Bob Burman

Hm, I really really think it has got to do with spatial frequency i.e. resolving power.... anyone? Bob.

Confused.. help me out here a little...... I've understood that some of the digital cinematography cameras employ an optical low-pass filter just before the imaging sensor. Now, am I wrong or is this just a euphemism for cutting the resolution in half? Much in the way that audio systems with 44100 Hz sampling freq are filtered to record only up to 22050 Hz to avoid introducing nonexistent frequencies... the whole Nyquist-theorem thingy and all that? And does this mean that the vertical resolving power of a HD system is actually 1080/2=540 lines? Or do they not have low-pass filters? Or am I just plain stupid? Two beer or not two beer? Bob.

Interesting. I wonder how they achieve the proclaimed 1600 ASA sensitivity with subtractive filtering? Can't imagine the sensor alone would somehow be that much superior to, say, Dalsa's production model, which is billed as 400 ASA. Indeed they are, though I'm definitely a Kinetta fan :lol:. -Bob

It seems that all the upcoming/prototype digital cinematography cameras utilize Bayer-pattern chips instead of 3CCD beamsplitter system (Panavision Genesis seems to be an exception, at least it is "true RGB, not Bayer-pattern"). Now, what exactly is the reason for this? Would a beamsplitter be too big to be fitted within the space limited by the flange focal depth of a PL-mount lens (as Dalsa Origin, Arri D-20 and Kinetta are all PL-mount, while Panavision Genesis is not), or what? -Bob

Whoooooooooooops, DSR-PD150P.... :rolleyes:

Ok, I'm looking at a Sony DCR-PD150P camera here, that is, the PAL version. Now I'd like to hear from PEOPLE WHO HAVE ACTUALLY USED IT (I don't care what the specs, or Sony sales representatives, or reviews, or forum posts, etc. say), some answers: Is the PAL version 25fps progressive, or is it not? Or are there versions that are, and versions that are not? And I mean real, true 25fps progressive scan, not an on-camera field removal algorithm or 25 full frames per TWO seconds or some other hoax that somehow resembles 25p enough to be called just that when it actually isn't. I'm under the impression that the answers are no, and no. Pardon the rant, but Googling on this subject is somewhat frustrating. :) (Incidentally, some years ago I managed to tweak a 25p-ish effect from a Sony PAL DV - don't know the model - by setting the digital 'flash motion' effect to the fastest 25fps mode, and setting the shutter to 1/50. Now I wonder how good 25p results, in the above sense, does this actually produce?) Thanks, -Bob

Yep, thanks David, John, these were just about the kind of answers I was after. -Bob

Having had not much experience at all with digital intermediate, how do the total costs of DI (2k or 4k) actually compare to those of traditional post? For a case study let's assume, say, something like a 35mm feature with no tricky color-corrections or effects or anything.

Just wondering.. This info may be available somewhere but I thought I'd just ask.. does anyone happen to know which stocks were used on "Jaws" and "Close Encounters of the Third Kind"? -Bob Burman