Issue link: http://digital.copcomm.com/i/21561
OUTLOOK JEREMY MCDANIEL Camera Rental Agent Birns & Sawyer www.birnsandsawyer.com North Hollywood Birns & Sawyer is an all-inclusive camera, lighting and grip sales and rental company that’s been a fixture in Hollywood for more than 50 years. STRENGTHS: “There’s been an unexpected shift in affordable acquisition formats since the [Canon EOS] 5D Mark II was released about two years ago. A significant percentage of our business has moved in that direction, and there is still a high demand for HDSLR gear in rentals. It has now sparked the development of new video cameras such as the Panasonic AF100 and the Sony PMW-F3, that integrate larger 4/3s or Super 35mm single-chip sensors. “HDSLRs put something in the hands of filmmakers that they “There is still a high demand for HDSLR gear in rentals.” — Jeremy McDaniel weren’t expecting: a large-format sensor in a camera that cost under $2,500 and was the size of a still camera — it was unheard of. Sud- denly, 1/3-inch video cameras seemed very underwhelming. Everyone, from independent filmmakers to students to large-scale features, com- mercials and music videos, is using HDSLRs, often as B and C cameras. Birns & Sawyer has been persistent about finding ways to turn the cameras into movie-making machines with cinema-style modifications and professional power systems and accessories. “Red has been out long enough that the availability of 4K is really spoiling a lot of people.We’ve gotten used to the fact that shooting 4K is so much cheaper and easier now. Even though it can be a little convoluted, the Red post workflow has put unprecedented resolution and image quality in the hands of production teams that may not be using a post house.The Arri Alexa is the next step in this progression, with ProRes 4:2:2 or 4:4:4 recording direct to SxS memory cards. Anyone with a Mac and [Apple] Final Cut Pro can now edit natively with content acquired from a high-end camera system, compressing and simplifying the whole post production process. “We’re still renting 2/3-inch cameras quite frequently: They’re certainly not falling off in the broadcast arena — they’ve really proved themselves to be workhorse systems.” WEAKNESSES: “Despite the popularity of HDSLRs, they are not professional video cameras and have some sig- nificant limitations.They only record up to 12 minutes at a time, and manual audio control is quite annoying.You have to deal with a rather frustrating HDMI video output when monitor- ing. Using H.264/MPEG-4 compression limits their flexibility in lati- tude, keying and post effects/processing.These are certainly not new problems, and even though camera systems are emerging on the market that will address many of the complaints of many DSLR users, high compression is often the price you pay for affordability. However, the impressive body of work that has stemmed from film- makers working with these cameras is a testament to the fact that what you have to work with matters less than how you utilize it. “Because of advances in the technology and affordability of digital cinematography our film rentals have really diminished.We get maybe three to four jobs a month for 35mm or 16mm, and a lot of customers are students. I’m sure both cinematographers and post production professionals would agree that film has remained the most versatile of acquisition formats. Its quality and aesthetic can’t 32 Post • December 2010 www.postmagazine.com Cameras really be replicated in digital cinematography, and it’s extremely flex- ible in post. But when you can create an equally-impressive product at a fraction of the cost in today’s economy — that changes the pri- orities list, so to speak.” OPPORTUNITIES: “The Arri Alexa is a very strong contender against traditional formats like 35mm. It’s the first digital camera I’ve seen that borders on the flexibility of film, especially when it comes to dynamic range. “The Panasonic AF100 is also an exciting prospect, with a micro 4/3 sensor and the functionality of a video camera at a sub-$5,000 price tag. Featuring on-board tapeless recording to AVCHD and the ability to record 8-bit 4:2:2 via HD/SDI, it’s poised to take over a lot of the current HDSLR business. Plus, companies like Convergent De- sign and AJA have been instrumental in making low-compression ex- ternal recording affordable. In an industry where using several differ- ent cameras on the same shoot has become commonplace, you’re not necessarily limited to what you can record in-camera anymore.” THREATS: “One-third-inch chip video cameras have, in a large part, been surpassed by HDSLRs. Really, what used to be their mar- ket — prosumer/low-end professional — isn’t anymore, and I think they will slowly become more obscure. Around the time of NAB I think people were a bit concerned about the impact of stereo 3D, but I don’t see it replacing 2D formats anytime soon.” HD Camera Rentals supplied cameras for the Danny Boyle-directed film 127 Hours, starring James Franco. OUTLOOK FOR 2011:“We’re waiting to see what happens with Red Epic and Scarlet.There’s been a lot of hype about Scarlet’s af- fordability and feature set; if it comes through as promised it will be a quite the camera. It’s really an ideal for a lot of people: affordable high quality and resolution in a compact size with the flexibility to use a wide range of optics. However, with Red’s reputation, I would- n’t be surprised if someone else might beat them to it. “Now that Panasonic and Sony are getting into the affordable digital cinema market, I think other manufacturers will follow suit. Of course, everyone wants to see what Canon will do, since they started it all with an HD video-enabled still camera, and certainly have the sensor technology to run with. No matter what, I think the way we look at the production process will continue to evolve with higher-quality direct- continued on page 47