With Sony's F55 shaping up to be such a good device, it's reasonable to wonder about the future role of Sony's flagship camera, the F65. We spoke to Richard Lewis, Product Specialist for Cimenatography at Sony Europe, to get some definitive answers
Why is there such a huge difference in the price of some cameras, which might both be supposedly "Cinema Quality"?
You may think we're hammering it a bit with the Sony F65, what with our piece on Belle, and with our forthcoming article on what differentiates the F65 from the F55, but let's be clear about this: we are actually at the point where you can make better films with video than you ever could with celluloid - and that's worth a significant amount of coverage
IBC is a convention for the moving image industry that is second only to NAB. It's an event that's amazing in its size and scope. We haven't been around long enough to have our own official awards, so here's my own ideosyncratic top three from this year's show, in reverse order
Unlike the vast majority of independent films, we decided to film “La Vie Nous Appartient” with a high-end camera - in this case, the Sony F65. This might have seemed a somewhat daunting task, considering our more than low budget, and our choice to film all by hand in a rocky terrain. But it was important to us to give our sensitive story the quality it deserved