Nagai: The F23 is a camera that epitomizes the CineAlta series. This line supports HD1080/24p video production, developed by Sony to meet the needs of the movie industry in Hollywood and elsewhere. The name CineAlta derives from cinema and the Italian word alta, meaning "high." CineAlta became recognized worldwide thanks to the HDW-F900 camcorder, also designed by Hiroki Oka here. Star Wars: Episodes II and III, the Japanese Bayside Shakedown, and other films were shot with this camera, so some readers may have heard of it.
Oka: The CineAlta logo is also something I designed. Its double lines represent film and videotape. Together, they offer a synergy, and because the logo resembles an infinity symbol, it symbolizes the infinite possibilities unfolding. When production for Star Wars: Episode II was finished, George Lucas held a private screening at a theater in Japan for staff at the Atsugi center. Although his busy schedule at the time prevented him from coming to Japan himself, he greeted everyone in a video message at the beginning of the screening. He said that the movie could not have been shot without Sony's Atsugi Technology Center. And the Center is mentioned in the movie's ending credits. After "Special Thanks," we see "And a very special thanks to all the engineers at Sony, Atsugi, Japan," followed by the CineAlta logo scrolling up the screen. We all gave it a standing ovation, of course. To think that the message appears at the end of this movie, which was a hit around the world—When I saw it, I was so touched that it brought a tear to my eye.
Nagai: The HDW-F900 triggered greater adoption of digital production workflows. Based on it, we developed the Panavised F900 jointly with Panavision, which in 2004 was distinguished with the highest honor in the broadcast industry by the Academy of Television Arts & Sciences—an Emmy®. But remember, camcorders were originally developed for broadcast studios, for reporting, TV dramas, and similar uses. The design concept is therefore fundamentally different from that of movie cameras. In this sense, the F23 is the digital movie camera that professionals in movie production have been waiting for.
I expect strong demand for the F23 from people in production. Although it's a highly polished camera as it is, we'll keep in touch with users and continue refining it based on feedback. I see tremendous potential in it. In our business, proven design is critical. It's a field of work involving repeated verification of minute details. This perfectionism takes time and money.
I feel that as we keep setting new standards in performance, the cameras will be even more attractive, more compelling in form and function. Our goal is to offer something that doesn't end up being merely a tool, after all. We want the professionals who pick up a Sony camera to feel the potential to shoot better movies with it; we want to inspire them to take on new forms of expression. Our ideal camera is that special kind of tool, one that excites professionals on a creative level. It's why video production pros have come to trust Sony cameras, and we see it as our mission.