Silicon Imaging's SI-2K Update

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Silicon Imaging's SI-2K Update The SI-2K and MINI have both matured quite a lot By Heath McKnight

Silicon Imaging (SI) made some announcements at IBC 2007 regarding its ground-breaking SI-2K digital cinema system (both the full-sized and MINI). I recently spoke with CEO Ari Presler by phone, and I also made an unexpected stop at its NAB 2007 booth back in April, and I?m always amazed at how excited the team and Ari at SI are with its camera systems. Just like RED, they are always happy to discuss what?s new with everything.

The SI-2K can be considered a computer that also happens to be a camera. Built around Moore?s Law (that a computer system?s speed, etc., will double every 18 or so months), the camera has a single 2/3? CMOS sensor that can capture images at widescreen 2K resolution (2048x1152) and 1920x1080p, and includes many different frame rates like 60i, 60p, 24p and more. The camera shoots 12-bit uncompressed RAW-to-disk using CineForm?s RAW technology. There is also a universal lens mount; you can use both PL-mount lenses and C-mount lenses (a bit more affordable, as I?ve learned on recent short film shoots).

A strategic partnership with P+S Technik allowed SI to have many of the camera assemblies developed with the European company. They both worked together to develop the electronic viewfinder (800x600 resolution, full color display from the camera itself). This can be removed from the camera, which is tethered, and easy for watching. There is focus assist, output for a video village and even dual-display capabilities.

Electronic viewfinder

Zeiss lens

Oh, did I mention there is an Intel Core 2 Duo processor found within the camera? As I said earlier, it?s a computer that happens to be a camera. The camera itself is modular and can be modified and upgraded. You can swap out a card with processors or graphics and drop in a new one as the camera advances.

The SI-2K uses its SiliconDVR interface for the director of photography to monitor everything from the actual shot to timecode, per-channel histogram, audio meters, playback and more (check out http://www.siliconimaging.com/DigitalCinema/SiliconDVR_Interface.html for details and a look at the interface). Also, by using CineForm?s RAW, the file sizes aren?t as big and the 2K quality remains. SI also built in a WiFi device so other SI-2K cameras can communicate with each other, and exchange shooting profiles, etc. That?s pretty impressive, as other cameras require an SD card with the data!

Rear of the camera

Side view of camera

At IBC 2007, SI introduced several new features in the SI-2K, including new technology to enable stereo-3D shooting with two cameras. You will be able to seamlessly assemble the two separate images into one 3D image. This also covers 360 degree shooting as well.

The MINI packs many of the same features (including ?11 f-stops of dynamic range,? according to SI), but is a very small, nearly-wallet sized ?box? that you hook up via Gigabit Ethernet to a desktop or laptop computer to run, and the laptop effectively becomes your storage device and the ?brain? of the camera (via SiliconDVR). Throw an Anton Bauer Gold-Mount battery on it, and you?re ready to go. You?ll need a PC laptop, or a MacBook Pro running Bootcamp and Windows to use the MINI. Like its big brother, the SI-2K has a universal lens mount.

Output

You can do some amazing in-camera green or blue screen keying previews, which I really like. For instance, if you?re shooting an actor in front of a green screen, you can load up the background and see a preview of what the keying effect will look like in post. You can have your visual effects supervisor and/or your editor with you during production, on set vs. during post-production or even dailies a day or two later, saving a lot of valuable time to re-shoot later if the editor or VFX supervisor can point out issues while on the shoot. Both cameras have these capabilities.

CineForm RAW
CineForm RAW takes the RAW image, which is, well, very large, and like all of CineForm?s software, converts and compresses the footage into a visually lossless Intermediate Codec. Because it?s 10-bit and 4:4:4 RGB, along with a 5:1 compression (wavelet), there is nothing in the image I?ve seen that tips off that the footage was compressed.

When you output, it will go back to its original uncompressed state. Again, if you?re familiar with CineForm?s plug-ins, you?ll know that converting your footage to an Intermediate Codec will often save you processing power and more. It creates Apple- and Premiere Pro (PC)-friendly AVI and QuickTime files. The AVI files can also be cut in Final Cut Pro. (See some clips and stills here: http://siliconimaging.com/DigitalCinema/gallery_main.html)

In conclusion, the SI-2K and MINI have both matured quite a lot since the 1080p inception. Plenty of the cameras have gone out into the field and have been used in film, TV and even 3D applications. I hope to have a unit in the near future to do some testing and a review. Thanks to Ari Presler and the SI-2K team for the help.

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Heath McKnight is a filmmaker and author who recently co-produced the feature film DECEMBER, along with directing, producing and co-writing the feature film 9:04 AM. He was also a contributor to VASST's best-selling book, "The FullHD." You can find out more about Heath at his website at www.mpsdigital.com. and can be contacted at hmcknight@gmail.com

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