Underwater Cameras & Light Systems

We can only say the very best about our Sony HDV cameras and Gates housings which we are still using to this very day; they proofed to be very reliable work horses, never let us down once. But technology is progressing and new HD video cameras are emerging like the “Red One”. Very shortly the underwater housings (Gates?) for these cameras will be available and for sure they will be tested by us thoroughly in 2009.

But no matter how good a camera is, if you do not have the proper light system, the assignment will certainly be a waste of time and money. For some time OD is experimenting with newly developed LED light systems. As the tests continue it becomes pretty clear that these new systems have an enormous potential not only for the underwater HD-operator but also for the still photographer.

The Next Generation of tiny Underwater Cameras

HD Cam Baby – one of the tiniest fully integrated HD cameras on the market.
A camera so small, it could be hidden anywhere, without compromising the image quality. - true 1920 x 1080 progressive/interlaced, - 2/3" single chip CMOS sensor 16:9, - c-mount, - fully integrated electronics (NO CCU!), - RS-485 Remote Control, - full broadcast environment integration, - light weight, - revolutionary small.

Recorder - Short Info

integrated wireless video, - camera triggered video recording (auto record), - digital recording, - intuitive operation, - integrated 7" TFT-Display, - 4:3 or 16:9 aspect ratio, - up to 10,5 hours of recording on one hard disk, - PAL / NTSC, - wide range of accessories available, - professional industry standard connectors. More we cannot release at this time, the test phase is still TOP SECRET.

Below find some information about the "Red One" camera and a link to their web site.

www.red.com

On November 13th, 2008, RED Digital Cinema shocked the world with a new concept camera system. Although sharing the name with the camera introduced at NAB in April '08, Scarlet is part of perhaps the most industrious undertaking in the history of photography and cinematography. Based on a modular system and defined by the moniker DSMC (Digital Still & Motion Camera), Scarlet blurs the line between still and motion capture.
There will be 4 models of Scarlet, one a 2/3" 3K fixed lens 8X camera, the other three being interchangeable lens bodies with 2/3" 3K, S35 5K and FF35 6K sensors. The modular concept of Scarlet allows the user to add handles, battery modules, expansion I/O modules, finders, media and support systems to fit the user's needs, while allowing full upgradeability for future technologies.

On November 13th, 2008, RED Digital Cinema surprised the world again by introducing a revolutionary camera system that breaks all the rules, setting the bar even higher. Originally announced at NAB '08 as the new world standard, EPIC is now part of a new RED DSMC (Digital Still & Motion) system, which also includes Scarlet. A departure from Scarlet, EPIC is hand machined, with a larger physical body that allows additional cooling for the much higher data and frame rates. EPIC is a step up from the RED One, offering higher resolution, faster frame rates, and the ability to have tremendous upgrade potential due to its modular design.

What type of inputs and outputs are provided on a RED ONE?
(4) Mini-XLR Balanced Audio Inputs (48V Phantom Power) (1) MiniJack Headphone 2 ch Output (1) Audio Monitor 2 ch. Output (1) Timecode In/Out (1) Genlock (1) EVF 1280x848 Video Output (1) LCD 1024x600 Video Output (2) Single 720P/ Dual Link 1080P HD-SDI (1) Preview HD-SDI 720P (1) HDMI Output (1) USB2 (Type A) (1) USB2 (Type B) (1) B4 Lens Power Connector (12V Regulated) (1) Power Input (11.5 - 17V DC) (2) Aux Power Outputs (battery pass-through) 1A & GPIO (1) Drive Connector (eSata & Power)

What is the focal length ratio, relative to 35mm, of each format?
Given 35mm 36mm x 24mm = 1.0X RED 4K 22.2mm x 12.6mm = 1.62X RED 3K 16.65mm x 9.36mm = 2.16X RED 2K 11.1mm x 6.24mm = 3.24X

21st Century 3D, stereoscopic production company and technology innovator, announced a new addition to its line up of digital stereoscopic motion picture cameras. The 3DP2 arrives, at a time when 3D production is booming and major studios are calling for more live action 3D camera equipment, as a new live action 3D camera system that shoots high definition stereoscopic images directly to solid-state memory, being 21st Century 3D’s first system to be developed in the beam splitter configuration. Two cameras are mounted perpendicular to one another on either side of the glass, by utilizing an optical beam splitting glass element. Ranging from 0” – 4”, this arrangement allows for a variable interocular spacing. To vary the intensity of the 3D effect, the operator can dynamically adjust the 3DP2’s depth settings during a shot. Small stereo base settings can be used for extreme close ups and wider settings can compensate for longer focal lengths or subjects at greater distances from the camera.

Specular highlights or polarized light sources, cand be recorded by typical beam splitter cameras, in one eye that appear differently or are not visible to the other. This can be a distracting artifact in the final stereo image. Polarization and other optical issues are a concern, since one camera receives incident light and the other reflected light. Special attention has been paid to avoid polarization problems typically associated with other optical beam splitter 3D cameras, in the development of the 3DP2. Maximum 3D image quality is obtained, by utilizing a uniquely prescribed optical coating, while simultaneously avoiding ghost images or internal reflections.

An onboard integrated monitoring system easily allows the DP, operator or focus puller to view left image, right image or a multiplexed 3D image (50/50 on a monoscopic screen). Viewers at a remote video village are allowed by multiple analog preview outputs to see left, right or 3D independently of the on camera monitor. Dual HD-SDI outputs, additionally, allow for a wide array of monitoring and recording options.

With battery and storage media, the 3DP2’s overall weight is less than 40 lbs, making it one of the smallest and lightest self-contained 3D beam splitter cameras available. This weight advantage facilities steadicam or even hand held operation and rapid setups. The camera can record 1920x1080 per eye at 24 fps or 30 fps. Variable frame rates are available at 1280x720 at up to 60 fps. Data is recorded to industry standard P2 cards at 100Mbps in the DVCProHD format. The 3DP2 offers, in addition to onboard solid-state media, and HD-SDI, dual component analog outputs for maximum monitoring and recording flexibility. The two HD-SDI signals can be multiplexed to facilitate live transmission of 3D images for applications like broadcast and closed circuit.

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