9 x 7 FORMAT – Pawel Achtel ACS

The interest in 9×7 is building up. The camera was used last week on Thirteen Lives for VFX shots and, in US, there are talks to use it on next Spielberg movie as well as sending it on SpaceX along with Tom Cruise to ISS in space. But, closer to home, a lot of really hard work on features, improvements, tests and million other things that normally would be taken care by a large team with multi-million dollar budget.

For any Digital Cinema Camera colour reproduction is important.

The 9×7 Digital Cinema camera has unmatched colour accuracy due to unique Scene-Referred colour science, which can be simply attached to any clip as “metadata”. This workflow ensures the highest colour accuracy and consistency regardless of the lighting conditions. Most other digital cinema cameras offer “fixed” colour profiles, which only work well in relatively narrow range of lighting conditions.

But, this colour accuracy doesn’t just come from downstream interpretation of RAW data. It starts at CFA (Colour Filter Array) level. Here, the 9×7 features a state-of-the-art CFA with minimum colour cross-talk and exceptionally good IR rejection in Blue and Green channels, even without sensor cover glass. This results in very wide colour gamut (WCG), deep and pure saturated colours, and perfect skin tones. And, because 9×7 records linear uncompressed RAW, you can be assured that this colour accuracy and gradations extend all the way from deep shadows to extreme highlights, which can be problematic in cameras that use log colour profiles in order to save disk space.

RAW CinemaDNG frame can be downloaded from here:
http://achtel.com/9×7/20210107T102353Z.dng