Loaning a camera for testing to DV Magazine would be my first step.

Hi Marco,

I thought you were getting the camera and were going to do the write up for the pubs.

You really should consider submitting to "Showreel". Steve Parker, the editor, has already stated he is interested.

Anyone wanting a free subscription, here is a thread from the publisher

http://www.dvinfo.net/conf/showthread.php?t=67237

Their second issue in US is going out this month. We should plan on geting into the Sept/Oct issue. We will have some additional news to announce by then.

Ari,
I've actually begun corresponding with Steve, and absolutely would like to participate. In saying we'd like to shoot with the camera, I was intending to actually produce a five-minute short which we would submit to festivals. I've been having some discussions with our DP on what type of footage would really showcase what the camera can do.

Lenses for the Digital Era
 

Jason , just read this interesting article titled :Lenses for the Digital Era, written about zeiss digiprimes & caught site of this information :

"Maybe you agree that shooting wide-open at T 1.6 not only produces great-looking images with 35mm-like shallow depth-of-field (T 1.6 in 2/3in. HD approximates T 2.8 in 35mm), but also lowers the lighting bill. How do you afford to get your hands on them?"

Can you reconcile why they say T 1.6 in 2/3in. HD approximates T 2.8 in 35mm & how this affects the SI2k (i am confused)?
The article can be found at:
http://digitalcontentproducer.com/ma...s_digital_era/

35mm DOF
 

We need to get our FAQ back up on our web site:

How can you claim "35mm-like depth-of-field" if you're using a 2/3" sensor?

Because the SI-2K is a single sensor design, wider-aperture S16mm film lenses can be used such as the Ziess Superspeeds, which can go to a maximum aperture of f1.2. This is in comparison to the widest aperture 3-CCD primes, which are limited to an f-stop of f1.5.

In the comparison below, we have taken a 20mm Zeiss Superspeed S16 lens set at a f-stop of f1.4, and compared it to two common 35mm formats. The subject is 3 meters away from the focal plane. The results, using the depth-of-field calculator on the Panavison New Zealand website are as follows:

--2/3" Sensor, 20mm lens, f1.4 (which is possible using Zeiss Superspeeds) - Depth-of-field of 1.39m

--Panavision Std 35mm HDTV 16:9 TV Trans 0.825x0.464" (CoC=0.001"), f5.6, 45mm lens - Depth-of-field of 1.31m

--Arri Std 35mm HDTV 16:9 TV Trans 21x11.8mm (CoC=0.025mm), f5.6, 43mm lens - Depth-of-field of 1.43m

The surprising conclusion from these calculations shows that the SI-2Ks depth-of-field, when using this large aperture Ziess S16mm lens, can in fact be the equivalent of a given 35mm format's depth-of-field when shooting at an f-stop of f5.6 in 35mm (for the same FOV). Also, if one were to shoot at f1.2 (which Zeiss Superspeeds can open up to at their wides aperture setting), the depth-of-field on the 2/3" sensor would be equivalent to a f4-f5.6 split in 35mm, since f1.2 is another half-stop wider than f1.4. This does not mean that a 2/3" sensor will always match 35mm film or a 35mm-sized sensor in DOF, but it does prove an advantage to using S16mm prime lenses on the SI-2K, where ground-glass converters and other "tricks" are not necessarily needed if one's aim is to get shallow "35mm-like" DOF. A similar effect to the shallow DOF of a 35mm camera can be achieved by placing Superspeed S16mm optics on the SI-2K and opening them up to their widest apertures.