RED RAY Pro announced
RED RAY PRO
* Decode .R3D RAW files to 5K 30 fps
* Decode .RRD (RED RAY Distribution format) 4:4:4 files up to 4K @ 30 fps
* Up to 12 channels of compressed or uncompressed 24-bit audio
* Optional media and local link encryption
* Gigabit and Wireless 802.11b/g/n Ethernet
* Local Touch LCD UI and dedicated transport controls
* 4 x DVI-D Program Outputs (four 1080p / 2K image quadrants, A B C D)
* 4 x HD-SDI 3G Program Outputs (four 1080p / 2K image quadrants, A B C D)
* 1 x HDMI Preview Output with Audio
* 2 x DB-25 Digital Audio Outputs
* Rack mount
* Redundant power supply possible
* 4 x USB-2 ports
* e-SATA port
* GPIO and automation support
* FireWire 800 port
* 2 x Customizable front storage slots
* Compact Flash support
RED Ray Pro- January- February 2010
RED Ray Consumer- Spring- Summer 2010
Raw Capture, Linear Gamma & Exposure
The below article has been taken from Adobe whitepaper about Raw Capture, Linear Gamma and Exposure.
Raw Capture, Linear Gamma and Exposure” was written by Bruce Fraser. It was adapted from his book Real World Camera Raw, published by Peachpit Press, in August, 2004.
Bruce Fraser
Bruce emigrated from Edinburgh, Scotland where he escaped the dreary Scottish climes only to discover San Francisco’s equally chal- lenging weather. Rumor has it this was the inspiration of Bruce’s lifelong fascination with all things relating to color. Bruce has made a study of human vision and how it relates to reproducible color in photography and photo-mechanical reproduction.
Raw Capture, Linear Gamma, and Exposure
Perhaps the biggest difference between shooting film and shooting digital is the way the two different media respond to light. Film responds to light the same way our eyes do, but silicon does not. If you’re tempted to just file this information away as a mildly interesting factoid, let me point out that you’d be overlooking the important implications the quirks of silicon’s response have on the way we set exposure on digital captures. If you expose digital the way you expose film, you run twin dangers of failing to exploit the camera’s dynamic range, and creating exposures whose shadows are noisier than they need to be.
Film mimics the eye’s response to light, which is highly nonlinear. Most of our human senses display a significant compressive nonlinearity—a built-in compression that lets us function in a wide range of situations without driving our sensory mechanisms into overload.
If you place a golf ball in the palm of your hand, then add another one, it doesn’t feel twice as heavy. If you put two spoonfuls of sugar in your coffee instead of one, it doesn’t taste twice as sweet. If you double the acoustic power going to your stereo speakers, the resulting sound isn’t twice as loud. And if you double the number of photons reaching your eyes, you don’t see the scene as twice as bright—brighter, yes, but not twice as bright.
This built-in compression allows your senses to function over an immense range of stimuli. You can go from subdued room lighting to full daylight without your eyeballs catching fire, even though you may have suddenly increased the stimulus reaching those eyeballs by a factor of 10,000 or so. But the sensors in digital cameras lack the compressive nonlinearity typical of human perception. They just count photons in a linear fashion.
This means that if a camera uses 12 bits to encode the capture into 4,096 levels, then level 2,048 rep-resents half the number of photons recorded at level 4,096. This is the meaning of linear gamma- the levels correspond exactly to the number of photons captured.
Linear capture has important implications for exposure. If a camera captures six stops of dynamic range, half of the 4,096 levels are devoted to the brightest stop, half of the remainder (1,024 levels) are devoted to the next stop, half of the remainder (512 levels) are devoted to the next stop, and so on. The darkest stop, the extreme shadows, is represented by only 64 levels—as shown above.
Linear capture
You may be tempted to underexpose images to avoid blowing out the highlights, but if you do, you’re wasting a lot of the bits the camera can capture, and you’re running a significant risk of introducing noise in the midtones and shadows. If you underexpose in an attempt to hold high- light detail, and then find that you have to open up the shadows in the raw conversion, you have to spread those 64 levels in the darkest stop over a wider tonal range, which exaggerates noise and invites posterization.
Correct exposure is at least as important with digital capture as it is with film, but in the digital realm, correct exposure means keeping the highlights as close as possible to blowing out, without actually doing so. Some photographers refer to this concept as “Expose to the Right” because you want to make sure that your highlights fall as close to the right side of the histogram as possible.
Note that the on-camera histogram shows the histogram of the in-camera conversion to JPEG: a raw histogram would be a rather strange-looking beast, with all the data clumped at the shadow end, so cameras show the histogram of the image after processing using the camera’s default set-tings. Most cameras apply a fairly strong S-curve to the raw data so that the JPEGs have a more film-like response, with the result that the on-camera histogram often tells you that your high- lights are blown when, in fact, they aren’t.
There’s one more important factor that plays into exposure setting when you shoot digital captures. The response of a camera set to ISO 100 may really be more like ISO 125 or even ISO 150 (or, for that matter, ISO 75). It’s well worth spending some time determining your camera’s real sensitivity at different speeds, and learning just how far you can trust the on-board histogram to show highlight clipping. Once you’ve done so, you can dial in an appropriate exposure compensation to make sure that you’re making the best use of the available bits.
I’d be remiss if I didn’t mention one of the great strengths of Adobe® Camera Raw in this area,the extended highlight recovery feature, which kicks in when you set the Exposure slider to negative values. Most raw converters give up on highlights once a single channel is driven to clipping, but Camera Raw does its best to reconstruct highlight detail from a single channel. Depending on the camera model and the color temperature settings, you may be able to recover as much as one stop of highlight detail, though one-third stop is more typical. If you use Camera Raw, it’s worth spending some time conducting exposure tests to see just how far you can comfortably push the exposure.
Sony’s HDCAM SR recording from 4K to 3D to MXF to DPX
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Sony reveals HDCAM SR strategy to revolutionize high-end production and widen market appeal
Nov 25, 2009
“Today, we have shown the power of a total HDCAM SR solution as well as a future-proofed roadmap that offers a path to 4K and 3D native recording. It doesn’t get any better.”
Product Roadmap to deliver:
- Camcorder for life: New SRW-9000 ships today at affordable price point and with future upgrade path
- Open and Efficient File-based Workflow with MXF and SR Lite
- Workflow Benefits with EDL data and colour correction using CDL files
- Delivery of new SR memory as media of future
- Strong tape archive strategy and realignment of media pricing
Power of Images, London UK - Sony Professional today unveiled a series of announcements for its HDCAM SR range that offers unprecedented developments in the areas of acquisition, storage, archive and workflow efficiency. Delivering new opportunities for high end acquisition and post production, Sony’s HDCAM SR technology is set to go beyond today’s quality standards and bring the benefits of file-based SR operations at a more cost-effective price point. For the high-end user, the roadmap delivers the next evolution in SR beyond today’s quality standards and the arrival of new products and solution to deliver file-based acquisition and production. For the more mainstream market, Sony delivers an SR strategy that brings the benefits of file-based SR operations at a more cost-effective price point. The scale of the developments is unprecedented in the history of the format.
Camcorder for life: 2/3’’ or 35mm PL mount option and file-based memory upgrade path for SRW-9000
Launched at NAB 2009 as the next generation of digital 24P technology, Sony’s SRW-9000 combines the format’s renowned image quality with the versatility of a one-piece camcorder. It ships from today for less than the popular HDCAM F900R as a full HD (1920 x 1080) resolution camcorder using 2/3-inch CCDs and is capable of 4:2:2 10-bit recording as well as being configurable up to 4:4:4 in multi-frame rate from 1 to 60p.
Within the industry, the SRW-9000 is recognised as the highest quality 2/3’’ camcorder on the market . Today, based on customer feedback and recognising a market requirement for a 35mm PL mount ‘B’ camera to the prestigious F35, Sony is unveiling an upgrade path for the SRW-9000 to 35mm to further strengthen the flexibility the camcorder can provide.
The F35 will maintain its prestige position in the camera range with further refinements delivered to customers in the future. “When Sony’s SRW-9000 launched in April. It was undoubtedly a no-compromise product that is head and shoulders above anything else available. Today’s news sees us add to the momentum and interest around the product as well as reinforce its market leadership in terms of price, media and long-term investment potential,” explained Olivier Bovis, General Manager, Content Creation Group, Sony Professional.
“While SR is already a file-based format, supporting data recording in 4k and DPX today, file-based recording continues to gain momentum and the move to non-linear acquisition is also becoming increasingly important. Therefore Sony is today committing to a future upgrade path to SR memory for the SRW-9000,” he added.
Open Workflow with MXF and SR Lite
Since its introduction, HDCAM SR has established itself as a mainstay of post production. As HD programming has become more commonplace, so has the demand for higher video bit rates, higher frame rates, and greater format flexibility as well as workflow optimisation. Across the SR range, Sony can deliver up to 1080/60P and 50P recording through the use of 880 Mb/s data rate and today introduced a next generation file transfer and storage technology. Based on the open MPEG-4 SStP (Simple Studio Profile) codec together with an MXF wrapper, which ensures data remains compressed during transfer and enables an almost real time exchange over the GB Ethernet connection. SR Lite (220Mbps*) is available to provide more flexibility for the SStP file based workflow. HDCAM SR can now deliver increased workflow efficiency with a de-facto standard and open codec that is ideal for high end broadcast production. In addition, HDCAM tape can also be integrated into the MXF SStP file-based operation as the system is backward compatible. In addition, using the benefit of SR compression the storage requirements are reduced to a quarter, so a compressed future 4k file has the same storage transfer characteristics as native 2k today. These three transfer rates of 880Mbps, 440Mbps and 220Mbps will all be available in future products, but more importantly within the current SRW-5800 with some straightforward hardware updates.
Workflow Benefits with EDL data and colour correction using CDL files
To derive the greatest benefit from a Digital Cinema camera, every HDCAM SR cassette has a Telefile label built-in as contactless memory storage. This data can be used to generate an EDL that relates exactly to the actual shooting as an automatic logging system. Currently, Sony is working with the Filmlight Truelight box as an on, or near set first pass grading system. CDL files, an industry standard, are generated and will be recorded onto SR tape. Providing an automated EDL and CDL directly to the grading suite will tremendously speed up the process of a one light grade.
Delivery of new SR memory as media of the future
Sony’s technology will enable users to move to a revolutionary and unique Nonlinear Media. The new memory cards deliver transfer rates of up to 6Gbp/s and a native acquisition from 3D 1080p all the way up to 4k. Initially available in 250GB and 500GB, the storage reliably transfers data 9x faster than any other device!
Plans to deliver an upgrade path to SR memory on the existing SRW-9000 have been announced together with a memory adapter for the F35.
“We have unveiled the media of the future,” noted Sony’s Olivier Bovis. “There is nothing else capable of this level of quality native recording anywhere on the market today. Sony has extensive experience of taking customers from tape to file-based workflow. Today, we have shown the power of a total HDCAM SR solution as well as a future-proofed roadmap that offers a path to 4K and 3D native recording. It doesn’t get any better.”
HDCAM SR Tape
The new HDCAM SR roadmap and the strong commitment to move to file base workflow will see SR tapes offer value at every point in the workflow from acquisition with the first SR tape camcorder, to archiving with further opportunities foreseen with upgrades to the SRW-5800 VTR. While acquisition is moving to file-based working over time, archive solutions will remain tape-based. Combined with the new pricing policy delivered today, SR Tape remains the most robust and reliable option for archive and with the future upgrades to the SRW-5800 it will record content at twice real time.
HDCAM SR features:
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Breathtaking HDCAM SR Picture Quality
The SRW-9000 is a one-piece HDCAM-SR camcorder that delivers full HD resolution images and employs 2/3-type IT CCD. Combining this CCD with a high-precision 14-bit A/D converter and digital signal processing, the camcorder is able to capture and reproduce stunning-quality 1080/60P and 1080/50P images with low noise and high sensitivity. Furthermore, Sony’s BP-GL Series of on-board batteries can be attached to provide an additional power supply. With its self-contained recording media (based on the HDCAM-SR format) and compact one-piece design, the SRW-9000 delivers powerful mobility and comfortable shooting – both indoors and outside.
Full-bandwidth RGB 4:4:4 Digital Image Capturing
With the addition of the optional HKSR-9003 RGB 4:4:4 Processing Board, the SRW-9000 offers a full-bandwidth digital 4:4:4 high-definition Red, Green, and Blue signal processing and output capability for highly demanding picture productions. The SRW-9000 also offers S-LOG Gamma with the same optional board, allowing users to flexibly adjust images in the post-production process.
Variable Frame Rate Image Capturing
By adding the HKSR-9002 Picture Cache Board, the SRW-9000 is capable of recording images at a variable frame rate from 1 fps to 60 fps in 4:2:2 mode. And by combining the HKSR-9002 with the HKSR-9003, it can perform the same function even in 4:4:4 mode.
Wide Choice of Viewfinders
The SRW-9000 accepts three types of viewfinder, including the HDVF-20A/200, HDVF-C35W, and HDVF-C30WR. The newly introduced HDVF-C30WR is especially suited for use with the SRW-9000, offering improved focus assist functions, a color brightness level indicator, and numerous other beneficial features. Moreover, with pre-installed viewing LUTs (look-up tables) for S-Log Gamma, this viewfinder provides users with easier focus adjustment and a more intuitive photo-shooting operation.
Versatile Gamma Settings
Including unique S-LOG Gamma (HKSR-9003), HyperGamma, and customizable gamma curve (standard).
Picture Cache Re-recording Capability
Everything captured up to a maximum of three seconds before the REC button is pressed is recorded to HDCAM-SR tape when the camcorder is in stand-by mode.
I/O Expandability
When using the HKSR-9001, additional dual-link HD-SDI outputs and an additional AUX input port are provided, allowing the camcorder to be connected with an external audio multiplexing device.
Wide Range of Accessories
The SRW-9000 is compatible with a wide range of accessories for the HDW-F900, F23, SRW-1, and ARRI.
Digital Cinema Presentation in KPCA, Kerala
Yesterday done presentation about Digital Cinema in Kerala for Kerala Producers Council Association. From Producers to directors to Cinematographer to other Technicians attend the seminar. Especially Cinematographer grilled me with existing Digital Cinema Exhibition and its unhappiness over the projection output and there were healthy discussions and debates.
I putforth my representation to Producers Association members with two points:
- Support from Producers & all other Unions for growth of Digital Cinema in India
- Insurance & Bank finance for Digital Cinema Projects include shoot & Data. The reason is a project of mine was on hold for the same above reason that one of the bank stopped the finance for the project since the project was shot digital. In other case Insurance companies are not ready to cover feature films shot digitally and for data.
You can download and watch the presentation from here