TAILIEUCHUNG - Image Sensor Architectures for Digital Cinematography

All of this is not disputed, but when we come to look at the films themselves and who watches them, it gets more complicated. India is now famous for its computer software engineers and it has always been known for its bureaucracies (needed to organise the world’s largest democracy), but the film industry in India is only slowly beginning to deliver the detailed box office information on a regular basis that business commentators and film scholars in the UK and North America have come to expect from their own industries. There are rapid changes taking place in the Indian entertainment. | tachnology with vision Image Sensor Architectures for Digital Cinematography Regardless of the technology of image acquisition CCD or CMOS electronic image sensors must capture incoming light convert it to electric signal measure that signal and output it to supporting electronics. Similarly regardless of the technology of image acquisition cinematographers can generally agree on a short list of capabilities that a capture medium needs in order to provide great images for big-screen feature films capabilities such as Sensitivity Exposure Latitude Resolving Power Color Fidelity Frame Rate and one we might call Personality. This paper will use such a list to evaluate image sensor technologies available for digital cinematography now and in the near future. Image Quality Many Paths to Enlightenment The comparison of image sensor technologies for motion pictures is both difficult and complicated. The combination of an image sensor and its supporting electronics are analogous to a film stock just as there is no single film stock that covers all situations or all cinematographers needs there is no single sensor or camera that is perfect for every occasion. Every decision involves tradeoffs. The same sensor can even be more or less suitable for an application depending on the camera electronics that drive and support it. But no amount of processing can retrieve information that a sensor didn t capture at the scene. In designing the sensor and electronics for our Origin digital cinematography camera DALSA drew upon its 25 years of experience in CCD and CMOS imager design. Given the demands and limitations of the situation we determined that the best image sensor design for our purposes was and still is a frame-transfer CCD with large photogate pixels and a mosaic color filter array. It is not the only design that could have succeeded but it is the only design that has succeeded. No other design has demonstrated a similar level of imaging performance across the range of .

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