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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 :)

Y2 Digital Cinema Camera

Shane Kelly said:
Sanjin, you need to reign in the "quotes". Nobody has any idea wtf you are talking about.
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Do not have enough time now

but mostly it's about that product design and also something beyond of that particular case.
 
Is this even a prototype or just a design that someone came up for a camera? I mean is this even an idea for a functional camera or is it just a concept of a camera design for the future?

This happens with automobiles all the time and they never make it out of the model stage.
 
Dave Edsall said:
Is this even a prototype or just a design that someone came up for a camera? I mean is this even an idea for a functional camera or is it just a concept of a camera design for the future?

This happens with automobiles all the time and they never make it out of the model stage.
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A lot of people have a product design "dreams"

and if we a talking in terms of new design for digital cinema cameras

the most important part is not camera body design because it is more important

a sensor design and how somebody get the best out of it

that is connected together with a great marketing campaign of that particular product.

Ask Jim Jannard more about all that...

Also I see RED and ARRI as two big rivals for next year in a field of professional digital cinema cameras.

The price range of their competitive products should be something in between Euro 40.000 to 70.000

for a camera with EVF or OVF together with recording media.
 
NateWeaver said:
Not only that, but I think Sanjin, you need to Google "Aaton LTR".
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Aaton wrote a year ago on the website that they are somehow waiting for a big sensor at the size of

4K or 6K to implement that like a full digital at size of 4K film scans in their existing (analog) camera design but till now nothing happened in that way.

As I repeat again that the most important part of any digital cinema camera is the image sensor.

Aaton Penelope>>>"Made for the 35mm Digital intermediate age, ready for the best 4K sensors."
 
we're still reading all the emails we received over the night - we're a bit surprised about the reaction. we've shown bits and pieces of the camera over a year ago.

i try to answer a few questions.

think of the Y2 as a SI2K without its shoebox ergonomics.
it also uses an altasens 2/3" sensor, feeds the raw data over cameralink to gigE to the embedded computer to the harddisks in the mag - very similar the the SI2K..i'm sure the quad core board could easily handle their cineform software - we'd have to try that.
it uses an aaton viewfinder.
we're still waiting for the new quad core boards for our prototypes we'd like to show at 'designmeile 2009' - they're delayed more than 10 months now.
if they're not ready for end of november we'll exhibit the mock ups-if they're not ready we'll exhibit a broccoli soup.

no, the Y2 will never be sold like this.

the potential market for such a camera now is very slim - the few cameras we could sell would barely pay for all the coffee we drank the last 2.5 years.
so we're working already on the next prototype, the Y4. we still think there's a market for a robust S35 camera with an optical viewfinder priced between an epic and the new arri line.

:Yawn: i need more coffee
 
this guy is our personal hero - i'm serious! :)
badidea.jpg
 
Irmeli,

I know you said this is a prototype and will never go into production like this, and the colors are obviously tied to your name and logo. But if you are considering going with those colors (which is beautifully designed) is there any concern of reflections in glass or shiny surfaces with it being a white camera? Once you go into production, will the cameras be black? It would be a shame to lose the white/yellow design, but it seems impractical. Just a thought...
 
white and yellow wont have anything to do with reflections...

shiny aluminum would... but yellow and white.. those reflect HEAT.. but not light.
in fact.. white is a good body color, it will keep the camera cooler
 
Zakaree Sandberg said:
white and yellow wont have anything to do with reflections...

shiny aluminum would... but yellow and white.. those reflect HEAT.. but not light.
in fact.. white is a good body color, it will keep the camera cooler
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Have you ever heard of a fill card?
 
phil is right...that's why cinematographers often ask ron howard to direct from the opposite side of the key light where he also acts as a fill card.

the Y4 will have encrusted swarovski crystals - girls just love a little bling on set.
 
Phil, you misunderstood my meaning of reflections. I mean, if you're shooting talent in front of a window or high-gloss wood paneling... I'm worried about seeing the reflection of the camera in the frame.
 
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