GearComments Off on A Review of the Panasonic S1’s After 10 Months
The Panasonic S1 is a nicely balanced stills and video camera that brings with it quite a few top-shelf features all packaged in a rugged, versatile, and well-designed body. This great video takes a look at how the camera has held up after using it for almost a year.
Action cams, GearComments Off on Insta360 Unveils the One R Modular Action Cam ‘Co-Engineered’ with Leica
Insta360 has just revealed the (painfully) teased Insta360 One R “adaptive” action camera. The modular creation was co-engineered with Leica, and features a “unique interchangeable lens design” that lets you swap between modules for standard 4K, 360° video, 5.3K with a 1-inch sensor, and more.
It’s hard to see the Insta360 One R as anything other than a more versatile version of the GoPro Hero 8. While GoPro is showing off their Media Mods with attachable mics and lights at CES 2020, Insta360 just released an even more versatile creation that combines a “core” processing unit with a bunch of very useful modules.
“The concept is simple — one battery, one processor and a selection of quick-swapping lens Mods,” explains Insta360. “In an instant, ONE R transforms from a dual-lens 360 shooter to a standard action cam.”
Here’s the One R intro video just released by Insta360:
GearComments Off on Nikon Launches the COOLPIX P950: A Compact, Zoomy Camera to Make Flat Earthers Go Crazy
Nikon has announced the launch of the COOLPIX P950, its latest bridge camera and the dream of every flat earth conspiracy theorist thanks to the 83x optical zoom — and 166x digital zoom — that is somehow wedged into this compact body.
The fixed lens has a range that’s the equivalent of 24-2,000mm on a 35mm camera, offering excellent reach for those keen on distant objects such as birds in flight or cities located on the other side of large lakes. Those seeking to deny the curvature of the earth using woefully naive techniques will be delighted to learn that there’s the bonus of 166x digital zoom, giving the equivalent reach of 4,000mm in 35mm terms.
Cinematography, GearComments Off on Nikon Gets Closer to a Z Mount Trinity by Announcing the NIKKOR Z 70-200mm f/2.8 Lens
Nikon has announced the launch of the NIKKOR Z 70-200mm f/2.8 VR S for its full-frame mirrorless cameras, filling one of the two gaping holes in its lens lineup for professional shooters.
Nikon says that this high-end zoom has been “reimagined” in order to exploit the newly designed lens mount. With a constant f/2.8 aperture, it brings Nikon a step closer to completing the trinity of fast zoom lenses that are regarded as critical to any system due to their quality and versatility.
The NIKKOR Z 70-200mm f/2.8 has a stepping motor for quiet autofocus and reduced focus breathing, a minimum focus distance of just under 20″ (50cm), a nine-blade diaphragm, weather-sealing, and five stops of stabilization. It’s one of two Nikon lenses to feature the company’s newly-developed Short-Wavelength Refractive (SR) lens element for better control of chromatic aberration.
Cinematography, GearComments Off on Dull, Brilliant, Disappointing, Fun: Fstoppers Reviews the Tamron 24mm f/2.8 for Sony
There isn’t exactly a wealth of affordable options when it comes to 24mm prime lenses for Sony full-frame cameras, so Tamron’s new lens is a welcome addition to the line-up, though it does have its idiosyncrasies.
Following on from the success of its two affordable Sony mount zooms made with some smart compromises (the 17-28mm f/2.8 and 28-75mm f/2.8), Tamron has launched a batch of f/2.8 primes. Prior to their release, fans were excited at the prospect of relatively quick glass that was compact and reasonably priced, so when Tamron announced this selection of f/2.8 lenses, there was a degree of disappointment.
In Tamron’s defense, with the 24mm f/2.8 Di III OSD M 1:2, it has released something relatively unique at this focal length. With one notable exception, all of the other options start at more than double the price, albeit with much wider maximum apertures, so if you’re looking for a compact, lightweight, low-cost 24mm prime that’s not going to get anyone excited, the Tamron may be a smart choice.
Back in mid-2017, I was tasked with reviewing Sigma’s first 24-70mm lens, the 24-70mm f/2.8 DG OS HSM IF Art lens, and I was extremely disappointed. You can read my whole review here, but in summary, I found it to be sadly inconsistent with its sharpness. Most notably, I found that edge sharpness was really quite bad.
There is one photo I took that pretty well shows my problems with the lens, and it’s this one:
Photo by Jaron Schneider, taken with the Canon 1DX Mark II w/ Sigma 24-70mm F2.8 DG OS HSM Art
Taken from a helicopter over Los Angeles, I really like the composition of the image and was looking forward to printing it. When I got it back to my edit station, however, I was very much let down with how soft anything other than the middle of the frame was. I was so disappointed that I put this photo in a digital folder and hadn’t looked at it again until I started writing this story.
Cinematography, GearComments Off on Nikon Z 6 and Atomos Ninja V ProRes RAW Recording Option – First Look
The Nikon Z 6 and Z 7 have been around for quite some time but now it’s getting a new life. Something that will greatly elevate its performance thanks to the collaboration with Atomos. While Nikon is bringing to the table a full frame sensor camera, 12 bit RAW output via HDMI and a flat picture profile recording option (N Log), Atomos is contributing to this duo its external monitor/recorder expertise together with the built-in Apple’s ProRes RAW 12 bit recording option. There are many “industry firsts” in this exciting combination, including transferring the information between the camera and monitor/recorder on a consumer HDMI protocol interface. Now, openly speaking, is offering full frame, up to 4K, 12 bit ProRes RAW external recording option, enough to bring Nikon back to the center of attention of the aspiring filmmakers and content creators? Please read on.
GearComments Off on SIRUI 50mm Anamorphic Lens Review and Sample Footage
The new SIRUI 50mm anamorphic lens is promising to revolutionize a territory that, up until now, was out of reach for many. For $700 this lens sounds too good to be true, so I took it for a short spin and I’m happy to share my thoughts with you guys.
SIRUI 50mm anamorphic lens on a FUJIFILM X-T3. Image credit: cinema5D
Earlier this year during IBC, we had the chance to talk to Sonny from SIRUI who was kind enough to share with us some details about their upcoming 50mm f/1.8 1.33x anamorphic lens, and while the idea of developing such lens was great, I was a bit skeptical in what the end product would look like or better said, how well it would perform optically-wise. Fast forward to the present time, and I have this lens on my desk. Now, before proceeding to talk about the lens, let me take a quick step back.
GearComments Off on Wooden Camera Sony FX9 Accessories Announced
Wooden Camera has announced their accessory kits for the new full frame Sony FX9 Camcorder. The Sony FX9 accessories range from top handle and 15mm rails to dovetail baseplate with monitor mount.
Sony’s new full-frame cinema camera Sony FX9 has been introduced during this year’s IBC show in Amsterdam and it will start shipping soon. If you want to know more about the camera, make sure to check our previous articles:
Cinematography, GearComments Off on Canon C500 Mark II Low-Light Test & 6K Raw Clip to Download
Our friend Ollie Kenchington used to be a regular cinema5D writer until recently, but since his day job at his production company KORRO is keeping him extremely busy, he is now an irregular contributor to the site. In this post, he tells us about his first experiences with the new Canon C500 Mark II in low light. Full disclosure: Ollie is not a Canon Ambassador, though he does occasionally do paid work for them as a trainer/speaker.
Back in September, at IBC, I had the opportunity to have a play with some 6K raw footage captured with the C500 Mark II. It occurred to me then that it would be great if more people could have the same opportunity to experiment with this powerful codec. I therefore proposed to Canon that they send me a unit prior to release, with the intention of capturing content that could be made freely available for interested users to download and play with at home. I finally got the chance to do just that last week.
6K Raw Demo
You can see the short sequence I cut together from the 6K raw footage here:
GearComments Off on A Review of the Tamron 17-28mm f/2.8 Di III RXD Lens
Tamron’s 28-75mm f/2.8 lens has been a runaway hit for the company among Sony users, with its combination of a useful focal length, f/2.8 aperture, light weight, image quality, and affordable price making it highly popular. The 17-28mm f/2.8 Di III RXD is the accompanying wide angle zoom, and this great video review takes a look at the lens to help you decide if it is right for you.
Last week, we published our long “mirrorless camera of the year” post, and while there have been MANY contenders, the Panasonic S1 came out on top for its perfect price/performance ratio. And Panasonic seems really happy about this result – they got in touch offering an exclusive $400 discount for cinema5D readers, plus the V-Log Filmmaker Upgrade worth $199 for free!
GearComments Off on SIGMA fp LOG Picture Profile and RAW Output Recording via HDMI Coming Next Year
During Inter BEE 2019, we had the chance to talk with SIGMA about the upcoming firmware update for the fp camera. We’ve been told that a firmware update will bring exciting new video features such as in-camera playback of cinemaDNG footage, and something that a lot of shooters are waiting for: a LOG picture profile and RAW output video recording via HDMI. Let’s take a closer look at it!
Gear, Mirrorless, NewsComments Off on The First Half of 2020 Will Brings Lots of Mirrorless Announcements From Canon
Canon is slowly filling out its mirrorless line, but there are still some cameras and lenses that photographers are waiting to complete their kits or to justify switching. The good news is that Canon seems to be planning a lot of releases for their mirrorless line in the first half of 2020.
Cinematography, GearComments Off on Tokina Unveils Updated 100mm f/2.8 Macro Lens for Canon and Nikon DSLRs
Following hot on the heels of yesterday’s leak, Tokina has officially revealed its redesigned full-frame 100mm f/2.8 macro lens for the Canon EF and Nikon F mounts: the Tokina ATX-i 100mm f/2.8 Macro FF.
According to the press release, the Tokina ATX-i 100mm f/2.8 features the “same great optics” as the older AT-X macro its replacing, but a “brand new look.” Like its predecessor, the new 100mm f/2.8 is made for full-frame Canon and Nikon DSLRs, and it produces a 1:1 magnification ratio at 11.8 inches (30cm) from the sensor plane, giving you “a very comfortable 4.5 inches of working distance.”
Gear, MirrorlessComments Off on Sony a7R IV is Still a ‘Star Eater’ After a Certain Shutter Speed: Report
If you were hoping that Sony had finally completely removed the long-exposure noise reduction that causes its high-resolution a7R cameras to “eat stars,” you’re going to be disappointed. According to Jim Kasson, the Sony a7R IV eats stars to about the same degree as the a7R III.
Over on his blog, Kasson posted dark field spectra results for the Sony a7R IV at 1/8000 of a second, 2.5 seconds, and 3.2 seconds. The dark field spectra for each color “plane” at 1/8000 and 2.5 seconds look mostly flat: in other words, the way they’re supposed to.
But once you hit 3.2 seconds, as Kasson puts it, “all hell breaks loose” in every channel, and it’s particularly bad in the blue channel. You can see all the charts over on Kasson’s blog.