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Sony announces its new FX6 full-frame cinema camera with 10-bit 4:2:2 4K/120p internal recording

22 Nov

Sony has announced the launch of its new FX6 full-frame 4K cinema camera, which merges Sony’s cinema technology and form factor with advanced imaging technologies taken from its Alpha mirrorless camera systems.

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At the core of the camera is a 4K 10.2-megapixel full-frame backside-illuminated CMOS Exmor R sensor powered by a Sony Bionz XR image processing engine — likely the same setup used in the Sony a7S III. Sony notes the sensor offers 15+ stops of dynamic range and has a maximum ISO of 409,600 for ultra-low-light shooting.

The FX6 captures 10-bit 4:2:2 full-frame footage at 120 frames per second (fps) at 4K and 240 fps in 1080. If you use the onboard 12G-SDI port, the FX6 can output 16-bit SDI Raw 4K/60p video. Sony has also added its S-Cinetone look profile, which is inspired by its Venice colorimetry and also found in the company’s FX9 cinema camera.

Footage is stored to one or both of the camera’s dual CFexpress Type A card slots, which are also backwards compatible with SD UHS-II cards. It’s worth noting though that any recording over 100 fps will require the use of the faster CFExpress Type A cards, as even UHS-II SD cards won’t have the bandwidth to get the job done.

Below are still frames pulled from footage captured with the FX6:

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The FX6 uses Sony’s E-mount for attaching lenses, making it compatible with more than 50 native lenses and countless dozens third-party lenses. The FX6 features the same 627-point Fast Hybrid AF system found in the FX9 and Sony’s Alpha mirrorless cameras, including advanced Face Detection and Real-time Eye AF. The FX6 also has internal electronic variable ND filters, which can be manually adjusted ‘in smooth increments from 1/4 to 1/128.’ Below is a video demonstration of the FX6’s electronic ND filter at work:

The FX6 is constructed of a magnesium alloy chassis that measures 11.6cm (4.6”) x 15.3cm (6”) x 11.4cm (4.5”) and weighs 890g (1.96lbs). The included 3.5” LCD viewfinder can be attached to various locations on the body, thanks to its modular design.

Other features include built-in Wi-Fi, four-channel audio recording and compatibility with Sony’s Catalyst Browse/Prepare software as well as Sony’s Content Browser mobile app that can be used to monitor video and control focus, iris and even zoom remotely.

The FX6 full-frame cinema camera from Sony will be available for $ 6,000 in December through Sony and authorized retailers. It will also be available as a kit with Sony’s FE 24–105mm F4 G E-mount lens for $ 7,200. Sony is also releasing a new FE C 16–35mm T3.1 G lens in December that will retail for $ 5,500.

Press release:

Sony Electronics Launches FX6 Full-frame Professional Camera to Expand its Cinema Line

FX6 Combines the Best of Sony’s Industry-leading Digital Cinema Technology with Advanced Imaging Features from Alpha™ Mirrorless Cameras

FX6 Product Highlights:

  • 4K 10.2 megapixel full-frame back-illuminated CMOS Exmor R™ sensor
  • Compact and lightweight body design for on-the-go shooting
  • Ultra-high sensitivity with ISO expandable up to 409,600 for very low light conditions
  • 15+ stops of dynamic range[i]
  • S-CinetoneTM look profile, also used in FX9 and inspired by VENICE colorimetry
  • BIONZ XR™ image processing engine, first used in Alpha 7S III
  • Fast Hybrid Auto Focus, also used in Alpha cameras and FX9
  • Recording up to 4K 120p / HD 240p, 10-bit 4:2:2 color depth in full-frame[ii]
  • Support for up to 12G-SDI and 4K at up to 60p 16-bit SDI RAW output
  • Compatible with more than 50 native E-mount lenses

SAN DIEGO – November 17, 2020 – Sony Electronics Inc. today officially announced the FX6 (model ILME-FX6V) camera, the latest addition to Sony’s Cinema Line, a series of products that brings the company’s expertise in imaging technology to a broad range of filmmakers and content creators.

Sony’s Cinema Line, which also includes the VENICE and FX9 cameras, delivers a coveted filmic look cultivated from extensive experience in digital cinema production, as well as enhanced operability thanks to an innovative body design, extensive durability and intuitive customizability.

As part of the Cinema Line, the all-new FX6 incorporates Sony’s core technologies of image sensor, processing engine, and AF (autofocus) performance. FX6 is also compatible with the wide range of Sony E-mount lenses for creative flexibility.

“The new FX6 is the latest example of Sony’s drive to continuously push the boundaries of imaging technology based on the needs of our customers,” said Neal Manowitz, deputy president of Imaging Products and Solutions Americas, Sony Electronics. “With the advancement of our Cinema Line, we are dedicated to enabling the extraordinary skills and talent of today’s content creators and cinematographers. The FX6 leverages technology from Sony’s industry-leading VENICE cinema camera and marries it with the best of Sony’s innovative Alpha mirrorless camera technology.”

Full-frame Cinematic Image Quality

The new camera features a 10.2 MP[iii] full-frame back-illuminated Exmor R™ CMOS sensor that delivers a 15+ stop wide dynamic range[iv] with high sensitivity and low noise. FX6’s base sensitivity is ISO 800 with an enhanced sensitivity setting of ISO 12,800[v] – expandable up to 409,600[vi] – for shooting in low and very low light conditions. It is capable of recording in XAVC All Intra 4:2:2 10-bit depth with stunning image quality in DCI 4K (4096 x 2160 – up to 60p), QFHD 4K (3840 x 2160 – up to 120p[vii]) and FHD (1920×1080 – up to 240p) for incredibly detailed slow motion. When more convenient file sizes are needed, FX6 can record in XAVC Long GOP 4:2:0 8-bit QFHD 4K (3840 x 2160 – up to 120pvii) and 4:2:2 10-bit FHD (1920×1080 – up to 240p). FX6 also includes a BIONZ XR™ image processing engine, first used in the new Sony Alpha 7S III camera, providing up to four times faster processing performance compared to the FS5 II.

Developed with the same expertise as Sony’s world-leading VENICE cinema camera, FX6 offers advanced cinematic color science including S-CinetoneTM for richer tonal reproduction right out of the box as well as S-Log3, S-Gamut3 and S-Gamut3.Cine for post-production flexibility. FX6’s cinematic color science is optimized for premium applications by capturing the maximum dynamic range from the sensor and providing creative freedom. Leveraging the color science of VENICE, FX6 also allows productions to easily match footage with other cameras in the Cinema Line.

Advanced Video Features

Pulling from Sony Alpha’s impressive AF features, FX6 offers Fast Hybrid AF by combining 627-point[viii] focal plane phase-detection AF with advanced Face Detection and Real-time Eye AF in high frame rates with continuous AF, allowing camera operators to effortlessly and precisely track fast-moving subjects in slow motion without losing focus. Fast Hybrid AF works with over 50 native E-mount lenses. The camera can also capture up to five times slow-motion with 4K (QFHD) 120fps.

The new FX6 also offers internal electronic variable ND filters for easy and seamless control of the camera’s filter density. Users can set variable ND to auto or adjust the filter density manually in smooth increments from 1/4 to 1/128 for perfectly exposed images without affecting the depth of field or shutter angle, even during changing lighting conditions. Combined with the camera’s ultra-high sensitivity, the electronic variable ND filter provides users with outstanding creative control in almost any shooting environment.

Made for Content Creators on the Go

Outstanding Mobility and Operability

Built with a durable magnesium alloy chassis, measuring just 4.6 inches x 6 inches x 4.5 inches (116 millimeters x 153 millimeters x 114 millimeters) and weighing just 1.96 pounds (0.89 kilograms), FX6 has a compact and lightweight design making it easy for users to grab and shoot at any time. The new camera includes a heat dissipating structure to keep the camera’s components within their normal operating ranges to prevent overheating, even during extended recording times. FX6 also features a modular design allowing users to easily pair accessories, such as grips and viewfinders, or attach the camera to other mechanisms, such as gimbals and drones.

FX6’s 3.5-inch LCD Viewfinder can be attached on multiple locations of the camera body for added freedom and easy menu control with touch operation. Using a quick access control menu for commonly accessed features, camera operators can change key settings with a single touch – including Codec, Imager Scan Mode, Picture Size and Frequency, Base ISO and Sensitivity, Shooting Mode and Audio Levels.

Professional-level Reliability

In line with professional workflows, FX6 includes a 12G-SDI output that also supports 16-bit RAW, HDMI output, timecode in/out, built-in Wi-Fi and four channel audio recording (via XLR Interface, Multi-Interface Shoe and built-in Stereo Mic). The new camera also features two media slots compatible with CFexpress Type A cards[ix] for higher overall capacity and faster read and write speeds in addition to SDXC UHS-II/UHS-I cards.

Additionally, Sony’s Catalyst Browse/Prepare[x] software facilitates fast and easy editing. Users can import FX6’s image stabilization metadata into Catalyst Browse/Prepare to transform handheld footage into incredibly smooth and stable visuals. FX6 also has a dedicated Clip Flag button to easily filter and locate preferred takes using Catalyst Browse/Prepare. This software also reflects metadata indicating when FX6 is rotated or in its normal position, eliminating the need to rotate footage beforehand. FX6 is also compatible with Sony’s Content Browser Mobile App to easily monitor and control focus, iris, and zoom remotely[xi].

About Cinema Line

Cinema Line is series of professional cameras that have a filmic look, cultivated from Sony’s long experience in digital cinema production, and enhanced operability and reliability that responds to the wide variety of creator’s high demands.

Cinema Line includes the digital cinema camera VENICE, which is highly acclaimed in the feature and episodic production industry, and the professional camera FX9, which is has been popular for documentary and drama production. With the new FX6, Sony brings versatile creative tools to all types of visual storytellers.

FE C 16-35mm T3.1 G E-mount Cinema Lens

The FE C 16-35mm T3.1 G (model SELC1635G) lens, announced at IBC 2019, will be available in December 2020 to pair with FX6, FX9 and other full-frame Sony cameras. This new lens supports intelligent shooting functions unique to E-mount cameras – such as fast and accurate AF within shallow depth of field – while also offering manual focus options in a form factor familiar to professional cinema creators.

The FE C 16-35mm T3.1 G delivers stunning bokeh and corner-to-corner resolution thanks to two XA (Extreme Aspherical) elements with extreme surface precision of 0.01-micron, circular 11-blade apertures in addition to three aspheric lenses that are positioned in a way that effectively reduces field curvature, astigmatism and, in combination with two ED (Extra-low Dispersion) glass elements, reduces color distortion. Additionally, floating focus provides outstanding resolution at every zoom position. The new lens also features Nano AR (Anti Reflection) coating, to reduce flare.

The focus ring offers a 140-degree large angle of rotation for fine control, with distance scale markers for consistent focus reset during multiple takes. Linear Response MF enables smooth manual focus, allowing users to adjust focus accurately and intuitively. Three independent rings for focus, iris and zoom enable users to get the exact creative results they desire. Each ring has the industry standard 0.8mm pitch gear for use of follow focus accessories, and the 114mm barrel diameter is compatible with industry standard matte box accessories. A two-speed servo provides smooth, accurate control of focal length and can be activated from a switch on the lens or a lever on the FX6 Smart Grip.

Pricing and Availability

The new FX6 full-frame Cinema Line camera will be available in December and will be sold for approximately $ 5,999.99 USD and $ 8,048.99 CAD, at a variety of Sony’s authorized dealers throughout North America.

A new kit featuring the FX6 full-frame Cinema Line camera and FE 24-105mm F4 G E-mount Lens will also be available in December and will be sold for approximately $ 7,199.99 USD and $ 9,658.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

The FE C 16-35mm T3.1 G lens will be available in December and will be sold for approximately $ 5,499.99 USD and $ 7,199.99 CAD, at a variety of Sony’s authorized dealers throughout North America.

Exclusive stories about Cinema Line, FX6, FE C 16-35mm T3.1 G and Sony’s other imaging products can be found at www.sonycine.com and www.alphauniverse.com, resources designed to educate and inspire all fans of Sony’s technology for content creation and photography.

Articles: Digital Photography Review (dpreview.com)

 
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Canon confirms the EOS R5 will capture internal 8K/30p video, offer ‘advanced animal AF’

14 Mar

In an uncharacteristic move, Canon Australia has published a press release revealing a number of new details pertaining to the specifications of its upcoming EOS R5 mirrorless camera, in what appears to be an effort to quiet the ongoing speculation regarding what ‘8K’ capabilities the camera will offer. Spoiler alert: Canon’s video-limiting days may be over.

Canon confirms in the press release the EOS R5 will offer 8K internal video recording using the full width of the sensor at up to 30 frames per second (fps). In addition to no crop shooting, Canon notes all 8k modes for the EOS R5 will support Canon’s Dual Pixel CMOS AF technology.

Canon also says the R5 will support ‘advanced animal AF – recognising dogs, cats and birds, relying not only on the eyes of the animal but also the face and body for situations when the eyes are not visible.’

Historically, Canon has been suspected to limit the video capabilities of its non-cinema camera products in order to minimize cannibalization, a name given to the problem of losing sales within a company’s own product lineup by putting what’s considered premium features and capabilities in lower-cost products.

These new details don’t confirm Canon has taken an entirely altruistic approach to its EOS R camera development, but it does show Canon is getting serious about video in its mirrorless lineup and is determined to make a statement in the market compared to the likes of the Sony’s a7 III and Nikon’s Z7, two full-frame mirrorless cameras that have, until now, been above and beyond what Canon has offered with its EOS R and RP mirrorless cameras.

Sydney, AUSTRALIA, 13th March 2020: Canon INC has today released further development specifications for its recently announced Canon EOS R5, the next-generation full-frame interchangeable lens camera in the company’s EOS R System. These additional details come exactly one month since Canon released the development announcement of the EOS R5 and shut down speculation that some of its revolutionary specifications are ‘a fantasy’.

Signalling a new phase of Canon 5-Series imaging and a revolution in the mirrorless full camera category, Canon’s EOS R5 will offer every photographer – not just professionals – access to high-quality imaging, cutting-edge 8K movie recording, new approaches to in-body image stabilisation, and revolutionary subject detection and tracking performance features.

New possibilities for movie performance
Unleashing new possibilities, Canon Inc. confirms the EOS R5’s video capabilities will exceed that of competing cameras on the market1. With its ability to internally record 8K using the full width of the sensor at up to 30p, the latest Canon EOS R camera is set to redefine mirrorless with its market-leading features. In addition, in all 8K modes the EOS R5 will support Canon’s renowned Dual Pixel CMOS AF.

A beast for subject detection and tracking performance for animals and people
Canon Inc. also confirms the EOS R5 supports advanced animal AF – recognising dogs, cats and birds, relying not only on the eyes of the animal but also the face and body for situations when the eyes are not visible.

Jason McLean, Director – Consumer Imaging & Services, Canon Australia, said: “Our EOS 5-Series was developed fifteen years ago to make full-frame cameras accessible to consumers, not just professional shooters. Today, that purpose remains steadfast as we continue achieving the ‘impossible’ to deliver the hybrid needs of content creators who are demanding uncompromised performance to generate more still and motion visual content than ever before.”

“With its game changing 8K movie capabilities, new approaches to image stabilisation, revolutionary subject detection, and compatibility with Canon’s full suite of EF2 and RF lenses, the EOS R5 represents a category revolution as opposed to product evolution in the interchangeable-lens camera market.”

The EOS R5 specifications previously confirmed by Canon include:
• The EOS R5 offers a step-change in performance with an incredible 12fps using the mechanical shutter and the electronic shutter offering 20fps
• The EOS R5 takes Canon’s cutting-edge image stabilisation technology to the next level, by including a newly Canon-developed, in-camera image stabilisation system – which works in combination with the lens stabilisation system
• With content delivery just as important as image and video capture, the EOS R5 supports automatic transfer of image files from the device to the image.canon cloud platform3
• The highly anticipated EOS R5 will feature dual card slots
• Upon launch, the Canon EOS R5 will also be supported by Canon Australia’s 5-year warranty when purchased from an authorised local dealer4.

To stay up to date with the latest news and information regarding the EOS R5, register here: www.canon.com.au/preference-and-settings/in-focus.

1 As of 13th March 2020
2 When used with Canon’s EF-Series lens mount
3 Automatic file transferring, available for cameras equipped with the automatic file transfer function, beginning with the currently-in-development EOS R5 (announced on 13 February 2020), requires users to connect the camera to a Wi-Fi access point that has been registered in advance
4 For full details on Canon Australia’s 5 year warranty, visit https://www.canon.com.au/support/warranty

Articles: Digital Photography Review (dpreview.com)

 
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Canon patent application details hybrid speedlight with active cooling via internal fan

04 Nov
The fan, labeled ‘155,’ is located on the bottom of the flash head.

A recent patent application from Canon details the schematics for a hybrid speedlight that has built-in cooling for keeping the speedlight cool with continuous use.

Japanese patent application 2019-185021 shows various ways in which a fan underneath the flash head of the speedlight would pull in air from the ambient environment, direct it over the front of the main flash tube and cycle it out to keep temperatures at a more manageable level. Interestingly, the patent also shows a pair of LED lights above and below the main flash tube, the reason we consider this a ‘hybrid’ speedlight.

Various illustrations in the patent show how the air would be channeled through the flash head depending on where the flash tube is located inside the speedlight. This particular example shows how the air would flow in front of the flash tube (and LED lights, labeled 102 and 104) and cycle out of the speedlight via the empty space behind the flash head and LED lights.

The patent doesn’t specify whether or not the cooling mechanism is more for the main flash tube or the LED lights. But, considering fans aren’t necessarily a requirement on traditional speedlights and the incredible amount of heat LEDs can put out — especially in a confined package without much passive cooling — we believe it would make the most sense that this fan would run at times when the LED lights would be on for extended periods of time, where heat could built up without the chance to dissipate in a reasonable timeframe.

As noted by Canon News, who first broke down the patent, the detailed drawings and tech specifications for this speedlight indicate that quite a bit of work has gone into it already. As with all patents, it might never see the light of day, but it’s an interesting concept nonetheless.

Articles: Digital Photography Review (dpreview.com)

 
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Canon Korea promo video confirms the RF 70-200mm F2.8 lens won’t have internal zoom

10 Oct

A new video from Canon Korea gives us a closer look at Canon’s upcoming RF L F2.8 trinity and confirms what we’ve suspected from the get-go with the upcoming RF 70-200mm F2.8—it won’t be an internal zoom.

The 72-second video shows off sample images and specifications from each of the three lenses Canon showed off earlier this year: the RF 15-35mm F2.8 L IS USM, RF 24-70mm F2.8 L IS USM and RF 70-200mm F2.8 L IS USM.

As expected from the first time we saw the ridiculously compact 70-200mm F2.8 L IS USM, the lens will have an extending section for when shooting at longer focal lengths, as seen in the animated GIF above. This video marks the first time we’ve seen the extending section in action and as seen in the video, the zoom ring will have a rather short throw when going from 70mm out to 200mm.

Pricing and availability for these three lenses are still up in the air, but we expect to find out before the end of the year based on Canon’s own lens roadmaps.

Articles: Digital Photography Review (dpreview.com)

 
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Sony’s FX9 will offer oversampled 4K 4:2:2 10-bit internal recording, Dual Base ISO and more

14 Sep

Sony has unveiled the FX9, a new XDCAM camera that features a 6K full-frame sensor, a hybrid autofocus system and, most interestingly, an E-mount for attaching lenses.

The camera is based around a newly-developed 6K Exmor R sensor that features over 15 stops of dynamic range, Dual Base ISO (ISO 800 and 4000 in S-Log 3) taken from Sony’s Venice cameras and internal oversampled 4K 4:2:2 10-bit recording. Sony does note though that the FX9 will only support 3840×2160 recording at launch with full 4096×2160 recording following in a future update. The FX9 is also capable of capturing Full HD at 120 frames per second.

The Fast Hybrid AF system features a 561-point phase-detection AF sensor that covers roughly 94 percent the width and 96 percent the height of the imaging area. Sony has also taken inspiration from its FS7 series and included a continuously variable electronic variable neutral density (ND) filter.

An illustration comparing Sony’s Exmor CMOS sensor to its new Exmor R CMOS sensor.

The FX9 is also capable of recording image stabilization metadata that will be able to be imported into Sony’s Catalyst Browse/Prepare software to precisely stabilize footage in post-production via an update expected to be out in December 2019. Sony says other post-production software developers are being encouraged to adding this functionality as well.

A list of selectable framerates on the FX9 in both full-frame and Super 35 modes.

Sony has also made the FX9 compatible with existing and new accessories, including Sony’s UWP-D wireless microphones, the XDCA-FX9 extender kit that enables 10-bit Super35 4K video at 120 fps (as well as 16-bit Raw output in an upcoming update) and additional accessories.

To pair with the FX9, Sony has announced the FE C 16-35mm T3.1 G, an E-mount lens designed to work hand-in-hand with the new E-mount camera system. The lens features two Extreme Aspherical (XA) elements, an 11-blade aperture diaphragm and floating focus groups to offer improved focusing across the entire zoom range.

The FX9 will be available ‘towards the end of 2019’ while the FE C 16-35mm T3.1 G lens is set for a spring 2020 release. Pricing information hasn’t yet been confirmed for either units.

Sony Launches FX9 4K Camera with Newly-Developed Full-frame Sensor, Dual Base ISO and Fast Hybrid Auto Focus System

Next generation camera offers greater flexibility to bring artistic vision to life

SAN DIEGO, CA — SEPTEMBER 13, 2019 — At IBC 2019 in Amsterdam, Sony today unveiled the PXW-FX9, its first XDCAM camera featuring an advanced 6K² full-frame sensor and Fast Hybrid Auto Focus (AF) system. The new camera offers content creators greater creative freedom and flexibility to capture stunning images that truly resonate with audiences.

Building on the success of the PXW-FS7 and PXW-FS7M2, the FX9 uniquely combines high mobility with an advanced AF system, impressive bokeh and slow-motion capabilities thanks to its newly-developed sensor. The FX9 also inherits its color science and a Dual Base ISO from the VENICE digital motion picture camera, creating the ultimate tool of choice for documentaries, music videos, drama productions and event shooting.

The FX9 was designed in close collaboration with the creative community and is an example of Sony continuously evolving cameras to innovate for the customer and market needs. The FX9 benefits from the versatility, portability and performance expected of an FS7 series “Run & Gun” style camera, while also offering High Dynamic Range and full-frame shooting features.

“We are always listening to our customer’s voice, pushing to deliver innovation that allows them to realize their full artistic intention,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “With the new FX9, we are striking an attractive balance between agility and creative performance. We’ve combined the cinematic appeal of full-frame with advanced professional filmmaking capabilities in a package that’s extremely portable and backed by the extraordinary versatility of Sony E-mount.”

Powerful features

The newly-developed Exmor RTM sensor offers wide dynamic range with high sensitivity, low noise and over 15 stops of latitude that can be recorded internally in 4K³ 4:2:2 10bit. Oversampling of the full-frame 6K sensor’s readout allows professionals to create high-quality 4K footage with impressive bokeh effects through shallow depth of field, while wide-angle shooting opens new possibilities for content creators to express their creativity.

A dual base ISO of 800 and 4000 enables the image sensor’s characteristics to best capture scenes from broad daylight to the middle of the night. With S-CinetoneTM color science, the new sensor can also create soft and alluring facial tones. The camera can also capture content up to five times slow-motion with Full HD 120fps shooting played back at 24p.

The shallow depth of field available with a full-frame image sensor requires precise focus control, and the enhanced Fast Hybrid AF system, with customizable transition speeds and sensitivity settings, combines phase detection AF for fast, accurate subject tracking with contrast AF for exceptional focus accuracy. The dedicated 561-point phase-detection AF sensor covers approximately 94% in width and 96% in height of the imaging area, allowing consistently accurate, responsive tracking – even with fast-moving subjects while maintaining shallow depth of field.

Creative freedom

Inspired by the high mobility “Run & Gun” style approach from the FS7 series of cameras, the FX9 offers content creators shooting flexibility thanks to a continuously variable Electronic Variable ND Filter. This enables instant exposure level changes depending on the filming environment, such as moving from an inside space to outdoors or while filming in changing natural light conditions.

Additionally, the FX9’s image stabilization metadata can be imported to Sony’s Catalyst Browse/Prepare? software, to create incredibly stable visuals even in handheld mode. Sony is also working to encourage third-party non-linear editing tools to adopt this functionality.

The FX9 comes with a wide range of customizations and expansion features. These include compatibility with the new UWP-D series of wireless microphones via Multi Interface Shoe™ (MI Shoe) with digital audio interface, the XDCA-FX9 extender kit enabling 10bit Super35 4K 120fps and 16bit RAW output in a future update, compatibility with Sony BP-GL and BP-FL series batteries, D-Tap, RJ-45 interface and stable “Dual Link” streaming by using two carrier lines, as well as DWX slot-in type digital wireless receiver commonly used in broadcasting settings?. The FX9 will also be compatible with the newly launched E-mount lens FE C 16-35mm T3.1 G, which uniquely balances full manual operability for professional cinema shooting and auto-control functions.

“What narrative cinematographers, documentary filmmakers, music video directors and broadcasters have in common is a need for a flexible camera that allows them to tell unique stories, no matter the environment in which they operate. As a next-generation professional camera, the FX9 captures stunning visuals with the lifelike image quality available from a full-frame sensor, while adding the benefits of advanced auto focus features and customization. This makes it the ultimate creative tool for modern storytellers,” concludes Neal Manowitz.

The FX9 will be available towards the end of 2019 and on display at the Sony stand (A10, Hall 13) at IBC 2019 September 13th– 17th. For more information, please visit www.pro.sony/ibc.

A variety of additional content related to Sony’s cinema imaging products, including articles, videos and events, can be found at www.sonycine.com.

¹Initially supported recoding aspect is 16:9; 17:9 (active about 19M pixels) will be supported by future update.

²6K Oversampling; not capable of 6K recording.

³3840×2160 recording is initially supported; 4096×2160 recording will be supported by future update.

?Planned to be supported by Ver.2019.2 in December 2019.

A future update will be scheduled sequentially for summer 2020. Further details will be announced.

Sony Unveils Full-frame E-Mount Cinema Lens FE C 16-35mm T3.1 G, Designed for High Optical Performance and Reliable Operability

Lens offers greater flexibility for video content creation, with servo zoom and autofocus/autoexposure system

SAN DIEGO, CA — SEPTEMBER 13, 2019 — At IBC 2019 in Amsterdam, Sony today introduced a new full-frame E-mount, 16-35mm lens (FE C 16-35mm T3.1 G) to accompany the newly announced FX9 full-frame camera. The lens offers high optical performance, reliable operability and intelligent shooting functions for cinematographers. It is compatible with the full range of Sony’s E-mount cameras – from Alpha™ interchangeable lens cameras to the VENICE digital cinema camera – bringing unprecedented creative flexibility for all content creators. Sony also announced their intention to expand the FE C Cinema Lens line-up going forward.

“The performance of our new E-mount Cinema Lens series offers filmmakers greater creative freedom and helps them concentrate on their artistic vision. Encompassing the full range of Sony E-mount cameras, our “One Mount” solution is the most powerful system designed for today and for the future,” comments Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics.

Lens for a new age of full-frame video shooting

The new lens is compatible with the intelligent shooting functions of E-mount. Paired with the new full-frame FX9 camera, it supports fast and accurate auto focus, making it possible to track quick-moving subjects while maintaining a shallow depth of field.

Stunning bokeh and corner-to-corner resolution

The two XA (Extreme Aspherical) elements with extreme surface precision of 0.01-micron, together with circular 11-blade apertures, deliver beautifully smooth bokeh in every frame. The two XA elements and three aspheric lenses are positioned in a way that effectively reduces field curvature, astigmatism and, in combination with two ED (Extra-low Dispersion) glasses, reduces color distortion. Additionally, floating focus employs two focusing groups, providing outstanding resolution at every zoom position. Nano AR (Anti Reflection) coating drastically reduces flare and ghost phenomenon.

Excellent operability with three independent rings, remote control from the camera, and a detachable servo zoom

The new E-mount lens further offers accurate and precise operability thanks to three independent rings for focus, zoom and iris that content creators can manipulate to get the exact results they desire. The linear response Manual Focus (MF) feature provides direct adjustment for precise and repeatable manual focusing. The focus ring with a large rotation angle also includes a distance scale, which makes it possible to quickly and easily set the same focus position during scenes that need to be shot repeatedly.

The new range also supports a number of lens accessories to facilitate a variety of different shooting styles. The industry standard 0.8mm pitch gear on each lens ring provides the option to use follow focus and remote actuators. Equally, the widely-available 115mm diameter matte box and lens support can be used to aid accurate, responsive and precise operability. Additional functions include a de-clickable iris ring that prevents unintended iris change during shooting, the option to reverse the rotation direction of the zoom ring to be fitted with user’s preference and detachable servo zoom that provides smooth zooming expression.

The new 16-35mm (FE C 16-35mm T3.1 G) will be available in Spring 2020.

To learn more about the new cinema lens, visit Sony stand (A10, Hall 13) at IBC 2019 September 13th-17th. For more information please visit www.pro.sony/ibc.

A variety of additional content related to Sony’s cinema imaging products, including articles, videos and events, can be found at www.sonycine.com.

Articles: Digital Photography Review (dpreview.com)

 
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The Sony RX0 II offers internal 4K/30p recording, improved Eye AF and a flip-up LCD screen

27 Mar

Sony has announced the RXO II, an ultra-compact camera that packs a lot of tech and specs into tiny device that’s roughly the size of a GoPro camera.

At the heart of the second-generation device is a 1″-type Exmor RS CMOS sensor, powered by Sony’s BIONZ X image processing engine that features a sensitivity range of ISO 80-12800. The camera uses a 15.3-megapixel crop from a 20MP sensor.

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In front of the sensor is a ZEISS Tessar T* 24mm-equivalent F4.0 fixed wide-angle lens that has a minimum focusing distance of 20cm. The device measures 59mm x 40.5mm x 35mm and weighs just 132g. Its ruggedized frame keeps the internals waterproof down to 10m (32.7ft), shockproof up to 2m (6.5ft), crushproof up to 200KG of force and rustproof.

One of the most interesting additions is an updated LCD screen that tilts upward 180-degrees, downward 90-degrees and even works underwater. This addition will be a welcomed addition for vloggers and the selfie-obsessed, but it should also prove useful when trying to get footage in hard-to-reach situations.

The RX0 II features internal 4K/30p internal recording with full pixel readout and no pixel binning. Sony says ‘by oversampling this data, the appearance of moiré and jaggies is reduced to deliver smooth, high-quality 4K footage with exceptional detail and depth.’ The camera also features high frame rate filming at up to 1,000 frames per second, uncompressed 4K HDMI output and simultaneous proxy movie recording. The RX0 II includes Picture Profile, S-Log2 and Time Code / User Bit functions for maximum post-production latitude.

On the photography front, the RX0 II includes an anti-distortion shutter up to 1/32,000th of a second and a maximum burst speed of 16 fps. Sony has improved the color reproduction from the original RX0 and included an optional Soft Skin Effect that can be used when taking portraits to help minimize blemishes.

Below is a sample gallery of images provided by Sony:

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Sony has also improved the Eye AF functionality of the RX0 II. Like the firmware version 5.0 update for the Sony a9, the RX0 II will now lock-on to the eye of a subject when the shutter is half-pressed.

Up to five RX0 II cameras can be synced together and controlled wirelessly using Sony’s Imaging Edge Mobile app. If five cameras isn’t enough an upcoming access point, due for a Summer 2019 release, will be able to control between five and fifty cameras at once. The RX0 II is also compatible with the Camera Control Box CCB-WD1, which is able to control up to 100 cameras.

The RX0 II will ship in April 2019 and be available at authorized Sony retailers for $ 700 / CAN$ 900.

Articles: Digital Photography Review (dpreview.com)

 
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Major Fuji X-T2 firmware update adds internal F-log recording, slow-mo, and more

09 May

Fujifilm has released a major firmware update for the Fuji X-T2 that may make it even harder for owners of that camera to justify the jump to the newly-released Fuji X-H1. As we mentioned in our review—and as Chris and Jordan pointed out in Episode 2 of DPRTV—the price of the X-H1 makes it a tough sell to owners of the X-T2 who have been looking to upgrade. And now, with Firmware Version 4.0, those users may not want to upgrade anymore anyhow.

Version 4.0 replaces version 3.0 (imagine that), and adds nine new features in all. Some of the video highlights include the ability to record 4:2:0 F-log directly to the SD card, and the addition of a 1080p 120fps slow motion mode. There are also major improvements to the Phase Detect AF algorithm, with the low-light limit dropping from +0.5EV to -1.0EV, the maximum aperture increasing from F8 to F11, and “major improvements” in AF-C performance while operating zoom. Finally, a focus bracketing feature has been added that lets you bracketing up to 999 frames in intervals of focus shift between 1 and 10.

There’s no word on whether the X-T2 gains the improved video processing of the X-H1 (it doesn’t gain 200Mbps capture), but this is one of the things we’ll be checking when we re-assess the X-T2 review in the coming weeks.

To learn more about this update or download it for yourself (and if you own an X-T2, you definitely need to download it ASAP), read the release notes below and then pay Fuji’s support website a visit.

Release Notes:

The firmware update Ver.4.00 from Ver.3.00 incorporates the following issues:

  1. Addition of “Focus Bracketing”
    The update will enable the photographer to shoot focus distance bracketing up to 999 frames. When the photographer starts shooting, the focal location is shifted with each activation of the shutter by the step of focus shift set from 1 to 10.
  2. Compatible with the newly developed cinema lens FUJINON MKX18-55mm T2.9 lens and FUJINON MKX50-135mm T2.9 lens
    • Aperture information can be displayed on the monitor. The upgrade allows users to select T-stop or F-stop.
    • The upgrade allows users to check the focus distance with the distance indicator shown on the monitor.
    • Automatically corrects the distortion and the color/brightness shading.
    • Camera automatically calculate the White Balance based on the lens position and deliver the color expressions with Film Simulation modes.
  3. Enlarged and customizable indicators or information
    The upgrade allows users to enlarge indicators and information in the viewfinder and/or LCD monitor. This upgrade will also enable users to customize the location of where the information is shown on the display.
  4. Addition of F-log SD card recording
    The upgrade allows users to record F-log movie data into their SD card.
  5. Addition of 1080/120P high-speed video mode
    The upgrade allows users to shoot 1080/120P high-speed video (1/2, 1/4 and 1/5 speed slow motion), ideal for recording spectacular slow-motion footage.
  6. Enhanced Phase Detection AF
    Latest updates to the AF algorithm provide the following performance enhancements:
    • The low-light limit for phase detection autofocus has been improved by approximately 1.5 stops from 0.5EV to -1.0EV, raising the precision and speed of autofocus in low-light environments.
    • The range at minimum aperture has been expanded from F8 to F11. For example, even when using the XF100-400mmF4.5-5.6 R LM OIS WR with the tele converter XF2X TC WR, phase detection autofocus can now be used.
    • Major improvements have been made to the AF-C performance while operating the zoom, which provides major benefits when shooting sports and other scenarios in which the subjects moves unpredictably.
    • Finely-detailed surface textures of wild birds and wild animals can now be captured at high speed and with high precision as a result of improvement in phase detection autofocus.
  7. Addition of “Flicker Reduction”
    For enhancing the quality of indoor sports photography, the upgrade allows users to reduce flicker in pictures and the display when shooting under fluorescent lighting and other similar light sources.
  8. Addition of “Select Folder” and “Create Folder”
    Enables the user to choose the folder in which subsequent pictures will be stored. And also enable to enter a five-character folder name to create a new folder in which to store subsequent pictures.
  9. New functions are added to store and read of camera settings by FUJIFILM X Acquire
    Once connecting a camera to a computer via USB cable, the “FUJIFILM X Acquire” allows users to backup/restore camera settings to/from a file. With “FUJIFILM X Acquire” (ver.1.7 or newer), CUSTOM REGISTRATION/EDIT settings are also stored and read.

Articles: Digital Photography Review (dpreview.com)

 
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Arri repurposes internal filter tech to create a line of heavy-weight ND filters

24 Aug

Cinema equipment powerhouse Arri has introduced a new line of full spectrum neutral density filters that are designed to be used in front of the lens. The company says it has drawn on its expertise creating internal filtration systems for its ALEXA Mini and the AMIRA movie cameras to produce the new line of eight strengths that range in optical density from 0.3 to 2.4 (1 to 8 stops).

Arri says it has used coatings to reflect infrared wavelengths, which should help maintain a neutral color balance and good contrast, and that the filters are made with Schott B270i glass for its purity and even, parallel surfaces. With new technologies such as high resolution capture and output, as well as HDR viewing, better quality filters are required at the shooting stage, says Arri.

These filters will be available in 6.6 x 6.6in/167.6mm x 167.6mm and 4 x 5.65/101.6mm x 143.5mm sizes will weigh a solid 0.609lbs/276.6g and 0.316lbs/143.5g respectively. No prices have been released yet, but these should be some of the best ND filters on the market when they do launch.

For more information, see the specs below or visit the Arri website.

Manufacturer Information

Full Spectrum Neutral Density Filter

The new ARRI Full Spectrum ND filter serves as the front line of image control. A natural succession to ARRI’s high quality products, this external FSND filter not only provides protection but has a palpable effect on image quality.

Due to the increasing standards of modern deliverables, current industry image quality demands such as Ultra HD, High Dynamic Range, and Wide Color Gamut, and an increase in customer and end-user demand for external filters of the highest quality, ARRI was inspired to create their own FSND external filter. ARRI is already very familiar with premium filters; the ALEXA Mini and the AMIRA cameras come equipped with an internal FSND filter that is highly respected in the industry and purely color neutral. Now, the unsurpassed dynamic range of ARRI’s camera sensors do not have to be diminished or distorted by external filters of lesser quality.

Main Features:

  • Renowned Full Spectrum ND Filters from ALEXA Mini and AMIRA now as front filters
  • Highest contrast and truest color transmittance for HDR capture
  • Multiple layers of coating for easy cleaning and prolonged filter life
  • Long-lasting CORDURA® pouches lined with MICRODEAR® anti-static cleaning cloth
  • Fast inventory tracking through unique, laser-engraved barcodes

Additional Features:

  • Optical quality, Schott B270i glass with completely flat and parallel surfaces for image sharpness
  • Anti-reflective coating for contrast and top HDR deliverables
  • Hard coating for prolonged filter life
  • Hydrophobic and oleophobic coating for easy and fast cleaning
  • C-Shaped, black edge prevents chipping and reflection
  • Anti-static premium pouch for safe storage
  • Engraved, unique barcode for fast inventory tracking and proof of ownership
  • Purely color neutral for true image capture

Articles: Digital Photography Review (dpreview.com)

 
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Autodesk internal discussion about Softimage

30 Aug

Even with 3D Max purchasing Maya via the Alias takeover, their plans for a professional 3D animation package have come up short again.

Created by Vancouver Film School student Sajjad Amjad through the VFS 3D Animation & Visual Effects program.
Video Rating: 4 / 5