Subtitles from Editorial to Digital Prints, TV & Mobile/Online platforms

I worked on many indian projects for converting subtitles (many think they can do it themselves without any professional help) to Digital Prints (ASC file format) & SRT (TV) & Online / Mobile (SBV and many more) using combination of many subtitle Conversion softwares & Editing Systems.

I ask editors/subtitle creator to do the spotting of subtitles in their beloved NLE (Non-Linear Editing Softwares namely AVID or FCP, Now Premiere is choice of many for their robust many file formats ingesting and playback capabilities without generating offline files) and deliver me the files as Avid BIN / FCP Project or XML file and then I use Annotation Edit or Title Exchange software to generate ASC / SRT / YOUTUBE SBV Subtitle file formats. You can do many file format convertions. Given below in how many formats you convert from & to…




The above screenshots are taken from Title Exchange Software which can be purchased for a donation from here…

Note: I am no way paid from TitleExchange and I purchased this software by paying it.

How to get files for Title Exchange is based on what software you are using.

If you use FinalCutpro Place Text layer in appropriate timings in Timeline and export FCP XML to bring it to Title Exchange software.


If you use Avid use Avid SubCap Effect and time it based on your subtitle and export as an Avid DS Caption.


If you use Adobe Premiere Pro, You can use their closed captioning feature to spot subtitles and export to suitable format which can be imported to Annotation Edit or Title Exchange.

Once you done your prepartion of spotting your subtitles, you can now bring to either Title Exchange or Annotation Edit to export to your desired output formats from Digital Cinema Print Subtitles to SRT for TV to Blu-ray to DVD to Youtube or anyother Online / Mobile Platforms.

Happy Subtitling.

You can purchase the following software from below links,

Title Exchange:

Annotation Edit:

Note: Since Adobe Premiere Pro doesn’t allow to use their text formats to translate to other formats, its not possible to use Adobe Premiere Pro except you use their Closed Caption.

Stayzilla | Commercial | Colorist

Recently worked as colorist for  APP commercial titled “Make Room For Something New | Open Up With Styazilla” for a home stay brand  STAYZILLA which is making rage in Youtube crossing 2.15 Million views in 3 weeks of its launch.

First time used DNG Still Frames in Davinci Resolve 12 to grade this project and its a great experience in working with renowned director of this project who is the diretctor of tamil cult film “ARANYA KANDAM”. Thanks Kumararja Thiagaraja & DOP Jeeva Sankar for this great opportunity.

Here is commercial for your viewing..

More information about the technicians as follows:
Written and Directed by: Thiagarajan Kumararaja
Voice: Gautam Vasudev Menon
Cinematography: Jeeva Sankar
Production Designer: Gopi Prasannaa
Art Director: Nindan
Animator: Udaya
Art Assistants: Adheesh, Parthiban Shankar V Kumar
Editing: Satyaraj Natarajan
Executive Producer: Swathi Raghuraaman
VFX Supervisor: Aravind
Music Director: Ghibran
Assistant Camera: Saravanan
Production House: Tyler Durden and Kinofist
Colorist: Balaji Gopal
Sound FX: Koothan, Suren
Sound Engineer : Tapas Nayak
Costumes: Manju Bhargavi


Via (

Some words have a variety of meanings, and we can sometimes get confused with their purpose and usage. For instance, what is the difference between continually and continuously? They are often used interchangeably but there are key variances. According to continually means “very often; at regular or frequent intervals,” and continuously means “unceasingly; constantly; without interruption.” For example: the executive continually reads the stock reports at noon each day versus the executive reads the stock reports continuously, all day long without stopping. The latter would be quite tiresome and nonproductive. Similarly, backup and archive are sometimes used interchangeably but important distinctions exist, especially in practice. Let’s take a closer look.

It Makes A Difference

Backup and Archive – It Makes a Difference

Backup (often called Backup and Restore) is making a copy of current data so that it can be utilized to restore the data in the unforeseen circumstance that the original data was corrupted, deleted or destroyed by unintentional or intentional means. We discussed these data destroyers in a previous BlogBytes called the “Backup Blacklist.” The backup is often done incrementally and kept for certain lengths of time (seven days, two weeks, etc.) based on user set policies that consider the data value, as well as internal and external requirements.

Archive stores a single instance of the data or data sets, a historical collection, explicitly chosen for potential long term future usage. A key distinction here is that archived data is the original or single copy and is typically no longer in current usage.

Some treat multiple backups as their data archive and are unnecessarily creating a mountain of information that can consume space and costs. Once data is no longer in the ‘active’ category but a single copy is still needed in the chance that it may be recalled, it should be moved to the archive for long term retention. This practice can free up primary storage and backup space, lessen backup management overhead, and provide easier classification and retrieval of the information from the archive, rather than trying to sift through multiple copies of backed up information.

Mine that Data

Can You Mine the Data


Most archive management software provides capabilities not typically found in backup processes such as cataloging and metadata search. Information Lifecycle Governance (ILG) enables that cataloging, eDiscovery, defensible deletion and data retention on lowest cost data storage infrastructures. The metadata could include names, labels, data types, owners, dates and more. This can provide the means to mine the archive to address a variety of important requests such as an internal audit, customer inquiry or regulatory requirement. Tape storage data can be mined and with use of the Linear Tape File System the mining of metadata on LTO tape becomes even easier. Especially when used with archive management software offered by a variety of LTFS supporting providers.



Where Do Tape and Disk Fit?

Enterprise disk and flash are used for primary data storage and can be backed up to other storage devices

Feed Me Backup Dollars

including deduplicated disk and tape. Deduplication has provided the means to reduce the amount of space typically needed to store data thereby stretching the storage investment dollar. Bear in mind though, deduplication needs to see multiple copies of the same data set to do its dedupe magic. When the original file is put in the archive for long term storage, it is the only copy. Therefore, deduplication will have little effect on this single version of the original data that is now in the archive. That and other benefits make tape the prime choice for archive storage to contain costs while providing protection for original content. This can put money back in to the enterprise piggy bank.

One last note: since the archive contains original and single copy data, make a second copy on tape and move it offsite for the ultimate protection. Essentially, it is a backup of the archive. LTO Tape is low cost…do it now.

To sum up, with carefully chosen descriptors, backup and archive processes need to occur continually to help protect data, contain costs, and provide management information to keep the enterprise running continuously.

Why we need Invisible Watermarking in Post Production

Via Kodak Website,

Illicit copying of movies has long been a concern of the motion picture industry, and technology developments over the last few decades are making piracy an even bigger threat. According to the Motion Picture Association of America (MPAA), movie piracy costs the studios over $3 billion dollars in lost revenue each year. Fortunately, Kodak researchers have been working on a way to help combat piracy through the use of invisible watermarking.

Although there are many ways for pirates to acquire illegal copies of movies, the simplest and one of the most common is to use a camcorder to record the movie as it is projected in a theater. As the digital distribution and projection of movies (aka ‘digital cinema’) becomes more common, strong encryption technology promises to make it harder to steal a movie before it’s projected. But as it’s projected, the possibility of ‘pirates’ making an ‘untraceable’ camcorder copy will be much more difficult because of Kodak’s invisible watermarking technology.

With this technology, every screening of every digitally projected movie could have its own unique code. This code, which is buried in the pixels, is invisible to the audience but is copied into the pirated version. These ‘watermarks’ provide the ‘fingerprints’ for tracing where and when the movie was stolen. While watermarking doesn’t directly prevent theft, it can

  • identify the scene of the crime and repeat offenders
  • identify breaks in the chain of trust during the distribution process
  • improve the conviction rate and reduce the time and expense of litigation
  • act as a deterrent to future piracy
exhibition fingerprinting

exhibition fingerprinting


The information contained in a watermark can be just about anything, but at a minimum, it should include a unique ID code that identifies the theater (and the specific screen) and the date and time of the movie showing. The invisible watermark is carried along with the movie content as it is pirated onto a camcorder and subsequently distributed. If an illegal copy is recovered, the watermark information can be extracted from the copy, and the time and place of the original theft is known.

While there are several watermarking solutions available on the general market, the Digital Cinema applications pose some particularly difficult problems. The issue is whether the watermark can survive the numerous degradations that occur when a movie is copied from the screen using a camcorder. These degradations include magnification changes, the warping of perspective, loss of sharpness, effects of interlacing, changes in contrast and color, temporal sampling rate changes, and more. Many watermarking techniques cannot survive even simple alterations to the watermarked data, but Kodak’s technology for robust, invisible watermarking can be applied to Digital Cinema with exceptional results. Besides its performance, Kodak’s watermarking process includes secure keys for embedding and extracting the watermarks, which prevents unauthorized tampering and extraction of the watermark.

While piracy can never be stopped, legal enforcement of copyright laws is critical to minimizing it. That legal enforcement depends on good evidence. And one way to provide that evidence is Kodak’s invisible watermarking technology. Invisible watermarks provide the “fingerprints” for tracing where and when a movie was stolen. While watermarking doesn’t directly prevent theft, it can provide key evidence of when and where the copy was made.


Note: The above was demonstrated by Kodak in Showest in March 2001 (Link:

Currently  high quality copies can be easily captured via HD consumer camcorders  or even SmartPhones like iPhone & Samsung which records upto 1080p can be used for making illegal movie copies, which can be distributed shortly after the movie release.

Currently in India Qube Digital Cinema provides secured forensic watermarking via Civolution NexGuard.

NexGuard – Digital Cinema:


NexGuard – Digital Cinema offers unique image and audio forensic marking, enabling illegal copies found, to be traced back to the theatre where the camcording occurred. NexGuard – Digital Cinema is fully compliant with the specifications from the Digital Cinema Initiatives (DCI), a joint venture of the major film studios, which made forensic marking of digital movies – including both image and sound – a mandatory requirement. Provided as an integral component of the Digital Cinema server system, NexGuard – Digital Cinema offers great advantages. The forensic mark is added to the content upon projection and includes a location identifier and a time stamp.


  • Illegal copies of film are traceable to a specific cinema, screen and date/time  of projection
  • The watermark is imperceptible to the human eye and ear
  • Approved by the major Hollywood studios, the NexGuard – Digital Cinema watermark is very robust and can survive to in-theatre camcording and subsequent compression to low bitrates
  • Integrated into many leading 2K, 4K and 3D cinema server and projector brands
  • Fully DCI compliant D-cinema version
  • Video watermarking technology also available for E-cinema servers

The above technology has been implemented in both D-Cinema & E-Cinema Servers by only one company in India, Qube.

Licensed Cinema Servers by NexGuard Invisible Watermarking Technology worldwide are as follow,

Licensed cinema servers:

  1. Christie Digital Systems
  2. Dolby Digital Cinema (Dolby Laboratories)
  3. Doremi Cinema (Doremi Labs)
  4. GDC Technology (Global Digital Creations)
  5. MikroM GmbH
  6. Qube Cinema (Real Image)
  7. NEC
  8. Digicine ORISTAR Technology Development (Beijing) Co., Ltd.
  9. Sony’s Digital Cinema Solutions (Sony Electronics)
  10. Ultra Stereo Labs, Inc (USL)


The above invisible watermarking technology are only used in Digital Cinema Exhibition worldwide, Whats worrying now in filmmaking stages are movies being pirated in Post Production Stage itself.Two example being a full film of Jaggubhai starring Sarathkumar available on net before the release of film which was pirated at post production stage and yesterday Ajith staring Arrambam, a 50sec footage captured via phone from a TV in post production stage leaked in Facebook & Youtube.

What currently needed at Post Production stages are after shooting in digital, files need to be back-up multiple mediums including Hard Disks, RAIDs & LTO Tape Archive. Once done and when footage are send for Editorial needs to be encrypted  and encrypted contents can only open content by running decrypted software in Editorial and same needs to continue to every post production stage including Dubbing, Sound FX, Re Recording, Sound Mixing and copies for Producers, Directors, DOP & Actors. In every stage there needs to be decrypting software running in all these place which will have invisible watermarking and when there is a duplicated copy taken from any of these places via capturing and copying can be easily deductible and easy to question people. For this to happen Producers & Crew needs to be educated on advantages of this and software implementation for which there will be cost.

Hope industry agree to this and start working towards this.

Why Blackmagic Pocket Cinema Camera will replace GoPro in Feature Films

Advantages of GoPro cameras are its size and image reproduction at that price which made film makers across the world to use it in framing shots in feature films which is not possible with any other camera. Still DOPs across the world in-spite of GoPro Hero3 4K image reproduction with better imaging & low light performance are not happy till date, but use it modestly for shots which are impossible with current cameras including Film Cameras and Digital Cinema Cameras like Arri Alexa, Red Epic / Scarlet, Sony F65 / F55 / F5, Phantom Flex / HD, SI2K and so on. Above all GoPro Hero3 produces brilliant image but not ready for big screen projection is my point of view.

BMC Pocket Cinema Camera Wide Dynamic Range

BMC Pocket Cinema Camera Wide Dynamic Range

GoPro Hero3:

GoPro Hero3 Black Edition

GoPro Hero3 Black Edition




GoPro Hero3 Specs:


  • Ultra sharp ƒ/2.8 6-element aspherical glass lens
  • Ultra wide angle / reduced distortion
  • 2X Better low-light performance

Video (NTSC/PAL)

Video Resolution NTSC fps PAL fps STD Mode Protune Mode Field of View (FOV) Screen Resolution/ Aspect Ratio
1080p 60, 48, 30, 24 fps 50, 48, 25, 24 fps YES YES Ultra Wide, Medium, Narrow 1920×1080 16:9
720p 120, 60 fps 100, 50 fps YES YES Ultra Wide, Narrow* 1280×720 16:9
1440p 48, 30, 24 fps 48, 25, 24 fps YES YES Ultra Wide 1920×1440 4:3
4K 15 fps 12.5 fps NO ONLY in Protune Ultra Wide 3840×2160 16:9
4K Cin 12 fps 12 fps NO ONLY in Protune Ultra Wide 4096×2160 17:9
2.7K 30 fps 25 fps YES* YES Ultra Wide 2704×1524 16:9
2.7K Cin 24 fps 24 fps YES* YES Ultra Wide 2704×1440 17:9
960p 100, 48 fps 100, 48 fps YES YES Ultra Wide 1280×960 4:3
WVGA 240 fps 240 fps YES NO Ultra Wide 848×480 16:9

Note *May require a software update on camera

  • Video format: H.264 codec, .mp4 file format
  • White Balance: auto and manual

Photo Modes

  • 12, 7, 5MP resolutions
  • Burst: 30 photos per second
  • Continuous Photo: 3 photos per second, 5 photos per second, 10 photos per second
  • Time-lapse: 0.5, 1, 2, 5, 10, 30, 60 second intervals
  • Simultaneous Photo + Video:
    • 12MP + 1440p24 fps
    • 8MP + 1080p30 fps 8
    • 8MP + 720p60 fps


Battery & Charging

  • 1050mAh rechargeable lithium-ion
  • Charge via USB
Black Edition
Black Edition with LCD Touch BacPac™
Black Edition using with Wi-Fi Remote
Black Edition using GoPro App
RES/FPS Estimated Time Estimated Time Estimated Time Estimated Time
720/60 1:25 1:10 1:20 1:10
1080/30 1:30 1:15 1:25 1:15
1080/60 1:15 1:00 1:05 1:00
1440/48 1:25 1:05 1:15 n/a
4k/15 1:30 1:10 1:20 n/a
2.7k/30 1:20 1:05 1:10 n/a
  1. Extreme cold temperatures may decrease battery life. For use in these conditions it is suggested to keep camera in a warm place prior to use.
  2. To maximize HERO3 battery life when shooting longer duration activities, it’s is best to use camera with LCD Touch BacPac turned off or unattached altogether. Turning off Wi-Fi will also help conserve power.
  3. Using protune mode will increase power consumption. May vary per mode and camera edition.



  • Mono, 48kHz, AAC compression w/ AGC
  • Supports optional 3.5mm stereo mic adapter **



  • Memory:
    • MicroSD class 10 or higher required
    • Up to 64GB capacity supported
  • Record times will vary with resolutions and frame rates

Blackmagic Pocket Cinema Camera:

Blackmagic Pocket Cinema Camera

Blackmagic Pocket Cinema Camera

A true Super 16 digital film camera that’s small enough to take anywhere!

  1. 13 Stops of Dynamic Range in true digital film like images
  2. Super 16 Sensor Size
  3. Lossless CinemaDNG RAW & Apple ProRes
  4. Micro Four Thirds Lens Mount
  5. 1080p HD Resolution to SD Cards
  6. 3.5″ LCD at Back
  7. Professional Connections include micro HDMI out, mini jack microphone input like AV Style microphones, mini jack headphone for audio monitoring, LANC control input for remote operation and removable rechargeable battery with 12V DC input.

Blackmagic Pocket Cinema Camera Accessories are already ready for shipping from Wooden Camera –

Blackmagic Pocket Cinema Camera

Blackmagic Pocket Cinema Camera













Blackmagic Pocket Cinema Camera - MFT Lens Mount

Blackmagic Pocket Cinema Camera – MFT Lens Mount




Hence with size and affordability, Blackmagic Pocket Cinema Camera will replace GoPro in feature film production in near future. Blackmagic Pocket Cinema Camera is expected to ship in couple of days for a price of $995.

Last week Arri announced for their Pre-Nab 2013, product line which replaces their existing Alexa SxS Card slot with Arri XT Module which will capture ARRIRAW in 512GB XR Capture drive which is an SSD technology storage drives. Here are the official announcement and details about the new Camera Technology implementation with an easy upgrade path to his current Alexa Camera models.


With the ALEXA XT cameras (Xtended Technology) ARRI is refreshing the ALEXA product line, incorporating new features inspired by feedback from professional users. These features will expand on the benefits that have already made ALEXA such an extraordinary success – highest overall image quality and lowest overall production cost through reliability, ergonomics and efficient workflows.

The ALEXA XT, ALEXA XT M, ALEXA XT Plus and ALEXA XT Studio cameras will replace all previous models except for the original ALEXA. Owners of existing ALEXA cameras will be able to purchase individual upgrades that deliver most of the features of the XT configuration.


Main Features

  • Refresh of ALEXA camera family
  • XR Module for faster, more affordable ARRIRAW
    • In-camera ARRIRAW up to 120 fps
    • In-camera ProRes or DNxHD up to 120 fps*
    • Fast 512 GB XR Capture Drives
    • Proven, efficient Codex on-set or near-set workflows
  • Less weight and easier working with internal NDs
    • In-camera Filter Module IFM-1
    • Internal filtration reduces reflections, weight and hassle
    • New high-tech filters based on white-water optical glass
    • Neutral color balance at all densities through absorptive IRND coating
    • Accurate infrared cut off
    • High image sharpness through precision polishing
    • High contrast through anti-reflective multi-coating
    • Available in 8 densities from ND 0.3 to ND 2.4
  • True anamorphic with a 4:3 sensor
    • 4:3 sensor on all XT models
    • Anamorphic de-squeeze license included
  • High speed license included
  • Lens metadata for efficient VFX
    • LDS PL Mount on all XT models
  • Comfortable, flexible new viewfinder mounting
    • Viewfinder Mounting Bracket VMB-3
    • Strong and rigid construction
    • 15 mm lightweight rods hold viewfinder mount
    • Rods can take lens motors, matte boxes, follow focus etc.
    • Special hard, low friction anodizing on all moving parts
    • Built-in bubble level
    • New Viewfinder Extension Bracket VEB-3 (separate accessory)
    • New, sturdy VEB-3 design
    • Viewfinder rests on camera through VEB-3 fold out arm
  • Super silent XT Fan
  • XT-spec upgrades for existing ALEXAs
    • Separately available upgrades include: the XR Module, In-camera Filter Module IFM-1, Viewfinder Mounting Bracket VMB-3, Viewfinder Extension Bracket VEB-3, XT Fan and the anamorphic de-squeeze and high speed licenses.


ALEXA XT New Features

XR Module for faster, more affordable ARRIRAW
All ALEXA XT models come with the new XR Module, a side panel that was co-developed with Codex and that replaces the previous SxS Module, allowing in-camera ARRIRAW recording up to 120 fps onto exceptionally fast and rugged 512 GB XR Capture Drives. This not only makes for a smaller, lighter and more affordable camera package, it also simplifies setup and operation while avoiding unnecessary cabling. The result is an even faster and more reliable workflow on set.

In addition to ARRIRAW, ProRes or DNxHD can also be captured to the XR Capture Drive for significantly longer recording times as well as ProRes 4444 recording at 120 fps. With an SxS Adapter it is possible to record ProRes or DNxHD to a single SxS PRO card.

Once removed from the camera, the XR Capture Drive offers a number of different paths into post, using the proven Codex workflow. First, a small and affordable USB3 Single Dock allows quick and safe copying of data onto a laptop. Second, the Dual Dock can make clones of XR Capture Drives and connect to a Mac Pro via a high speed SAS interface for speedy copying, archiving or dailies creation. And third, the Codex Vault is a modular and rugged all-in-one solution for fast and easy copying, archiving, reporting or dailies creation on or near-set.

Less weight and easier working with internal NDs
The In-camera Filter Module IFM-1 allows ALEXA XT models to be rated at the base sensitivity of EI 800 without the need for external Neutral Density (ND) filters, even in bright sunlight. Filtering behind the lens rather than in front saves time and reduces weight, reflections and operational complexity.

The Precision IRND filters used with the IFM-1 are based on new technologies that assure highest image quality. An absorptive IRND coating attenuates the light while maintaining a perfectly neutral color balance at all densities and providing an accurate infrared cut off. A base of water-white optical glass, precision polished to create perfectly parallel surfaces, guarantees a clear and sharp image. And last but not least, a high image contrast is ensured by an additional broadband anti-reflective multi-coating that reduces internal reflections. Precision IRND filters are available in eight densities from ND 0.3 to ND 2.4.

True anamorphic with a 4:3 sensor
Each of the ALEXA XT models is equipped with a 4:3 image sensor, the same size and shape as a 35 mm film frame. This is crucial for the effective use of anamorphic lenses, which deliver a unique and cinematic widescreen look that can trace its origins back to the CinemaScope films of the 1950s. It is a look that has long been appreciated by cinematographers, directors and the viewing public alike. An anamorphic de-squeeze license is included with all XT cameras, as is a high speed license for filming at up to 120 fps. The 4:3 sensor will also be useful on non-anamorphic productions as it permits significant reframing of the image in post, similar to shooting 4-perforation 35 mm.

Lens metadata for efficient VFX
Lens metadata is invaluable for a speedy VFX post workflow, which is why all ALEXA XT models are equipped with an LDS lens mount. The ARRI Lens Data System (LDS) reads the position of all lens rings and writes them into metadata in every format ALEXA can record. Over 41 lens models have LDS built-in, including the ARR/Zeiss Master Anamorphics, ARRI/Zeiss Master Primes, ARRI/Zeiss Master Macro 100, ARRI/Zeiss LDS Ultra Primes, ARRI/Zeiss Master Zoom 16.5-110, ARRI/Fujinon Alura Lightweight Zoom 15.5-45 and ARRI/Fujinon Alura Lightweight Zoom 30-80. For all other lenses it is possible to store the lens table inside the ALEXA by using the Lens Data Archive feature.

Comfortable, flexible new viewfinder mounting
Never satisfied with good-enough, ARRI engineers have scrutinized the ALEXA viewfinder bracket and come up with a stronger, more rigid design. Two 15 mm lightweight rods are used by the new Viewfinder Mounting Bracket VMB-3, creating extra sturdiness and allowing the use of accessories such as lens motors, follow focus units or matte boxes. Attaching such accessories to the viewfinder bracket removes clutter from the camera’s base plate, facilitating rapid changes in camera support, i.e. from a tripod to a crane or Steadicam. A special anodizing process is used on all moving parts for a very hard yet low-friction surface.

Also available as a separate accessory is the new Viewfinder Extension Bracket VEB-3, with a new and sturdy design and a fold-out arm that holds the viewfinder securely in place when moving the camera.
Note: All technical data based on Software Update Packet (SUP) 8.0, except: * DNxHD recording in general and ProRes 4444 at 120 fps will be available in a later SUP. All data subject to change without notice.


22 Feb 2013 ALEXA XT Preliminary – Data Sheet
Download (pdf, 2.97 MB)

For more information, please visit Arri Digital website

Canon develops 35 mm full-frame CMOS sensor for video capture

Canon Official Press Release dated March 4,2013:

Canon develops 35 mm full-frame CMOS sensor for video capture

  • The newly developed 35 mm full-frame
    CMOS sensor for video use
  • Prototype camera incorporating the newly
    developed 35 mm full-frame CMOS sensor

TOKYO, March 4, 2013—Canon Inc. announced today that the company has successfully developed a high-sensitivity 35 mm full-frame CMOS sensor exclusively for video recording. Delivering high-sensitivity, low-noise imaging performance, the new Canon 35 mm CMOS sensor*1 enables the capture of Full HD video even in exceptionally low-light environments.

The newly developed CMOS sensor features pixels measuring 19 microns square in size, which is more than 7.5-times the surface area of the pixels on the CMOS sensor incorporated in Canon’s top-of-the-line EOS-1D X and other digital SLR cameras. In addition, the sensor’s pixels and readout circuitry employ new technologies that reduce noise, which tends to increase as pixel size increases. Thanks to these technologies, the sensor facilitates the shooting of clearly visible video images even in dimly lit environments with as little as 0.03 lux of illumination, or approximately the brightness of a crescent moon—a level of brightness in which it is difficult for the naked eye to perceive objects. When recording video of astral bodies, while an electron-multiplying CCD,*2 which realizes approximately the same level of perception as the naked eye, can capture magnitude-6 stars, Canon’s newly developed CMOS sensor is capable of recording faint stars with a magnitude of 8.5 and above.*3

Using a prototype camera employing the newly developed sensor, Canon successfully captured a wide range of test video,*4 such as footage recorded in a room illuminated only by the light from burning incense sticks (approximately 0.05–0.01 lux) and video of the Geminid meteor shower. The company is looking to such future applications for the new sensor as astronomical and natural observation, support for medical research, and use in surveillance and security equipment. Through the further development of innovative CMOS sensors, Canon aims to expand the world of new imaging expression.

Canon Marketing Japan Inc. will be exhibiting a prototype camera that incorporates the newly developed 35 mm full-frame CMOS sensor and sample footage captured with the camera at SECURITY SHOW 2013 (, which will be held from Tuesday, March 5, to Friday, March 8, at the Tokyo International Exhibition Center in Tokyo, Japan.

*1An imaging element (aspect ratio: 16:9) that supports the largest image circle size possible when shooting with a Canon EF lens.
*2A CCD sensor with a readout mechanism that multiplies electrons after being converted from light. Applications include nighttime surveillance and the capture of astral bodies and nighttime nature scenes.
*3The brightness of a star decreases 2.5-times with each 1 magnitude increase.
*4Recording of test video footage was made possible through cooperation from ZERO Corporation.

Footage using the 35 mm full-frame CMOS sensor for Full HD video capture


Dragon Sensor – 6K @ 80fps with 21stops of Dynamic Range

EPIC Dragon Sensor

Epic Dragon Sensor Dynamic Range Chart

Yesterday midnight at the stroke of new year in forum, Jim Jannard announced first image of Red new Dragon Sensor which is capable of 21stops of Dynamic Range in 6K @ 80fps.

Jim Jannard message in reduser forum,

“Happy New Year everyone… just a bit of an update on Dragon. 
There are some people that think RED has been standing still.. Quite the contrary. We just have been a bit quiet with our hands full harnessing the fire-breathing power of the Dragon.

Dragon was born from a brand new pixel design, with a new fab process and a new read out architecture that has resulted in a sensor that is cleaner and that has more dynamic range than anyone expected. 

One of our most reserved sensor engineers wrote Jim and I this morning after shooting a test and these were his words:

” First time in ten years that I’m speechless ” 

Getting Dragon done was one of the most difficult things we have ever done… but it has turned out to be much more than we could of ever imagined. 

This much range coming off of a sensor has never been done before.. let alone at over 6k at 80 frames a second.. so we had to beef up the entire infrastructure of EPIC. 

This is likely to affect the price of the upgrade a bit.. and its going to close the door on any chance of a Scarlet to be able to upgrade to Dragon. 

We are however.. going to be offering a trade-in program much like we did with the R1 for Scarlet customers to get into an Epic Dragon. 

So on the last day of the year of the Dragon, I am going to share with you a frame that was taken this morning. 

Don’t look at image quality here… this is a dirty debayer with no black calibration, no offset correction and no processing on a special 21 stop DR Chart from DSC. 

This is from a prototype ” Frankie ” Epic camera with a really, really expensive engineering lens that really, really sucks at taking pretty pictures, on a non-sealed lens mount ( hence the light bloom ) but it gives you a bit of an idea on just how powerful all your cameras are about to become. 
“Real” Images coming soon… ( but not tonight )”

Hope to see more images soon and this post also hints at change in pricing for Epic Dragon Sensor upgrade program and hopefully end of Scarlet which leads to special pricing upgrade package for Epic Dragon from Scralet like the one which they previously announced for RedOne MX to Epic.


Gopro Hero3

Will be last to blog about Gopro Hero3 (4k) camera. One word – Every Cinematographer, Director & Producer will own this camera for every film / sports production. Dont miss it to read the complete specs (or) you can directly order from Stereovision (India’s Gopro dealer)

You can read from Vincent Laforte blog post here about Gopro Hero3

Gopro Hero3 (4K Camera):

Gopro Hero3

Gopro Hero3

Product Description:

Smaller, lighter and 2X more powerful, again.

The Wi-Fi enabled HERO3: Black Edition is the most advanced GoPro, ever. No expense was spared during its development, resulting in a GoPro that is 30% smaller, 25% lighter and 2x more powerful than previous models. Wearable and gear mountable, waterproof to 197′ (60m), capable of capturing ultra-wide 1440p 48fps, 1080p 60 fps and 720p 120 fps video and 12MP photos at a rate of 30 photos per second, the HERO3: Black Edition is the world’s most versatile camera. Built-in Wi-Fi, GoPro App compatibility and the included Wi-Fi Remote (normally a separate $79.99 accessory) make the HERO3: Black Edition all the more versatile, still.

Smaller, Lighter…Better

Weighing in at a scant 2.6 ounces, the HERO3: Black Edition is 25% lighter and 30% smaller than previous models.

2X Faster Video Performance

The HERO3: Black Edition captures professional, cinema-quality video at 2X the resolution and 2X the frame-rate of previous models while delivering 2X better low light performance. Slow-motion aficionados and industry professionals will love the HERO3: Black Edition’s 1080p-60, 720p-120, WVGA-240, 960p-100 and 1440p-48 video modes while those desiring a cinematic look will appreciate the ultra-high resolution 2.7KP-30 fps and 4KP-15 fps (Protune only) video modes.

3X Faster Photo Performance

The HERO3: Black Edition’s photo performance is 3X improved, now boasting 12MP burst capture at a staggering 30 frames per second with 2X better low light performance compared to previous models. Still Photo and Time-lapse Photo modes remain the same but are now joined by a new Continuous Photo mode that captures continuous 12MP stills at a steady 3, 5, or 10 photo-per-second rate, up to 30 photos at a time.

Improved Sharpness, Less Distortion

The HERO3’s reduced-distortion, 6-element aspherical lens combines with user-selectable Ultra-wide, Medium and Narrow field-of-views to deliver more perspective-capture options than ever before. Add the totally updated flat-lens waterproof housing that delivers stunning image sharpness both above and below water and you’ve got one of the most powerful and durable image capture solutions on the planet.

Redesigned Audio System

Understanding that sound quality is as important as image quality, GoPro engineers completely redesigned the HERO3 to be as adept at capturing the subtle, natural sounds of voice and music as it is at capturing the immersive sounds of sport. Also improved is GoPro’s already famous wind-noise reduction, ensuring that you’ll hear more of your passion, be it your engine or expletives, and less of the wind during high speed activities.

Built-in Wi-Fi (Wi-Fi Remote Included)

The HERO3 Black Edition features built-in Wi-Fi and includes GoPro’s Wi-Fi Remote accessory. The Wi-Fi Remote is normally available as a $79.99 accessory but is included with the HERO3: Black Edition. The Wi-Fi Remote is waterproof, wearable and can control up to 50 Wi-Fi-enabled GoPros at a time from a range of 600′. The HERO3’s built in Wi-Fi means it can also be controlled by iOS or Android smartphones and tablets running the GoPro App*. The GoPro App enables full camera control and live scene preview on any compatible iOS or Android smartphone or tablet. * A software update for your HERO3 camera is required before using the GoPro app. Full app compatibility with the HERO3 will be available WINTER 2012.

The HERO3: Black Edition is compatible with all GoPro mounting accessories and older generation BacPacs™ along with the newer generation LCD Touch BacPac and 2nd generation Battery BacPac. However, as all HERO3 cameras have a new size and shape and are not compatible with HERO2 housings.

What’s Included

  • HERO3: Black Edition Camera
  • 197’/ 60m Waterproof Housing*
  • Wi-Fi Remote + Key Ring
  • Remote Charging Cable
  • Rechargeable Li-ion Battery
  • QR Buckle
  • J-Hook Buckle
  • 3-Way Pivot
  • 1 Curved Adhesive Mount
  • 1 Flat Adhesive Mount
  • Assorted Mounts and Hardware
  • USB Charging Cable
Gopro Hero 3 Black

Gopro Hero 3 Black

Key Benefits

  • Wearable, mountable design
  • Immersive, wide angle capture of your favorite activities
  • Professional quality HD video & 12MP photos
  • Built-in Wi-Fi enables remote control via included Wi-Fi Remote or live video preview and remote control on smartphones and tablets running the free GoPro app.
  • Rugged housing is waterproof to 197’/60M and captures sharp images above and below water
  • Compatible with all GoPro mounts for attaching to gear, body, helmets, vehicles and more
  • Compatible with LCD Touch BacPac™ and second generation Battery BacPac™
  • Backwards compatible with older generation BacPacs™
  • New advanced camera settings: Looping video, Continuous Photo, Manual White Balance control, Protune Mode, allows to shoot photos while recording video and more.

Key Specs

  • Professional 4K Cinema 15 fps / 2.7K cinema 30 fps / 1440p 48 fps / 1080p 60 fps / 960p 100 fps /720p 120 fps and more video capture
  • 12MP photo capture with 30 fps burst
  • Wi-Fi Built-In
  • Wi-Fi Remote Compatible (included)
  • GoPro App Compatible (FREE)
  • 197’/ 60m Waterproof Housing*
  • Assorted mounts and hardware included for attaching to helmets, gear and more

Tech Specs:


  • Ultra sharp ƒ/2.8 6-element aspherical glass lens
  • Ultra wide angle / reduced distortion
  • 2X Better low-light performance*

Video (NTSC/PAL)

Video Resolution NTSC fps PAL fps STD Mode Protune Mode Field of View (FOV) Screen Resolution/ Aspect Ratio
1080p 60, 48, 30, 24 fps 50, 48, 25, 24 fps YES YES Ultra Wide, Medium, Narrow 1920×1080 16:9
720p 120, 60 fps 100, 50 fps YES YES Ultra Wide, Narrow* 1280×720 16:9
1440p 48, 30, 24 fps 48, 25, 24 fps YES YES Ultra Wide 1920×1440 4:3
4K 15 fps 12.5 fps NO ONLY in Protune Ultra Wide 3840×2160 16:9
4K Cin 12 fps 12 fps NO ONLY in Protune Ultra Wide 4096×2160 17:9
2.7K 30 fps 25 fps YES* YES Ultra Wide 2716×1524 16:9
2.7K Cin 24 fps 24 fps YES* YES Ultra Wide 2716×1440 17:9
960p 100, 48 fps 100, 48 fps YES YES Ultra Wide 1280×960 4:3
WVGA 240 fps 240 fps YES NO Ultra Wide 848×480 16:9

Note: *May require a firmware update on camera

  • Video format: H.264 codec, .mp4 file format
  • White Balance: auto and manual

Photo Modes

  • 12, 7, 5MP resolutions
  • Burst: 30 photos per second
  • Continuous Photo: 3 photos per second, 5 photos per second, 10 photos per second
  • Time-lapse: 0.5, 1, 2, 5, 10, 30, 60 second intervals
  • Simultaneous Photo + Video:
    • 12MP + 1440p24 fps
    • 8MP + 1080p30 fps 8
    • 8MP + 720p60 fps

Battery & Charging

  • 1050mAh rechargeable lithium-ion
  • Charge via USB


  • Mono, 48kHz, AAC compression w/ AGC
  • Supports optional 3.5mm stereo mic adapter


  • Memory:
    • MicroSD class 10 or higher required
    • Up to 64GB capacity supported
  • Record times will vary with resolutions and frame rates

Included Cables

  • USB charging cable

Operating System

  • Microsoft Windows® Vista, 7 and later
  • Mac OS® X 10.5 and later

for more information please visit Gopro official website.

Along with this Gopro launched iPhone App which will allow to view live view from Gopro with Wi-Fi add-on for Gopro Hero2 or Hero3 comes along with Wifi built in.

Gopro App:

GoPro App (Free)

Use your smartphone or tablet as a live video remote–includes video and photo preview. Requires HD HERO2 camera and Wi-Fi BacPac™ (not included).
iOS App Store link 

Product Description:

Connect. View. Control.

The GoPro App you lets you control your GoPro camera remotely using a smartphone or tablet. Features include full control of all camera settings, live video preview to your smartphone or tablet for easy shot framing and more. The GoPro App also gives you access to our Photo and Video of the Day posts keeping you in touch with the latest radness from GoPro. The GoPro App is available on the Apple App Store™ and coming soon to Google Play. The GoPro App is not compatible with the Original HD HERO camera.

NOTE: A software update for your HERO3 camera is required before using the GoPro app. Full app compatibility with the HERO3 will be available WINTER 2012. HD HERO2 cameras and Wi-Fi BacPacs require a software update before using the GoPro App. Visit for a free software update.

GoPro App Features

  • Full control of your HD HERO2 camera’s settings + features
  • Live preview makes framing your shot easy
  • Access to GoPro’s Photo and Video of the Day

Future GoPro App Features

  • Playback + Share content stored on your camera’s SD card using your smartphone or tablet
  • Multi-camera control

Note: Demo video may showcase features to be released with future versions of the app.

Landscape View
Portrait Views


The GoPro App is compatible with most smartphones and tablets:

For Apple iOS:

  • iPhone 3GS, 4, 4S (iOS 4.3 & 5)
  • iPod Touch 4 (iOS 4.3 & 5)
  • iPad 1, 2 & 3 (iOS 4.3 & 5)

For Android:

(Coming Soon)