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    Aaton Offers A True Film

    Uploaded by

    Moji Piyapong

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    Attribution Non-Commercial (BY-NC)
    Download as DOC, PDF, TXT or read online from Scribd

    Aaton Offers A True Film

    Uploaded by

    Moji Piyapong
    20 views3 pages

    Original Title

    Aaton Offers a True Film

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    © Attribution Non-Commercial (BY-NC)

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    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as DOC, PDF, TXT or read online from Scribd
    Download as doc, pdf, or txt
    20 views3 pages

    Aaton Offers A True Film

    Uploaded by

    Moji Piyapong

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as DOC, PDF, TXT or read online from Scribd
    Download as doc, pdf, or txt
    of 3

    Aaton offers a true film/digital camera

    ... onboard recording uncompressed 4K ... of raw

    Below are Aaton's first images of its new digital camera, the Penelope-. (The triangle is the capital Greek letter delta). The Penelope-Delta system will use a digital magazine that adapts to the existing Penelope 35mm film camera, thus enabling the same camera front with lens and optical viewfinder to be used to shoot either 35 mm or digital. A true hybrid camera combining classic and new technologies.

    Aaton has released a brochure and leaflet (see sidebar) detailing key features, including: 7.5 kilos (16.5 pounds) total weight including batteries custom Dalsa CCD 13 stops dynamic range "dual sensitivity sensor" allowing for "basic sensitivity" of 800 ISO to be reduced to 100 ISO "very low noise at 3200 ISO equivalent" onboard recording of uncompressed raw at "4K+" on removable SSD (Solid State Drive) "DeltaPak" onboard recording of compressed dailies in Avid DNxHD format on removable SDHC cards switchable from film to digital "in less than half an hour"

    Penelope-

    Penelope Delta's choice of a Bayer pattern CCD distinguishes it from Arri and Red (Bayer CMOS) and from the Panavision Genesis and Sony F35 (RGB CCD). Practically speaking, it will be interesting to compare the different cameras' dynamic range, noise levels and rolling shutter effect. Aaton is claiming very low noise, even at 3200 ISO, with high gain. The Aaton CCD is built by Dalsa. In terms of latitude, Aaton, Arri and Red are all promising 13 stops or more. Penelope-'s announced dual sensitivity of 800 and 100 ISO addresses a practical problem of many cinematographers who must use ND filters and close down the iris when shooting outside, dimming the optical viewfinder. There is no information however as to how this sensitivity reduction is achieved. The Penelope-Delta will simultaneously record two file formats onboard in the digital magazine: uncompressed RAW at up to 800 MB/second in a DPX wrapper, and compressed dailies in Avid's DNxHD format, in the low-res 36MB/sec flavor, or in higher quality 10 bit. Both the Penelope- and the Alexa will offer compressed dailies ready for editing in the camera. This is a brilliant idea, and a big time-saver: just copy the files on to the edit system, and you can start editing. The only sticking point is to ensure real compatibility of DNxHD (Aaton & Avid) or ProRes (Arri & Final Cut Pro) with the other editing system. We should add that some filmmakers may opt to use the compressed footage as their "master" (for HD and TV finish in particular). Aaton is known for its handheld ergonomics, and the Penelope Delta promises to continue the tradition of "the cat on the shoulder", with a fast start-up time of 4 seconds that is important for documentary work. The Penelope- will be a self-contained Raw recording unit. There should be no need for an external or add-on Raw recording device, as both the uncompressed Raw signal and the compressed dailies are recorded in the mag. The Raw signal is announced to be in a DPX wrapper, although details are still vague as to what workflow that entails, presumably it involves deBayering, and the DeltaPak is said to be "Codex Lab compatible". There is also no precise pixel count given for the image, just that the Penelope Delta will be 4K or more -- like the Epic. The Alexa, by contrast, is designed for a 2K output, a resolution similar to the Genesis and F35. 4k versus 2K is one of the fundamental distinctions

    when looking at the imaging possibilities of 2010. 2K proponents argue that the quality is equivalent to current film standards, and of course that it uses less bandwidth and storage, with the added advantage of facilitating latitude and sensibility. 4K proponents argue that more resolution means added finesse now, and also helps to future-proof images, adding that the technology will rapidly evolve to handle the increased speed and space required. A similar divide exists between proponents of uncompressed versus compressed digital "negatives".

    Aaton's latest description of the Penelope-Delta: "Handheld intimacy, bright mirror reflex viewfinder, under 4sec boot-up from zero power to REC-ready, three to six hour autonomy from onboard batteries, 800 and 100 ISO, 13 stops dynamic range, 4K RAW DPX i n t e r n a l recorder on 4xSSD Deltapack, no external recorder (Lbs/kg & K$/) needed, simultaneous recording of DNxHD36 (or higher res. @10bit) on SD card for immediate editorial availability...

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