http://www.salon.com/2011/10/
Well...maybe not.
According to American Cinematographer magazine, although the big three have ceased building new film cameras, rental houses are still well stocked with the beasts, although their digital counterparts make up a growing majority of rentals these days. Panavision built its last Panaflex in late 2009, but they continue to maintain and upgrade their existing rental fleet. Perhaps more importantly, Kodak and Fuji have no plans to discontinue production of motion picture film, which is perhaps a better barometer of film's health than the continued manufacture of film cameras. After all, it was common to see 30-year old Mitchell BNC rigs on any given production before the advent of the lighter, smaller Panaflex in 1975.
No one wrote obituaries for Vistavision, Todd-AO or Super Panavision - three wide-screen would-be cinema game-changers. (Vistavision lived on as a special-effects format and is also the basis for OmniMax, while Super Panavision begat the 65mm format used in special effects work on such films as Star Trek and Bladerunner. Todd-AO - now known for sound mixing - was a wide-screen format used for films such as Patton and the original Airport.)
There are still many top-flight cinematographers that haven't embraced digital, either for aesthetic or technical reasons. I'm sure they will eventually, either because of workflow or economic considerations, but I'm guessing that you'll still see plenty of Panavision, Arri and Aaton film cameras on sets for years to come.
On the other hand, once Kodak and Fuji succumb to the digital evolution and long strips of celluloid are found only in art houses or museums, we can all stop abusing the language when we offer to make "a film" for a client!
Onward!
