Today on DVXuser.com AJA Senor Product Manger Jon Thorn answered a few questions from users. The thread title “Is The CION Ever Going To Ship?” With in two hours Jon hoped on the thread to answer some of the questions and elaborate on the CION. It’s very cool Jon did this since many folks are eagerly waiting to try the AJA CION and it looks to be a very good camera. Have a read from the post below. It really answers a lot of questions and Jon gives us a little insight of what he (AJA) are thinking.
This will be a very long post in order to help answer some of the questions that have been posed by Steve Phillipps and others in the thread. Therefore, I apologize for the length of the post in advance.
Every product I have ever proposed or been involved with developing at AJA has been originated by asking myself the following three basic questions:
1) What tool could AJA create to help improve people’s work?
2) What features do people want?
3) Can AJA build it?
I developed the idea for the first Apple ProRes tapeless video recorder, the AJA Ki Pro, in 2007. (That year is not a typo; because complex products take time to develop, it reached the marketplace in 2009.) The Ki Pro was a success because it allowed a diverse (and disparate) group of cameras in the marketplace to be connected to the device with a wide array of connection types (SDI, HDMI, component), it could record to a high-quality edit-ready codec instead of one of the myriad of codecs being offered by the traditional camera manufacturers at the time and it could get all of these cameras to the same format (SD or HD) via up/down or cross conversion. Following the success of the original Ki Pro, I was asked many, many times if AJA would ever consider building a camera.
Why were people asking AJA to build a camera? Primarily, people wanted a camera that could record to a post-production friendly codec like Apple ProRes. People also expressed an interest in seeing cameras with a wider array of connectivity: SDI, HDMI, timecode, balanced analog audio, etc., etc. During this time, many of the traditional camera manufacturers had begun to “tier” their offerings; sometimes cameras were stratified by little more than the connection types used on the cameras.
AJA had a significant portion of what people seemed to want – a popular edit-ready recording format and the ability to offer an array of connectivity – but we did not have at that time was experience with sensors or the mechanical components associated with an optical system. People continued to ask me, “Will you ever make a camera?”
In 2010, I made my first proposal at the company to produce a camera. In addition to a traditional market requirements document, I had also sourced a small camera head and so my “pitch” to others at the company involved showing that small camera head sitting directly in front of the Ki Pro. People were skeptical. Honestly, when you consider building a camera, you should be skeptical. Building a camera is not trivial; it requires a huge amount of time and a huge resource investment. I was asked to continue to develop the idea. So essentially I had answered the first question, “What tool could AJA create to help improve people’s work?”… but I had a lot more work to do.
The second question, “What features do people want?”, is always the “fun” question to answer if you are in product development. If you burden a product with too many features, you probably make the device too difficult to bring to the market in a timely fashion and you may “overshoot” what people really want. If you “overshoot”, you will likely also unnecessarily burden your product with costs. Conversely, if you under-deliver on a feature set, you often aren’t even considered a part of the conversation when products are being evaluated. I came from a camera background. I have a passion for cameras. I’ve toted around everything from massive 35mm camera rigs to tiny DV cameras. My heart though has always belonged to the 16mm and Super 16mm cameras that I learned to shoot on: ARRI SR I, II and III, Aaton LTR and XTR, Eclair NPR and ACL. Somehow, over the last decade or so, the traditional camera manufacturers decided that a certain “tier” of cameras should have a certain shape. That shape involved a “pony-tail” viewfinder and the notion that the camera needed to be held out in front of you without any help from your shoulder The lens would also be fixed on such a design, not interchangeable. If you didn’t like or want this, you’d be asked to pay more money to obtain some ergonomics. So I believed whatever camera AJA made needed to be ergonomic. To me, that meant it sat on your shoulder, not out in front of it. At the same time, it could not be what I sometimes refer to as “soul stealing”; if it was too heavy, whatever ergonomics that had been achieved would be a moot point. It’s like a “sports car”; if the curb weight is too high, all the power in the world won’t improve a fundamental issue with the design. So, personally, I wanted a camera that was comparable to Super 35mm… but in a 16mm/Super 16mm form factor. Sometimes you do think about what you want while answering the basic questions… because you believe firmly that what you want is what others will also want.
What should the image look like? Now we enter the most nebulous part of a camera design… Some people talk a lot about a “film look.” That is a very, very subjective term and it means something different to everyone. Having said this, most video cameras tend to feel too “cold” to me. Somewhere over the last few years it felt like everyone producing cameras had become afraid of the rich blacks, of the rich colors… things I felt were hallmarks of photochemically produced moving images. I was lucky enough to shoot film in the 1990s, during the rise of Kodak’s Vision film stocks. So every time I looked at a sensor for evaluation, that was something that influenced me. I thought that “look” was missing in other digital video cameras that were being offered. Other looks will be possible to produce as well if this isn’t something that interests you.
This brings me to the final point, the question that was phrased in a slightly different way, to begin this thread, “Can AJA build it?” Considering how close AJA is to delivering the camera, the answer is yes. Many, many people have poured many, many years into this project. The finish is near.
In closing, the CION camera wasn’t produced to compete with the Sony PXW-FS7; it was made to answer the questions noted at the beginning of this post. It was made because it was something people were asking AJA to produce. Any comparison of the AJA CION to the newest Sony product – with our first effort at producing a camera – could honestly be taken as a compliment. The development and introduction of the CION pre-dates the introduction of the Sony PXW-FS7. The AJA CION is a “from the ground up” effort which is why it has taken us time to produce. The Sony PXW-FS7 of course calls on elements that have been developed by Sony over time and can be found in pre-existing products. While both cameras seem to share some similarities, they have many differences. From an included connectivity standpoint, the AJA CION has more in common with the Sony PMW-F55 than it does with the Sony PXW-FS7. To make the Sony PXW-FS7 connectivity closer to the AJA CION, you would need to add the optional XDCA-FS7 unit (roughly $2,000 USD) to the cost of the PXW-FS7. If you want a PL mount for the PXW-FS7, you’ll need to source an adapter and factor that into the cost. In fairness, if you want the CION to be comparable to the PXW-FS7, you’ll need to source a viewfinder of your choosing for it. (For the Sony PXW-FS7, my understanding is you will need to use the viewfinder specific to that model; the viewfinders designed for the PMW-F5/55 aren’t apparently compatible.) These types of comparisons can go on at length. In the end, only you can decide which camera suits your needs. Everyone’s needs differ. Everyone’s tastes differ. I’m happy AJA will be able to offer you the CION soon.
Senior Product Manager
AJA Video Systems
Pretty interesting stuff right? I did ask in the thread about a flat or Log profile but Jon did not address it at first.
Here is my question.
Jon thanks for posting this very informative post. Speaks volumes. You mentioned the “looks” that are more punchy and rich that the CION has but what if that isn’t what you want. Will the CION have a flat log profile for more control in post? I think it’s cool to have film stock looks in camera when you know what you want but not having a high dynamic flat option with such a great codec seems like a missing feature. Thanks for the post.
To answer Erik Naso’s question: there are camera settings available that will allow a “flat” image to be produced (if that is more desirable to you).
Senior Product Manager
AJA Video Systems
Thats very good news! A camera with such a great codec needs to have the ability to let the user have more control of the image in post. Baked in film emulsion looks are very cool and I think it’s a great idea but in the digital camera world having both is a big plus. Jon did make it clear that at this time the CION will not have a “log” profile but will have a flatter picture profile option. I dont understand why. Might have to do with the complexities of squeezing out every bit of DR without making the picture noisy.
When this video was released about a month ago it was labeled as ungraded. It has a “look” for sure. This is what Jon is talking about. In camera film emulsion looks. I do think it looks pretty good. A little too much magenta in the skin tones but thats just me. Below is the the description for the video.
AJA Video Systems is proud to bring you a brand new video shot on CION in Grass Valley and Nevada City California. Shooting took place over three days during the first week of September 2014. The UltraHD 23.98 fps normal speed shots were acquired in camera as ProRes 4444; the slow motion shots were acquired as ProRes 422 with the camera operating at 59.94fps and files saved in-camera as 23.98fps.
Every shot is presented exactly as it was photographed; no exposure adjustments, color correction or image manipulation of any form took place in post-production. The studio shots were captured using three point lighting utilizing both the supplied PL lens mount as well as a third party EF lens mount. With the exception of the umbrella shot, which utilised a single 1K light, the remaining shots were captured with available light. CION’s white balance values were specifically selected to match the needs of the scene and, in certain cases, auto white balance was also utilized. CION’s in-camera color correction modes were also employed during the shoot. In the scenarios presented, ‘Skin Tones’ and ‘Normal’ settings were selected throughout the filming.
The version you are watching here is the 1080p downconversion of the UltraHD ProRes 4444 master file.
CION is shipping soon.
Here is another little sample that came out recently. This is a sweet little piece and has a similar look.
Shot on a Prototype AJA Cion 4K Camera in June 2014
ProRes 4444 4096×2160 23.98
Panasonic GH4 with 12-35 zoom was used in one shot you see in the trailer.
Lenses: Schneider Xenon Primes and a Cine modified 18-35 sigma zoom.
Schneider Platinum NDs.
Prototype sensor shoots linear.
Perhaps log mode will come later, who knows.
We just had to take special care in protecting the highlights.
I cranked up the brightness of my Director’s monitor to see what the shadows were doing while trying to protect the highlights.
In post is where you can bring the gamma back up with very little to no noise.
ProRes files seemed to have great flexibility for grading in resolve and keying blue screen was a breeze.
Pretty good info and update on the AJA CION even it was from the internet 😀
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