Sony 18-110mm Review – One-Of-A-Kind Versatile Video & Cine Zoom by; Sebastian Wober

 Cinematography, Gear  Comments Off on Sony 18-110mm Review – One-Of-A-Kind Versatile Video & Cine Zoom by; Sebastian Wober
May 192017
 

The conveniently-named Sony E PZ 18-110mm F/4 G OSS lens has been on our radar ever since it was announced in September, as it is one of the only lenses of its kind made for large sensor video cameras. In my Sony 18-110mm review, I will be looking at all the benefits and limitations of this lens. See the video review summary above, or read on for the details.

Sony 18-110mm Review

When looking at the new Sony E PZ 18-110mm F/4 G OSS, it makes sense to first look at its predecessor, the FE PZ 28-135mm F/4 G OSS (Review HERE). Back when Sony introduced their first lens in this series, it was the only “affordable” video lens made for large-sensor cameras with video functionality. Unfortunately, some aspects about it were not ideal: while it gave us a great focal range on full-frame cameras like the Sony a7S and Sony a7S II, the field of view was too narrow on crop sensor cameras (super35) like the Sony FS7, which it actually shipped with as a combo package. Also, the electronic zoom functionality was a big downside for many.

Fast forward to 2016 when Sony introduced the E PZ 18-110 F/4 G OSS, the subject of this 18-110mm review. Tailored to super35, it introduced a manual zoom functionality alongside several other improvements. Now this lens is finally on my desk and, even though the Sony FS7 is out for a shoot, I have no reservations to slap it onto our Sony a6500 to take it for a spin.

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Go Wide with the New Sony 16-35mm f/2.8 GM and 12-24mm F/4 G by; Adam Plowden

 Gear  Comments Off on Go Wide with the New Sony 16-35mm f/2.8 GM and 12-24mm F/4 G by; Adam Plowden
May 192017
 

The new Sony 16-35mm F/2.8 GM and 12-24mm F/4 G are the latest additions to the wide-angle end of their lens line-up for full-frame E-mount cameras.

Sony 16-35mm F/2.8 GM

Professional video creators and filmmakers have been eagerly anticipating the release of a wide-angle G Master lens, and the wait is finally over. The Sony 16-35mm F/2.8 GM promises sharpness across the zoom range and throughout apertures, with Sony promoting the extreme aspherical (XA) element – the largest Sony has ever created – to achieve the greatest resolution and lowest image distortion. The Nano AR coating also is supposed to reduce the unwanted flare and ghosting that often plague wide-angle shots.

Eleven aperture blades promise a pleasing circular bokeh, even when shooting at the minimum focus distance of 28cm, where lower-end wide-angle lenses struggle with creating depth and maintaining sharpness.

Two direct drive SSM systems handle the auto-focusing capabilities, working with the floating focus configuration to achieve fast and precise results while remaining quiet in operation, thus catering for both photography and video applications.

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Freefly MōVI Carbon and Pilot by; Rin Ehlers Sheldon

 Gear  Comments Off on Freefly MōVI Carbon and Pilot by; Rin Ehlers Sheldon
May 132017
 

NAB 2017 was abuzz with the sound of Freefly: adding to their big MōVI XL release, they have also announced the MōVI Carbon gimbal and Pilot controller.

Freefly MōVI Pilot

If you’re a fan of the MIMIC, you should be pretty jazzed about the MōVI Pilot. With remote control over the 3 axes of focus, iris, and zoom, the Pilot gives an AC or an operator a pumped follow focus that fully integrates with MōVI Pro. The Pilot features adjustable focus knob damping and a 2-axis joystick that can be set to control focal length, gimbal, pointing, or just about anything you want at the tip of your thumb.

Freefly promises a price point under $5,000, and if you want, you can reserve one before you even know what you’re spending. If you’re a part of a team that leans on a MōVI gimbal, this seems like a smart purchase to fully take advantage of what your rig can do.

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Panasonic 360 4K Video Camera – A Prototype No Longer by; Graham Sheldon

 Gear  Comments Off on Panasonic 360 4K Video Camera – A Prototype No Longer by; Graham Sheldon
May 022017
 

360 video is still very much the talk of NAB, and Panasonic is not one to be left behind. First announced late last year, the AW-360C10 – AKA the Panasonic 360 camera –  features four cameras shooting at 3840×1920 resolution and uses real-time active stitching. It’s aimed at the live event 360 world and we have all the details below: 

We first announced the Panasonic 360 prototype camera (Panasonic-360C10) and its base unit back in November of 2016 at Inter Bee, and now it seems the camera has made the jump from prototype into production. Four cameras mounted along the head of the unit shoot 4K video at up to 59.94fps in a 2:1 image format ratio, a.k.a equi-rectangular video.

Panasonic is hoping that their low latency system will find a home with sports, concerts, and other live, stadium-based events.

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This is What 20fps with the Sony a9 Sounds Like (Spoiler: Nothing)

 Gear  Comments Off on This is What 20fps with the Sony a9 Sounds Like (Spoiler: Nothing)
Apr 242017
 

Sony made quite a splash in the photo industry this week by announcing the new a9, a mirrorless camera that can shoot 24MP full-frame photos at a whopping 20fps. We soon got a look at what 20fps on this camera looks like. If you want to see what 20fps sounds like, check out the video above.

Some DSLRs can shoot at relatively fast rates as well — check out 12fps with the Nikon D5 and 16fps with the Canon 1D X II — but with DSLRs you’ll have audible sounds from the mirror and/or shutter flapping up and down.

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Hasselblad H6D-100c Review – Shooting Medium-Format Video by; Christoph Tilley

 Cinematography, Gear  Comments Off on Hasselblad H6D-100c Review – Shooting Medium-Format Video by; Christoph Tilley
Apr 242017
 

In this guest review, Vienna-based filmmaker Christoph Tilley takes a close look at the Hasselblad H6D-100c – a 100MP, 4K Raw-capable medium format camera. Intrigued? Read on for his hands-on impressions.

Christoph Tilley reviews the Hasselblad H6D-100c

Shooting Medium-Format Video

Not too long ago DSLRs revolutionized the way we make films. These days, we are seeing the emergence of the first medium-format stills cameras capable of shooting video. What would it be like to shoot video on an such an extremely large sensor? 

Enter the Hasselblad H6D-100c, a 100 Megapixel Full-Frame Medium-Format Stills Camera. The resolution is absolutely incredible on this thing – each Raw image has a file size of 216,3 Megabytes. But why in particular is this interesting for us filmmakers? Well, this thing can also shoot 4K Raw video.

But what kind of results will you get when shooting video? And how does this large sensor compare to Super35 in the real world? To find out, we shot a typical interview scene on the RED Dragon with a 50mm lens wide open at f/1.4. Right alongside we had the Hasselblad H6D-100c with a 100mm lens at an f-stop of f/4.

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Sony Unveils Blazing Fast a9: A 24MP Sports Camera that Shoots 20fps

 Gear  Comments Off on Sony Unveils Blazing Fast a9: A 24MP Sports Camera that Shoots 20fps
Apr 202017
 

Holy frames per second Batman! Sony just raised the bar on high-speed sports photography with their latest “groundbreaking” (but actually) camera release. The newly-announced Sony a9 is a 24MP high-end full-frame mirrorless sports camera that can fire off an insane 20fps with no blackout.

Sony is calling this “the most technologically advanced, innovative digital camera that [we have] ever created,” and this descriptor doesn’t miss the mark.

With 20fps blackout-free and distortion-free silent shooting, high-speed tracking with 60 AF/AE calculations per second, a 693-point AF system with 93% frame coverage, a 3,686k-dot EVF that runs at 120fps, and 5-axis in-body stabilization that offers up to 5 stops of shake reduction, the camera is looking to challenge entrenched sports cams like the Canon 1DX Mark II and Nikon D5.

The a9 can also shoot full-frame, full-sensor 4K that is actually downsampled from 6K worth of pixels; it features an Ethernet port for quick file transfer and dual SD card slots for plenty of storage; and the new battery Sony put inside boasts twice the capacity (480 shots per charge) of previous models. If you need even more charge, the optional battery grip holds two of these batteries, for a total of 950 shots.

 

Putting the impressive spec sheet aside, the headline feature is, of course, the sheer speed of this thing. At 20fps for up to 241 RAW or 362 JPEG frames, it makes even the 1DX Mark II and its 14fps seems a bit… clunky.

Sony is able to reach these unheard of continuous shooting speeds thanks to the new stacked CMOS sensor at its core, a chip Sony says is the “first of its kind” and “enables data speed processing at up to 20x faster than previous Sony full-frame mirrorless cameras.” Pair that sensor and its built-in RAM with a brand new BIONZ X engine and you’ve got a camera that screams.

Here are a few videos that offer a closer look at this revolutionary new mirrorless camera and some of its most compelling features:

Promo Video

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Leica Thalia Lens Line Announced for Alexa 65 and Vista Vision by; Tim Fok

 Gear  Comments Off on Leica Thalia Lens Line Announced for Alexa 65 and Vista Vision by; Tim Fok
Apr 022017
 

Leica has just announced a new set of primes for the 65mm Cinema format, compatible also with smaller sensor sizes. The Leica Thalia spherical lenses are compact, come in 9 focal lengths, and will cover a 60mm image circle.

The new Leica Thalia lens line.

The Leica Thalia collection has been designed with large format cinema in mind – think Alexa 65 and Vista Vision (RED Weapon 8K VV). The large image circle, however, will also enable their use on smaller, more regularly-used formats in Super35 film and digital.

Leica has announced 9 focal lengths straight off the bat, with no drip-feeding over time: 24, 30, 35, 45, 70, 100, 120, and 180mm, with T-stops ranging from 3.6 to 2.2 (see the graph further down for itemised T stops).

The Thalia lens line features a PL mount, with i Technology contacts for providing metadata.

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Metabones PL-E T CINE Speed Booster ULTRA is Here by; Jakub Han

 Gear  Comments Off on Metabones PL-E T CINE Speed Booster ULTRA is Here by; Jakub Han
Apr 022017
 

The new Metabones PL-E T CINE Speed booster ULTRA was recently announced. It uses special materials and allows you to mount PL (Positive lock) full-frame cinema lenses on E-mount Sony cameras and X-mount FUJIFILM cameras.

Metabones PL-E T CINE Speed Booster ULTRA

The new Metabones PL-E T CINE Speed Booster ULTRA features a new 5-element/4-group optical design with ultra-high index tantalum-based optical glass, which should improve corner sharpness, distortion, and reduce vignetting.

Just like the original Speed Booster, it reduces crop factor by 0.71x. Given the standard crop factor of 1.5 of most APS-C/Super35 cameras, using the new Speed Booster will result in having almost no crop at all (1.5 x 0.71 = 1.065). Remember that Speed Boosters are designed to only cover an APS-C/Super35 image circle, so on full-frame camera bodies (A7 series, NEX-VG900) the camera needs to be in “APS-C/Super35” capture mode.

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Camera-Specific Outdoor Packs Suck, Here’s What I Use Instead

 Gear, travel  Comments Off on Camera-Specific Outdoor Packs Suck, Here’s What I Use Instead
Apr 022017
 

If you’ve ever loaded up a large camera backpack (like something from Think Tank Photo or LowePro) and hiked a mountain, you’ll be able to fully appreciate how terrible the experience is… well, except for the views.

The narrow shoulder straps dig deeply into your shoulders and neck. The pack bounces all over, sliding from side to side. The “waist belt”—a piece of bare 2-inch nylon webbing with a buckle—does more harm than good, and executes exactly zero of the functions that a waist belt is supposed to offer. You curse the thing under your breath and mutter that there must be a better way.

And there is!

The solution I found and have been very happy with is to ditch the camera bag and go with a pack that has been developed over decades with engineering designed to handle heavy loads comfortably in all kinds of conditions and terrains: a hiking pack.

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New Marshall 7″ On-Camera Monitor V-LCD70W-SH by; Olof Von Oss

 Gear  Comments Off on New Marshall 7″ On-Camera Monitor V-LCD70W-SH by; Olof Von Oss
Mar 262017
 

Marshall Electronics has just unveiled their latest LCD on-camera monitor, the 7″ V-LCD70W-SH. Originally planned for IBC 2016, it’s now finally available, so let’s have a quick look.

Marshall 7″ V-LCD70W-SH LCD monitor

There’s a wide range of decent on-camera monitors to choose from, and now there’s one more candidate: the new Marshall V-LCD70W-SH. It’s a 7″ HDMI and SDI LCD monitor with pretty much every feature you would expect in this class of monitors.

It features a detachable sun hood that’s also foldable, which can be quite useful for stowing away when not needed. Those tiny brackets look like they may be a little fragile, though…

Folded and extended sun hood.

When the sun hood is attached, all buttons remain accessible as they are located on the outside, which is nice. Three user-customizable buttons for common functions such as focus peaking can be found on the left-hand side of the monitor. The other buttons are for input, menu access and on/off.

In terms of connectivity, you can use both the HDMI and SDI signals as an input. There’s a cross converter built right into the V-LCD70W-SH, so you’re able to loop through whatever signal is needed to a client monitor, for example. As an addition, this 7″ LCD sports a built-in tally light with two colors to choose from: red or green.

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FUJIFILM X-T20 Review – Real World Video Samples and First Impressions

 Gear  Comments Off on FUJIFILM X-T20 Review – Real World Video Samples and First Impressions
Mar 262017
 

Late last year while visiting Japan, I was fortunate enough to test the FUJIFILM X-T2. Now I’m delighted to have its little sibling before me, the X-T20, which was first announced at the beginning of 2017. I certainly had some expectations in regards to the video capabilities from this little camera, especially knowing how well the bigger X-T2 preformed. Here’s my FUJIFILM X-T20 review, where I will focus on its video performance.

If you have been following the latest developments in our industry, you might agree with me that something good is happening regarding all things FUJI. Besides FUJINON – their optical devision that now brings us quality cinema zoom lenses at a reduced price – FUJIFILM now offers high-quality 4K video throughout their new APS-C line, an indicator that the company is listening to their customers. If I can be a fool and look into the future, I wouldn’t be surprised if FUJIFILM’s ambitions eventually merge, and what we will see is a proper high-quality filming tool to accompany their high-quality glass.

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Check Out This Crazy Deal on the 5D Mark IV by; Alex Cooke

 Gear  Comments Off on Check Out This Crazy Deal on the 5D Mark IV by; Alex Cooke
Mar 262017
 

This is the best price we’ve seen on the Canon 5D Mark IV yet, and it likely won’t last long. If you’re in the market for Canon’s latest full-frame body, now is a really good time to pick it up.

I just completed two shoots with my 5D Mark IV today, and it continues to be my favorite Canon body to date. It’s a very capable and versatile camera that spits out gorgeous files. I recommend it very highly to anyone in the Canon system.

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Rumor Has It Sigma Is Releasing a 70-200mm f/2.8 Sport Lens in Late 2017 by; Alex Cooke

 Gear  Comments Off on Rumor Has It Sigma Is Releasing a 70-200mm f/2.8 Sport Lens in Late 2017 by; Alex Cooke
Mar 062017
 

Sigma is showing no signs of slowing down. As their line of unique and high-quality lenses continues to expand at an explosive rate, it appears they’ll be adding a lens almost every photographer should own later this year: the 70-200mm f/2.8.

The 70-200mm f/2.8 lens is arguably the most important lens most photographers can carry, along with the 24-70mm f/2.8. Every major manufacturer has their own native version: Canon, Nikon, Sony, and Pentax, all of which represent some of their best optics and performance. Tamron also recently released the SP 70-200mm f/2.8 Di VC USD G2, an update that provides improved AF, stabilization, and optical quality. With Sigma on a roll, having released four new full-frame lenses, it’s only logical to hear that they’re planning an update to their 70-200mm f/2.8 lens, which is a holdover from the days before their revamped design that started with their Art series. Such a lens would surely be widely welcomed by photographers who have mostly embraced Sigma’s new lenses, while the continued pressure put on the mainstay manufacturers by increasingly tempting third-party options is always good for the market.

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New FUJIFILM X-T2 Cage – LockCircle Kinetics XT2 by; Jakub Han

 Cinematography, Gear  Comments Off on New FUJIFILM X-T2 Cage – LockCircle Kinetics XT2 by; Jakub Han
Mar 062017
 

LockCircle is introducing their new FUJIFILM X-T2 cage called Kinetics XT2. Its asymmetrical design approach lets you hold the original grip of the camera, and features various threads for accessories as well as a baseplate, and HDMI and USB ports protectors.

LockCircle Kinetics XT2 cage with all the features

FUJIFILM X-T2 Cage – LockCircle Kinetics XT2

FUJIFILM X-T2 is a very interesting mirrorless camera for filmmakers that is especially capable in 4K. We tested this little camera couple of months ago, os if you haven’t yet, make sure to take a look at our real world video test and also our Lab test where we compared it against the Sony a7S II. LockCircle is now introducing their ergonomic cage for the FUJIFILM X-T2, which is designed to fit around the camera with an “asymmetrical design approach” for a right-handed camera grip. This means it is possible to hold the camera using the original grip even when the cage is mounted, as visible in the product photos. The weight of the cage itself is 300g (10 oz).

All camera controls remain visible and available as the FUJIFILM XT-2 cage has many cutouts, and offers multiple threads to mount various accessories – 79x 1/4”-20 threads and 3x 3/8”. The cage has also several threads to mount the AC tape measurement titanium hook.

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FUJINON MK18-55mm Technical Review – The New E-Mount Cine Zoom in the Lab by; Sebastian Wober

 Cinematography, Gear  Comments Off on FUJINON MK18-55mm Technical Review – The New E-Mount Cine Zoom in the Lab by; Sebastian Wober
Mar 062017
 

FUJINON just introduced a new line of affordable E-Mount Cine Zooms made for documentary-style cine shooters. The FUJINON MK18-55mm T2.9 is the first of two complimentary zoom lenses and it’s already on our test bench – here’s our FUJINON MK18-55mm Review.

Featuring a claimed non-breathing focus mechanism, par-focal design and fully-geared cine lens controls, let’s confront this newcomer with our 8K test chart and compare it to the infamous new Zeiss LWZ.3 21-100mm T2.9-3.9 and a similarly-specced Canon photo lens.

Also, check out our Hands-on FUJINON MK 18-55mm with Footage HERE.

Why is this Lens Interesting for Cine Shooters?

First of all, let’s look at why this lens is interesting for us! For many years, large-sensor video shooters have been forced to use photo lenses with our Canon, or Canon-adapted large-sensor cameras. As many of us shoot documentaries or documentary-style projects, using photo zoom lenses has been a real frustration as they’re designed for photography, meaning they have a short focus throw, no hard stops, no manual iris control, clunky zooming, breathing, are non par-focal… the list goes on, as these are considerations that aren’t really relevant for shooting still images. Only recently manufacturers have finally started delivering zooms that are fit for video production and are not as heavy on the lens barrel and the wallet as high-end cine zooms. The Sony 28-135mm was the first of its kind (reviewed here), Canon was next, and now FUJINON is the one to catch our interest.

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Photos of Canon’s Mirrorless M6 and Removable EVF Leaked

 Gear  Comments Off on Photos of Canon’s Mirrorless M6 and Removable EVF Leaked
Feb 082017
 

Photos of Canon’s soon-to-be-announced EOS M6 mirrorless camera have leaked, and unlike the M5, it doesn’t feature an EVF. Instead, Canon is releasing a new removable EVF that has also leaked for your peeping pleasure.

These leaked photos come to us from Digicame-info, who regularly gets their hands on official product shots just days (or sometimes hours) before an official announcement. This time is no different. The M6 is expected to be announced this month before CP+, which starts February 23rd.

Scroll down to see all of the leaked photos of the black and silver M6 and the EVF-DC2 viewfinder, and keep your eyes peeled for an official announcement, probably in the next few days.

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Schneider Optics Announces New Cine Prime Tilt Lenses by; Jakub Han

 Gear  Comments Off on Schneider Optics Announces New Cine Prime Tilt Lenses by; Jakub Han
Feb 022017
 

A few days ago, German optics manufacturer Schneider announced a new range of full-frame cine prime tilt lenses. This dynamic functionality allows for extended focusing possibilities and tweaking of the depth of field in your shots.
Introduced on January 27th, these new Xenon primes from Schneider are the world’s first full-frame Cine Primes tilt lenses. In terms of design, they are basically regular Schneider Xenon full frame primes, just with the added tilt function. If tilt is left at 0°, there is no loss of image quality or sharpness compared to standard Xenon primes.

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Sigma 85mm f/1.4 Art Lens Awarded Highest Score Ever by DxOMark

 Gear  Comments Off on Sigma 85mm f/1.4 Art Lens Awarded Highest Score Ever by DxOMark
Feb 022017
 

Sigma is still on a roll when it comes to its high-end Art lenses, and the latest accolade is impressive: DxOMark just awarded the new Sigma 85mm f/1.4 Art lens the highest score the benchmarking company has ever given.

The lens beat out a trio of highly regarded Zeiss lenses for the top spot, earning an overall score of 50 while the Zeiss Otus 55mm f/2 received a 48.

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Leica Announces the M10 by Adam Ottke

 Gear  Comments Off on Leica Announces the M10 by Adam Ottke
Jan 212017
 

The Leica M10 is the latest iteration of digital German rangefinders. The M10 features a similar 24MP CMOS sensor to that of the M-P (Typ 240), expanded ISO performance from ISO 100-50,000, an improved viewfinder, new three-button back panel design, and more for a discount over the Typ 240.

At $6,595, the M10 is nearly 10 percent cheaper than the Typ 240 and offers better performance across the board. A new 0.73x viewfinder offers a 30-percent larger field of view and 50-percent increased eye relief. The menu system is designed to be controlled with a joystick and just three buttons: Play, Live View, and Menu. Meanwhile, a dedicated ISO dial offers automatic or manual selection from through the native range of ISO 100-6,400. A Leica Maestro II image processor allows for five-frame-per-second shooting.

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