Panavision has announced that they are making new 35 mm anamorphic lenses because of a growing demand for shooting in that format. “One of our main endeavors is in the optics,” Radin continues. “Most DPs will tell you, the camera is not as critical as the lenses. We want lenses that will interface with both film and video cameras, so we are very busy developing new optics and a variety of accessories as well.”

Radin says film cameras are being improved all the time, and points to Panavision’s latest film camera innovation, the Millennium XL2. “It has a totally re-designed electronic system and a higher quality video assist.” In addition, the company says the camera has faster speeds, improved ergonomics, and new mechanics. The XL2 also offers quick conversion between studio, handheld, and Steadicam modes.

Of course, economics also drives the choice of which format to use. Surprisingly, many people turn to film because it often costs less to use than video. This is especially true given the choice between shooting HD vs 16 mm. Lately there has been a noticeable industry trend of many productions ─ such as sitcoms and indie films ─ turning to Super 16 mm instead of digital. In response to this growing trend, ARRI sent shockwaves through the industry when the company announced the introduction of the first, all-new 16 mm studio camera in 30 years, which debuted at NAB last year: the Arriflex 416.

“It’s very interesting,” says Russell. “For years we considered building a new 16 mm camera. We took a look at film sales and 16 mm was going up and up, especially with episodic television.” So why all the fuss over 16 mm? “If you originate in 16, you have the same freedom and latitude as any film camera made in the last 100 years,” Russell asserts. You get the film look and proven archival reliability for any form of distribution. And it is probably cheaper to shoot on 16 mm instead of HD. There’s a reason why film has hung around as long as it has.”  

ARRI offers three versions of this camera, the Arriflex 416, 416 Plus and 416 Plus HS. These cameras are noted for having 35 mm-like features. Each has a 35-style viewfinder and a mirror shutter that can be manually adjusted from 45 to 180 degrees. The 416 and 416 Plus have low sound level similar to that of the Arricam. Their speed range is from 1 to 75 fps, while the 416 Plus HS runs from 1 to 150 fps. I got my hands on the demo model at NAB, and it really is a sexy camera. It has a lightweight, ergonomic design, integrated electronic accessories in the Plus cameras and compatibility with the same lenses and accessories used by their 35 mm siblings. ARRI says the 416 cameras are the most powerful, flexible, and portable Super 16 cameras ever built. They have gotten an amazing response in the industry.

"The viewfinder on the new ARRI 416 Plus camera is great and the balance is terrific," says cinematographer Jim Denault. Jim was the Director of Photography on an HBO movie Recount that airs in May. "More of the weight is behind, compared to the SR3. It is a big improvement, especially for handheld shots. The camera is compact and it has a wireless control box built into the side, which allows for remote control of frame rates, ramping and focus, which was especially useful in tight spaces. The optical quality of the prime lenses is amazing, and if you stop down to T2.8 with the zooms, you start to get image quality that looks similar."