Saramonic CaMixer Adds a Headphone Jack to Your Sony a6300 / a6500

 Cinematography, Gear  Comments Off on Saramonic CaMixer Adds a Headphone Jack to Your Sony a6300 / a6500
Oct 182016
 

If you’re a proud owner of a Sony a6300, you might be in desperate need of  some sort of audio interface due to its lack of a headphone jack.  Saramonic has your back here with the release of a very compact and very affordable audio mixer. Meet the Saramonic CaMixer.

The Saramonic CaMixer

This little audio interface could be just what you need if you’re after a a small, lightweight and affordable audio solution. Saramonic claims it is brand new, but actually it looks very familiar to me. Last year they released a very similar audio interface, the SmartMixer, intended to be used with smartphones. It’s a little more expensive, as it comes bundled with a smartphone holder and a grip. The new CaMixer comes in professional black rather than in consumer red.

Spot the dfference! Saramonic CaMixer (left) and SmartMixer (right)

Anyway, the functionality for a device like this is still very relevant, as a lot of smaller cameras like the Sony a6300 or even the freshly announced Sony a6500 lack a decent headphone jack for monitoring audio. You also get two detachable directional microphones plugged into 3.5mm mic inputs, a phantom powered mini XLR jack and of course an audio out port for connecting the Saramonic CaMixer to your camera. A lot of stuff for such a tiny preamp device, indeed.

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Stanley Kubrick’s Legendary f/0.7 ZEISS Lens Explored

 Cinematography, Gear  Comments Off on Stanley Kubrick’s Legendary f/0.7 ZEISS Lens Explored
Aug 032016
 

These days, shooting with a fast lens is not unusual at all. Considering the high ISO capabilities of modern sensors, it’s even possible to shoot with almost no light at all (see Nino’s Sony a6300 low light test, for example). But how the hell did people manage back in the 70’s? Well, if you have the time and happen to be around the San Francisco area, you have the opportunity to pay a visit to the f/0.7 lens that Stanley Kubrick used to shoot his masterpiece Barry Lyndon.

A legendary f/0.7 lens

In order to capture images of the moon during the Apollo mission, NASA commissioned Carl Zeiss to develop and build a set of extremely light-sensitive lenses. Since it was extremely difficult to meet the demands, Zeiss ended up building only 10 units of the f/0.7 lens. One remained in their own cabinet, and six were sold to NASA. Stanley Kubrick managed to somehow snatch the last three lenses in order to shoot his famous candlelight scene.

To actually work with these lenses, Kubrick had to modify the lens mounts to fit them on a Mitchell 35mm BNC camera. In the end, he was able to light a whole scene with just the help of candlelight. Well, he needed lots of candles, actually. Have a look at this mini doc, with footage from the actual candlelight scene starting at the 2:38 mark.

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