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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A Canon Full-Frame Mirrorless Camera May Arrive in 2018 with New Sensor

 Gear  Comments Off on A Canon Full-Frame Mirrorless Camera May Arrive in 2018 with New Sensor
Oct 082017
 

It looks like Canon and Nikon are now racing to unleash a full frame mirrorless camera on the world of photography. Nikon has given numerous statements in recent days that seem to confirm its development of such a camera, and now more details are emerging of an upcoming Canon full-frame mirrorless camera as well.

Canon Rumors is hearing from a trusted source that Canon’s first full-frame mirrorless camera will contain its own dedicated CMOS sensor rather than one that’s already being used in Canon’s full frame DSLR cameras (e.g. the 6D Mark II and the 5D Mark IV).

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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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Looking Through the Viewfinder of a Hasselblad XPan

 Gear  Comments Off on Looking Through the Viewfinder of a Hasselblad XPan
Oct 022017
 

The XPan was the first Hasselblad camera to 35mm film and was able to shoot ultra-wide panorama negatives. Photographer Jordan Lockhart decided to mount an action camera to his XPan to capture what it’s like to frame the world and shoot with this unique camera.

“It took us a while to figure out a proper way to make this work but we eventually found out a decent solution, which I hope will give you a taste of why I love this camera so much,” writes Vincent Moschetti of OYWFO, who made the 6-minute video above showing the experiment. “We used a roll of Kodak Portra 800 which seemed like the perfect film to use on this rainy day and explore the city of Tampere in Finland.”

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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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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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The New Cmotion cPRO Wireless Hand Unit Offers Ultimate Focus Control

 Gear  Comments Off on The New Cmotion cPRO Wireless Hand Unit Offers Ultimate Focus Control
Sep 212017
 

We took a look at the new Cmotion cPRO lens controller, a feature packed, professional hand unit for professional focus assistance with Camin integration.

We saw a very interesting and affordable low end wireless focus control solution with Tilta’s new $399 Nucleus-N yesterday. Today we’re looking at state of the art high end stuff. Here’s what Cmotion had in store during IBC 2017.

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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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Here’s the First 8K Timelapse Shot with the Nikon D850

 Gear  Comments Off on Here’s the First 8K Timelapse Shot with the Nikon D850
Sep 072017
 

The new Nikon D850 lets you create 8K timelapses using the 45.7-megapixel sensor and the built-in Interval Timer. If you’ve been wanting to see what 8K shot with the camera looks like, today’s your lucky day: we got our hands on the first 8K timelapse short film shot on the D850.

The 2.5-minute video above was captured by photographer and Nikon Ambassador Lucas Gilman in Iceland using a pre-production D850. If you somehow have an 8K-capable screen, be sure to select the 4320p/8K quality option in the video to watch it in its full glory.

Here’s an illustration showing how much more resolution 8K has than 4K, Full HD, and SD:

Gilman says he chose to test the camera’s 8K capabilities in Iceland due to the movements that can be seen everywhere in the landscapes and due to the microclimates that provide a huge amount of visual diversity even in a short amount of time.

The project was challenging though: there’s only a single sunrise and sunset you can capture each day, and each 3-4 second sequence in the video above took hours for Gilman to plan and shoot. He was planning to shoot night scenes as well, but Iceland’s days were 20 hours long while he was in the country.

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Vision Research introduces Phantom VEO 4KPL and Phantom VEO 590L

 Gear  Comments Off on Vision Research introduces Phantom VEO 4KPL and Phantom VEO 590L
Sep 062017
 

Vision Research has just introduced its newest flagship model, the Phantom VEO 4K PL, as well as the Phantom VEO 590S and VEO590L. How do these newly-introduced cameras compare to other models? Will the camera break my bank? We have the answers for you below.

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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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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How to Maximize Your DJI Spark Dynamic Range in Postproduction

 Gear  Comments Off on How to Maximize Your DJI Spark Dynamic Range in Postproduction
Aug 172017
 

Amongst the drones available on the market in 2017, the DJI Spark is surely not amongst the top ones in terms of files quality. The sequences it creates are quite difficult to color grade in postproduction and thus it makes it hard for videographers to mix the clips with footage from another camera. However, there are ways to improve what you can get out of Spark’s videos. Casey Faris gives us one of the tricks he uses to maximize the dynamic range of the images.

The DJI Spark is without a doubt an incredibly attractive product to get into aerial photography and videography. But its price comes at the cost of more advanced features found on the Phantom and Mavic, such as log footage. The sequences produced by the Spark are very contrasty, sharp, and quite saturated. It’s not a bad thing for average users, but it’s far from ideal for those who want to color grade their footage.

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Fixed & Downloadable: Sony FS5 Firmware V4.02 with Hybrid Log Gamma

 Gear  Comments Off on Fixed & Downloadable: Sony FS5 Firmware V4.02 with Hybrid Log Gamma
Aug 102017
 

FS5 Firmware V4.02 has just been released, fixing some of the bugs introduced with the highly-anticipated V4.0.

A few weeks ago, Sony aimed to greatly increase the functionality of the Sony FS5 by releasing FS5 Firmware V4, bringing HDR support with the introduction of new Hybrid Log Gamma Picture Profiles, reduced minimum ISO for Slog 2 and 3, as well as support for 120fps continuous shooting with an optional license sold separately (you can read our post on this release HERE).

Only a few days later, however, Sony pulled the download due to “a minor issue found within the HDR function”. This caused concern among users who had already downloaded V4.0, as there is no way of rolling back on this camera’s firmware to a previous instance.

Sony removed the firmware V4.0 download, prompting worries from users.

True to their word, Sony have now released FS5 Firmware V4.02 available for download from HERE. The release notes also finally indicate the “minor issues” introduced with V4.0. From the Sony site:

V4.02 fixes the following issue:

1.      Video image may be recorded with short delay of 2 or 3 frames of audio in other recording modes than AVCHD.

2.      When choosing [HLG1],[HLG2] or [HLG3] in the PictureProfile and CENTER SCAN in the CAMERA/PAINT menu, rebooting the camera may cause brightness and color shift.

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DJI Spark Review – Is it Really Suitable For Professionals?

 Gear  Comments Off on DJI Spark Review – Is it Really Suitable For Professionals?
Aug 012017
 

As a professional filmmaker and DJI Mavic shooter, Tamás Kiss wanted to test the capabilities of the tiny new DJI Spark drone, so he took it to the challenging Icelandic climate to put it through its paces. Here’s his DJI Spark Review, that confirms a lot of the observations I made during my hands-on session with the tiny new drone. – Introduction by Sebastian Wöber.

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Lots of Canon Lenses Likely Coming at the End of August [Rumor]

 Gear  Comments Off on Lots of Canon Lenses Likely Coming at the End of August [Rumor]
Jul 162017
 

I think few people can argue that Sigma hasn’t been killing it lately, particularly with their 85mm f/1.4 Art and borderline audacious 135mm f/1.8 Art lenses turning in mostly rave reviews. It was only a matter of time before the big manufacturers responded, and from the looks of things, Canon is preparing to do just that.

Our friends over at Canon Rumors are reporting that Canon is preparing to announce the fabled EF 85mm f/1.4L IS lens at the end of August, along with three other lenses. Which mount these additional lenses will be for is unknown at the moment, though with Canon continuing to update their mirrorless models, it’s possible they may be looking to expand the EF-M line. Other lenses getting long in the tooth include the 50mm f/1.4 and 135mm f/2L. The 85mm f/1.4L IS will not replace the legendary 85mm f/1.2L II lens, but if it improves wide-open sharpness over its f/1.2 cousin (bringing it at least near that of the Sigma Art) and adds image stabilization while only giving up a third of a stop, it could be an extremely intriguing lens for Canon users and would complicate the choice for fans of the Sigma lens’ performance. Be sure to check out the full report over at Canon Rumors for more.

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A First Look at the Canon 6D Mark II Camera, by Alex Cooke

 Gear  Comments Off on A First Look at the Canon 6D Mark II Camera, by Alex Cooke
Jul 082017
 

Canon recently released both the 6D Mark II and SL2 cameras. The 6D Mark II was particularly anticipated, as it is Canon’s cheapest and lightest full-frame DSLR. Here’s a helpful and practical first look at the newest DSLR in the Canon family.

Kaiman Wong recently had a chance to play with the new Canon 6D Mark II. With 45 cross-type AF points, a fully articulating screen, improved burst speed, and dual pixel autofocus, it’s an intriguing option for those looking to break into the full frame world. Of course, it’s missing features to distinguish it from the 5D Mark IV, most notably 4K and a second card slot.

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FUJINON MK 50-135mm Review – A Worthy Cine Zoom For Your Kit?, by Sebastian Wober

 Cinematography, Gear  Comments Off on FUJINON MK 50-135mm Review – A Worthy Cine Zoom For Your Kit?, by Sebastian Wober
Jun 232017
 

Earlier this year FUJINON introduced a new line of affordable E-Mount Cine Zooms made for documentary-style shooters. Here’s our FUJINON MK 50-135mm Review, where we take a look at the second of the two complimentary zoom lenses from FUJINON .

Featuring a non-breathing focus mechanism, par focal design and fully-geared focus, iris and zoom, I took this lens for a spin, after having already reviewed its little brother – the MK 18-55mm T/2.9 – earlier this year.

FUJINON MK 50-135mm Review

I tested the FUJINON MK 50-135mm over the course of several days and, while at first I was hesitant, I really enjoyed working with the lens after I had gotten the hang of it and seen the footage. Together, the FUJINON MK 18-55 T/2.9 and the new FUJINON MK 50-135mm T/2.9 cover a good focal range: 18mm to 135mm.

I recently tested the Sony 18-110mm cine style lens which is also a good alternative to the FUJINONs if you don’t want to carry two lenses and if you don’t mind that a lot Sony’s science is done electronically. Of course, the Sony lens is missing the 110-135 range, which admittedly will not be a huge tradeoff for many. The MKs are all-manual and in comparison to the Sony they also feature a constant aperture of T/2.9. This is great, especially because to me it seemed like they do look good wide open.

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Apertus AXIOM Beta – Your Open Source Camera. An Update and Recent Footage, by Johnnie Behiri

 Cinematography, Gear  Comments Off on Apertus AXIOM Beta – Your Open Source Camera. An Update and Recent Footage, by Johnnie Behiri
Jun 142017
 

It has been a while since we last reported about the status of the apertus AXIOM beta camera, so last week I took the opportunity to meet and talk to Sebastian Pichelhofer who is acting as AXIOM’s project leader, association chairman and one of the software developers, in order to find out what is new and in what shape and status the project currently is.  

AXIOM Beta Developers kit

It was nice to hear and see that this unique open source/open hardware motion picture camera system venture is really moving forward to the point where developers and early adopters alike can now already get their kit. Mind you, if you are an “end user” like me, then the camera is NOT YET ready for us as the enclosure and actual  operating system of the camera are still under development. Without those, operating the camera can be a tedious work.

 

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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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