Film & Digital Times Issues 36-38 - Imago

Camera: Work in Progress
A big surprise came at the end of Juan Martinez’s Sony PMW-F3
SMPTE presentation in New York. With a deadpan delivery, Juan
announced, “And here’s a little something we’re working on.” The
work-in-progress is called Sony NXCAM 35. A few hours later, it
was shown to the Hollywood industry at a USC presentation, and
shortly after, at InterBEE.
The NXCAM 35 will be a tiny E-mount interchangeable lens
digital motion picture camera with a Super 35mm format CMOS
sensor. As part of Sony’s professional NXCAM line, it will be
available in the middle of 2011, presumably after a big splash at
NAB. Price was rumored to be under $6,000. The pictures here
are pre-prototype models; the actual product might be something
completely different. I assume a handgrip, viewfinder, battery,
and microphone will be appended somewhere.
While the Sony PMW-F3 has an EX style mount (with a PL
adaptor), the NXCAM 35 uses a Sony E-mount. This is the same
mount on Sony’s new digital still cameras, NEX-5, and NEX-
3, and the consumer/prosumer “Handycam” NEX-VG10. The
NXCAM 35 will have the same 18 mm flange focal depth and has
a similarly sized APS-C (23.4 x 15.6 mm) sensor. You should be
able to mount almost any 35mm format still or cine lens on the
planet by using adaptors. Next year could be a good one if you
happen to make lens adaptors.
The new camera will record AVCHD: the same format used in
the HXR-NX5 NXCAM camcorder. On the table are plans to
do 1080p (60p / 30p / 24p or 50p / 25p). MPEG4-AVC/H.264
compression will be used.
The NXCAM concept block got me thinking. Where are cameras
headed? How will they be used? What are we learning from the
designs of the past?
Sony’s NXCAM 35 size suggests that, a few years from now,
sensors could be permanently attached to the lens, which would
reduce dust and smudges on the sensor, guarantee flange focal
depth and consolidate multi-mounting standards. The lens and
sensor unit would attach to the recording and viewing “box.”
Speaking of boxes, that’s what many of the latest cameras resemble.
Camera designers should actually try hand-holding (for many
hours) their creations with some of the heavy lenses that will be
fitted to these boxes. Remember the Arriflex 16SR, 35BL, and
Aaton cat-on-shoulder cameras? They were revolutionary because
they could be comfortably placed on a cinematographer’s shoulder,
eyepiece forward, without the need for cumbersome body pods and
back-bending contortions to balance the weight. These cameras
were also notable for their flexibility. They did not assume everyone
was right handed, right eyed and right shouldered.
An eyepiece should be sharp enough to see critical focus, and
work for either eye. Handgrips should mount directly to either
side of the camera body, with rosettes or industry-standard ⅜-16
threads. When handheld or shoulder-resting, camera operators
often like a load as light as possible: no baseplate, no rods, no
mattebox—just handgrips and a clip-on sunshade.
Is this the end of high-end, expensive cameras? I don’t think so.
The high-end will continue to push the envelope, with greater
resolution, range and results. After all, we’re not all driving
Skodas and Smartcars. There is a thriving market for Mercedes,
Maybachs, Lexus, Lamborghinis, and other high-end vehicles.
Dec 2010
29