Upgrade for optical printer
will turn your optical printer into high speed 3 fps
4K 14 bits per color digital DPX film scanner
Optical printer to film scanner upgrade progress in steps.
1 removing gate from camera and installing 21 MP chip
2 Interfacing chip with control computer, capture computer and synchronizer
3 Upgrading lamp house for LED lamp house and synchronizing
4 installing chip control software
5 Installing cineform RAW capture and DPX out processing - link http://www.cineform.com/neo4k/
6 Installing configuration of first light color correction software link http://www.cineform.com/neo4k/first_light.php
7 Installing hard discs storage raids.
Upgrade system.
1- including chip, chip iterface and processor, control software, Synchronization software and hardware, Cineform raw or DPX frame data capture software, LED lamp house control and synchronization electronics
Additional options.
8 Iridas advanced Speed grade and others can be interfaced link for iridas http://www.iridas.com/speedgrade/di/
9 Digital film restoration preservation software can be interfaced ( like diamond and others )
Chip 35mm format and will slide inside of the camera replacing camera gate. Optical path of the optical printer is used for
Chip is synchronized with drive to capture RAW data and interfaced to cineform software for color correction and dpx file out.
Advantages -
PRICE
Easy instalation - sensor is assemblen on Oxbery or ACME gate plate for simple instalation.
Easy line up using X Y Z existing controls (optical printer operators are familiar with all this steps )
Superior 36mm X 24mm chip replicates 35mm frame and use of optical printer superior and sharp optics for highest resolution posible.
Use of optical printer liquid gate. Pez gate can be used for shrunken film
Raw data out can be interfaced to many third parties software.
Sensor Details
NEW Superior to CCD - - new design 3 fps. color or monochrome.
21.1 effective megapixels with 6.4μm pixel pitch, a 4-channel
data readout, and low-pass filter design. However, this second-generation
sensor offers increased sensitivity and improved noise reduction circuitry The
front side of the first low pass filter also includes a fluorine coating to help reduce dust adhesion and a dichroic mirror vapor deposition on the rear surface to reflect infrared rays.) Advanced 14-bit A/D Conversion
superior 14-bit per channel converters to process the output of the imaging sensor. In each color channel, this means there are 16,384 distinct brightness steps from the darkest to brightest tone (vs. 4,096 previously). This ensures smoother tonal transitions and more natural gradations.
RAW images are recorded at the full 14 bit, and once processed will preserve the entire range of tones
35mm full frame 36.0mm x 24.0mm 6.4µ 5616 x 3744 21.1mp ) with high quality 14-bit Analog-to-Digital (A/D) conversion.
16,384 levels per color channel in RAW
Output RAW (14-bit, per color )
Compare to Arri scann http://www.arri.de/digital_intermediate_systems/arriscan/technology.html?no_cache=1#
Adjustable pins liquid pez gate
for restoration and archival work
Interface to DPX out
Cross-Platform capture 12-bit Online Workflow Up to 4K Spatial Resolution
Optimized for digital cinema, television, and effects-heavy projects Imaging, or file-based sources such as DPX and TIF. CineForm's RGBA compression ensures the highest quality finishing for your keying and compositiing projects.
With versions for both Windows and Mac, CineForm’s Neo4K delivers a real-time 4K digital intermediate workflow that is compatible with most NLEs — including from Adobe, Apple, Avid, and Sony — enabling cross-platform compatibility for editing and effects applications that has never before existed. A CineForm workflow begins with the underlying CineForm Intermediate compression acclaimed for its high visual fidelity, and which is used routinely as the mastering format for 2D and 3D film, televison, and archive workflows. Neo4K also includes the First Light application to allow non-destructive primary color correction plus text and graphics overlays without flattening those adjustments into the underlying video layer. This is accomplished through First Light's Active Metadata™ architecture that ensures compatibility with all QuickTime and AVI applications. Neo4K also includes HD Link (Win) and ReMaster (Mac) which convert virtually all camera or file sources into CineForm files at unrestricted spatial resolution.
With Neo 4K you get:
•The Industry’s Best Compression: CineForm’s respected 12-bit CineForm 444 format exceeds the visual fidelity of the respected HDCAM SR tape format. CineForm media becomes the new master format for your file-based workflow, and are immediately ready for editorial or archive as soon as they are created. CineForm media is visually equivalent to uncompressed sources but weigh in at about 15% of the file size.
•Up to 4K spatial resolution: No projects are more visually and computationally demanding than digital cinema projects requiring substantial manipulation in post, or those destined for the big screen. The unmatched performance and visual quality of Neo4K's processing engine enhances the performance, features, and visual quality of any QuickTime or DirectShow editorial or effects application in a big way, supporting YUV, RGB(A), or RAW chroma formats up to 4K spatial resolution in real time on the timeline of your preferred NLE.
•Cross-Platform compatibility: CineForm files are compatible on both Windows and Mac with your preferred software applications from Adobe, Apple, Autodesk, Avid, Sony, and virtually any other DirectShow (AVI) or QuickTime (MOV) application. Create on one platform, share on the other, even with distributed editing workflows. CineForm provides a free decoder on both Win and Mac to easily share content — even at 4K resolution.
•First Light™: non-destructive, real-time primary color correction application for CineForm media plus text, graphics, and tools overlays. First Light works in parallel with your editing and effects software, and maintains color adjustments and overlays as Active Metadata™ with your media — all processed in real time so you never need to render, and consequently you never clip highlights. First Light color adjustments are immediately visible in any application that calls a CineForm file.
•CineForm RAW workflow: Neo4K supports 2D and 3D CineForm RAW workflows with unrestricted spatial resolution inside your preferred NLE, whether shot directly using the SI-2K camera or converted into CineForm RAW from other RAW cameras.
•DPX and RAW Format Converters: Most digital cinema Raw cameras acquire in formats unsuitable for high-performance online post-production. Source Raw formats from Red One, VR Phantom, and Arri D21 can be converted into CineForm RAW files more suitable for high-performance online editorial. Also, converters between DPX / TIF files and CineForm files are included to ensure broadest industry compatibility.
•HD Link/ReMaster: file conversion and image processing software converts most camera or file-based source formats into 10-bit CineForm Intermediate HD files while also performing valuable tasks such as telecine removal, deinterlacing, spatial resampling, and much more. Enables true 24p editing workflows from most HD sources. ReMaster on Mac also supports ProRes as a destination format.
•3D Editing: create and edit CineForm 3D files, the industry's most common 3D editorial format. Adjust convergence, camera zoom disparity, stereo color adjustment, add 3D titles and graphics overlays, and more.
Neo4K v5 adds the following features above Neo4K v4:
•support for Adobe CS5 Windows (CS5 Mac support in July)
•compatibility with Avid Media Composer v5 on Win and Mac
•(even) more editing performance for CineForm media
•3D editing features added to First Light
•2D/3D titles and graphics overlays in First Light
•Pan and scan feature in First Light
•Keyframeability of color corrections, overlays, and framing in First Light
•Tools (histogram, waveform, scopes) and metadata (timecode, etc) overlays in First Light
•command-line converter from Phantom VR cameras to CineForm RAW
advanced white balance bracketing and WB shift . WB bracketing will take 3 shots in a row, each with a different WB setting. The X-axis covers the blue/amber direction, while the Y-axis is for green and magenta. WB shift lets you use the joystick on the back of the camera to choose the exact color shift you desire. You can even do both at the same time! You can also store three sets of parameters as well. In the monochrome mode you can add tints and color correction effects by using the toning and filter features.
The distance between the microlens and photodiode has been further reduced to improve light gathering efficiency, and new color filter materials have been
added to increase light transmission while retaining accurate color reproduction. These optical
advances and technology improvements to
the sensor plus countermeasures that help
suppress noise from other interface camera circuits, are responsible for the sensor’s high signal tonoise improved dynamic range.