Dear Friends,

We are now shipping the nano3D.

The following text is from our nano3D brochure:

nano3D combines two nanoFlashes, with sophisticated 3D firmware to provide a camera-mountable, stereoscopic recording and playback solution.

Each recording starts on the same frame, and playback will be in “Pixel Sync”.

Professional or consumer 3D monitors may be used to analyze the images, as the nano3D includes 3D Image Combiner and Processor functions.

A Side by Side Image Combiner is provided in Live View, Recording, and during Playback.

Menu selectable Pixel Offset is also provided.

When not shooting 3D, the two nanoFlashes may be used independently on two different camers,
or used to create Fully Redundant Recordings from a single camera or video source,
or for creating both High Resolution and Proxy Mode recordings simultaneously.

Records Isolated “Left Eye” and “Right Eye”,
or if desired, records combined “Side by Side” 3D footage.

Playback is in “Pixel Sync”.

Works with both Professional and Consumer 3D Monitors
(A HD-SDI to HDMI converter is required if using Consumer 3D Monitors)

Records up to 280 Mbps in I-Frame Only.

Includes Image Combiner and 3D Processor Functions which work in Live View, Recording, and Playback

Includes Image Flip (Vertical), Image Flop (Horizontal) and both, for Live View and before Recording.

nano3D Specifications

nano3D works with almost all HD-SDI or HDMI equipped cameras that have a clean output.

HD-SDI cameras are typically preferred.

With HDMI cameras, playback requires a simple cable change.

Genlocked cameras are recommended for 3D work.
Alternatives to “Genlock”, such as control via LANC, for certain HDMI cameras may also work.

The nano3D supports Long-GOP and I-Frame Only; for 3D work, I-Frame Only is recommended.

I-Frame Only Bit-Rates supported are 100, 140, 180, 220 and 280 Megabits per second (Mbps), all recorded in 4:2:2.

The nano3D can be quickly split into two separate nanoFlashes for non-3D work, by removing four screws.

Long-GOP HD Bit-Rates for non-3D work are 18 and 35 Mbps in 4:2:0,
and 50, 80, 100, 140 and 180 Mbps in 4:2:2.

Frame Rates supported:
1080p23.976, 1080p24, 1080p25, 1080p29.97, 1080p30, 1080i50, 1080i59.94, 1080i60,
and 720p23.976, 720p24, 720p25, 720p29.97, 720p30, 720p50, 720p59.94, 720p60.

Note: the nano3D, in 720p under 50 frames per second, does not currently support playback from the unit itself, but the files can be edited in certain Non-Linear Editors.

Menu Options are available for conversion of Progressive Segmented Frames (PSF) to
True Progressive, as well as removal of pulldown frames. This includes removal of 3:2 pulldown, 2:2 pulldown, and others.

Image Flip (Vertical) and Image Flop (Horizontal) and Both are supported.

Image Flip and Flop occur before recording and "pass thru" HD-SDI output.

Side by Side 3D Image Combining is supported, no separate processor is needed.
This is currently the best option, as it preserves full vertical resolution.
Ideal for viewing on a consumer 3D television.

Image offset functions are provided for Live View, while Recoding and Playback.

The nano3D records the “Left Eye” and “Right Eye” as two isolated channels.

A menu option allows combined image to be recorded, if desired.

Monitoring is via two HD-SDI outputs for professional 3D monitors,
or via a HD-SDI to HDMI converter for consumer 3D televisions. The AJA Hi-5 is recommended
which is typically located near the televisions so that a single, low cost, HD-SDI cable run can be used.

Up to 8 Channels of 24-Bit/48K audio (per “Eye”) are supported via audio embedded in the HD-SDI signal
or up to 2 channels (per “Eye”) of mic/line analog audio via a 3.5mm mini-jack. Mixer Tape-Out can be used, if desired.

Thus, up to 16 isolated audio channels can be recorded.

nano3D records in native Quicktime for Final Cut Pro and native MXF for Avid, Sony Vegas, Edius, Adobe CS3/4/5, etc.

nano3D includes two nanoFlashes, Remote Control with Tally Light, heavy duty AC Power Supply, P-Tap Power Cable, two HD-SDI cables, Y-Power Cable, Y-Cable for Remote Control, and special hinged Bracket to hold the two nanoFlashes.

Dan, if we already have the Nano Flash units and don't require the new bracket, is it a firmware update to make the Nano3D happen? If so, what is the cost and when can the firmware be downloaded?

Dear Bruce,

I know you asked a very simple, straight-forward question, but the answer is more complex.

We designed the nano3D using two nanoFlashes so one could use it for 3D one day, and then use it as two completely independent nanoFlashes. The change over takes less than two minutes.

If one already has two nanoFlashes, the upgrade consists of

1. A Remote Control with Tally Light.
2. A "Y" cable for the remote control.
This cable includes connections for serial communications between the two units.
3. Two 18" HD-SDI cables and a 9" HDMI (Mini to Mini) Cable,
4. An Anton Bauer P-Tap (D-Tap) to 4-Pin Hirose power cable.
5. A heavy-duty AC Power Supply (the original AC Power Supply is not adequate for two nanoFlashes).
6. The nano3D mounting bracket.
7. The nano3D firmware.
8. Authorization Code which allows the nano3D firmware to be used.

For those that own one nanoFlash, then we offer a nano3D Upgrade which includes all of the above items and a nanoFlash which has been pre-authorized to use the nano3D firmware.

In the US, the MSRP for the nano3D Upgrade is $4,595 with the expected street price of $4,495.


In the US, the MSRP for the full nano3D with two nanoFlashes is $7,495, with the expected street price of $7,295.


For a limited time, we will offer a nano3D Upgrade Kit 2 to those that already have two nanoFlashes.

This consists of all of the above items, (no nanoFlashes are included). The price for this upgrade is $1,795.

This limited time offer is scheduled to end September 30, 2010.

You may wonder why this is a limited-time offer.

We are doing this as a courtesy to those who already have two nanoFlashes.
The process of "authorizing" an existing nanoFlash nanoFlash is time-consuming and tedious.

It is not hard on the user of the nanoFlash, but does involve a few steps, but it is time consuming on our part and involves one of our high-level engineers. Thus, every nanoFlash that we have to upgrade takes time away from development work.

Yes, we could develop a more streamlined upgrade process for ourselves, but this too would take time away from our Chief Engineer. And, as most people know, he is very busy.

Thus, if one already has a nanoFlash and is considering shooting 3D in the future, we recommend purchasing the nano3D Upgrade as your second nanoFlash.



The prices around the world vary due to shipping costs, custom duties and other taxes.

Hi Dan,

From what I gather, if one owns a nanoFlash and wants to get the 3D upgrade with a second unit, their nanoFlash does not have to be authorized (upgraded) involving your Chief Engineer, just the second unit that is purchased and, of course, it is already authorized.

Dear Andrew,

Exactly!

I seem to remember saying this before to one of your anouncements - "Blimey!"

You guys just keep on pushing!

Steve

Dear Steve,

Thanks for the nice "Blimey"!

If I may step out of character for a minute:

The nano3D is a very nice way to record 3D. We handle side by side and mirror rigs, we support Image flip and image flop, and we include a "Side by Side" combiner for consumer 3D televisions.
(But an extrernal HD-SDI to HDMI converter will be needed at the 3D television.)

Then we add "Image Offset", "Pixel Sync" playback, in a low to moderate cost unit.

And being able to record high-quality I-Frame Only 4:2:2 video at 280 Mbps, with up to 16 channels of 24-Bit, 48k audio is not bad either.

And then one get two nanoFlashes for when they are not shooting 3D.

When one purchases the image processing functions in a separate unit, they can be quite expensive.
(But the stand-alone 3D image processors typically have more funtionality, but then typically, they can not record.)

The nano3D, a the very minimum, is a very nice, compact way to record 3D in the field.

Hi Dan,

From what I gather, if one owns a nanoFlash and wants to get the 3D upgrade with a second unit, their nanoFlash does not have to be authorized (upgraded) involving your Chief Engineer, just the second unit that is purchased and, of course, it is already authorized.

Dan,
I have one unit ... and if I get another unit with the 3D upgrade my 2 units can be combined as 3D? If that is what you mean ... what would this additional unit cost? forget this question ... I have the answer ... sorry about that ... can't seem to delete the message!

Dear Dean,

Yes, if you order a nano3D Upgrade, you get a nanoFlash with the nano3D firmware, the authorization (already installed in the nanoFlash), and all of the other cables and accessories.

One existing nanoFlash + one nano3D Upgrade = One full blown nano3D.

Dan,

Can you provide a little more information about the playback options for the Nano3D unit?

I like the capability of muxing the separate data streams into a side-by-side output, but can the two full bandwidth data streams in both NF units be set to output sychronous playback without muxing? In my configuration, I use a small 8" 3D linear polarized monitor that uses 2 HDSDI inputs and I have a Black Magic HDLink muxing those two data streams (loop through) out to a 40" Samsung 3D HDTV - so I don't need NanoFlash muxing in this configuration but synchronous playback would be worth the Nano3D upgrade price if this is possible.

Also, I suggest you try and add other muxing options if possible as for instance next week I am doing a satellite 3D feed for Sony Pictures Studio from the US to Europe and the projector in the theater there requires an over/under muxed signal - which the Black Magic HDLink 3D provides. I know it's more engineering, but side by side, over/under and line by line seem to be the dominant muxing schemes.

Perhaps we can discuss this more thoroughly next weekend at the Santa Fe 3D workshop here in LA.

Dear Bruce,

Yes, you can definitely output two, isolated HD-SDI video streams, one for "Left Eye" and one for "Right Eye". These are full resolution video + audio streams and they are fully synchronized.

You can the option of outputing a single combined stream. Currently the only option is Side by Side.
Other options may come later.

In our opinion, "Side by Side" is the best opton (if one wants to combine) in that it preserves the vertical resolution and provides a resonable balance between horizontal and vertical resolution.

Thus for side by side, each side is 960 (horizontal resolution) and 1080 (vertical resolution).

Line by Line is 1920 (H) x 540 (V).

Over and Under is 1920 (H) x 540 (V) (as I understand it).

Other options are possible in the future, but this is not a guarantee or a promise.
We are considering adding "Line by Line".

I would like to learn why someone would choose "Over and Under" if "Side by Side" is available.

I think I understand why someone would want "Line by Line".

But, as always, we want to listen to our customers, and to their customers.

Dan, good news about the full frame dual stream playback. As I understand it, 3D synchronous playback only comes out of the HDSDI spigot and not the HDMI. So does the HDMI output have any function at all in the Nano3D architecture?

I only mentioned the over/under because the projector I am sending to in Spain requires it. For all the normal 3D display that I do I usually do use side-by-side. However, I'm not sure there is a optimal value for any of it as I can't really see why 1/2 resolution in either vertical or horizontal would make any difference. Perhaps someone on the forum could chime in to say why reducing vertical instead of horizontal or visa versa is a better choice.

Dear Bruce,

Yes, on the nano3D, the 3D video comes out of the two HD-SDI outputs, in full pixel-sync.

The HDMI output can not be used (at least at this time, no promises for the future).

The HDMI output of the bottom unit is used to send the full resolution to the HDMI Input of the upper unit.

Then the upper unit combines the two images, if desired) and outputs the combined images via the HD-SDI output.

"Side by Side" offers 960 pixels of vertical resolution, other modes offer 540 pixels.

"Side by Side" offers 960 pixels of vertical resolution, other modes offer 540 pixels"

960 pixels of 1920 = 50% horizontal resolution
540 pixels of 1080 = 50% vertical resolution

Still failing to see the difference, the 3D HDTV will either scale up the vertical 50% or the horizontal 50% to achieve a full frame picture.

Not trying to be argumentative here, just trying to figure out which is better/worse, or is it as it appears an equal dose of scaling either way.

Thanks for the info on the HDMI port activities in the Nano3D, it's all pretty clear now.

Stereoscopic information is strictly in the horizontal plane (unless the 3D rig is messed up). So in my 38 years of shooting 3D films, preserving the horizontal resolution is a significant consideration. Thus, an over/under (O/U) approach is better than side-by-side (SxS).

Such frames are treated as anamorphic. And in video (versus film), once you lose pixels, stretching (de-anamorphizing) does not bring the detail back.

I would rather lose resolution vertically than horizontally, for 3D.



--------------------
Daniel Symmes
Director of Photography/3D Consultant/VFX/3D Systems
Los Angeles, CA U.S.A.

Dear Daniel,

Thank you for your input.

Your experience is greatly appreciated. I will discusss this with our engineers.



We have programmed "Line by Line", but it is not tested yet.

It might be that O/U is more complex (temporal issues) and therefore not possible for the (nearly impossible) NANO 3D.

If this is for monitoring only, no big deal. But I'd not want to record anything that way for professional use.

Dear Daniel,

We record two isolated, full resolution channels.

We do have an option to record "Combined", but we expect this to see limited usage.

Stereoscopic information is strictly in the horizontal plane (unless the 3D rig is messed up). So preserving the horizontal resolution is a significant consideration. Thus, an over/under (O/U) approach is better than side-by-side (SxS). I would rather lose resolution vertically than horizontally, for 3D.


Great, just the info I was looking for. My Samsung and all of the other 3D HDTV sets that I've used all have both SxS and Over/Under options but from now on I'll default to the Over/Under whenever possible based on this explanation. I guess that would be a great addition to the Nano3D 1.1 firmware upgrade - if possible.

Dear Bruce and Daniel,

Of course, we can see what we can do (implementing Over and Under) in the nano3D.

But, please remember, that combining is typically only for viewing on set, unless the nano3D is used as a playback device off-set.

As such, this reduces the importance of "Side by Side" versus "Over and Under", unless the extra horizontal resolution will help significantly while on-set.

In post, using the full resolution, isolated channels ("Left Eye" and "Right Eye") one can generate any option one wants.

We have to weigh these decisions carefully, as we want to leave room for more features, for the future.

Of course, if we see that the nano3D is used for off-set viewing, we would want the best options to be available.

Dan, maybe a little thinking outside the box is required here.

As I think I mentioned before, I'm doing a shoot the coming week where I'll be sending a muxed 3D signal (1080/60i over/under) with embedded audio via satellite from Los Angeles to a Sony projector in a theater in Madrid, Spain. To accomplish that muxing I've looked into DoReMi and 3ality 3play encoder/decoder/muxers as well as the two brand new BlackMagic HDLink 3D boxes I now have.

It looks at this point as if I'll be using the BM HDLink to send out via satellite because the DoReMi doesn't flip/flop the mirrored camera, and the 3ality box only has HDMI output. Because the satellite feed requires an HDSDI baseband video signal the only option at this point is the BM HDLink 3D. I mention all of this because I'm using a $450 device to encode the 3D signal for transmission and not the $5000 devices listed above because it's the one that does the job.

So I could easily see using a muxed encoded 3D signal from the Nano3D for something other than just monitor viewing on set. Granted, recording and editing two discrete full bandwidth data streams is the aim, but you never know when serendipity and urgent need will weigh in to force the unexpected on you.

Oh, and another muxed feed will be sent to an HDCAM recorder for archival backup and playback viewing on a couple of on-set 3D HDTV's after transmission is over.

Dear Bruce,

Thanks, those are good points for us to add Over and Under.

Bruce -

I'm fully aware of the box. Referring strictly to RECORDING of combined signals.

For on-set/editing monitoring, no problem.

Implementing O/U might be a tough one from a temporal view so I'm not expecting it.

Bruce -

I'm fully aware of the box. Referring strictly to RECORDING of combined signals.

Daniel, just curious as to what your objection or reluctance to recording a muxed signal on set is.

Bruce -

As I said, for monitoring no problem. But not for production (especially going out on big screen). And we're referring only to "shared space" combination where resolution is reduced. Anything else is simply a matter of preference.

Not a big deal.

Dear Bruce,

If one records a combined 3D image, and one image is offset from the other, then the pixels on one side of one image will be black, as the images that are shifted in one direction have an equal number of black pixels added in at the other side.

In post, one would zoom in slightly to great a full image for both the left side and right side.

Of course, for most situations we recommend recording two isolated channels, thus all of the adjustments are done in post.

I hope this helps. And I hope I understood your question correctly.

Hi Dan:
A simular question on the recording of 3D digital video and its manipulation for post production came up this Summer at the new Avid Media Composer 5.x product seminar given by Avid personnel out of Tewkesbury, Massachusetts here in Montreal, Canada. Avid concluded it is preferable not to record a *combined 3D image, nor manipulate a combined 3D image in post. It was thought a pre-combined 3D image might suffer from both quality and resolution loss issues, and therefore, 3D images should be acquired and manipulated in post as separate elements in order to have the maximum flexibility for adjustments and to guarantee there would be no possibility of resolution or image quality loss created by post manipulation.

Dear Mark,

Thank you for the information.

This makes sense to me.

Mark -

It's only logical. People are trying to cut corners now, and they buy into the "ease" of combined.

Dear Dan,
I was wondering if a new firmware is available, no matter for 3D or single NF, how is the firmware upgrade performed? Do you need to have both as a 3D unit or you do it separately? Please advise the different options and possibilities. Thank you
Cheers

Dear Luben,

I probably do not fully understand your question, but here goes.

nano3D consists of two nanoFlashes.

The same nano3D firmware is installed in each nanoFlash, one at a time.

Thus, I think the proper answer is "Separately".


The Master Unit, the Top Unit has been preauthorized for 3D.

The Slave Unit, runs the same firmware, but does not need to be preauthorized for 3D.


A nano3D firmware release has both regular nanoFlash code and nano3D code.

The appropriate firmware is used when one selects 3D or 2D.

Thus, when one selects 3D in the menu, the Master Unit reboots with the nano3D firmware.

If 3D is turned off, then the Master Unit reboots with regular nanoFlash firmware.

When not running 3D, it apprears as a regular nanoFlash, with all of the features of a regular nanoFlash.

Thank you Dan!,
Generally your answer was my question!.... I was rushing at the time and had written a lot more and I deleted a lot of it and I am glad you got the sense of it..... if all that make any sense?.... ;-)
Thank you.

Best thing since sliced bread if you ask me! My whole 3D workflow is so simple with the Nano3D, all the files sync up, clip names match, timecodes match and of course all that legendary NanoFlash quality. Throw in the soon to arrive anaglyph output and disparity checking grid for on set monitoring and it's a no brainer. At IBC I did several daily 3D video blogs. I shot these recording combined side by side on the Nano3D. Edited the single clips (containing SBS) with a basic laptop and uploaded directly to YouTube. Could not have been simpler and was perfect for this application. I wouldn't do a more sophisticated production this way, but I can see many smaller low budget jobs being done like this.

Best thing since sliced bread if you ask me! My whole 3D workflow is so simple with the Nano3D, all the files sync up, clip names match, timecodes match and of course all that legendary NanoFlash quality. Throw in the soon to arrive anaglyph output and disparity checking grid for on set monitoring and it's a no brainer. At IBC I did several daily 3D video blogs. I shot these recording combined side by side on the Nano3D. Edited the single clips (containing SBS) with a basic laptop and uploaded directly to YouTube. Could not have been simpler and was perfect for this application. I wouldn't do a more sophisticated production this way, but I can see many smaller low budget jobs being done like this.

Thank you Alister!,
Please let me know if you ever come to the Pacific part of Canada (Vancouver area). I wanna pick your brain on this and that if thats O.K. of course ;-).
Your comments are much appreciated!
Luben