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Posts Tagged ‘Cinema’

Video: This DIY ‘$10,000 selfie stick’ holds a cinema camera and boom mic

04 May

Filmmaker, photographer, and self-professed coffee addict Peter McKinnon has created his own rendition of the infamous selfie stick… on steroids. Meet the $ 10,000 Selfie Stick. This fun, gimmicky DIY creation is McKinnon’s upgrade from the much-maligned (and for a time ubiquitous) pole used to hold a smartphone for self-portrait purposes.

In his video of the project, McKinnon heads to the local hardware store where he purchases bolts and other hardware, as well as a pair of goalie sticks for hockey. The sticks are combined together using tape, and the bolts are used to mount a $ 6,000 cinema camera and $ 400 boom mic (and three Canadian flags) onto the sticks.

The end result? A massive, heavy “selfie stick” that outshines anything you can get off the shelf, but has absolutely no practical use.

Articles: Digital Photography Review (dpreview.com)

 
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ARRI starts certified pre-owned program for second hand cinema cameras

27 Apr

Filmmakers on a budget who prefer using second hand kit will soon have a great certified option at their disposal, as cinema camera manufacturer Arri has started a certified sales program for used Alexa bodies. The company says these pre-owned Alexa Plus and Classic models have gone through extensive servicing and testing before being put on sale, and for additional peace of mind, all of them will come with a one year warranty.

Before you get too excited, you are still going to need at least €9,900 (~$ 12,000 USD) plus tax to get yourself started… and that’s without a lens. So far the company has just eight cameras for sale, including Alexa Plus 4:3 and 16:9 models and a Classic EV, none of which are in the current production line-up.

Still, as the program grows, it will offer more affordable (if not exactly affordable) options for filmmakers with medium-deep pockets and extremely high standards.

To get ARRI’s Approved Certificate, the second hand bodies are checked, serviced, fixed and tested by the company’s service engineers. According to the website, this includes “a thorough check of parameters, including image sensor quality, recording functions, connectors, flange focal distance, audio system, and ARRI Lens Control System.” Furthermore:

The overhaul also includes an update to the latest Software Update Packet (SUP) of the respective model. Repairs are performed as required if any malfunctions are detected. Before the ARRI Certificate of Approval is issued, the equipment goes through the same Final Function Test as new cameras, ensuring it meets the high standards expected of it.

For more information, visit the pre-owned pages on the Arri website.

Press Release

Announcing the ARRI Approved Certified Pre-Owned Program

  • Selected ARRI ALEXA cameras available
  • Comprehensive check and overhaul of all components
  • All cameras subjected to final function test
  • Certified cameras come with one-year warranty

April 24, 2018; Munich, Germany – ARRI announces the introduction of the Certified Pre-Owned Program. The motion picture equipment manufacturer is now offering selected pre-owned and refurbished camera systems of the ALEXA series for sale. “We are excited to offer the ARRI Approved Certified Pre-Owned Program,” says Stephan Schenk, Managing Director of ARRI Cine Technik and General Manager of the Business Unit Camera Systems. “It’s a global initiative which adds a new tier to our products, allowing more filmmakers access to our technology. It also gives educational institutions a cost-effective way of providing high-quality equipment for their students.”

ARRI’s attention to detail and intimate knowledge of conditions on set for over one hundred years have resulted in generations of cameras that are robust, reliable, and simple to operate. Under the ARRI Approved Certified Pre-Owned Program selected ALEXA Plus and ALEXA Classic EVs undergo thorough assessments, are given thorough overhauls, and are recalibrated.

All components—starting with the sensor—are checked to confirm they are fully functioning, and that all systems work as they should. Any parts that require replacement are exchanged.

Christian Richter, Manager Certified Pre-Owned Camera Systems at ARRI, says the program delivers reliability, affordability, and dependability. “It will give more filmmakers access to tools that will enable them to capture stunning images,” he says. “They can be sure that they are not sacrificing performance for price, because the selected ALEXA cameras come directly from the manufacturer and are backed by ARRI’s warranty.”

Before the ARRI Certificate of Approval is issued, the equipment goes through the same final function test as new cameras, ensuring it meets the high standards expected of it. The ARRI approved and certified cameras are also covered by a one-year warranty.

Articles: Digital Photography Review (dpreview.com)

 
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Video: A closer look at NiSi’s new F3 cinema prime lenses

12 Apr

One of the most surprising announcements from NAB this year came from filter maker NiSi, who decided to release a set of cinema prime lenses. No, that’s not a typo. And Cinema 5D’s Nino Leitner was at NAB to see the lenses in person and ask the NiSi rep some questions about the lineup.

The NiSi F3 Cinema Prime lenses cover focal lengths from 25 to 100mm—25mm T2.1, 35mm T2.0, 50mm T2.0, 75mm T2.0, and 100mm T2.0—and give video shooters yet another set of relatively affordable options in a market that is quickly becoming crowded. So the main question Leitner asked was: what makes these special?

The answer is two fold. First, Nisi boasts of the artistic properties of the lenses, which produce flaring with “a lot of character” while maintaining great center resolution. And second, the lenses feature an interchangeable mount; users can swap between Sony E, Canon EF, and PL mounts using a set of standard Allen keys that can be ordered alongside the lenses.

To learn more about these lenses, watch the full video above or check out our launch coverage here.

Articles: Digital Photography Review (dpreview.com)

 
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NAB 2018: This adapter lets you attach huge cinema lenses to your smartphone

12 Apr

A small Shenzhen-based company called Cinematics International Company Ltd. recently caught the eye of No Film School at NAB 2018, and in a second you’ll understand why. The company is showcasing a smartphone DOF lens adapter that enables full-size lenses to be used with an iPhone or Android handset.

Unfortunately, many key details about the adapter—including a product’s name—aren’t provided, but the company representative said Cinematics’ adapter supports just about any lens the user may want to attach to their phone. The product also features a pair of metal handles and what looks like a viewfinder.

When asked whether the handles on the adapter are sufficient enough to support such a large lens, Cinematics’ rep indicated the company has an additional hardware solution for that, one not shown in the video.

It isn’t clear whether Cinematics International Company Ltd. has any immediate plans to sell the adapter—although why would the company bring it to NAB if it didn’t?—but assuming it does, the product will probably appear first on the Cinematics’ eBay store.

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic Design announces Pocket Cinema Camera 4K

10 Apr

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Way back in 2013, Blackmagic Design introduced the Pocket Cinema Camera, a compact camera with a Super 16 sensor that promised cinema recording quality in a body about the size of a Sony a6500. While it delivered high quality footage, many users acknowledged that it felt like a version 1 product, including frustrating issues like fussy behavior, short battery life, and inelegant ergonomics and controls.

At NAB in Las Vegas, Blackmagic finally announced the sequel many were waiting for, the Pocket Cinema Camera 4K. Video shooters will be happy to know that it’s a significant upgrade at a very aggressive price point.

The Pocket Cinema Camera 4K is built around a Micro Four Thirds sensor with dual native ISO and a native DCI 4K (4096×2160) resolution. Although we don’t have any technical information on the sensor, this sounds suspiciously similar to the one used in Panasonic’s GH5S. Blackmagic claims the sensor can capture 13 stops of dynamic range.

Blackmagic finally announced the sequel many were waiting for, the Pocket Cinema Camera 4K. Video shooters will be happy to know that it’s a significant upgrade at a very aggressive price point.

The camera will be able to record DCI 4K at 60 fps and windowed HD (a native 1080 crop) at up to 120 fps in either 10-bit ProRes or 12-bit Raw formats. Various internal recording media are supported including standard SD cards, UHS-II cards, and CFast 2.0 cards.

What’s potentially more interesting, however, is the option to record externally using the camera’s USB-C port. Blackmagic claims it’s the first camera that will let users connect media, like an SSD, directly to the camera’s USB-C port for direct external recording. This means it should be possible to go directly from shooting to working on your computer without transferring data from cards. It seems like a brilliant, if not obvious, use for the USB port.

The Blackmagic Pocket Cinema Camera 4K. Image courtesy of Blackmagic Design

In addition to the USB-C port, there’s also a full sized HDMI port that can output clean 10-bit video, a mini XLR input with 48v phantom power for audio, 3.5mm audio input, and a headphone jack. Power comes from a standard Canon LP-E6 type battery, and there’s a locking DC power connector that protects the camera from being accidentally unplugged.

The camera’s body is made from a carbon fiber polycarbonate composite to keep it both sturdy and light. It has a substantial grip and a top button layout similar to what’s found on many mirrorless cameras, which should improve handling over the original.

Blackmagic claims it’s the first camera that will let users connect media, like an SSD, directly to the camera’s USB-C port for direct external recording.

On the rear is a large 5″ touchscreen for composition, viewing exposure parameters, and useful tools such as a histogram and focus peaking. Notably, Blackmagic doesn’t mention support for waveform displays or vectorscopes.

The camera can capture still photos, though Blackmagic hardly mentions it. Since this camera is clearly aimed at videographers we don’t expect a deep feature set for regular photography.

What may be most impressive about the camera is the price. The Pocket Cinema Camera 4K will sell for $ 1295 and be available later this year. We definitely look forward to getting our hands on this camera and testing it out.

Press release:

Blackmagic Design Announces Blackmagic Pocket Cinema Camera 4K

Next generation 4K camera features dual native ISO, full 4/3 HDR sensor, 13 stops of dynamic range, and ProRes or RAW recording to internal SD/UHS-II and CFast cards, or even external USB?C drives!

NAB 2018, Las Vegas, USA – April 9, 2018 – Blackmagic Design today announced the all new Blackmagic Pocket Cinema Camera 4K, a handheld digital film camera with full 4/3 HDR sensor, dual native ISO with up to 25600 ISO for incredible low light performance as well as 13 stops of dynamic range. It also eliminates expensive external recorders, as it features a unique new USB-C Expansion Port, which allows customers to record using the internal SD/UHS-II and CFast recorders or directly to the same external disks they will use for editing and color correction. The Blackmagic Pocket Cinema Camera 4K will be available from Blackmagic Design resellers worldwide later this year for only US$ 1,295.

The Blackmagic Pocket Cinema Camera 4K will be demonstrated on the Blackmagic Design NAB 2018 booth at #SL216.

The revolutionary new Blackmagic Pocket Cinema Camera 4K is the handheld digital film camera that customers have been asking for. It packs incredibly high end imaging and professional features into a portable and affordable design that can be used anywhere. The compact body style is perfect for shooting independent films and documentaries, fashion shows, travel blogs, web videos, weddings, corporate video, sports and much more.

The Blackmagic Pocket Cinema Camera 4K features a full size 4/3 HDR sensor with native 4096 x 2160 resolution and 13 stops of dynamic range for true digital film quality. The full size of the 4/3 sensor is designed to perfectly match MFT lenses so the crop factor is greatly reduced, giving customers a wider field of view. It also features dual native ISO with up to 25600 ISO for incredible low light performance.

The Blackmagic Pocket Cinema Camera 4K is packed with features such as a MFT lens mount, large 5 inch touchscreen monitor, 10-bit ProRes and 12-bit RAW recording, 3D LUTs, 4 built in microphones, mini XLR audio input with phantom power, Bluetooth wireless camera control, HDMI on set monitoring output and more. The latest Blackmagic Design color science lets customers shoot images that are far better than DSLR cameras and even better than professional digital film cameras costing tens of thousands more.

Designed using a space age carbon fiber polycarbonate composite, the body of the Blackmagic Pocket Cinema Camera 4K is extremely strong and light. The carbon composite material consists of a high strength polymer that’s reinforced with carbon fibers. This gives the camera body incredible strength and rigidity to help protect it from accidental knocks and drops which can often result in damage. The handheld design features a multi function grip which has logically placed buttons and dials that allow super fast access to essential shooting functions such as recording start/stop, still photos, ISO, shutter, aperture, white balance, power and more.

Fourth generation Blackmagic Design color science lets customers shoot HDR images in film, video and new extended video modes. The new extended mode combines the latitude of digital film with an optimized video file. This gives customers working on fast turnaround projects an ideal solution for shooting great looking images that don’t need a lot of color correction or post production work.

Images can be recorded onto standard SD cards, faster UHS-II cards or CFast 2.0 cards in either ProRes or RAW formats. The Blackmagic Pocket Cinema Camera 4K can record 4K images at up to 60 frames per second and windowed HD at up to 120 frames per second. It’s also the first camera that lets customers record directly onto the same exact external USB-C media drives they use for editing and color correction. That means customers can turn projects around much more quickly because they don’t have to transfer files. All they need to do is unplug the USB-C drive and then connect it to their computer to start editing.

The Blackmagic Pocket Cinema Camera 4K uses the same MFT (Micro Four Thirds) lens mount as the original Pocket Cinema Camera so customers can use the investment in lenses they already own. The MFT mount is extremely flexible and allows for different lens adapters so customers can also use PL, C, EF and other types of lenses from manufacturers such as Canon, Nikon, Pentax, Leica and even Panavision.

The rear of the camera features a large bright 5 inch touchscreen that makes it easy to frame shots and accurately focus. It also uses the same Blackmagic OS as URSA Mini so customers can use simple tap and swipe gestures to adjust settings, add metadata and view recording status. On screen overlays make it easy to see recording parameters, status, histogram, focus and peaking indicators, and playback controls. In addition, 3D LUTs can be applied for both monitoring and recording.

For audio, the Blackmagic Pocket Cinema Camera 4K features multiple built in microphones with an extremely low noise floor, a mini XLR input with 48 volts of phantom power to connect professional lapel and boom mics, and a 3.5mm stereo audio jack for connecting different types of video camera microphones. The high quality built in audio recording means customers don’t have to carry around a separate recorder.

The Blackmagic Pocket Cinema Camera 4K also includes a full size HDMI connector which can output HDR video as well as a clean 10-bit video feed with optional on screen overlays. There’s also an innovative high speed USB-C Expansion Port for adding external accessories such as flash drives and an SSD for external recording. The camera uses standard LP-E6 batteries and can be charged via USB-C or the locking DC power connector, which protects the camera from being accidentally unplugged during a shoot.

“Customers love the original Blackmagic Pocket Cinema Camera and have been asking us for a 4K version,” said Grant Petty, Blackmagic Design CEO. “We’ve listened and built a camera that combines all of our newest ideas and customer feedback from the previous model! The new Blackmagic Pocket Cinema Camera 4K is exciting because it packs so much technology into an incredibly small design. We feel it will go well beyond what customers expected. It’s perfect for anyone that needs a truly professional ultra compact digital film camera. This is not a consumer camera that’s trying to do high end work, it’s a true high end camera designed for high end work.”

Blackmagic Pocket Cinema Camera 4K Features

  • Full size 4/3 sized sensor with native 4096 x 2160 resolution sized sensor.
  • Compatible with extremely high quality Micro Four Thirds lenses.
  • Super wide 13 stops of dynamic range allows capture for high end feature film look.
  • Up to 25600 ISO for incredible low light performance.
  • Carbon fiber polycarbonate composite body which makes it lightweight, portable and durable.
  • Multi function grip for quick access to recording start/stop, still photos, ISO, shutter, aperture,white balance, power and more.
  • Built in SD, UHS-II and CFast card recorders.
  • USB-C expansion port allows longer duration recording directly to an external SSD or flash disk.
  • Standard open file formats compatible with popular NLE software such as 10-bit ProRes and 12 bit RAW.
  • Features full size HDMI output for monitoring with camera status graphic overlay.
  • Professional mini XLR input with 48 volts of phantom power for connecting to pro microphones.
  • 3.5mm audio jack, headphone jack, and locking DC 12 volt power connection.
  • Built in 5” LCD touchscreen allows accurate focus when shooting 4K.
  • LCD supports on screen overlays including status, histogram, focus peaking, and transport controls.
  • Records 4K images at up to 60 frames per second and windowed HD at up to 120 frames per second.
  • 3D LUTs can be applied for both monitoring and recording.
  • Blackmagic OS as used in URSA Mini and URSA Broadcast cameras.
  • 4th generation Blackmagic color science.
  • Supports remote camera control via Bluetooth.
  • Includes full license for DaVinci Resolve Studio editing, color, visual effects and audio post production.

Availability and Price

Blackmagic Pocket Cinema Camera 4K will be available later this year for US$ 1,295 from Blackmagic Design resellers worldwide.

Articles: Digital Photography Review (dpreview.com)

 
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NiSi jumps into lens game, unveils five full-frame cinema prime lenses

07 Apr
Credit: NiSi

With NAB 2018 just a few days away, the video gear news is coming fast and furious. Atomos shared some exciting news for Panasonic EVA1 shooters, Apple revealed the new ProRes RAW format, Adobe’s video apps got some major updates, and now the more unexpected of them all: NiSi, the camera filter company, has released a set of cinema primes.

If this news had come out on April 1st, it would have been suspect. Alas, it’s April 6th, and the new NiSi F3 cinema lenses are very much real.

Designed to cover full-frame sensors, the NiSi F3 lenses will come with interchangeable PL, Canon EF, and Sony E mounts. There are five lenses in all—25mm T2.1, 35mm T2, 50mm T2, 75mm T2, and 100mm T2—and each is built within an identical housing for maximum convenience when fitting lens accessories. NiSi plans to add an 18mm lens to the lineup in mid-2018, but here’s a closer look at current lineup, followed by a detailed spec breakdown:

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Regarding the F3 lens line’s performance, NiSi promises that the lenses’ “apochromatic optical design […] results in excellent Axial aberration and Transverse aberration performance. It gives a natural and pure color with almost no purple/green fringing both within focus and in bokeh.”

The company also claims “the lenses contain a unique optical coating design which controls dispersion perfectly while retaining rich details.” This allegedly results in “stylized flare and contrast enhancement.”

Credit: NiSi

The lenses are currently live for pre-order on the NiSi website, where you’ll need to put in a deposit of $ 1,000 per lens. Shipping is expected to start on June 1st, and you can see the retail prices listed below:

  • NiSi F3 25mm T2.1 – $ 3,000
  • NiSi F3 35mm T2 – $ 2,500
  • NiSi F3 50mm T2 – $ 2,500
  • NiSi F3 75mm T2 – $ 2,500
  • NiSi F3 100mm T2 – $ 3,000
  • Full Set of Five Lenses – $ 12,000

Note that if you pre-order before April 30th, you can take advantage of a $ 500 discount on each individual lens, or the full set of five. That means that, for the next 24 days, it’s actually cheaper to buy all five lenses individually because of the $ 2,500 in total discounts you’d be getting.

To learn more about the Nisi F3 cinema prime lenses or pre-order a set for yourself, head over to the NiSi website.

Articles: Digital Photography Review (dpreview.com)

 
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Canon announces C700 FF cinema camera: now with full frame

28 Mar

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Canon has announced the newest member of its Cinema EOS camera family, the EOS C700 FF. As the name implies, it’s an updated version of Canon’s C700 cinema camera that includes a full frame sensor in place of a Super 35 sensor.

On most cameras we generally think of ‘full frame’ as representing a 24x36mm frame with a 3:2 aspect ratio, but the C700 FF defines this a bit differently. The Canon-developed sensor used in the camera has a native resolution of 5952 x 3140 pixels, providing a 17:9 cinema-friendly aspect ratio, and has an imaging area of 38.1×20.1mm in size.

While that’s a bit wider and shorter than a standard full frame sensor, it requires the same image circle size as a full frame DSLR,* meaning the C700 FF can use Canon’s entire line of EF-mount lenses at their standard focal lengths. For maximum flexibility, the C700 FF can be ordered with either EF or PL-mount.

Canon claims the new sensor exceeds 15 stops of dynamic range when shooting with either the Canon Log2 gamma curve or in Raw

With 5.9K resolution, the camera is able to record oversampled 4K video internally, which should provide superior results to a native 4K sensor. Users can choose between two codecs to capture footage internally: Canon’s own XF-AVC or Apple ProRes. Additionally, the C700 FF can record Raw video when using an optional Codex recorder mounted to the back of the camera, recording at up to 5.9K/60p in Raw.

In addition to impressive video resolution, Canon claims the new sensor exceeds 15 stops of dynamic range when shooting with either the Canon Log2 gamma curve or in Raw, which should make it an effective tool for producing HDR video content.

The EOS C700 FF has an estimated retail price of $ 33,000, and will be available in both EF and PL mount versions. It’s expected to be available in July. Existing C700 owners will have the option of upgrading their camera from a Super 35 sensor to the new full frame sensor, though upgrade pricing has not been announced.

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In addition to a new camera, Canon announced a couple other useful tools for filmmakers. The new CN-E20 mm T1.5 L F is a fully manual, 20mm cinema prime lens, filling a hole between Canon’s existing 14mm and 24mm cinema primes. The lens includes 300 degrees of focus rotation, minimized focus breathing, and an 11-blade diaphragm for high quality bokeh even when stopping down. It will be available in fall 2018. Pricing was not announced.

Canon also announced a couple professional 4K HDR reference displays: the 24-inch DP-V2421 and 17-inch DP-V1711. With features like 12G-SDI terminals supporting 4K 60p footage, support for Canon’s Log gamma curves, built-in waveform monitor, and built-in HDR metering, these displays should deliver impressive results – but it will cost you. The 24-inch model will sell for $ 39,000 and the 17-inch model for $ 18,000, and both will be available at the end of April.

* The image diagonal of a 3:2 ratio full frame camera is 43.2mm while the image diagonal of the C700 FF’s 17:9 sensor is 43mm.

Press release:

?INTRODUCING CANON’S FIRST FULL-FRAME CINEMA CAMERA, ?THE EOS C700 FF

MELVILLE, N.Y., March 28, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to announce the EOS C700 FF, the Company’s first full-frame cinema camera. The beauty and majesty of full-frame digital cinema is now becoming a new creative reality. Since the introduction of the EOS 5D Mark II DSLR camera in 2008, Canon has been a part of the full-frame video movement, and the introduction of the C700 FF has reinforced Canon’s commitment to this market. At the heart of the camera is a novel Canon-developed CMOS image sensor having a total of 5952 (H) x 3140 (V) photosites with a digital cinema 17:9 aspect ratio, which gives it the same image circle size as the full frame EOS 5D camera series. This supports a wide range of shooting options.

Available in both PL and EF Mount, the EOS C700 FF provides users with the same outstanding performance, operation and modular design as the EOS C700 (released in December 2016). The camera is being shown publicly for the first time at the Canon booth (C4325) at the NAB Show 2018 in Las Vegas from April 9-12.

“Since the launch of Canon’s Cinema EOS line of products in November 2011, the goal was to one day develop a cinema camera worthy of being the ‘A’ camera on major Hollywood productions, and Canon met that goal with the introduction of the EOS C700,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “After listening to our customers and closely monitoring market trends, Canon set forth a new goal: to launch a full-frame cinema camera. With this introduction, we are very excited to see the C700 FF in the hands of industry professionals as they shoot their latest projects.”

Existing owners of Canon’s original EOS C700 cinema camera will be pleased to know they can have their Super 35mm sensor upgraded to the new Full-Frame sensor for a fee*. Authorized Canon facilities such as Canon Burbank are ready to process C700 upgrades as well as lens mount swaps, and offer equipment drop off, on-site repairs and upgrades, as well as equipment testing and demonstration.

The Sensor

The newly developed sensor featured in the EOS C700 FF has an active image area of 38.1 x 20.1mm and supports readout at full size, as well as Super 35mm, Super 16mm and anamorphic modes. In addition to full-frame lenses, it can be used with conventional Super 35mm lenses to originate 4K / UHD standardized production formats and Super 16mm lenses (with an adapter) to originate 2K / HD production formats in crop modes. The sensor captures wide tonality exceeding 15 stops of dynamic range and a wide color gamut meeting ITU-R BT.2020 standards. This offers broad latitude when grading, providing outstanding effectiveness in HDR video production.

Recording

The EOS C700 FF embodies a choice of two high-performance codecs for on-board recording –Canon XF-AVC or Apple ProRes. Like other cameras in the 4K Cinema EOS family, the EOS C700 FF uses CFast cards to capture 4K / UHD or 2K / HD. A striking feature of the C700 FF is the Oversampling 4K Processing that processes a 5.9K image capture to produce 4K (DCI or UHD) having enhanced image sharpness, curtailed moire, and a lowered visibility of noise at the higher ISO settings. This is especially advantageous for on-board anamorphic image capture. Low-rate 2K/HD proxy data including metadata, can be recorded to SD cards, ideal for offline editing. The camera also allows high-frame-rate recording of up to 168fps in 2K crop and relay or simultaneous recording onto both CFast cards. In addition, the C700 FF can shoot at a Full HD high-frame-rate recording at a maximum of 168 fps. Additional formats are planned with future firmware updates.

To further complement the features of the EOS C700 FF, Canon has turned to its trusted partner Codex to provide a fully integrated (no cables) recording and workflow option. The combination of the optional Codex CDX-36150 recorder docked onto the back of the EOS C700 FF enables 5.9K 60 fps RAW recording, 4K RAW up to 72 fps (in 24p mode), 4K ProRes up to 60 fps and 2K ProRes up to 168 fps (in Super 16mm mode).

The C700 FF also supports the latest version (1.0) of the ACESproxy, the ACES (Academy Color Encoding System) color management transmission standard.

HDR

For users looking to create High Dynamic Range (HDR) imagery, the EOS C700 FF is an excellent solution, providing 15 stops of latitude (with Canon Log2 only), along with Canon’s proprietary Log Gammas (Canon Log3, Canon Log2 and Canon Log) and renowned color science. Canon Log2 is recommended when originating HDR imagery containing both highlight details and deep shadowed details. In comparison with Canon Log, Canon Log3 offers a wider dynamic range while retaining performance in darker regions.

Additionally, these cameras seamlessly integrate with Canon’s latest professional 4K UHD Reference Displays for on-set review and color management that conforms to SMPTE ST 2084 standards of HDR display.

The look of a cinematic production begins with the lens, and the EOS C700 FF offers both PL and EF lens mount options which are interchangeable at a Canon authorized service center. For full frame imaging, the EF lens mount version of the new EOS C700 FF is compatible with Canon’s family of seven Cinema Prime lenses, including the newly announced CN-E20mm T1.5 L F lens, as well as the diverse lineup of over 70 interchangeable EF lenses. The EF mount supports Canon’s Dual Pixel CMOS AF technology and Dual Pixel Focus Guide. The Focus Guide assists operators with a precision visual indicator in the viewfinder when pulling focus. Alternatively, for certain demanding shooting situations the reliable capabilities of Dual Pixel CMOS AF can be deployed. The EOS C700 FF PL mount version is also compatible with Cooke’s /i metadata communication technology.

The EOS C700 FF EF and EOS C700 FF PL are scheduled to be available in July 2018 for an estimated retail price of $ 33,000.00. For more information on the EOS C700 FF please visit, usa.canon.com/provideo.

Articles: Digital Photography Review (dpreview.com)

 
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Watch: Unboxing $221,000 worth of Leica Summilux-C cinema lenses

23 Mar

Videographer Devin Graham of Devin Supertramp has published a new video in which he unboxes $ 221,000 worth of Leica Summilux-C lenses. “When deciding to purchase these lenses, it was a six month process,” said Graham, who also explained while retrieving a lens box, “These are like a holy experience to me.”

Graham chose the Summilux lenses over Leica’s Thalia lenses due to their ability to shoot at a lower key stop, he explains in the video. The Summilux lenses were used in several notable productions recently, including: Stranger Things, Beauty and the Beast (2017), and Justice League. Overall, the purchase and subsequent unboxing involves half a dozen lenses: 16mm, 21mm, 29mm, 40mm, 50mm, and 75mm.

And if the video above isn’t quite enough expensive lens unboxing for you, check out Graham’s video from January below, in which he unboxed $ 25K worth of Sigma Cine lenses:

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm’s MKX lenses bring affordable cinema glass to X-mount

15 Feb

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Fujifilm has announced its Fujinon MKX 18-55mm T2.9 and MKX 50-135mm T2.9 cinema lenses for X-mount. These are essentially the same Super 35 lenses that Fujifilm released about a year ago in E-mount and are now available to users of the company’s own X-mount mirrorless system.

Combined, the two lenses provide coverage between 18mm and 135mm, a very useful range for video production. Based on the company’s much more expensive Cabrio line of cinema optics, the MKX series include properties typically found on much more expensive cine lenses.

Those features include little to no lens breathing, a phenomenon which causes a lens’s field of view to change slightly as it’s focused, a parfocal design, meaning that the lens will maintain precise focus while zooming and 200 degrees of focus rotation with hard stops in order to work well with a follow focus setup.

The Fujinon MKX18-55mm T2.9 and MKX 50-135mm T2.9 cinema lenses are X-mount versions of the MK series lenses released about a year ago for E-mount (shown here on a Sony FS7 camera).

Additionally, the MKX lenses are also matched to have the same exact weight, dimensions, gearing and 82mm filter threads, meaning that it’s possible to switch between the two lenses easily without making any modifications to your rigging, such as the position of tools like a follow-focus or matte box.

We provided a hands-on look at both the MK18-55mm T2.9 and MK50-135mm T2.9 lenses in E-mount when they were released, and since they’re the same lenses (except for the mount) those articles can give you a more detailed overview of both lenses.

The MKX 18-55mm T2.9 and lens will cost $ 3,999, while the MKX 50-135mm T2.9 will cost $ 4,299. Both lenses are expected to be available in spring or summer 2018.

Press release:

FUJIFILM ANNOUNCES NEW ULTRA-COMPACTCINEMA LENSES, FUJINON MKX18-55MMT2.9 AND FUJINON MKX50-135MMT2.9 FOR X MOUNT

High Performance, Lightweight Cinema Lenses for the X Series Line of Mirrorless Interchangeable Lens Digital Cameras

Valhalla, N.Y., February 15, 2018 – FUJIFILM North America Corporation today announced the launch of FUJINON MKX18-55mmT2.9 and FUJINON MKX50-135mmT2.9 cinema lenses for X Mount, new additions to the X Series line of interchangeable lenses.

Available in June 2018, these cinema lenses offer a lightweight and compact design with the same optical performance and operability as larger cinema lenses in their class. They cover 18-135mm–the most frequently used focal length in video production–and achieve a constant T2.9 aperture across the entire zoom range, enabling a shallow depth of field and beautiful bokeh effect. With an enhanced optical and mechanical design, the MKX18-55mm and MKX50-135mm suppress focus shifts while zooming and reduce lens breathing, ensuring continuous sharp output. In line with the optical performance of the XF16-55mm and XF50-140mm lenses, these new MKX lenses offer a range of features that enable ease-of-use for capture in a wide array of shooting situations.

“The growth of video production has created a large demand among videographers and cinematographers for compact and easy-to-use lenses,” said Yuji Igarashi, General Manager of the Electronic Imaging Division & Optical Devices Division at FUJIFILM North America Corporation. “In keeping with our commitment to deliver innovative products and solutions, Fujifilm has recognized this need and has introduced the MKX18-55mm and MKX50-135mm lenses, offering a lightweight design and affordable price point, while delivering great optical performance and operability as other professional cinema lenses.”

Advanced Optical Performance in a Compact, Lightweight Lens Barrel

The MKX18-55mm and MKX50-135mm are lightweight and compact; achieving advanced optical performance utilizing the short flange focal distance of X Mount. This feature reduces the number of people needed for the shooting process, ideal for small budget productions.

In addition, the lenses offer advanced optical performance across the entire zoom range. Achieving T2.9 aperture, they facilitate the bokeh effect with shallow depth-of-field eliminating the need to readjust lighting. Combined, these features not only lead to beautiful videos, but also shorten shooting time, making the MKX lenses a very economical choice for movie production. Further adding to its superior output, contact with an X Series camera corrects distortion, color, brightness and achieves Fujifilm’s various Film Simulation modes.

Featuring an Optical and Mechanical Design Ideal for Video Shooting

The optical and mechanical approach employed in these new MKX lenses allows for elimination of time lag that is usually experienced with electrical control systems. Manufacturing technology developed for conventional FUJINON cinema lenses was applied to control the optical axis shift while zooming. The front inner-focusing system controls lens breathing, allowing for smooth focus over an entire scene. Additionally, when zooming, focus shift is suppressed by independently driving the front focusing group and zooming group of lens elements away from each other.

Comfortable Operability Provided Through Dedicated Cinema Lenses

The MKX18-55mm and MKX50-135mm feature three fully manual rings for independent adjustment of focus, zoom and aperture, allowing for intuitive operation. The focus ring offers a rotation of a full 200 degrees to facilitate precise focusing even when shooting with a shallow depth-of-field where a high degree of precision is required. Further, all operation rings have a gear pitch of 0.8 m, allowing the use of all standard third party accessories for video production. With an iris that supports seamless adjustment, precise and silent exposure is achieved while preventing camera shake caused by clicking, making these lenses perfect for a wide array of shooting situations.

Standardized Design for Ease of Operation

Adding to their high quality video production, these MKX lenses are designed for ease-of-use. The gears for all three rings are positioned in the same place eliminating the need to re-position accessories when switching lenses. Only one matte box with an 85mm front diameter and one filter size with a filter thread of 82mm are needed between the two lenses. Equipped with a macro function that allows shooting close-ups to broaden the range of scenes that can be covered with one lens, optimum performance is achieved.

FUJINON MKX18-55mmT2.9 Key Features

  • Compatible with all FUJIFILM X Series interchangeable system cameras
  • Compact, lightweight lens weighing just 1,080g with external dimensions (maximum diameter x length) of 87mm x 206.6mm
  • Comprised of 22 glass elements in 17 groups with 6 super extra low dispersion lens elements and 2 extra low dispersion lens elements
  • Achieves maximum aperture of F2.8 and minimum aperture of F22 for close-up shots
  • Focus range of 0.85m/2ft 9” with wide macro function and 0.38m/1ft 2.9” at wide end and angle of view at 76.5° – 29.0°

FUJINON MKX50-135mmT2.9 Key Features

  • Compatible with all FUJIFILM X Series interchangeable system cameras
  • Compact, lightweight lens weighing just 1,080g with external dimensions (maximum diameter x length) of 87mm x 206.6mm
  • Comprised of 22 glass elements in 17 groups with 2 extra low dispersion lens elements and 2 super extra low dispersion lens elements
  • Achieves maximum aperture of F2.8 and minimum aperture of F22 for close-up shots
  • Focus range of 1.2 m/3 ft. 11” with wide macro function and 0.85 m/2 ft. 9” at wide end and angle of view at 31.7° – 12.0°

Accessories Included in Both Lenses

  • Tripod collar foot
  • Support foot
  • Zoom lever
  • Lens cap
  • Lens rear cap
  • Lens hood
  • Wrapping cloth

Availability and Pricing

The FUJINON MKX18-55mmT2.9 and cinema lens will be available in Spring/Summer 2018 in the U.S. and Canada for USD $ 3,999.95.

The FUJINON MKX50-135mmT2.9 cinema lens will also be available in Spring/Summer 2018 in the U.S. and Canada for USD $ 4,299.95.

Fujinon MKX 18-55 T2.9 / MKX 50-135mm T2.9 specifications

  Fujifilm Fujinon MKX 18-55mm T2.9 Fujifilm Fujinon MKX 50-135mm T2.9
Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 18–55 mm 50–135 mm
Image stabilization No
Lens mount Fujifilm X
Aperture
Maximum aperture F2.8
Minimum aperture F22
Aperture ring Yes
Number of diaphragm blades 9
Aperture notes Seamless iris mechanism
Optics
Elements 22
Groups 17
Special elements / coatings 6 super ELD + 2 ELD elements 6 Super ED + 2 ELD elements
Focus
Minimum focus 0.38 m (14.96″) 0.85 m (33.46″)
Autofocus No
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Physical
Weight 1080 g (2.38 lb)
Diameter 87 mm (3.43″)
Length 207 mm (8.15″)
Sealing No
Colour Black
Zoom method Rotary (internal)
Power zoom No
Filter thread 82 mm
Hood supplied Yes
Tripod collar Yes

Articles: Digital Photography Review (dpreview.com)

 
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Atech’s Blackjet UX-1 Cinema Dock might just be the ultimate memory card reader

07 Feb

It’s not often a memory card reader turns heads, but the Atech Blackjet UX-1 Cinema Dock might just be that card reader. Using a 40Gb/s Thunderbolt 3 connection, the UX-1 can transfer data from SSD, XQDm CFast, CF, SD and MicroSD cards at blistering speeds from one of its seven media slots.

The reader is compatible with Mac and PC systems, and if 7 media slots isn’t enough, it features dual Thunderbolt ports to allow up to four more UX-1 readers to be daisy-chained to the same computer.

The speed of the reader allows users to download files from all seven media slots at the same time, and heavyweight content can be worked on directly from the cards. Users can load drives into both 2.5-inch SSD slots and choose RAID-0, RAID-1 or JBOD configurations, and the reader can be mounted in a standard 1U rack system.

The Atech Blackjet UX-1 costs $ 500 and will ship this quarter. For more information visit the Atech website.

Press Release

BLACKJET UX-1 THUNDERBOLT™ 3 cinema dock

Atech Flash Technology (AFT) manufacturers of industrial and professional media card readers and storage solutions will be launching their new premium line of products under the Blackjet brand. Their latest media reader named the Blackjet UX-1 Cinema Dock features dual SSD docking solution plus five multimedia card slots supporting media cards XQD 2.0, CFast 2.0, CompactFlash, SD, and microSD.

The Blackjet UX-1 is designed to be used in any standard industry rack mount system.Blackjet UX-1 utilizes the large bandwidth 2,750 MB/s of Thunderbolt™ 3, which allows you to ingest, edit and archive your creative content simultaneously from all six media formats at their maximum speeds.

Blackjet UX-1 is compatible with existing Mac® and Windows® Thunderbolt 3 computers, but it is also compatible with Mac® Thunderbolt 2 computers when used with the Apple® Thunderbolt 3 to Thunderbolt 2 adapter.

Pricing and Availability

The Blackjet UX-1 will have a suggested MSRP of $ 499 USD and will be shipping in Q1 2018.

Key Features

  • Media Reader for popular media formats SSD, CFast 2.0, XQD 2.0, CF, SDXC and microSD
  • Dual SSD can be RAID 0, RAID 1, JBOD (Software RAID)
  • Dual Thunderbolt™ 3 Connections with speeds of up to 40Gb/s
  • 2nd Thunderbolt 3 port supports Daisy Chaining of five additional Thunderbolt devices, a 5K display, or one USB device
  • Rack mountable for 1U specifications

Articles: Digital Photography Review (dpreview.com)

 
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