Meduza Sales - Latest News

CINEC Munich

Sat, 13 Apr 2013 08:13:01 -0400

Hot on the heels of IBC success we joined Tectum, our Berlin rental house for the TITAN 3D camera, on their stand. There was a David and Goliath stand off between the Panasonic AG-3D P1 and the TITAN 3D - wonder who wins here?

NAB: Meduza integrates the 3ality THC

Sat, 13 Apr 2013 08:15:05 -0400

IBC: Launch of the M-Cam

Sat, 13 Apr 2013 08:10:37 -0400

The first European presentation of the now completed TITAN 3D camera and the public launch of the Meduza M-CAM professional POV camera. Using the same high quality sensor and optics as used in the TITAN, we have created probably the highest quality POV camera for film and TV.

3D-Stereo Forum Munich

Sat, 13 Apr 2013 08:06:36 -0400

With Tectum, the 3D and high-speed rental house based in Berlin, we presented the TITAN 3D camera to European-based S3D professionals.

Createasphere 2012

Sat, 13 Apr 2013 08:01:43 -0400

This is one of our favourite shows where we announced the coming of the TITAN 3D High Speed camera, as well as showing off the integration of multiple M-CAMs working in conjunction with a TITAN. This multi-capture system, we call Stereo+Plus, produces multiple views (or a depth map) for autostereoscopic 3D displays. We also demonstrated the protoype of the M-CAM high-speed system for the first time.

British Video Expo 2013

Sat, 13 Apr 2013 07:58:07 -0400

This was our first UK show and a great chance to see our home market under one roof.

3D Creative Summit

Sat, 13 Apr 2013 07:52:17 -0400

Meduza Systems joins sponsors Vision3, Sky, Onsight and others on the first UK Creative Summit. The two days featured David Attenborough and a video link with Ang Li. Meduza Systems demoed the TITAN 3D camera system. Also Chris Cary, CEO of Meduza Systems participated in a session on independent 3D production and the need for content creation to drive the market.

BSC Expo at Pinewood

Sat, 13 Apr 2013 07:56:55 -0400

A last minute opportunity that proved to be an amazing 2 days with loads of excited interest in the TITAN. We met up with MK-V who were showing their camera stabilisation system. The TITAN fits exactly into their AR system and allows you to perform an amazing range of shots while holding a perfect horizon. Fantastic for 3D!

NAB 2013

Sat, 13 Apr 2013 07:49:47 -0400

The TITAN, M-CAM and M-CAM High Speed are the surprise hit of NAB.

IBC: What to see in Amsterdam

Mon, 05 Sep 2011 14:16:43 -0400

There is a poster on the wall of Meduza Systems’ office that includes the line: “If you strap two motorcycles together, it doesn’t make a car.” That’s the ethos driving the UK-headquartered firm responsible for a single-body stereoscopic camera unveiled earlier this year in Las Vegas.

On show at IBC will be the first delivery version of its 4k camera (a computer-generated image of the MK I camera appears above right), which acquires images at 3072 x 4096 pixels. Interaxial, convergence, iris and focus are controlled via a laptop or tablet.

Chris Cary, chief executive of 3D Visual Enterprises, parent company of the 3D lens and 3D camera developer, says there are 170 “active communications” with interested parties, and now that the MK I version of the camera is ready to be shipped, Meduza is working towards fulfilling orders.

For costing purposes, the camera is split into three parts, with the back and head unit priced at $43,000 (£26,000), rising to $70,000 (£42,000) depending on the options selected. The body, containing the electronics, will cost $27,000 (£16,000) a year for a minimum period of four years.

Meduza is offering software upgrades and annual services with the aim of providing a system that will “never be obsolete”. At IBC, it will also launch the Delta 4K S3D lens, designed by Kenji Suematsu and described as the first built for purpose, matched-pair 3D lenses.

broadcastnow.co.uk read more

Meduza lines up optics for 3D and 4K

Mon, 05 Sep 2011 14:08:31 -0400

Meduza Systems, the Mario Award winning producer of the Meduza Camera, will launch the Delta 4K S3D Meduza Lens, the first built for purpose, matched pair, 3D lenses designed by Kenji Suematsu, at the IBC Conference in Amsterdam, Sept. 8-13. The announcement was made today by Chris Cary, CEO of the UK 3D Tech start-up, 3D Visual Enterprises, parent company of the 3D lens and 3D camera developer, Meduza Systems.

Meduza Systems, maker of the Meduza 3D 4K all-in-one camera, will launch the Delta 4K S3D Meduza lens, built-for-purpose matched pairs of 3D lenses designed by Kenji Suematsu, at IBC, writes David Fox.

The lens set has been designed and built to deliver "super high precision", not only in the glass, but also in the motorized focus and iris controls.

The eight lenses in the series are not only optically matched (to three decimal places of focal length) and sold in pairs, but each lens has been constructed to fit into a compact 38mm-wide mechanical barrel to allow for very close inter-axial positioning, which is often critical to S3D. Besides the Meduza camera, they are suitable for use with 2/3-inch or smaller sensor cameras such as Silicon Imaging, Iconix and Flare.

“The Delta series has been specifically developed to meet the challenges of precision needed both for 3D and for 4K cinematography,” said Chris Cary, CEO of the UK 3D Tech start-up, 3D Visual Enterprises, Meduza Systems' parent company.

Each lens pair is designed to minimize the amount of optical change (or delta) between one image and another. “Quality S3D images are the product of many elements of precise control working together, and optical precision is one of the most vital, especially working in 4K,” added Meduza Systems' COO, Jon Kitzen.

"All of the standards being set for cinema and television alike are reaching out for a level of optical excellence for which 2D lenses and lens mounts trying to work in tandem were never intended."

Meduza set out to improve on 2D optics that have previously been rather large, heavy, bulky film lenses, not built to the tolerances of S3D use. While a lens may indicate 50mm, in reality it may be a 48.5mm, while the next lens could be 49.9mm. Colour and distortion from one lens to the next could also be quite far off.

All of this creates added work and costs in post. The company also claimed that larger format film lenses "are just not capable of the resolution requirements of the new generation of small compact 4K sensors, therefore, not optimal for S3D work."

Its 16-piece set, with eight focal length pairs (T1.9/35mm, 1.4/23mm, 1.4/17mm, 1.4/12mm, 1.9/10mm, 1.4/8mm, 2.1/6mm, and 1.8/4.8mm), has been designed specifically to accommodate motorised focus and iris controls. The iris and focus rings, which float on a set of 50 micro ball bearings, will be supported by the forthcoming Preston 3D controller.

They use a new Meduza Mount, which is designed to deliver precise optical positioning in relation to the sensor. “We found the C mount and other fittings just weren’t able to work within the tolerances we set,” said Cary. “The standards required for 4K and S3D are far more demanding. so we built for tomorrow rather than settle for today.”

tvbeurope.com read more

Meduza Systems Launches the Delta 4K S3D Meduza Lens at IBC2011

Mon, 05 Sep 2011 14:03:26 -0400

3droundabout.com read more

bigmoviezone.com read more

live-production.tv read more

3-D cameras for broadcast, motion pictures capture attention at NAB Show

Wed, 27 Apr 2011 06:24:45 -0400

by Michael Grotticelli

The PMW-TD300 3-D camcorder features a twin optical lens equipped with three half-inch CMOS Exmor sensors for each eye view.

It was another year for new 3-D cameras at the NAB Show as major video manufacturers tackle the production issues and high costs that have been plaguing producers of 3-D content for TV and motion pictures. Counting those introduced last year, there are now literally dozens of options to choose from.

The industry as a whole is clamoring for operator-friendly, light and single-body production equipment that can replicate the 2-D HD production experience, and there was clear evidence this year that vendors understand the requirements and are working to make cost-effective production a reality. Here are a few notable cameras that were presented at this year’s show.

Panasonic’s current handheld camcorder, the AG-3DA1, will be joined in the fall with a second integrated 3-D camcorder, the AG-3DP1. Featuring a larger imager and using the P2 memory format, the new shoulder-mount model is intended for use in live productions, sports, independent films and documentaries. The AG-3DP1 can record 80 minutes of stereo in 10-bit AVC-Intra to dual 64 GB P2 cards. It contains two 1in, 2.23-megapixel CMOS sensors. By contrast, its predecessor contained 2.7-megapixel chips and records to SD cards.

Sony introduced a new shoulder-mount 3-D model that will be available this fall. The PMW-TD300 3-D camcorder features a twin optical lens equipped with three half-inch CMOS Exmor sensors for each eye view. It was developed in cooperation with Discovery for its new 3-D channel.

This summer, Sony will also ship a compact 3-D DAM camcorder intended for videographers and corporate videos. The HXR-NX3D1 incorporates two quarter-inch CMOS sensors, twin 10x zoom lenses and an internal flash memory of 96GB for about 7.5 hours of 3-D recording.

The new JVC GY-HMZ1U can simultaneously record each left and right image in 1920 x 1080 HD resolution.

JVC unveiled the new GY-HMZ1U ProHD 3-D camcorder at the show. With an integrated 3-D twin lens design powered by JVC’s large-scale integration (LSI) chip for high-speed processing of HD video, the GY-HMZ1U can simultaneously record each left and right image in 1920 x 1080 resolution. The handheld camcorder features dual 3.32-megapixel CMOS sensors, one for each lens, and delivers 34Mb/s AVCHD recording in 3-D or 24Mb/s in 2-D. Video can be recorded with time code at 60i to provide smooth motion, for sports and other fast action, or 24p for a film-like effect. The GY-HMZ1U can also capture 3-D time lapse and 3-D digital stills.

The Meduza camera system acquires images at 3072 x 4096 resolution that covers everything from 15/70mm giant screens to 3-D TV viewing.

Meduza introduced a “beyond 4K” camera that will be available in September. Content for the camera is acquired at 3072 x 4096 pixels and covers everything from 15/70mm giant screens to general theatrical screens, as well as 3-D TV.

“The image is being acquired at a 1:1 pixel ratio for giant-screen 15/70mm format and still allows for smaller extraction for traditional cinema and TV,” said Jonathan Kitzen, president of Meduza Systems. “This will represent massive cost savings in image enhancement and post production. All other cameras on the market have to blow up to get to this format, the largest in the world, but the Meduza does not have that requirement.”

Additionally, FOR-A demonstrated an ultra-compact 1920 x 1080 camera head — actually two heads measuring 40mm x 40mm x 56mm that can be configured the same interocular distance apart as the human head. The small size of the 3DC-300FH camera head and 3DC-S100 CCU (part of the company’s relationship with the Flovel Company, based in Tokyo) makes it ideal for extreme close-up work and POV camera locations, such as a GoalCam in ice hockey broadcasts. The external CCU includes features that can be used to adjust horizontal and vertical shift in the image.

NAB 2011 Day Three

Thu, 14 Apr 2011 14:03:36 -0400

NAB Wednesday started early at 8 AM with a 3D@Home meeting. The first part of the meeting was open for non-members. This opening session covers the status of the 3D@Home working groups, new member introductions, and standards liaison updates.

Steering Team 2 (ST2 – 3D Content Storage / Transmission / Distribution) co-chairman Thierry Borel of Technicolor gave a nice presentation on the latest in ST2.

I was pleasantly surprised to receive a plaque commending me on my past work as the ST3 Worldwide 3D Promotional co-Chair.

Here is Mr. Rick Dean from THX presenting me with my transparent plaque.

Everybody please visit the 3D@Home website. There is a wealth of info there!

A notable new member to the 3D@Home consortium is Meduza Systems. Meduza has innovated a sensor agnostic, fully modularized stereoscopic camera. The Meduza supports multiple “beyond 4k” sensor options and numerous HD and 2K sensor options.

3ality Digital spared absolutely no expense in their 2011 NAB showing. The 3ality exhibit / campus, is located in the outdoor open space between the south lower and central halls.

Meduza wins technical award at NAB

Thu, 14 Apr 2011 13:57:22 -0400

Meduza Systems with the first ever single beyond 4K Professional 3D Camera Wins 2011 “MARIO” Award from TV Technology Columnist Mario Orazio.

LAS VEGAS The Meduza 3D Camera System manufactured by Meduza Systems Of London and Irvine California is the recipient of the 19th Annual Mario Award given by TV Technology magazine.

Organized in 1993, the Mario Awards were established to recognize manufacturers whose products represent significant technical breakthroughsmany of these products have gone on to significantly impact the future of video technology. The awards are named after Mario Orazio, a pseudonym for a nameless engineer and a renowned technology columnist for TV Technology who pens the industry’s most widely read column “The Masked Engineer.”

The awards are given out annually at the NAB convention to companies that demonstrate forward thinking and technical excellence in their products.

“Mario scours the NAB show floor for the 10 most innovative products that represent the pinnacle of technical achievement. We are proud to present these awards on behalf of the ‘Masked Engineer,’” said TV Technology Editor Tom Butts.

TV Technology (www.tvtechnology.com) is the industry’s leading magazine for technology news and reviews and is celebrating its 28th year covering the television industry. The magazine is published by NewBay Media LLC, the world’s largest publisher of audio and video publications.

4K and 3D Are 1 and 2 at NAB

Tue, 12 Apr 2011 13:16:47 -0400

Sony wowed NAB attendees with its 4K camera, while Meduza showed off its new 3D unit. Both could have serious implications for digital cinema.

By Adrian Pennington

LAS VEGAS--While 3D seems to be the unofficial theme of the National Association of Broadcaster’s convention, there’s another buzzword on people’s lips: 4K.

4K represents another leap toward higher-resolution digital imaging and denotes four times the amount of picture information than 2K. which is itself twice the resolution of HD. Some observers believe 4K even exceeds the level of detail contained in 35mm film.

Existing digital cinematography cameras, as well as post-production processes, more commonly use 2K resolution, but the consumer demand for larger screens and therefore greater picture detail is driving the industry toward 4K tools.

Sony made most noise around this Sunday by unveiling a prototype digital cinematography camera capable of handling 4K and even higher resolutions.

In the background of development at the Japanese electronics company for at least four years, the F65 is considered a breakthrough in digital imaging.

To date, there has been one true 4K digital camera on the market for cinematographers, from a company called Dalsa that abandoned development a few years ago.

Sony wants to make 4K the new standard in digital production and it has the muscle and end to end product portfolio to make it happen.

Its 4K projection system, launched in 2005 and installed in an increasing number of cinemas, remains the only one of its kind and Sony is also developing a recording and postproduction infrastructure to fill in the gaps between shooting and exhibition.

While 4K post is steadily being used more frequently, today 2K post is more common than 4K, which requires four times as much data and can therefore be more expensive.

While projecting a 4K picture is, in most people’s opinion, a far richer, more nuanced and detailed experience than 2K and perhaps even film, the business case is not as clear as for 3D.

U.S. National Association of Theater Owners president John Fithian said: “It is much clearer what 3D does. Obviously 4K provides higher resolution, but whether that is something that the consumer values and appreciates remains to be seen.”

The heart of the camera uses a newly developed 8K 20 megapixel CMOS sensor, which could be upgraded to go as high as 8K resolution to meet any future needs of filmmakers.

It is capable of recording 50 minutes of uncompressed 16-bit 4K raw footage at 24fps to a 1TB memory card. The finished camera is expected to be light enough in weight for use on 3D rigs, Steadicams and other portable configurations.

There are however competing systems coming to market. The Meduza, from UK start up Meduza Systems, will be shown for the first time in Las Vegas on Monday and will be released in September. It’s a single-bodied dual lens 3D camera features a single set of electronics and a single set of controls powering two sensors capable, it is claimed, of generating higher frame rates than Sony’s prototype 4K camera.

The CEO of Meduza Systems’ parent company 3D Visual Enterprises (3DVE), Chris Cary, explained the startling concept behind the system - not the least of which is that it does not contain a specific sensor.

“4K is everywhere, it’s almost old hat at this point,” he says. “There are even 4K sensors in cell phones. The entertainment industry is not a leader, it is in fact a laggard. To imagine that you see cutting-edge tech in the entertainment industry would be inaccurate. What we are trying to do at Meduza is to accept that component technology is moving forward much faster than product development and to integrate emerging technologies within six months of their release, rather than the ‘normal’ 18 to 36 months of the industry.

“With Meduza you get a one-year jump on everyone else, in a professional package that is never obsolete. Keeping pace with technology is the greater message behind the camera system. It is no longer important who makes the sensor. We don't make the sensor, we never will. The day of building a camera around a sensor has past. We believe that capability, flexibility and expandability are now the critical criteria in this field.”

The product however remains at an early stage of development with input from cinematographers the next step forward. Interestingly the camera’s R&D is based on defense technology from the U.S.

“You wouldn't be able to shoot down a plane with a heat seeking missile, watch a 100G crash happen without the lens cracking, see a particle beam weapon fire, or see through a periscope without the contributions of our development team,” claimed Cary.

The Meduza – The First Ever Professional Stereoscopic, Beyond 4K, 3D Camera with Precision State-of-the-Art 3D Technology

Tue, 12 Apr 2011 13:12:14 -0400

BY HDPROGUIDE.COM STAFF – APRIL 10, 2011

The Meduza Reinvents Professional Stereoscopic 3D Image Capture

(Los Angeles, CA and London, England) – The Meduza, the first single beyond 4K digital stereoscopic 3D (S3D) camera ever developed, will be unveiled by Meduza Systems at the National Association of Broadcasters Convention (NAB), Mon., April 11* in Las Vegas, it was announced today by Chris Cary, CEO, 3D Visual Enterprises, parent company of Meduza Systems. A new and innovative technology, The Meduza Camera System places the art of filmmaking back at its source, in the hands of producers, directors, cinematographers and filmmakers. The Meduza will be available September 2011.

The first single professional digital camera ever designed and built specifically to shoot in S3D, The Meduza not only makes it easier, faster and cheaper to produce 3D content, but, by allowing filmmakers to shoot in the native 4:3 format at beyond 4K, content is acquired at 3072 x 4096 pixels and covers everything from 15/70mm giant screens to general theatrical screens, as well as S3D television viewing. “The camera format and resolution level means that the image is being acquired at a 1:1 pixel ratio for Giant Screen 15/70mm format and still allows for smaller extraction for traditional cinema and TV,” says Jonathan Kitzen, President of Meduza Systems. “This will also represent massive cost saving in image enhancement and post-production. All other cameras on the market have to blow up to get to this format, the largest in the world, but the Meduza does not have that requirement.”

The Meduza is a ‘digital imaging system’ that sets a new benchmark standard for stereoscopic 3D image capturing. It can be set up in minutes, not hours, has interchangeable lenses, precise remote controlled variable inter-axial (the distance between the lenses) and precise remote controlled convergence. It is a single camera, with a single set of electronics and a single set of controls that powers 2 imaging sensors at the same time. All of this and the entire camera weighs less than 15 pounds.

Since the first recorded 3D patents in the 1890′s, filmmakers have been trying to make 2 cameras produce a 3D image. Films currently produced in 3D are generally shot with 2 cameras linked together with stereoscopic grip equipment or 2 cameras sandwiched in one camera body with very little control or synchronization. “A simple analogy would be, if you glued 2 motorcycles together, would this produce a car?” says Kitzen. A motorcycle would be similar to the 2D camera. With 2 wheels and 2 motors, a car is not created by combining the two, but rather a vehicle with 2 control systems and 4 wheels, all trying to do one job. While left eye and right eye images are generated using 2 cameras, many more new problems are created, which must then be corrected in post-production. Every correction, i.e. color, noise, re-sizing, re-converging, axis correction and focal length correction lead to data loss, image aberration and expense. Meduza set out to and find a solution to the enormous complexity of filming and controlling 3D, rather than just dealing with the symptoms. Corrected 3D is not good 3D and is often the cause of viewer headaches and eye-strain.

“The Meduza is the route to the ultimate solution,” says Cary. “This is a completely new approach to the very specific needs of stereoscopic 3D content creation. For the first time, filmmakers and content creators are in full control of their system. The camera is not sensor dependent. As sensor capability advances, new modules will be available in weeks, not years to upgrade their camera. This way, filmmakers can choose the sensor and custom configuration that fits their needs and still have the ability to completely change over the camera in seconds. The Meduza is completely modular and is designed to solve problems at their source.”

THE MEDUZA SYSTEM:

Shoots beyond 4K –The first single camera system to allow the user to shoot at BEYOND 4K resolution in each eye view.
No synchronization issues — One set of electronics with one set of controls to power two stereo sensors. This eliminates the many problems inherent in all other stereoscopic camera systems as both sensors are powered by one “clock.” The result is no fixed pattern noise difference as both images are processed the same way and there is no color aberration as both sensors heat up similarly.
Eliminates built in obsolescence — The Meduza body does not contain any sensors. Digital sensors double in capability every 18 months. It typically takes a manufacturer 18 months to 3 years to bring a new camera to market, thus it is obsolete the first day it is delivered. The part of the Meduza camera carrying the sensor is an add-on module and can accept and work with sensors made by any manufacturer and can be swapped in seconds. The latest sensor technology will be available in perpetuity.
Modular components — The camera never adds extra weight for features the user doesn’t require. It has only what is needed, when it is needed and in the smallest and simplest configuration.
Compact, light-weight and adaptable – The Meduza weighs less than 15 pounds and has a massive range of accessories that make it adaptable and capable in every filming environment.

3D Visual Enterprises Ltd, the UK based holding company, was established specifically to service the growing demand within the professional film and television community for a complete and technically advanced 3D image capturing system. Meduza Systems was created to produce an imaging system that would solve the single camera problem within an architecture that could be constantly upgraded to keep pace with the growth of the industry and advancing technology. Our system had to be versatile, flexible, capable of being upgraded to match the pace of developing sensor technology and to deliver visual images at the highest resolution possible at all times. The Meduza was designed to fill the void in the market with compatibility in all of the production environments, from Giant Screen 15/70, to live events, to hand held natural history productions. Above all, the company’s mission is to create a stereoscopic digital 3D camera that would never be obsolete and that could constantly strive to meet the growing and changing needs of its customers.

www.MeduzaSystems.com

A Meduza Systems technical session will be held, Tues., April 12, at 1p.m., NAB Meeting Room C203.
Meduza Systems NAB Booth Number C12437.

NAB: Meduza Launches 4K, 3D Camera

Tue, 12 Apr 2011 13:02:47 -0400

Billed as first single 3D camera offering beyond 4K resolution

By George Winslow -- Broadcasting & Cable, 4/10/2011 9:27:54 PM

This year's NAB will see the launch of what Meduza Systems is calling the first single 3D camera offering beyond 4K resolution.

Besides the higher 4K resolution, Meduza is also pitching the camera as offering producers a way to simplify 3D productions and significantly reduce the cost of creating stereoscopic programming.

"The camera format and resolution level means that the image is being acquired at a 1:1 pixel ratio for Giant Screen 15/70mm format and still allows for smaller extraction for traditional cinema and TV," noted Jonathan Kitzen, president of Meduza Systems in a statement. "This will also represent massive cost saving in image enhancement and post-production. All other cameras on the market have to blow up [images] to get to this format, the largest in the world, but the Meduza does not have that requirement."

The Meduza, which will be available September 2011, allows filmmakers to shoot in the native 4:3 format with content acquired at 3072 x 4096 pixels.

Unlike the 3D rigs commonly used in stereoscopic production that use two separate cameras, the Meduza is designed as single unit, with a single set of electronics and a single set of controls powering two imaging sensors at the same time. That offers much quicker set-up times, reduces production problems and makes the unit less bulky, weighing less than 15 pounds, Meduza executives argue.

When "left eye and right eye images are generated using 2 cameras, many more new problems are created, which must then be corrected in post-production," Kitzen noted in a statement. "Every correction, i.e. color, noise, re-sizing, re-converging, axis correction and focal length correction [can] lead to data loss, image aberration and expense. Meduza set out to and find a solution to the enormous complexity of filming and controlling 3D, rather than just dealing with the symptoms."

Chris Cary, CEO, 3D Visual Enterprises, parent company of Meduza Systems also noted in a statement that "the camera is not sensor dependent. As sensor capability advances, new modules will be available in weeks, not years, to upgrade their camera. This way, filmmakers can choose the sensor and custom configuration that fits their needs and still have the ability to completely change over the camera in seconds. The Meduza is completely modular and is designed to solve problems at their source."

Meduza Systems NAB Booth Number C12437

Fri, 18 Feb 2011 05:37:38 -0500

A Meduza Systems Technical Session will be held, Tues., April 12, at 1p.m., NAB Meeting Room C203

Fri, 18 Feb 2011 05:32:51 -0500