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ARRI
ARRI ALEXA 35 4K Super 35 Digital Cinema Camera
Abel Code: AR-ALEXA35-INTEREST
Not Available Online
- 4K Super 35 Sensor
- 17 stops dynamic range
- REVEAL Color Science
Deposit
Sony
Sony VENICE 2 8. 6K Digital Cinema Camera
Abel Code: SO-MPC-3628
Not Available Online
LA
- New 8.6K Full Frame CMOS Sensor
- Interchangeable sensor module
- In-camera recording without R7
Phantom
Phantom Flex4K 128GB High Speed Color Camera - PL Mount
Abel Code: VRI-FLEX4K-128G-C
Not Available Online
- Low noise camera with accurate blacks
- High Dynamic Range
- 4K resolution up to 1000fps
Phantom
Phantom Flex4K 64GB Color Camera - PL Mount
Abel Code: VRI-FLEX4K-64G-C
Not Available Online
- 4K resolution up to 1000fps
- High Dynamic Range
- Low noise camera with accurate blacks
Deposit
Phantom
Phantom VEO4K-PL 990S High Speed Camera - PL Mount
Abel Code: VRI-VEO4K-PL-72G-C Camera
Not Available Online
- 3G HD-SDI / HDMI output
- Ideal for gimbal, aerial, car chases
- PL Mount
Deposit
Sony
Sony VENICE 2 6K Digital Cinema Camera
Abel Code: SO-MPC-3626
Not Available Online
- 6K Full Frame CMOS Sensor
- Interchangeable sensor module
- In-camera recording without R7
Deposit
Sony
Sony alpha FX3 Full-Frame Digital Cinema Camera (E-Mount)
Abel Code: SO-ILME-FX3
In Stock
LA
- 4K Full-Frame Sensor
- 15+ Stops Dynamic Range
- S-Cinetone Look inspired by VENICE
RED
RED DSMC2 Camera BRAIN with GEMINI 5K S35 Sensor - No Mount
Abel Code: RDC-710-0305
Estimated to Ship:
Contact Sales for Availability
- Low-light capable sensor
- Captures 5K RED RAW @ 96fps
- Sensor Size: 30.
72 x 18mm
Deposit
ARRI
ARRI ALEXA Mini LF Ready to Shoot Set (Gold Mount)
Abel Code: AR-K0.0024312
Not Available Online
- ALEXA Mini LF + Accessories
- LPL Mount + PL-to-LPL Adapter
- Breakout Box with Gold Mount Plate
Panasonic
Panasonic VariCam LT Camera ProEx Package with 512GB B Series expressP2 Media Cards
Abel Code: PN-VCLT-PROEXB512
Panasonic VariCam LT Camera ProEx Package with 512GB B Series expressP2 Media Cards is backordered from the manufacturer.
Contact us for more information.
- Panasonic VariCam LT 4K S35 Camera
- Includes (2) 512GB expressP2 cards
- EVF, Grip, Shoulder Mount, P2 Reader
Sony
Sony PXW-FS7 Mark II 4K Camera Body with XDCA and CODEC Extension Unit Kit
Abel Code: SO-FS7M2-XDCA-CODEC-KIT
Estimated to Ship:
Contact Sales For ETA
- FS7 Mark II + XDCA I/O & CODEC extension
- Lever Lock E-Mount sytem
- Environmentally sealed electronics
Sony
Sony FS7 Mk II 4K Camera Body with Wooden Camera Unified Base Accessory Kit - Holiday Promo
Abel Code: AB-FS7MKII-WCBASE
Sony FS7 Mk II 4K Camera Body with Wooden Camera Unified Base Accessory Kit - Holiday Promo is backordered from the manufacturer.
Contact us for more information.
- Holiday Promo
- Includes Sony FS7 Mk II
- Wooden Camera Unified Accessory Kit
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introduction.
What kind of cameras were filmed and filmed with? Introduction
"Any camera in the hands of an amateur is an amateur; any camera in the hands of a professional is a professional." This common phrase, popular among film workers, is largely true, because a movie is shot by a person, not a camera.
After the artistic decision of the film, its style is chosen, the director of photography selects the necessary technological solution for the realization of the director's creative tasks. An interesting, high-quality film image, in addition to the filming process itself, is based on three main parameters: the choice of camera, the choice of optics and work with the image at the stage of color correction and post-production. All these components are closely related to each other and inextricably affect how the film ends up. Today we will talk about choosing a camera for creating a movie.
35mm film cameras
Originally films were shot on film, and 35mm cameras were the standard for professionals, while amateurs shot on 8 and 16mm.
Today, most films are shot on digital cameras, the film has greatly lost ground, but still remains an unsurpassed standard of quality. That is why the originals of many films are still stored on film, because this technology has been proven by more than a century of history, while digital media is not even 20 years old. In addition, many famous directors still shoot on film and resolutely refuse to switch to new formats - among them Quentin Tarantino, Christopher Nolan, Martin Scorsese, JJ Abrams and others. It's all about the unique softness of color in the transfer of shades, midtones, plasticity of the image, the maximum breadth of white and black. Modern film production technology involves scanning the resulting film negative and further processing and editing of the film using a computer using Digital Intermediate technology. Therefore, it is not uncommon for films shot with digital cameras to have sequences shot on film to give the scene more expressiveness. About half of the films nominated for the Oscars are still filmed analog.
The main manufacturers of film cameras are Panavision and Arriflex. Panavision devices are distributed mainly in the USA and are rented out exclusively. In Russian cinema there are several films shot with these cameras, including The Barber of Siberia by Nikita Mikhalkov. Arriflex is from Germany and their products are widely available for rent and sale in many countries around the world.
In addition to the traditional format, there is also a technology for shooting on twice the size of film - the 70 mm system. The most notable camera in this area is the Super Panavision 70. The huge size of the original image gives the resulting picture an unrivaled volume and plasticity. The anamorphic analogue of this camera - Ultra Panavision 70 - is also well known and was recently used in the filming of the western "The Hateful Eight" by Quentin Tarantino.
The cinema camera market also offers solutions with three times the frame size - IMAX cameras. For the first time, viewers saw films made using this technology back in 1970 in Japan and Canada.
Unfortunately, the size of the film stock used limited the length of the IMAX film, so this format was more commonly used for documentaries and shorts. Over time, technological advances made it possible to shoot in IMAX and full-fledged feature films, the first film in the new format was "Apollo 13", and one of the first blockbusters partially filmed in IMAX technology was "The Dark Knight" by Christopher Nolan. Also, a lot of similar material was included in the film "Star Wars: The Force Awakens." The upcoming Avengers: Infinity War will be the first feature film shot entirely on IMAX.
Digital Cinema Cameras
Since the mid-1980s, digital technology has gradually penetrated the cinema. The first films, during the creation of which the film was digitally processed: Star Wars, Tron, Terminator 2.
In the 90s cinema was swept by a wave of minimalism, which came from the Danish "Dogma". The fashion for a “dirty”, imperfect image has come. A vivid example is the films of directors Lars von Trier and Thomas Vinterberg "Triumph" and "Idiots", filmed on Sony amateur cameras.
In the 2000s, most Hollywood film studios switched to digital film cameras. In fact, this is a high-definition camcorder designed for shooting movies using filmless digital technology. These solutions are based on photosensitive matrices (an analog or digital-to-analog microcircuit that converts the light signal that enters the lens into an electrical one, according to the definition of Wikipedia) of two types: CCD (CCD) and CMOS (CMOS). The first type allows you to get high image quality, less noise, but it has a large pixel size and consumes a lot of energy. In addition, such matrices are very expensive. The second type consumes less energy, is less expensive, such sensors do not have the “smearing” effect (from the English smearing - smearing), which CCD matrices have and manifests itself in the frame as vertical “pillars of light” from point bright objects (the sun, bright light bulbs). Despite the advantages, this technology also has its drawbacks: in particular, the small size of the photosensitive element leads to an increase in noise in the picture.
There are a number of distinguishing features that filmmaking technology has that traditional camcorders do not. The first ones use standard film optics, give an image that repeats in character (depth of field, angle of view) the image obtained on film. One of the most important features of film cameras is the ability to select a gamma correction value that is comparable to the characteristic curve of film. In addition, they are functionally built in such a way that the technology for operating and controlling the camera does not differ from a traditional film camera.
These cameras do not use interlacing and the standard frame rate is chosen equal to the filming rate of 24 frames per second. Therefore, the temporal discreteness of the image corresponds to the film one, which gives the picture a cinematic character. Another fundamental difference between a digital film camera and video cameras is that the minimum color depth should not be less than 10 bits. This brings the quality of the resulting image closer to cinematic, expanding the dynamic range.
All digital cinema cameras have the ability to capture video data in an uncompressed RAW format such as ArriRAW or Redcode RAW.
Design differences
Most existing digital cinema cameras use film lenses designed to work with film. Therefore, the physical size of the matrices is chosen to be the same as the frame sizes of existing film formats. With rare exceptions, a digital film camera has no moving mechanisms, making it silent, unlike a traditional film camera. This eliminates the need for special soundproofing for simultaneous filming. The image obtained from the matrix is recorded on an external recorder or removable high-capacity solid-state memory. Sound from external microphones or a mixer is recorded on the same media as the image. To do this, several audio inputs of professional standards are provided. Sighting and focusing are performed using an electronic viewfinder. The camera must be equipped with the function of recording the time code along with the image for subsequent synchronization with the sound if it is recorded by an external recorder, or with the image of other cameras in multi-camera shooting.
Resolution and format of digital cameras
The Super-35 sensor is the most widely used in digital cameras. In terms of physical dimensions, it corresponds to a Super-35 production-format film frame and surpasses a conventional-format frame. Most cinema cameras with this sensor are designed to use both spherical lenses and anamorphic optics for shooting widescreen films and subsequent digital deanamorphization. There are digital cinema cameras with one Super-16 sensor, as well as with three high-resolution ⅔-inch matrices (3CCD). The main type of lens attachment used in single-sensor digital cinema cameras is PL, which corresponds to the standard Arri film mount. Resolution in digital cinema has its own designation. To date, there are two main standards for digital cinema resolution: 2K and 4K. The first corresponds to the number of pixels 2048 × 1080, the second - depending on the aspect ratio of the frame - up to 4096×2304. Thus, the Arriflex D-21 digital cinema camera has a Super-35 sensor with a maximum resolution of 2880 × 2160 pixels.
However, there are digital cameras with a resolution of 8K and higher, such as the Sony F65 CineAlta with a widescreen sensor of 8768×2324 pixels. Digital technology makes it possible to obtain high-quality 3D images (stereo cinema), and cinema cameras are equipped with special attachments for shooting a stereo pair (or combinations of two identical cameras are created). The resulting stereo movie can also be shown in regular 2D, so many movies are shot in 3D straight away to be shown in a variety of ways.
Above 4K resolution is redundant, as most of the existing digital cinemas are equipped with 2K resolution projectors, even cinemas with 4K equipment are still very few. The over-resolution of film cameras is used to expand the processing capabilities and create special effects or high-definition films intended for demonstration in special cinemas using the IMAX Digital Theater System. The main drawback of digital cinema cameras compared to film cameras is the smaller dynamic range.
Also, digital cinema is still inferior in its resolution to the IMAX format, the theoretical resolution of which reaches 70 megapixels.
Digital film camera image sizes:
| Resolution/format | Width, pixels | Height, pixels | Frame aspect ratio |
|---|---|---|---|
| 6.5K | 6560 | 3100 | 2.11:1 |
| 4.5K | 4480 | 1920 | 2.33:1 |
| 4K | 4096 | 2304 | 1.85:1 |
| 4K / widescreen | 4096 | 2048 | 2:1 |
| 4K / 16:9 | 3840 | 2160 | 1.78:1 |
| 4K / anamorph | 2816 | 2304 | 2.44:1 |
| 3K / 16:9 | 3072 | 1728 | 1.78:1 |
| 3K / widescreen | 3072 | 1536 | 2:1 |
| 3K / anamorph | 2112 | 1778 | 2. 44:1 |
| 2K / 16:9 | 2048 | 1152 | 1.78:1 |
| 2K / widescreen | 2048 | 1024 | 2:1 |
| 2K / anamorph | 1408 | 1152 | 2.44:1 |
Manufacturers
The world's first digital cinema camera is the Sony HDW-F900 Cine Alta three-sensor, a collaboration between Panavision, Sony and Lucas Film. The camera gave an image of 1920x1080 pixels, which also had to be cropped to 1920x817 for wide screens. The first big pictures entirely shot using new technologies were Star Wars. Episode II: Attack of the Clones, Vidocq. In Russia, Alexander Sokurov, using a Sony camera, shoots an hour and a half film "Russian Ark" in one shot, which would be impossible with film technology.
In the mid-2000s in the US, Jim Janard, who had previously founded Oakley, created Red Cinema. His first camera was Red One. At that time, it was a revolutionary decision, as it was possible to achieve 4K quality, good study in the shadows and rapid (slow motion).
Around the same time, the Arriflex D20 came on the market with a single sensor, reflex shutter and optical viewfinder. Arri now launches a product line called Alexa, becoming the most common platform for this type of photography today. Not so long ago, the Alexa 65 model with a 6.5K sensor was released, offered only for rent (as well as Panavision products). Filmed by cameraman Emanuel Lubezki in natural light only, without electric lighting, The Revenant demonstrated the impressive capabilities of the new sensor. In many ways, it was thanks to these new camera capabilities that we managed to shoot a large number of scenes in regime time. The Academy of Motion Picture Arts and Sciences praised the quality of the film's visuals, awarding Lubezki a third consecutive Oscar for cinematography.
The main manufacturers of digital cinema cameras in the international market today are Arriflex, Panavision, Sony, Silicon Imaging, Vision Research (Phantom cameras designed for high slow motion), Red.
Cameras from all manufacturers have a modular design and are compatible with most cinematographic optics systems and equipment. In 2011, Canon also launched the production of budget digital cinema cameras (Canon C300, Canon C500) with a "Super-35" sensor and a line of specially designed cinematographic lenses. In Russia, digital film cameras are manufactured by Kinor.
The most famous digital cinema cameras from various manufacturers:
| Manufacturer and model | Type | Sensor format and type | Resolution | Received image | Shooting frequency, fps | Lens mount | Viewfinder type | Color depth, data format | Weight, kg | Dimensions, mm | Year of manufacture | |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Panavision/Sony Genesis/F35 | camera with external recorder | 16:9 Super 35, one CCD | ≈4600×2500, 12. 4MP | 1080p 1920×1080, 16:9 | 1-50 | Panaflex / Arri PL | electronic | 10 bit RGB444 | >8 | 2005 | ||
| Arri Alexa | SxS 9 Removable Storage Camera0058 | 16:9 Super 35 single CMOS | 3392×2200 | 2880×1620, 1920×1080 (HD 16:9) | 0.75-60; 0.75-30 in ArriRAW | modeArri PL | electronic (optical sight when the camera is not working) | 12bit RGB444, 10bit YCbCr422 | 6.3 | 330×160×160 | 2010 | |
| P+S Technik PS-Cam X35 | camera with built-in buffer and external recorder | 16:9, one CMOS | 1920×1080 | 1920×1080 (HD 16:9) | 1-450 | interchangeable mounting system: B4 2/3, C, Arri PL, Canon EF and FD, Nikon F, Leica R and M, Panavision | electronic | 10bit, 12bit RAW | 7.5 | 340×160×180 | 2011 | |
| P+S Technik/Silicon Imaging SI-2K | chamber head | 16:9 single CMOS ⅔″ | 2048×1152, 2. 4MP | 2K 2048×1152, 1920×1080 | 25-150 | interchangeable mounting system: B4 2/3, C, Arri PL, Canon EF and FD, Nikon F, Leica R and M, Panavision | electronic and optical | 10 bit log RAW, 12 bit lin RAW | 7.25 (0.6 head) | 290×210×160 (head - 105×70×45) | 2007 | |
| Red One | camera with external recorder | 16:9 Super 35 single CMOS | 4900×2580, 12.6MP | 2540p (4K) 4520×2540 16:9 | <1-120 | Arri PL, Canon Nikon, B4 2/3 | electronic and optical | 10bit RGB444, 12bit RAW | >4.5 | 300×130×160 | 2007 | |
| Sony F23 | camera with external recorder | 16:9 3CCD ⅔″ | 3×2.2=6.6 MP | 1080p 1920×1080 16:9 | 1-60 | B4 2/3 | electronic | <30p: 10bit RGB444, >30p: 10bit YUV422 | >5 | 2007 | ||
| Thomson Viper | camera with external recorder | 16:9 3CCD ⅔″ | 3×9. 2=27.6 MP | 1080p 1920×1080 16:9 | 1080p: 24, 25, 30; 720p: 50, 60 | B4 2/3 | electronic black and white | 10 bit RGB444, 10 bit YUV422 | >4.2 | 210×130×240 | 2003 | |
| Canon C300PL | camera with storage CF | Super 35, one CMOS | 3840×2160 8.3 MP | 1080p 1920×1080 16:9 | 1-60 | Arri PL | electronic | 8 bit MPEG 422 | 1.5 | 133×179×177 (head) | 2011 | |
| Kinor DC4K | camera with external recorder | 22 mm, one CMOS | 4608×1920 8.8 MP | 2.35:1 | 1-150 | Arri PL | electronic | 10bit RAW | 2.4 | 210×132×124 | 2010 | |
| Blackmagic Production Camera 4K | 2.5″ Removable Storage Camera | "Super-35" | 4000×2160 | 4K 4000x2160, ProRes 3840x2160 and 1920x1080 | 23. 98; 24; 25; 29.97 and 30 | Canon EF | built-in LCD touch screen | 12bit RAW | 1.7 | 2013 | ||
Digital Single Lens Cameras
Improvements in high-definition camcorders have brought television picture quality closer to cinematic quality. Therefore, today it is often impossible to draw a clear line between digital cinema cameras and video cameras, in some cases used for digital film production. A variety of optical DOF adapters has appeared, allowing the use of 35 mm cinematographic optics with video cameras. In this case, a small matrix captures the full frame formed by the lens on the intermediate optical surface of the adapter. The resulting image is no different from that taken with the same lens directly onto a large matrix.
With the advent of digital single-lens reflex cameras equipped with video recording, many film producers with small budgets have been able to shoot original footage with such cameras.
The most famous of these, the Canon EOS 5D Mark II, is equipped with a so-called "full-frame" 24x36mm sensor, vastly larger than Super 35 film and most digital cameras. Therefore, the quality of the video received by such a camera is practically not inferior to the quality of professional cinema cameras, with the exception of the impossibility of recording an uncompressed image and insufficient color depth. In addition, the cost of a camera or its rental is several times lower than the cost of renting a professional digital film camera. For the 5D Mark II (and other Canon cameras) there is Magic Lantern firmware written by enthusiasts. It allows you to record uncompressed material from the camera, which greatly expands the possibilities in post-production. True, developers everywhere warn that this is done at your own peril and risk, since the camera was not originally intended for this.
This trend was further developed with the advent of a new class of equipment: mirrorless cameras with video recording function.
Many low-budget movies are already made with still cameras. Even high-budget cinematographers in some cases resort to the use of such technology: it is known that up to 40% of the source materials of Steven Spielberg's film The Adventures of Tintin: The Mystery of the Unicorn were shot with digital cameras. A vivid Russian example is the film by Yuri Bykov "Major": the budget is $ 2 million, filmed on a SLR. What does this tell us? The fact that there are no problems with DSLR cameras and cannot be. They quite adequately solve the set artistic tasks, are easy to handle and in the subsequent post-production.
It is also worth noting the Sony A7S camera, also a very worthy device for its tasks, and even 4K is present in it regularly. The disadvantages of this model include short battery life and the need to install additional adapters if you do not want to shoot with Sony lenses.
Unexpected success in digital cinematography has led to a new class of cameras specifically designed for professional digital cinematography.
Canon Corporation has launched a new line of Canon Cinema EOS cameras, the name of which speaks for itself. In 2012, one of the cameras in the line was the Canon EOS-1D C, specifically designed for filming in 4K resolution. The high quality of the resulting video allows you to use its individual frames as full-fledged photos. In turn, some photographers have begun to use digital cinema cameras with 4K resolution and higher for high-speed photography of complex scenes.
Another budget solution for digital cinema is BlackMagic products. Their cameras produce 16-bit RAW material with excellent dynamic range, and even in 2.5K and 4K, which gives more options at the color grading stage. The camera has not yet received wide distribution due to inconvenient ergonomics and the instability of the process of recording to hard drives.
Also very small action cameras have found their place in film production. GoPro products are best known. Such cameras have a wide viewing angle, greater image sharpness, high-quality audio systems (for example, wind noise suppression).
The GoPro 4 Black Edition shoots video in impressive 4K resolution at 30fps, 2.7K at 50fps and 1080p at 120fps. In very fast-paced chase scenes such as Mad Max and Hardcore, there is a lot of footage shot with these inexpensive and compact solutions. With a quick change of scenes, the viewer does not have time to feel the difference between the picture from the camera for $ 2,000 and for $ 200,000.
Application features
Every professional cinema brand has its strengths and weaknesses.
Arri, for example, produces products with excellent ergonomics and intuitive menus, as it has been making movie cameras for many years and knows where and how the necessary components of the device should be located. The cameras are well balanced for handheld shooting, which is important for today's high demands of filmmaking. The Alexa Mini comes in a more compact design, making it easier to mount on stabilizing devices. In addition, there are built-in neutral density filters that allow you to quickly select the desired exposure parameters.
The camera can be remotely controlled from a phone. The disadvantages include the high price, recording in the ProRes codec (a separate device is needed to record in RAW) and the inability to use certain necessary functions (for example, rapid) that other models have.
Digital cinema camera manufacturer Red allows you to write RAW material directly into the camera, has a faster speed than Alexa. With the Epic model, the HDRx function has been added, which allows you to take not one, but two exposures during the shooting of each frame. The exposure fork is quite significant, which makes it possible to obtain an image with a dynamic range of up to 18 exposure steps during further processing of the footage. The company's products are small in size and weight, have a modular design, are cheaper to rent compared to the German competitor. A model with the aptly named Monstro has been released to date with the largest sensor - 8K. The disadvantages of many include not the simplest menu and quite often updated firmware.
Also, the camera is more capricious to overheating, cooling, you need to constantly monitor the temperature of the matrix so that artifacts do not come out.
Canon's Cine series cameras captivate with low rental prices, compactness, ProRes and RAW recording without additional devices, and the ability to install Canon photo lenses without additional adapters.
Camera Sony PXW-FS7 has a high ISO (2000), good balance and very convenient weight distribution, ergonomics, has a lot of programmable buttons. It is easy to work with it alone, so this camera can be used in documentary films. Previous models like the FS100 and FS700 seemed to be good cameras, but they had a lot of problems: the body is plastic, it does not protect against moisture, weak mounts. The FS7 has a stronger mount, you hold the camera in your hands and you feel that they have worked on it, added new formats. The menu, however, is not easy for beginners, it is better to have a settings specialist.
Results
Unfortunately, none of the cameras has a unique decisive advantage.
The shortcomings of each model of each brand can be compensated for by something else, so the operator decides for himself what it is easier for him to put up with, and without which the process will stop. If the budget allows, it is easier to choose top solutions from well-known brands, so you are guaranteed to get the expected result. If you need to save money, you can turn your attention to cheaper cameras for rent. With the right allocation of resources and setting goals, you can achieve great heights in the technical quality of the footage. At the same time, do not forget that sometimes it is more profitable to rent a more expensive camera with greater light sensitivity than to spend money on setting up additional lighting. It doesn't matter what lenses you use. For a beautiful picture, the balance of the camera and optics is important. That is, if you take a Mark III with 50mm 1.8 STM and 600D with 50mm 1.2L, there will be practically no difference. It is not uncommon these days that the choice of a camera is dictated by a well-functioning post-production system, usually tailored for certain decisions.
In any case, remember that it is not the camera that shoots, but the person.
The author of the article is a professional cameraman Maxim Chirkov
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