Film & Digital Times Issues 36-38 - Imago

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Aaton Penelope Delta 24 Dec 2010 Orson Welles once played a famous wine maker who said, “We will sell no wine before its time.” Admittedly, he was portraying Paul Masson in the days of metal pry-top carafes, long before California wines dared to rival, ahem, the wines of France. Which brings us to the Grenoble region, where a famous camera maker said, “We will sell no digital camera before its time.” Actually, what Jean-Pierre Beauviala really said was, “Anything less than 4K is incomplete, and we are not going to do something halfway.” A few years earlier, Richard Edlund, ASC said, “Until we have wide dynamic range 4K capture, film will remain the prominent medium for high-end studio productions.” Aaton Penelope-Delta covers both. She does film and digital. Already established as the lightest silent handheld 3-perf/2perf film camera, Penelope is preparing for 4K digital. The same mirror-reflex camera body accommodates both traditional Penelope 400' film magazines and the new Digiback. You can switch from 2 or 3-perf Super35mm film to the Aaton Digiback in less than half an hour. At IBC and Cinec, we saw the prototype Aaton Penelope-Delta Digibacks approaching their anticipated Micro Salon and NAB debuts. The live images showed excellent resolution and a wide exposure range. Martine Bianco’s color-chart scarf was indistinguishable live or displayed on the 4K monitor in the booth. The made-for-Aaton Super35 3-perf format Dalsa 4K+ CCD sensor handles more than 13 stops of dynamic range. The 800 ISO default sensitivity can be reduced to 100 ISO without noticeable image degradation. This is useful when you’re shooting in bright exteriors because you can avoid dense ND filters required by high ISO settings. When it is very dark outside, you can shoot at 3200 ISO with very little image “noise.” This cat-on-shoulder Aaton camera is quieter than a purr— even the large internal fan on the camera left side runs at less than 19dBA in REC and PAUSE. The rotating mirror shutter and extremely bright optical viewfinder provide generous peripheral coverage. As Danys Bruyere would say, "Did we mention it has an optical finder?" Uncompressed RAW 16-bit files (>4K) and DNxHD can be recorded onboard at up to 800MB/sec onto a 2.5" Solid State Drive (SSD) DeltaPack that slides into the Digiback. It has RAID protection and weighs about 360 grams. The interface is Codex compatible, so Codex media can be used as well as the DeltaPack to mount to a Codex download station. There’s an SDHC card slot on the camera into which an SDHC card can be inserted for capturing simultaneous proxy files. for quick playback and editing via QuickTime. Outputs include HD422 and HD444. There’s an input for syncing two cameras for 3D. Aaton Penelope-Delta is not power-hungry. Two onboard LiIon batteries can run the camera for around 3 to 6 hours. You can hot-swap one battery when it gets low. The camera boots up in less than 4 seconds. Like a fine wine, and her older sister Penelope Analog Silver, Penelope Digital Delta will be worth the wait. (aaton.com, abelcine.com)
Aaton Penelope Delta Aaton Penelope Analog film channel on 400’ magazine (left) and Penelope-Delta Digital sensor on the Digiback. Dec 2010 25
Page 1 and 2: Jon Fauer’s www.fdtimes.com Dec 2
Page 3 and 4: 2010: Gear this Year exposure adjus
Page 5 and 6: Martin Hartweg: Cinec Top Chef A sp
Page 7 and 8: Sensor Sensibility “Check the Gat
Page 9 and 10: Alexa Tour One hundred cameras...an
Page 11 and 12: Flange Focal Depth Image Testing Th
Page 13 and 14: A Brief Illustrated History of Alex
Page 15 and 16: Interview with Franz Kraus This ide
Page 17 and 18: ARRI at IBC and Cinec ARRI Alexa Si
Page 19 and 20: Sony SRW-9000PL Camera Views Existi
Page 21 and 22: Sony PMW-F3 This is not a tape meas
Page 23: Sony PMW-F3 The right side of the c
Page 27 and 28: P+S Technik P+S Technik’s Alfred
Page 29 and 30: Camera: Work in Progress A big surp
Page 31 and 32: Phantom Flex Why do we call digital
Page 33 and 34: Converging Stills Sony NEX-5 Fujifi
Page 35 and 36: FGV PL1D FGV PL5D They weren’t go
Page 37 and 38: Canon Expo: 4K The 4K race accelera
Page 39 and 40: NHK 8K with Fujinon Lens Plan ahead
Page 41 and 42: RED Epic The original, revolutionar
Page 43 and 44: Storage: Marvin Cinedeck Alan Hoff,
Page 45 and 46: 3D P+S Technik Freestyle Rig for St
Page 47 and 48: Lenses Dec 2010 47
Page 49 and 50: Angénieux Optimo Zooms The Optimo
Page 51 and 52: Image Stabilization by Larry Thorpe
Page 53 and 54: ARRI/Fujinon Alura PL Zooms ARRI/ZE
Page 55 and 56: ARRI/ZEISS Ultra Prime Lenses Ultra
Page 57 and 58: ZEISS Lightweight Zoom LWZ.2 Focal
Page 59 and 60: Cooke 5/i Cooke 5/i Primes are all
Page 61 and 62: Cooke Panchro/i Cooke Panchro/i Pri
Page 63 and 64: Leica Factory Tour The Summilux-C C
Page 65 and 66: Vantage Hawk Anamorphics Vantage co
Page 67 and 68: ARRI Lighting LoCaster LED. Ryan Fl
Page 69 and 70: Litepanels Ianiro Ianiled Rudy Pohl
Page 71 and 72: Dedolight PanAura PanAura dedicated
Page 73 and 74: Lighttools Soft Egg Crates Airstar
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Moviecam EasyFocus Fritz Gabriel Ba
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Transvideo HDMI Serial receptacles
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Get a Grip on your O-Box OConnor ha
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Petrol Kinomatik Schultz Spray Defl
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Preston Cinema Systems Preston Cine
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K-Tek Screen Plane Sebastian Cramer
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Denz FDC Cineparts All PL Mount len
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Steadicam Smoothee from Tiffen Rele
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OConnor 2065 Sachtler artemis Ronfo
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Cartoni Maxima New from Cartoni: Ma
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Andy’s Skycam FF Andy from Italy
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Film & Digital Times Issues 36-38 - Imago

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