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DALSA Evolution


Ilmari Reitmaa

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Yeah, I'm sorry, I misspoke. I basically thought the DALSA sensor was a 24x36mm (8 perf, Vistavision 35mm still etc. . .) sensor. You're basically saying it's 4 perf S35? Well, in that case, it would probably be compatible with Zeiss's line of 35mm lenses....... I hope that makes more sens.

 

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

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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.

Illya

 

So how do you find your Leitz lenses compare to the Master Primes, when it comes to sharpness, contrast, distortion, bokeh and overall 'feel'?

 

Also are you planing to make a zoom lens as well which covers the Dalsa sensor?

 

Thanks

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  • 4 weeks later...
Illya

 

So how do you find your Leitz lenses compare to the Master Primes, when it comes to sharpness, contrast, distortion, bokeh and overall 'feel'?

 

Also are you planing to make a zoom lens as well which covers the Dalsa sensor?

 

Thanks

 

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.

 

DALSA%20Evolution%20thumb.jpg

Edited by illya friedman
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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.

 

DALSA%20Evolution%20thumb.jpg

 

Illya,

what is the squeeze on the anamorphics? do you have a list for the set yet? and what compression system are you using with the evolution for data capture?

thanks

 

keith

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Illya,

what is the squeeze on the anamorphics? do you have a list for the set yet? and what compression system are you using with the evolution for data capture?

thanks

 

keith

 

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

flashmag_thumb.jpg

 

 

More new stuff coming soon!

 

I.

 

Illya Friedman

Dalsa

Woodland Hills, CA

Edited by illya friedman
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  • 1 month later...

Dear Mr. Illya

 

I have found no buy price for the Dalsa products. Dr. Savvas, our fellow Greek Cypriot, doesn?t think to sell the evolution camera, and let us revolutionize the film market? Or it?s going to be another propriety camera rented only to the big Hollywood productions?

 

Because with more than 2000$ ++ a day rental is making all of us to think that anamorphic 2,35:1 35mm is much cheaper for a 8 weeks of work?

 

At least all of us that we live in small countries that speak languages like Greek that are spoken by just 20mil people around the world and we don?t have a market that will make more then 400K tickets whatever we do (even the Titanic in Greek !)? So the maximum budget for a feature would be no more than 250K?.

 

I hope that all this 4K hype will benefit lower budget cinematography that can?t be categorized as Indie filmmaking by any means?

 

If it?s just for Hollywood I don?t want to hear about Dalsa ever again, for me and many more on the other side of the globe, its just noise somewhere in LA.

 

I feel very proud that a Greek scientist has put an eye on behalf of the humanity in the surface of another planet, am hoping that he didn?t forgot how difficult is to live on the other side of the earth?

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I feel very proud that a Greek scientist has put an eye on behalf of the humanity in the surface of another planet, am hoping that he didn?t forgot how difficult is to live on the other side of the earth?

This is the paradigm we live in. The one the proppels humankind or hinders it.

 

 

Alexandre Lucena writing to you all from Brazil.

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So the maximum budget for a feature would be no more than 250K?.

Well Theo Angelopoulos gets bigger budgets than that. His last film was 5M? I'm told and that was for an absolute art film that certainly never made it's money back.

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This is the absolute maximum of all the Greek cinematography history, what an example Max?

 

We almost didn?t have any production for two to three years because of that trilogy the GFC (Greek Film Center) has been totally dry of founds. ?The touch of a spice? had something like a 1M? of which the 40% was marketing, all the rest are 150K to 350K?

 

65% of the movies are 16mm or HD to 35mm film.

 

HD is the only way to make some profit IF you get the 200K ticket mark. Otherwise only GFC funding make it possible. Who is going to take the risk? Angelopoulos has being funded from Government and actually drawn the whole budget for years that usually is being spread to 10 to 15 features!

 

I don?t have anything against him, the guy is making Art (with capital A)?

 

But no way to use this as an example.

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Sounds like your problem is funding, not the availabilty of the Dalsa.

 

Often the reason why so many European features are co-productions with a huge number of producer credits and "in association with" credits before the main title card.

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My problem is that English speaking people not easily understand the differences between nations that don?t speak English, Max. I don?t now if its education or lack of perception or something else, arrogance perhaps, but my/our problem is size of the market only. And because of the size of the market we don?t have the level of funding in order to be able to do the art of cinematography properly, because is so much related to technology and funding.

 

In other forms of art, I think, that we are in a good level since music or sculpture or dance or painting or even theatre doesn?t need the technology to be created. Its just talent against capital.

 

So that?s why we starving for new technology that will enable a lower cost for the same quality in order to express our talent. In example see FCS2 from Apple.

 

I?m strongly urging the manufactures (like Dalsa) to profit from volume and not from high margins.

 

This is the way we see thinks from little Greece? Max.

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Seems to me that the Red camera would be of much more use to you. Dalsa seem to have a different business model than getting their cameras into as many hands as possible.

 

There are plenty of countries that make non-English speaking films that have much better funding methods than Greece though. 250K for a feature is insanely low and I don't know of any other European country that has such tiny budgets to make films.

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250K for a feature is insanely low ....

Yes, but if you have a fairly good movie for that money, put another 50K or so into an English track, and it would be just about impossible to lose money on the deal.

 

 

 

-- J.S.

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