The concept of the camera is quite simple: get full uncompressed, linear sensor data stream and dump it with as little processing as possible to the disk through a “big pipe”. All processing that usually is done on the camera is left to post process during conversion to CinemaDNG RAW file format that can be directly used in most NLE systems. The data throughput is quite an achievement: currently there is no interface that can carry this amount of data at nearly zero latency. The recording bandwidth is about twice as much as Thunderbolt 3 at full capacity. The processing bandwidth is even higher and exceeds 30 GBytes/s, all of which to preserve incredible image fidelity that 9×7 has been designed for.
ACHTEL 9×7 Digital Cinema Camera is designed specifically for VFX, VR, Giant Screen, MSG Sphere, Flying Theatre and IMAX® Cinema productions. It’s not here to replace Sony, ARRI or RED camera. It is designed to replace an array of ten of them!
It is designed to deliver unprecedented levels of sharpness, not attainable with traditional digital cinema cameras in a small and manageable package. It features state-of-the-art Global Shutter, 4:3 aspect ratio, sensor featuring 65 Million photo-sites and delivers uncompressed 16-bit RAW footage up to 11 GB/s – approximately 30 times more than other high-end digital cinema cameras.
Think of it as a ‘thick negative’: the absence of compression, a compromise we’ve all come to expect and live with since the advent of digital cinematography, means that no details are lost, and gradations of colour and luminance are as smooth as technically possible.
9×7 has almost twice the number of photo-sites found in 8K cameras, but it is the quality of the photo-sites that results in ultra-high resolution imagery never seen before.
Unprecedented image sharpness and detail exceeds even 15-perf 70mm IMAX film. Find out how many high-end digital cinema cameras need to be stitched together to equal the sharpness of single 9×7 [here…].
True to life colours, natural and beautifully reproduced hues from pastel to most vibrant tonalities, and subtle tonal gradations are captured with the most advanced colour science in the industry.
With most significant innovations, such as non-linear Input Device Transform, Direct Scene-Referred (DSR™) technology and workflows, and film-like highlight roll-off, the 9×7 delivers immersive and breath-taking images not possible to capture with any other camera. [more…]
Both Direct (in situ) and Indirect (pre-defined) Scene-Referred colour workflows take ACES colour management to the next level delivering more consistent and more accurate colours straight from the camera.
The 9×7 digital cinema camera features advanced on-screen tools, such as 1:1 magnification that is available in both stand-by and recording modes. This allows critical focusing well beyond 8K delivery.
Perfect framing can be achieved using custom IMAX®, MSG Sphere, Flying Theatre and Giant Screen framing overlays.
Advanced RAW histogram can be configured using linear or logarithmic scales and works like a spot meter in the magnified mode allowing extremely precise exposure settings with precision up to a tiny fraction of a single stop.
The 9×7 Digital camera doesn’t support just set exposure values or frame rates. It can be configured with custom values whether to achieve flicker-less synchronisation, time-lapse, fast shutter or slow-motion. This is irrespective to project frame rate settings, which are also fully customisable. This unique flexibility gives cinematographer or VFX supervisor full creative control.
Of course, these custom frame rates and shutter speeds allow for full Genlock and multi-camera synchronisation as one would expect from a fully-featured VFX camera. Genlocked speed ramps are also possible.
