Appendix 1

Appendix 3: Current Video Formats
Like the Genesis, this allows for use of Arri’s existing line of lenses. Here, too, the depth of fi eld
and image size to focal length exactly matches their 35 mm cameras. Arri Group bills this as a
“fi lm style digital camera.” It operates in two modes. In “video,” it records to several HD formats
including HD Cam SR. In “fi lm,” it sends a “fi lm stream” of uncompressed image at frame rates up
to 150 FPS. This data can be recorded, but must be processed and compressed before it is usable.
The amount of data recorded per hour of “fi lm” is huge. Moreover, the processing is extremely timeconsuming,
making feature fi lmmaking in this mode highly problematic.
The Viper by Thomson is similar to the Arri D20 and the Genesis except it uses 3 custom CCDs that
also are the same physical size as a 35 mm frame. Using a system similar to the Genesis, the image
is captured in 12 bit and processed down to 10 bit using a compression that mimics a fi lm characteristic
curve. The camera is, therefore, able to reproduce a huge contrast range that exceeds fi lm. Like
the D20, the Viper also operates in either a “fi lm stream” mode or a “video” mode. Here, too, the
data stream in the fi lm mode is huge and needs to be processed before it can be used.
Figure A3.9 The Red Camera
The Red Camera is the newest offering in this area. The camera shoots only in the 4 K Redcode
format. It records to onboard drives that can hold a surprising amount of “fi lm.” While this 4 K can
be transcoded into HD or any other video format, it was designed for transfer to 35 mm fi lm or be
projected directly. The image is incredible, some claiming it looks better than 35 mm fi lm. The image
can be projected directly in 4 K from the Sony 4 K projector and looks shockingly good.
Like the ARRI D20, the Red uses a single, custom CMOS chip. However this is a full 4 K CMOS,
similar to the 10 mega pixel chips used in high-end still digital cameras. Where it differs is speed.
A 4 K still camera can only record one frame in about two seconds, far from usable as a motion
camera. The 4 K CMOS in the Red processes this data into Redcode, which is smaller than DV video
data and making it possible to record this 4 K data and edit it natively in fi nal Cut Pro, even from a
removable drive.
Because it is the same physical size as a 35 mm frame, it can use a variety of existing lenses and has
the exact same depth of fi eld as 35 mm fi lm. The camera can be confi gured in dozens of ways for
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