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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

NAB Show Rumors

Convergent Designs OLED 7" monitor/Recorder that records RAW and other REC 709 formats for $1295.00 MSRP.

http://www.dvinfo.net/forum/digital...ntroducing-odyssey7-7q-convergent-design.html

Just read C.D. has gone further for $2295 they've added"

Now, due to hundreds of requests, we are announcing the price of the Odyssey7Q: $2295 (US).

The Odyssey7Q adds the following important features:

• Ability to monitor four separate video streams simultaneously.

• Ability to record, with an extra cost feature, four separate video steams (cameras), simultaneously, to a compressed codec (initially Avid DNxHD) up to 30 fps for each.

• Ability to playback simultaneously, four separate video streams, recorded in a compressed codec.

• Ability to record, with extra cost options, ARRIRAW or Canon Cinema Raw, plus a Proxy file,
with the same filename, same timecode, same starting and ending points, to Avid DNxHD-36 simultaneously. The added computational ability of the Odyssey7Q supports this important feature. Avid DNxHD-36 is the industry standard for offline (Proxy) recording.

• Ability to display various image analysis tools in four separate quadrants.
This may or may not be a feature of the Odyssey7 also; this is “to be determined”.
In the Odyssey7, image analysis tools, such as Waveform Monitor may be displayed in either
full screen or as a Picture in Picture (PIP) overlay.

• Ability to record 4K, via four separate HD-SDI single-link camera outputs, which some 4K cameras provide, such as the Sony F55.

• Ability to output to true 4K Monitors, via four separate HD-SDI single-link outputs,
which is the industry standard for 4K Monitoring.

The Odyssey7Q supports up to four HD-SDI 3G Inputs and two HD-SDI 3G outputs or
up to two HD-SDI 3G inputs and four HD-SDI 3G outputs.

The Odyssey7Q adds two bi-directional HD-SDI 3G connectors to the 2 inputs and 2 outputs of the Odyssey7. Both models have HDMI input and HDMI output.

• Ability to support high frame rates, up to 120 fps in both compressed codecs
and full uncompressed.
(The Odyssey7 supports up to 120 fps in full uncompressed only, not in compressed.)

• The Odyssey7Q will also support recording, with an extra cost feature, up to 240 fps,
from certain cameras in specific modes, such as HD or 2K.

Stay tuned for further important announcements.

• The Odyssey7Q has a built-in Four-Channel Live Switcher.
 
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Peter Proniewicz-Brooks said:
Not quite accurate, the original suppliers are in place pretty much they've just with BMs assistance put in place a QC testing regime suited to BMs requirements for the sensor rather than its original purpose.
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Not what I read. Nofilmschool publishes articles interviews and quotes on it. I think it was the cover glass supplier or applicator that got changed by the sensor manufacturer, not a bmd supplier. It is such a shame, because except for a few quibbles it could have been a great product at that price, what scarlet 2/3rd could have been, except it was outdated and should have been 4kp50, and the fact that hero 3 black edition etc will do 2.7k. It needs to be cheaper now for what is coming.

I know a few people in the industry, I think someone took me seriously when I suggested a cinema camera like a Sharp Viewcam years ago. ;)

Can the bmd lowpass free image issues be solved. People talk about the need for a low pass filter to get rid of aliasing, but why? If you look at it, it just spreads light to cover gaps between pixels, and Bayer colors etc, except the details missed in those spaces that gets spread into visible pixels by the filter, could not software do the same thing in post?

Some people go as far as to suggest the need for low pass on sensors with nearly 100% fillfactor like modern foveon.

So, an idea, could you not get away with a low pass filter designed just to spread the details in the inter pixel pad gaps, the software interpolate as needed. Would that yield higher test resolution? I know Grahame may be by.

It is also confusing, why you could not just defocus the lens a little to get the same effect, as I suggested around 8 years ago.
 
william howell said:
I actually love alot of kubrick's work... i was just trying to think of something funny to type...

I have ALOT of nervous energy awaiting NAB this year.... we're waiting to pull the trigger on purchasing a red epic till we know what red is going to announce/release... and the wait is literally killing me.
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Wait! I look at what can be, should be, and likely could be done for years, and the potential moves could be staggering.

Since I've been getting better, I'm also getting good as picking the murders in the first five or so minutes of Sherlock Home shows. One thing I can tell you belatedly after April 1st about this situation, is that Jim did it. ;).
 
You need a low-pass filter to soften high frequency detail without affecting everything else, unlike a diffusion filter or a blurry lens.

The moire and twitter are much more distracting on a moving image than on a still one and involves much more processing to reduce, it's simpler to do it before it gets recorded. Of course, the amount of moire you see is content related but real life is full of details that like to moire. That one BMC test shot in Mexico or South America that I saw online even showed moire in the feather pattern of a close-up of a pelican, not to mention every rail on every balcony that went by the camera. I can't imagine how distracting that would be on a large screen.
 
Ryan Sauve said:
Plus... when Lytro came out, didn't Jim mention something like "we're working on something similar/better"? I thought I recall him saying something like that. Game changer? Game over if that's it!
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Yeah, he was saying something, but so long ago, maybe this was one of the failings he mentioned, over reaching? It is still doable, but you have to talk with the right people to get it done quickly. I planned the same thing for my own camera, and told him only the things in public knowledge, or I was not going to use. If he is going holo, then that is more than a firmware upgrade and adaptor, to get the resolution, Sony is looking at 16k plus cameras for that.
 
Here it is from 3am on October 23, 2011...

Jannard said:
One thing I will say is that we are working on multiple focus and depth map (think Lytros) but with wicked high resolution... The prototype is incredible. Don't tell Gizmodo or Engadget. :-)

Jim
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A year and a half is not a lot of time to come up with this kind of tech but who knows, the RED machine is a pretty motivated bunch. And it seems that they were playing with a prototype at the time so they had already been working on it for who knows how long.

Here's a link to the post: http://www.reduser.net/forum/showthread.php?65086-I-want-to-tell-you#15

Then he goes on to say:

Jannard said:
Multiple focus and depth map in a high resolution camera is the least important of what we are working on.

Jim
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Then Jarred adds:


Jarred Land said:
Lytro is great. Lots of Fun. What they are doing is definitely cool, But in all reality their product is not really meant for anyone over 12 years old. We took a different route, and figured out how to do it without all the massive compromises.
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I don't see Jim & Co. turning down an opportunity to flip the industry on its face once more. They were pioneers with 4K and they now seem to have a good handle on color science and dynamic range. Now it's time push the envelope once more in ways that no one imagined. If anyone can do it, it's Red.
 
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Ryan Sauve said:
Here it is from 3am on October 23, 2011...



A year and a half is not a lot of time to come up with this kind of tech but who knows, the RED machine is a pretty motivated bunch. And it seems that they were playing with a prototype at the time so they had already been working on it for who knows how long.

Here's a link to the post: http://www.reduser.net/forum/showthread.php?65086-I-want-to-tell-you#15

Then he goes on to say:



Then Jarred pipes in:
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it is more than a year and a half, already a prototype so who knows how long before then.
 
David Mullen ASC said:
You need a low-pass filter to soften high frequency detail without affecting everything else, unlike a diffusion filter or a blurry lens.

The moire and twitter are much more distracting on a moving image than on a still one and involves much more processing to reduce, it's simpler to do it before it gets recorded. Of course, the amount of moire you see is content related but real life is full of details that like to moire. That one BMC test shot in Mexico or South America that I saw online even showed moire in the feather pattern of a close-up of a pelican, not to mention every rail on every balcony that went by the camera. I can't imagine how distracting that would be on a large screen.
Click to expand...

I'm only talking about a very mild defocus in the same exact range of performance of a lowpass filter. It is too mild for a person to easily regularly pull, something that would need to be done in machine automatically. With the modern processing power it should be easy to de-artifact this in camera , but the problem is the people working it out. The normal filter destroys this detail we like so much. If we can only bring out the detail from the spaces with very minor defocus, we could software the rest. What I am thinking is, this is experimental thought, spreading the light so the light from the spaces spreads into the adjacent pixel pads, but that the right from adjoining pixels only just touches the edge of it's neighbour, ensuring that much of the time the light in the spaces reaches into the nearest neighbour, producing a pseudo 100% fill factor. Would be interesting to look into this, anybody know any research into removing these artifact and producing a good image?

Years ago, I had the idea of post processing out image issues in a cheap cinema camera, but rejected the idea due to lack of cheap processing power. Now I see the rest of the world is catching up with these image ideas, and I know where to get oodles of processing power.
 
Ryan Sauve said:
Here it is from 3am on October 23, 2011...



A year and a half is not a lot of time to come up with this kind of tech but who knows, the RED machine is a pretty motivated bunch. And it seems that they were playing with a prototype at the time so they had already been working on it for who knows how long.

Here's a link to the post: http://www.reduser.net/forum/showthread.php?65086-I-want-to-tell-you#15

Then he goes on to say:



Then Jarred adds:
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Ryan, If you look at the original research press release at dvinfo in 2006, I list another higher res way of achieving it I came up with. I list several ways I came up with here. It is a longtime from prototype to now. But having a prototype that shows promise and getting it perfect in another thing. You have to find somebody that can bring it's design up to scratch quickly, or identify you are on a dud direction, or spend a lot of time wandering around.
 
Wayne Morellini said:
Ryan, If you look at the original research press release at dvinfo in 2006, I list another higher res way of achieving it I came up with. I list several ways I came up with here. It is a longtime from prototype to now. But having a prototype that shows promise and getting it perfect in another thing. You have to find somebody that can bring it's design up to scratch quickly, or identify you are on a dud direction, or spend a lot of time wandering around.
Click to expand...

Hey Wayne, got a link to it so I can check it out?
 
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Does anyone else wonder why the RED booth is next to the Blackmagic booth? This is either very bad planning on NABs part because it is going to be ridiculously busy around there, OR it was intentional on RED's part. Hmmmmmm I wonder if.... AHHHH never mind!!!!!

South-Lower-1-WEB.png
 
Bob Gundu said:
Does anyone else wonder why the RED booth is next to the Blackmagic booth? This is either very bad planning on NABs part because it is going to be ridiculously busy around there, OR it was intentional on RED's part. Hmmmmmm I wonder if.... AHHHH never mind!!!!!
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Did anybody ese notice the Epic camera on the Arri Pro accessories ad? :)
 
I'm hoping for a mini techno crane made by Kessler... a guy can dream :)
 
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