Thread: ACHTEL 9×7 Digital Cinema Camera: An “IMAX Mini” That Shoots 18.6K RAW

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  1. #11  
    Senior Member rand thompson's Avatar
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    Quote Originally Posted by Tom Gleeson View Post
    Rand,

    I am not intimately involved in the project but Pawel is active on CML and is in discussion with people there. As I understand the camera records the RAW stream uncompressed from the sensor which is why the bandwidth is so huge. The files I have seen are .DNG and they are way superior to those .JPGs. Check out http://achtel.com/9x7/sample.htm

    I suspect that the uncompressed path gives this machine the extra leg up over an 8K Monstro. I will add you you need to peeking pretty deep into the pixels before R3D 5:1 compression begins to show its ugly face and outside the world of Imax this extra performance would be mostly wasted. Smart and appropriate compression is your friend.

    Thanks Tom for info! I guess over time a more refined workflow for those Large Raw files will be made available.
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  2. #12  
    Senior Member rand thompson's Avatar
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    Karim and Michael,

    I also thought that for a 18.6k resolution camera that the sample stills didn't look so 18.6k-ish. But maybe I was missing something. However, the zoomed in segments from the examples did look sharp and without any pixelation.


    Phil,

    I always thought that a camera made and marketed for IMAX would be based on a much larger sensor size than APS-H.
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  3. #13  
    Moderator Phil Holland's Avatar
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    Quote Originally Posted by rand thompson View Post
    Phil,

    I always thought that a camera made and marketed for IMAX would be based on a much larger sensor size than APS-H.
    Generally you'd be correct. The two main features of 70mm 15-perf film is the format size as well as the potential resolution of the negative. Generally we scan it in at 11K for an 8K or 4K finish. 70mm cameras suffer from a bit of operation vibration despite the camera size/weight and that does have an impact on the resolving power, typically landing somewhere around 5.7K through 6.5K when taking that into account when moving the film at 24fps. If you are targeting say a 4K finish and using S16, S35, VV, 65mm 5-perf, and 70mm 15-perf resolving power and minimized grain size would be the gains as well as aesthetics tied to the format size and glass.

    The Alexa 65 and Monstro have become the defacto ideal cameras if you are pushing content to giant screens providing format and resolution that you'd want, with Helium in there hitting the resolution mark as well. Saw Venice used last year on one shoot. IMAX Dome framing is a little odd both in aspect ratio as well as optical center due to theater design. So a lot of pixels typically go unused if that's the target because of frame extraction/aspect ratio. i.e. the full width of the Alexa 65 isn't commonly used, most of the time it's the 5K extraction.

    8K delivery has been a heck of journey thus far mainly for streaming. Two date it's been the NHK/Ikegami cameras, Canon's 8K S35 option, Sony's 8K broadcast cam, and RED two 8K offerings. I haven't tested the BMD 12K yet, but that will be another one in this world. I know there are a lot of Heliums in Japan producing 8K content, if the Olympics happened this year without the Pandemic you would have seen a lot of Helium material.

    Don't know if a digital 70mm 15-perf option is the solution for the industry format and resolution-wise, but generally I favor larger pixel designs for a host of reasons based on what's currently available. The two formats with the most glass options are S35 and VistaVision/FF35. Which also means S16 has a lot of options for that matter. The industry seems to be building hard on that as that's the mass potential market.
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  4. #14  
    Senior Member rand thompson's Avatar
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    Thank you Phil for the detailed explanation and for your vast knowledge on the subject!!
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  5. #15  
    Senior Member rand thompson's Avatar
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    ACHTEL 9x7 65 Megapixel Motion Picture Camera



    By Newsshooter


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  6. #16  
    Senior Member rand thompson's Avatar
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    Here's a few graded Achtel 9x7 DNG Files



    Crop of Face





    Crop of Face





    Crop of Face





    Crop





    Crop of skyscrapers





    Crop of Motel to the right





    Crop of Face





    Crop around Eyes

    Last edited by rand thompson; 09-15-2020 at 11:02 PM.
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  7. #17  
    Senior Member rand thompson's Avatar
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    Is the ACHTEL 9×7 “IMAX Mini” Innovation or Imitation?


    BY YOSSY MENDELOVICH for Y.M.CINEMA MAGAZINE

    Article
    https://ymcinema.com/2020/09/16/is-t...-or-imitation/
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  8. #18  
    Senior Member Michael Hastings's Avatar
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    Quote Originally Posted by rand thompson View Post
    Is the ACHTEL 9×7 “IMAX Mini” Innovation or Imitation?


    BY YOSSY MENDELOVICH for Y.M.CINEMA MAGAZINE

    Article
    https://ymcinema.com/2020/09/16/is-t...-or-imitation/
    good info, thanks Rand
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  9. #19  
    Senior Member rand thompson's Avatar
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    You're welcome Michael!

    I think in the article there was never a definite decision that they were in fact the same just that the similarity was worth noting.
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  10. #20  
    Senior Member Blair S. Paulsen's Avatar
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    Graded DNGs look damn good on my 15" MBP display. Would love to see some footage on a proper screen. Exciting project!

    Cheers - #19
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