[Konvas] DIGITAL CINEMA with ikonoskop

[Rick Garbutt]

I'd call that a "Baby RED"....

...in that it is just HD resolution (1920x1080) and has an S16mm-sized
sensor.  The frame rate is 1-60fps.

It would be super neat if it had a full 35mm-sized sensor... but then it
probably wouldn't be so darn cheap.  At least you can use PL mount lenses.

We STILL keep coming back to something potentially being a "weakest link"
problem.  There's utterly no (optical) point in putting lenses on a camera
if they'll resolve a lot more than the sensor can put out.  Unless you count
some vaporware "prestige" value to parade in front of clients.  Or there's
some wacky follow-focus accessory you just have to use.  If it comes to
that, get a MANLY camera, and get on with it.  (It's irony, ladies - don't
freak out on me...)

As Panasonic has shown by example with their beautifully engineered Varicam
SYSTEM, the lens and sensor are only the start of it.  There's also the
infrastructure of service, not to mention the question of file
compatability.  I've heard reliable-source horror stories about getting RED
files into FCP and Adobe.  If the files were/are a nightmare to deal with in
post, who cares what damn lens was on the front of the camera?

FWIW, one RED postproduction story I heard from a local producer was the
proprietary file mess drove their postpro budget up 75% and potentially
compromised delivery date.  Add that to the cost of your "bargain" camera,
and see if it's still really such a bargain.  Don't forget to stir in the
capital value of the hair you've torn out in the process.  Then there were
location/other gear/crew/talent costs for a day's camera-fault reshoots, but
that was another nightmare on the same show.

Don't get me wrong:  the RED can shoot some beautiful stuff.  But the system
is a long way from being bulletproof.

Of course, being brand-new there is no track record... but Ikonoskop has
been around for quite a while and there are lots of their S16mm A-Cams
floating around.  I've seen some pretty neat footage from them in the past,
since they are so tiny and you can stick them anywhere.  It will be
interesting to see how their electronic version fares.

Indeed, Ford had been around for a long time before they built the Edsel.  I
think each one of these new doodads is going to have to earn its own
stripes, is what I think.  A known manufacturer may be a good start, but
tell me:  how many of you gonna watch a feature movie at home tonight on
your treasured Betamax VCR?  I didn't think so.  No one is immune to the
possibility of carefully building a clunker.

Interesting, for sure...

Absolutely.  But I ain't going to be the first to pony up my own cash to
perform the experiment to see if it really is.  Meanwhile, that Canon is
lurking on the horizon, capable of shooting 1080i (if I remember aright) and
weighing in at about $3.5k.  Now, THAT is potentially REALLY interesting.
Because if it craters completely as a video camera, you know it will still
shoot bad-a** stills.

As for tiny HD, I'm aware of a process being used on CSI - NY (and some
other shows) using an array of 9 (brand witheld) HD cameras shooting 360º
background plates for compositing.  Each camera is about the size of a
Micro-Nikkor 105mm lens.  And what they're doing with these is jaw-dropping.
Odds are you've seen the final result onscreen, and never even knew it.

Best to all,
Rick Garbutt, soc

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