2/3" and 1080--not good enough?

[Alexander Ibrahim]

My take on the whole discussion is that people tend to forget about the art and focus on the technology of image making.

I think that this is because "1080/24p" or "4k" is easier to master than the art of lighting. Camera profiles are easier to try and manipulate than planning coverage and designing good shots that serve the story and draw an audience in.

Does 4K matter? Absolutely. If you are finishing for theatrical presentation. When finishing at 2k or 1080p for theatrical presentation you need significant oversampling, to me that is what a "4k" camera like RED provides.

In my mind 35mm sensors are a good thing, but almost exclusively for film style productions, where the shots can be designed. When ineffectively used 35mm sensors, and their inherent DoF qualities, can distract the audience and muddle the message.

One thing to bear in mind- the value of many of these digital cinema cameras is the dynamic range of the sensors and the color sampling that they record. Those things matter far more to me than 4K or even 35mm sensors. (and I am so attached to 35mm sensors.)

So, is 2/3" and 1080p enough? Absolutely yes, for many productions. The vast majority I'd suggest.

I have a shoot coming up where 1080p 2/3" would be ideal, but I'll shoot either 1/2" 1080p or RED because that's what's available. 1/2" gives too large a DoF, and RED is just overdoing it for this show. An F23 would be overkill too. An XDCAM F800 or an HPX3700 would be the ticket.

C'est la vie.

[Brian Drysdale]

I haven't heard of first camera man, but lighting cameraman (or I guess cameraperson these days), was extremely popular in the UK (and other places in the world), especially in television, until DP or DOP spread out of feature films and commercials into other areas. They basically do the same jobs and a few features have a "lighting cameraman" rather than "director of photography".

Last time I looked the BBC credits guidelines only allow director of photography on dramas, although it that didn't stop one company giving that credit on a life style programme for BBC regional television.

[Matt K. Miller]

So here's an interesting question for you all, then. If a camera existed that gave you say 12 f-stops of latitude (>72dB), recorded in 12-bit RAW or CineformRAW, 2/3" optical format, full 1920x1080 at 60fps max for around $15k, would you buy it? Not to mention overcranking and undercranking up to 240fps in lower resolutions. Food for thought.

[Steve Phillipps]

Why, are you planning to make one? If it was CCD rather than CMOS so much the better. If so, yes, I'll have one.
Steve

[Brian Drysdale]

Given good ergonomics there would be a lot of interest from those people who make productions that don't have fast turn around requirements of many TV productions.

[Ethan Cooper]

Originally Posted by Matt K. Miller

So here's an interesting question for you all, then. If a camera existed that gave you say 12 f-stops of latitude (>72dB), recorded in 12-bit RAW or CineformRAW, 2/3" optical format, full 1920x1080 at 60fps max for around $15k, would you buy it? Not to mention overcranking and undercranking up to 240fps in lower resolutions. Food for thought.

Over the past 5 or so years on these forums I've seen many nice spec sheets but very few delivered products. Unless you've got a working piece of hardware ready to beta test, I've got no interest.

[Steve Phillipps]

Ethan, couldn't agree more. Where's the Ikonoskop by the way?
Steve

[Brian Drysdale]

A cameraman in Australia is using one, I'm not sure if it's part of a beta testing process, but it's out there.

[Steve Phillipps]

Last time I checked the Ikonoskop forum people were getting totally upset that they were getting no feedback at all on progress or anything to do with delivery dates - worse than RED even!
Steve

[Ethan Cooper]

In their defense, they're not nearly as well backed financially as Red.