Zero Zero Robotics V-Coptr Falcon – World’s First V-Shaped Bi-Copter

 Cinematography, Gear  Comments Off on Zero Zero Robotics V-Coptr Falcon – World’s First V-Shaped Bi-Copter
Jan 222020
 

Zero Zero Robotics rencently announced their new unique-looking drone: the V-Coptr Falcon. Indeed, this v-shaped bi-copter doesn’t look like your traditional quad-copter drone, because it only features two motors and two propellers. The V-Coptr Falcon can fly for up to 50 minutes with a transmission distance of 7km, it can avoid obstacles, and it features a 4K 3-axis stabilized camera. Let’s take a closer look at it!

Zero Zero Robotics

Zero Zero Robotics is a Chinese company that launched its first product – the Hover 2 – via Kickstarter about a year ago. The campaign for this autonomous drone was a huge success, and they raised over $1M quickly. However, to this day, all backers didn’t receive their pledge yet.

In a surprising move, the team at Zero Zero Robotics announced the launch of a new drone, the V-Coptr Falcon.

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Two New Canon Mirrorless Cameras Are Likely Coming in the Next Few Months

 Cinematography, Gear, Mirrorless  Comments Off on Two New Canon Mirrorless Cameras Are Likely Coming in the Next Few Months
Jan 152020
 
Two New Canon Mirrorless Cameras Are Likely Coming in the Next Few Months

Canon’s mirrorless lenses have been quite successful for the company, offering impressive optical quality that sets the bar quite high. However, Canon fans are still waiting for a stronger mirrorless body that pushes the boundaries a bit more from the company. The good news is that it seems that will be changing soon, as the company is likely to release two new mirrorless cameras in the coming months.

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Panasonic Announces Three New 4K 60p Camcorders – HC-X1500, HC-X2000 and AG-CX10

 Cinematography, Gear  Comments Off on Panasonic Announces Three New 4K 60p Camcorders – HC-X1500, HC-X2000 and AG-CX10
Jan 092020
 

During CES 2020 in Las Vegas, Panasonic announced three new compact camcorders with 1/2.5″ sensors. The HC-X1500, HC-X2000 and AG-CX10 all offer 4K 60p recording capability (4:2:2 10-bit up to 4K 30p) along with 24x optical zoom (25mm-600mm full-frame equivalent) lens. They offer 5-axis O.I.S, two manual rings, ND filters, a built-in LED video light, 24-bit linear PCM audio recording, a built-in Wi-Fi module for streaming, and more.

New Panasonic Camcorders. Image source: Panasonic

With the recent rise of full-frame cinema cameras, it might look like that large sensors are taking over the whole video industry and Super 35 will become the bare minimum. In reality, there is always the right tool for the right job, and often a larger sensor is actually counter-productive. Compact broadcast cameras with smaller sensors still have their use and camera manufacturers want to offer such camcorders for this market segment – albeit it’s admittedly shrinking.

During CES 2020 in Las Vegas, Panasonic announced three new camcorders with small image sensors, but all are capable of 4K 60p recording, H265, and 4:2:2 10-bit internal video in some modes. Let’s take a quick look at what they offer.

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Nikon Gets Closer to a Z Mount Trinity by Announcing the NIKKOR Z 70-200mm f/2.8 Lens

 Cinematography, Gear  Comments Off on Nikon Gets Closer to a Z Mount Trinity by Announcing the NIKKOR Z 70-200mm f/2.8 Lens
Jan 082020
 
Nikon Gets Closer to a Z Mount Trinity by Announcing the NIKKOR Z 70-200mm f/2.8 Lens

Nikon has announced the launch of the NIKKOR Z 70-200mm f/2.8 VR S for its full-frame mirrorless cameras, filling one of the two gaping holes in its lens lineup for professional shooters.

Nikon says that this high-end zoom has been “reimagined” in order to exploit the newly designed lens mount. With a constant f/2.8 aperture, it brings Nikon a step closer to completing the trinity of fast zoom lenses that are regarded as critical to any system due to their quality and versatility.

The NIKKOR Z 70-200mm f/2.8 has a stepping motor for quiet autofocus and reduced focus breathing, a minimum focus distance of just under 20″ (50cm), a nine-blade diaphragm, weather-sealing, and five stops of stabilization. It’s one of two Nikon lenses to feature the company’s newly-developed Short-Wavelength Refractive (SR) lens element for better control of chromatic aberration.

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Dull, Brilliant, Disappointing, Fun: Fstoppers Reviews the Tamron 24mm f/2.8 for Sony

 Cinematography, Gear  Comments Off on Dull, Brilliant, Disappointing, Fun: Fstoppers Reviews the Tamron 24mm f/2.8 for Sony
Jan 062020
 
Dull, Brilliant, Disappointing, Fun: Fstoppers Reviews the Tamron 24mm f/2.8 for Sony

There isn’t exactly a wealth of affordable options when it comes to 24mm prime lenses for Sony full-frame cameras, so Tamron’s new lens is a welcome addition to the line-up, though it does have its idiosyncrasies.

Following on from the success of its two affordable Sony mount zooms made with some smart compromises (the 17-28mm f/2.8 and 28-75mm f/2.8), Tamron has launched a batch of f/2.8 primes. Prior to their release, fans were excited at the prospect of relatively quick glass that was compact and reasonably priced, so when Tamron announced this selection of f/2.8 lenses, there was a degree of disappointment.

In Tamron’s defense, with the 24mm f/2.8 Di III OSD M 1:2, it has released something relatively unique at this focal length. With one notable exception, all of the other options start at more than double the price, albeit with much wider maximum apertures, so if you’re looking for a compact, lightweight, low-cost 24mm prime that’s not going to get anyone excited, the Tamron may be a smart choice.

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Hands-On with the Sigma 24-70mm f/2.8 for E-Mount and L-Mount

 Cinematography, Gear, Mirrorless  Comments Off on Hands-On with the Sigma 24-70mm f/2.8 for E-Mount and L-Mount
Jan 062020
 

Back in mid-2017, I was tasked with reviewing Sigma’s first 24-70mm lens, the 24-70mm f/2.8 DG OS HSM IF Art lens, and I was extremely disappointed. You can read my whole review here, but in summary, I found it to be sadly inconsistent with its sharpness. Most notably, I found that edge sharpness was really quite bad.

There is one photo I took that pretty well shows my problems with the lens, and it’s this one:

Photo by Jaron Schneider, taken with the Canon 1DX Mark II w/ Sigma 24-70mm F2.8 DG OS HSM Art

Taken from a helicopter over Los Angeles, I really like the composition of the image and was looking forward to printing it. When I got it back to my edit station, however, I was very much let down with how soft anything other than the middle of the frame was. I was so disappointed that I put this photo in a digital folder and hadn’t looked at it again until I started writing this story.

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Nikon Z 6 and Atomos Ninja V ProRes RAW Recording Option – First Look

 Cinematography, Gear  Comments Off on Nikon Z 6 and Atomos Ninja V ProRes RAW Recording Option – First Look
Jan 062020
 

The Nikon Z 6 and Z 7 have been around for quite some time but now it’s getting a new life. Something that will greatly elevate its performance thanks to the collaboration with Atomos. While Nikon is bringing to the table a full frame sensor camera, 12 bit RAW output via HDMI and a flat picture profile recording option (N Log), Atomos is contributing to this duo its external monitor/recorder expertise together with the built-in Apple’s ProRes RAW 12 bit recording option. There are many “industry firsts” in this exciting combination, including transferring the information between the camera and monitor/recorder on a consumer HDMI protocol interface. Now, openly speaking, is offering full frame, up to 4K, 12 bit ProRes RAW external recording option, enough to bring Nikon back to the center of attention of the aspiring filmmakers and content creators? Please read on.

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The Most Unfair Camera Comparison Ever: iPhone vs $250K TV Camera

 Apple, Cinematography  Comments Off on The Most Unfair Camera Comparison Ever: iPhone vs $250K TV Camera
Dec 182019
 

You’d have to look long and hard to find a more absurd camera comparison than this. After putting together a very useful video that explains why broadcast TV cameras are so huge and expensive, YouTuber Zebra Zone pit this $250,000 setup against its most obvious rival… the iPhone 11 Pro.

As a quick refresher, the broadcast “camera” that is being used is a combination of several very expensive elements:

  • BlackMagic Ursa Broadcast Camera – $3,000
  • Fujinon UA107 Box Lens – $212,000
  • Tripod and Fluid Head – $20,000
  • Remote Control Handles – $9,000
  • Camera-to-Lens Adapter – $7,000
  • Monitor – $1,800
  • Fiber Optic Transmission Module – $3,000

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Canon C500 Mark II Low-Light Test & 6K Raw Clip to Download

 Cinematography, Gear  Comments Off on Canon C500 Mark II Low-Light Test & 6K Raw Clip to Download
Dec 122019
 

Our friend Ollie Kenchington used to be a regular cinema5D writer until recently, but since his day job at his production company KORRO is keeping him extremely busy, he is now an irregular contributor to the site. In this post, he tells us about his first experiences with the new Canon C500 Mark II in low light. Full disclosure: Ollie is not a Canon Ambassador, though he does occasionally do paid work for them as a trainer/speaker.

Back in September, at IBC, I had the opportunity to have a play with some 6K raw footage captured with the C500 Mark II. It occurred to me then that it would be great if more people could have the same opportunity to experiment with this powerful codec. I therefore proposed to Canon that they send me a unit prior to release, with the intention of capturing content that could be made freely available for interested users to download and play with at home. I finally got the chance to do just that last week.

6K Raw Demo

You can see the short sequence I cut together from the 6K raw footage here:

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Aputure 120d MK II with Spotlight Mount Review

 Cinematography, Gear  Comments Off on Aputure 120d MK II with Spotlight Mount Review
Dec 032019
 

Our colleague, Nino Leitner, originally went hands-on with the Aputure 120d MK II back in April of 2018 at NAB and since then the light has shipped and we’ve even reviewed the 300D MK II, but it’s time to circle back and put the 120d MK II to the test. Along with the fixture, this is the perfect opportunity to try out the brand new Aputure Spotlight Mount. The full review of the light and new accessory is below: 

Image Credit: Graham Sheldon

Aputure LS C120D II LED COB Light:

I recently reviewed the MC series and the new 300D MK II and it seemed like an oversight to not spend more time with the 120D II. As a longtime user of the first generation 120D, I was particularly interested in the design updates in the second generation. Is it worth upgrading? Or, if you own the original 120D are you okay waiting? Let’s dive in.

On paper, the 120D MK II boasts a 25% output improvement over the MK I and it also balances out of the box to 5500 kelvin, versus the 6000 kelvin of the first generation. You could always correct that 400 Kelvin difference in the older version to “standard daylight” using gels, but I prefer a fixture that works out of the box in either 32K or 56K as it’s just easier to use in most situations and matches other light brands better. Also, color temp correction gels are feeling a little old school these days given the ubiquity of RGB panels that allow precise kelvin color temperatures to be dialed in with a quick button press.

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Sigma’s 24-70mm f/2.8 ART Lens for E-Mount is Half the Price of Sony’s Version

 Cinematography, Gear  Comments Off on Sigma’s 24-70mm f/2.8 ART Lens for E-Mount is Half the Price of Sony’s Version
Nov 182019
 

One of Sigma’s most anticipated lenses for the full-frame Sony E-Mount cameras has an official price tag, and it’s shockingly affordable. The recently announced Sigma 24-70mm f/2.8 Art lens—a direct competitor to Sony’s expensive 24-70mm f/2.8 G Master—will begin shipping in early December for just $1,100.

The Sigma 24-70mm f/2.8 DG DN Art—which is designed from the ground up for full-frame mirrorless cameras—will be available for both the Sony E-Mount and Sigma/Panaasonic/Leica’s own L-mount, but it’s gotten the most attention from Sony a7 series users who want a native 24-70mm f/2.8 lens for less than the (admittedly exceptional) $2,200 Sony 24-70mm f/2.8 GM. The main third-party alternative, up until now, has been the even-more-affordable Tamron 28-75mm f/2.8 Di III RXD, but that’s not a true 24-70.

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Tokina Unveils Updated 100mm f/2.8 Macro Lens for Canon and Nikon DSLRs

 Cinematography, Gear  Comments Off on Tokina Unveils Updated 100mm f/2.8 Macro Lens for Canon and Nikon DSLRs
Nov 152019
 

Following hot on the heels of yesterday’s leak, Tokina has officially revealed its redesigned full-frame 100mm f/2.8 macro lens for the Canon EF and Nikon F mounts: the Tokina ATX-i 100mm f/2.8 Macro FF.

According to the press release, the Tokina ATX-i 100mm f/2.8 features the “same great optics” as the older AT-X macro its replacing, but a “brand new look.” Like its predecessor, the new 100mm f/2.8 is made for full-frame Canon and Nikon DSLRs, and it produces a 1:1 magnification ratio at 11.8 inches (30cm) from the sensor plane, giving you “a very comfortable 4.5 inches of working distance.”

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Blind Spot Gear Power Cage and Power Bracket – A Power Bank for Filmmakers

 Cinematography, Gear  Comments Off on Blind Spot Gear Power Cage and Power Bracket – A Power Bank for Filmmakers
Nov 142019
 

Blind Spot Gear, the British company specialized in niche products for filmmakers, just released its 7th Kickstarter campaign: the Power Cage & Bracket. This 10.000 mAh power bank with 45W of power output is designed with filmmakers in mind. The Power Cage features two USB-A ports, a USB-C port, and a 7.2V DC barrel to power your camera and your accessories. Let’s take a closer look at it!

Blind Spot Gear

Blind Spot Gear is a British company well-known for launching innovative products on the market via Kickstarter campaigns. Earlier this year, they successfully launched the Crack Light. In the past, they also released the Scorpion Light V2, the Tile Light Duo, and the Power Junkie – you can watch our review here –  which is a tiny and convenient Sony NP-F style batterie distribution box.

Nowadays, cameras and accessories require a lot of power to run for hours. Small internal batteries don’t get the job done; this is especially true with the Blackmagic Design Pocket Cinema Camera 4Kand 6K, Sony mirrorless cameras, and so on. To solve that problem, you can run your camera and accessories with a V-Mount or Anton Bauer battery. But, this kind of external power source is expensive and quite bulky.

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FilmConvert Camera Pack for Panasonic LUMIX S1 and S1H Now Available

 Cinematography, Gear  Comments Off on FilmConvert Camera Pack for Panasonic LUMIX S1 and S1H Now Available
Nov 072019
 

FilmConvert has announced the addition of a new camera pack for the Panasonic S1 and S1H cameras. If you are a FilmConvert Pro or FilmConvert Nitrate user, you can download these new profiles for free. Let’s take a closer look


FilmConvert
 Camera Pack for Panasonic LUMIX S1 and S1H

The Panasonic LUMIX S1 and LUMIX S1H – the version for filmmakers – are currently on fire! Indeed, the S1H is the first Netflix approved mirrorless camera. Also, if you want to learn more about the S1H, you can take a look at our complete S1H review by clicking here and our lab test by clicking here.

FilmConvertS1S1H_Featured

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Panasonic S1H Review – Is it the Best Full Frame Mirrorless Camera for Filmmakers yet?

 Cinematography, Gear, Mirrorless  Comments Off on Panasonic S1H Review – Is it the Best Full Frame Mirrorless Camera for Filmmakers yet?
Oct 242019
 

The Panasonic S1H is now finally available for purchasing and we took it for a spin in order to put it through its paces. If you are in a rush and have no time to continue reading, here is my conclusion first: Currently it is the best mirrorless camera that can shoot video in the market. Of course, no filming device is perfect, but any manufacturer who would like to produce something even better will have to work harder to achieve this. Ready to dive into details? Keep on reading. 

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Tamron Expands Their Sony Mirrorless Lens Line-Up with 4 New Lenses

 Cinematography, Gear, Mirrorless  Comments Off on Tamron Expands Their Sony Mirrorless Lens Line-Up with 4 New Lenses
Oct 242019
 
Tamron Expands Their Sony Mirrorless Lens Line-Up with 4 New Lenses

Tamron really has their focus on the Sony mirrorless camera users. The existing Tamron lenses for Sony mirrorless, the 28-75mm f/2.8 and 17-28mm f/2.8 have been quite successful due to their superb quality and competitive pricing. That is why many users have been awaiting the lens that would complete this zoom lens trinity, a fast telephoto lens, certainly. 

Today, Tamron announced the development of the Tamron 70-180mm F/2.8 Di III VXD. However, aside from that, a lot are still yet to be revealed by the third-party lens brand. In addition, however, they finally revealed the 3 new prime lenses for the Sony mirrorless line-up. The 20mm F/2.8 Di III OSD M1:2 (Model F050), 24mm F/2.8 Di III OSD M1:2 (Model F051), and 35mm F/2.8 Di III OSD M1:2 (Model F053). The 24mm and 35mm lenses will be available on November 20th and the 20mm will be available in January 2020. All three prime lenses share the same price tag of $349. 

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SIGMA fp Camera Cage – Taipan KABUTO FP-1 Soon to be Available

 Cinematography, Gear  Comments Off on SIGMA fp Camera Cage – Taipan KABUTO FP-1 Soon to be Available
Oct 142019
 

KABUTO FP1 from Taipan Cinema is the first cage system for the upcoming full-frame mirrorless camera SIGMA fp. It features a modular design with many ¼-20 UNC, 3/8-16 UNC mounting threads and ARRI 2-pin anti-rotation mount. It also includes T5 SSD holder and a cold shoe adapter without blocking any of the camera’s functions.

KABUTO FP-1 Cage for SIGMA fp. Image credit: Taipan Cinema

The compact full-frame mirrorless camera SIGMA fp is coming very soon. Now we know it is going to be priced slightly under $2,000. My colleague Johnnie was testing the camera in Japan and his early hands-on impressions article is coming very soon. In the meantime, Taipan Cinema introduced the first cage for this camera.

The Italian camera accessories company Taipan Cinema is focusing mostly on cages and rigs for popular cameras. They usually react very quickly and introduce first cages and rigging solutions to newly announced cameras – like with the EXO cage for DJI Osmo Pocket. This time Taipan Cinema most likely took advantage of the published 3D models of SIGMA fp camera and they introduced the first cage for the fp – KABUTO FP-1. What are its features?

Taipan KABUTO FP-1 Cage for SIGMA fp

KABUTO FP-1 cage features a modular design and is mounted on the camera like a mask, from the front. The name is inspired by the battle helmets used by Samurais in ancient Japan.

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KIPON Releases PRO Cine Adapters for PL and LPL Mount Lenses and Medium Format Lenses

 Cinematography, Gear  Comments Off on KIPON Releases PRO Cine Adapters for PL and LPL Mount Lenses and Medium Format Lenses
Oct 102019
 

KIPON announced a new PRO line of adapters for PL and LPL mount lenses and 0.7x speed boosters for selected medium format lenses. The adapters feature precisely manufactured bodies from strong stainless material and the possibility to add shim papers. They will be available for most popular mirrorless mounts  – Sony E, Micro Four Thirds, Nikon Z, EOS R-mount, L-mount, FUJIFILM G-mount, and RED cameras. The adapters are available now.

KIPON PRO cine adapters

The Shanghai-based company KIPON is known mainly for its lens adapters and affordable manual focus lenses. Back in March 2018, we informed you about their Canon-EF to FUJIFILM X-Mount autofocus adapters. Now KIPON releases a new PRO line of adapters. What kind of adapters are these exactly?

KIPON PRO Cine Adapters for PL and LPL Mount Lenses

First group of new PRO cine adapters from KIPON are adapters without an optical element. They are designed for PL and LPL mount cine lenses, so these adapters naturally do not support autofocus or aperture operation. They only support full manual operation.

All PRO adapters are manufactured with high precision using strong stainless material with very good abrasive resistance. KIPON says there will be no tolerance change for lens and body mount side even after years of use. There is also a possibility to add shim papers of various thicknesses to all PRO adapters to ensure precise (back-)focusing.

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SIGMA fp Pricing Revealed – A Sub-$2,000 Full Frame Camera With RAW Capabilities

 Cinematography, Gear  Comments Off on SIGMA fp Pricing Revealed – A Sub-$2,000 Full Frame Camera With RAW Capabilities
Oct 102019
 

Back in July, we reported about the launch of the SIGMA fp full-frame camera. We visited the SIGMA factory in August, we asked questions about it at this years IBC in September and we posted about the official release of highly accurate 3D models of the camera and its available accessories in order to create an even further expanded pool of custom accessories. But one thing remained in the dark and that’s the price of the fp camera. Now the company spilled the beans and here it is: The SIGMA fp will be yours for $1,899 US. Preorders are open as we speak

SIGMA fp

The SIGMA fp is not your average pocket-sized point’n’shoot camera. It’s kind of two cameras in one and it sports a full frame sensor. You can choose between a dedicated cine mode as well as a stills mode, accessible via a hardware switch right on the top plate of the camera, no more menu digging! That’s a lot of functionality inside this tiny body and it’s a fresh apporach of tackling all these menu settings and controls for both, stills and cine applications.

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KIPON Releases PRO Cine Adapters for PL and LPL Mount Lenses and Medium Format Lenses

 Cinematography, Gear  Comments Off on KIPON Releases PRO Cine Adapters for PL and LPL Mount Lenses and Medium Format Lenses
Oct 072019
 

KIPON announced a new PRO line of adapters for PL and LPL mount lenses and 0.7x speed boosters for selected medium format lenses. The adapters feature precisely manufactured bodies from strong stainless material and the possibility to add shim papers. They will be available for most popular mirrorless mounts  – Sony E, Micro Four Thirds, Nikon Z, EOS R-mount, L-mount, FUJIFILM G-mount, and RED cameras. The adapters are available now.

KIPON PRO cine adapters

The Shanghai-based company KIPON is known mainly for its lens adapters and affordable manual focus lenses. Back in March 2018, we informed you about their Canon-EF to FUJIFILM X-Mount autofocus adapters. Now KIPON releases a new PRO line of adapters. What kind of adapters are these exactly?

KIPON PRO Cine Adapters for PL and LPL Mount Lenses

First group of new PRO cine adapters from KIPON are adapters without an optical element. They are designed for PL and LPL mount cine lenses, so these adapters naturally do not support autofocus or aperture operation. They only support full manual operation.

All PRO adapters are manufactured with high precision using strong stainless material with very good abrasive resistance. KIPON says there will be no tolerance change for lens and body mount side even after years of use. There is also a possibility to add shim papers of various thicknesses to all PRO adapters to ensure precise (back-)focusing.

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