The Arri D-20, Panavision Genesis and Thomson Grass Valley Viper are all large chip cameras that can use lenses intended for Super 35 format, including the Zeiss DigiPrimes. All are somewhat limited in frame rate. I think 50 fps is the best they can manage, and with current data writing capability they can't quite match the dynamic range of film. At least in the advertising biz, digital is a tough sell to agencies who have a lot of confidence in film. In the meantime, there have been advances in the post processing of film, such as the ability to scan Super 35 neg into the Cineon file format, which offers a larger color space and bit depth than conventional telecine technology. So digital files derived from film are better than ever. That's going to delay the transition to digital cameras. It's an industry in flux to be sure. Paul
> TC> 1920x1080 resolution. The more common Sony F900 and F950 (used to > TC> film Star Wars: Episode II & III) shoot at only 1920x764(!) since the > > But these are only HD TV cameras, without possibility to fully utilise > these super-expensive Zeiss lenses with the depth of field control > only a T/1.3 prime can do on super35mm format... It's like small chip > P&S vs DSLR. > > TC> There's a digital cinema camera called the Dalsa Origin, which shoots > TC> what I believe is uncompressed at 4096x2048 pixels, but the camera is > TC> pretty unwieldy and not in popular use: http://www.dalsa.com/dc/ > TC> origin/dc_sensor.asp It does represent the future however. 12 stops > TC> of linear exposure latitude and it uses what they call is the "best > TC> CCD in the world." > > Interesting. > > There is also the Panavision+Sony Genesis: > > http://tinyurl.com/5gld > > 1 to 50 frames per second > 12.4 mega pixel, true RGB sensor (not Bayer pattern) > Greater dynamic range than available digital cameras > Nominal exposure index of 400 > 10 bit log per color output > Wide color gamut for film intercut applications > > Now that looks good! > > > Good light! > fra >
