Strange "red" pixel...

Jason Rodriguez said:
A 2/3" sensor is 9.8mm x 5.6mm or something close to that.
Click to expand...

How do you figure?

1" = 25.4mm

Is the image area on a 2/3" (17mm) sensor really only 9.8mm wide?

And to chime in on the audio debate one more time:

Decent pre-amps going into a 48kHz/16bit A/D converter will be just dandy for the on-board sound. And if you can get external ASIO devices with more channels/higher res working so they're embedded in QT or easily sync-able with wav files, that would be fantastic. It sounds like you guys are right on target.

I have an 8-channel firewire device (the PreSonus Firepod) that records up to 24bit/96K, and the vast majority of the time I just record 48/16 b/c it's just easier, less of a hassle, less HD space, and I'm not targetting the 0.001% of the population that's going to care. It's absurd to think you should make your camera both a kick-ass HD camera AND an audiophile-quality multiple channel sound interface with mic pre's. Just shoot for making pro-level sound on camera with a couple channels (48/16) and make the camera WORK WITH an audiophile-quality multiple channel sound interface.... and you'll please damn near everyone but that 0.001%.

Cheers,
Kevin
 
The actual image size or active area for 2/3" format has traditionaly meant = 8.8mm x 6.6mm with the image diagonal = 11mm. The 2/3 inch (2/3” = 16.93mm) value that is used to describe the common format name stems from the days of Videcon Tubes and was used to describe the tube diameter and not the actual image size, where only the center of tube was used for best linearity.

Here is the chart for 4:3 aspect image sizes.


image_sensor_size.gif



The Silicon HD has a 5um pixel pitch at 2k wide this is 10mm wide. You can compare this with film formats:

16mm at 9.65x7.26mm
Super16 is 12.52 x 7.41mm
 
hemophilia said:
I have an 8-channel firewire device (the PreSonus Firepod) that records up to 24bit/96K, and the vast majority of the time I just record 48/16 b/c it's just easier, less of a hassle, less HD space, and I'm not targetting the 0.001% of the population that's going to care. It's absurd to think you should make your camera both a kick-ass HD camera AND an audiophile-quality multiple channel sound interface with mic pre's.

Just shoot for making pro-level sound on camera with a couple channels (48/16) and make the camera WORK WITH an audiophile-quality multiple channel sound interface.... and you'll please damn near everyone but that 0.001%.

Cheers,
Kevin
Click to expand...

We agree with you 100%!
 
Ari Presler said:
We agree with you 100%!
Click to expand...
this 100% hemophilia quote is for me Ari?..

because if yes, why Jason (your Barry) he's referring a lot about 24/96?

btw, why not 24/48? is it possible now at yours?
 
Sorry to confuse you,

Right now in our beta software, we do not have ASIO working yet.

The final 1.0 release will have 24/96 support on-board the camera for two channels of input with the Quicktime file format. The AVI file format will be limited to 16/48

Multi-channel audio (over two channels) at 24/96 will be supported in the Quicktime file format only using ASIO drivers and external USB/Firewire audio interfaces.

This way you can get 24/96 into Quicktime via the on-board camera hardware (no external devices needed), and if you're an audiophile and require more audio support, you can hook up an external device and get all the audio capabilities you need.
 
Thanks for that image size comparison Ari-- makes sense now.

So the sensor is a little smaller than I thought. It's still the size of standard 16mm, and the sample footage looks fantastic, and has plenty of shallow DOF in some shots. So I personally would not be interested in any ground-glass 35mm adaptor type thing. There still might be crazies out there that think that's the key to good sotrytelling... so but it would be a waste of your time to offer it. You SHOULD however have a flip mode to record upside-down and/or mirror images right from the start. If someone wanted to go do a ground-glass type thing, it would be very welcome. And for strange low-to-ground camera mounting configurations it would be useful. So add a flip mode, and let me know when you're ready for more features. ;)

Seriously though, Jason and Ari, the stuff looks great so far, and it's very cool that you guys are here constantly soliciting opinions on how to improve it, as well as promptly and clearly answering all of our questions. Fight the good fight.

-Kevin
 
1.) FLIP MODE - In the spec now. When do you need upside-down and/or mirror image mode?

2.) SILICON MINI has 1/4-20 threads both top and bottom to easily mount upside down

3.) For strange low-to-ground camera mounting configurations - what do you need?
 
Sounds like you have it all sorted out Ari. Good work. :)

Upside-down would be for when you're using a low-to-ground camera mount... or any goofy camera mount that would put the camera upside-down. But if there are threads on the top and bottom, it's a moot point.

Mirror-image would be for someone trying to use a ground-glass adaptor or something like that. But, like I said, I imagine those people would be few and far between with this camera. So... nevermind everything I said. Fantastic job; keep up the good work, and I'll keep spreading the word. :)

-Kevin
 
You must log in or register to reply here.
Back
Top