Digital Cinema is finally coming of age. Thanks largely to the hard work, dedication and ingenuity of a few people and their companies.
Rob Hummel and the forward thinking engineers at DALSA in the development of the worlds first 4K digital cinema camera, the DALSA Origin. The Origin was most recently used to great effect in a multicam shoot for James Bond “Quantum of Solace”.
The founders and engineers of Silicon Imaging, in developing the SI1920 and SI2K, recording direct to disk in the Cineform RAW codec. The SI2K was used to shoot Oscar Nominated “Slumdog Millionaire”, which includes nominations for best cinematography and best picture. This is testament to the ground many of these once unknown innovators have claimed in recent years.
Cineform, in the development of the industry’s leading compressed digital cinema production workflow and associated codecs and compression algorithms. The above mentioned Oscar Nominated film shows that the workflow Cineform have created has matured into a solid and reliable solution that can compete with traditional uncompressed workflows.
Assimilate Inc, in bringing the worlds most cost-effective, no-compromise, and fully featured, resolution independent DI finishing tool into the mix.
Red Digital Cinema
Of course, last but not least, and some would argue even leading the pack, is Jim Jannard, of Red Digital Cinema. Red Digital Cinema will need no introduction to anyone following this blog I am sure. Jim’s vision and his team of highly skilled engineers have single handedly changed the world of digital cinematography in the last three years. The introduction of the Red One, the worlds first affordable, mass produced 4K digital cinema camera system has brought practical high resolution digital acquisition to the masses.
I have to also mention Vision Research in bringing us ultra high speed digital cinema acquisition with the Phantom.
Other Worthy Mentions
There is of course also Arri, with the D21 and D23, Panavision with the Genesis, and Sony with the F35, who have all made thier contributions, as well as the more expensive DI finishing tools from Autodesk, Quantel, Filmlight and the like, but I would argue that these established and well know large corporations have been far from pushing the limits of the technology or putting it in the hands of the wider independent community of low (and no) budget film makers.
This blog is dedicated to the technology I have introduced here, and the application of this technology in creating beautiful moving pictures.
If you feel I have left anyone out, please feel free to add your comments.