Popular though the Arri Alexa is, some people have been deterred from recording the Raw output by the requirement for the camera to be tethered to an outboard recorder which sometimes cost as much to rent as the camera itself! RedShark contributor Freya reports

Why would someone specify a camera before they chose the cinematographer? David Read despairs...

Phil Rhodes holds an F55 for the first time and tells us where he thinks it fits in the digital cinematography marketplace

As we saw in my previous article on sensor technology, we can now build sensors with enormous numbers attached to them - if not trivially, at least reliably. Given that current 4K sensors are more than adequate to replace 35mm film in terms of sheer resolution, we need to be careful about turning this into a numbers game.

Ned Soltz, our East Coast correspondent, has all the details on the new Sony pricing, and how it will stir up the Digital Cinematography marketplace

Today's digital cinematography cameras come with a list of specifications that can excite and baffle in equal measures. There seems to be no end to the debate about resolution, dynamic range, noise and depth of field

Can you make a feature film with an iPhone? Well, "yes" is the answer if you don't mind a slightly fuzzy-looking picture on a big screen, and if you sit far enough away, but you can certainly get a cinematic "look" if you use cinema-type techniques when you make your film, and some software to give your work its finishing touches.

Film always used to be the main thing that determined how a photograph looked. Now, it's the sensor. So camera manufacturers have taken on a huge extra responsibility!

In between IBC and NAB, most of the newly-announced 4K cameras are on sale. So before the expected avalanche of 4K announcements and previews at NAB, we thought we'd ask Phil Rhodes to run though what you can buy now

We're pretty sure Arri doesn't need any help from us to sell their popular Alexa cameras, but we found this clip from an Arri-staged event at IBC 2012 that features Roger Deakins, the award-winning Chief Cinematographer on Skyfall.