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New James Bond Movie - 8x DALSA 4K Cameras


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#1 Illya Friedman

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Posted 25 March 2008 - 11:33 AM

Hello all,

This story appeared in the Hollywood Reporter yesterday.

http://www.hollywood...b8bc80e760240b1

I hear that the sequence looks absolutely AMAZING!

I.

Illya Friedman
DALSA
Digital Cinema Division
www.dalsa.com/dc
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#2 tylerhawes

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Posted 25 March 2008 - 01:29 PM

I'm glad to see some big projects using the Origin. Ever since the ASC comparison test last year, I've thought the Origin had the best overall image of the digital cinema cameras. Being able to grade RAW is now unlocking the full potential in post, too.
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#3 Mike Brennan

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Posted 25 March 2008 - 01:49 PM

I'm glad to see some big projects using the Origin. Ever since the ASC comparison test last year, I've thought the Origin had the best overall image of the digital cinema cameras. Being able to grade RAW is now unlocking the full potential in post, too.



Here here!

14bit A/D from the Origin CCD is superior to 12bit A/D
16bit A/D to match 16bit Origin output would be better!





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#4 Illya Friedman

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Posted 25 March 2008 - 08:07 PM

Some cool big new things we can announce pretty soon (and some little ones) too. :D

I.

Illya Friedman
DALSA
Digital Cinema Division
www.dalsa.com/dc
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#5 Kevin Zanit

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Posted 25 March 2008 - 08:51 PM

Very cool, I didn't let the cat out of the bag ;)

Very impressed with the things Dalsa are up to these days.

Illya, got your email btw, I'll look into it.

Kevin Zanit
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#6 Phil Rhodes

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Posted 25 March 2008 - 10:52 PM

> 14bit A/D from the Origin CCD is superior to 12bit A/D
> 16bit A/D to match 16bit Origin output would be better!

One least-significant of 16bits -96dB.

If you think any current sensor has a noisefloor that low I will join you in encouraging people to use higher bit depth A/Ds.

Until that becomes possible we may as well stick to ten, and stop fooling ourselves that error diffusion by random noise is actually worth spending a lot of time and trouble recording at source when it can be just as easily reapplied later.

P
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#7 tylerhawes

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Posted 25 March 2008 - 11:51 PM

Until that becomes possible we may as well stick to ten, and stop fooling ourselves that error diffusion by random noise is actually worth spending a lot of time and trouble recording at source when it can be just as easily reapplied later.

How about 12 bits then. 16 might be a waste, but I think we can go to 12 and still be getting useful information.
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#8 Bill Totolo

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Posted 27 March 2008 - 09:18 AM

Hello all,

This story appeared in the Hollywood Reporter yesterday.

http://www.hollywood...b8bc80e760240b1

I hear that the sequence looks absolutely AMAZING!

I.

Illya Friedman
DALSA
Digital Cinema Division
www.dalsa.com/dc


Congratulations Illya and the Dalsa family.
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#9 Brian Drysdale

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Posted 27 March 2008 - 05:57 PM

Using uncompressed RAW was mentioned in some reports on the Bond shoot. Is this an option on Codex digital disks? I'm Just asking because I read that it used JPEG 2000.
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#10 Stuart Brereton

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Posted 27 March 2008 - 06:06 PM

One least-significant of 16bits -96dB.

If you think any current sensor has a noisefloor that low I will join you in encouraging people to use higher bit depth A/Ds.

Until that becomes possible we may as well stick to ten, and stop fooling ourselves that error diffusion by random noise is actually worth spending a lot of time and trouble recording at source when it can be just as easily reapplied later.

P


How I wish that I knew what any of that meant. ;)
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#11 Brian Drysdale

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Posted 27 March 2008 - 06:36 PM

How I wish that I knew what any of that meant. ;)


I think he's talking about film grain.
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#12 Nate Downes

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Posted 27 March 2008 - 08:33 PM

How about 12 bits then. 16 might be a waste, but I think we can go to 12 and still be getting useful information.

I deal with a 20-bit ADC system off of a CCD and find it still inadequate to capture the full range.
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#13 tylerhawes

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Posted 28 March 2008 - 01:05 AM

Using uncompressed RAW was mentioned in some reports on the Bond shoot. Is this an option on Codex digital disks? I'm Just asking because I read that it used JPEG 2000.


I'm going to go out on a limb here and reply, since I don't know the answer to this specifically with Codex. However, even if it is JPEG2000 compressed, it is still the RAW image, uninterpreted and unprocessed (except the compression), so you should still be able to debayer as usual, only the source is not as good as uncompressed. This is what RED does, since from what I understand of REDCODE it is essentially their proprietary adaptation of JPEG2000.
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#14 Robert Houllahan

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Posted 28 March 2008 - 01:17 AM

I had a Baselight-4 loaded with allot of demo footage for three months, I thought the 4K northlight scans looked best but all the Origin demo footage was really impressive, the only real 35mil alternative I thought too bad no nice grain...

-Rob-
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#15 Illya Friedman

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Posted 31 March 2008 - 03:24 PM

I just saw the teaser poster for the movie, and figured I'd share it...

I.

Illya Friedman
DALSA
Digital Cinema Division
www.dalsa.com/dc

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#16 Illya Friedman

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Posted 18 June 2008 - 07:13 PM

Hello all,

I just happened to find this picture on the "broadcast buyer" website. It's from the set of James Bond. Each Codex recorder in this picture is connected to a DALSA camera.

Posted Image




I.

Illya Friedman
DALSA
Digital Cinema Division
Woodland Hills, CA
www.dalsa.com/dc
Visit us at CINE GEAR EXPO this FRIDAY and SATURDAY (6/20 & 6/21)
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#17 Paul Bruening

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Posted 18 June 2008 - 07:49 PM

I'm so ignorant of how Dalsa works that it is pitiful. Someone explain to me how one of those units plus the camera head works. Are those the units that the cam downloads to between scenes or are these part of the live data stream?
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#18 Andrew McCarrick

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Posted 19 June 2008 - 06:11 AM

I'm so ignorant of how Dalsa works that it is pitiful. Someone explain to me how one of those units plus the camera head works. Are those the units that the cam downloads to between scenes or are these part of the live data stream?


The camera outputs 4k DPX files via fiber optic cables to the Codex Digital (or S.TWO) Digital recorder... where it is stored and also converted to HD for previewing (via HD-SDI out) purposes.
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Metropolis Post

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Abel Cine

Ritter Battery

Rig Wheels Passport

Pro 8mm

Paralinx LLC

CineTape

Tai Audio

Aerial Filmworks

The Slider

Media Blackout - Custom Cables and AKS