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Silicon Imaging Presents off SI-2K 2.0 Offering Improved Dynamic Range and Image Processing (16/4/2010)

Silicon Imaging presented the SI-2K 2.0 at the National Association of Broadcasters Convention. The new HD and 2K cinema-quality RAW camera represents a major step forward for the company, which won widespread acclaim when the Academy of Motion Picture Arts and Sciences recognized Slumdog Millionaire, shot mainly on the original SI-2K, with the Oscars for Best Picture and Best Cinematography in 2009.

The new system combines improvements in the SI-2K’s firmware and software to deliver up to 11-stops of dynamic range, 12-bit log processing, an IRIDAS color-managed pipeline, improved sensitivity, 360-Shutter modes, ambient timecode integration and uncompressed CineformRAW Quicktime recording to 2.5” Solid State Drives. The QuickTime files can be instantly edited in Apple’s Final Cut or imported into AVID with the ALE and metadata generated in-camera.

The SI-2K can be docked into the rugged SI-2K Cinema DVR or tethered to the new Silicon Imaging Minideck for Steadicam, shoulder-mount or handheld operation. Two SI-2K cameras can be synchronized to shoot stereo 3D mounted side by side, or on a mirror rig for close-up work.

“The SI-2K camera delivers the image quality necessary for HD television and theatrical releases,” explained Ari Presler, CEO of Silicon Imaging. “The ability to capture and record uncompressed 12-bit log is unprecedented and enables our content to be easily cut with film or any other digital format out there. The CineformRAW QuickTime codec offers real-time cost-effective editing, metadata managed grading and ultimately, DCI Mastering.

“The industry support for the SI-2K post production has been phenomenal,” added Presler. “Today, we are supported and integrated with Apple, AVID, Quantel, Adobe, DVS, Digital Vision, Gluetools, IRIDAS, and there are more on the way.”

Shooting 127 Hours with the New SI-2K 2.0

The SI-2K 2.0 and Minidecks are being used by director Danny Boyle and cinematographer Anthony Dod Mantle who shot Slumdog Millionaire. Both Slumdog Millionaire and their current project, 127 Hours, were shot with a combination of the SI-2K, 35mm celluloid with occasional use of the Canon DSLR. 127 Hours is based on the true story of Aaron Ralston (played by James Franco), the mountain climber who amputated his own arm to free himself after being trapped by a boulder for five days.

"As with all new film projects I am presented with the task of determining the right tools to shoot that particular story in the best and most interesting way possible,” said Dod Mantle. “The Moab region and the canyons are extremely challenging terrain. Some of the slot areas are almost impassable. Of course Danny and I want to make maximum use of this dramatic geography, and the SI-2K cameras have helped us enormously here. They are light and ergonomic compared to any other digital camera of that same resolution.”

“We have a grueling schedule and are shooting simultaneously with two units,” explained Dod Mantle. “Between us we’re using a total of six SI-2K cameras, along with our Compact Moviecam 35.Sls cameras and eight or nine Canon DSLR bodies.”

“Danny Boyle and Anthony Dod Mantle could have used any camera – film or digital – in the world to shoot 127 Hours, but they selected the new SI-2K,” said Presler. “We were able to get some great feedback during preproduction and were able to implement several new features to make the SI-2K 2.0 an even more powerful and efficient camera. They are shooting 12-bit Uncompressed CineformRAW QuickTime, editing with AVID and doing DI in IRIDAS SpeedGrade.”

Key Features of the SI 2K V2.0

* 12-Bit CineformRAW Encoding for improved Dynamic Range
* Quicktime 12-bit Uncompressed Mode (Up to 100MB/sec)
* Continuous Adaptive Filmscan2 Recording on SI-2K DVR
* 2K (16:9), 2K DCI and 1080P Modes
* Quantel, Digital-Vision, AVID, DVS, Adobe and Iridas Support
* Auto File Recovery (auto-repair for unclosed files caused by power loss)
* Conform Frame Rates - Shoot at 72 playback rate at Project FPS (eg 24)
* 3 File Naming Methods: Reel/Take, Date/Time, Scene/Shot/Take
* Scene-Shot Take Auto incrementing and File Numbering
* Dual White Balance & User Adjustment Presets
* Set Look Button Presets for 3D-LUT Color Processing
* Function Hot-Keys (F1-F12)
* Digital Slate System - Burn-in option for first 8 Frames
* QWERTY Touchscreen Keyboard
* Larger Spot/Focus zoom Window (Pixel-for-Pixel Render)
* Standard Guides and Reference Hotspot guide
* Edit Look Metadata in Player
* AVID ALE Log File
* Full-Screen Record and Play Controls
* External Monitor Histograms, Exposure, Edge and Zooming
* Input Volume Controls on Level Meter
* 360-Shutter Modes for Increase Sensitivity
* Time vs GBytes Remaining meters
* Single Frame triggered Sequences
* Right-Mouse Click Macros
* Push-Button for Record or Right-Click Sequencing
* Slave-LTC Timecode Jam-Sync for Ambient ALL-601
* Stereo 3D and Multi-camera Sync for 360-2K Systems
* Upgradable to SI-3D Stereo System AddThis Social Bookmark Button

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