GEAR CAMERAS
Is it time to think again about what a cinema camera really is? The lines are blurring in interesting ways, finds Adrian Pennington A t a recent presentation to the Hollywood Professional Association, post-production entrepreneur Michael Cioni demonstrated just how far the gap between high-end cine cameras and consumer imaging had shrunk. He made a side-by-side comparison of footage from an ARRI ALEXA Mini, Fujifilm GFX100 and an iPhone 16. All were fitted with the same Nikon prime lenses and shot in the same lighting conditions. “You can see in these results that a camera that costs closer to $100,000 (ALEXA) and $1000 (iPhone) aren’t that dramatically different. This is visual proof that accessibility has got so narrow that we need to think twice about it.” Cioni was urging studios and streamers to relax their thinking around the types of equipment that should be used to create cinema and TV content, otherwise creators and YouTubers will be using technology that’s much less costly and virtually indistinguishable in quality to beat them. There are signs that this is happening – but it’s being led by auteur directors and DOPs prepared to think outside the box. They’re not necessarily choosing
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