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andres victorero

A-cam dII

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This is also interesting news from their homepage:

 

Yes it is a Global Shutter CCD! We forgot to specify that in the specs, and we get a lot of questions on this. I think a lot of people understand how much better this is compared to a 'rolling' CMOS.

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Is that an optical viewfinder as all real cameras should have ? ;) really please.... I would love to have a S-16 and a DII from them...

 

-Rob-

 

Hi Rob,

 

It's an LCD viewfinder. There was some work in progress footage, looked OK.

 

Stephen

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Hi Rob,

 

It's an LCD viewfinder. There was some work in progress footage, looked OK.

 

Stephen

 

 

Yeah, I had followed cml and others, still looks like a cool little video camera, obviously a de-bayer of the presumably kodak 1080x1920 ccd chip yields something less than 1080p but if dr is ok not too bad. I like the S16 A-Cam as a concept and hope they continue to be successful with both.

 

-Rob-

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It's an LCD viewfinder.

Are you guys sure about the lcd viewfinder? I've read somewhere that it was in fact optical. And by the position of it you'd think it's an optical one.

Edited by klas persson

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Are you guys sure about the lcd viewfinder? I've read somewhere that it was in fact optical. And by the position of it you'd think it's an optical one.

 

I would generally thrust Stephen when he says so, but even though they're website doesn't specifically say it's an LCD, it does say the viewfinder features: "1:1 pixel zoom in viewfinder while recording for checking focus. Histogram.", which would strongly suggest LCD.

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It is an LCD viewfinder.

 

The camera looks very interesting, I just wish they didn't claim to be the first uncompressed RAW camera and that they have the fastest memory. Dalsa, Vision Research and several others have been shooting uncompressed RAW for several years and the Vision Research CineMag is removable flash memory with a data rate five times faster than A-Cam's cartridge.

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I just wish they didn't claim to be the first uncompressed RAW camera and that they have the fastest memory. Dalsa, Vision Research and several others have been shooting uncompressed RAW for several years and the Vision Research CineMag is removable flash memory with a data rate five times faster than A-Cam's cartridge.

 

I guess they've gotta say something, seeing as RED has said just about everything else ;)

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The d2 has a 640x480 EVF with 1:1 pixel zoom anytime. I thought it was optical at first (and was sad when I found out it wasnt), but then I just realized that with an IMS mount, you can indeed ad an optical viewfinder from P+S technik. That sounds pretty good to me.

Edited by hunter richards

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If I had the extra cash laying around; I'd certainly give it a shot.... maybe 'round x-mas time (I'll just do a pool from all my friends... $100 each! I mean, I'd still be a few thousand short though... time to make new friends I suppose. )

Edited by Adrian Sierkowski

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So, is anyone buying yet?

 

According to an on line video interview they've got cameras delivering from end of September and a camera ordered now won't be delivered until January.

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According to an on line video interview they've got cameras delivering from end of September and a camera ordered now won't be delivered until January.

 

I think that's a bit wrong.

They are delivering the first cameras at the end of december.

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I think that's a bit wrong.

They are delivering the first cameras at the end of december.

 

Could be preproduction cameras being referred to in the interview, Geoff Boyle from CML might be using one in October on a production.

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Really, no one?

 

Haha, I know a lot of you are very interested in resolution (echem RED) that no one can actually utilize at this point, and in throwing together your own gigantic, expensive package.

 

But no one's really interested in this camera? A 9,000$ uncompressed possible replacement for the EX and the P2 series that's the size of my forearm and doesn't need lens adapter systems to get a cinematic depth of field using cinema lenses, and no one's discussing it?

 

Weird. Maybe I'm just overly excited about the thing, but it seems like people would be able to distribute their excitement for different HD systems if they were in fact interested.

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I'm getting one. Seems like the perfect design for a personal/director camera, and I'm delighted to move away from the clinical look of the EX1 for low/no-budget projects. With the dII, I can use my s16 optics, and I like the RAW workflow. The company definitely has a low-key approach to marketing, which I also appreciate, but it may contribute to the (lack of) online discussion.

 

I'm not sure when mine is going to show up, but when it does I'm sure I'll have more to contribute.

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I'm getting one. Seems like the perfect design for a personal/director camera, and I'm delighted to move away from the clinical look of the EX1 for low/no-budget projects. With the dII, I can use my s16 optics, and I like the RAW workflow. The company definitely has a low-key approach to marketing, which I also appreciate, but it may contribute to the (lack of) online discussion.

 

I'm not sure when mine is going to show up, but when it does I'm sure I'll have more to contribute.

 

I've seen your posts on the forum over there. Do you think their waiting list extends to mid-February yet?

 

I have a few questions that have yet to be answered by them.

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Mark,

I for one look forward to hearing what you have to say on the camera. Especially the post workflow.

 

Me too ;-)

 

Right now I'm imagining something like this for workflow (until better DNG tools arrive):

 

Option 1:

 

-) Shoot RAW

-) Transfer DNG sequences and audio files to Macbook Pro.

-) Load DNG sequences and audio into After Effects, doing an introductory grade in Camera Raw plugin+ Color Finesse if necessary

-) Render out ProRes(HQ) QuickTime files with synced audio if there is any

-) Edit in Final Cut Pro

-) If necessary, go back to the raw DNGs to regrade, then go to finish.

 

If I needed the help of a real colorist, I suppose I would render a DPX sequence to give them.

 

Option 2 would involve getting Cineform, and transcoding the DNG sequences to CineForm either during or after the process of transferring them to my mac.

 

All of this is conjecture at this point--I'm looking forward to getting my camera so I can start testing this. Or, hopefully the Swedes will post a few DNG sequences on their site so we can get it figured out. But I get the sense they're pretty busy at this point.

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I've seen your posts on the forum over there. Do you think their waiting list extends to mid-February yet?

 

I have a few questions that have yet to be answered by them.

 

Great question! I really have no idea about how long the list is, or where my camera is in it. I honestly wish for a bit better transparency on that issue.

 

It would be great if they can get production underway in time to deliver cameras before the end of the year, but I think it's even more important for them to get the kinks worked out before they ship cameras. My experience with the Red One made me realize the critical importance of a solid, reliable camera system.

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I'd say that sounds a solid workflow.

Who knows maybe well get lucky with a codec pack to import directly into an NLE (could see Premier Pro integrating that without much problem) Or perhaps it'll be proxy files for an offline and the quick turn 'round work. Who knows. Good luck! Any help I can be, don't hesitate to ask. I've got FCP 6.0.4 and AVID on my macbook if you ever come cross some footage to play 'round with.

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