NEW SONY CINEALTA in works

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tonacidigital

Well-known member
Too little too late? Well, the answer will come when there will be a RED VS CINEALTA matchup at next year's NAB.

info below:
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http://www.studiodaily.com/main/news/6463.html

Sony’s Next High-End CineAlta Will Support Variable Frame Rates
Looks and Feels More Like a 35mm Camera
By Bryant Frazer
April 26, 2006 Source: Film & Video
Sony brought a surprise guest to NAB this year – an engineering prototype of a new RGB 4:4:4 multi-frame-rate camera. Addressing the long-standing complaints from film cinematographers about the look and feel of Sony’s high-end HDCAMs, the company has started from scratch with a new CineAlta design that resembles a 35mm film camera, but the differences go beyond the cosmetic. This camera will shoot 1080p video at from 1 fps to 30 fps in 4:4:4 mode and up to 60 fps in 4:2:2 mode (a limitation officials say owes to the lack of a suitable interface to pull that much data off the camera that quickly).



It records to an SRW1 mounted on the camera’s top or back, or via a dual-link tether to keep the camera’s weight at a minimum. The variable frame rates are achieved by adjusting the actual speed of the SRW1 recorder during acquisition; when the tape is played back at nominal speed the desired undercrank or overcrank effect is apparent.

The camera uses a 2/3-inch CCD with a 1920x1080 resolution and boasts a 14-bit A-to-D converter for extra dynamic range. In response to feedback from cinematographers, Sony added brackets to the camera body that can hold Arriflex-compatible accessories (powered, if necessary, by 12V and 24V sources on the camera) and developed a more ruggedized B4 lens mount to withstand lots of lens-switching.

Shown in a (mostly) functioning version at a whisper suite just off the show floor, the new camera has been in development for just less than a year. Sony officials say it should be delivered in time for next year’s NAB.
 
The Sony imager is the heart and soul of the Genesis. Even utilizes the same SWRHD1 "digital" mag. It is a wireless hard interface, so it should be upgradable to solid state for generation two.

Look and sound familiar? Sony and Panavision might've pulled a full-on War of the Roses in glorious 1080p when they got hitched prematurely some years ago. Now, Panavision has control of their destiny again (as much as they ever do) with the Sony at the heart of their 4:4:4 variable frame rate camera.

genesis3.jpg


If it walks like a Genesis, quacks like a Genesis... then it might well be a
Genesis. Get a room for crying out loud!

e
 
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The variable frame rates are achieved by adjusting the actual speed of the SRW1 recorder during acquisition; when the tape is played back at nominal speed the desired undercrank or overcrank effect is apparent.
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Interesting feature, but I think it plays into the hands of the older heads (should say more experienced) who have shot mostly on film. Truth of the matter is; for me at the low end of the scale to have the opportunity to use this camera would have me excited beyond belief.
 
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Gopher_Greene said:
If red produces acceptable quality pictures this won't stand a chance.
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Just not true.

Between the Genesis (which this appears to be like Overland stated) and Arri's D20..the big budget feature film community have their cameras of choice.

The DP's trust the names, the support, and the fact the camera is very close to their original and beloved film cameras.

And the same goes double for all the AC's who can still their old and trusted AKS with the cameras.

RED is aimed at the medium to low budget shooter. Though it may act a supplement such as a handheld or steadicam camera in addition to a larger A camera.
 
I can promise you the DP's I know if the camera performs will switch in a heartbeat, especially when the producers see how much cheaper it'll be.
 
Gopher_Greene said:
I can promise you the DP's I know if the camera performs will switch in a heartbeat, especially when the producers see how much cheaper it'll be.
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And what are the budgets of the films the DPs you know shoot?

Because like I said...big budget. The top dog names are always going to mainly shoot on film for starters, and if/when they do go digital I will bet you money the A camera will have a Panavision or Arri logo on the side.

Like I said...if RED is a viable camera, it will may see the light of day on big budget films as a steadicam rig, or handheld.
 
I work low budget features, up to @ 3mil mainly. Straight to DVD for the most part. Red will not be a replacement for film unless it really has dynamic range never seen before from a video camera. But for the varicam or cinealt, the red will blow them away provided the picture quality is there.
 
Gopher_Greene said:
I work low budget features, up to @ 3mil mainly. Straight to DVD for the most part. Red will not be a replacement for film unless it really has dynamic range never seen before from a video camera. But for the varicam or ci.nealt, the red will blow them away provided the picture quality is there.
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Bingo...exactly what I said.

1) Cinealta is NOT a camera. I've said it before I'll say it again...NOT a camera. Cinealta refers to Sony's HD system.

2) The camera in that picture is a Sony badged Panavison Genesis...which of course was designed in partnership with Sony.

I would have a hard time believing its anything else. And RED will have a hard time touching the Genesis or the D20 in the big budget world.

3) RED has a lot to prove. Sure it sounds great on paper...has the cool look you've come to know from Oakley...but it has to prove itself. And picture quality is only a small part of the overall "picture." I hope it lives up to the hype. But until then I am skeptical of it.
 
I know the movie industry loves spending big bucks but seriously, that deck is 100K that body will be 100K that lens is 15K plus accs. and your talkin' a 1/4 of a million dollars.
For a 2/3" 1080P HD camera. I'm sorry but that's just a little 2003 for me. Even if it does finally look like a 435.
 
skepticism is good, so is competition. I hope red comes through, the proof will be in the pictures. Until then we wait and shoot today with the cameras we have today.
 
evinsky said:
I know the movie industry loves spending big bucks but seriously, that deck is 100K that body will be 100K that lens is 15K plus accs. and your talkin' a 1/4 of a million dollars.
For a 2/3" 1080P HD camera. I'm sorry but that's just a little 2003 for me. Even if it does finally look like a 435.
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The camera is modeled to look like a Panaflex ;)

Reading those specs...TV production is where it will end up.

But..I've lost all faith in Sony. And this camera is too 2003 as you say. I was just going off the picture alone...After reading your quote I checked out the specs...Too little too late from Sony.
 
Crazy

Crazy

If you think Sony will just roll over and die, you guys are sadly mistaken. First of all, I agree with the guy who said DPs won't switch over so easily. It took a while for veteran DPs to switch to HD in the first place. Now you're asking them to switch to an untested company. I don't care that RED is founded by the founder of Oakley. The two companies have nothing in common except lenses. It's like saying I'll buy a car created by Bill Gates. Oh, but Microsoft software runs the electrical on the car, so it must be good.

Second, RED doesn't even have a prototype yet. After the prototype, there's gonna be months of testing. How can you possibly expect this cam by the end of this year?

Third, this camera will at least be in the 100k dollars range. If you believe Jim when he says it will be cheap, have you ever bought a pair of Oakleys lately? Jim sells quality and he'll stick to that.

Flame on!
 
The Sony version uses a different sensor which is only 2/3" w/a B4 mount.

How the camera compares to the Genesis remains to be seen; probably quite similar to an F950 with variable frame rates. The fact that any/every rental house can purchase the camera will make things interesting, if it proves to be very close in quality.

I.
 
This camera is really too little too late. It has been demanded by the industry for at least three years and finally they now roll it out. With the price tag and supposed availability in a year, that's a long way down the road. Perhaps by then it will be a little less money.

This camera is designed for feature work -not TV. While TV will in all likelihood adopt it as a matter of course, this will definitely be a feature camera.
 
menchifus said:
If you think Sony will just roll over and die, you guys are sadly mistaken. First of all, I agree with the guy who said DPs won't switch over so easily. It took a while for veteran DPs to switch to HD in the first place. Now you're asking them to switch to an untested company. I don't care that RED is founded by the founder of Oakley. The two companies have nothing in common except lenses. It's like saying I'll buy a car created by Bill Gates. Oh, but Microsoft software runs the electrical on the car, so it must be good.
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What business did SONY have going into a videogame market dominated by Nintendo and Sega? Sony's playstation sales annhilated Sega (as a result of poor sales even stopped hardware production..RIP DREAMCAST) and Nintendo's gamecube and N64. Sony did it with their playstation. Apple's IPOD vs Sony WALKMAN? Back when the walkman was the big deal.. who would of thought back then that APPLE (a computer company) would ever dominate the mp3 market? Fast forward into the future...who would have thought an EYEGLASS company could dominate the HD digital cinema industry? History has shown that GIANTS can be outdone.

Second, RED doesn't even have a prototype yet. !
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Yes they do. They have been testing this camera already.

How can you possibly expect this cam by the end of this year?!
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The HVX200 was only a proto at last year's NAB. I can possibly expect it.

Third, this camera will at least be in the 100k dollars range. If you believe Jim when he says it will be cheap, have you ever bought a pair of Oakleys lately?
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17,500 is the price so reserve one now.

Jim sells quality and he'll stick to that.!
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At least we agree on something.



http://www.red.com
 
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