This is the fifth lens test reel showing the use of a Kowa 3.5mm f/2.4 HR megapixel wide angle rectilinear C-mount lens LM3NC1M, Schneider 8mm f/1.4 2/3" C-mount and Schneider 17mm f/0.95 2/3" C-mount lenses with with Tiffen Cir. Pola. filter on some shots using 1920x1440 resolution reduced to to 1440x1080 then pillar-boxed into 1920x1080. You can also see demo reels #A2, #B1, #C1, and #F1 etc. on my video page for anamorphic (Scope) and spherical (flat) shooting examples also for 2.35:1 wide screen shooting modes at 1828x1556 and 2592x1104 pixels resolution as well as 4:3, 16:9, 2:1, and 2.35:1 over sample ratio comparison. I am testing various lenses for use in film-making projects using the Super8 format Digital Cinema Camera called the KineRAW-S8p (tm) made in Beijing China. This camera records fully uncompressed at various cinema aspect ratios and resolutions, this video was shot at firstname.lastname@example.org 99.5MB/s to high speed SSD in the camera (data rate varies with the resolution being recorded). 1920x1440 is the standard TV 4:3 aspect ratio a bit larger than academy 2K 35mm movie film scanner pixel resolution of the Kodak Cineon (tm) film scanner (1828x1332) pixel resolution used for making Digital Intermediate (DI) for movies like what you may have seen in movie theaters. In his case special processing of the camera's True RAW DNG frames was applied so that the normal data losses from color processing for white balance were omitted to obtain the best dynamic range for black and white film-making. This sort of freedom in the filmmaker can process the camera's sensor data is one of the advantages in shooting True RAW, other so called raw cameras may not let you access the original sensor data in this way and force you to convert color images to black and white thereby possibly introducing loss of the original sensor data. The KineRAW-S8p (tm) prototype camera has two drive slots and can dump the SSD used for frame recording to a notebook HDD in the camera (for backup or to erase and re-use the SSD) so my setup was 60GB SSD and 500GB HDD for these lens test reels. The camera can take C mount, CS mount, and D mount (regular 8mm) lenses. The image area varies with the resolution mode, some modes are about Super8 size so C mount lenses made for Super8 cameras may be used. the frames were processed in a free program called DANCINEC.EXE (tm) that is on my web site for download and "beta-testing". The workflow was DNG to TIF, the TIF were edited in my 'freeish' DI/NLE/CC/MIX software DANCAD87.EXE (tm) and output as BMP frame set pillar-boxed 1920x1080, that was converted into a MPEG4v2 6000kbps AVI in VirtualDub (tm) and uploaded here. There is no stereo sound on this reel (see reel C1 for an example of sync sound shot with the KineRAW-S8p (tm)), but the camera can record sync sound 48000 samples/second stereo, and has an auto-slate beep, slate information stored in each DNG frame's meta-data, and Date+TOD plus SMPTE TIME CODE for sync with an external sound recorder or SMPTE slate etc. The camera used is a pre-production prototype that I am testing for use with my free de-Bayer software I am developing for use with CinemaDNG recording uncompressed Digital Cinema Cameras like Aaton (tm), Acam dII (tm), SI-2K (tm), Kinor-2K (tm), digital Bolex (tm), Blackmagic Design Cinema Camera (tm), KineRAW-S35 (tm) (in second prototype in house testing now in China), planed KineRAW-S16 (tm), planed KineRAW-S8 (tm) (production model of the camera being tested here) and for use in my own filmmaking projects. The KineRAW-S8 (tm) production cameras may be somewhat different from this test camera and I may be able to improve the results that my de-Bayer program produces as I am still experimenting with various filter adjustments and code developments. This was processed mostly with v0.06. If you have any thoughts or questions about the de-Bayer processing you can email me through the address at my program's web site. You can google Kinefinity (tm)'s KineRAW (tm) cameras to read more about their camera development, I am not involved in sales of the cameras, just trying to work with them to support their and other companies DNG recording Digital Cinema Cameras. You can google DANCAD3D (tm) to find my web site. If you see some 'ghost' marks on moving image parts that seems to be a compression artifact (?) from the making of a compressed video to upload here rather than in the original camera data. I will probably have some uncompressed frames from this video to email back if you are interested in seeing how the images would look on a 35mm film transfer or to be used as a source for Blu-ray or DCP for projection in a digital movie theater. The Camera shots 100% uncompressed, so there are can be some losses or banding and noise differences in the double compressed version you are viewing here.
Its best to view this video from 3x the image width so if you have a 36" monitor you should be about 9 to 12 feet away from the monitor to get the same angle of view that you would have in an art-house movie theater maybe. The playback should be 1:1 pixel so that requires a monitor that is 1920x1080 or larger and don't use fit to screen as that will re-size the image and introduce aliasing and re-size artifacts. If your monitor is smaller than 1920x1080 set the player to 50% or half size image so you see it 960x540 so the resize is an exact half size, you may see some added aliasing that way but the blur from odd ratio resize should be avoided, maybe.
If you would like to see some uncompressed frames used to make these videos you can email me directly or message me through Vimeo with your email to send the frames to in your message. Put "uncompressed frame request" in your message or email subject line, thank you.
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