Sony heard the call and took another big step announcing the PMW-F3.  With a large Super 35mm sensor, large pixels (no line-skipping) and a rating of 800 ISO.  It’s essentially an EX3 with a large sensor and PL mount, for about $16K.   A proper video camera with all the ENG and other video features you’ve come to expect including variable frame rates and the same codec as the EX1 and EX3.

Here are some sample films already hitting the net.

At $16K  it’s not exactly affordable when compared to a $1500 DSLR or a $4800 Pany AF-100.  But it’s still cheaper than a RED or the F3′s bigger brother the F23.

But  Sony didn’t stop there and also announced this smaller camera for direct competition with the AF-100.

Canon, where are you?

The Revolution Evolves… again.

From my first post on the Red and SI-2K to our own purchase of the Canon 7D of the DSLR craze, Sony beats Panasonic and Canon to market releasing the first large sensor Prosumer Camcorder.   We’ve been clamoring for it since Canon, Panasonic, and Nikon added HD video to their DSLR’s and have been making do with ergonomics, but this and Panasonic’s upcoming AG-AF100 are going to change the independent and low budget film market forever… well eventually.

Unfortunately Sony is taking baby steps with this system.  They were last to roll out HD video in a still camera, and still haven’t in their Alpha series DSLR’s.  It seems we’re in for a progressive evolution in the NEX series camcorders as well.  While it has an APS sized sensor and can take Sony E and A mount lenses (A Mount lenses require an adapter) in a true camcorder body, with viewfinder and built-in audio, they hobbled the system with no XLR audio inputs and 59.94 1080i video.  Non progressive?  No 24 fps?   That’s a huge turnoff for filmmakers.  You came so close Sony.  With Panasonic offering those features, plus HDSDI with an incredibly adaptable Micro 4/3rds mount, I think they’re going to capture most of that business when they release the AF100 at the end of the year.

What’s really exciting though, missing features or not, they are listening to the consumers and bringing these cameras to market, which will only spawn more innovation and competition to the benefit of filmmakers.

These camcorders should force Canon to put up or shut up and update their HD Camcorder line with APS and Full Frame Sensored camcorders as well.  But Canon, if you’re listening please learn from your competitors and make sure you offer professional audio features, HDSDI, 24P, and a robust codec like your new 50Mbps 4:2:2 codec featured in the XF camcorder line.   Or better yet a true Red Killer using the open Adobe CinemaDNG Raw video standard.  A fella can dream right?

It’s been quite a while since I’ve written about what I’ve been calling the “Film Revolution;” the advent of cheap digital film-making tools that are democratizing the art by allowing stunning film work at an affordable price point.

I’ve talked about the RED, SI-2K, and others, but have never written about what have become the true revolutionary cameras to hit the market. Video enabled Digital SLR’s. In the last year Canon, Nikon, and Panasonic have all released new Digital SLR hybrid still cameras capable of shooting varying flavors of High Definition video giving no budget filmmakers that sexy 35mm depth of field (most at the heralded 24 frames per second) without the need for cumbersome, light-eating, depth of field adapters, or tens to hundreds of thousands of dollars. For the first time ever, full-frame 35mm digital hi-def imaging was delivered to the masses and for a price point under $3,000. Truly revolutionary.

In the capable hands of cinematographers who know how to push these small devices to their limits, some stunning short films, documentaries, commercials, and what I like to call, visual poems have been created.  See an example below.

Sea from Philip Bloom on Vimeo.

That said these cameras are far from perfect. Putting video capabilities into what is primarily a still camera has its inevitable shortcomings including form factor, audio capabilities, aliasing, and rolling shutter artifacts. Pixel peepers and technicians will tell you that while these cameras produce so-called “Full HD” files their actual resolving power is more like SD video. If that sort of stuff interests you, you can read all about it here, and probably at lot of other blogs, forums, and websites. But that’s not that important to me, or most filmmakers. Stu Maschwitz summed it up so perfectly in his blog post when the 5D MkII came out, that I’m just going quote him directly:

Let’s get something straight. The video from the Nikon D90 and the Canon 5D MkII is not of good quality. It’s over compressed, over-processed, over-sharpened, and lacks professional control. It skews and shears and shuts off in the middle of a take. It sucks.
So why are we so excited by it?
Because the video from these DSLRs stimulates us emotionally. It’s contrasty, with sexy depth of field. It looks like cinema, if you don’t look to close. Guess who doesn’t look too close. Everyone.

- Stu Maschwitz – ProLost.com

That’s the appeal of these affordable digital cinema devices and the reason you need to get off your ass and go shoot something. That’s right; I’m finally getting around to the title of this post. Don’t Wait!

These cameras prove that technology is changing at a rapid pace, and has enabled filmmakers a freedom never offered before.  Has this given rise to the film revolution I’ve been prognosticating? Yes and no. While some filmmakers have embraced these tools and made wonderful films big and small, this ever changing technology has also given filmmakers excuses to procrastinate. I’ve been guilty of it myself.

I meet and discuss projects with lots of up and coming filmmakers who say things like, “I’d like to shoot my epic, but I only have a standard def camera and can’t afford to HD. I’ll wait until they’re more affordable.” Or worse, the snob effect,” I have to shoot it on film.” Or “I like those HDSLR’s but I’m waiting for that firmware upgrade that enables (fill in the blank here).” Or a myriad of other excuses for not going out and making your film. I don’t care if you shoot your film on an iPhone. If your script is ready, go shoot it. Shoot it now with whatever camera you have available. You’ve got a Canon 7D? Great! My old standby Canon XL2? Perfect. An old Sony VX100? Fine, just go shoot it.

Ayz Waraich has proven that you can make a beautiful, emotional film with a ton of heart on a cheap HD consumer camera with hardly any manual controls. Don’t believe me? Watch “White Red Panic” embedded below and prepare to be blown away.

If that’s not proof enough, I submit that if well told, your film may not even need to look that good. Take a look at the Award Winning film “Once.” It’s a great film but the cinematography is mediocre at best, mostly shot with flat available light on prosumer video cameras. Sure it’s a bit shocking at first, but then you get sucked in by the story and characters. Years before that Edward Burns won the Sundance Grand Jury prize with “The Brothers McMullen“.  Another poorly shot film that transcends its imagery, with heart, character, and emotion.

So with the end of the year upon us, I’d like to ask all aspiring filmmakers to make a New Years resolution to stop worrying about the technology, and for God’s sake don’t wait.  By the time that feature or camera you’ve been waiting for comes around, you’ll likely be waiting for the next breakthrough. In the meantime you’ve got nothing to show for it. So shoot now with what you’ve got. It’ll force you to use your creativity to deliver a film that goes beyond the technology and touches your audience; which is what it’s all about.

End of Rant.

This small file based camera sports a Super 16MM sized CCD sensor with global shutter.  That means no jello-cam on fast moving shots like you might see on the CMOS based Red One, SI-2k or even the Sony EX-1.

The camera specs from their website:

Special features:
1:1 pixel zoom in viewfinder while recording for checking focus. Histogram. Preview monitor on right side for directors and sound people.

The preliminary price is €6.950 (about US$9,800) and includes 1 battery, 1 Ikonoskop 9mm lens and 1 Ikonoskop 80GB Memory Cartridge.

I love the fact that they are using the open standard of DNG files (pioneered by the folks at Adobe) , though a workflow will still need to be developed.

This doesn’t get you the resolution or depth of field characteristics of a Red One, but is a great alternative for 16MM film productions, or low budget independents who still can’t afford a Red with all it’s required accessories.  I’m glad to see the revolution continues.  We’ll all benefit from it.

A shout out to Stu Maschwitz for posting first!

UPDATE: now with video: