PolarPro Quartzline ND Filter Review – a new Gold Standard?

 Cinematography  Comments Off on PolarPro Quartzline ND Filter Review – a new Gold Standard?
Aug 112018
 

I first got to know PolarPro cinema series ND filters about 1.5 years ago when I was conducting a GoPro Hero camera review fitted with their set of filters. (See my review here). Now they are venturing into the professional large diameter filter world (up to 82mm), essentially claiming a neutral color balance and near perfect optical quality. Is this claim true? Read on to find out. 

PolarPro Quartzline ND Filter

In this review, I’m testing the new PolarPro Quartzline ND 64 filter and PolarPro ND16 / PL (polarizer) filter. Those filters are made of 99.9% fused quartz to ensure optical clarity with a very low refractive index. The frames are built from machined brass to ensure they thread on smoothly – very essential as I have experienced seized up filters from aluminium frames myself already. A very nasty experience …

PolarPro claims a neutral color balance, zero color shift and near perfect transmission by the optical coatings. For more information about the available filters and sizes, please head to Richard’s article.

Read More:

cinema5D

~

DJI Mavic 2 Is Coming – Leaks Reveal Not Just One, but Two New Drones

 Action cams, Cinematography, Gear  Comments Off on DJI Mavic 2 Is Coming – Leaks Reveal Not Just One, but Two New Drones
Aug 012018
 

If you’re like us here at cinema5D eagerly waiting for some news on the anticipated DJI Mavic 2 drone, Well, here’s some solid information for you: British digital retailer Argos issued their latest (print) catalogue and in it, alert readers found two brand-new drone models : The Mavic 2 Pro and the Mavic 2 Zoom.

Cinema5D HQ actually received an invitation for an official event that should have taken place during July but this event has been postponed without any alternative date so far. So, now with everybody on the edges of their seats, let’s have a look at what surfaced in that aforementioned catalogue:

There will be not one but two models of the upcoming Mavic 2 drone and the difference lies within the actual camera gimbal. The so-called Mavic 2 Zoom will sport a 2x optical zoom (24mm – 48mm) while the Mavic 2 Pro will feature a Hasselblad camera with a 1-inch sensor but no zoom. You will have to decide whether Pro image quality or the flexibility of a zoom lens is your thing.

There’s no word on video recording capabilities. I assume 4K (UHD) recording but the amount of compression and the quality of the codec deployed are yet to be revealed. The gimbal itself doesn’t seem to be detachable, which is unfortunate but since we’re talking about a drone listed in the consumer section of the company’s lineup, it’s not surprising, really.

Read More:

cinema5D

~

Intro to Video: A Photographer’s Guide to Filmmaking

 Cinematography, Technique  Comments Off on Intro to Video: A Photographer’s Guide to Filmmaking
Aug 012018
 

As more and more people call themselves “professional photographers,” the need to diversify and offer other services to your clients is rapidly growing. With social media and advertising visuals fighting for more and more of our attention, the importance of video is at an all time high. Luckily, if you are a photographer, you already have 90% of the tools you need to start making professional videos and multimedia productions. This new Fstoppers tutorial on videography is aimed at helping both professional and amateur photographers take the gear they already own and start producing high quality videos. There is no better time to learn how to film video than right now!

Intro to Videography

The idea behind the Fstoppers website was first born back in 2010 when Patrick Hall and Lee Morris both had an interest in learning how to shoot video. Having both been successful wedding photographers, Patrick and Lee saw the value videography could supply to their own photography businesses. Over the years, Fstoppers has grown from a little side project used to explore behind the scenes videos into a full blown world wide community of photographers and videographers. Since 2010 when DSLRs first started shooting high definition video, Lee and Patrick have seen photographers and social media influencers transitioning to video at an alarming rate. In today’s cut throat market, the trend is very clear: if you are not incorporating video along side you photography, you are going to get left behind.

Read More:

fstoppers

~

Call to Action for All Sony Shooters: Test Your Lens Adapter for Sharpness

 Cinematography, Gear  Comments Off on Call to Action for All Sony Shooters: Test Your Lens Adapter for Sharpness
Jul 232018
 

With the exodus of Canon users to Sony’s Alpha series, adapters have become incredibly important, particularly the Metabones V and the Sigma MC-11. Photographer Luis Gabriel Gerena has done a comparison and produced some slightly alarming — albeit very limited — results regarding sharpness when shooting with a wide angle lens.

It’s worth keeping in mind that Gerena’s results are based on just one comparison and one lens, so here’s our call to action: if you have access to both the Sigma MC-11 and the Metabones V, please perform your own test with your widest lens and post the results below.

Read More:

fstoppers

~

Panasonic EVA1 Guide by Barry Green now Available – For Free

 Cinematography, Gear  Comments Off on Panasonic EVA1 Guide by Barry Green now Available – For Free
Jul 102018
 

Do you own a Panasonic AU-EVA1 camera? Tired of digging through YouTube and/or shady forums to get additional intel on how to squeeze the very last piece of performance out of it? Well, look no further. Barry Green has published a comprehensive e-book – An EVA1 Guide for free!

Almost every major camera manufacturer has its own industry specialist. One who knows every last detail of a given camera and spreads the word among the community. Sony has Alister Chapman, RED has Phil Holland and Panasonic? Well, Panasonic has Barry Green. And that exact Barry Green has just published an extensive e-book, an EVA1 guide.

Panasonic AU-EVA1 Guide

Just as Alister Chapman’s guide to the Sony FS7 Cine EI mode, this EVA1 guide isn’t just a manual. It’s a comprehensive real-life guide to the camera. Since Barry Green is a professional in his line of work, this guide is far from real-life Youtube flicks which oftentimes come without too much insight.. This guide to the EVA1 covers everything there is: The camera body itself with all the connectors, buttons and dials, the menu structure, codecs and recordings formats, LUTs and looks, and everything else. All in one PDF. For a brief overview of the camera in question, watch the video below, also hosted by Barry Green:

Read More:

cinema5D

~

MIOPS Capsule360: The World’s ‘Most Compact and Versatile Motion Box’

 Cinematography, Gear  Comments Off on MIOPS Capsule360: The World’s ‘Most Compact and Versatile Motion Box’
Jun 132018
 

The camera triggering company MIOPS has just announced the Capsule360, a new app-controlled motion box that the company claims is the world’s “most compact and versatile motion box ever created.” It’s one motion system that aims to do it all.

Compatible with any DSLR camera, mirrorless camera, or smartphone, the Capsule360 can do pans, tilts, slides, custom movements, subject/star tracking, and 360-degree photography.

“For those filmmakers and stills photographers who want to go further than ever before with their projects, the MIOPS Capsule360 is the ideal companion,” MIOPS says.

The Capsule360 has 3 axes of motion: it can do pans straight out of the box, tilts with the optional L-Bracket, and slides with the Capsule Slider accessory.

Animated GIF - Find & Share on GIPHY

Read More:

petapixel

~

Drone Comparison: New Parrot Anafi vs. DJI Mavic Air

 Cinematography, Gear  Comments Off on Drone Comparison: New Parrot Anafi vs. DJI Mavic Air
Jun 072018
 

Parrot just announced a new drone that may be able to challenge DJI’s domination in the hobby market. Let’s take a look at the specifications and check if the French manufacturer can take on the Chinese leader.

Size, Weight and Speed

The two drones are fighting in the similar lightweight category but the Anafi is lighter than the Mavic air at 374 grams versus 430 grams. It can be a curse or a blessing. Lighter drones tend to sustain less damage in case of crash but more weight also helps to stabilize the frame.

The Mavic Air wins the top speed category (42mph) but the Anafi is not too far behind (33mph). The key factor is to determine the maximum usable speed because the sport mode on DJI drones is not very good to record video (propellors in the field of view, limited stabilization) but it can help to fly back against strong winds.

Read More:

fstoppers

~

DJI Mavic Air vs. Mavic Pro Footage Comparison

 Action cams, Cinematography, Gear  Comments Off on DJI Mavic Air vs. Mavic Pro Footage Comparison
May 282018
 

After our hands-on with the Mavic Air in Monaco earlier this year, it was time to put the Mavic Air up against its older brother, the Mavic Pro, and compare the footage. Which footage holds up better?

Does the Mavic Air Make Superior Images?

The irony about new technology is often that newer generations are simply better, even in a model that sits in a lower price bracket than a predecessor that is still in the market. And this is exactly what we are seeing with the new Mavic Air, which I took for a hands-on spin at their press event in Monaco earlier this year (watch the video here). The Mavic Air is a classic example for this conundrum that many manufacturers face, unless they want to artificially strip newer technology off of some of the features of older, but “higher end” version of their products (C200, cough-cough!).

Skydio R1 – Impressive Fully Autonomous 4K Drone

 Cinematography, Gear  Comments Off on Skydio R1 – Impressive Fully Autonomous 4K Drone
May 032018
 

The California-based startup Skydio has introduced a fully autonomous drone named Skydio R1. Its development took 4 years. The R1 is an artificial intelligence-powered quadcopter capable of shooting 4K video of a subject and maneuvering complex environments entirely on its own. It uses 13 onboard cameras and vision-based computer system to actually see the obstacles and avoid them while following and filming the desired subject.

There were initiatives to make autonomous drones before. We still remember the sad story behind the autonomous drone Lilly, which never made it in production. It is obviously quite a challenging task to design a drone that can safely fly in busy and changing environments. Skydio seems to have succeeded with the R1. Interesting fact is that their first batch of drones called “the frontier edition” is being assembled directly in their facility in the USA. The company did not say anything about outsourcing their production to China yet.

The Skydio R1 does not come with a controller. It can be controlled with a smartphone using the Skydio mobile app. Since this is an autonomous drone, users will not need the controls so often though. Mostly only take-off and landing of the drone are being managed through the app. Furthermore users can see video previews of footage there or control how the drone captures that footage with presets like:

  • follow – drone follows and films the subject from behind
  • side – drone films the subject from the side
  • lead – drone films its subject from the front
  • tripod – drone hovers at one place and turns to have the subject in the picture
  • orbit – drone circles around the subject to create 360-degree shots

Read More:

cinema5D

~

 

Transform Your DJI Drone in a Handheld Gimbal With This Accessory by PolarPro

 Cinematography, Gear  Comments Off on Transform Your DJI Drone in a Handheld Gimbal With This Accessory by PolarPro
Apr 122018
 

Everyone I know who shoots video dreams to own a gimbal if they don’t already. But did you know that if you have a drone, you actually already own a gimbal that you can use to shoot anything?

The role of the gimbal is to keep something horizontal no matter what. When flying a drone, it’s quite essential to maintain the camera stable and avoid any movement due to external elements or when flying it aggressively. However, a drone can also record videos and take pictures while on the ground. This means you can use it as a camera and take advantage of its gimbal to make super steady shots even if you don’t own a stabilizer for your bigger DSLR.

Read More:

fstoppers

~

Sony Interview: FS5 II, What’s REALLY New?

 Cinematography, Gear  Comments Off on Sony Interview: FS5 II, What’s REALLY New?
Apr 092018
 

I spoke with Claus Pfeifer from Sony about the newly announced FS5 II and the other new cameras. And I asked the tough question: What’s REALLY new about the FS5 II?

A few hours ago Sony announced the FS5 II, an update to Sony’s little FS7 brother (see our report here). Some of our readers were asking: What’s REALLY new about it though? It seems to use the same sensor and have the same exact body as the original FS5. And while the FS7 II at least got the Vari ND feature that the FS7 was missing, the original FS5 already had that.

 

RAW for “free”, Better Color Science & “Instant HDR”

Sony is teasing the integrated RAW output functionality in the FS5 II, which was a payable firmware upgrade in the original FS5 – a welcome addition of a feature becoming standard, especially with the newly announced ProRes RAW (article here) and the upgrade of the Atomos Shogun Inferno and Sumo19 recorders to support ProRes RAW recording (article here). Now also the formerly payable high frame rate output and internal high frame rate recording capabilities are included with the FS5 II.

Read More:

cinema5D

~

Blackmagic Pocket Cinema 4K Camera Hands on with CEO Grant Petty

 Cinematography, Gear  Comments Off on Blackmagic Pocket Cinema 4K Camera Hands on with CEO Grant Petty
Apr 092018
 

No longer only a mysterious billboard outside NAB 2018, the Blackmagic Pocket Cinema 4K camera is here and it shoots 12-bit RAW cinema 4K 60fps and full HD at up to 120fps — all at an impressive price point. The specs, pricing and more are below including an interview with Blackmagic Design CEO, Grant Petty: 

 

Unlike its HD-only predecessor, the Blackmagic Design Pocket Cinema Camera, the new 4K version shoots full cinema 4K (4096 x 2160 pixels) at up-to 60fps with a newly designed M4/3 (21.60 x 17.30mm) sensor. You’ll also be able to capture full HD 120 fps cropped (no info on how much of a crop) slow motion in both 12-bit CinemaDNG RAW and 10-bit Apple ProRes 422 (HQ) varieties. Unfortunately you won’t be able to shoot in the newly announced Pro Res RAW  at least not yet.

Read More:

cinema5D

Pre-Order Now:

Blackmagic Design Pocket Cinema Camera 4K Body Only with Active Micro Four Thirds Lens Mount

$1295 with Free Expedited Shipping.

The CEO of Sigma Explains the Challenges of Curved Sensor Technology

 Cinematography, Gear  Comments Off on The CEO of Sigma Explains the Challenges of Curved Sensor Technology
Mar 132018
 

The French website Mizuwari published a series of captivating interviews with the CEO of Sigma, Kazuto Yamaki. Among other things, the Japanese executive mentions the challenges of implementing curved sensor technology in digital cameras.

Simply put, camera lenses are round and project different rays of light on a flat sensor, which is not an ideal solution. This explains, for instance, the softness issue encountered on the corners of the image, especially when shooting wide open. In a perfect world, the shape of the sensor would match the light beam created by the lens. Several manufacturers, such as Sony, have been working for years to develop curved sensors where each pixel could be placed at the perfect distance in relation of the light beam. Easier said than done.

Read More:

fstoppers

~

The Cameras Used in the 2018 Oscar-Nominated Films

 Cinematography  Comments Off on The Cameras Used in the 2018 Oscar-Nominated Films
Mar 112018
 

Today we’ll take a look at the cameras used in the Oscar-nominated films in the Cinematography and Best Picture categories. The results may surprise you… or not!

 

One of the most interesting questions that may strike your curiosity when watching a movie – and especially one nominated for an Oscar – is “what camera was that shot on?” For us filmmakers, when it comes to choosing the right camera, these films can serve as a sort of reference, especially in a time when there are so many cinema cameras, sensors and ultra high-resolution goodies to choose from.

So, we had a look at the Tech Spec section of all of these movies’ IMDB page. Check out the list below to find out what cameras were used for this year’s Oscar-nominated films:

Read More:

cinema5D

~

ALEXA vs Varicam LT vs GH4 vs A7s – with William Wages, ASC – ON THE GO – Episode 83

 Cinematography, Gear  Comments Off on ALEXA vs Varicam LT vs GH4 vs A7s – with William Wages, ASC – ON THE GO – Episode 83
Feb 042018
 

n this episode of cinema5D ON THE GO, we wrap up our conversation with William Wages, ASC regarding using Lumix cameras on high-end productions.

 

Continuing our discussion about how William has changed to currently preferring the Varicam LT and Lumix environment, he tells us about the blind test he carried out to convince decision makers that the GH series of Panasonic cameras was indeed worthy.

But is there really a place for a Micro Four-Thirds sensor in the world of high-end filmmaking? As William says, the kind of situations that would require deploying a GH camera are exactly those where it would be challenging to set up a follow focus system. For this reason, the more restricted depth of field that the Micro Four-Thirds sensor size offers would in fact prove to be an advantage.

We also discuss Panasonic’s latest addition to its range of filmmaking cameras: the Panasonic EVA-1. While it could prove to be a solid B-Cam option to the Varicam line, for William Wages the small size of the Lumix line is still a major plus over this new model. (Please note that this episode was recorded before Panasonic released the final specs of the EVA-1).

Read More:

cinema5D

~

Panavision Announces New Millennium DXL2 8K Camera with the RED Monstro 8K VV Sensor

 Cinematography, Gear  Comments Off on Panavision Announces New Millennium DXL2 8K Camera with the RED Monstro 8K VV Sensor
Feb 042018
 

The new Panavision Millenium DXL2 builds on the success of the original Millennium DXL. Both models operate in an ecosystem (or should I say marriage) between three top-class companies in the moving picture industry: Panavision, Light Iron and RED. However, this time the development of the camera has gone even further by incorporating Panavision with the RED MONSTRO 8K VV sensor, and Light Iron color2 science.

 

As stated by Michael Cioni, senior VP of Innovation at Panavision and Light Iron: “Panavision’s vast inventory of advanced large-format and anamorphic optics combined with RED’s MONSTRO imager expands what’s possible, allowing filmmakers to create radically inventive and powerfully cinematic images, customized for the needs of the project and the vision of creative teams.”

Watch the video below which demonstrates the DXL2 in action.

Read More:

cinema5d

~

LG Reveals Its First-ever 4K HDR, Compact and Affordable Home Cinema Projector

 Cinematography  Comments Off on LG Reveals Its First-ever 4K HDR, Compact and Affordable Home Cinema Projector
Jan 142018
 

At CES 2018, LG wants to hit the jackpot. Armed with its new invention to enhance the home cinema experience, LG has just announced the HU80KA projector, its first 4K UHD model designed to deliver ultra-sharp video in a compact, beautiful design.

As stated by Tim Alessi, head of product marketing at LG Electronics USA: “LG’s first-ever 4K UHD projector represents the pinnacle of innovation in the portable entertainment market… Offering superb brightness coupled with a design that offers true versatility, the new HU80KA will lead the way in changing how consumers enjoy 4K content in their home and on the go.”

150-inch screen, 2,500 lumens and HDR

The HU80KA projector has the potential to deliver a 150-inch screen projection with 2,500 lumens, making it LG’s brightest projector. Furthermore, it supports HDR content (HDR 10).

Regarding sound, external speakers can be connected via optical output, HDMI or wirelessly through Bluetooth for enhanced audio performance.

As stated by Tim Alessi, head of product marketing at LG Electronics USA: “LG’s first-ever 4K UHD projector represents the pinnacle of innovation in the portable entertainment market… Offering superb brightness coupled with a design that offers true versatility, the new HU80KA will lead the way in changing how consumers enjoy 4K content in their home and on the go.”

150-inch screen, 2,500 lumens and HDR

The HU80KA projector has the potential to deliver a 150-inch screen projection with 2,500 lumens, making it LG’s brightest projector. Furthermore, it supports HDR content (HDR 10).

Regarding sound, external speakers can be connected via optical output, HDMI or wirelessly through Bluetooth for enhanced audio performance.

Read More:

cinema5D

~

Sony Announces New E 18-135mm F3.5-5.6 APS-C Lens ahead of CES 2018

 Cinematography, Gear  Comments Off on Sony Announces New E 18-135mm F3.5-5.6 APS-C Lens ahead of CES 2018
Jan 072018
 

Sony E 18-135mm F3.5-5.6 for APS-C cameras has just been announced a few days ahead of CES in Las Vegas. It’s their 46th E-Mount lens. They also released a silver version of the a6300 camera.

The new Sony E 18-135mm F3.5-5.6 OSS E-mount lens includes a functional wide to telephoto focal range of 18-135mm, as well as an aperture range of F3.5-5.6, making this lens versatile whether you are filming indoors or outdoors. The lens auto focus features a linear motor, for fast and quiet operation. This could make for impressive auto focus tracking performance for video, when paired with the Sony a6500 for example, which is already known for its great video auto focus.

The lens features Sony’s powerful OSS or ‘Optical SteadyShot’ image stabilization which will aid in achieving steady and crisp images while shooting hand held, or in lower light scenarios. For improved optical performance, the lens also includes two extra-low dispersion elements and one aspherical lens which will reduce chromatic aberration.

Weighing only 325g, the lens and camera combination is ideal for those that like a lightweight and compact setup, whether that is for traveling, street work, or on a hand held gimbal.

Read More:

cinema5D

~

KipperTie Revolva – RED Lens Mount With Built In ND Filter Wheel

 Cinematography, Gear  Comments Off on KipperTie Revolva – RED Lens Mount With Built In ND Filter Wheel
Dec 102017
 

KipperTie has announced Revolva, a new mount for the DSMC2 RED cameras offering a PL or EF mount with built-in ND wheel. The wheel can be swapped out quickly to more ND or even a diffusion set.

Kippertie has been known for making filtration-related RED products for some time. The Revolva may just be their most significant yet.

With a name and colour wave akin to another favourite UK camera accessory company, the Revolva is suitably garish in appearance as with many RED-related products.

It’s a lens mount and ND wheel built in-one. Both PL and EF mounts will be available, electronically also for aperture changes and lens data (exactly the same as the RED EF mount).

Read More:

cinema5D

~

The Sigma 85mm 1.4: One Year Later

 Cinematography, Gear  Comments Off on The Sigma 85mm 1.4: One Year Later
Nov 282017
 

About this time last year, the Sigma 85mm 1.4 Art series lens was released and I went ahead and decided to pull the trigger and invest in the new glass. I had heard great things about other entries in the art lineup and understandably Sigma’s new 85mm focal length was getting a solid amount of hype. For the past year, I have been shooting exclusively with Sigma’s 85mm. It’s been the only lens in my camera bag and the only lens I’ve used for a straight year. What follows are my impressions after a solid year of use; what I like about the lens and what I don’t like.

Let’s start out with some of the things that I love about this lens. After a year of continuous use, I can say that there is no question that the Sigma 85mm 1.4 is a great piece of glass. I am first and foremost a portrait photographer so the focal length itself is a no-brainer for me. As a short/medium telephoto lens, the 85mm gives me a gorgeous level of background compression, beautiful bokeh, and I don’t need to be overly concerned with facial distortion if I come in for a closeup shot. It’s been said before and will be said again that the 85mm focal length is pretty much perfect for portraits.

As I currently live in Colorado and have generally have access to gorgeous sunsets for most of the year I have developed a love for shooting backlit images. If you’ve ever shot backlit before, you know that depending on the angle and position of the sunlight, as well as your own preferences regarding lens flare, some lenses can be finicky about nailing focus. This is understandable as you’re basically asking your camera to nail focus while either direct or angled light is coming right into the lens. I can say with confidence that the Sigma 85mm handles backlighting scenarios like a boss. This is one of the first things that I noticed about this lens; even in less than ideal backlit situations, the lens is wildly successful at getting great focus right where you want it.

Read More:

fstoppers

~