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Megavision monochrome capture backs

Megavision monochrome capture backs

2007-12-16 by Greg

Sorry, has nothing to do with printing, but I thought some of you
might like to know. I was browsing around the Megavision web site, and
noticed that they have a full line up of monochome capture backs,
that's 6MP (E3) up to 39MP (E6) nearly full frame for 645 cameras.
They use Kodak sensors in all their backs.

Just thought I would pass this on in case anyone has a bunch of money
sitting around doing nothing. I believe they offer rentals, and I know
they have leasing. They have continued to support my old S3Pro back
and Batpack, so I don't think it is a risk as they are still chuggung
along with their industrial products.

http://www.mega-vision.com/products/Mono/Mono.htm

Re: [Digital BW] Megavision monochrome capture backs

2007-12-17 by Michael King

You got me excited, but unfortunately they are only 12 bit backs.
I think at least 14 ideally 16 bits is a must for good tonality.

Mike


On 16/12/2007, Greg <dfaprinting@...> wrote:
>
>   Sorry, has nothing to do with printing, but I thought some of you
> might like to know. I was browsing around the Megavision web site, and
> noticed that they have a full line up of monochome capture backs,
> that's 6MP (E3) up to 39MP (E6) nearly full frame for 645 cameras.
> They use Kodak sensors in all their backs.
>
> Just thought I would pass this on in case anyone has a bunch of money
> sitting around doing nothing. I believe they offer rentals, and I know
> they have leasing. They have continued to support my old S3Pro back
> and Batpack, so I don't think it is a risk as they are still chuggung
> along with their industrial products.
>
> http://www.mega-vision.com/products/Mono/Mono.htm
>
> 
>


[Non-text portions of this message have been removed]

Re: [Digital BW] Megavision monochrome capture backs

2007-12-17 by Juan Riera

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Michael King" 
<drmrking@...> wrote:
>
> You got me excited, but unfortunately they are only 12 bit backs.
> I think at least 14 ideally 16 bits is a must for good tonality.

From website info:
o Dynamic Range: 12 bits per channel: Grayscale-- 16 bit digitizing 
on 39 meg
o File Size E3 Mono: 6 MB 8-bit Grayscale, 12 MB 16-bit Grayscale, E 
427: 11 MB 8-bit Grayscale, 22 MB 16-bit Grayscale. E 4 Mono: 16 MB 8 
bit Grayscale, 32 MB 16 bit Grayscale. E6 Mono: 39 MB 8-bit 
Grayscale, 78 MB 16 bit Grayscale.

And still better seems this:
1. ...

2. Without the Bayer filtration's ISO robbing filter factor, they 
utilize over twice the light from the scene, resulting in over twice 
the S/N.

3. The need for developing and the anti-aliasing filter common to 
Bayer pattern dSLR devices is eliminated. Without developing, there 
are no developing errors. Without the anti-alias filter, you can 
actually see how sharp your lenses are with our MonoChrome backs.

Is this as good as it seems?

Juan

Re: [Digital BW] Megavision monochrome capture backs

2007-12-17 by Sarah Thompson

Michael King wrote:
> You got me excited, but unfortunately they are only 12 bit backs.
> I think at least 14 ideally 16 bits is a must for good tonality.
>
> Mike
>   
I hate to be a contrarian, but I actually happen to own a Megavision E4 
monochrome (16 megapixel, 37mm square 4096x4096 Kodak sensor) which I 
use on my Bronica ETRS. I also have a Better Light Super-6K scan back 
(150 megapixel, colour, 8000x6000, trilinear array sensor). The Better 
Light has a 14 bit ADC, I think, whereas the Megavision has a 12-bit 
ADC. In both cases, the tonality is way beyond good enough, to the 
extent that I've been able to use HDR-style post processing on single 
shot captures to great effect. Basically, neither back is at all lacking 
for dynamic range or noise control. As for resolution, particularly when 
printed, despite the large difference in pixel count, there is little to 
choose between the two backs in terms of perceived resolution unless you 
go to a very big print. Bronica glass tends to be very sharp indeed, so 
with a little care it is possible with nearly any of their lenses to 
resolve down to single pixels. I've had particularly outstanding results 
from the 30mm fisheye, 40mm MC, 75mm PE, the 100mm MC macro, the 45-90 
zoom and the (awesome but extremely rare) 55mm PE shift/tilt, but this 
is probably because they tend to be my most often used lenses anyway.

Down at the pixel level, a well-focussed image from either back is very 
obviously superior to B&W conversions from a Bayer-pattern sensors, 
particularly when you are using contrast filters. In B&W, I usually end 
up using some kind of contrast filter, often a deep red or deep orange, 
or its RGB emulation. Neither the Megavision or the Better Light lose 
any resolution or signal to noise ratio as a consequence of this, so the 
difference in the resulting prints can be quite startling.

I've never once had anyone ding my prints as lacking tonality -- quite 
the reverse, actually! One particular print I made from a Megavision 
image won club and area competitions and ended up hanging in a gallery 
for a while, so what can I say? These things actually work!

Sarah

Re: [Digital BW] Megavision monochrome capture backs

2007-12-17 by Greg

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Sarah Thompson
<sarah@...> wrote:

> I hate to be a contrarian, but I actually happen to own a Megavision E4 
> monochrome (16 megapixel, 37mm square 4096x4096 Kodak sensor) which I 
> use on my Bronica ETRS. I also have a Better Light Super-6K scan back 
> (150 megapixel, colour, 8000x6000, trilinear array sensor). 

-snip

Wish I had the ability to have a need for one of these monchrome
backs, but alas I'll probably never be at that level, or with that
much extra cash to get one. Wish I had even a "lowly" monochrome E3
back (6MP), or better yet an old S3 monochrome so that it works with
my Batpac.

Even at 12 bit (4096 levels of gray) it would be more than any inkjet
can faithfully reproduce, especially on matte papers. The printers may
have a 16 bit workflow, and that workflow may indeed produce smoother
transitions from paper white to ink black, but they do not yet produce
a real 16 bit (65536 levels) at output.

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