35mm
Latest
Sony's NXCAM HD is the NEX-FS100, brings Super 35mm sensor pricetag down to $5,850
Sony may have discontinued the NEX-3, but the future of those interchangeable E-mount lenses seems downright secure -- after all, they'll fit quite nicely on this new NEX-FS100. The NXCAM HD that Sony teased last November is what you're gawking at right now, which is either the pro alternative to the NEX-VG10 or the far-more-affordable PMW-F3, depending on whether you typically tote camcorders or tend to shoot professional film. Either way, $5,850 buys you a Super 35mm sensor that shoots 1080p60 content at up to 28Mbps to SD, Memory Stick (or an optional 128GB SSD) or output uncompressed 4:2:2 footage over HDMI, monitoring the lot on a swiveling 3.5-inch LCD display. The package doesn't include the 18-200mm F3.5-6.3 lens pictured above -- that's an extra $700 on top of the price -- but Sony will throw in that viewfinder tube and shotgun mic. While we all look forward to online availability and some thorough reviews, why not join us after the break for video? Then, scoot on over to F-Stop Academy for the very first footage shot with the unit. [Thanks, Nate W.]
Lensbaby goes practical with aperture-adjustable Sweet 35 Optic
We love a Lensbaby lens as much as the next hipster, but if there's one thing the Optic Swap system isn't, it's fast. Switching out aperture plates is a royal pain, and for those looking to simply capture moments as they happen, it's a system that simply doesn't work. The company's apparently aiming to fix that with the introduction of its first 35mm optic with a 12-blade adjustable aperture. The Sweet 35 select focus optic requires but a twist to change the aperture, and in turn, the "sweet spot." 'Course, you'll still need to find yourself adequate light (or boost your ISO / slow your shutter) before stepping that aperture value up too high, but at least now it's easier than using a magnetic tool to fish one plate out and drop another in. The lens has a maximum aperture of f/2.5 and steps all the way down to f/22, and it'll focus down to 7.5 inches from the front of the lens. The downside is that this particular optic isn't compatible with current 37mm Lensbaby accessories, nor will it function with the Composer with Tilt Transformer for Micro Four Thirds and Sony NEX cameras. Still, for $180 it's easily the most practical thing the company has ever delivered, and we definitely hope this is just the beginning of a trend it intends to push.
Kenneth Clark's famed documentary 'Civilisation' returns tonight on BBC HD
When it first aired in 1969, Civilisation was one of the BBC's first documentaries produced in color and it was popular enough to earn producer Kenneth Clark the title Baron Clark of Saltwood. Newly restored for high definition television from the original 35mm film, it's ready to come to a new generation now on BBC HD, surely looking even better than the original run which was said to have often prompted Civilisation viewing parties at the homes of the lucky few with color TVs at the time. Telling the story of the growth of western civilization, it was commissioned by David Attenborough and set the bar for most modern documentaries as Clark actually took viewers to visit the works of art he described. There's no word on any US broadcast schedule, but since PBS picked up the original 40 years ago we'd hope they see fit to do the same sometime soon.
Sony sees RED with PMW-F3 camera, we go hands-on with the $16k "indie" (video)
In the wild, wild world of film production it's sometimes tough to separate the consumers from the prosumers from the independent filmmakers from the big studios -- especially when more affordable technology makes it easier and easier for one class to imitate the other. Sony's latest 35mm CMOS imager video camera is an attempt to cover lost ground in the "indie" realm of requisite low-budget and desired high production value, a market dominated by the RED One, and to some extent Canon's 5D Mark II and 7D, for the past couple years. Sony's PMW-F3 -- shipping in February -- is a considerable step up from the earlier EX3. The most obvious change is the inclusion of the new Exmor Super 35 CMOS sensor and interchangeable lens mounts, facilitating shallow depth of field with a fairly impressive dynamic range. But at the price of a semester's worth of film school, will this offering hold its own in the field? Read on for our full impressions -- including all the gory details -- and video of our brief encounter with the new shooter.
Sony teases us with NXCAM HD concept Super 35mm camcorder, strictly for the pros (video)
It's a Super 35mm world, and we're all just trying to fit in frame. At least, it will be once Sony's done expanding its lineup of cinematic shooters. Last week it was the "affordable" PMW-F3, and now the company is teasing the NXCAM HD, a decidedly professional-oriented camcorder with a Super 35mm equivalent large format CMOS sensor nestled behind an E-mount interchangeable lens system. It'll record to AVCHD in 1080p at frame rates covering all the majors: 23.98, 29.97, and 59.94, along with 25 and 50. All progressive, natch. Sony is planning to release this boxy beast in the middle of 2011 and plans to make it "affordable" for professionals as well. See what good a little competition can do? [Thanks, Demetri]
Sony's 'affordable' PMW-F3 Super 35mm camcorder announced, still not priced
When Sony announced it was working on an "affordable" pro-level 35mm camcorder, we knew that would be a very relative term. Now the company has finally unveiled the thing, though it's apparently still deciding just how affordable it's going to be. A price is not yet set, said to be low enough for "indie" filmmakers and others lacking major production house funding, but we have other details on the upcoming PMW-F3, like its 35mm CMOS sensor with recording modes of 1080p at frame rates ranging from 1 up to 60, with stops at important speeds like 23.98 and 59.94. The body can be purchased alone or there's a PL kit that includes 35, 50, and 85mm prime lenses. Again, no cost is known at this point, but expect the MSRP to be closer to Volkswagen than Vaio. %Gallery-107112%
Vivitar's new full frame 35mm film camera
You hear a lot lately about bringing high-end DSLR functionality to the consumer, mostly thanks to the wild new world of Micro Four Thirds, but Vivitar is really breaking the price barrier with its new $10 point and shoot. The camera shoots to full frame 35mm film (there's even a 24 shot roll included, roughly equivalent to 512MB), and yet its single button operation and automatic motorized advance should make the high-end shooter accessible to the novice photogs among us. Of course, a built-in flash and auto focus will appeal to the feature hungry enthusiasts as well. The best news? If you buy one of these today, you can actually get a second camera and second roll of film for free! [Thanks, Michelle]
Museum of The Moving Image plans multi-million dollar updates with HD, 3D
In 1988, The Museum of the Moving Image opened in Astoria, Queens, to share the history and technology behind -- ding, you guessed it -- "moving images," of all forms. Now it's set to undergo a $67 million dollar renovation. Designed by architect Thomas Leesers, its main 264-seat theater was conceived as "as a capsule for the imaginary voyage of moviegoing," and will have the capability to display everything from 16mm to 70mm film along with 2D and 3D digital HD content -- yeah we're geeking out. Additionally, the facility will gain a digital learning suite, functioning production studio, and 68-seat screening room, as well as a 10,400 sq. ft. courtyard for outdoor events. Despite the scale of these changes, the new theater is scheduled to open on January 15th, 2011 for the film series, "Recovered Treasures: Great Films from World Archives " which will feature 20 newly-restored movies from archives around the globe and run until February 20th. No matter how loudly we plead, though, we doubt Last Action Hero will headline. Full PR after the break.
Final roll of Kodachrome processed in Kansas; angel sheds a rainbow-colored tear
Kodak stopped manufacturing the oldest film in its catalog last year, but Dwayne's Photo in Parsons, Kansas kept its Kodachrome processing rig around just in case. Last week photographer Steve McCurry processed the final manufactured roll of Kodachrome there - 33 frames taken around New York City, and three taken in Parsons. A crew from National Geographic (where McCurry made his name, specifically with the iconic "Afghan Girl" cover photo) documented the final roll's journey from the factory to processing, so you'll probably be able to find out more on it soon. Oh, and if grandma's a real shutterbug, you might want to tell her to check the attic for any spare Kodachrome rolls she has lying around -- Dwayne's is the last remaining Kodachrome processing facility in the world, and that service will stop on December 10th. Now, if it's quite alright -- pardon us while we attempt to capture a meaningful moment on our soulless Easyshare ecosystem of products.
Sony to release 'affordable' 35mm digital cinema camera to fend off RED and Panasonic
While RED ushered in the revolution, the camera wars are really just starting for the film industry, with Sony showing off at NAB today one of its upcoming 35mm (full frame) digital cinema cameras after ARRI hogged the spotlight last week. Sony's 35mm roadmap already had the industry atwitter, but news that the camera will be "affordable" is news indeed. Of course, affordable is a relative term: think in the $10k to $20k range, for a rough guess. What's great is that, with the addition of the Panasonic AF100 unveiled yesterday, it's clear that manufacturers are finally starting to glom onto this idea of taking these wonderful DSLR-style sensors and putting them into camcorder bodies. The 5D Mark II is great and all, but it was really just pointing to a bigger trend. The Sony camera is due to be released around this time next year, and you can check out a video of the unveil after the break.
ARRI's ALEXA busts out native ProRes recording, plans for RED smiting
It's taken three years, but one of the big boys may finally have an answer to the RED ONE camera -- the device that took the cinema world by storm in 2007 as the first affordable digital movie cam with a 35mm, full-frame sensor, 4k resolution, and rugged good looks. Venerable camera-maker ARRI has finally revealed both the full specs for its upcoming ALEXA digital camera and reconfirms Hollywood's propensity for over-capitalization. Regarding the specs, you can color us impressed. The ALEXA is something of a follow up to the ARRIFLEX D-21, the company's first foray into digital cams, but besides writing data in 0s and 1s the two cameras share little in common. ARRI is positioning the ALEXA to compete directly with the RED ONE (and forthcoming EPIC and SCARLET cameras), so you can expect a price point in the sub-$60k range. Besides the low price tag (for a professional movie camera), a few newly-announced features may have indie-shooters on a budget thinking hard about picking up an ALEXA for their next bit-crafted, cinematic yarn. We'll break it down for you after the break.
Hasselblad creates 40 megapixel H4D-40 medium format camera, wants $20k for it
Tough though it may be to believe, Hasselblad's 39 megapixel H3D II actually came out in 2007. Yeah, last decade. In other words, it's about time we saw a true successor hit the market, and with PMA just about ready to get going in Anaheim, the bold and beautiful H4D-40 is making its grand entrance. Boasting a 40 megapixel sensor, this medium format behemoth -- which we spotted in a leak late last month -- also features a "True Focus" AF system and ships with an 80mm lens and a viewfinder. The kit is said to be shipping now across the globe for $19,995 (or €13,995 / £12,995 on that side of the pond), which should make choosing between a new shooter and a public college education remarkably difficult.
Leica M7 Edition Hermes drops this December at a price you can't afford
We've coveted many a Leica in the past, and when the company pulls out the stops for a limited edition you can bet that it will be quite lust-worthy -- and quite expensive. The M7 Edition Hermes sees the classic M7 35mm camera get a silver chrome finish and a choice of either orange or etoupe calfskin leather. On top of that, your purchase includes a Leica SUMMILUX-M 35 mm f/1.4 ASPH wide-angle lens, a matching classic round lens hood, a LEICAVIT M rapid winder and a leather carrying strap, and will arrive at your doorstep in a linen-covered, silk-lined box. But you'd better jump now, 'cos only 100 of each color will be produced. Available in the UK this December from authorized Leica dealers and at the Mayfair Leica Store for a mere £8,550 (about $14,250). PR after the break.
UK film critic doesn't understand using HDTV to watch old movies, why kids are on his lawn
Another day, another ignorant article about high definition. This time it's Peter Bradshaw, film critic for Guardian.co.uk, claiming Humphrey Bogart would have any cameraman approximating a "high definition" effect thrown off the set. Blatantly ignoring the fact that movies of that era were made on 35mm film with more resolution than even 1080p Blu-ray can display, Bradshaw claims that instead of a HDTV, viewers would be better off with a standard definition projector and DVDs. This is all in response to a recent Sky ad campaign (check out the video with Sir Anthony Hopkins dropping in Rutger Hauer's Blade Runner monologue after the break, plus the original) promoting the broadcaster's new HD transfers, allowing home viewing of many older films in quality that would be impossible unless you'd seen it the first week in theaters, and with sound that likely surpasses anything available at the time. What someone should explain to Mr. Bradshaw and so many others with this misconception is that HDTV allows us to see the movie closer to the way it was meant to be seen when it was originally mastered, with all the detail that was present. Provided a high quality transfer, there's plenty of reasons to catch old flicks in a new format, so spread the word.
HTC's redemption song: 3.5mm jacks coming to 'vast majority' of post-Hero devices
Better late than never, we suppose. Our friends at Mobile Crunch have it on word from a HTC spokesperson that a "vast majority of devices we launch after Hero" are gonna be including a 3.5mm headphone jack as a standard feature. The rep also added that devices already announced would "not necessarily be part of this change," which while not ruling it out entirely, doesn't get our hopes up. Still, it's refreshing to know the future generations won't be beholden to the adapter-laden shackles of its ancestors -- so Lancaster, where will you fall in all this mess? [Via Smartphone Thoughts]
The Dark Knight director hungry for more IMAX
IMAX has been around for years, while 3D is just now starting to really infiltrate the theater scene. Curiously, it looks as if 3D will have more of the alternate cinema market share than IMAX in no time flat, despite IMAX's tremendous advantage in launch time. Thanks to The Dark Knight, however, IMAX could receive that much-needed breath of life it has been waiting for. Director Christopher Nolan has reportedly stated that he'd like to shoot an entire film for IMAX, even though it would undoubtedly be down-converted for playback on traditional screens. He did admit that the noisiness of the camera could cause issues, but that's nothing a hard-working set pusher couldn't overcome. For those who viewed the latest installment of Batman in theaters, many were most captivated by the expansive IMAX sequences -- in fact, we'd be hard pressed to find someone who wouldn't want an entire film to look like that.[Via FirstShowing]
Clint Eastwood edges closer to shooting in HD
Sure, we'd expect a legend like Clint Eastwood to stick to his theoretical guns when it comes to manhandling the cameras on the sets of Flags of our Fathers and the forthcoming Iwo Jima, but when HD camcorders almost win out against the tried and true 35mm film approach, we can't help but take notice. Eastwood admits that he, alongside a bevy of experts, ran a series of tests between scenes shot in HD versus film, and while he couldn't quite "reach the black levels" nor "control the atmosphere" as well as he wanted with HD cams, even he admits they came awfully close. He claimed the biggest dig against current HD rigs was their size, citing a need for ultra-fine HD capturing machinery that's uber-small as well before he could shoot an entire film with it. Still, he was able to utilize a series of Sony HVR-Z1U HDV cameras inside "prop 50-caliber machine-gun ammunition cases" after ruling out Panasonic's HVX-200 due to a lack of FireStore availability, and eventually blended a good bit of that content into the feature film. Mr. Eastwood admitted that HD wasn't quite where he needed it to be just yet, but felt very hopeful about its future in the motion picture industry, and if we had to guess, we'd say it won't be too much longer before HD technology will be "making his day."[Via DVGuru]
