1080/60p if it has the same sensor as the SI-1920HD cam? I was reading the specs of the HD-SDI interface, and (supposedly at least in theory) is capable of 1080/60p bandwidth: (with Raw-8 bit and 12 bit) http://en.wikipedia.org/wiki/SMPTE_292M But probably in a real work environment the 1080/60p Raw-12 bit bandwidth needs 3G-SDI... Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

Hi Brian: You can read the Wikipedia page about the movie, to find out about some 3-D production details: http://en.wikipedia.org/wiki/Transformers:_Dark_of_the_Moon Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

Oh and I forgot a very important part for good stereo work...my friend's Tim Chervenak's Jasper 18” slide bar (he modified mine for my needs). http://www.stereoscopy.com/jasper/heavyduty-bar.html A beautiful crafted piece of machinery! (and a great price too) Good job Tim! Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

You can also see the MVC's 3-D system here (click on the link): http://www.3dcenterusa.com/Museum.html Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

These video grabs changed a LOT of things in the 3-D world: https://picasaweb.google.com/117102957642252969487/VideoGrabs Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

Here is my original MVC's 3-D system, that I started working on the fall of 2006 and finished in early 2008: https://picasaweb.google.com/lh/photo/OXu18-XFywNtuUDGJk7QkCtWQzsl0Rk3UFL0_XmWM7s It consisted of: -2 AVT Pike F-210c cameras (1" Kodak CCD) -1080p up to 30 fps -Recording Uncompressed Raw and Cineform Raw -Norpix-Streampix 5 recording software -Fujinon c-mount lenses 12.5mm,25mm and 50mm -22" Zalman Trimon 3-D monitor -M-Audio box and Sony headphones You can still see it here: http://3dcenter.us/ Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

Somebody asked me if I was aware of the SinaCam cameras: http://www.sinacam.eu/ Yes I was, but their approach is almost the same as mine with MVC's. The 2/3” 1080/60p Kodak sensor only offers like ISO 250 at 0dB, and is a challenge to get 60 fps without “frame split” problems with horizontal camera movements or subjects moving horizontally inside the frame. So I'd love to see the SinaCam's 1080/60p footage! That's in part why I dropped the AVT GX-1910c 3-D camera project 20 months ago, also I did not like the noise in the shadows that the Kodak 2/3 sensor produces...even at 0db! The “older” 1” Kodak sensor (like the AVT Pike F-210c camera has) was much better in that regard, producing cleaner images at 0dB, probably because it has 7.7 um (microns) pixels vs 5.5 um of the 2/3”...That is 1.8 times bigger! Oh boy, and how can they claim this about a 1080p Bayer sensor against 1080p 3 sensors resolution???!!!: http://svgeurope.org/2011/10/18/zdf-heads-into-the-3d-age-with-die-huberbuam/ “The resolution is higher than with all available 2/3-inch 3-chip HD cameras” Really? ;-) They also say this: “and the sensor is more photosensitive than other 2/3-inch CMOS cameras” Not with the new CMOSIS 2K sensor that offers ISO/ASA 640 at 0dB! http://www.cmosis.com/products/standard_products/cmv2000 And of course that I am aware of the SI-2K minis and Cunima's and Iconix and... But all of those cameras use sensors that can only do 1080p/2K-30 fps max, and I need 1080p/2k-60 fps for a true 720/60p 3-D delivery! I am not sure why the Cunima 2 camera cannot do 60 fps since the Altasens sensor it uses is capable of that?: or perhaps it uses the old sensor p4562 version that the SI-2K mini use as well... http://www.altasens.com/index.php/products/1080p/p4562-3t Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

A few days ago I was discussing with a veteran “heavyweight” on 3-D, regarding DOF (Depth of Field) for 3-D movies. He mentioned this: “In the 1980's we shot features with T/4 and T/5.6 lenses, and rarely used any aperture other than T/8 of T/11.In fact, of the thousands of stereo images I have shot over the years, I don't recall ever finding a shallow enough depth to warrant using such wide apertures.” (they used S35mm film) All that discussion started because I said that sometimes I need to shoot at f1.4 in interiors. In a normal house lighting environments I need ISO/ASA 800 1/60th shutter speed AND f1.4. In order to use smaller lens apertures I have two choices: 1-Use gain (something like ISO 6400 to be able to use at least f4) but that increases noise in the images, I don't think that people like to see “flying mosquitos” in 3-D and out of sync BTW...Noise is one of the main enemies to fight with in 3-D movies. 2-Bring in more lights. I prefer this one over using gain, but sometimes it's not very practical for different reasons, like they produce a lot of heat and discomfort in peoples faces. And in most night time outdoors scenes they are not much practical either. I told him that in order to “fight” the shallow DOF that such wide lens aperture (f1.4) produces, I like to use smaller sensors, like 2/3” for example. f4 in a 2/3” sensor size gives the same DOF of T/8 in a S35mm sensor. So that lens aperture would be ideal in a 2/3” sensor, but until sensor technology advances and they can offer at least a clean “base” ISO 6400 at 0dB we have to compromise... Then this morning I was reading about how a recent 3-D movie was shot at...they used S35mm sensors at T1.3 for most of the movie!: (Tron Legacy 3-D) http://www.hdvideopro.com/display/features/technologic.html I don't agree in the “shallow DOF” approach for 3-D movies, but sometimes is something that we have to live with at present time... Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

A friend and a worldwide well respected Stereographer in the 3-D business asked me recently about my ideas for a 3-D camera...so I've been thinking for days in the issue. Actually this is going to be my reply to him, since I don't like to keep “secrets” in most of what I think that can be of a general public benefit and advantage for the field and my passion that is 3-D. After all these are my personal opinions and ideas on the matter. He started with this: “It does make me think about an idea (for a 3-D camera) I have had for some time now, built up over all the consultations I have done for 3-D film productions...” So his ideas are very valid and respected from many years of experience in the field of 3-D. Regarding the beamsplitter rigs that are in widespread use today, he mentioned: “The beamsplitter rig systems out there right now are simply not practical for real world mass 3-D film and especially television production” He added: “What is missing right now in the 3-D camera realm is an array that covers multiple IAs. Cameras such as the Phantom 65-Z3D are very close to a real-world solution, but they still lack multiple IAs” I agree with him about the use of heavy and big beamsplitter rigs...but we like it or not, beamsplitter rigs are a must for macro stereo work, so an “ideal” 3-D camera must have this into an account. But small please! (continue reading below for more about this issue) The Phantom 65-Z3D camera PDF brochure under “The Benefits” of their camera, says this: www.abelcine.com/articles/images/pdf/phantom_65-z3d.pdf “By utilizing a single sensor, the P65-Z3D is like a pair of parallel cameras, in such hat, there is no toeing-in...The images produced by the system’s parallel capture are clean and free of optical distortion, from either beamsplitter artifacts or image keystoning. a single housing to capture stereo images on a single sensor...What’s more, the Phantom 65 used in this configuration can offer frame rates over 300fps at 1920x1080 resolution.” I like all of those benefits. But, since the camera has a 4K “645” medium format sensor, the Stereo Base (SB) or Inter Axial (IA) at 1080p is something like 25mm. And since the sensor size is 51.20mm x 30.50mm is like having two S35mm sensors side by side (24mm horizontal)...for 1080p resolution I would prefer a 2/3” sensor size (10.56mm horizontal) for a deeper DOF: http://dna-rubio-3d.blogspot.com/2011/10/sensor-design-for-3-d-video-cameras.html Also the 300fps in the Phantom is something great for producing super “cool” 3-D slow-mo. With the price of a single day rent of the Phantom 65-Z2D camera ($10,000 USD) I can build a 3-D system with similar performance, and even better, with adjustable SB: (and note: the 65-Z3D uses a laptop for monitoring as well): http://dna-rubio-3d.blogspot.com/2011/10/p-margin-bottom-0_16.html The Meduza 3-D camera offers adjustable SB or IA, but when you want to shoot macro stereo (tight close-ups) you can't since the sensors are attached to the camera and can't be used with a beamsplitter...(also I think you need an external recorder as well and a way to monitor the video streams) http://www.meduzasales.com/ So my approach of using separate sensor “heads” like Machine Vision Camera (MVC's) offer, has the advantage here as well, since you can put the cameras in a (note) really SMALL beamsplitter rig to cover less than 30-65mm SB, more than that will make the rig bigger, and why would you want that if you can shoot side by side with MVC's? In a traditional 3-D camcorder approach you have many drawbacks as well: http://dna-rubio-3d.blogspot.com/2011/10/3-d-camcorders.html So what then? I think that my MVC's 3-D approach has many advantages, we only need to improve camera heads resolution for 3-D Cinema and IMAX 3-D resolutions: (3K and 9K respectively) http://dna-rubio-3d.blogspot.com/search?updated-max=2011-10-16T18%3A54%3A00-07%3A00&max-results=10 http://dna-rubio-3d.blogspot.com/2011/10/imax-resolution.html There are already sensor companies like CMOSIS that are working in super fast (300fps) 4K sensors for the MVC's market: http://image-sensors-world.blogspot.com/2010/11/cmosis-and-towerjazz-announce.html The other possible improvement is to make dual Uncompressed Raw recorders smaller, like the Modula Baby Camera is working to achieve with their system: (supposedly works with all HD-SDI recorder system, like Nanoflash, hyer shuttle, Ki pro , Stwo, Codex etc.) http://easylooksystem.de/index.php?option=com_content&view=article&id=69&Itemid=76 The Laptop display approach, I like for stereo work since you can have both video streams side by side to check for possible cameras misalignment, edge violations etc, and even check the 3-D effect with cheaper viewers like these: ( I use the Pokescope) http://www.berezin.com/3d/viewers1.htm The last issue that my friend mentions is the use of zoom lenses for live 3-D TV use...I think we need a system that can change the SB while zooming in and out according to the 1/30th rule: http://dna-rubio-3d.blogspot.com/2011/10/stereo-3-d-rules.html What else? Do you have better ideas to solution such challenges when recording 3-D video? Please let me know, with all our ideas together we might be able to produce the “perfect” 3-D video camera...if such thing can exist in an imperfect world! Thanks, Cesar Rubio. Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/

Here is an interesting article about smaller pixels than 5.5 um (microns) in MVC's... http://info.adimec.com/blogposts/bid/68684/Can-small-pixel-CMOS-image-sensors-be-useful-in-Machine-Vision Cesar Rubio Wisconsin & L.A. http://dna-rubio-3d.blogspot.com/ http://dnarubio3d.wordpress.com/