Thread: IMAX Launches “Filmed In IMAX” Program – Welcomes ARRI, RED, Panavision, and Sony

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  1. #11  
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    People buying an 8k tv (8K Ultra HD 7,680 x 4,320) are looking forward to see IMAX titles shot with a 4448 x 3096 Bayer-pixel sensor. This sensor must have the same magic as the achtel 9x7 (ACHTEL 9×7 camera uses an APS-H sized 4:3 BSI (Back-Side Illuminated) sensor with a native resolution of 65MP (9,344 x 7,000 pixels). According to Pawel Achtel ACS, thanks to the superior pixel design and uncompressed format, the 9.3K RAW footage can be debayered to 18K (18,688 x 14,000 pixels – 260 MP) footage.)

    https://www.cined.com/9-3k-for-150k-...cinema-camera/

    We still need twice the bayer pixels (1.41^2) and some claim that 1.25^2 is enough to get a perfect demosaic, it's a good thing nobody is testing and evaluating these claims(well slashcam does...).
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  2. #12  
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    Quote Originally Posted by Misha Engel View Post
    it's a good thing nobody is testing and evaluating these claims(well slashcam does...).
    A good zone plate tells all you need to know on the resolving power side of things. And with smaller pixel pitch designs diffraction both helps and hinders on several fronts. I've tested most cameras this past decade that land in the cinema arena and I know for sure I'm not the only one.

    The only company that promotes triple the physical pixel resolution, in which case I still don't agree with the marketing, to date has been Sigma utilizing the Foveon sensor which is an RGB layered approach rather than normal or abnormal Bayer CFA. Sigma was working on a full frame sensor some time ago to release after the fp1, but something seems to have delayed that. I like the Foveon technology a lot. The only downside in my experience is the sensors themselves wouldn't be super great for high ISO low light work, which I think in these modern times might be a fine approach.

    Sony's F65 also marketed 8K, but it was a rather dubious mixed marketing message as the sensor was about 5.7K if I recall correctly. I guarantee their 8K camera will be at least 8K pixel resolution/number of photos sites or pitchforks will be thrown their way.

    Generally BSI sensors are very good at low light, but the night samples do have some strong CMOS smearing and banding. Some of this is fixable on the image processing side of things. I suspect that's where the biggest gains are to be had here. That and creating an OLPF, CSF, and sensor calibration to accompany it, but the resolution hit will be certainly apparent.

    This particular sensor debayering intelligently or whatever scaling to 18K is upscaling a bunch from the 9.3K image, a 4X upscale no less. I'd be very curious, even with added grain or uncompressed data as to how that fairs. In this case somewhat of reverse pixel binned technique for the upscale.

    You can also go about it via super resolution techniques given the frame rates this system offers, that is where some potential lands here for higher resolving content off the sensor. But also not exactly ideal.

    Pawel's camera does have one nice appeal towards dome IMAX productions and that is the sensor's aspect ratio. Most of the world is 16:9 driven. IMAX dome is 1.43:1 truly, but many of the other theaters are straight DCI 1.9:1, or what many now call 17:9. And of course you can put what you want in those containers like 2.39:1 or whatever. Streaming has actually opening up a larger playing field for 2:1 and 2.2:1 in particular.

    Generally the message from studios, theaters, and well nearly every professional entity is you ideally have a camera that captures at delivery resolution or oversamples. Depending on post production workflow there are a lot of variables from there.
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