16000

[Francoise Witsell]

TheOmegon Pro veTEC 16000 Camera is a professional all-round astro-camera. With a large Sensor and thermoelectric cooling, it is perfect for deep-sky photography. The camera also excels at lunar, planetary and solar astrophotography.

Professional Deep-Sky Astrophotography: The giant sensor is perfect for wide nebulas, star fields or the lunar surface. Compared to other astrophotography cameras, this one is more akin to the generously sized sensors in DSLR-cameras.Thermoelectric cooling: The cooling system reduces noise in the image. At 40C below ambient temperature, the noise caused by dark current is almost completely gone. In addition, the precise control of the sensor's temperature is very helpful for calibrating your astrophotos with dark frames: They all can be made at the correct temperature. The final images are impressively clean.USB-Hub: 2 USB ports at the back of the camera are reducing the cable chaos of your astrophotography setup. Additional devices (for example guiding cameras) can be daisy chained through this hub. A separate cable connection to your pc for every single device is now a thing of the past.The camera can be adapted to almost any astrophotography setup, thanks to a T2 thread and a short back focus of only 17.5mm. Of course a 2" nosepiece adapter allows you to simply connect the camera like any 2" eyepiece.The provided sturdy case with fitting foam inlet gives anyone peace of mind when transporting or storing this valuable camera.

Professional planetary-, lunar- and solar-astrophotography: Capturing the shadows of Jupiter's moons, separations in Saturn's rings, detailed mountain ranges on the Moon or impressive prominences on the surface of the sun - these impressive targets in our solar system can only be photographed properly with a very high framerate: This freezes the so called seeing, turbulences of the atmosphere that usually hide details from view. This 'lucky imaging' technique is now a breeze, thanks to sophisticated electronics and the high bandwidth of the camera's USB3.0. We recommend the Region-Of-Interest feature of the supplied Omegon AstroPhotoCapture software: This optimized the framerate by reading out only the relevant part of the sensor that contains the planet or detail you are interested in.

Transmission: A filter window protects the sensor chamber from dust and humidity. The Omegon Pro colour cameras are equipped with and infrared-blocking filter. Modern CMOS sensors are sensitive to infrared light, so a correct color representation in the final image is only possible by removing these wavelengths before capture. On the other hand, the Omegon Pro mono cameras feature an anti-reflection window, that is transparent to a wide range of wavelengths from the ultraviolet to the infrared. You can add your own filters for unrestricted control over your transmission curve - invaluable for advanced imaging and photometric applications.Compatibility: The Omegon Pro cameras are compatible with a wide range of available astrophotography programs through the common interfaces ASCOM and INDI. Native compatibility is also being added to a growing number of programs, like PHD2 and N.I.N.A.Scope of delivery:

HB-16000-SB features the Sony Pregius S IMX532 sensor. The Sony Pregius S technology features back-illuminated pixel structure that delivers distortion-free, high imaging performance and miniaturization. At full resolution (5320 x 3032) you get 145 frames per second. Its ultra high-speed 25GigE SFP28 interface offers many benefits including low-cost accessories, low CPU overhead, low latency, low jitter, and accurate multi-camera synchronization using IEEE1588. In addition, 25GigE SFP28 offers three supported cabling options for cable lengths from 1M to 10KM.

The NetScaler SDX 16000 appliance is a 2U appliance. This platform has two 16-core processors and 256 GB (16 x 16 GB DIMM) of memory. The appliance provides a total of eight 25G SFP28 ports and four 100G QSFP28 Ethernet ports.

Studies of the emission of volatile organic compounds from unused building products or furnishing in test chambers or cells require proper handling of the product prior to testing, and during the testing period.

ISO 16000-11:2006 defines three types of building products or furnishing: solid, liquid and combined. For each type, specifications are given for the sampling procedures, transport conditions, storage, and substrate used that can affect emissions of volatile organic compounds. For individual products, the preparation of a test specimen for each type is prescribed.

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On 2013 iMac, MacOS Sierra and upgraded to After Effects 2017. I'm working with an older AE file to resize from 13256x48 to 17248x56. I've duplicated to same composition to accommodate shorter animations from 3200px wide and smaller. I have to submit AVI files, so I'm outputting .mov files then simply converting to AVIs using VLC. No issues in the past.

Currently, the new problem is I cannot render any .mov or other file when the composition is beyond 16000px wide. Troubleshooting includes creating completely new and stripped down animations to test size issue and nothing will process because of the size.

Animation does not have resolution limitation to my knowledge. Ae has 30k limitation on the composition dimensions. this is 30k image buffer which means that if you have effects that use more pixels, or use 3D - this could mean you less than 30k before Ae will fail.

I have also made some troubleshooting like you, where I recreated a comp with stripped down animation or none at all. The issue persists. I'll see if I'm able to reload CC2015 and render it there, too.

Here's the kicker, though. The exported .mov file looks wrong when played in Quicktime, but when we process the .avi and set both the .mov and .avi (to test) back into an AE composition, both appear and play in that timeline, so the data is there.

I did attempt AE 2015 and it had the same issue. I'll pursue this with Adobe and maybe Apple to see if there are any actual issues other than this playback. I've delivered the file to the venue to test and preview, so I'm hoping all things work.

It makes perfect sense. The only test should be the playback in Ae. If your rendered footage is looking ok in Ae then it's perfectly fine. Quicktime is a pretty bad playback player as is, even without extreme resolution. VLC is better. For this type of footage, Ae is your playback and quality test until you can check it in the venue playback system.

From a technical point, it should be possible, or no?

It would surely be nice to have a 1/16000 electronic shutter, like the EOS R6II has. Especially with fast lenses like the 50mm 1.2 or 50mm 1.4 you get to the limits pretty fast in bright sunlight. It is kind of disappointing that entry level models like the R8 have this feature, while Canon's high-end all-rounder model doesn't, and never got it with a firmware update. What do you think are the chances Canon will still add features like that? Less than 50% probability?

ML-16000 is designed to minimise downtime and to be easy to operate as all the other models of the Monna Lisa series. Continuous cleaning, auto adjusting nozzles, self-regulating ink management, automatic alignment and calibration, increased ink tank capacity and fabric load and remote assistance. Everything is made to require minimum human intervention and run smoothly.

Top notch digital fabric printer. Everything you could wish for in modern technology. Huge volumes, fastest print speeds and vivid colours in the highest resolution. If you and your clients aren't looking to compromise, Monna Lisa ML-64000 is the way to go.

GPC1-16000 and GPC1-10000 provide an alternative for setting and precisely adjusting high gas pressures in calibration and test systems. This compact and easy to use system provides just the right balance between the simplicity and reliability of manual operation and the convenience of automated features. Push button fine pressure control eliminates the tedious variable volume operation previously associated with high pressure gas operation. GPC1 is the ideal solution in a variety of applications where high pressure generation and precision control is required, including piston gauge and transfer standard based calibration and test systems.

GPC1 combined with an RPM4 reference pressure monitor creates a complete transfer standard based calibration system that is particularly well suited for calibrating analog gauges by setting the gauge needle on the cardinal point and reading back the actual pressure.

An external pressure supply equal to the maximum desired test pressure, up to 70 MPa (10,000 psi) (GPC1-10000) or 110 MPa (16,000 psi) (GPC1-16000), is connected to the GPC1 supply port. Gas boosters are available to provide the supply pressure. A built-in regulator and indicating gauge allow the high pressure supply to be adjusted locally to the pressure desired for the test being run. The output of the supply regulator feeds the high pressure inlet valve. The inlet valve admits pressure for rough ascending pressure control and the high pressure outlet valve decreases pressure. The control valves are specially designed metering valves that operate over a half turn and cannot be over tightened.

Fine pressure adjustment is achieved using a piston based variable volume. The variable volume is pneumatically actuated through a pneumatic diaphragm. Push button inlet and exhaust valves adjust the air pressure on the diaphragm providing both effort free micro adjustment and rapid piston movement as needed. The physical efforts and "end of stroke" operational limitations of conventional screw presses are eliminated. The variable volume piston position is indicated on the GPC1 front panel.

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