Digital cinematography is the process of capturing motion pictures as digital images, rather than on film. Digital capture may occur on tape, hard disks, flash memory, or other media which can record digital data. As digital technology has improved, this practice has become increasingly common. Several mainstream Hollywood movies have now been shot digitally, and many vendors have brought products to market, including traditional film camera vendors like Arri and Panavision, and companies which have traditionally focused on consumer and broadcast video equipment, like Sony and Panasonic. The benefits and drawbacks of digital vs. film acquisition are still hotly debated. For other uses see film (disambiguation) Film refers to the celluliod media on which movies are printed Film — also called movies, the cinema, the silver screen, moving pictures, photoplays, picture shows, flicks, or motion pictures, — is a field that encompasses motion pictures as an art form or as... A digital image is a representation of a two-dimensional image as a finite set of digital values, called picture elements or pixels. ... This article or section does not cite its references or sources. ... The video cassette recorder (or VCR, less popularly video tape recorder) is a type of video tape recorder that uses removable cassettes containing magnetic tape to record audio and video from a television broadcast so it can be played back later. ... Typical hard drives of the mid-1990s. ... A USB flash drive. ... The ARRI Group has been the largest world wide supplier of high quality motion picture film equipment since 1917. ... Panavision is a motion picture equipment company specializing in camera, lens, and grip equipment, along with related accessories. ... Sony Corporation ) is a Japanese multinational corporation and one of the worlds largest media conglomerates with revenue of $68. ... Panasonic is an international brand name for Japanese electric products manufacturer Matsushita Electric Industrial Co. ...

History

Beginning in the late 1980s, Sony began marketing the concept of "electronic cinematography", utilizing its analog HDTV cameras. The effort met with very little success. In 1998, with the introduction of HDCAM recorders and 1920 × 1080 pixel digital video cameras based on CCD technology, the idea, now re-branded as "digital cinematography", finally began to gain traction in the market. Sony Corporation ) is a Japanese multinational corporation and one of the worlds largest media conglomerates with revenue of $68. ... Betacam and VHS size comparison Betacam SP L, Betacam SP S, VHS Betacam is a family of half-inch professional videotape formats developed by Sony from 1982 onwards. ... This article does not cite any references or sources. ... CCD can stand for: Cafe Coffee Day, a chain of coffee shops in India Charge-coupled device, an electronic light sensor used in digital cameras Colony Collapse Disorder, a mysterious die-off of commercial honeybees Confraternity of Christian Doctrine, a Catholic association devoted to teaching religion Carbonate Compensation Depth, a...

In May 2002 Star Wars Episode II: Attack of the Clones became the first high-profile, high-budget movie released that was shot on 24 frame-per-second high-definition digital video, using a Sony HDW-F900 camera. The lesser-known 2001 movie Vidocq was shot with the same camera. Film poster for Star Wars Episode II: Attack of the Clones Star Wars Episode II: Attack of the Clones (2002) is the fifth Star Wars science fiction movie released and the second part of the prequel trilogy which began with Star Wars Episode I: The Phantom Menace. ... The Sony CineAlta (from the Greek root (kine) of cinematography + alta, high) series of cameras are high definition video cameras geared toward motion picture production. ... Vidocq is a fictional 2001 movie, directed by Pitof, that pits the historical figure Eugène François Vidocq (played by Gérard Depardieu) against a supernatural soul-stealing monster called The Alchemist. ...

In parallel with these developments in the world of traditional high-budget cinematography, a digital cinema revolution was occurring from the bottom up, among low budget filmmakers outside of the Hollywood system. Beginning in the mid-1990s, with the introduction of Sony's DCR-VX1000, the digital MiniDV format began to emerge. MiniDV offered much greater quality than the analog formats that preceded it, at the same price point. While its quality was not considered as good as film, these MiniDV camcorders, in conjunction with non-linear editing software that could run on personal computers, allowed a large number of people to begin making movies who were previously prevented from doing so by the high costs involved with shooting on film. A MiniDV tape Digital Video (DV) is a video format launched in 1996, and, in its smaller tape form factor MiniDV, has since become one of the standards for consumer and semiprofessional video production. ... Sony DV Handycam A camcorder is a portable electronic device for recording video images and audio onto an internal storage device. ... A non-linear editing system is a video editing or audio editing system that can perform random access on the source material. ...

Today, cameras from companies like Sony, Panasonic, JVC and Canon offer the prosumer market a variety of choices for shooting high-definition video with less than $10,000 worth of camera equipment. At the high-end of the market, there has been an emergence of cameras aimed specifically at the digital cinema market. These cameras offer resolution and dynamic range that exceeds that of traditional video cameras, which are designed for the limited resolution and dynamic range of broadcast television. Panasonic is an international brand name for Japanese electric products manufacturer Matsushita Electric Industrial Co. ... Victor Company of Japan, Limited ) (TYO: 6792 ), usually referred to as JVC, is an international consumer and professional electronics corporation based in Yokohama, Japan which was founded in 1927. ... Canon Inc. ...

Technology

Digital cinematography captures motion pictures digitally, in a process analogous to digital photography. While there is no clear technical distinction that separates the images captured in digital cinematography from video, the term "digital cinematography" is usually applied only in cases where digital acquisition is substituting for film acquisition, such as when shooting a feature film. The term is not generally applied when digital acquisition is substituting for analog video acquisition, as with live broadcast television programs. 10 MP Nikon D200 and a Nikon film scanner The Canon EOS 350D The Canon PowerShot A95 Digital photography, as opposed to film photography, uses electronic devices to record and capture the image as binary data. ... This article does not cite any references or sources. ...

Sensors

Digital cinematography cameras capture images using CMOS or CCD sensors, usually in one of two arrangements, depending on their primary market. Static CMOS Inverter Complementary metal–oxide–semiconductor (CMOS) (see-moss, IPA: ), is a major class of integrated circuits. ... A specially developed CCD used for ultraviolet imaging in a wire bonded package. ...

High-end cameras designed specifically for the digital cinematography market typically use a single sensor (much like digital photo cameras), with dimensions similar in size to a 35mm film frame. An image can be projected onto a single large sensor exactly the same way it can be projected onto a film frame, so cameras with this design can be made with PL, PV and similar mounts, in order to use the wide range of existing high-end cinematography lenses available. Their large sensors also let these cameras achieve the same shallow depth of field as 35mm movie cameras, which is important because many cinematographers consider selective focus an essential visual tool. This article or section does not cite any references or sources. ... Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. ... PV mount is a lens mount developed by Panavision for use with both 16 mm and 35 mm movie cameras. ... In optics, particularly film and photography, the depth of field (DOF) is the distance in front of and beyond the subject that appears to be in focus. ...

Prosumer cameras and professional cameras designed primarily for the broadcast market typically use three 1/3" or 2/3" sensors in conjunction with a prism, with each sensor capturing a different color. This has benefits in terms of color reproduction, but renders these cameras incompatible with traditional cinematography lenses and incapable of achieving 35mm depth of field. These cameras are sometimes used in conjunction with depth-of-field adaptors to overcome these limitations. However, such adaptors degrade image quality and result in a loss of light, making cameras which can natively accept 35mm format lenses preferable if such lenses are to be used. If a shaft of light entering a prism is sufficiently narrow, a spectrum results. ... A shallow DOF adapter is used in conjunction with digital video camcorders to achieve optical film-like shallow depth of field with manual- or auto-focus lenses on a camera whose CCD size is not adequate enough to achieve it natively. ...

Note that Sony's CineAlta cameras, despite being designed and marketed specifically for high-end digital cinematography, nonetheless use a design based around three 2/3" sensors. Panasonic also has cameras designed for digital cinematography which follow this pattern. This design decision is probably attributable to the long history these companies have making cameras for the broadcast market. Steven Sodebergh shooting Full Frontal. ...

Acquisition Formats

While many people make movies with MiniDV camcorders and other consumer and prosumer products that have lower resolutions or shoot interlaced video, cameras marketed as digital cinematography cameras typically shoot in progressive HDTV formats such as 720p and 1080p, or in higher-end formats created specifically for the digital cinematography market, such as 2K and 4K. A MiniDV tape Digital Video (DV) is a video format launched in 1996, and, in its smaller tape form factor MiniDV, has since become one of the standards for consumer and semiprofessional video production. ... Prosumer refers to one of two possible portmanteaus formed by contracting either the word producer or professional with the word consumer. ... Interlace is a technique of improving the picture quality of a video signal on CRT devices without consuming any extra bandwidth. ... JOHN HERMAN SUCKS FAT DICK ... 1080p is the shorthand name for a category of video modes. ... Display standards comparison The display resolution of a digital television or computer display typically refers to the number of distinct pixels in each dimension that can be displayed. ... Display standards comparison The display resolution of a digital television or computer display typically refers to the number of distinct pixels in each dimension that can be displayed. ...

To date, 1080p has been the most common format for digitally acquired major motion pictures. No major motion picture has been shot at 4K. However, due to the availability of new cameras in 2007 which may make 4K acquisition more practical, this is likely to change. Image File history File links No higher resolution available. ...

Data Storage

Tape vs. Data-Centric

Broadly, there are two paradigms used for data storage in the digital cinematography world.

Many people, particularly those coming from a background in broadcast television, are most comfortable with video tape based workflows. Data is captured to video tape on set. This data is then ingested into a computer running non-linear editing software, using a deck. Once on the computer, the footage is edited, and then output in its final format, possibly to a film recorder for theatrical exhibition, or back to video tape for broadcast use. Original video tapes are kept as an archival medium. The files generated by the non-linear editing application contain the information necessary to retrieve footage from the proper tapes, should the footage stored on the computer's hard disk be lost. The video cassette recorder (or VCR, less popularly video tape recorder) is a type of video tape recorder that uses removable cassettes containing magnetic tape to record audio and video from a television broadcast so it can be played back later. ... A non-linear editing system is a video editing or audio editing system that can perform random access on the source material. ... A video tape recorder (VTR), is a tape recorder that can record video material. ...

Increasingly, however, digital cinematography is shifting toward "tapeless" workflow, where instead of thinking about digital images as something that exists on a physical medium like video tape, digital video is conceived of as data in files. In tapeless workflow, digital images are usually recorded directly to files on hard disk or flash memory based "digital magazines". At the end of a shooting day (or sometimes even during the day), the digital files contained on these digital magazines are downloaded, typically to a large RAID connected to an editing system. Once data is copied from the digital magazines, they are erased and returned to the set for more shooting. Archiving is accomplished by backing up the digital files from the RAID, using standard practices and equipment for data backup from the Information Technology industry, often to data tape. Typical hard drives of the mid-1990s. ... A USB flash drive. ... In computing, specifically computer storage, a Redundant Array of Independent Drives (or Disks), also known as Redundant Array of Inexpensive Drives (or Disks), (RAID) is an umbrella term for data storage schemes that divide and/or replicate data among multiple hard drives. ... Information and communication technology spending in 2005 Information Technology (IT), as defined by the Information Technology Association of America (ITAA) is: the study, design, development, implementation, support or management of computer-based information systems, particularly software applications and computer hardware. ... DDS tape drive. ...

Compression

High-end digital video cameras are capable of generating extremely large amounts of data; often hundreds of megabytes per second. To help manage this huge data flow, many cameras or recording devices designed to be used in conjunction with them offer compression. Prosumer cameras typically use high compression ratios in conjunction with chroma subsampling. While this allows footage to be comfortably handled even on fairly modest personal computers, the convenience comes at the expense of image quality. ReBoot character, see Megabyte (ReBoot). ... In computer science and information theory, data compression or source coding is the process of encoding information using fewer bits (or other information-bearing units) than an unencoded representation would use through use of specific encoding schemes. ... Data compression ratio is a computer term used to quantify the reduction in data quantity produced by a data compression algorithm. ... In digital image processing, chroma subsampling is the use of lower resolution for the colour (chroma) information in an image than for the brightness (intensity or luma) information. ...

High-end digital cinematography cameras or recording devices typically support recording at much lower compression ratios, or in uncompressed formats. Additionally, digital cinematography camera vendors are not constrained by the standards of the consumer or broadcast video industries, and often develop proprietary compression technologies that are optimized for use with their specific sensor designs or recording technologies.

Lossless vs. lossy compression

A lossless compression system is capable of reducing the size of digital data in a fully reversible way -- that is, in a way that allows the original data to be completely restored, byte for byte. This is done by removing redundant information from a signal. Digital cinema cameras rarely use only lossless compression methods, because much higher compression ratios (lower data rates) can be achieved with lossy compression. With a lossy compression scheme, information is discarded to create a simpler signal. Due to limitations in human visual perception, it is possible to design algorithms which do this with little visual impact.

Chroma subsampling

Main article: Chroma subsampling

Some digital cinematography systems further reduce data rate by subsampling color information. Because the human visual system is much more sensitive to luminance than to color, lower resolution color information can be overlaid with higher resolution luma (brightness) information, to create an image that looks very similar to one in which both color and luma information are sampled at full resolution. This scheme may cause pixilation or color bleeding under some circumstances, however, and the highest quality digital cinematography systems are capable of recording full resolution color data (4:4:4). In digital image processing, chroma subsampling is the use of lower resolution for the colour (chroma) information in an image than for the brightness (intensity or luma) information. ...

Bitrate

Video and audio compression systems are often characterized by their bitrates. Bitrate describes how much data is required to represent one second of media. One cannot directly use bitrate as a measure of quality, because different compression algorithms perform differently. A more advanced compression algorithm at a lower bitrate may deliver the same quality as a less advanced algorithm at a higher bitrate.

Intra- vs. Inter-frame compression

Most compression systems used for acquisition in the digital cinematography world compress footage one frame at a time, as if a video stream is a series of still images. Inter-frame compression systems can further compress data by examining and eliminating redundancy between frames. This leads to higher compression ratios, but displaying a single frame will usually require the playback system to decompress a number of frames that precede it. In normal playback this is not a problem, as each successive frame is played in order, so the preceding frames have already been decompressed. In editing, however, it is common to jump around to specific frames and to play footage backwards or at different speeds. Because of the need to decompress extra frames in these situations, inter-frame compression can cause performance problems for editing systems. Inter-frame compression is also disadvantageous because the loss of a single frame (say, due to a flaw writing data to a tape) will typically ruin all the frames until the next keyframe occurs. In the case of the HDV, format, this may result in as many as six frames being lost. High Definition Video (HDV) is a video format designed to record compressed HDTV video on standard DV media (DV or MiniDV cassette tape). ...

Digital acquisition codecs compared

2-D DCT compared to the DFT The discrete cosine transform (DCT) is a Fourier-related transform similar to the discrete Fourier transform (DFT), but using only real numbers. ... 2-D DCT compared to the DFT The discrete cosine transform (DCT) is a Fourier-related transform similar to the discrete Fourier transform (DFT), but using only real numbers. ... 2-D DCT compared to the DFT The discrete cosine transform (DCT) is a Fourier-related transform similar to the discrete Fourier transform (DFT), but using only real numbers. ... 2-D DCT compared to the DFT The discrete cosine transform (DCT) is a Fourier-related transform similar to the discrete Fourier transform (DFT), but using only real numbers. ... 2-D DCT compared to the DFT The discrete cosine transform (DCT) is a Fourier-related transform similar to the discrete Fourier transform (DFT), but using only real numbers. ... 2-D DCT compared to the DFT The discrete cosine transform (DCT) is a Fourier-related transform similar to the discrete Fourier transform (DFT), but using only real numbers. ... A wavelet is a kind of mathematical function used to divide a given function into different frequency components and study each component with a resolution that matches its scale. ... A wavelet is a kind of mathematical function used to divide a given function into different frequency components and study each component with a resolution that matches its scale. ...

Distribution Formats

Movies shot digitally may be released theatrically or on DVD or VHS. DVD (Digital Versatile Disc or Digital Video Disc) is an optical disc storage media format that can be used for data storage, including movies with high video and sound quality. ... Bottom view of VHS cassette with magnetic tape exposed Top view of VHS cassette with front casing removed The Video Home System, better known by its abbreviation VHS is a recording and playing standard for analog video cassette recorders (VCRs), developed by Victor Company of Japan, Limited (JVC) and launched...

Digital Theatrical Distribution

Main article: Digital cinema

For the relatively small number of theaters with digital projectors, digital films may be distributed digitally, either shipped to theaters on hard drives or sent via the Internet or satellite networks. Digital Cinema Initiatives, LLC, a joint venture of Disney, Fox, MGM, Paramount, Sony Pictures Entertainment, Universal and Warner Bros. Studios, is working to establish standards for digital cinema projection. In July of 2005, they released v.1.0 of the Digital Cinema System Specification, which encompasses 2K and 4K theatrical projection. They also offer compliance testing for exhibitors and equipment suppliers. This article is about digital presentation. ... Digital Cinema Initiatives or DCI is a consortium of studios and vendors formed to establish a standard architecture for Digital Cinema systems. ...

Distributors prefer digital distribution, because it saves them the expense of making film prints, which may cost as much as $2000 each. Digital projection also offers advantages over traditional film projection such as lack of jitter, flicker, dust, scratches, and grain. Theater owners have balked at the high cost of installing digital projection systems, however, and while the number of digital venues is growing, growth is slower than many people anticipated. New payment models in which distributors would bear some of the cost of digital projection systems may result in the number of digital screens expanding faster in the future.

Film-based Theatrical Distribution

Most theaters do not yet have digital projection systems, so even if a movie is shot digitally, it must be transferred to film if a large theatrical release is planned. Typically, a film recorder will be used to print digital image data to film, to create a 35mm internegative. This internegative is then treated much as a camera negative from a film camera, and the same traditional optical processes are used to generate release prints from it. Arschloch The simplest film recorders typically work by displaying the image on a grayscale cathode ray tube (CRT) placed in front of a photographic camera. ... The introduction to this article provides insufficient context for those unfamiliar with the subject matter. ...

Digital Cinematography Cameras

There are a number of video cameras on the market designed specifically for high-end digital cinematography use. These cameras typically offer relatively large sensors, selectable frame rates, recording options with low compression ratios or in some cases with no compression, and the ability to use high-quality optics. With the possible exception of the Red One and the noX, which have not yet been released, these cameras are priced well out of the range of self-funded low-budget filmmakers. Some cannot be purchased at all, and are only available for rental at rates of thousands of dollars a day. RED Digital Camera Company is a developer of a digital video camera called Red One which the company says will be capable of recording resolutions up to 4520 x 2540 via a sensor large enough to adapt to standard 35mm lenses normally used by film cameras. ...

Arriflex D20

Main article: Arriflex D-20

The Arriflex D-20 is a film-style digital high definition movie camera made by Arri first introduced in November 2005. ...

Dalsa Origin

Main article: Dalsa Origin

Although a relative newcomer to the field of motion-picture and video equipment, Dalsa is a respected manufacturer of high resolution imaging systems, known for their satellite and military imaging products. The Origin uses a 4046 × 2048 pixel frame transfer CCD sensor, much larger than that of any competitor, having the same height as a 35mm film frame but more than 1.5 times its width. This is a bayer-pattern sensor; see discussion in the Resolution section. The Dalsa Origin is the first camera designed and built by Dalsa Corporation to be used specifically for digital cinematography. ... Dalsa was founded in Waterloo, Ontario, Canada in 1980 by imaging pioneer Dr. Savvas Chamberlain, a former Professor in Electrical Engineering at the University of Waterloo. ... A specially developed CCD used for ultraviolet imaging in a wire bonded package. ... The Bayer arrangement of color filters on the pixel array of an image sensor Front page of Dr. Bryce Bayers 1976 patent on the Bayer pattern filter mosaic, showing his terminology of luminance-sensitive and chrominance-sensitive elements A Bayer filter mosaic is a color filter array (CFA) for...

Most lenses designed for 35mm film cameras will only produce a fully-focused image slightly larger than a standard 35mm film frame, so a considerable portion of the image produced on an Origin sensor is "wasted". With the majority of existing 35mm-type film lenses, only about 2,500 horizontal pixels can be used in practice.

Perhaps the most unique characteristic of the Origin is its dynamic range. The camera outputs 16 bit-per-pixel image data with 12 f-stops of latitude on a nearly linear response curve. Like the Arri D-20, the Origin uses a rotating mirror shutter to give an optical viewfinder option. This mirror also blanks the CCD sensor chip during the frame readout period.

The present incarnation of the Dalsa camera body is very large, similar in size to a small desktop computer tower, although its weight is generally similar to that of a 35mm film camera. The Origin offers several data output options including uncompressed RGB, but at present (Dec. 2006) there is no provision for on-board recording. Possibly as a result of these drawbacks and/or concerns about how to manage the captured data in post-production, no major feature film has been shot with the Origin to date.

MODULA HD CAM - EasyLook System

The MODULA HD CAM [1] utilizes a next-generation 2/3-inch CMOS chip to deliver full 1080p and 720p resolution at 24p/25p/30p. Using the MODULA HD CAM's interlaced mode (1080i/720i) frame rates up to 60/120fps are possible. The MODULA HD CAM provides lightweight compact size, modular design and uncompromising HDTV performance for a wide range of applications including digital cinematography and broadcast television. Mini true HDTV all-in-one camera, no external control unit | 2/3" single chip CMOS sensor, onboard image processing. Fits PL-Cine, Nikon, C-mount and B4 mount lenses. Progressive and interlaced modes. Robust, extremely small, compact.

GS Vitec noX

The noX, designed by the German company GS Vitec, is a 2K digital cinematography camera based around a single 1.2" CCD sensor. The company has announced it will go on sale around June or July of 2007, initially only in the European market [2]. Cost is presently unknown, but the company's goal of selling "high-end filming equipment at reasonable prices, always bearing in mind the limitations filmmakers have regarding time and money"[3] may imply an aggressive pricing policy.

Sony CineAlta

Main article: CineAlta

The CineAlta series of cameras are essentially the high definition video descendants of Betacam, geared toward motion picture production. As well as the standard NTSC and PAL frame rates (29.97 and 25 frames per second respectively), they can shoot at the same 24 frames per second (24p) as film. Their CCD sensors have a resolution of 1920 × 1080 pixels (1080p). Steven Sodebergh shooting Full Frontal. ... Projection screen in a home theater, displaying a high-definition television image. ... In video technology, 24p refers to a video format that operates at a true 24 frames per second (or 23. ... 1080p is the shorthand name for a category of video modes. ...

The CineAlta is somewhat notable because it uses a three sensor design like most prosumer and broadcast TV cameras, rather than a single-chip sensor design like most other cameras made specifically for motion picture production market. (See discussion in the Sensors section.)

CineAlta cameras (most notably the Sony HDW-F900) record onto HDCAM tapes. However, the original HDCAM tape format can only record a 1440 × 1080 4:2:2 highly compressed stream, so often the newer 750/790/900R cameras are used, connected to external HDCAM SR decks, which can record a 1920 × 1080 4:4:4 stream with much lower compression. Episode II of the Star Wars Prequel Trilogy was shot with the CineAlta. Episode III was shot with more advanced HDW950 cameras which can record the full 1920 × 1080-pixel frame. When shooting in the 2.35:1 widescreen format, only about 800 of the 1080 vertical pixels are actually used. Sony Betacam-SP VTP BVW-65 Betacam and VHS size comparison Betacam SP L (top), Betacam SP S (left), VHS (right) The early form of Betacam tapes are interchangeable with Betamax, though the recordings are not. ... Film poster for Star Wars Episode II: Attack of the Clones Star Wars Episode II: Attack of the Clones (2002) is the fifth Star Wars science fiction movie released and the second part of the prequel trilogy which began with Star Wars Episode I: The Phantom Menace. ... Star Wars is an epic science fantasy saga and fictional universe created by George Lucas during the late 1970s. ... Star Wars Episode III: Revenge of the Sith is the third episode of the Star Wars film series (but the sixth film to be produced), to be released on Thursday, May 19, 2005. ...

In 2006 Sony demonstrated a new CineAlta camera at various trade shows, such as NAB, BIRTV and IBC. At Inter BEE 2006 in Japan in November, Sony announced this camera would be released as the F23. It will replace the HDC-F950, which has been out of production. When used with an SRW-1 portable tape deck, the combined unit can be operated as an HDCAM SR camcorder, effectively providing for on-camera recording. Sony Betacam-SP VTP BVW-65 Betacam and VHS size comparison Betacam SP L (top), Betacam SP S (left), VHS (right) The early form of Betacam tapes are interchangeable with Betamax, though the recordings are not. ...

Panavision Genesis

Main article: Genesis (Panavision)

Following the lukewarm film industry response to the "Panavized" CineAltas used by George Lucas, in 2004 Panavision introduced the Genesis. The Genesis produces similar 1920 × 1080 resolution images to its predecessor, using a similar tape format, but uses a single non-bayer CCD sensor with the same width (but not the same height) as a standard 35mm film frame. This allows standard 35mm cine lenses to be used, with much the same control over depth of field as a 35mm film camera. The Genesis was first used in 2005 on the films Superman Returns and Flyboys. The Panavision Genesis HD camera. ... Panavision is a motion picture equipment company specializing in camera, lens, and grip equipment, along with related accessories. ... The Panavision Genesis HD camera. ... A specially developed CCD used for ultraviolet imaging in a wire bonded package. ... Superman Returns is a 2006 superhero film based on the fictional DC Comics character Superman. ... Flyboys is a 2006 drama film set during World War I, starring James Franco, Martin Henderson, Jean Reno, Jennifer Decker, David Ellison and Tyler Labine. ...

April 14 2006 saw the release of Scary Movie 4, the first general release of a Genesis-captured feature film. There was considerable industry comment about the variable image quality, (mostly the often soft-looking images) until it was revealed that parts of it (in particular the opening scenes) were actually captured on 35mm film. Hence, the producers' claim of "indistinguishable from 35mm film" does not appear to hold up, at least in this instance. However comments on the color quality were generally favorable, at least compared to earlier "all digital" productions. Scary Movie 4 is a fourth film of the Scary Movie franchise and is directed by David Zucker, written by Jim Abrahams, Craig Mazin and Pat Proft, and produced by Craig Mazin and Robert K. Weiss. ...

Reaction to the image quality on Superman Returns was much more positive. Jeff Otto praised the film's clean sharp look and bright color, and found it fitting for the subject[4]. In an important milestone, most reviewers found the film's look sufficiently film-like that the movie's digital origins did not rate comment [5]. Reviews concentrated instead on typical elements such as cast and plot.

Red One

Main article: RED Digital Cinema

Expected to ship beginning in August of 2007. The Red One is a 4K+ camera based around a single 35mm-sized bayer-pattern CMOS sensor. The camera is notable for its high maximum resolution, its wide range of format and frame rate options, and its low-cost on-board recording features. The camera body is priced at $17,500, but even with the additional cost of lenses and accessories is still significantly less expensive than other cameras in its class. A 12 minute short film directed by Peter Jackson and titled "Crossing The Line" was shown at the RED booth at NAB 2007 and generated a very positive response among professionals who attended. RED Digital Cinema is a developer of a digital video camera called Red One which the company says will be capable of recording resolutions up to 4520 x 2540 via a sensor large enough to adapt to standard 35mm lenses normally used by film cameras. ... The Bayer arrangement of color filters on the pixel array of an image sensor Front page of Dr. Bryce Bayers 1976 patent on the Bayer pattern filter mosaic, showing his terminology of luminance-sensitive and chrominance-sensitive elements A Bayer filter mosaic is a color filter array (CFA) for... Peter Jackson CNZM (born October 31, 1961) is a New Zealand filmmaker best known as the director of The Lord of the Rings trilogy, which he, along with Fran Walsh, his long time partner, and Philippa Boyens, adapted from the novels by J. R. R. Tolkien. ... Electronic Media Show is produced every year at the Las Vegas Convention Center by the National Association of Broadcasters. ...

SI-2K

The Silicon Imaging SI-2K is 2K digital video camera based around a single 16mm-sized CMOS sensor. It can record direct to disk in the compressed CineForm RAW format, and is notable for its tiny detachable camera head, which can be positioned up to 100m from the recording unit. The head and the recording unit together cost $23,000. The head by itself costs $13,750, and can be used to record to a laptop that has appropriate specifications and software.

Thomson Viper

The Viper, another three-sensor camera design, captures a 1920 × 1080 pixel image. In addition to uncompressed RGB output, the Viper is also capable of outputting RAW sensor data, which allows for more control in post-production. A raw image file (sometimes written RAW image file ) contains minimally processed data from the image sensor of a digital camera or image scanner. ...

The camera has a unique feature known as Dynamic Pixel Management, which allows the camera to change its aspect ratio by vertically ganging pixels. This allows the cinematographer to shoot at different aspect ratios without cropping the image (thus losing resolution) or using anamorphic lenses. Anamorphic widescreen is a cinematography and photography technique for capturing a widescreen picture on standard 35mm film. ...

The Viper was first used on Rudolf B.'s short movie Indoor Fireworks, though the first feature shot entirely with the Viper was is the British independent Production Silence Becomes You by director Stephanie Sinclaire.^[1] The first major motion picture shot using the Viper was Michael Mann's Collateral, which was followed by Miami Vice, which was shot with the Viper to HDCAM. The first feature film to be shot entirely in the Viper's uncompressed digital data format is Zodiac. Tagline: The Perfect Sin. ... Michael Kenneth Mann (born February 5, 1943 in Chicago) is an American film director, screenwriter, and producer. ... Collateral is a 2004 Academy Award-nominated Dreamworks SKG/Paramount Pictures American drama/thriller/crime film directed by Michael Mann and written by Stuart Beattie, with un-credited rewrites by Mann and Frank Darabont. ... For the 2006 video game, see Miami Vice: The Game. ... Zodiac, a Paramount Pictures and Warner Bros. ...

One of the Viper's strengths is its ability to shoot with extremely low light levels, which allowed much of Collateral to be shot on the streets of Los Angeles, CA at night without the need for substantial supplemental lighting equipment.

While the Viper is designed to produce full resolution raw images in 4:4:4 log data, it can also produce 4:4:4 RGB video images; Michael Mann has used it this way. Tom Burstyn, CSC, using the Viper in the 4:2:2 HDStream mode, was nominated for an Emmy in Cinematography for the first season of the USA Network show "The 4400." The camera lacks on-board recording. The signals from the Viper may be recorded to either a tape format or a disk array, depending on what mode the camera is used in.

The Viper is also used to tape popular children's show LazyTown. LazyTown is a childrens television program that originated in Iceland (where it is known as Latibær) that features a cast and crew from both the United States and Iceland. ...

Panasonic VariCam

Main article: Varicam

The Panasonic AJ-HDC27F Varicam is a digital video camera system created by Panasonic. ...

Vision Research Phantom

At NAB 2006, Vision Research Inc -- a high-speed digital imaging company based in Wayne, New Jersey -- introduced and demonstrated live images from their Phantom65 digital cinema camera. The Phantom65 is the world's first 65mm digital cinema camera. It has 4K (4096 × 2440) resolution with adjustable aspect ratios, up to 125 frames-per-second recording speed, and a 70mm depth-of-field. NAB may stand for: National Association of Broadcasters, the industry group representing the commercial radio stations and television stations of the United States National Australia Bank Needle aspiration biopsy, a medical technique Neodymium aluminium borate New American Bible, an English Bible translation that was produced by members of the Roman...

They also introduced the PhantomHD high-definition camera. It can acquire images at HD (1920 × 1080) or 2K (2048 × 1556) resolution and shoot at up to 1000 frames per second, adjustable in increments of 1 frame-per-second.

Fusion Camera System

James Cameron and Vince Pace developed the Fusion Camera System aka Reality Camera System 1 as way to shoot features in stereoscopic 3-D.[6] The digital high definition camera was used on Cameron's documentaries Aliens of the Deep and Ghosts of the Abyss. Robert Rodriguez also used the camera to shoot Spy Kids 3-D and The Adventures of Sharkboy and Lavagirl in 3-D. James Francis Cameron (born August 16, 1954) is a three-time Academy Award winning director, producer and screenwriter. ... Stereoscopy, stereoscopic imaging or 3-D (three-dimensional) imaging is a technique to create the illusion of depth in a photograph, movie, or other two-dimensional image, by presenting a slightly different image to each eye. ... In film, the term 3-D (or 3D) is used to describe any visual presentation system that attempts to maintain or recreate moving images of the third dimension, the illusion of depth as seen by the viewer. ... Aliens of the Deep is a 2005 documentary film, directed by Academy Award winner James Cameron and Steven Quale and filmed in the 3-D IMAX format. ... Ghosts of the Abyss is a 2003 documentary made by filmmaker James Cameron after his Oscar winning film Titanic. ... Robert Anthony Rodriguez (born June 20, 1968) is an American writer and film director who is known for making profitable, crowd-pleasing independent and studio films with fairly low budgets and fast schedules by Hollywood standards. ... Spy Kids is the first film of the Spy Kids trilogy. ... This article or section contains a plot summary that is overly long or excessively detailed. ...

There is a video [7] about the Fusion system presented at NAB 2007 as the "Sony Fusion 3D Camera System". This is also referred to as the Pace-Fusion and Pace-Cameron system (they do credit collaboration with James Cameron). It uses two Sony HDCF950 HD cameras, which are presumably variants of the Sony CineAlta range.

Consumer & Prosumer Cameras

Independent filmmakers have also pressed low-cost consumer and prosumer cameras into service for digital filmmaking. These cameras typically cost under $10,000 (sometimes under $1000). Though image quality is typically much lower than what can be produced with professional digital cinematography cameras, the technology has steadily improved, most significantly in the last several years with the arrival of high definition cameras in this market.

These inexpensive cameras are limited by their relatively high compression ratios, their small sensors, and the quality of their optics. Many have integrated lenses which cannot be changed.

Standard Definition

MiniDV is the predominant standard definition consumer video acquisition format. Steven Soderbergh used the popular Canon XL2 MiniDV camera while shooting Full Frontal. The Danny Boyle directed British horror film, 28 Days Later was also shot on MiniDV using the Canon XL1S, albeit with traditional Panavision 35mm film lenses. One of the first MiniDV cameras used on a feature film was the Sony VX-1000, which was used to shoot Spike Lee's Bamboozled. A MiniDV Camcorder For other uses, see DV (disambiguation). ... Steven Andrew Soderbergh (born January 14, 1963 in Atlanta, Georgia) is an American film producer, screenwriter, cinematographer, editor, and Oscar-winning director. ... Canon XL2 The Canon XL2 is Canons high-end 3CCD Standard Definition camcorder. ... Full Frontal is a film by Steven Soderbergh, about a day in the life of people in Hollywood. ... Danny Boyle (born 20 October 1956) is an English director and film producer, best known for his work on films such as Trainspotting and 28 Days Later. ... 28 Days Later is a 2002 British post-apocalyptic science fiction horror film directed by Danny Boyle and starring Cillian Murphy, Naomie Harris and Christopher Eccleston. ... This section has been identified as trivia. ... Bamboozled is a 2000 satirical film written and directed by Spike Lee about a modern televised minstrel show featuring black actors donning blackface makeup and the violent fall-out from the shows success. ...

In 2002, Panasonic released the AG-DVX100, which was the first affordable camcorder to support progressive scan at 24 frames per second, duplicating the motion characteristics of film and allowing for easier transfers to film. This feature made the camera extremely popular with low-budget filmmakers. Though it is priced in the market of prosumer devices, itself, it remains a commercial device. The Panasonic AG-DVX100B is a popular mid-range digital video camera. ... Progressive scan Progressive or noninterlaced scanning is any method for displaying, storing or transmitting moving images in which the lines of each frame are drawn in sequence. ...

High Definition

Sony, JVC and other vendors have brought high-definition video acquisition to the consumer and prosumer markets with the HDV format. Though it is a high definition format, HDV video is able to use a MiniDV tape, which are inexpensive and widely available, to record a high definition picture. HDV cameras are sold at a wide range of price points, with a wide range of capabilities. Many support progressive shooting modes and have chips that record up to 1440 horizontal resolution. In addition, both Cannon and JVC cameras have the ability to use various types of higher quality film-style lenses rather than the stock lenses that most prosumer cameras come with. High Definition Video (HDV) is a video format designed to record compressed HDTV video on standard DV media (DV or MiniDV cassette tape). ...

Panasonic also offers a high-definition camera in this price range, the AG-HVX200. The AG-HVX200 uses Panasonic's DVCPRO HD format (also used by their professional cameras) and is capable of recording progressive images, albeit with standard definition chips that use pixel shift technology to create high definition images. Notably, the camera captures HD video to P2 solid-state memory cards rather than tape. The AG-HVX200 is also notable for its variable frame rate feature. The Panasonic AG-HVX200. ... A MiniDV Camcorder For other uses, see DV (disambiguation). ... DVCPRO P2 (P2 is short form for Professional Plug-In) is a professional digital video format introduced by Panasonic in 2004, and especially tailored to ENG applications. ...

Digital vs. film cinematography

Technical Considerations

Predictability

When shooting on film, response to light is determined by what film stock is chosen. A cinematographer can choose a film stock he or she is familiar with, and expose film on set with a high degree of confidence about how it will turn out. Because the film stock is the main determining factor, results will be substantially similar regardless of what camera model is being used.

In contrast, when shooting digitally, response to light is determined by the CMOS or CCD sensor(s) in the camera, and every camera is different. A cinematographer shooting digitally must have an intimate familiarity with the specific camera model being used, to reliably predict how shots will turn out. This problem is exacerbated by the lower dynamic range of most digital sensors, which makes it more difficult to fix incorrect exposure in post-production. Digital cinematography is the process of capturing motion pictures as digital images, rather than on film. ...

While the performance of digital acquisition is typically harder to predict by eye, on-set monitoring can help address this issue. On-set monitoring allows the cinematographer to see the actual images that are captured, right on the set, which is impossible with film. With a properly calibrated high-definition display, on-set monitoring, in conjunction with data displays such as histograms, waveforms, RGB parades, and various types of focus assist, can give the cinematographer a far more accurate picture of what is being captured than is possible with film. However, all of this equipment may impose costs in terms of time and money, and may not be possible to utilize in difficult shooting situations. Example of a histogram of 100 normally distributed random values. ... Waveform monitor in 2-line mode, showing color bars. ...

Film cameras do often have a video assist that captures video though the camera to allow for on-set playback, but its usefulness is largely restricted to judging action and framing. Because this video is not derived from the image that is actually captured to film, it is not very useful for judging lighting, and because it is typically only NTSC-resolution, it is often useless for judging focus. A Video assist is a piece of equipment mounted onto a movie camera that allows (with the addition of a monitor) the director to see exactly what the camera operator is seeing and thus ensure that the film is being shot and framed the way he/she wants. ...

Portability

Although very compact and inexpensive digital cameras are becoming more widely available, the image quality is not yet up to the level normally desired for theatrical release. High-end digital cinema cameras tend to be quite large, and some models require bulky external recording mechanisms (though in some cases only a small strand of optical fiber is necessary to connect the camera and the recording mechanism). Optical fibers An optical fiber (or fibre) is a glass or plastic fiber designed to guide light along its length by confining as much light as possible in a propagating form. ...

In contrast, there are compact 35mm film cameras that produce the full 35mm film resolution and accept standard 35mm lenses.

Smaller form-factor digital cinema cameras such as the Red One and SI-2K may make digital acquisition more competitive in this respect. The SI-2K, in particular, with its detachable camera head, allows for high-quality images to be captured by a camera/lens package that is far smaller than is practically achievable with a 35mm film camera. RED Digital Camera Company is a developer of a digital video camera called Red One which the company says will be capable of recording resolutions up to 4520 x 2540 via a sensor large enough to adapt to standard 35mm lenses normally used by film cameras. ...

Dynamic Range

The sensors in most high-end digital video cameras have less exposure latitude (dynamic range) than modern motion picture film stocks. In particular, they tend to 'blow out' highlights, losing detail in very bright parts of the image. If highlight detail is lost, it is impossible to recapture in post-production. Cinematographers can learn how to adjust for this type of response using techniques similar to those used when shooting on reversal film, which has a similar lack of latitude in the highlights. They can also use on-set monitoring and image analysis to ensure proper exposure. In some cases it may be necessary to 'flatten' a shot, or reduce the total contrast that appears in the shot, which may require more lighting to be used. A single slide, showing a color transparency in a plastic frame In photography, a reversal film is a still, positive image created on a transparent base using photochemical means. ...

Many people also believe that highlights are less visually pleasing with digital acquisition, because digital sensors tend to 'clip' them very sharply, whereas film produces a 'softer' roll-off effect with over-bright regions of the image. Some more recent digital cinema cameras attempt to more closely emulate the way film handles highlights, though how well they achieve this is a matter of some dispute. A few cinematographers have started deliberately using the 'harsh' look of digital highlights for aesthetic purposes. One notable example of such use is Battlestar Galactica (2004 TV series). Battlestar Galactica is a science fiction television program created by Ronald D. Moore that first aired on October 18, 2004 in the United Kingdom and Ireland on Sky One, and January 14, 2005 in the United States on the Sci Fi Channel. ...

Digital acquisition typically offers better performance than film in low-light conditions, allowing less lighting and in some cases completely natural or practical lighting to be used for shooting, even indoors. This low-light sensitivity also tends to bring out shadow detail. Some directors have tried a "best for the job" approach, using digital acquisition for indoor or night shoots, and traditional film for daylight exteriors.

Resolution

Substantive debate over the subject of film resolution vs. digital image resolution is clouded by the fact that it is difficult to meaningfully and objectively determine the resolution of either.

Film is an analog medium. It does not have discrete pixels.^{[dubious — see talk page]} As it is scanned at higher and higher resolutions, image detail is increasingly masked by grain, but it is difficult to determine at what point trying to extract more detail becomes unproductive. Moreover, different film stocks have widely varying ability to resolve detail.

Determining resolution in digital acquisition seems straightforward, but is significantly complicated by the way digital camera sensors work in the real world. This is particularly true in the case of high-end digital cinematography cameras that use a single large bayer pattern CMOS sensor. A bayer pattern sensor does not sample full RGB data at every point; each pixel is biased toward red, green or blue[8], and a full color image is assembled from this checkerboard of color by processing the image through a demosaicing algorithm. Generally with a bayer pattern sensor, actual resolution will fall somewhere between the "native" value and half this figure, with different demosaicing algorithms producing different results. The Bayer pattern mosaic. ...

In general, it is widely accepted that film exceeds the resolution of HDTV formats and the 2K digital cinema format, but there is still significant debate about whether 4K digital acquisition can match the results achieved by scanning 35mm film at 4K, as well as whether 4K scanning actually extracts all the useful detail from 35mm film in the first place. However, as of 2007 the majority of films that use a digital intermediate are done at 2K because of the costs associated with working at higher resolutions. Almost all permanent digital cinema installations are also currently limited to 2K projection. Digital intermediate (often abbreviated as DI) describes the process of digitizing a motion picture and manipulating color and other image characteristics to change the look, and is usually the final creative adjustment to a movie before distribution in theaters. ... This article is about digital presentation. ...

One important thing to note is that the process of optical duplication, used to produce theatrical release prints for movies originated both on film and digitally, causes significant loss of resolution. If a 35mm negative does capture more detail than 4K digital acquisition, ironically this may only be visible when a 35mm movie is scanned and projected on a 4K digital projector.

Grain & Noise

Film has a characteristic grain structure, which many people view positively, either for aesthetic reasons or because it has become associated with the look of 'real' movies. Different film stocks have different grain, and cinematographers may use this for artistic effect. Film grain or granularity is the random optical texture of processed photographic film due to the presence of small grains of a metallic silver developed from silver halide that have received enough photons. ...

Digitally acquired footage lacks this grain structure. Electronic noise is sometimes visible in digitally acquired footage, particularly in dark areas of an image or when footage was shot in low lighting conditions and gain was used. Some people believe such noise is a workable aesthetic substitute for film grain, while others believe it has a harsher look that detracts from the image. Image noise is unwanted and manifested in the pixels of an image. ... In electronics, gain is usually taken as the mean ratio of the signal output of a system to the signal input of the system. ...

Well shot, well lit images from high-end digital cinematography cameras can look almost eerily clean. Some people believe this makes them look "plasticy" or computer generated, while others find it to be an interesting new look, and argue that film grain can be emulated in post-production if desired.

Since most theatrical exhibition still occurs via film prints, the super-clean look of digital acquisition is often lost before moviegoers get to see it, because of the grain in the film stock of the release print.

Digital Intermediate Workflow

The process of using digital intermediate workflow, where movies are color graded digitally instead of via traditional photochemical finishing techniques, is becoming increasingly common, largely because of the greater artistic control it provides to filmmakers. In order to utilize digital intermediate workflow with film, the camera negative must be processed and then scanned. High quality film scanning is time consuming and expensive. With digital acquisition, this step can be skipped, and footage can go directly into a digital intermediate pipeline as digital data. Digital intermediate (often abbreviated as DI) describes the process of digitizing a motion picture and manipulating color and other image characteristics to change the look, and is usually the final creative adjustment to a movie before distribution in theaters. ... Color grading is the process of altering and enhancing the color of a motion picture or television image, either electronically, photo-chemically or digitally. ...

Some filmmakers have years of experience achieving their artistic vision using the techniques available in a traditional photochemical workflow, and prefer that finishing process. While it would be theoretically possible to use such a process with digital acquisition by creating a film negative on a film recorder, in general digital acquisition is not a suitable choice if a traditional finishing process is desired.

Sound

Films are traditionally shot with dual-system recording, where picture is recorded on camera, and sync sound is recorded to a separate sound recoding device. In post-production, picture and sound are synced up. Sync Sound in movies refers to sound recorded at the time of filming. ...

Many cameras used for digital cinematography can record sound internally, already in sync with picture. This eliminates the need for syncing in post, which can lead to faster workflows. However, most sound recording is done by specialist operators, and the sound will likely be separated and further processed in post-production anyway. Also, recording sound to the camera may require running additional cables to the camera, which may be problematic in some shooting situations, particularly in shots where the camera is moving. Wireless transmission systems can eliminate this problem, but are not suitable for use in all circumstances.

Archiving

Many people feel there is significant value in having a film negative master for archival purposes. As long as the negative does not physically degrade, it will be possible to recover the image from it in the future, regardless of changes in technology. In contrast, even if digital data is stored on a medium that will preserve its integrity, changes in technology may render the format unreadable or expensive to recover over time. For this reason, film studios distributing digitally-originated films often make film-based separation masters of them for archival purposes.

Economics

Low-budget / Independent Filmmaking

A scene from November (2004), one of many low-budget films shot on digital video.

For the last 25 years, many respected filmmakers like Francis Ford Coppola and George Lucas have predicted that electronic or digital cinematography would bring about a revolution in filmmaking, by dramatically lowering costs. Image File history File links A screenshot of Courteney Cox in the promotional trailer for the film November (2004). ... Image File history File links A screenshot of Courteney Cox in the promotional trailer for the film November (2004). ... November is a psychological thriller film first screened at film festivals in 2004 (see 2004 in film). ... Francis Ford Coppola (born April 7, 1939) is a five-time Academy Award winning American film director, producer, and screenwriter. ... George Walton Lucas, Jr. ...

For low-budget and so-called "no-budget" productions, digital cinematography on prosumer cameras clearly has cost benefits over shooting on 35mm or even 16mm film. The cost of film stock, processing, telecine, negative cutting, and titling for a feature film can run to tens of thousands of dollars according to From Reel to Deal, a book on independent feature film production by Dov S-S Simens. Costs directly attributable to shooting a low-budget feature on 35mm film could be $50,000 on the low side, and over twice that on the high side. In contrast, obtaining a high-definition prosumer camera and sufficient tape stock to shoot a feature can easily be done for under $10,000, or significantly less if, as is typically the case with 35mm shoots, the camera is rented. Prosumer refers to one of two possible portmanteaus formed by contracting either the word producer or professional with the word consumer. ... It has been suggested that this article or section be merged with photographic developer. ... It has been suggested that multiple sections of 24p be merged into this article or section. ... Negative Cutting (also known as Negative Matching and Negative Conforming) is the process of cutting motion picture negative to match precisely the final edit as specified by the film editor. ... Comparison of uppercase text weight Adobe Garamond with uppercase Adobe Garamond Titling. ...

If a 35mm print of the film is required, an April 2003 article in American Cinematographer found the costs between shooting film and video are roughly the same. The benefit to shooting video is that the cost of a film-out is only necessary should the film find a distributor to pick up the cost. When shooting film, the costs are upfront and cannot be deferred in such a manner. On the other hand, the same article found 16mm film to deliver better image quality in terms of resolution and dynamic range. Given the progress digital acquisition, film recording, and related technologies have seen in the last few years, it is unclear how relevant this article is today.

Most extremely low-budget movies never receive wide distribution, so the impact of low-budget video acquisition on the industry remains to be seen. It is possible that as a result of new distribution methods and the long tail effects they may bring into play, more such productions may find profitable distribution in the future. Traditional distributors may also begin to acquire more low-budget movies as better affordable digital acquisition eliminates the liability of low picture quality, and as they look for a means to escape the increasingly drastic "boom and bust" financial situation created by spending huge amounts of money on a relatively small number of very large movies, not all of which succeed. The phrase The Long Tail (as a proper noun with capitalized letters) was first coined by Chris Anderson in a 2004 Wired Magazine article [1] to describe certain business and economic models such as Amazon. ...

Hollywood

On higher budget productions, the cost advantages of digital cinematography are not as significant, primarily because the costs imposed by working with film are simply not major expenses for such productions. Two recent films, Sin City and Superman Returns, both shot on digital tape, had budgets of $40 million and close to $200 million respectively. The cost savings, though probably in the range of several hundred thousand to over a million dollars, were negligible as a percentage of the total production budgets in these cases. Sin City is a 2005 anthology film written, produced and directed by Frank Miller and Robert Rodriguez. ... Superman Returns is a 2006 superhero film based on the fictional DC Comics character Superman. ...

Rick McCallum, a producer on Attack of the Clones, has commented that the production spent $16,000 for 220 hours of digital tape, where a comparable amount of film would have cost $1.8 million. However, this does not necessarily indicate the actual cost savings. The low incremental cost of shooting additional footage may encourage filmmakers to use far higher shooting ratios with digital. The lower shooting ratios typical with film may save time in editing, lowering post-production costs somewhat. Rick McCallum The image above is believed to be a replaceable non-free image. ... Film poster for Star Wars Episode II: Attack of the Clones Star Wars Episode II: Attack of the Clones (2002) is the fifth Star Wars science fiction movie released and the second part of the prequel trilogy which began with Star Wars Episode I: The Phantom Menace. ... In film production the term “Shooting Ratio” refers to the direct relationship between the total amounts of footage shot and that which is used in the final cut of the film. ...

Shooting in digital requires a digital intermediate workflow, which is more expensive than a photochemical finish. However, a digital intermediate may be desirable even with film acquisition because of the creative possibilities it provides, or a film may have a large number of effects shots which would require digital processing anyway. Digital intermediate workflow is coming down in price, and is quickly becoming standard procedure for high-budget Hollywood movies. Digital intermediate (often abbreviated as DI) describes the process of digitizing a motion picture and manipulating color and other image characteristics to change the look, and is usually the final creative adjustment to a movie before distribution in theaters. ...

Industry Acceptance of Digital Cinematography

Sin City shot using the Sony HDC-950

For over a century, virtually all movies have been shot on film and nearly every film student learns about how to handle 16mm and 35mm film. Image File history File links Download high resolution version (545x695, 155 KB)Screenshot of Sin City and Making-of documentary This is a screenshot of a copyrighted movie or television program. ... Image File history File links Download high resolution version (545x695, 155 KB)Screenshot of Sin City and Making-of documentary This is a screenshot of a copyrighted movie or television program. ... Sin City is a 2005 anthology film written, produced and directed by Frank Miller and Robert Rodriguez. ... Lars von Trier shoots Dogville using a Sony HDW-F900 The Sony CineAlta series of cameras are high definition video cameras geared toward motion picture production. ...

Today, digital acquisition accounts for the vast majority of moving image acquisition, as most content for broadcast is shot on digital formats. Most movies destined for theatrical release are still shot on film, however, as are many dramatic TV series and some high-budget commercials. High-end digital cinematography cameras suitable for acquiring footage intended for theatrical release are on the market since 1999/2000, and have meanwhile gained widespread adoption.

Some notable high-profile directors that have shot with digital equipment include

• Bryan Singer - Superman Returns,
• Mel Gibson - Apocalypto,
• David Fincher - Zodiac,
• Michael Mann - Miami Vice, Collateral,
• Steven Soderbergh - Guerillia,
• Francis Ford Coppola - Youth without Youth
• George Lucas - Star Wars Episode II and III,
• Robert Altman - A Prairie Home Companion,
• Robert Rodriguez - Sin City, Grindhouse,
• Lars von Trier - Dogville, Manderlay,
• Michael Moore - Bowling for Columbine,
• Sylvester Stallone - Rocky,
• Peter Jackson - Crossing the line,
• David Lynch - Inland Empire,
• James Cameron - Ghosts of the Abyss, Aliens of the Deep,
• Jean-Jacques Annaud - Two Brothers,
• Tim Burton - Corpse Bride

Some of these directors are strong supporters of the change from film to digital, some of them declare that it depends on the particular movie. Bryan Singer (born September 17, 1965) is an American film director. ... Superman Returns is a 2006 superhero film based on the fictional DC Comics character Superman. ... Mel Columcille Gerard Gibson AO (born January 3, 1956) is an American born Australian actor, director, and producer. ... Apocalypto is an Academy Award-nominated 2006 film directed by Mel Gibson. ... David Leo Fincher (born August 28, 1962) is an American music video and film director known for his dark and stylish portraits of the human experience, particularly Fight Club and Se7en. ... The term zodiac denotes an annual cycle of twelve stations along the ecliptic, the apparent path of the sun across the heavens through constellations that divide the ecliptic into twelve equal zones of celestial longitude. ... Michael Mann is the name of: Michael Mann (film director) (born 1943) Michael Mann (scientist), climate researcher. ... This article does not cite any references or sources. ... Collateral could mean: Collateral in finance means a security or guarantee (usually an asset) pledged for the repayment of a loan if one cannot procure enough funds to repay. ... Steven Andrew Soderbergh (born January 14, 1963 in Atlanta, Georgia) is an American film producer, screenwriter, cinematographer, editor, and Oscar-winning director. ... Francis Ford Coppola (born April 7, 1939) is a five-time Academy Award winning American film director, producer, and screenwriter. ... George Walton Lucas, Jr. ... Star Wars is an epic science fantasy saga and fictional universe created by George Lucas during the late 1970s. ... Robert Bernard Altman (February 20, 1925 – November 20, 2006) was an American film director known for making films that are highly naturalistic, but with a stylized perspective. ... This article is about the radio show. ... Robert Anthony Rodriguez (born June 20, 1968) is an American writer and film director who is known for making profitable, crowd-pleasing independent and studio films with fairly low budgets and fast schedules by Hollywood standards. ... Cover of Sin City shows Marv walking through the rain. ... Exploitation films is a loosely defined term to describe a film genre that typically sacrifice the traditional notions of artistic merit for a more sensationalistic display, often featuring excessive sex, violence, and gore. ... Lars von Trier (born Lars Trier, April 30, 1956) is a Danish film director closely associated with the Dogme95 collective, calling for a return to plausible stories in filmmaking and a move away from artifice and towards technical minimalism. ... Dogville is a 2003 movie written and directed by Lars von Trier, starring Nicole Kidman, Paul Bettany, Lauren Bacall, Chloe Sevigny, Stellan Skarsgård and James Caan, among others. ... For the fictional estate, see Manderley; for the Burmese city, see Mandalay. ... Michael Francis Moore (born April 23, 1954) is an American political-activist, a film director, author, social commentator, and political humorist. ... Bowling for Columbine is a controversial documentary film written, directed, produced by, and starring Michael Moore. ... Sylvester Stallone (born July 6, 1946) is a two-time Academy Award-nominated American actor, director, producer and screenwriter. ... Rocky is a 1976 film written by and starring Sylvester Stallone and directed by John G. Avildsen. ... Peter Jackson CNZM (born October 31, 1961) is a New Zealand filmmaker best known as the director of The Lord of the Rings trilogy, which he, along with Fran Walsh, his long time partner, and Philippa Boyens, adapted from the novels by J. R. R. Tolkien. ... David Keith Lynch (born January 20, 1946, in Missoula, Montana) is an American filmmaker. ... There are three places in the United States called the Inland Empire: Inland Empire (California) Inland Empire (Georgia) Inland Empire (Pacific Northwest) Inland Empire, a film by David Lynch This is a disambiguation page — a navigational aid which lists pages that might otherwise share the same title. ... James Francis Cameron (born August 16, 1954) is a three-time Academy Award winning director, producer and screenwriter. ... Jean-Jacques Annaud Jean-Jacques Annaud (born October 1, 1943) is a French film director. ... Categories: Movie stubs | 2004 films ... Timothy Tim William Burton (born August 25, 1958) is an Academy Award-nominated American film director, writer and designer known for his off-beat and quirky style. ... Tim Burtons Corpse Bride is a 2005 Academy Award-nominated stop-motion-animation film based loosely on a 19th century Russian-Jewish folktale version of an older Jewish story and set in a fictional Victorian era England. ...

Directors Steven Spielberg, M. Night Shyamalan, Martin Scorsese, Ridley Scott, and Oliver Stone belong to the opposing camp, and have vowed to continue to shoot on film^{[citation needed]}. Steven Allan Spielberg KBE (born December 18, 1946)[1] is an American film director and producer. ... Manoj Nelliattu Shyamalan (born August 6, 1970), known professionally as M. Night Shyamalan , // (SHAH-ma-lawn), is an American actor, Academy Award-nominated film writer, and director. ... Martin Marcantonio Luciano Scorsese (IPA: AmE: ; Ita: []) (born November 17, 1942) is an Academy Award, Golden Globe, BAFTA, and Directors Guild of America award winning American film director, writer and producer and founder World Cinema Foundation. ... Sir Ridley Scott (born November 30, 1937 in South Shields, County Durham) is an influential Academy Award-nominated English film director, and producer. ... William Oliver Stone (born September 15, 1946), known simply as Oliver Stone, is a three-time Academy Award-winning American film director and screenwriter. ...

Some directors have expressed an openness for either format, such as Jean-Jacques Annaud who used 35mm and HDCAM together for Two Brothers^{[citation needed]}, or Quentin Tarantino, who, while he ended up shooting his contribution on film, expressed an interest in digital acquisition for Grindhouse [9]. Jean-Jacques Annaud Jean-Jacques Annaud (born October 1, 1943) is a French film director. ... Betacam and VHS size comparison Betacam SP L, Betacam SP S, VHS Betacam is a family of half-inch professional videotape formats developed by Sony from 1982 onwards. ... Categories: Movie stubs | 2004 films ... Quentin Jerome Tarantino (born March 27, 1963) is an American film director, actor, and screenwriter. ... Grindhouse is a 2007 anthology film co-written, produced and directed by Robert Rodriguez and Quentin Tarantino. ...

Lower-budget and limited-release movies have adopted digital cinematography at a somewhat faster pace, although some filmmakers still choose to shoot such productions on 16mm film, the traditional medium for that market segment.

As the digital intermediate process gains wider use even for finishing movies shot on film, and as digital acquisition technology continues to improve, it seems likely digital cinematography will continue to gain wider acceptance. furthermore, most film-originated movies are printed on 2K as well. Digital intermediate (often abbreviated as DI) describes the process of digitizing a motion picture and manipulating color and other image characteristics to change the look, and is usually the final creative adjustment to a movie before distribution in theaters. ...

Digital technology has eclipsed analog alternatives in many other content creation and distribution markets. On the content creation side, digital photo cameras significantly outsell film photo cameras, digital video tape formats like MiniDV have superseded analog tape formats, digital audio workstations have almost entirely replaced multi-track tape recorders, digital non-linear editing systems have displaced Moviola/Steenbeck equipment as the standard means of editing movies, and page layout software running on desktop computers has come to dominate the graphic design industry. On the distribution side, CDs have largely replaced LPs, DVDs have largely replaced VHS tapes, and digital cable systems are displacing analog cable systems. It seems likely that despite current resistance on the part of some in the industry, digital technology will eventually be similarly successful in the feature film acquisition and theatrical exhibition markets. A digital audio workstation (DAW) is a system designed to record, edit and play back digital audio. ... The Tascam 85 16B analogue tape recorder can record 16 tracks of audio on 1 inch (2. ... A Moviola is a device that allows a film editor to view film while editing. ... Steenbeck film editing machine rollers Steenbeck is a brand name that has become synonymous with a type of flatbed film editing suite. ... A Compact Disc or CD is an optical disc used to store digital data, originally developed for storing digital audio. ... Long Playing (LP), either 10 or 12-inch diameter, 33 rpm (actually 33â…“) vinyl gramophone records, first introduced in 1948, were the primary release format for recorded music for about 30 years, from the late 1950s until CDs effectively replaced them in the late 1980s. ... DVD (Digital Versatile Disc or Digital Video Disc) is an optical disc storage media format that can be used for data storage, including movies with high video and sound quality. ... Bottom view of VHS cassette with magnetic tape exposed Top view of VHS cassette with front casing removed The Video Home System, better known by its abbreviation VHS is a recording and playing standard for analog video cassette recorders (VCRs), developed by Victor Company of Japan, Limited (JVC) and launched...

References

1. ^ Trivia for Zodiac (2007), IMDb.

See also

• List of motion picture topics
• Filmizing
• Digital cinema
• Filmmaking
• Independent film
• Russian Ark - The first feature film shot completely in uncompressed high-definition.

This is a list of film-related topics. ... Filmizing (a. ... This article is about digital presentation. ... A film being made in Warsaw, Bracka street Filmmaking is the process of making a film. ... An independent film, or indie film, is usually a low-budget film that is produced by a small movie studio. ... Russian Ark (Русский ковчег) is a 2002 movie by Russian director Alexander Sokurov. ...

External links

• DigitalCinemaNow Pass 35mm film barrier with us. Digital Cinematography Information Center. All in one place. News, Reviews, Community.
• American Cinematographer article about Star Wars: Episode II
• American Cinematographer article about Collateral