HDR video camera:All the funky music and toning choices aside, this is video actually shows a seriously powerful device. It’s based on a beamsplitter, means semi-transparent mirrors redirect the light from the lens to 3 sensors. A little bit like the 3-chip CCD cameras we used to have in the nineties, except it has 3 CMOS chips with roughly 3.5 EVs between each other.
The clips they show would be tough to do with most other HDR video systems.
HDR video camera:For example, HDRx on the RED Epic struggles with fast motion, just like any other short+long shutter speed method. But since AMP HDR splits the light optically, all 3 sensors all have the same exposure time, the same motion blur, in perfect sync. The other method, repurposing a stereoscopic 3D-rig as beamsplitter (like this orthis or many others), makes it a real challenge to shoot a focus-pull or push-in shot. As cool it may be to shoot two exposures with two Canon 5D’s, keeping them synchronized gets tricky in such real life situations. Putting the beamsplitter behind the lens makes much more sense.
It is, however, still a bit of a prototype with no real connectivity for cine-standards. That would be the next prototype. Personally, I’d raise my hand for direct EXR frames pushed down a P2 RAID, but internal tone-mapping to an HDMI stream was also in the talks. Hopefully that would be at least HDMI 1.3 with DeepColor. Guess, technically there would even be room for a Mac mini in that box. Or let me pop an iPhone in as programmable controller, like the fancy newCLAUSS Rodeon panohead. Anyway, it would be interesting to see that AMP tech show up in a real product. Contrast Optical have no ambition to become camera manufacturers for things you could pick up at Best Buy, so let’s hope they find some big partners/licensees.
HDR video camera:Mike Tocci, the inventor of the AMP camera, has a great Siggraph paper on his method. Totally recommended read! You’ll learn that each sensor is aligned with sub-pixel accuracy, which gives him a chance to merge the pure RAWs to HDR, even before demosaicing. Which turns out much much better, because saturated pixels in individual color channels are discarded before they even get a chance to mush up the colors of their neighbors. This really sounds like the right way to go from RAW to HDR.
Update: Here is the serious version of the video. Without the tekkno music, instead with more explanations of the camera and the technology.
The AMP philosophy is to preserve all the content and information in a scene, thus giving the artist as much raw material to work with. To this end, we developed the AMP camera and video system. AMP uses a patented optical engine to split the light from a single camera lens onto three digital video sensors. AMP can produce a true, high-dynamic range (HDR) image for every single frame in the video stream. And the best news is: that’s just the beginning.
AMP captures three widely spaced exposures in order to extend the dynamic range of the camera and produce images that are as close as possible to what the human eye can experience. We create unmatched HDR video streams in real-time. Nobody likes to wait, and AMP is no exception. We insisted that AMP had to produce a true HDR video stream in real time, allowing AMP to be useable for live broadcasts, and ensuring immediate results for film crews.
No compression. No losses. Ever. AMP only stores raw data. Every electron of data captured by AMP is saved to a solid state drive (SSD) without any compression or any loss.
AMP does all this in a small, compact, robust package that is no bigger than a prosumer SLR camera and weighs less than 5 lbs without a lens.
Follow AMP and its development here. Let us know you love it as much as we do.