Ignite Digi has made a custom rig for the ACHTEL 9×7 Digital Cinema Camera. Tom Waugh from Ignite Digi has done a nice walk through tvideo showing the setup.
Above you can see a long interview I did with Pawel Achtel ACS about the 9×7 when it was first anounced.
If you are not familiar with the ACHTEL 9×7 Digital Cinema Camera, it was 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 color and luminance are as smooth as technically possible.
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.
