1. KineRAW-S8p (tm) lens test reel #A2 w/o links

    01:11

    from Dan Hudgins / Added

    15K Plays / / 56 Comments

    I am testing various lenses for use in film-making projects using the Super8 format Digital Cinema Camera called the KineRAW-S8p (tm). This camera records fully uncompressed at various Ultra-HD resolutions, this video was shot at 2592x1104x12bit@24.000fps 103MB/s to high speed SSD in the camera. The camera can dump the SSD to a notebook HDD in the camera so my setup was 60GB SSD and 500GB HDD for these lens tests. 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 letterboxed 1920x1080, that was converted into a MPEG4v2 6000kbps AVI in VirtualDub (tm) and upladed here. There is no sound on this reel, although the camera can record sync sound 48000 s/s stereo, and has an autoslate beep and 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, and for use in my own filmmaking projects. The 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 v0.04 while it was being worked on. If you have any thoughts or questions about the de-Bayer you can email me through the address at my program's web site. You can google KineRAW (tm) to read more about the camera development, I am not involved in sales of the cameras, just trying to work with them to support their and other companies DNG recroding Digital Cinema Cameras. You can google DANCAD3D to find my web site.

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    • KineRAW-S8p (tm) 2.5K lens test reel B1

      02:20

      from Dan Hudgins / Added

      17K Plays / / 49 Comments

      This is the second lens test reel, you can see #A2 also on from my video page. I am testing various lenses for use in film-making projects using the Super8 format Digital Cinema Camera called the KineRAW-S8p (tm). This camera records fully uncompressed at various Ultra-HD resolutions, this video was shot at 2592x1104x12bit@24.000fps 103MB/s to high speed SSD in the camera. The camera can dump the SSD to a notebook HDD in the camera so my setup was 60GB SSD and 500GB HDD for these lens tests. 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 letterboxed 1920x1080, that was converted into a MPEG4v2 6000kbps AVI in VirtualDub (tm) and uploaded here. There is no sound on this reel, although the camera can record sync sound 48000 s/s stereo, and has an autoslate beep and 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, and for use in my own filmmaking projects. The 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 v0.04 to v0.06 while they were being worked on. If you have any thoughts or questions about the de-Bayer you can email me through the address at my program's web site. You can google KineRAW (tm) to read more about the 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 to find my web site. If you see a white spot on the end title that seems to be a compression artifact. 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 compressed version you are viewing here.

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      • KineRAW-S8p (tm) anamorphic 2K (1828x1556) lens test reel C1

        04:46

        from Dan Hudgins / Added

        4,593 Plays / / 47 Comments

        This is the third lens test reel showing the use of a ElmoScope-II 2:1 anamorphic adapter lens with various prime C-mount lenses, you can see demo reels #A2 and #B1 also on from my video page for spherical (flat) shooting examples also for 2.35:1 wide screen shooting mode. 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 1828x1556x12bit@24.000fps 102.4MB/s to high speed SSD in the camera. 1828x1556 is the standard "2K" 35mm movie film scanner pixel resolution of the Kodak Cineon (tm) film scanner's Panavision (tm) or CinemaScope (tm) pixel resolution used for making Digital Intermediate (DI) for movies that you may have seen in movie theaters, that same 1828x1556 pixel resolution is used in the film recorder, such as made by Celco (tm) to output the scanned images back to the 35mm printing negative film stock used to make 35mm film prints for projection in movie theaters. The KineRAW-S8p (tm) prototype camera can dump the SSD to a notebook HDD in the camera so my setup was 60GB SSD and 500GB HDD for these lens tests. 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 letterboxed 1920x1080, that was converted into a MPEG4v2 6000kbps AVI in VirtualDub (tm) and uploaded here. There is stereo sound on this reel, the camera can record sync sound 48000 samples/second stereo, and has an autoslate 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), 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 v0.05 to v0.06 while they were being worked on. 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 white marks on the scrolling titles that seems to be a compression artifact. 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. The KineRAW-S8p (tm) also shoots 1920x1440 in addition to 1828x1556 and has adjustable anamorphic un-squeeze in its 1280x720 HDMI viewfinder with color look up tables for semi-accurate monitoring. Because of the need for horizontal enlargement from 1828 to 1920 to make this letter boxed demo video there are some resize artifacts. 1828x1556 is best to shoot for going 1:1 pixel to 35mm printing negatives, but if your goal is to release to DCP or Blu-ray only, it may yield better results to avoid the horizontal enlargement by using a 1.75:1 anamorphic lens (rare but can be found from time to time) and shoot using the 1920x1440 mode, that yields the same 2.35:1 aspect ratio (Panavision (tm) 'Scope) as shooting 1828x1556 with a 2:1 anamorphic lens. In fact the ElmoScope-II adapter does seem to squeeze less than 2:1 in the center when used with longer focal length lenses and some space between the adapter and the prime lens, so the squeeze ratio may be closer to 1.8:1 rather than 2:1, it may be rated for the maximum horizontal angle of view and have some anamorphic barrel distortion so its squeeze ratio may average 2:1 but be less in the center and a bit more at the sides of the frame, at any rate, minor distortion is part of anamorphic shooting so using the 1920x1440 mode to shoot with rather than the 1828x1556 may not be as much of a departure from standards as it may seem, and the end result may look better, I will have to try that if I get time later. With the projection of film prints apparently having an end point, consideration of getting the best results for re-size to 2048x858 for DCP projection in Digital Movie Theaters may weigh heaver in ones plans of the shooting format to use in making your camera frames and Digital Intermediate. I would like to thank my Brother David for his help with the making of this video, he did most of the work with the model and set construction, helped setup the lights, acted the parts, and did the off-line edit and preliminary sound mixing using Power Director 9 (tm). I finished the grading and sound mixing and did the letter boxing and sub-titles with my freeish DI system, DANCINEC.EXE (tm) and DANCAD87.EXE (tm). There are some technical issues with the image quality, due in part to the very low light levels used, and the need to shoot much of the footage at f/ 0.95 to get the lens flares that are the main reason for shooting with anamorphic lenses. If you were shooting a wide screen movie, like 2.39:1 for DCP projection, you would shoot using the 2592x1104 resolution most of the time to get better resolution and fewer resize and de-Bayer artifacts, and only shoot 1828x1556 or 1920x1440 with the anamorphic lens for effect shots where the anamorphic lens flares and distortion are needed to say 'Scope "Panavision (tm)" type feature film "look" to your audience. Although real Panavision (tm) lenses are much sharper than the ElmoScope-II adapter lens with a Schneider f/0.95 prime lens, people use nets and diffusion filters on Panavision (tm) lenses, but with the ElmoScope-II (tm) lens you don't need any diffusion since it has its own "organic" diffusion and flare effects that are richer than any diffusion filter can make because they depend on the many cylindrical lenses causing light to bounce around inside the lens, unlike "fake" anamorphic streak filters being sold now as an "alternative" to using "real" anamorphic lenses to shoot wide screen movies with. You will have to view this video from about 3x the image width on your monitor, and use at least a 1920x1080 monitor for viewing, as re-sizing the video may introduce artifacts into the images that are not there when viewed 1:1 pixel actual size, so that means that if your monitor is larger than 1920x1080 don't use the "fit screen" feature as that would scale the image larger and any time you enlarge images you make things look worse. As far as the black level and contrast go, there is a test pattern at the start of this video right after the head title card, please pause your viewer on that test chart and adjust the contrast and brightness before you view the video demo reels. You should adjust your monitor brightness to just barely be able to see the #4 rectangle with the #3 rectangle being almost as black as the black area (#0), and also adjust the monitor contrast so that you can see at least the #253 white from the #255 area, although some LCD monitors may burn out the highlights and not let you see the full range the KineRAW-S8p (tm) can capture. Some of the cameras range was pushed to the ends of the scale in the graded frames to get the contrast higher, as 12bit data needs to be graded for display on an 8 bit monitor, so keep in mind that the camera's True RAW DNG frames tend to have more tonal range than you can see in these 8bit videos. I included a section after the main edited part that shows what the camera's True RAW DNG data looks like without color correction or grading, or even un-squeeze, its dark, green, soft focus from the OLPF filter, and low in color saturation, as you will see, that shot is not "under exposed" in the normal sense of the words, Digital Cinema Cameras are exposed at -2 to -4 stops over what a video camera would be exposed at, so the True RAW images should look quite dark, not totally black as that would cause too much noise, but quite dark, the KineRAW-S8p (tm) can monitor on its HDMI output as True RAW so you can see what the sensor sees, and the built in on screen waveforms and histograms can show the sensor raw signal levels also, as well as processed waveforms and histograms using the monitoring LUT for a more "correct(ed)" video type monitoring of the signal levels as they would be in the graded images. The camera saves 3D-LUT made from the monitoring LUT for use in various workflows to get color matching to what you see on the camera's monitor. You can select 1:1 pixel 100% zoom and 200% "super zoom" as well as full frame monitoring at any time, while shooting, while in playback, and while doing setup, the 200% zoom was added after much of this footage was shot, and would have helped get the focus better if I had 200% zoom sooner, likewise the anamorphic un-squeeze came late in the shooting but gives in effect a 400% zoom when combined with the normal zoom so you can adjust the astigmatism adjustment on the anamorphic adapter better than using just the full frame view that way. A bit too late I figured out that the best way to align the anamorphic adapter to the camera horizon is to point a flashlight into the anamorphic adapter from a distance so you get horizontal flares, and then rotate the anamorphic adapter in its holder until the flares are parallel to the green guide lines on the cameras LCD monitor, that way you avoid some parallelogram distortion from not having the anamorphic adapter rotated so the cylinder lenses are vertical to the sensor columns. If you have any questions about how this anamorphic video was made watch all the way through to see the behind scenes part of the video, and then ask here by posting your questions and I will try to answer so others can see the reply as well. The small distortions in the audio seen to be over SPL on the microphone rather than a fault in the KineRAW-S8p (tm)'s recordings, I may need to move the mic a bit away next time.

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        • KineRAW-S8p (tm) handheld (1920x817) Kowa 3.5mm lens test reel D1

          02:41

          from Dan Hudgins / Added

          6,083 Plays / / 38 Comments

          This is the forth lens test reel showing the use of a Kowa 3.5mm f/2.4 HR megapixel wide angle rectilinear C-mount lens LM3NC1M with with Tiffen ND0.9 density on some shots using 1920x1440 resolution cropped to 1920x817 then letter-boxed into 1920x1080. You can also see demo reels #A2 #B1, and #C1 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. 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 1920x1440x12bit@24.000fps 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. 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 letterboxed 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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          • KineRAW-S35 (tm) G1 video 2048x1080 grading tests

            00:44

            from Dan Hudgins / Added

            15.7K Plays / / 31 Comments

            These are some grading tests processed in my "freeish" DI system from CinemaDNG (tm) frames shot the in KineRAW-S35 (tm) sample camera I am doing some calibrations with. The KineRAW-S35 (tm) also shoots Cineform (tm) I sent the Cineform (tm) to Kinefinity.com (sm) you can email them for the link to download those *.mov clips and to get the needed 3D-LUT for use in the Cineform (tm) codec tool. My uncompressed "freeish" DI system supports various cameras through various frame types, and supports 6K+ resolutions, its on my web site now for "beta-testing". My videos here are some examples of my processing uncompressed DNG frames from the KineRAW-S8p (tm) and KineRAW-S35 (tm) sample cameras to help calibrate my free de-Bayer program to their cameras, as well as making improvements that would be a help with other camera's DNG frames as well. If you would like to see some uncompressed BMP frames used to make these test videos you can email me at: tempnulbox [at] yahoo [dot] com with "Vimeo user wants uncompressed frames" ans say which video in particular you would like to see the original quality frames from by the letter and number code, i.e. A2, B1, C1, D1, E1, F1, G1 etc. You should look at the original uncompressed frames before making any serious judgement about the camera's or my software's image quality since these Vimeo videos are re-compressed from MPEG4v2 versions of the edited uncompressed frames so suffer double compression losses etc. Do not re-size the videos or frames as doing so can introduce all kinds of aliasing and degradation from the viewer or player resizing the images. Use the test pattern after the head title to adjust your monitor, if you cannot see the highlight and shadow detail in the test pattern use another computer with a better monitor for viewing. In the case of this video, the camera original 2048x1080 frames were letter boxed into 1920x1080 to show here because Vimeo supports HD resolution.

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            • KineRAW-S35 (tm) I1 2K boxed 1920x1080 full range (grade a1) "Daisies and Windmills"

              04:07

              from Dan Hudgins / Added

              2,730 Plays / / 16 Comments

              These are some grading tests processed in my "freeish" DI system from CinemaDNG (tm) frames shot the in KineRAW-S35 (tm) sample camera I am doing some calibrations with. The KineRAW-S35 (tm) also shoots Cineform (tm) I sent the Cineform (tm) to Kinefinity.com (sm) you can email them for the link to download those *.mov clips and to get the needed 3D-LUT for use in the Cineform (tm) codec tool. My uncompressed "freeish" DI system supports various cameras through various frame types, and supports 6K+ resolutions, its on my web site now for "beta-testing". My videos here are some examples of my processing uncompressed DNG frames from the KineRAW-S8p (tm) and KineRAW-S35 (tm) sample cameras to help calibrate my free de-Bayer program to their cameras, as well as making improvements that would be a help with other camera's DNG frames as well. If you would like to see some uncompressed BMP frames used to make these test videos you can email me at: tempnulbox [at] yahoo [dot] com with "Vimeo user wants uncompressed frames" ans say which video in particular you would like to see the original quality frames from by the letter and number code, i.e. A2, B1, C1, D1, E1, F1, G1, I1 etc. You should look at the original uncompressed frames before making any serious judgement about the camera's or my software's image quality since these Vimeo videos are re-compressed from MPEG4v2 versions of the edited uncompressed frames so suffer double compression losses etc. Do not re-size the videos or frames as doing so can introduce all kinds of aliasing and degradation from the viewer or player resizing the images. Use the test pattern after the head title to adjust your monitor, if you cannot see the highlight and shadow detail in the test pattern use another computer with a better monitor for viewing. In the case of this video, the camera original 2048x1080 frames were letter boxed into 1920x1080 to show here because Vimeo supports HD resolution.

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              • KineRAW-S8p (tm) F1 oversample tests reel

                01:49

                from Dan Hudgins / Added

                8,664 Plays / / 14 Comments

                This is the sixth lens and shooting resolution test reel showing the use of a Kowa 3.5mm f/2.4 HR megapixel wide angle rectilinear C-mount lens LM3NC1M and Schneider 17mm f/0.95 2/3" C-mount lenses with with Tiffen Cir. Pola. filter on some shots using 4:3, 16:9, 2:1, and 2.35:1 over sample resolutions reduced and then pillar or letter boxed into 1920x1080. You can also see demo reels #A2, #B1, #C1, and #E1 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. 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 1920x1440x12bit@24.000fps (for 4:3), 2228x1252x12bit@24,000fps (for 16:9 or for 1.85:1 on 35mm print), 2400x1200x12bit@24.000fps (for 2:1), 2592x1104x12bit@24.000fps (for 2.35:1 letter boxed or 2.39:1 on DCP or 35mm print) with data rates of about up to 103MB/s to high speed SSD in the camera (data rate varies with the resolution being recorded). These over sample resolutions are a bit larger than academy 2K 35mm movie film scanner pixel resolution width 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. Shooting CinemaDNG can give freedom to the filmmaker to process the camera's sensor data as he likes in various software and can be one of the advantages of shooting True RAW, other so called raw cameras may not let you access the original sensor data in this way and force you to use their own code thereby possibly introducing loss of some 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 v0.07. 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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                • Anti-GMO crtani film (sa prevodom)

                  09:32

                  from the sky guy / Added

                  22.2K Plays / / 8 Comments

                  Crtani film koji na zanimljiv i jednostavan način objašnjava sve što bismo trebali da znamo o GMO i industriji koja stoji iza toga. Molim vas da ovaj snimak širite što više, upoznajte najpre seljake i poljoprivrednike sa istinom o genetski modifikovanim organizmima. Ne dozvolimo da se donese zakon o prometu ili proizvodnji GMO u Srbiji! ** Kliknite na HD za bolji prikaz. ** Video možete skinuti na linku ispod ili na sledećoj adresi: http://downloadvimeo.com/#http://vimeo.com/61029552 Širite dalje! • Ukoliko ovaj klip postavljate na Youtube, navedite link ka ovoj stranici kao izvor. Hvala! • Original link: http://www.youtube.com/watch?v=hkionqWPc-Q

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                  • Moire Test

                    02:11

                    from Victor Engel / Added

                    1,110 Plays / / 3 Comments

                    I'm not really satisfied with this test. I'll probably redo it. Nevertheless, I thought I'd provide it for others who might be interested in exploring how the Canon 5D Mark II HD video is coded. Procedure: I created an image that had every 5th line white, and the rest black. I displayed this image on my Samsung XL20 oriented with the lines horizontal. I then filmed the screen with my 5D Mark II with EF 135/2 lens attached from a distance of approximately 15 feet. I adjusted the distance such that the bands in the moire pattern were close to the maximum width. I cropped and converted with Streamclip 1.2 (excellent software for doing conversions). I also shot stills from the same distance and will post the URL for one of them when I get time. If you want to study the moire, please download the original MP4 file.

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                    • EOS-M Sensor RAW Video Mode Before De-Bayering

                      00:43

                      from Max Rottersman / Added

                      1,099 Plays / / 3 Comments

                      Hopefully this video will illustrate what bayer sensor cameras actually see before de-bayering. The EOS-M dedicates each pixel to either red, green or blue. There are two green pixels for every red and blue pixel. The camera doesn't "see" 1,280 x 720 pixels of full-color information. Each pixel is one of those three colors and "borrows" the missing color information from the pixel next to it when the image/video is de-bayered. For example, a red pixel would borrow the green and blue values near it. The even rows run red, green, red, green...etc. RGRGRG. The odd rows run green, blue, green, blue...etc. or GBGBGB So the sensor sees something like this RGRGRGRG... GBGBGBGB... RGRGRGRG... GBGBGBGB... You can see this clearly in the blow up of the center 85 x 45 pixels.

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