In Hollywood history, 2011 will go down as the year during which the last three companies still making traditional 35-millimeter film cameras—the gently whirring behemoths that directors sit next to on movie sets—all said, in effect, that they were getting out of the business. Film cameras would remain in inventory, but Panavision, ARRI, and Aaton announced that from here on out, all their new models will be digital.
The analog-to-digital transition that is occurring in industries around the world is largely responsible. But special mention should go to a small Southern California company whose technology has stirred the imagination of a roster of legendary directors. The innovation: a line of digital movie cameras that, almost miraculously, are smaller, lighter, and cheaper than film cameras, yet have comparable image quality.
Red Digital Cinema Camera Company, located in Irvine, California, was founded in 1999 by Jim Jannard, who had no experience in the movie business. He was, instead, an entrepreneur who had made a fortune with his line of Oakley sunglasses—must-haves among the California fun-and-sun crowd.
While Jannard is an active participant on Red’s user forums, he rarely gives interviews to reporters. Ted Schilowitz, who was Red’s first employee and serves as a spokesman for the 400-person company, says Jannard originally became intrigued by the idea of a digital camera that would be a no-compromise alternative for feature-movie makers.
That interest in cameras, says Schilowitz, was a logical extension of Jannard’s Oakley business, which also sold prescription glasses and protective goggles for athletes. “Jim is obsessed with the way the world sees things,” Schilowitz says.
In the “standard model” of technological disruption, a relatively inexpensive, low-end product, which at first might appeal only to entry-level users, slowly improves in performance until it meets the demands of even the most discriminating power customers. The PC is the prototypical example; current models have the horsepower that until recently was the exclusive province of supercomputers.
The path Red took was slightly different. Digital movie cameras were already on the market when the Red team began their work. But the image quality of early digital cameras was nowhere near what was required for a feature movie. Quality was improving—but Jannard wanted his first model to leapfrog past all current digital cameras and exceed the strictest performance specs, even for film.