American Cinematographer - August 2008 - (Page 71) Alvin marvels at the ability of his young roommate (Johnny Whitworth) to maintain a positive outlook despite his terminal condition. RAID disk packs that can hold up to one hour of 4K data. When a disk pack was filled, the data was transferred to a Ciprico media vault drive array that was then sent to Post Logic, where the data was verified and transferred to LTO-3 tape; the Ciprico was then erased and sent back to set. “On the LTO-3 tapes, we catalogued the Dalsa Bayer data with shot names, frame numbers, scene numbers, thumbnails and the time-of-day time code the camera embeds,” explains Leconte. “The file format is the Dalsa raw Bayer-pattern information, formatted as a single-channel 16-bit DPX file.” All of the footage stayed on the LTO-3 tapes as 16-bit 4096x2048 DPX frames, which were then loaded onto the large Isilon network-attached storage (NAS) Post Logic maintains for processing. Next, the picture information had to be de-Bayered — the raw Bayer-pattern information (made from an array of red-, green- and blue-sensitive photosites on a single chip) was processed so that it could be reproduced as an actual picture. Several proprietary look-up tables (LUTs) exist to do this for Dalsa raw data; Post Logic’s was created by Mitch Bogdanowicz. “Emulsions and chips ‘see’ things very differently,” explains Bogdanowicz, who spent many years helping Kodak devise new film emulsions. “You can have a film camera and a digital camera both seeing the same scene, but they will start out immediately seeing different colors, and that’s where image modification comes in.” His LUT converts the Bayerpattern information for every frame and adapts it to a color space with image characteristics designed to look as though the scene was shot on film. “This is where we go from one plane to three: R, G and B,” he explains. “We put the mathematics in place to transform [the image] to the way a generic motion-picture film would have seen it, and then we apply the tone scale of the film. The cinematographer and colorist can then put their magic into the color.” The result is a DPX file that can be treated as though it came from scanning a negative. Before their contents were dumped, the Codex Portables were also used to convert the raw images Reach for Me photos by Raphael Conelly, courtesy of AMediaVision. Post Logic photos courtesy of the facility. A new generation HydroHead. Now available with a third axis for even more range of motion. that really rocks HydroFlex & rolls. 301 E. El Segundo Blvd. El Segundo, CA 90245 Tel: 31 0/301-81 87 Fax: 310/821-9886 www.hydroflex.com 71 http://www.technojib.com http://www.technojib.com http://www.hydroflex.com http://www.hydroflex.com
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