AXIOM Beta: The first open digital cinema camera
Indiegogo crowdfunding page, has information on the camera and some items not found on their main site :
Main site :
Monday, 8 June 2015
Processing the Axiom CDNG file
Major milestone reached! AXIOM Beta: Hello World! First raw still captured.
To process the CDNG negative we decided to use Resolve from Blackmagic. The reason for this is that their own cameras record RAW files also as CDNG so already has the ability to manage and process this format and also allow some adjustments.
The CDNG file downloads as such below :
and through Resolve it will automatically mount the file and present it. The file will default to standard settings to make the image appear as above, CinemaDNG Default.
We then selected the file and right clicked to select Edit Cinema DNG Codec Settings and selected clip and changed the Color Space and Gamma to BMDFilm :
From here we then can grade the image for final delivery :
It is worth noting this is just the very first test image and has some features missing that would be present in a final version from the Axiom release version, but it gives a reasonable demonstration of how the CDNG files would be processed and then be available for full output to your dailies deliverables.
#opensourcecinema
Daniel Mulligan
June 2015
Apertusº Axiom web links June 2015
New web links and stories for Apertusº Axiom
As the new beta version of the Axiom camera starts to shoot and become a more complete camera system Open Source Cinema UK though that for those new to the camera it was a good time to put all the current links to the websites and to new articles :
Main sites :
Apertusº main web site : www.apertus.org
Apertusº Twitter feed : https://twitter.com/ApertusOSCinema @ApertusOSCinema
Apertusº Facebook page : https://www.facebook.com/ApertusOSC
New stories recently uploaded to the web :
NAB Show 2015 review : https://apertus.org/nab-show-report-article-april-2015
New CDNG image recorded in 4K : https://apertus.org/axiom-beta-hello-world-article-may-2015
Axiom Beta Development April 2015
It has been a big year for Apertusº and their Axiom beta camera. As an Open Source camera system it has come more alive during this years NAB in Las Vegas and has now begun recording at 4K resolution for testing. Below is the team at NAB :
The development and continued research into this camera is very exciting and over the next few months we will be updating and blogging all the news as we come to it. Among the news is new CDNG files to play with, which we will be processing and testing, plus new developments for Open Cine software allowing for mounting and delivery of your RAW CDNG (Cinema DNG) files.
Above is an image of the Axiom beta build of which the test images have been recorded.
It is an exciting time and Open Source Cinema is arriving for 2015.
Daniel Mulligan
May 2015
The development and continued research into this camera is very exciting and over the next few months we will be updating and blogging all the news as we come to it. Among the news is new CDNG files to play with, which we will be processing and testing, plus new developments for Open Cine software allowing for mounting and delivery of your RAW CDNG (Cinema DNG) files.
Above is an image of the Axiom beta build of which the test images have been recorded.
It is an exciting time and Open Source Cinema is arriving for 2015.
Daniel Mulligan
May 2015
Thursday, 2 April 2015
Monday, 17 November 2014
Alexa 65 Lenses information
Alexa Open Gate image
To create a truly class-leading 65 mm cinema lens look and feel, these lens elements have been re-housed in robust and uniform lens barrels, co-developed with IB/E Optics to our own design specifications – including a new iris system for the prime lenses, and a new focus/iris/zoom control mechanism for the zoom lens. These lenses use a new proprietary XPL mount system with LDS functionality. However, the ALEXA 65 XPL lens mount is modular in design and will allow for adaptation to other medium-format lenses in the future.
This new Prime 65 lens series delivers unparalleled MTF, excellent contrast and geometry, and no chromatic aberrations or focus breathing. Usability and environmental ruggedness is comparable to that of the ARRI/Zeiss Master Prime lenses.
Additionally, a Vintage 765 lens range, originally developed to partner the ARRIFLEX 765, has been adapted for use with the ALEXA 65. These lenses provide a classic filmic look with a gradual, soft roll-off across the image – perfect for creating a softer look that is complimentary to the new Prime 65 and Zoom 65 lenses.
The ALEXA 65 is fitted with a brand new proprietary XPL lens mount, supporting the Prime 65 and Zoom 65 lenses, as well as the Vintage 765 range. ARRI Rental is currently looking at other lens and lens mount options and will make further announcements in due course.
At present, there are eight lenses within the Prime 65 range and one Zoom 65. The Prime 65 series offers focal lengths from 24 mm to 300 mm, with apertures from T2.2 to T4.8, while the Vintage 765 lens range offers 11 focal lengths from 30 mm to 350 mm.
This new Prime 65 lens series delivers unparalleled MTF, excellent contrast and geometry, and no chromatic aberrations or focus breathing. Usability and environmental ruggedness is comparable to that of the ARRI/Zeiss Master Prime lenses.
Additionally, a Vintage 765 lens range, originally developed to partner the ARRIFLEX 765, has been adapted for use with the ALEXA 65. These lenses provide a classic filmic look with a gradual, soft roll-off across the image – perfect for creating a softer look that is complimentary to the new Prime 65 and Zoom 65 lenses.
Primo 70 lenses - Camerimage 2014
Camerimage 2014 Primo 70 Lenses
BYDGOSZCZ, POLAND (November 13, 2014) – Panavision, the company behind the world’s best cinema lenses for 60 years, is showcasing their new line of Primo 70 lenses optimized to work with today’s larger sensor digital cameras. The lenses are being exhibited here at the 22nd edition of the Camerimage International Film Festival, a premier event for directors of photography.
“Panavision Primo lenses have set the standard for excellence in motion picture production for 25 years,” says Kim Snyder, Panavision’s president and CEO. “Now, filmmakers can combine that essential Primo character with the larger sensors found in the latest digital cameras.”
Panavision Primo 70s are the most advanced cinema lenses ever developed, and specifically designed to work with today’s larger sensors. The result is more consistency from edge to edge and sharper corners. The organic flavor, pleasing bokeh, and gradual focus roll-off that DPs depend on have been carefully maintained in the Primo 70 series.
Large format sensors are the natural next step for filmmakers looking to create powerful, affecting imagery, and Primo 70 lenses maximize their aesthetic potential. Together, large sensors and Primo 70 lenses deliver unprecedented visual impact.
Panavision Primo 70 prime lenses are available in twelve focal lengths: 24mm, 27mm, 35mm, 40mm, 50mm, 65mm, 80mm, 100mm, 125mm, 150mm, 200mm and 250mm. Super 70 zoom lenses are also available in three sizes: 28-80mm, 70-185mm and 200-400mm. The Primo 70 series are equivalent in size and weight to standard Primos, a feature driven by the need for portability and maneuverability on today’s film sets. Primo 70 lenses have already been tested in the field under real-world production scenarios, including two feature films and several commercials.
“The 70mm Primos are beautiful – just amazing,” says Peter Menzies Jr., ACS about his experience using them on a feature film. “I have never seen lenses that hold their sharpness and contrast across the entire frame. … They are also light, fast and the lens sizes in the kit are perfect. The two zooms we used are excellent -- incredibly close to the primes.”
“The Panavision 70mm lenses have a grand look,” notes Greig Fraser, ASC, ACS who relied on the Primo 70s for a commercial shoot. “Their visual language is significantly different than 35mm. The focus falls off quickly and beautifully. As a cinematographer, this allows me to tell a different story. … For decades, Panavision has given filmmakers exciting new tools that can open up our imagination. These lenses promise really outstanding new possibilities.”
Panavision’s Dan Sasaki, VP of Optical Engineering, adds, “The cinematographers who have used these lenses reported that they were very happy that we didn’t create something that is synthetic or too scientifically sharp. Cinematographers tell us that the character of the lens is even more important with digital cinematography. We maintained the artistry, and preserved the dimensionality that was originally designed for the Primos back in the 1990s. The Primo 70 lenses definitely share the Primo family resemblance.”
Panavision Primo 70 lenses are the product of state-of-the-art design and manufacturing techniques and materials, and they incorporate feedback from industry pros. Primo 70 lenses are not compatible with film cameras, as they are specifically designed to work with digital cameras. The internal mechanics retain a familiar Primo feel. Floating internal elements control breathing and allow the lens to maintain extremely high performance from infinity to close focus. Currently, Panavision has made Primo 70 mounts for the Sony F55, RED DRAGON, ARRI Alexa (standard and Open Gate), Phantom Flex4K and Phantom 65, with other cameras being assessed for compatibility.
“Panavision’s unparalleled experience in optical design and lens construction, and our deep and longstanding relationships with filmmakers, have all been brought to bear on these superlative lenses,” adds Snyder. “Filmmakers have expressed a need for lenses that work with larger sensors in an array of cameras. We’re focused on providing the tools cinematographers need to tell their stories and express their creativity.”
The Primo 70 series of lenses are available to rent from Panavision worldwide.
BYDGOSZCZ, POLAND (November 13, 2014) – Panavision, the company behind the world’s best cinema lenses for 60 years, is showcasing their new line of Primo 70 lenses optimized to work with today’s larger sensor digital cameras. The lenses are being exhibited here at the 22nd edition of the Camerimage International Film Festival, a premier event for directors of photography.
“Panavision Primo lenses have set the standard for excellence in motion picture production for 25 years,” says Kim Snyder, Panavision’s president and CEO. “Now, filmmakers can combine that essential Primo character with the larger sensors found in the latest digital cameras.”
Panavision Primo 70s are the most advanced cinema lenses ever developed, and specifically designed to work with today’s larger sensors. The result is more consistency from edge to edge and sharper corners. The organic flavor, pleasing bokeh, and gradual focus roll-off that DPs depend on have been carefully maintained in the Primo 70 series.
Large format sensors are the natural next step for filmmakers looking to create powerful, affecting imagery, and Primo 70 lenses maximize their aesthetic potential. Together, large sensors and Primo 70 lenses deliver unprecedented visual impact.
Panavision Primo 70 prime lenses are available in twelve focal lengths: 24mm, 27mm, 35mm, 40mm, 50mm, 65mm, 80mm, 100mm, 125mm, 150mm, 200mm and 250mm. Super 70 zoom lenses are also available in three sizes: 28-80mm, 70-185mm and 200-400mm. The Primo 70 series are equivalent in size and weight to standard Primos, a feature driven by the need for portability and maneuverability on today’s film sets. Primo 70 lenses have already been tested in the field under real-world production scenarios, including two feature films and several commercials.
“The 70mm Primos are beautiful – just amazing,” says Peter Menzies Jr., ACS about his experience using them on a feature film. “I have never seen lenses that hold their sharpness and contrast across the entire frame. … They are also light, fast and the lens sizes in the kit are perfect. The two zooms we used are excellent -- incredibly close to the primes.”
“The Panavision 70mm lenses have a grand look,” notes Greig Fraser, ASC, ACS who relied on the Primo 70s for a commercial shoot. “Their visual language is significantly different than 35mm. The focus falls off quickly and beautifully. As a cinematographer, this allows me to tell a different story. … For decades, Panavision has given filmmakers exciting new tools that can open up our imagination. These lenses promise really outstanding new possibilities.”
Panavision’s Dan Sasaki, VP of Optical Engineering, adds, “The cinematographers who have used these lenses reported that they were very happy that we didn’t create something that is synthetic or too scientifically sharp. Cinematographers tell us that the character of the lens is even more important with digital cinematography. We maintained the artistry, and preserved the dimensionality that was originally designed for the Primos back in the 1990s. The Primo 70 lenses definitely share the Primo family resemblance.”
Panavision Primo 70 lenses are the product of state-of-the-art design and manufacturing techniques and materials, and they incorporate feedback from industry pros. Primo 70 lenses are not compatible with film cameras, as they are specifically designed to work with digital cameras. The internal mechanics retain a familiar Primo feel. Floating internal elements control breathing and allow the lens to maintain extremely high performance from infinity to close focus. Currently, Panavision has made Primo 70 mounts for the Sony F55, RED DRAGON, ARRI Alexa (standard and Open Gate), Phantom Flex4K and Phantom 65, with other cameras being assessed for compatibility.
“Panavision’s unparalleled experience in optical design and lens construction, and our deep and longstanding relationships with filmmakers, have all been brought to bear on these superlative lenses,” adds Snyder. “Filmmakers have expressed a need for lenses that work with larger sensors in an array of cameras. We’re focused on providing the tools cinematographers need to tell their stories and express their creativity.”
The Primo 70 series of lenses are available to rent from Panavision worldwide.
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