SIGMA fp Update – Cinema DNG RAW Internal Recording and More

 Gear  Comments Off on SIGMA fp Update – Cinema DNG RAW Internal Recording and More
Sep 162019
 

The SIGMA fp is very close to being in our hands. At IBC 2019 we talk to the Yamaki-san, creator of the SIGMA fp camera for a development update. The camera has come a long way since our last post about it, and SIGMA can confirm a number of specifications in our exclusive interview.

Back in July we reported about the surprise announcement about the SIGMA fp camera; the worlds smallest full frame, mirrorless camera. Check out what we found out in our article here.

The SIGMA fp hardware is now complete, and the camera itself is in production. SIGMA are still developing and fine tuning the firmware, which is in it’s beta stage.

SIGMA has previously used Foveon sensors in its mirrorless cameras, however this was not possible due to the required readout speed of the sensor. A CMOS sensor has been used instead.

SIGMA fp Recording Formats

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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.

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Panasonic hints at a future entry-level full-frame camera, by Phil Hall

 Gear, Mirrorless  Comments Off on Panasonic hints at a future entry-level full-frame camera, by Phil Hall
Jan 042019
 

We know Panasonic is launching its professional-focused Lumix S1 and S1R full-frame cameras this year, but it looks like we could see a more affordable entry-level model as well.

In a wide-ranging interview with DPReview.com, the President of Panasonic’s Imaging Network Business Division, Yosuke Yamane, was questioned on whether the new full-frame S series will grow to include entry-level products.

Yamane responded that “the first generation will be specialized for professionals, but in the future, of course we’re also aiming to attract entry-level users”.

It appears, though, that for now the priority is to appeal to professionals, with Yamane stating that “our image to professional users is very important. That’s why we’re attacking this segment [initially]”.

Yamane also discussed aspects of the philosophy behind Panasonic’s first full-frame mirrorless cameras, from why the company chose to enter the sector to its decisions regarding the size of its cameras. 

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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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