The WEISSCAM HS-2 is the newest, uncompressed digital highspeed camera for framerates up to 4.000 fps. It is developed as a standalone camera aiming especially the needs of cinematographers. Coming with an easy workflow, two Streams (RAW + HD) via HD-SDI, two formats (4:3 + 16:9) and cinema-style images, it is designed to offer you the freedom of shooting either in HD or RAW mode.
The WEISSCAM HS-2 has a full Format Super35 CMOS Sensor with a global shutter. By using the Interchangeable Mount System (IMS) from P+S Technik you can attach nearly every lens on the camera (PL Mount, Nikon F-Mount, Panavision Mount, etc.) and also change the mount within a few seconds.
An intelligent master/slave DC/DC power management saves the camera from any short circuit and makes it needless to turn off the camera for a battery change.
Many mounting possibilities allow you to connect additional accessories like onboard monitor, lens control system, etc. and power them by the several outputs of the DC/DC board.
The very fast boot up time allows you to be ready for shooting in less than 7 seconds.
| Frame Rates | 1.500 fps in 2K 2.000 fps in 1080p 4.000 fps in 720p |
| Max. Speed | 72.275 fps in 100×100 Pixels |
| Signal | RAW Signal: 12 bit uncompressed WEISSCAM RAW HD Signal: 10 bit YCbCr 4:2:2 |
| Signal Output | 1280 x 720p: 50p 1920 x 1080: 23,98psf, 24psf, 25psf, 29,97psf, 30psf 1920 x 1080 Dual Link: 50p, 59,94p, 60p 2K: 25p (1920 x 1080 preview) Signal Output formats vary between HD and RAW, as well as HD-SDI Single Link and Dual Link |
| Sensor | Single CMOS (22,18 x 22,18 mm) |
| Shutter | Global Shutter |
| Sensitivity | 600 ASA |
| Internal Memory | 32 GB |
| Dynamik Range | 8 – 10 T-stops, up to the selected curve |
| Lens Mount | Interchangeable Mount System (PL, Panavision, BNC-R, Professional, Nikon F, Canon EF, Canon FD, Leica-R, Leica-M) |
| Power | 24V DC, Fischer 2/pin |
| Weight | 6,8 kg |
For productions which are pressed for time and consequently have to save time during the post-production or color correction, we recommend the HD workflow, because there is no need to debayer the data and the material will be copied quickly. The HD-signal (standardized SMPTE 292M) can be recorded via the HD-SDI interface of the HS-2 with any device, that is able to record an HD-SDI Signal. The HD-Workflow is only possible with the HD-Formats 720p and 1920 x 1080p. Here, you can find an Illustration of the HD Workflow.
For production which envision color correction or an extensive post-production, we recommend the RAW workflow, because the 12 Bit uncompressed RAW data offers a bigger freedom of color correction and post-editing. It is crucial to know, that the RAW Workflow takes much more time for data converting and processing than the HD Workflow. The image material has to be debayered and color-corrected. You can use a RAW Workflow, that is based on the DIGIMAG and an IT-based Workflow. You can compare both options with this Illustration of the RAW Workflow.
The WEISSCAM RAW Data can be edited and debayered via WeisscamWare or Iridas FrameCycler and Speedgrade.
How long can I record with my HS-2?
Recording time depends upon resolution, frame rate and internal memory.
The WEISSCAM HS-2 has 36 GB of internal RAM, which give you many options for recording. A few are shown below:
| fps | 25 | 50 | 100 | 250 | 500 | 1000 | 1500 | 2000 |
| 2016 x 1556 | 05:28 | 02:44 | 01:22 | 00:32 | 00:16 | 00:08 | 00:05 | – |
| 1920 x 1080 | 08:17 | 04:08 | 02:04 | 00:49 | 00:24 | 00:12 | 00:08 | 00:06 |
| 1280 x 720 | 18:38 | 09:19 | 04:39 | 01:51 | 00:55 | 00:27 | 00:18 | 00:13 |
| 1024 x 576 | 29:07 | 14:33 | 07:16 | 02:54 | 01:27 | 00:43 | 00:29 | 00:21 |
The image in my monitor appears green.
This happens when the monitor is connected to the “RAW Out 1/2″ as the camera is displaying the RAW signal. Connect monitor to the “HD-SDI out 1/2″ for the standard high-quality view.
My lens will not connect to the camera mount.
This can occur if you attempt to use an incorrect IMS, or non IMS mount lens.
Check and ensure the correct IMS mount for your specific lens. An IMS mount must be used even with PL mount lenses, or you risk damaging the sensor.
What is the sensor size in pixels / millimeters?
The CMOS Sensor measures 22,18 x 22,18 mm, which is a 31,36 mm diagonal.
The pixel size (v x h) is 0.011 x 0,011 mm (square pixel).
What is the active sensor area (max. recordable area)?
2016 x 2016 pixels max. recording in IT mode. 2048 x 1536 pixel max. recording over HD-SDI. To achieve 2048 pixels, the HD-SDI format will be framed by vertical black bars on both the left and right sides.
What is the native color balance of the sensor?
6.500 K
Is it possible to get 4:4:4 through HD-SDI?
No, 4:2:2 is the only output available through HD-SDI.
Are there issues of flicker or rainbow effects in the viewfinder?
We have not received any complaints in use, or found any of these negative effects in our testing. However, you may find them appearing in playback if you shoot using non flicker-free lighting.
Can the camera do ramps and can they be compensated by shutter speed?
There is no official RAMP implementation. Consequently, it is not possible to change the frame rate during recording. We recommend ramping during postproduction.
Is the sensor protected against damage from bright lights or lasers?
No. Although the camera does have an infrared/low-pass filter in front of the sensor, it will not protect it from damage caused by direct bright lights or lasers. We advise that you never leave the camera without a body or lens cap, and that you shade the sensor changing lenses.
Is the camera able to run in post trigger mode? (e.g. continuously record in a loop to the memory)
Yes, the camera actually has 5 different trigger modes:
- „Ringbuffer“ – This is the one you are asking for. (Continuously record in a loop to the internal memory)
- „Sequence“ – The camera begins to record with pressing „REC“ – and stops automatically when RAM is full
- „70/30 trigger“
- „50/50 trigger“
- „30/70 trigger“
3 – 5 are mixtures of sequence, ringbuffer and center trigger.
Are there any overheating issues?
We had no problems with overheating at sets. The camera uses an active cooling system. To get the best image quality the sensor should have a temperature of 50°C. The max. temperature inside the camera is about 60°C. If sensor or other electronic parts reach this temperature you will get a red-blinking information in the Handunit.
To avoid overheating on hot sets, shadow the camera from direct light and/or use a fan.
Have there been any issues on with condensation on the sensor/filter in humid conditions?
Not in our experiences. We did not have that much humid conditions to face problems with that.
Does the camera support Cooke ipins or Arri LDS?
The camera does not support this function.
How does a Global Shutter work?
Global Shutter means that the pixels are exposed at the same time. Therefore no distortions occur in case of quick movements (e.g. while panning).
Global Shutter means: no Rolling Shutter Effects!
Is HD Playback possible right after recording?
Yes, it is possible, due to the fact that the RAW Data stream will be debayered into a HD stream via FPGA technology which hasn’t any computing time.
Asia
China
Beijing
Arrow Film Co. Ltd
North Dongsanqi, CN-102209 Beijing
arrowfilm(at)188.com, www.arrowfilm.com
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India
Chennai
Anand Cine Service
Chennai
tarunkumar(at)anandcine.com, www.anandcine.com
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Japan
Tokyo
Koki-Hifumi Inc
1-2-17 Mita Minato-Ku, 108-0073 Tokyo
support(at)ko-ki.co.jp, www.ko-ki.co.jp
Seika Corporation
Shin-Tokyo BL DG, 3-1, Marunoschi 3-Chrome, Chiyoda-KU, 100-0005 Tokyo
myamashita(at)jp.seika.com, www.seika.com
Tec’s Co. Ltd.
Tokyo
main(at)tec-s.jp, www.tec-s.jp
Video Service Inc.
2-1-24 Takanawa Minato-ku, 108-0074 Tokyo
www.videoservice.tv
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Philippines
Makati
R. S. Video & Film Productions
rsvpfilm(at)info.com.ph
Manila
CMB Film Services, Inc.
cmbfilms(at)pldtdsl.net, www.cmbfilmservices.com
Australia
Sydney
MACS Camera Film & Television Supplies
Artarmon NSW
david.adermann(at)macsimage.com.au, www.macsimage.com.au
Red Apple Camera Rentals
Artarmon NSW
viv(at)redapplecamerarentals.com, www.redapplecamerarentals.com
Cinoptix
Suite 402, 384 Eastern Valley Way, Chatswood NSW 2067
info(at)cinoptix.com.au, www.cinoptix.com.au
Europe
Croatia
Zagreb
ATER Studio
Kameniti stol 38, HR-10000 Zagreb
ater(at)aterstudio.com, www.aterstudio.com
WEISSCAM HS-1 & WEISSCAM HS-2
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Denmark
Aarhus
MedieTek
Filmbyen 19, DK-8000 Aarhus
Sales(at)medietek.dk, www.medietek.dk
WEISSCAM HS-1
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Finland
Helsinki
P. Mutasen Elokuvakonepaja Oy
Aleksis Kiven katu 17A, 00510 Helsinki
artturi.mutanen(at)elokuvakonepaja.com, www.elokuvakonepaja.com
WEISSCAM HS-1
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Germany
Hamburg
MBF Hamburg
Kedenburgstr. 44, D-22041 Hamburg
info(at)mbf-hamburg.de, www.mbf.de
WEISSCAM HS-2
Munich
Weisscam GmbH
Marktstr. 10, D-80802 München
info(at)weisscam.com, www.weisscam.com
WEISSCAM HS-1 & WEISSCAM HS-2
———–
Great Britain
London
Movietech Camera Rentals Ltd.
Pinewood Studios, Pinewood Rd, Iver Heath, Bucks SL0 0NH
info(at)movietech.co.uk, www.movietech.co.uk
WEISSCAM HS-2
———–
Greece
Athens
ABL Films
189 Dionisou str., P.O. Box 15124 Marousi Athen
info(at)ablfilms.com, www.ablfilms.com
WEISSCAM HS-1
———–
Hungary
Budapest
Schwindl
Róna street 174, H-1145 Budapest
info(at)schwindl.hu, www.schwindl.hu
WEISSCAM HS-1
———–
Netherlands
Amsterdam
Camalot
Duivendrechtsekade 65, 1096 Amsterdam
info(at)camalot.nl, www.camalot.nl
WEISSCAM HS-1
———–
Russia
Moscow
Rentacam
Serpukhovsky Val, 19, Moscow
mukasey(at)rentacam.ru, www.rentacam.ru
WEISSCAM HS-1 & WEISSCAM HS-2
———–
Turkey
Istanbul
ORION ISIK VE KAMERA A.S.
Kemerburgaz-Cendere Yolu, Azizpasa Mevkii No:5, Eyup / Istanbul
orion(at)orion.com.tr, www.orion.com.tr
WEISSCAM HS-2
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Ukraine
Kiev
Illuminator
29-31 Glybochitska, 4th Floor, 04050 Kiev
info(at)illuminator.com.ua, www.illuminator.com.ua
WEISSCAM HS-1
North America
Canada
Montreal
Clairmont Camera Inc. – Le Département Caméra
5563, Rue Fullum, Bur. 109, Montréal, Québec H2G2H5
Montreal(at)clairmont.com, www.clairmont.com
Toronto
Clairmont Camera Inc.
16 Overlea Blvd., Toronto, Ontario M4H 1A4
Toronto(at)clairmont.com, www.clairmont.com
Vancouver
Clairmont Camera Inc.
1225 E. Keith Road, # 2, North Vancouver, BC V7J 1J3
Vancouver(at)clairmont.com, www.clairmont.com
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USA
Albuquerque
Clairmont Camera Inc.
5650 University Blvd., SE, Building A Ste. 201 & 202 Albuquerque, New Mexiko 87106
Albuquerque(at)clairmont.com, www.clairmont.com
Atlanta
PC&E
2235 Defoor Hills Road, Atlanta, GA 30318
marketing(at)pce-atlanta.com, www.pce-atlanta.com
Fort Lauderdale
ARRI CSC
2385 Stirling Road, Fort Lauderdale, FL 33312
estamm(at)cameraservice.com, www.cameraservice.com
Hollywood
Clairmont Camera Inc.
4343 Lankershim Blvd., North Hollywood, CA 91602
Hollywood(at)clairmont.com, www.clairmont.com
The Camera House
North Hollywood
rufus2(at)thecamerahouse.com, www.thecamerahouse.com
New York
ARRI CSC
25 Enterprise Ave North, Secaucus, NJ 07094
ctammaro(at)cameraservice.com, www.cameraservice.com
South America
Argentina
Buenos Aires
Camaras & Luces S.A.
5167 Guatemala Street, Buenos Aires
camarasyluces(at)arnet.com.ar, www.camarasyluces.com
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Brazil
Rio de Janeiro
Plural Filmes
Rua Pedro I, 07, cj. 307, CEP: 20060-050 – Rio de Janeiro, RJ
tambke(at)pluralfilmes.com.br, www.pluralfilmes.com.br
———–
Mexico
Mexico City
Revolution 435 D&C
Mexico D.F.
revo1999(at)prodigy.net.mx, www.revolutionmexico.com.mx
Hot deal: one used WEISSCAM HS-2
incl. PL-Mount
incl. handunit + cable
incl. all modes
incl. case
for only 39.000 € net.
Don’t hesitate to contact us.
Weisscam products and productions are works of passion. We cannot think of a better industry to be a part of. So when we receive compliments and stories of how our systems have helped others in this field, we are always (modestly) proud.
Here you find out how colleagues and peers are experiencing the WEISSCAM HS-2:
In Great Britain, camera rental firm Movietech has named Weisscam high-speed systems as their “system of choice” since 2009; after extensive testing and continued satisfaction with their results. DoP Gary Holder was one of the first directors to work with the new WEISSCAM HS-2 during his shooting of Jaguar automobiles and became “completely convinced” of the camera’s quality and potential to realize his directorial visions and customer’s needs.
“We recently used the WEISSCAM HS-2 from Movietech … the results were amazing! The light sensitivity of this high-speed camera is the best I‘ve experienced to date, with absolutely no compromise to the definition! I have no doubt I will be using the WEISSCAM HS-2 for many more productions to come.”
In the USA and Canada, one of our longest and best partners, Denny Clairmont – he laid the foundation for Weisscam’s presence in the USA and has been an invaluable supporter and contributor ever since – brought the first WEISSCAM HS-2 to Hollywood in 2009 and has successfully added 3 locations in Canada. As a result of Denny’s great contributions, Weisscam now offers adjected to South Amercia camera systems for rental in New York as well as in Atlanta.
“You can shoot up to 2.000 fps and see it right back in slow motion in 1080p without rendering it first – very cool.”
“The WEISSCAM HS-2 signal records onto P2, SxS and HDCAM – it is the first high speed camera that fits YOUR workflow. And the remote control Hand Unit HU-2 knocks me out – it’s so simple to use.”
“The WEISSCAM HS-2 offers solutions above and beyond the competition, like easier workflow for our clients and more options in the camera.”
“We trust the WEISSCAM HS-2 as the best option for high-speed. It combines superb image quality with a friendly interface system without losing its professional range of image control.”
Stargate Studios puts the WEISSCAM HS-2 to the test and set out to see exactly what the WEISSCAM HS-2 was really all about. Challenging it with a variety of shot situations, lighting and camera speeds and even multiple cinematographers. The outcome? Click here to watch the behind the scene footage.
“Most amazing high speed camera I have ever shot with. It has held up to underwater, high-speed, wildlife, low light, minimum focus, maximum depth. It really is an amazing piece of equipment.”
Cameraman Stephen Williams finally finds “a benefit for going digital” after experiencing the WEISSCAM HS-2 for the very first time.
“From what I saw on set, it’s the first time in 30 years that I have shot digital and the production benefited from it. I found the camera 100 % reliable and had no issues with noise or banding from the sensor.”
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