Vincent Sweeney

$20k MSRP price?? A little more than steep when you consider the F3 with its better form factor and likely close matching image for a ton less.

I'm not seeing a real street price yet so $16k probably isn't accurate. The 1.3 prime lenses sound more interesting so far. What is the other camera, by the way?

Canon EOS c300 New primes and zooms to come.

No, you need an AC, that's what they do. You can't frame and focus without losing something on both ends. There are much better choices of cameras as well. The overuse of the vignetting effect in lots of work these days turns me off... it's for SLR wedding guys.

Ok, well the choices are: Accept what is coming and its continuous improvements, and apply this to your understanding of working in and consuming film, or hold on to what has already started to wane and will be mostly gone in the near future. One makes more sense to some it seems.

http://motion.kodak.com/motion/About/The_Storyboard/4294969168/index.htm When a New York newspaper reported that Mark Twain had been lost at sea, he is said to have replied, “The reports of my death have been greatly exaggerated.” We know the feeling. There has been much speculation about the fate of Kodak motion picture film over the last few weeks. We at Kodak refuse to let the volatility of the market or the rumors distract us from our mission – to provide the highest quality tools to tell your stories. We are still making film – billions of feet of it! Sure, digital technology has impacted how filmmakers approach their work. But Kodak is a company with a long and brilliant presence, all built on ground-breaking science and technology. We are committed to continuing to do so, even in today’s landscape where film and digital coexist. Something else that seems to get lost in the hype: We are more than a film company; we are the innovators who understand image making more than anyone else. We possess critical expertise from our past which we draw upon for our future. We have some of the brightest and most innovative researchers and scientists in the business working on our products – film and otherwise – to carry us into the future. For example, our laser projection technology was recently licensed by IMAX (view the release). Laser projection technology offers a multitude of benefits to the viewing audiences, and features that help bring your vision to the big screen in better ways. IMAX and Kodak understand the need for this innovation. We are delighted to be working with them to assist with the implementation of the technology into the IMAX product family. That’s not all. We are leveraging Kodak technology and intellectual property to bring an innovative digital asset management solution to market. It’s designed for content owners with assets of all formats created over the years. And we will soon be introducing a new film! A new member of the VISION3 family of color negative films will be added to your film choices. With the latest film technology in the can, you can keep rolling in the most challenging production situations – on set or on location – and maintain a high resolution image through post and distribution. Furthermore, with film still maintaining its archival leadership role in preserving the memorable images of the past centuries, we continue R&D towards expanding our archival film products to create a platform of choices for a variety of needs. We’ll have more news on these new offerings soon, so stay tuned! The bigger picture is: We have a great depth of experience and possibilities for turning 125-plus years of imaging technology and inventive product development into new solutions. Our KODAK DIGITAL ICE technology in scanners are being used to restore some of the most memorable images from cinema and television history; and our subsidiaries continue to make inroads on preservation and restoration (FPC/Pro-Tek) and visual and physical effects (Cinesite). Our goal is to continue to show you that Kodak is the go-to resource for the best in image quality and workflow solutions that support your creative intentions – because we know you care. We invite you to view a list of projects whose filmmakers are choosing Kodak film. We know we can help you accomplish your filmmaking dreams, so contact us. Our worldwide team of Kodak representatives and experts are at your service. Thank you. Read more: http://motion.kodak.com/motion/About/The_Storyboard/4294969168/index.htm#ixzz1c9ZYnhi9

http://extras.denverpost.com/archive/captured.asp #17 is a class on color and texture alone.

It should be obvious. It's outdated already. The Epic is out, the F3 now has Slog, Alexa is changing/updating, the X35 wasn't tested, and so on. The SI2k is a 2/3's camera, but should have been in there too because its so F'ing cool. The comments were also useless outside of the few pros who offered an opinion (and those are the only ones we need to hear) and some of what was said was surely taken out of context, hopefully anyway. I also didn't see anything showing how horribly the DSLR's "jello" their motion-intense footage which makes them absolutely useless for many applications. The worst thing about all these endless tests is that people, especially on the lower-end of the production world, will just keep using what they are emotionally tied to either way.

To sum it up, people like DSLR's because they are f***ing lazy and ignorant. People can either pay up or learn the hard way. Most like the hard way.

There's no reason to reinvent the wheel and the trouble won't get as good a result anyway. http://www.customupholsteryproducts.com/html/sound_barneys.html He has templates for several Super 8 cameras and this route will save you money and time later on. You will have enough other issues to deal with using S8 for a feature without messing with a homemade barney.

Never? You might rethink that one.

I bet Canon have corrected that issue with their new 4K/HD (actual cine) cam coming out.

If they left some of those ridiculous comments out, it might be worth something... not sure what that something is though.

The IDT Y5-HDiablo might be a little cheaper and I know it goes over 1000fps.

Outside of renting something like a Phantom? Call Mitch at Abel in NY. Or Photo-sonics has some very fast film cameras.

Sorry but I don't get the excitement. Forget resolution, it's not really an issue anyway. The highlight handling ability of this camera and the skin-tone rendering left me pale after another test. When will it get to the point where film really does have a replacement? It's not there yet Jim and fans. Oh and whats with these buggy cameras? 4th time on a red product for me and the cameras still feel like prototypes with things not working yet (no playback?) battery issues that seem to never end, etc.

It has much to do with the beginning of the end of the DVD and Bluray markets. VOD is starting to overtake how people see movies. New TV's are built with VOD capabilities in mind and of course the Wii, Playstation, Apple TV, XBox, etc. all do it as well. I personally like to own a film on BluRay but as more DVD specific stores close down, VOD will only gain more ground. On the business side of indie films, I can tell you from first-hand knowledge that a good VOD deal is now more important to spend your time on developing than anything else. Studios will keep doing DVD for a while, but indies won't be looking down that road anymore, or can't. I just hope it becomes even more integrated quickly into TV's/game systems... the thought of people seeing films on laptops and other grossly inappropriate means is sickening.

http://www.fdtimes.com/news/arri/arri-alexa-studio-usa-debut/

This is yet another reason why the AF100 and F3 sell so well.

http://www.duallcamera.com Go here. In NY. Pick up a Nikon or Nizo or Canon. I wouldn't worry about film going anywhere anytime remotely soon.

Still for sale.

Just saw it on a perfect 4K screen. Great film. I couldn't help but notice an odd softness to the whole movie though. There were also very slight gamma shifts in several scenes. The weirdest thing was when there were very small points of light in someone's eye, there would often be a color shifting thing going on. Was this (color and softness issues) related to the limits of a 1080 camera on a big 4k screen? I also missed the better skin color that film would have caught, I hate to say.

Oh I see, based on the "Keith crap" above, someone apparently has to say something more negative to get a response. Interesting. I guess I'll hold off finalizing my advice to a production associate about what to buy for his company (who is/were die-hard Sony users). I, at first, suggested to wait to see what Canon is going to announce but then thought that the Epic might be the best deal and if he can afford it, should just go for it. Without some idea of how long that big purchase will be good for, in parts support at least, I'll suggest waiting now. And too bad about my glasses, they WERE the poop!

Is anyone aware of any test or demo videos showing examples of different higher-speed frame rates? I ask to get an idea if a given camera will do what needs to be done so I can avoid having to rent a separate hi-speed cam if my A cam could handle it. An example might be if you were using an Epic as an A cam and could shoot 300fps (in 2K) then it would save from having to go up to a Phantom for just a few shots.

Just heard about the legal troubles so I'd guess things are a little too busy to bother with replies for now. Good luck and I hope it doesn't pull people down too much.