Open Source 16K Camera with Multi-Sensor Rotating Assembly And Ultra-Fast Acrylic Lenses Readied for World-Wide Disclosure Under GPL-3 Licence Terms!

HarryFilm said:

Open Source 16K Camera with Multi-Sensor Rotating Assembly And Ultra-Fast Acrylic Lenses Readied for World-Wide Disclosure Under GPL-3 Licence Terms!​

January 22, 2022

North Canadian Aerospace, a pseudonym for a privately-controlled, under-the-radar Vancouver, British Columbia, Canada-based aerospace company, is pleased to announce the disclosure of an Open Source 16K video camera that contains a rotating 8-image-sensor block containing the following sensors that all record 16-bits per channel RGBA (Red, Green, Blue, Alpha Channel-based Distance to Subject value) and other EM-bands at the below native resolutions which can be further cropped or re-sampled to any desired resolution via software-based bitmap image cropping and/or resampling:

a) 16,384 by 16,384 pixels RGBA at 1:1 Square Aspect Ratio 120 FPS maximum capture rate

b) 16,384 by 8640 pixels RGBA at 1:89:1 Aspect Ratio at 240 FPS maximum capture rate

c) 8192 by 4320 pixels RGBA at 1:89:1 Aspect Ratio at 480 FPS maximum capture rate

d) 4096 by 2160 pixels RGBA at 1:89:1 Aspect Ratio at 1920 FPS maximum capture rate

e) 2048 by 1080 pixels RGBA at 1:89:1 Aspect Ratio at 7680 FPS maximum capture rate

f) 960 by 540 pixels RGBA at 1:89:1 Aspect Ratio at 30,720 FPS maximum capture rate
(122,880 fps at cropped 540 by 270 pixels)

g) 960 by 540 pixels three-band Infrared temperature sampling (S-IR, M-IR, L-IR) plus Distance-to-Subject Alpha Channel
at 1:89:1 Aspect Ratio at 120 FPS maximum capture rate

h) 4096 by 2160 pixels Short Infrared Band + Full-Band UV + Full-Band X-RAY sampling at 1:89:1 Aspect Ratio at 120 fps


This new large-frame camera (i.e. sensors are larger than medium format) is designed for Video/Film Production Pipelines plus Astronomical and Scientific Imaging at High Frame Rates with full colour fidelity of 48-bits per RGB and 16-bits Alpha Channel/Distance-to-Subject Channel. All Cameras are IP-69-rated for dust ingress and direct water immersion, in addition to Mil-Spec 810-G drop, sudden shock and high vibration-rated for extreme environments needing fully-sealed ruggedized gear. No external casing is required for full salt-water and fresh water immersion of BOTH camera and lenses for up to one year!

This is the FIRST CAMERA in a full line of cameras which will include Stereoscopic, Quadra-Scopic and Multi-Band Single Sensor and Multi-Sensor Systems.

A full set of Laboratory-tested and Cinematographer-measured FAST (i.e. T1.0, T1.2, T1.4, T1.7, T2, T2.4) optical-grade Acrylic-elements Cinema Primes and Cinema Zoom Lens will be introduced shortly. Lens sets can be ordered coated for Cinema Use and uncoated for UV/IR/X-RAY pass-through scientific/astronomical imaging. Lenses are IP-69-rated for dust ingress and direct water immersion, in addition to Mil-Spec 810-G drop, sudden shock and high vibration-rated for extreme environments needing fully-sealed ruggedized gear. No external casing on lenses is required for full salt-water and fresh water immersion for up to one year!

Extreme long-focal length IMAGE-STABILIZED telephoto lenses up to 9600 mm will also be introduced.

Storage is facilitated by Dense-Wave Multiplexing optical image data transfer to in-house designed and manufactured PetaByte-sized SSD hard drives encased within rugged casings that are fully IP-69-rated for dust ingress and direct water immersion, in addition to Mil-Spec 810-G drop, sudden shock and high vibration-rated for extreme environments.

Further Announcements and Product Documentation will be forthcoming by March 1, 2022

This product and all its designs, software, hardware and other disclosures are fully free and open source under the GPL-3 licence terms for both individual hardware and individual software and all combined hardware and software systems.

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All Camera and Lens Products will be offered for public sale upon multi-country certification and will be offered as complete all-in-one camera plus lenses packages at very reasonable prices set at a cost-plus-X-percent basis which will pretty much be completely disruptive to the cinema/video production industry! No more ten thousand dollar cameras and ten thousand dollar+ lenses! We are talking 16K video at Canon R5 prices and lenses that are at $1500 USD ranges for full T1.4 and better Zeiss Master Prime or Leica Summilux-C cinema sharpness and quality! We will COMPLETELY DISRUPT THE ENTIRE CINEMA IMAGING INDUSTRY !!!

More disclosures will be coming this winter and spring 2022. We also have advanced 128-bits wide combined-CPU/GPU/DSP/Vector Array processor GaAs superchips (60 Ghz clock speed at 575 TeraFLOPS Linpack-measured at 128-bits wide), PetaByte-sized SSD hard drives and advanced graphene sheet, boron nitride sheet and other polymer super-materials and advanced power production and non-Lithium-Ion-based battery storage systems ready for disclosure.

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Part 2 of the Above:

I have just been given a heads-up about the FAAAAST optical-grade all-Acrylic Cinema Primes and Cinema Zoom lenses FAST (i.e. T1.0, T1.2, T1.4, T1.7, T2, T2.4) coming out as part of the above announcement. Certifications and Manufacturing Tests are ongoing until Summer 2022.

The specific tests comparing these lenses against a set of fully calibrated/tested Zeiss Master Primes and a set of fully calibrated/tested Leica Summilux-C lenses has confirmed that SHARPNESS of the Acrylic lenses against the Zeiss Master Primes is outright equal in pure sharpness. Price-wise, we are SIGNIFICANTLY CHEAPER than ANY Zeiss Master Prime and STILL have an absolutely measurable EQUAL SHARPNESS level corner-to-corner!

The Summilux-C lenses are purposefully NOT as sharp as the Zeiss Master Primes BUT have a noticeable smoother and more realistic colour rendition, meaning colours seem more true-to-life and skin tones especially are smooth and look more "pretty" than the Zeiss Master Primes. Leica has a DIFFERENT rendering intent for their Summilux-C lenses than Zeiss where Leica lenses tend to render a "warmer" and "smoother" skin tone for their cinema primes.

The Prices for a FULL SET of Zeiss Master Primes is about $240,000 USD while the Summilux-C primes is currently about $260,000 USD for the set. Our FULL SET of our OPEN-SOURCE DESIGN all-Acrylic lens-element Cinema Primes will be sold for between $1500 to $5000 per lens depending upon focal length making them significantly cheaper than the Zeiss or Leica cinema primes at EQUAL CORNER-TO-CORNER SHARPNESS AND FINAL RENDERED IMAGE QUALITY!

When comparing Zeiss and Leica lenses to the North Canadian Aerospace all-Acyrlic lens element zoom and prime lenses, the colour rendition in our new lenses has been PROVEN by science/physics-based colour metrology techniques to be TRULY NEUTRAL meaning that the colours are neither warm nor cool but completely balanced to the real world. What the chroma-reflectometry instruments see is what is actually passed through these all-Acrylic lens elements.

This means our new 16K resolution multi-sensor camera WILL have all 48-bits per RGB pixel colour rendition of the real-world RGB colour spectrum be recorded as close to what the real world truly is. The lens elements have the BAREST MINIMUM COLOURATION of the real world imagery passing through the lenses, meaning you can NOW MAKE ANY COLOUR TONE YOU WANT using software-based colour addition or subtraction technique in post-production because our lenses have RETAINED the true-to-life colours of the real-world.

The chromatic and luminance absorption characteristics of the all-Acrylic lens elements have been computed and manufactured to ensure pure sharpness of image and TRULY NEUTRAL colouration! This SMASHES the price barrier to TRUE Cinema-quality lenses at a FRACTION of the price of current all-glass cinema lenses!

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Del Paso said:

Buy ten lenses and get a free pack of cornflakes!

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The new lenses will be sold in sets specifically designed and geared towards the needs of Commercial producers, Hollywood-type Cinematographers and professional Still Photographers -- As a teaser, here are TWO BASIC LENS SETS which use the T-Stop scale to indicate that they have been SCIENTIFICALLY TESTED using optical physics-based metrology for light transmittance through the entire lens barrel.

The Octagon Prime Series for Pro Still Photographers:
-----------------------------------------------------------
16 mm at T1.0
35 mm at T1.2
50 mm at T1.2
85 mm at T1.4
135 mm at T1.4
200 mm at T1.7
400 mm at T1.7
600 mm at T2
+
optional-to-add 150 mm to 800 mm Super Sports Zoom Lens at T1.4 to T4


Cinematographer Super-Prime Series:
------------------------------------------
14 mm at T1.0
18 mm at T1.0
24 mm at T1.0
28 mm at T1.0
35 mm at T1.2
50 mm at T1.2
55 mm at T1.2
65 mm at T1.4
75 mm at T1.4
85 mm at T1.4
100 mm at T1.4
135 mm at T1.4
150 mm at T1.7
200 mm at T1.7
400 mm at T1.7
600 mm at T2
800 mm at T2
+
optional-to-add 50 mm to 1200 mm Super Zoom Lens at T1.7 to T4.8

If these were sold using Zeiss or Leica price points you would be looking over two hundred thousand dollars for such quality.

Our coated and uncoated optical-grade all-Acrylic lens sets will be set at less than Canon R-series prices for full Cinema-quality levels!

These are the FASTEST LENS SETS EVER CREATED with fully tested corner-to-corner sharpness and are RUGGEDLY DESIGNED for all-weather use by pro-level sports, wildlife, portrait and landscape still photographers plus Commercial Production and Hollywood Cinematographers!

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As an added note, the type of Fluorite Glass that Canon (and others!) use for their lenses tends to have a refractive index of about 1.43 with about 90% light transmission (plus or minus 1-to-2%) AND low-dispersion while Optical grade Acrylic is typically 1.49 with a transmissibility of over 92%.

Canon ALSO TENDS to use very high end coatings to reduce glare, reflections and to cut off IR (Infrared) and UV (Ultraviolet) bands which can create chromatic aberrations even if the lens element itself is perfect ground to high-precision concavity/convexity measurements for proper and/or the desired refraction paths.

With acrylic, the polymer nature of it allows for specific chemistries AND grinding/pressing to specific measurements that allow for ULTRA-HIGH-PRECISION light path management which ensure almost no chromatic aberration, no coma, no spherical aberration, no distortion, no astigmatism, etc. When properly "doped" with proprietary additives, it ALSO HAS a low co-efficient of expansion versus other polymers such as Polycarbonate so we can KEEP those precision calculated light paths perfect throughout the day and night in any temperature and weather.

In terms of light-gathering ability, the REASON we can offer a T1.0 lens is because we simulate using advanced ray-tracing techniques and simulation of the molecular-chemistry-based characteristics of light absorption within a polymer lens. This means we use a supercomputer to simulate on a grid from 65,536 pixels by 65,536 pixels imposed on EVERY lens element in our lens designs what individual beams of monochromatic Red, Green, Blue, IR and UV light do when traveling through a lens assembly from front to back and then on towards the imaging chip of the camera itself.

We answer the question of which pixel coordinates on each grid does each beam of light pass through on the path down the entire lens barrel. We examine and simulate HOW light scatters, refracts, diffracts and converges on every single grid point to ensure OPTIMAL light path management under a wide range of operating temperatures ranges and wide range of all-weather and non-optimal atmospheric conditions!

This lets us create a FULLY-AUTOMATED MANUFACTURING SYSTEM that has ultra-precision measurements and premium tolerances ensuring that each light beam from corner-to-corner for each lens we build ends up on the desired pixel of each imager chip we build and install in each camera.

The light gathering power for each frequency and amplitude of RGB/IR/UV light ray through each pixel-grid-coordinate can be FULLY MODELLED and corrected-for via precision grinding, stamping, polishing steps and via hardware-and-software-based RGB value auto-correction.

Since we can build a 50mm to 1200 mm Super-zoom at T1.7 to T4.8, it means the flexibility and pure light-gathering power is UNMATCHED in the lens making industry. AND we can do it at a price point that is ALSO UNMATCHED because the molecular chemistry and manufacturing steps required for polymer lenses is MUCH FASTER than trying to grow fused glass lens elements or grinding and polishing high-end glass lens elements to specific measurements! We can high-pressure STAMP-OUT a pre-shaped Acrylic Lens Blank in mere seconds and then micro-grind and super-polish lens elements using FAST mechanical and chemical systems in mere minutes rather than hours and days!

We have ALSO MUCH SIMPLIFIED lens barrel construction using MUCH OLDER prime and zoom lens designs but updating them for modern ruggedized all-weather usage. In this case, we have found that the older, now-patent-free German and Japanese lens designs TRULY ARE THE BEST MEANS to get a PREMIUM QUALITY still photo and cinematography/videography prime and zoom lens! Vastly simplified but very rugged motor designs, much simplified older but ruggedized lens stabilization systems and much-beefier-and-more-rugged lens-locking mechanisms let us give you PREMIUM LENSES WITHOUT THE EXTREMELY HIGH Zeiss Master Prime or Leica Summilux-C Prime price points!

We have no problem giving substantial credit and accolades to the MASTER LENS DESIGNERS OF OLD FROM GERMANY AND JAPAN who truly made CLASSIC LENSES that just worked and worked forever with very few issues. We have dedicated ourselves to BRINGING BACK those classic workhorse lens designs of old BUT UPDATING THEM for modern usage patterns!

Our modernized lenses are bigger lenses than an average Canon, Zeiss or Leica lens BUT they sure are much more ruggedized and able to go ANYWHERE IN ANY WEATHER !!!

Using an analogy, we are giving you a huge V8 engine in a Ford F450 Superduty Heavy Duty Truck body that's big, bulky and rugged BUT it also pulls 35,000 lbs so it means MUCH LIKE THAT SORT OF BIG ENGINED TRUCK, we just happen pull a LOT of modern super-sharp and colour-neutral optical power out of an older but beefier set of classic prime and zoom lens designs!

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