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).

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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.

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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.

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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.

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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).

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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.

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Canon XF405 Review – Sample Footage and First Impressions

 Cinematography, Gear  Comments Off on Canon XF405 Review – Sample Footage and First Impressions
Oct 262017
 

With the introduction of the new Canon XF405, XF400, LEGRIA/VIXIA GX10 – as well as the whole of Sony’s new line – one can assume that the fastest growing market for news and documentary shooting is coming in the form of 4K (UHD), handheld 1” sensor-size cameras. It is not that we haven’t had them before, but they certainly have been getting better and more feature-rich with time. When it comes to affordability… well, it totally depends on who you are talking to and the model you choose.

Canon XF405 camera

If you are an independent filmmaker looking for an all-round shooting device that can produce a bit of a cinematic look thanks to a slightly larger sensor than those traditionally found in these type of cameras, or if you’re a broadcaster looking to equip news crews with a versatile and affordable piece of equipment, then the Canon XF405/400/LEGRIA GX10 might be the right cameras for you. Sound tempting? Then read on for my full Canon XF405 review.

Before continuing, it is important for me to make it clear that the image coming out of the camera I tested may be slightly different than that of the final product.

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LG’s V30 Smartphone: 10-bit color, LG Cine-Log Video in a Phone?

 Cinematography, Gear  Comments Off on LG’s V30 Smartphone: 10-bit color, LG Cine-Log Video in a Phone?
Oct 162017
 

Move over Apple, there’s a new kid in town. The LG V30 takes mobile video to new heights with a 10-bit HDR Image Sensor and LG Cine-Log gamma.

In case you didn’t catch that: the LG V30 promises to record 4K video at 10-bit color depth with log gamma encoding. Before getting too excited about this, it is important to separate fact from fiction, and cinema5D will do exactly this with the LG V30 after some thorough tests, the results of which you can expect in a subsequent article.

Meanwhile, check out Parker Walbeck’s LG V30 vs RED Weapon video on his YouTube channel Fulltime Filmmaker:

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Nikon D850 Best DSLR Ever, Gets First Full 100 Score at DxOMark

 Cinematography, Gear  Comments Off on Nikon D850 Best DSLR Ever, Gets First Full 100 Score at DxOMark
Oct 082017
 

The Nikon D850 was just awarded the first full 100 overall score ever given out to a DSLR by the testing lab DxOMark. The D850 now sits alone in the top spot on the camera leaderboard, with the full-frame mirrorless Sony a7R II sitting at #2 with a score of 98.

This is the first time a full-frame backside-illuminated sensor has appeared in a Nikon camera, and it’s a sensor that “breaks new ground for image quality,” DxOMark says. The D850 has the best color and dynamic range at base ISO among all commercially available cameras tested by the lab — it’s so good it rivals medium format sensors in some aspects.

“At base ISO, the Nikon D850 image quality for color is unrivaled for a DSLR, although the mirrorless Sony A7R II and full frame compact RX1R II comes pretty close,” DxOMark writes. “The D850’s color is on par with the best results we’ve seen on medium-format sensors, such as the Phase One IQ180 digital back, and fractionally ahead of the Phase One P65.”

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Panasonic GH5 Cage Review & Shootout – Zacuto vs. Movcam vs. Came-TV

 Cinematography, Gear  Comments Off on Panasonic GH5 Cage Review & Shootout – Zacuto vs. Movcam vs. Came-TV
Oct 022017
 

We put three camera cages for the Panasonic GH5 head to head for an in-depth look, review and comparison. Came-TV, Movcam, Zacuto… Let’s see which one comes out on top on this GH5 Cage Shootout!

To use the full potential of any camera, it is crucial to find the right cage on order to mount whatever third-party accessories you may need. That said, cages don’t just add several mounting threads and cold shoes, they also improve protection of the camera body, usually add better grips and handles, and protect the HDMI connector and other ports.

In the case of the Panasonic GH5, there is now wide variety of compatible cages, and the quality differences are quite significant. For this comparison, we received three popular cages for testing, but please note that this is not an exhaustive list of Panasonic GH5 cages.

Structure of Each Review:

  • Ease of assembly and disassembly.
  • How securely is the camera attached to the cage?
  • HDMI cable protector design.
  • Do we have access to the side outputs, slots and all the buttons?
  • Is it possible to use the Panasonic XLR adapter?
  • How good is the included Rod Support?
  • Quality of the Metabones Mount.
  • The top-handle design.
  • Overall ergonomics.
  • Conclusion.

At the very end of the article I’ll summarize the main pros and cons of each cage and announce our veredict. Please note that no cage is perfect and it’s up to each user to decide which cage better fits their needs and preferences.

Came-TV

Came-TV has the simpliest design out of all three tested cages. It does not feature HDMI support, but has many threads and offers a rod support piece. How well did it perform?

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Phantom Flex VEO 4K-PL Exclusive Hands-On

 Cinematography, Gear  Comments Off on Phantom Flex VEO 4K-PL Exclusive Hands-On
Oct 022017
 

Vision Research has recently introduced a new Phantom VEO 4K-PL, which like its older brother Phantom Flex 4K, can shoot up to 1000fps at full 4K DCI resolution, but in a smaller and more compact body.

What is the Phantom VEO line?

They say that when you touch a Phantom camera you go straight to heaven. At least that’s how I feel. Vision Research is a company that started out with high-speed cameras for military testing and analysing car-crash impacts, only to later turn its eye to the film industry with its revolutionary tech. In 2014, Vision Research introduced the mind-blowing Phantom Flex 4K camera, capable of 1000 frames-per-second at full 4K DCI resolution, in what many would consider the best quality 4K RAW compared to RED and even ARRI. Last year, Vision Research introduced the VEO line, a more compact version of their film industry cameras that continue the trend set by the ARRI Mini and RED – that smaller is better. Less weight and a more compact design mean more possibilities, such as the use of stabilisation platforms and even UAV. In comparison, the Phantom Flex 4K body weighs an incredible 5kg without ANYTHING on it. Add a lens, follow focus, rods, viewfinder, batteries, monitor and you can easily accumulate a weight that not many gimbals can handle.

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GoPro HERO6: This Is the Moment in 4K!

 Cinematography, Gear, News  Comments Off on GoPro HERO6: This Is the Moment in 4K!
Sep 282017
 

 

This Zunow Cine Wide Attachment CWA-114 Promises High-End Performance on Cine Zooms

 Cinematography, Gear  Comments Off on This Zunow Cine Wide Attachment CWA-114 Promises High-End Performance on Cine Zooms
Sep 242017
 

The Zunow Cine Wide Attachment is the latest by the optics converter manufacturer. It promises x0.75 conversion with minimal light loss.

Zunow is known for its wide-angle converters, such as the DWA-075 for DSLR lenses or the WCX-100 for 4K zooms. The latest offering from Zunow is the CWA-114, an attachment specifically made with larger-diameter cinema lenses in mind.

Zunow Cine Wide Attachment: The CWA-114

The Zunow Cine Wide Attachment makes the focal length of your wide-angle cinema lens 0.75x larger through a 130mm front element that offers a minimal distortion of 1%, an almost maximum light transmission of 97% and 4K coating for maximum resolution from corner to corner. It aims to quickly offer a wide-angle option without the need to change lenses.

But what does this mean in numbers? Some of the examples provided by Zunow include:

  • FUJINON 20-120mm T3.5, which becomes a 15-75mm T3.6.
  • Canon 17-120mm T2.95-3.9, which becomes a 14-75mm T3.0-4.0 (with vignetting at 12.75-14mm).
  • ZEISS 21-100mm T2.9-3.9, which becomes a 15.75-75mm T3.0-4.0.

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A Look at Blackmagic’s URSA Mini Pro Mirrored SSD Recorder Add-On

 Cinematography, Gear  Comments Off on A Look at Blackmagic’s URSA Mini Pro Mirrored SSD Recorder Add-On
Sep 212017
 
 URSA Mini Pro Mirrored SSD Recorder

Blackmagic Design has listened to customer requests and developed an SSD recorder for the URSA Mini Pro, which was announced earlier this year. This allows users to to get fast recordings on to larger-capacity media. It attaches to the rear of the URSA Mini Pro and enables you to mirror recordings in the same codec and format that is recorded internally.

The URSA Mini Pro Mirrored SSD Recorder connects via 2 SDI cables to the camera. However Tim tells us that it records the files as original data in the chosen format and not via an SDI stream.

For productions that require multiple sets of rushes, such as for sending to archive or a post-production facility, the new URSA Mini Pro mirrored SSD recording capability allows for a much faster workflow than needing to create copies of sometimes very large files or long video clips.

The choice of using SSDs was due to the low cost and wide availability of the medium. The SSD recorder works in the same way as the Blackmagic Design Hyperdeck, and recommends the same high-speed drives to use in the recorder. It mounts directly onto the camera, and is designed to be used exclusively with the URSA Mini Pro.

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Sony Unveils 3 New 1-inch Sensor Camcorders – AX700, NX80 & Z90

 Cinematography, Gear  Comments Off on Sony Unveils 3 New 1-inch Sensor Camcorders – AX700, NX80 & Z90
Sep 172017
 

Sony has just announced three new 4K HDR (3840×2160) palm-sized camcorders during IBC 2017 in Amsterdam: the XDCAM PXW-Z90, the NXCAM HXR-NX80 and the Handycam FDR-AX700 with an improved AF system.

The new camcorders have a Sony 1-inch stacked Exmor RS CMOS image sensor, and all three support an instant HDR (High Dynamic Range) workflow with HLG (Hybrid Log-Gamma). According to Sony, the most exciting thing about these new camcorders will be the fast Hybrid Autofocus system.

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Canon 6D Mark II Vs. 80D and 7D Mark II In-Depth Review

 Cinematography, Gear  Comments Off on Canon 6D Mark II Vs. 80D and 7D Mark II In-Depth Review
Sep 072017
 

The Canon 6D Mark II has not been the most well-received camera thus far. But how does it actually perform, and are the complaints justified?

The initial complaints were around the fact that this camera does not shoot 4K video. Discussions then moved on to its dynamic range and how it underperformed even against APS-C cameras. The most recent complaints are around the fact that its performance at higher ISOs may be worse than the original 6D. Personally, my biggest gripe about this camera is the fact that it only has one storage slot. This one individual point makes it less viable in a professional setting for me, however this may not bring as much concern to shooters upgrading from the original. The 6D Mark II has been referred to as a bigger Canon 80D and for good reason. There are a few minor differences between the two cameras except for the sensor size and price tag. The Canon 7D Mark II sits in between the 80D and 6D Mark II when it comes to the price and for that reason, it’s viable to compare these three to one another.

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Nikon D850 Full Frame 4K!

 Adorama Deals, Cinematography, Gear, News  Comments Off on Nikon D850 Full Frame 4K!
Aug 242017
 

Record 16:9 4K Ultra HD (3840×2160) in full frame glory using the total widthof the D850’s back-side illuminated CMOS sensor. Take advantage ofthe large sensor size for clean output at high ISO and for shooting with zerocrop factor with full-frame NIKKOR lenses3, including wide and ultra-wideangle lenses.

 

I think this is just what I need… I have been a Nikon user but switched to Canon a number of years ago. I just may switch back!

Pre-Order Now:

The new Nikon D850 is now available for pre-order. Expected ship date is 09/7/2017

Nikon D850 FX-format Digital SLR Body – $3296.95

New Accessories:
MB-D18 Multi-Power Battery Pack – $396.95
Nikon ES-2 Film Digitalizing Adapter Set for D850 – $139.95
AN-DC18 Strap – $24.95
FH-4 Strip Film Holder $34.95
FH-5 Slide Mount Holder – $24.95

Nikon D850 Announced

 Adorama Deals, Cinematography, News  Comments Off on Nikon D850 Announced
Aug 242017
 

Nikon D850

The Nikon D850 is now official after quite a bit of anticipation following a development announcement just a few short weeks ago. Thankfully, Nikon has not disappointed and the new D850 houses some of the best specifications and features of any modern camera. Headlining the announcement is a new full frame 45.7MP BSI (back side illuminated) sensor with no low pass filter. We first saw this technology implemented in the Sony A7RII and it should allow for amazing dynamic range while still retaining great low light results, even with the higher resolution sensor. When the Nikon D800 first pioneered the high resolution DSLR, it did so with limited speed and performance. Thankfully the D850 matches the Canon 5D Mark IV’s ample 7fps shooting speed and can even exceed it by shooting up to 9fps when paired with the MB-D18 battery grip and EN-EL18a/b battery. Alright Nikon, you have my attention!

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Sigma Cine High Speed Zoom Line – Sample Footage & Review

 Cinematography, Gear  Comments Off on Sigma Cine High Speed Zoom Line – Sample Footage & Review
Aug 172017
 

In this guest review, DP and Director Thomas Schweighofer takes a look at the Sigma Cine High Speed Zoom line during a documentary shoot with a RED EPIC-W Helium 8K. Please also read Graham Sheldon’s extensive review of both Sigma zoom lenses, which we published a few months ago. 

I recently had the chance to shoot a documentary project in the US featuring Austrian musician Dominic Muhrer and American Superstar Joshua Ledet. In order to achieve a better image quality in this particular project, I wanted to get my hands on some of the new Sigma cine primes, but at that point in time it was just too early to get a set. Instead, the folks at Sigma contacted me and told me to test their Sigma Cine High Speed Zoom cine line. I agreed but, being so used to shooting with primes, I didn’t expect too much. 

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DDJI Spark, Mavic, Phantom, or Inspire – Which Drone Should You Buy? by Oliver Kmia

 Action cams, Cinematography, Gear  Comments Off on DDJI Spark, Mavic, Phantom, or Inspire – Which Drone Should You Buy? by Oliver Kmia
Jul 162017
 

DJI has released many drones over the past few years. The different models may seem similar to a newcomer, but each one actually addresses a different need. In the end, it all boils down to size and portability versus image quality and performance. Here we’ll analyze the main differences between the DJI drones to help you determine which one is the right fit for you.

Criteria

Price: The price point is an obvious criteria, but one must not forget all the associated costs of ownership, especially spare batteries which can run up to $169 each.

Portability: The drone size and weight will often dictate which model to buy. While the DJI Mavic won’t take more space than a 70-200mm f/2.8 lens in your bag, the mighty DJI Inspire requires a dedicated case for transportation. If you travel frequently, you may prefer a smaller model that fits in the plane’s carry-on compartment. The size also plays a role in public perception. Larger drones look more intimidating to the public and attract more attention (visibility and noise). Also, in some countries the applicable regulation on drones is based on weight threshold. The heavier it gets, the more constraints you will face (registration, mandatory parachute, and flight restrictions to name a few).

Image quality: Larger drones tend to carry better sensors and lenses. Entry-level models can only film in 1080p while the Inspire 2 can shoot up to 5.2K raw video. The Inspire 2 is also the only one to offer an interchangeable lens system while other models come with fixed focal length.

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