Wired Sep 2008  There are some interesting articles in the September 2008 Wired magazine:

Driven: Shai Agassi's Audacious Plan to Put Electric Cars on the Road about how Shai Agassi of Better Place is building an inexpensive electric car with a smart onboard computer system, fed by an electric recharge grid:

Most startups try out their product on beta testers. Agassi wanted a beta country. A cooperative national government would be willing to modify the tax code or offer other incentives—essential to getting consumers on board quickly. He wasn't selling cars, but really building a network; the bigger the initial base, the stronger the network effect.

A small island nation would be ideal, since the range of his car is limited by the range of his charging grid. Fortunately, he already had deep family and business ties to a virtual island—Israel is surrounded by water on one side and by enemies on all others. The farthest a driver can safely go in a straight shot is about 250 miles. Plus, Israel is increasingly queasy about its role as an oil importer. Anything that threatens the livelihoods of hostile Arab oil sheikhs and Iranian mullahs has a special appeal in Agassi's native land.

A star is born about the development of a new digital movie camera that will revolutionize motion picture making. It is being developed by Red, a company created by the former Oakley magnate :

To compete with celluloid, a digital cine-camera would need an image sensor identical in size and shape to a single frame of 35-mm motion picture film. Without that, the Red couldn't give filmmakers the control over depth of field, color saturation, tonality, and a half dozen other factors that 35-mm film provides.

You'll find that kind of full-frame sensor at the core of any high-end digital single-lens reflex camera. But they're designed to shoot no more than 10 frames per second. That's warp speed for still photographers but barely first gear for filmmakers. Movies are shot at a minimum of 24 frames per second, with some scenes topping out at 120 fps for slow-motion effects. The Red's sensor would have to do everything a DSLR sensor does—and do it significantly faster.

The camera also had to be able to record in the same bulky file format that DSLRs use—called raw. The format preserves picture data in essentially unprocessed form, which gives photographers more latitude to tweak images with software the way they once did in a darkroom. (Cinematographers do the same thing with 35-mm film, but it's a complicated, expensive process: The film must be scanned into digital to be manipulated, then converted back to analog for projection.) Since a movie is just a long sequence of still pictures, using the raw format presented bandwidth and data-storage problems. A two-hour feature could run up to 7 terabytes. The Red engineers built a workaround, a lossless compression codec they call Redcode Raw.

posted by Bruce Wright at 9:33 PM #