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.

Read More:

cinema5D

~

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.

Read More:

cinema5D

~

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.

Read More:

cinema5D

~

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.

Read More:

cinema5D

~

Magic Cinema ViewFinder – Free Director’s Viewfinder App for iOS & Android

 Cinematography, Gear  Comments Off on Magic Cinema ViewFinder – Free Director’s Viewfinder App for iOS & Android
Oct 022019
 

Magic Cinema ViewFinder is an application for iOS and Android devices that makes location scouting a lot easier. Although there are already a couple of apps in the market that do the same thing, the Magic Cinema ViewFinder is free. Let’s take a closer look at it!

Location Scouting with Your Smartphone

Back in the days, I used to take stills with a point-and-shoot compact camera while doing location scouting. Don’t get me wrong; it’s still relevant today. But, we now all have in our pocket a smartphone that features a capable camera, and that can launch dozens of apps to make your life easier. I use tools like Sun Surveyor to know where the sun will be at any given hour. Also, Green Screener is an excellent app if the job requires green screen lighting. But one of the most useful to me is Cadrage, which is a viewfinder tool for location scouting.

Read More:

cinema5D

~

Large Format Is Still Completely Unrivaled: Canon 5DS R Versus 4×5 Large Format Film

 Cinematography, Gear  Comments Off on Large Format Is Still Completely Unrivaled: Canon 5DS R Versus 4×5 Large Format Film
Oct 012019
 

Over the last couple of months, I’ve been getting to know a photographer called Adam French who lives in the same city as me. French is a photographer who primarily shoots with a large format film camera. I was utterly blown away by some of the work he produced, and I asked him if he’d be interested in working with us on a YouTube video. 

In the video linked above, we decided to compare a 50-megapixel full-frame camera, the Canon 5DS R, to a large format 4×5 film camera. The lenses we used for the comparison were the Sigma 50mm f/1.4 Art on the Canon versus a 180mm f/2.9 lens on the 4×5 camera. If you’re interested in what the equivalents are, then the large-format lens would be somewhat similar to a 50mm lens with an aperture of around f/0.8 on a full-frame camera. This kind of depth of field is simply ridiculous, and currently, nothing like this exists for any digital camera produced by any of the well-known manufacturers. Even if you’re shooting with a digital medium format camera, it simply isn’t possible to produce that kind of depth of field natively. 

Read More:

fstoppers

~

Cooke S7/i 16mm Full Frame Plus and Anamorphic/i 135mm FF+ Introduced

 Cinematography, Gear  Comments Off on Cooke S7/i 16mm Full Frame Plus and Anamorphic/i 135mm FF+ Introduced
Sep 272019
 

If you value endgame-performance and money is nothing to worry about, Cooke has everything you need when it comes to cine lenses. At this year’s IBC, the company had two new lenses on display: The Cooke S7/i 16mm T2.0 Full Frame Plus (spherical) prime and the Cooke Anamorphic/i 135mm T2.3 cine prime. High-end glass for the high-end cine market.

Cooke S7/i

The new Cooke S7/i 16mm T2.0 cine prime (spherical). Image Credit: cinema5D

Yeah, I know. I won’t spend a cool $25.000 on a single lens, either. But there is a high-end, money-no-object market in which you just want to get that perfect shot. Check out the shotoncooke.comwebsite for a brief overview of productions shot on Cooke glass. Do you want that Cooke-look? Well, you better get some Cooke glass, then! At this year’s IBC, Cooke introduces two new primes to their lineup.

Read More:

cinema5D

~

CINE-X BMPCC 4K and 6K Battery Grip First Look

 Cinematography, Gear  Comments Off on CINE-X BMPCC 4K and 6K Battery Grip First Look
Sep 272019
 

During IBC 2019, we met Dimitar from CINE-X to talk about their new battery grip solution for the BMPCC 4K and 6K cameras. This CINE-X battery grip can be an excellent alternative to the official Blackmagic Design Pocket Cinema Camera 4K Battery Grip that was announced a couple of months ago. Indeed, the CINE-X version features additional D-taps and USB ports. Let’s take a closer look at it!

CineX_04

The back of the CINE-X battery grip features two Sony NP-F slots. Image credit: cinema5D

Read More:

cinema5D

~

Canon Unveils Entry-Level EOS M200 with Eye Detection and 4K Video

 Cinematography, Gear  Comments Off on Canon Unveils Entry-Level EOS M200 with Eye Detection and 4K Video
Sep 252019
 

Canon has just revealed a new entry-level mirrorless APS-C camera. The Canon EOS M200 won’t blow anybody’s socks off, but it brings some useful upgrades to Canon’s popular entry-level mirrorless EOS M100, adding eye-detection autofocus, 4K video, and more.

The main upgrade between the two cameras is the Digic 8 processor, which allowed Canon to include Dual Pixel AF with Eye Detection on the EOS M200. Canon also added (cropped) 4K/24p video, 1080/60p, and automatic support for vertical video when you shoot in portrait orientation and export to an iOS or Android device.

Otherwise, the camera remains largely unchanged. You still get a 24MP APS-C CMOS image sensor, flip up LCD touchscreen for selfies, built-in WiFi and Bluetooth for wireless file transfer, and a compact, travel-friendly design.

Here’s a quick intro to the Canon EOS M200’s main features:

Read More:

petapixel

~

Cartoni Maxima 5.0 and Master 25 Fluid Heads with 50kg and 30kg Payload

 Cinematography, Gear  Comments Off on Cartoni Maxima 5.0 and Master 25 Fluid Heads with 50kg and 30kg Payload
Sep 232019
 

Cartoni is introducing two new professional grade tripod fluid heads at IBC 2019, the Cartoni Maxima 5.0 and the Cartoni Master 25, aimed at the cinema and broadcast communities respectively.

The tripod heads shown here somewhat continue the theme of Cartoni competing with other manufacturers directly, by trying to out-innovate rather than out-spec them.

Maxima 5.0

Maxima 5.0 is the next step in the evolution of Cartoni’s Maxima series, following its predecessors the Maxima 40 (payload of ~ 40 kg) and 30 (~ 30 kg) and it’s improving on those quite a bit.
The Cartoni Maxima 5.0 can handle payloads of up to 50 kg (110.2 lbs), weighing in at only 13 kg (28.6 lbs) itself. It will handle that payload throughout its +90 and -90° tilt range. The Cartoni Maxima 5.0 has a Mitchell mount, but can be adapted to use a bowl head. The sliding plate is compatible with ARRI, Sony and O’Connor. The Cartoni Maxima 5.0 features Cartoni’s patented counterbalance, which can be dialed in precisely and repeatably with the display on the head’s operator side. Additionally, there is a locking mechanism, that will prevent the head from shifting with the flick of one lever only.
As Elisabetta Cartoni mentions in our interview, this new entry into the Maxima series is set to compete directly with the very popular O’Connor 2575 fluid head, which has become somewhat of a favorite among filmmakers using larger setups with long lenses. The Cartoni Maxima 5.0, however, is supposed to be even more precise and optimized for these use cases than the O’Connor head. We didn’t yet have the chance to compare the two, but we hope to do so at some point in the future.

Read More:

cinema5D

~

Nikon to Release Z50 Mirrorless APS-C Camera and Two Lenses Soon: Report

 Cinematography, Mirrorless  Comments Off on Nikon to Release Z50 Mirrorless APS-C Camera and Two Lenses Soon: Report
Sep 232019
 

It looks like Nikon is preparing to enter the mirrorless APS-C market and take on Sony’s a6000 series cameras. According to a breaking report from this morning, Nikon is planning to release the “Z50” APS-C mirrorless camera and two lightweight DX-format mirrorless lenses “soon.”

The report, published by Nikon Rumors this morning, claims that the Nikon Z50 will feature a 20MP APS-C image sensor, 3-inch “pivoted” LCD, and the ability to shoot bursts up to 11fps. If accurate, it seems Nikon is adopting a Z”XX” naming convention for APS-C mirrorless, and Z”X” scheme for full-frame mirrorless.

Read More:

petapixel

~

ARRI Orbiter – Quick Look at the New High Output Directional LED Fixture

 Cinematography, Gear  Comments Off on ARRI Orbiter – Quick Look at the New High Output Directional LED Fixture
Sep 192019
 

A few days ago, ARRI announced a new high output directional LED fixture: the ARRI Orbiter. During IBC 2019, we had the chance to take a quick look at this new modular fixture that should come out next year.

ARRI Orbiter – Image credit: cinema5D

ARRI Orbiter – Main Features

The Orbiter is ARRI’s latest modular and directional LED light that was announced a couple of days ago. You can read our full article here for more details about the technical specifications.

In short, here are the main highlights of this new light:

  • Features a six-color light engine for high color rendition and accuracy. It is possible to go from very warm color temperatures of 2000K up to super-cold 20.000K. You can also dim to light from 0 to 100% with no color changes.
  • There is a built-in color sensor for matching ambient light. The light is also weatherproof.
  • Thanks to the Quick Lighting Mount, you can switch the front optic. These lighting modifiers includes an open face modifier, a projection lens, a light dome, and light banks.
  • According to ARRI, the Orbiter is a potent light; its output is superior to a 2K Tungsten Fresnel.
  • 4” full-color display, quick navigation buttons, Also, you can remove the control panel and use it handheld with a 5 or 15 m (16.4 or 49.2 ft) control panel cable.
  • Internal power supply, wireless DMX, and 3-pin XLR battery input.

Read More:

cinema5D

~

Tokina 135mm T1.5 Vista Prime Lens Announced

 Cinematography, Gear  Comments Off on Tokina 135mm T1.5 Vista Prime Lens Announced
Sep 192019
 

The Tokina 135mm T1.5 Vista prime cinema lens was announced as the seventh lens in Tokina’s Vista prime cinema lens lineup. It features the same physical specifications as the rest of the Vista series and it comes in PL mount, EF mount, Sony E-mount, Micro four thirds mount, and LPL mount. Priced at around $9,000 it should start shipping in January 2020.

Tokina cinema lenses portfolio includes the original Vista prime series, the Vista One prime lenses (announced earlier this year), 100mm macro lens, and few zoom lenses. At IBC 2019, Tokina showed its new 50-135mm T2.9 MKII cinema zoom lens and the Tokina 135mm T1.5 Vista prime. If you are interested in the new zoom lens, check our other article. In this article, we only focus on the new fast 135mm Vista prime.

Tokina 135mm T1.5 Vista prime. Image credit: cinema5D

Read More:

cinema5D

~

Tilta BMPCC 4K and 6K Flipscreen & M.2 SSD Modification Kit

 Cinematography, Gear  Comments Off on Tilta BMPCC 4K and 6K Flipscreen & M.2 SSD Modification Kit
Sep 172019
 

In somewhat of a surprise move, Tilta showed off a kit that will allow you to modify the screen of your Blackmagic Pocket Cinema Camera 4K and 6K, to flip 180° up and 90° down. In addition to that the modification kit comes with a housing for an M.2 SSD drive that will bridge over to the cameras internal USB-C port and thus enable recording directly onto it. Furthermore the kit contains what Tilta considers an enhancement to the housing of the camera’s ports.

Read More:

cinema5D

~

Sony FE C 16-35mm T/3.1 G Full-Frame E-Mount Lens Announced

 Cinematography, Gear  Comments Off on Sony FE C 16-35mm T/3.1 G Full-Frame E-Mount Lens Announced
Sep 162019
 

During IBC 2019, also announced a new E-mount lens to be added to its already comprehensive line-up of glass: the Sony FE C 16-35mm T/3.1 G. This lens is a cinema lens which can also be controlled with AF, and it is compatible with all E-mount Full-Frame cameras, including the recently announced Sony FX9. Let’s take a closer look at this lens.

Sony FE C 16-35mm T/3.1 G

The Sony FE C 16-35mm T/3.1 G is Sony’s latest G master Full-Frame compatible lens. Indeed, this lens is compatible with the latest Sony FX9 camera but also with every other Alpha camera and even the Sony VENICE.


Sony is already teasing other Cinema G series lenses.

The lens design consists of two XA (Extreme Aspherical) elements, three aspheric lenses, and two ED (Extra-low Dispersion) glasses to reduce color distortions. On top of that, a Nano AR (Anti Reflection) coating should minimize lens flares and ghosting.

Read More:

cinema5D

~

SIRUI 50mm f/1.8 1.33x Lens Announced – Affordable APS-C Anamorphic Lens

 Cinematography, Gear  Comments Off on SIRUI 50mm f/1.8 1.33x Lens Announced – Affordable APS-C Anamorphic Lens
Sep 162019
 

SIRUI announced their new 50mm f/1.8 1.33x anamorphic lens during this year’s IBC show in Amsterdam. The lens produces image circle covering APS-C sensors and will come in versions with Sony-FE mount, FUJIFILM X-mount, and Micro four thirds mount. Compared to other anamorphic lenses, it will be very affordable.

Anamorphic lenses can produce unique images with special characteristics (lens flares, oval bokeh, etc) and that’s why they are very popular for certain genres. For years, there have only been very expensive anamorphic lenses on the market and the only affordable alternative was to use an anamorphic adapter (like this one from SLR magic). This is changing and there are more and more affordable anamorphic lenses available. My colleague Gunther recently reviewed the VAZEN anamorphic 1.8x 40mm T2 lens fo M4/3 cameras. SIRUI is now introducing their own anamorphic lens.

Read More:

cinema5D

~

Fstoppers Reviews the Haida M15 150mm Magnetic Filter Holder System

 Cinematography, Gear  Comments Off on Fstoppers Reviews the Haida M15 150mm Magnetic Filter Holder System
Sep 102019
 
Fstoppers Reviews the Haida M15 150mm Magnetic Filter Holder System

With extreme wide-angle lenses on the market from all the major players now that don’t accept screw-in filters, filter manufacturers have stepped up their offerings with larger filter holders and dedicated attachment rings. One such offering is Haida’s M15 Magnetic Filter Holder

As with my last review of Haida’s M10 system, this test unit was provided for me by their marketing division. I’ve had a couple of weeks with it and the Fujifilm 8-16mm f/2.8 and am now ready to share my thoughts on the holder. 

While the M10 will be fit for most people’s purposes, those using ultra-wide lenses like a 12-24mm will likely need a dedicated filter system. Haida offers adapters for all the major ultra-wide angles including the Sony 12-24mm f/4, Canon’s 11-24mm f/4, and Tokina’s 16-28mm f/2.8. You can see the rest of their dedicated adapters on the product page

Read More:

fstoppers

~

Canon C500 Mark II First Look – 6K, Full Frame, Cinema RAW Light, Modular Concept

 Cinematography, Gear  Comments Off on Canon C500 Mark II First Look – 6K, Full Frame, Cinema RAW Light, Modular Concept
Sep 092019
 

Canon just introduced the Canon C500 Mark II, the long-awaited successor to the C500, which takes a much more modular approach than previous cameras in Canon’s Cinema line-up. Let’s take a look!

It’s been over 7 years since the introduction of the original Canon C500, which used to be Canon’s flagship cinema camera before the C700 was introduced in 2016. And it’s also already 4 years ago since the C300 Mark II was introduced. So with the competition heating up and new cameras being released left and right, it was definitely time for an update of Canon’s cinema line. And today is the day this is happening. 

Before we take a look at the modular design of the camera, let’s look at the tech specs.

The bare-bones body of the Canon C500 Mark II – Photo © cinema5D 2019

Read More:

cinema5D

~

Z CAM ZRAW vs. Blackmagic RAW Underexposed – Which One is Better? Our Lab Test

 Cinematography, Gear  Comments Off on Z CAM ZRAW vs. Blackmagic RAW Underexposed – Which One is Better? Our Lab Test
Sep 092019
 

Z CAM E2 newest firmware (0.89) is already available for downloading (see our article by clicking here), and the big news is, it allows internal RAW recording. That made the Z CAM E2a perfect candidate for our cinema5D latitude test. How does it fare? How does it compete directly with the Blackmagic Pocket Cinema Camera 4K? Interested in finding more? Please read on…

BMPCC 4K and Z CAM E2. Photo credit: cinema5D

For quite a while I have been using the Z CAM E2, a camera made by the Chinese manufacturer Z CAM. I shot a mini documentary with it in India (see my hands-on review here) and currently I am testing the VAZEN Anamorphic 1.8x 40mm T2 lens with it as it offers this nice almost full sensor 3696×2772 mode in ProRes HQ which desqueezes to a 1:2.4 ratio (review is coming soon).

Read More:

cinema5D

~

Atomos Shogun 7 – Hands-On with Jeromy Young

 Cinematography, Gear  Comments Off on Atomos Shogun 7 – Hands-On with Jeromy Young
Apr 302019
 

Ahead of NAB 2019, Atomos announced the Atomos Shogun 7 which we reported about here. This workhorse can record in ProRes RAW up to 5.7K resolution, it features live switching capabilities, and the 1500 nits HDR display can show you up to 15+ stops of dynamic range. We had the chance to talk with Atomos’ CEO Jeromy Young about their new flagship recorder and the main differences with the Atomos Inferno.

Atomos Shogun 7 Tech Specs and Features

The Atomos Shogun 7 is one of the most powerful external recorders in the market. Here are some of the highlights:

  • Accepts RAW signals and records it to ProRes RAW, ProRes, CinemaDNG and Avid DNxHD.
  • Recording up to 5.7K at 30fps, 4K at 120fps and 2K at 240fps.
  • Color sampling in 10-bit 4:2:2 available in ProRes and DNxHD up to DCI 4K at 60fpd and 2K at 240fps.
  • Four 6G/3G-SDI or dual 12G-SDI inputs, two 4K-SDI 12G or HD-SDI 3G/6G outputs.
  • One HDMI 2.0 input, and one HDMI 2.0 output with HDMI-SDI cross-conversion.
  • Optional audio breakout cable available for XLR audio input, with phantom power. Also, there is a 3.5mm mini-jack output.
  • It is powered via Sony L-series batteries. Two slots support hot swapping for continuous power.
  • Record to 2.5″ SSD/HDD media. This can be approved SATA SSD drives, using the included Master Caddy II, or AtomX SSDmini drives.
  • Four ARRI anti-rotation mounting points on the top and bottom for secure mounting.

Read More:

cinema5D

~