Meyer Optik Goerlitz Primoplan 58mm and 100mm Manual Primes: Smooth to the Touch

 Gear  Comments Off on Meyer Optik Goerlitz Primoplan 58mm and 100mm Manual Primes: Smooth to the Touch
May 172018
 

As a photographer, your camera body is only half the battle. Lenses play a supreme role in deciding overall image quality. Today I got a chance to work with two new manual lenses from Meyer Optik Goerlitz, the Primoplan 58mm f/1.9 and the Trioplan 100mm f/2.8.

Unboxing

OK, I have to admit that I am not the biggest fan of the latest trend of gear unboxing videos that have entered the world. Either they make me want to buy a new piece of gear that I don’t really need or they just make me wonder aloud, “Why am I spending 20 minutes of my life watching someone I don’t know, describe a product I can’t afford, and enjoy a benefit I am not getting?” But even old bitter me will admit that opening up the Meyer Optik Goerlitz lenses even made me consider making a video of my own.

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The Fundamental Terms of Lighting in Photography

 Technique  Comments Off on The Fundamental Terms of Lighting in Photography
May 172018
 

When you’re first starting out with artificial lighting, the vast array of terms to describe and quantify the various parameters of light can be a bit overwhelming. This helpful video will introduce you to the most essential terms that will allow to effectively communicate how any light source behaves.

Coming to you from Mark Wallace of Adorama TV, this great video will introduce you to the fundamental language of lighting and how it’s used in practice. I know that when I first started, trying to learn them abstracted from experimenting with an actual light source felt a bit like trying to speak French in Russian. Nonetheless, it’s crucial to understand these terms so you can communicate how you want light to look. Once you’re ready, this, in turn, will allow you to better choose the proper modifier for a specific shoot. Even if you prefer to shoot natural light, this terminology still applies, and it’ll lend you a greater ability to understand how and why your final image looks the way it does and how to take control of that. As mentioned, I recommend grabbing a light and modifier and trying it out so you can see the effects in real time. Check out the video above for the full rundown.

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What Nikon F to Sony E Adapter Is the Best Choice?

 Gear  Comments Off on What Nikon F to Sony E Adapter Is the Best Choice?
May 022018
 

If you are a Nikon user thinking about making the switch to Sony cameras, you probably wonder what adapter could help you make a smooth and cheap transition by keeping your precious glass. In this video, Matt Granger shows you the different adapters available for you and which one is the best — or the less bad.

Switching from one camera manufacturer to another is always a pain because of all the lenses accumulated that must be replaced. It can be difficult to sell them, and it’s not rare to lose a bit of money along the way. With the mirrorless systems, what’s great is the possibility of using adapters to keep the glass from our current system. Many Canon users have had a smooth transition by doing so, but we hear less Nikon users telling similar stories.

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Transform Your DJI Drone in a Handheld Gimbal With This Accessory by PolarPro

 Cinematography, Gear  Comments Off on Transform Your DJI Drone in a Handheld Gimbal With This Accessory by PolarPro
Apr 122018
 

Everyone I know who shoots video dreams to own a gimbal if they don’t already. But did you know that if you have a drone, you actually already own a gimbal that you can use to shoot anything?

The role of the gimbal is to keep something horizontal no matter what. When flying a drone, it’s quite essential to maintain the camera stable and avoid any movement due to external elements or when flying it aggressively. However, a drone can also record videos and take pictures while on the ground. This means you can use it as a camera and take advantage of its gimbal to make super steady shots even if you don’t own a stabilizer for your bigger DSLR.

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This Adapter Lets You Mount Any Giant Lens On Your Tiny Smartphone

 Gear  Comments Off on This Adapter Lets You Mount Any Giant Lens On Your Tiny Smartphone
Apr 122018
 

Want to mount a giant camera lens onto your smartphone? The Chinese company Cinematic International Company Limited has created a single universal adapter just for you. It lets you mount most lenses out there to pretty much any smartphone. You can see a glimpse of it in action in the 2-minute video above by No Film School.

Cinematics International Company Limited is a Shenzhen, China-based company that has been manufacturing photography equipment out of its own factory for over a decade now. It was showing off its new lens-to-smartphone adapter at NAB 2018 in Las Vegas, which is where No Film School came across it.

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Fujifilm Unveils 250mm f/4 Lens and 1.4x Teleconverter for GFX System

 Gear  Comments Off on Fujifilm Unveils 250mm f/4 Lens and 1.4x Teleconverter for GFX System
Apr 122018
 

Fujifilm today announced a new 250mm f/4 telephoto prime lens and a 1.4x teleconverter for its GFX medium format system (which currently consists of the Fujifilm GFX 50S camera).

Fujinon 250mm f/4 R LM OIS WR Lens

The Fujinon GF 250mm f/4 has a rugged, lightweight magnesium alloy barrel that resists dust and weather, and it is capable of functioning in temperatures as low as 14°F/-10°C. On the front of the lens is a fluorine coating that resists water and dirt.

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Aputure Amaran MX & F7 LED Lights Announced & Reviewed

 Gear  Comments Off on Aputure Amaran MX & F7 LED Lights Announced & Reviewed
Apr 022018
 

Aputure just announced their new small and super powerful MX and F7 LED lights, and our man Eric van Vuuren already reviewed them in detail in this video.

Aputure Amaran MX – small with big output

The new Amaran MX light by Aputure is the successor of the popular M9 light, but this time it’s very sturdily built using aircraft aluminium, on the footprint of a credit card. It features 128 LEDs and is supposed to be 3 times as bright as the M9 – when using the “booster” function, it can temporarily output even 4 times as much light as the M9 (for up to 60 seconds).

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Tilta Introduces New Gravity G2 and G2X Handheld Gimbals

 Gear  Comments Off on Tilta Introduces New Gravity G2 and G2X Handheld Gimbals
Mar 142018
 

Tilta has updated their popular line of handheld gimbals. The new Gravity G2 and G2X gimbals feature updated specs, ergnomics and features.

The two models are almost identically when digging through the specs but there’s one significant differene: The G2X model sports an angled roll axis which can be configured to sit either in front of, or behind your given camera, resulting in an unobstructed view of the LCD screen.

Tilta Gravity G2 & G2X Gimbal

Both models offer a payload of up to 8 lbs (3.6 kg). The pan and tilt axes feature full 360° of rotation while the roll axis can be rotated 60° to the left or right. In order get you up to speed, watch the introduction video below:

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Canon M50 Hands-On Review – The Best Vlogging Camera?

 Gear  Comments Off on Canon M50 Hands-On Review – The Best Vlogging Camera?
Mar 142018
 

The Canon M50 was recently announced, and now I had a chance to review a pre-production version of it. Is Canon’s first attempt at a 4K mirrorless camera also the best vlogging camera out there? Let’s have a look.

A Beginner’s Camera

I can’t stress this point enough before diving deep into the camera’s functions: This is a beginner’s camera and its price point (below $800 or €600) make it a great deal compared to its competition. So whenever I lament about a missing function, this should be kept in mind. It’s not an apples-to-apples comparison with the more expensive entry-level camera from Sony, the A6500, which is almost twice as expensive.

Tiny Footprint

The Canon M50 has a tiny footprint, and is sturdily built around Canon’s EOS M lens mount. A smaller version of the EOS lens mount – which is also backwards-compatible, but an adapter is needed. The camera feels very sturdy despite its entry-level status and it feels like it can take a beating. It seems like Canon designed this as a “family camera” that can be in anyone’s hand from time to time. The flip-out screen makes it very convenient to use from every angle. It gives a lot of  nice flexibility that their higher-end DSLR offerings are missing – lightness and the flexible screen, plus a decent viewfinder which can of course also be used for video. “Of course” because this is a mirrorless camera – on their DSLRs, the optical viewfinder becomes useless when you switch to the video modes, because the mirror blocks your view.

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The CEO of Sigma Explains the Challenges of Curved Sensor Technology

 Cinematography, Gear  Comments Off on The CEO of Sigma Explains the Challenges of Curved Sensor Technology
Mar 132018
 

The French website Mizuwari published a series of captivating interviews with the CEO of Sigma, Kazuto Yamaki. Among other things, the Japanese executive mentions the challenges of implementing curved sensor technology in digital cameras.

Simply put, camera lenses are round and project different rays of light on a flat sensor, which is not an ideal solution. This explains, for instance, the softness issue encountered on the corners of the image, especially when shooting wide open. In a perfect world, the shape of the sensor would match the light beam created by the lens. Several manufacturers, such as Sony, have been working for years to develop curved sensors where each pixel could be placed at the perfect distance in relation of the light beam. Easier said than done.

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Seven More of the Best Nikon Tricks

 Gear  Comments Off on Seven More of the Best Nikon Tricks
Mar 132018
 

Although it is popular to talk about mirrorless cameras these days, DSLR cameras are still alive, and with the help of some useful tricks, you can make the most of your DSLR. Especially if you own a Nikon camera, you might be surprised with these features that most photographers skip using.

Well-known nature photographer Steve Perry has published a video previously about Nikon tricks, and in this second video of the series, he shares seven new tricks about Nikon cameras, with in-depth explanations.

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The $2,000 Sony a7 III vs. the $3,200 Sony a7R III: Here’s the Difference

 Gear  Comments Off on The $2,000 Sony a7 III vs. the $3,200 Sony a7R III: Here’s the Difference
Mar 122018
 

 

Portrait photographer Manny Ortiz recently got his hands on the newly-announced Sony a7 III full-frame mirrorless camera, allowing him to compare the $2,000 camera to his $3,200 Sony a7R III. Here’s a 6-minute video in which he compares the cameras and discusses the strengths of each one.

“The experience of shooting in the real world, there was no difference than when I was shooting with my Sony a7R III, in autofocus performance, in everything,” Ortiz says.

Here are the pros of each system mentioned by Ortiz in the video:

Reasons for a7 III over a7R III

#1. Price. You save $1,200.

#2. Workflow. If you don’t need the extra resolution, the 24MP files will be faster to work with and cheaper to store.

#3. Low Light. Ortiz concluded that the a7 III performs slightly better in low light, with less noise in the photos.

#4. Autofocus. The a7 III features 693 AF points with 93% viewfinder coverage compared to the 399 points and 68% coverage of the a7R III. But “in the real world, I didn’t notice any difference,” Ortiz notes.

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Read more Canon C200 vs Panasonic EVA1 – Zacuto Camera Shootout 2018

 Gear  Comments Off on Read more Canon C200 vs Panasonic EVA1 – Zacuto Camera Shootout 2018
Mar 122018
 

The Zacuto camera shootout is back! If you were wondering which was the better camera, then tune in to this smart and scrupulous battle going LIVE on March 14th at 11am CST.

The “Camera Shootout 2018 – Canon C200 vs Panasonic EVA1” hosted by Zacuto has a challenging mission: to put the Panasonic EVA1 and Canon C200 through a series of tests, and try and declare a “winner”. 

“Our shootouts are back!! Side by side, Bruce Logan, ASC put the Panasonic EVA1 and Canon C200 through a series of tests” as stated on the Facebook event page. 

I remember the fascinating “Great Camera Shootout 2011”, which I watched a couple times! The 2011 Zacuto camera shootout demonstrated side by side comparisons of the ARRI Alexa, Sony F35, Sony F3, Canon 5D Mark II, Canon 7D, Canon 1D Mark IV, Nikon D7000, Weisscam HS-2, Phantom Flex, Panasonic AG-AF100, RED ONE M-X and 35mm Kodak 5213 and 5219 film.

Yes, you heard right! The Canon 7D was compared to the ALEXA, and film against digital, all by carefully testing essential parameters like sharpness, low-light sensitivity, exposure, latitude, highlight detail, shadow detail, color quality, skin tone reproduction, compression losses and shutter artefacts.

Conducted by consultants, specialists and technicians from various areas of the motion picture industry, these on-set challenges were designed to push these cameras to the limit.

The 2011 battle was extremely educational and, in my opinion, must be watched by film educators, as the whole project is on Vimeo.

Take a look at the full sessions of the “Great Camera Shootout 2011”:

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SIGMA Unveils New Art Lenses for Sony E-Mount

 Gear  Comments Off on SIGMA Unveils New Art Lenses for Sony E-Mount
Mar 112018
 

Hot on the heels of this year’s CP+, which took place in Japan, our own Johnnie Behiri had the opportunity to chat with SIGMA’s Yamaki-san about the brand-new lineup of native Art lenses for Sony E-mount.

SIGMA’s lineup of Art labled lenses is extremely popular due to excellent optical performance and build quality. But although these lenses are available for a range of mounts including Canon, Nikon, Sony A and SIGMA, you couldn’t get a native SIGMA Art lens for Sony E-mount. Until now.

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The Cameras Used in the 2018 Oscar-Nominated Films

 Cinematography  Comments Off on The Cameras Used in the 2018 Oscar-Nominated Films
Mar 112018
 

Today we’ll take a look at the cameras used in the Oscar-nominated films in the Cinematography and Best Picture categories. The results may surprise you… or not!

 

One of the most interesting questions that may strike your curiosity when watching a movie – and especially one nominated for an Oscar – is “what camera was that shot on?” For us filmmakers, when it comes to choosing the right camera, these films can serve as a sort of reference, especially in a time when there are so many cinema cameras, sensors and ultra high-resolution goodies to choose from.

So, we had a look at the Tech Spec section of all of these movies’ IMDB page. Check out the list below to find out what cameras were used for this year’s Oscar-nominated films:

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How Good Are Adapted Lenses for Mirrorless Cameras in 2018?

 Gear  Comments Off on How Good Are Adapted Lenses for Mirrorless Cameras in 2018?
Mar 112018
 

Sony is growing by leaps and bounds, but one of the biggest advantages Canon and Nikon continue to hold is the deep investment a lot of their users have made in native lenses. This great video examines the current state of affairs for adapters and if they can work for you.

Coming to you from The Camera Store TV, this helpful video will show you just what you can expect from trying to use adapted lenses on mirrorless cameras in 2018. I’m personally shooting mostly with a Sony a7R III these days, and I’ve found that that in combination with a Metabones V adapter actually works better for my Canon 85mm f/1.2L II lens than a native body, as the adapter still works about as quickly as a Canon body, but there are no AFMA errors as one encounters with DSLR bodies (even after years of AFMA adjustments, this lens is still finicky for me). Combine that with Eye AF and my keeper rate went up substantially when I switched to a Sony body, so much so that I now trust the Sony enough to make it my main body for a lot of work. If you’re curious about their system but married to a lot of Canon or Nikon glass, now is a good time to watch the video above.

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Fujinon MKX – Unique X Series Features

 Gear  Comments Off on Fujinon MKX – Unique X Series Features
Mar 062018
 

The recently announced Fujinon MKX T2.9 cine lenses come with unique features for Fujifilm camera owners. We looked into them more closely …

The E-mount versions of these MK lenses have been a big hit with cinematographers. But this is about more than just a simple mount change. When pairing these new cine lenses with Fujifilm X Series cameras, such as the new X-H1, the electrical contacts on the lens pass data to the camera. This allows the the camera to correct lens distortion as well as colour and brightness shading.

Lens Data

The lens data passed to the camera includes iris (T-stop) data, as well as focus distance and zoom information. As well as the obvious benefit on seeing this information displayed on the cameras LCD monitor, it also apparently allows for improved white balancing. We will be reviewing these two new lenses soon, so it will be interesting to see how this innovative feature works.

The Fujinon MKX 18-55mm will retail for $3999. The Fujinon MKX 50-135mm will retail for $4299. As a recap, here are the main features of these two lenses:

Fujinon MKX 18-55mm T2.9 & Fujinon MKX 50-135mm T2.9

  • Use an optical construction comprising 22 glass elements in 17 groups, with six super ED lens elements and two ED lens elements (two super ED lens elements and two ED lens elements for the 50-135mm).
  • T2.9 aperture across the entire zoom range which facilitates the increasingly popular style of bokeh effect with shallow depth-of-field. This also eliminates the need to re-adjust lighting, contributing to shortening shooting time.
  • The MKX lens achieves advanced optical performance despite its compact and lightweight body by incorporating the benefits of short flange focal distance of X Mount into optical design to the maximum extent. This accommodates shooting with a limited number of people.

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Ikan Introduces the PIVOT Handheld 3-Axis Gimbal with up to 8lb Payload

 Gear  Comments Off on Ikan Introduces the PIVOT Handheld 3-Axis Gimbal with up to 8lb Payload
Mar 062018
 

The PIVOT handheld 3-Axis gimbal stabilizer supports a wide range of DSLRs, mirrorless cameras, and even cinema cameras weighing up to 8 pounds.

 

It’s gimbal time – or should we say: another day, another gimbal. In January, we covered two new gimbals: the Filmpower Nebula 4100 Slant and the DJI Ronin-S. Both of them share a lot of similarities. So, what’s new about the Ikan PIVOT? In one word: Payload!

Max 8 lbs Payload for Cinema Cameras

The PIVOT can hold a maximum combined payload of 8 lbs – truly impressive compared to other gimbals. This not only allows you to use a wider range of camera and lens combinations and accessories, but also opens up the possibility to handle heavier cameras, even compact cinema cameras (RED, anyone?). 

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Tokina FiRIN 20mm F/2 FE – A New Autofocus Lens For Sony E-Mount Cameras

 Gear  Comments Off on Tokina FiRIN 20mm F/2 FE – A New Autofocus Lens For Sony E-Mount Cameras
Feb 242018
 

Tokina continue to grow their E-mount lens lineup with the FiRIN 20mm F/2 FE Autofocus lens, compatible with Sony IBIS and Fast Hybrid AF.

FiRIN 20mm Autofocus lens on the left, Vs. FiRIN 20mm Manual lens on the right

Back in 2016 Tokina announced the FiRIN line of dedicated E-mount lenses, starting off the range with the manual focus 20mm F/2 lens. Possibly compared to the ZEISS Loxia prime lenses, the native E-mount and manual focus FiRIN seemed geared towards Sony alpha video shooters. Since then, Sony released the a7RIII with lightning fast auto focus, so it seems like a smart move for Tokina to release an AF version of the lens, which has the same optical design as the MF version.

In terms of its wide angle optical performance, the FiRIN 20mm F/2 FE AF has 2 aspherical elements and 3 super-low dispersion elements which will reduce distortion and chromatic aberration, that can be inherent in wide angle filming and photography. Tokina suggests that even at F/2, the FiRIN lens will perform with high resolution results and minimal distortion.

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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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