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Film's cinema comeback is driven by nostalgia, not logic
When Kodak declared bankruptcy and Fujifilm halted film stock production, things looked grim for celluloid. Shooting was going digital, and new cameras from Red, Sony and Arri produced quality nearly on par with 35mm cinema cameras. Film, however, has made a cinematic comeback. Last year saw a string of shot-on-film movies you may have heard of: Star Wars: The Force Awakens, The Hateful Eight and Interstellar. The directors of those movies believe that film is superior for capturing images -- and Quentin Tarantino even thinks it's a better release format, judging by his Hateful Eight 70mm roadshow. On the other hand, we seem to have forgotten about the crappy theater release prints, environmental waste, extra cost and elitism of film, to name just a few issues. The latest digital cameras now equal or exceed photochemical celluloid in just about every way. Yet, we still hold onto film's unique look and even its faults. Are we just too used to it to move on?
SanDisk's CFast 2.0 card is the world's fastest memory card of any kind
About a year after the CompactFlash Association announced the CFast 2.0 draft spec, SanDisk has revealed its new Extreme Pro CFast 2.0 memory card. The first of its kind, SanDisk says read speeds of up to 450MB/s and write speeds of up to 350MB/s make it the world's fastest memory card, period. Speed isn't the only improvement either, as the cards claim a tougher, pinless design and even unique serial numbers that owners can register with customer support. For now however, its use is going to be quite limited. The only camera ready for it at launch is the just-announced Arri Amira, although the Arri XT and Classic (with the XR module) cameras can also use it with an adapter. For those still using traditional CompactFlash storage for their 4K shooting the company is stretching the limits there too, with a new 256GB card that it says has the highest capacity ever. That extra storage will cost you however, with a price of $1,809 for the new 256GB version. There's no word on a price for the CFast 2.0 cards or their USB 3.0-equipped reader, but pro videographers in the US and Europe should be able to find them soon at specialty shops and Arri-authorized locations.
Red Digital Cinema settles with Arri over email hacking, terms undisclosed
One of the strangest corporate espionage stories in recent memory has come to a conclusion with a confidential settlement between cinema cam makers Red and Arri. It started when a former Arri honcho, Michael Bravin, pleaded guilty to hacking into email accounts at his ex-employer, camera distributor Band Pro Film & Digital. Red founder Jim Jannard claimed his personal account was also compromised during the attack and that other Arri executives were aware of it. As a result, Red sued its competitor for "unfair competition based on email hacking, invasion of privacy, conversion, misappropriation of trade secrets and unlawful trade practices, among other charges." In a post on Red's user forum, Jannard said "we are very happy with the terms of the settlement with Arri and glad to have this behind us." He added that a separate suit filed by Band Pro against Arri has yet to be concluded, saying "hopefully they will settle in a way that Band Pro is as happy as we are." Whether Red will be equally gleeful at the conclusion of its recent clash with Sony remains to be seen.
Band Pro seeking damages against ARRI and Michael Bravin, expects to get its data back
Should you ever get the itch to illegally peek at a former employer's servers, take a lesson from Michael Bravin: don't. The former ARRI executive's adventures in corporate espionage have landed him nothing but trouble. Although Bravin's previous plea agreement required him to pay back Band Pro for damages and legal fees, the outfit is now seeking punitive damages against both ARRI and Bravin himself. "Band Pro is informed and believes, and thereupon alleges that Glenn Kennel and Bill Russel, executives of ARRI, had firsthand knowledge of Bravin's hacking activities," asserts the recently filed complaint. In addition to damages, Band Pro is seeking orders requiring ARRI to return all information acquired from the said hacking and the destruction of "all business plans and strategies developed in reliance" of that information. Check out the PDF yourself for Band Pro's full list of demands and a detailed outline of its thirteen accusations against ARRI -- we'll let you know how things go down if the trial pans out.
Canon teases 'exclusive screening' in Las Vegas, new Cinema EOS products coming at NAB?
With both its 1D and 5D-series models already confirmed for 2012, today's Canon teaser hints at something slightly different -- and, according to our sources, a major announcement. The event is set for April 15th -- during the National Association of Broadcasters (NAB) show in Las Vegas -- further confirming that whatever imaging device we'll see will likely be geared towards the motion picture and television communities. So, what could it be? A new Cinema EOS cam with a 1D form-factor? A lower-priced model poised to compete with the RED Scarlet? We have but a month to wait for confirmation, so if you haven't already placed your C300 order, it might not be a bad idea to hang tight until after Canon's Tax Day reveal.
Canon EOS C300 to hit Japanese stores on the 31st, PL version coming in March
Do you have deep pockets? And do those pockets happen to be located in Japan? Well if you're also in the market for Canon's EOS C300 cinema camera, you might be in luck. The company has confirmed that its motion-picture-shooting flagship will be available in Japanese retail stores by January 31st -- exactly one week from today. As the story goes with expensive electronics in Japan, pricing is "open" at this point, meaning you might have to hit up a retailer for an amount before making two dozen trips to the ATM. But if money's no object (just that pesky release date), you should be on your way to making Cinema EOS magic before the month is out. And if your kit is best suited for the PL-mount version, expect that to ship in late March, "open" pricing in tow.
Canon EOS C300 cinema cam gets pre-order status, ships at month's end for $16,000
Back in November we joined Martin Scorsese and other Hollywood luminaries at Paramount Studios for the unveiling of Canon's latest cinema video camera, which is now available for pre-order. The EOS C300, that aims to compete directly against the Reds of the world, carries a Super 35mm CMOS sensor capable of up to 4K resolution 1080p capture, and should be helped in large part by the company's top-shelf lenses; like the 14.5 - 60mm and 30 - 300mm. When we first met the C300 we told you it'd be priced at a hefty $20,000, but that's no longer the case, instead it'll cost a less painful $16,000 for the body only. The camera will begin shipping "after January 30th," and if it seems like a little too much for you, at least you can still watch our precious hands-on time with it. Update: We've updated to clarify that while the sensor is 4K the camera only captures in 1080p.
Red Digital Cinema sues competitor Arri over e-mail hacking, adds new charges to the list
The behind-the-lens drama between camera makers Red Digital Cinema and Arri has taken yet another step recently, as Red filed suit December 21st against Arri alleging corporate espionage. Former Arri executive Michael Bravin has already plead guilty to criminal charges that he illegally accessed emails at his previous employer, camera distributor Band Pro Film & Digital. At the time Red founder Jim Jannard also revealed his personal account had been compromised, and now The Wrap reports the company is accusing Arri of "unfair competition based on email hacking, invasion of privacy, conversion, misappropriation of trade secrets and unlawful trade practices, among other charges". The extra charges come as a result of information it has indicating other Arri executives were aware of the hacking. Other than listening in on conversations between Red and Band Pro, Arri also stands accused of launching a false advertising campaign ahead of the launch of the Alexa, while Bravin posted with a pseudonym on RedUser.net. Hit the source link for additional details on the sordid affair, we'll find out what can be proven if / when Red gets the jury trial it's seeking.
Canon C300 cinema camera hands-on (video)
Man, is this thing ugly. But when it comes to cinema cameras, looks are the last thing on a cinematographer's mind -- performance is where it counts, and with the Canon C300, its compact size is an asset as well. We haven't had a chance to shoot with Canon's new flagship cinema cam, but we've heard from plenty of folks who have, including director Vincent Laforet. The C300's incredibly compact size allows cinematographers to work in environments that aren't typically accessible to big rigs -- you can shoot with this camera just as easily as you can with a DSLR, hand-holding it for quick shots, with a waist-mounted Steadicam system for walk-around shoots or even mounting it on a small remote-controlled helicopter, as Laforet did during his three-day Mobius shoot. The C300 will be more familiar to cinematographers -- photojournalists may have access to the cam, thanks to its $20,000 price tag (that's a relative bargain, believe it or not), but you can't pick this up and fire away without taking some time to learn the interface. It has quite the solid feel, as you'd expect from a camera in this price range, though it's not as heavy as it looks -- you won't want to hold it in your hand for a full day of filming, but quick shots probably won't be an issue. The system is modular, so you can add and remove components as you wish -- industry standard connectors let you hook up cinema gear, which is something you could never do with the 5D Mark II. The small form factor and price tag to match should help Canon gain some ground in Hollywood, but we'll wait for a chance to shoot some footage before drawing any firm conclusions. In the meantime, we'll have to take Laforet at his word -- which you'll find just past the break.%Gallery-138415%
Canon C300 makes an appearance in Vincent Laforet's Mobius, find the short and behind the scenes right here (video)
A New York Times photojournalist turned Hollywood director, Vincent Laforet has become synonymous with DSLR video, after his short film Reverie helped catapult Canon's 5D Mark II into the world of digital filmmaking. And after playing such a significant role in launching that camera, we certainly weren't surprised to see Laforet make an appearance at today's Canon Cinema event, with his short film Mobius getting some time on the big screen. The film follows a photojournalist who stumbles upon a Cartel execution, but it also tells the story of Canon's tightly-veiled C300 cinema camera, which the company launched just moments ago. Laforet used a pre-production C300 (note the green tape button labels) to shoot Mobius in the Mojave Desert under a variety of harsh conditions, including powerful sunlight and near-darkness, in both extremely hot and chilly temperatures -- the camera appears to have performed extremely well, given both the remote shooting environment and tight production schedule. Canon has yet to reveal the C300's price tag, which we expect to far undercut the $120,000 Arri Alexa kit, but its sheer portability makes it a more appealing option for filmmakers -- especially those with limited time and other resources. Laforet was able to shoot his film with a very small crew, since the C300 can be operated by just one photographer. The director used the camera mounted on a tripod, tethered to a variety of helicopters, sitting on the road and even hand-held, like a camcorder or DSLR. Laforet shot with Canon's new FK30-300 telephoto cine zoom PL-mount lens, along with a variety of EOS mount lenses, and notes that the camera's form factor makes it even easier to shoot with than a DSLR like the 5D Mark II. Its cost -- somewhere in the range of $20,000 -- should also put it within reach of not only Hollywood cinematographers, but also television directors and even documentary filmmakers and news photojournalists. We won't see the C300 hit the market until late January 2012, so jump past the break for a sneak peak at Mobius to see Canon's new cinema flagship, along with a rather comprehensive behind-the-scenes video.%Gallery-138348%
Canon launches C300 cinema camera, prepares to take on Red Scarlet and Arri Alexa
Well, we have to hand it to Canon -- this was one tight-lipped product launch. The imaging company just unveiled its C300 cinema camera at Hollywood's Paramount Studios, in front of a crowd of hundreds of journalists and film industry elite, including Martin Scorsese. Canon is no stranger to the professional photography community, but it has yet to make a name for itself in Hollywood, where cameras such as the Arri Alexa and RED EPIC dominate the digital filmmaking world. The C300 may not appear to be overwhelmingly powerful on paper -- stock features include an EF or PL mount (not both), 1080p capture, a pair of CF card slots, timecode and HD-SDI output -- but judging by the sample films we saw today, its incredibly powerful sensor and versatile form factor are likely to play a more significant role in making this camera a success. Canon has a new 'EOS Movies' DSLR on the way too: 4K video, 35mm full frame sensor Canon C300 makes an appearance in Vincent Laforet's Mobius, find the short and behind the scenes right here (video) Canon C300 cinema camera hands-on (video)Fujio Mitarai is saying that the camera is especially well-suited to accurate color reproduction, particularly skin tones. We're also receiving word that the C300 will cost somewhere in the range of $20,000 -- how's that for affordable? It contains a Super 35mm CMOS sensor and delivers up to 4K resolution with the outfit's new "top-end" EF zoom lenses, which come in four flavors: two 14.5-60mm lenses and two 30-300mm. And the lenses keep on coming, with three EF prime lenses in 24mm, 50mm, and 85mm variations. That CMOS sensor offers 1920 x 1080 pixels for the reds and blues and 1920 x 2160 for greens. Like we said before, list price for the C300 will be $20,000 when it hits stores in late January 2012. And that appears to be it for this very long announcement, but we'll have our first impressions soon. Full PR awaits you after the break.%Gallery-138391%%Gallery-138405%Christopher Trout contributed to this post
Former ARRI exec pleads guilty to hacking into rival CEO's e-mail account, faces jail time
There's some Oscar-worthy drama brewing in California, where ARRI executive Michael Bravin has pleaded guilty to hacking into a high-level e-mail account at rival camera maker Band Pro Film and Digital. In a plea agreement filed yesterday with a US District Court, Bravin admitted to intentionally accessing a corporate e-mail account belonging to Amnon Band -- Band Pro's President and CEO. More details after the break, including a potential connection to RED's Jim Jannard.
'True Grit' cinematographer Roger Deakins makes jump to digital cameras
Sorry film diehards, another ally has bitten the dust -- and this one's a biggie. After years of dismissing digital cameras over quality concerns, Roger Deakins, the cinematographer behind The Shawshank Redemption, Revolutionary Road, and pretty much every Coen Brothers movie, has made the jump to digital. The-nine time Oscar nominee confessed to The Hollywood Reporter that he shot the forthcoming sci-fi thriller Now using an Arri Alexa digital camera and is leaning toward using one for his next film, a Sam Mendes-directed James Bond flick. I'm sure Q would approve -- not to mention James Cameron and Peter Jackson, assuming they can put down their respective RED EPIC cameras for long enough. [Image Credit: Sony]
Red One faces Arri Alexa in high-res, Choose Your Own Adventure-style face-off
Most of the time when one product takes on another in a no-holds-barred face-off somebody walks away with a championship belt. Not this time. Here it's Gunleik Groven, Norwegian filmmaker and photographer, comparing the RED One Mysterium X and the Arri Alexa, two pro-quality shooters that come in at a price semi-pro producers can afford -- the RED clocking in at $42,485 the way Gunleik configured it, the Arri at $70,000. There are some obvious differences, like the RED shooting at 4K and the Arri at 1080p, but the vast majority of the comparisons here are far, far more subtle than that, meaning you're just going to have to pore over the comparison on the other end of the source link yourself and download the gigabytes of sample footage that's been thoughtfully provided. If you do need something of a conclusion, though, it's this: "These are both excellent cameras we could only dream of 5 years back... you cannot really complain on the equipment if you don't get your shot with either of these."
Carl Zeiss shooting for budding DSLR filmmaker audience with new cine lenses
Even if your interest in photography is fringe at best, you've probably heard the name Carl Zeiss. The optics company has planted its lenses all over the places, from DSLRs to numerous point-and-shoots, and now it's catering directly to our love of DSLR filmmaking. Ol' C. Z. took time at least week's NAB to unveil what it's dubbing "the world's first set of cine lenses designed especially for HDSLR cameras." The Compact Prime CP.2 lenses, pictured, and the more handheld-friendly Lightweight Zoom LWZ.2, should be compatible Canon EF, Nikon F and Arri PL mounts, which should cover your video-enabled photo-snapper lineup. We won't get too into the nitty-gritty details here, except to say the former is claiming no vignetting and the latter less than two kilograms in weight. Both sets should be available in June, and as for price... well, mum's the word, but we wouldn't be surprised if these guys didn't end up about midway into the four-figure range.
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.
ARRI Alexa joins RED to kill celluloid in 2010
Got 50k to spend big daddy? Good, then meet Alexa from ARRI, a German company founded in 1917 that just happens to be the world's largest motion picture equipment manufacturer. Alexa is ARRI's answer to the RED ONE digital, so don't be held captive by your consumer-based experience of what a camera is or what it should look like. ARRI has a trio of cams slated for release in 2010 offering a 3.5k pixel count, 800+ El equivalent sensitivity, 1 to 60fps frame rate, electronic viewfinder and on-board HD recording. The A-EV Plus model adds uncompressed on-board recording and wireless remote control to the 16:9 aspect ratio shooting A-EV. The A-OV Plus switches things up to a 4:3 aspect and adds an optical viewfinder to the mix. The rest of the details will arrive during an April 6th launch event where ARRI will reveal the complete media, format, and what's promised to be a "super fast workflow." Until then, check a side-by-side test done by the cats over at Animation World Network pitting a prototype Alexa against a RED One equipped with a new MysteriumX sensor and software. AWN was so enthusiastic by the results of the two cams that it proclaimed, "2010 is the year that celluloid died." Jim Jannard, RED CEO, graciously responded to the test by saying, "We had expected the images to be very similar and it appears that this test confirms that." He then added the following: "We have believed, since IBC last year, that these two platforms would be the ones standing for the future. We are very proud to be in such good company. But for the moment, we tip our hats to Arri." Now hit the source links for the full read because the future of film looks set to become historic.
Cypress OSCAR sensor powers ARRIFLEX D-20, ARRISCAN
Cypress Semiconductor has announced that its OSCAR CMOS sensor is the retina for the eyes of both the ARRIFLEX D-20 camera and the ARRISCAN film scanner. Digicam buffs may scoff at the 6-megapixel OSCAR array, but we HD fans know that's more than enough to produce the crispy images we crave on the big screen. The 2880 x 2160-pixel sensor can read out at high frame rates and run speed ramps, useful for either shooting live or digitizing film stock. The sensor is a "full frame," Super 35 size, so the optical results are the same between the D-20 and its film-based counterpart; a necessity for camera crews and their existing arsenal of lenses. If you're curious about how good this gear is, check for yourself -- the ARRISCAN was used in "King Kong" and "Die Hard IV," the D-20 shot the TV shows "Hogfather," "Tin Man" and "Baker Street."
