Canon C500 Mark II Low-Light Test & 6K Raw Clip to Download

 Cinematography, Gear  Comments Off on Canon C500 Mark II Low-Light Test & 6K Raw Clip to Download
Dec 122019
 

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:

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SteadXP+ First Look Review – A Promising Camera Stabilization System

 Gear  Comments Off on SteadXP+ First Look Review – A Promising Camera Stabilization System
Dec 122019
 

Five years ago, a little company from France called SteadXP shook the Internet with a “game-changing” small box and stabilization technology made for GoPro and DSLR/Mirrorless cameras. This box attaches to your camera and records all the motion data of your camera so that you can stabilize your footage in post-production. The concept was revolutionary back in the days. Nowadays, with action cameras that feature in-body image stabilization that works just as well – if not better –, SteadXP is trying to move to the cinema market with SteadXP+. But is this product and technology still relevant? Let’s take a closer look at it in this hands-on review.

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Review: Tamron 28-75mm f/2.8 Di III RXD Lens for Sony Full-Frame Cameras

 Gear  Comments Off on Review: Tamron 28-75mm f/2.8 Di III RXD Lens for Sony Full-Frame Cameras
Dec 052019
 

The Tamron 28-75mm f/2.8 lens is less than half the price of Sony’s 24-70mm f/2.8 GM. Does this lens live up to the hype?

I had a chance to finally use the Tamron 28-75mm f/2.8 Di III RXD which was notoriously backordered for months and months after its release. Surprisingly, the lens’ performance blew past my expectations, especially when it came to sharpness. A couple things I never really paid attention to before testing were its weight and size, but it really was impressive to hold in my hands and feel that difference. It does not seem like a full frame f/2.8 zoom lens.

What I Liked

  • The Tamron is more affordable than Sony’s 24-70mm f/2.8 GM lens.
  • It’s very sharp and the resolution holds up on the 61-megapixel Sony a7R IV.
  • Slim and light for its class; has a 67mm filter size.
  • The continuous autofocus kept pace with Real-time Eye AF in a studio setting.
  • Some level of weather resistance. Not sure if it’s the lens mount’s rubber gasket making a good seal, but it’s a notably tight fit to get on and off the camera body. I guess if it’s doing its job, that’s a good thing.

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Panasonic S1 & Canon FD lenses – Full Frame, 10-bit Recording Kit Under $3500

 Gear  Comments Off on Panasonic S1 & Canon FD lenses – Full Frame, 10-bit Recording Kit Under $3500
Dec 022019
 

Are you playing with the thought to enter into the 10-bit full frame filmmaking world but think it’s prohibitively expensive? Here is a sub $3500 suggestion. If you are willing to invest money and time, the combination of working with the Panasonic S1 equipped with Canon’s FD lenses is fun and a good reason to collect some older items too.

Panasonic S1 with the Canon FD 35mm f2 lens. Image credit: Gunther Machu

If you are like me, an enthusiast hobbyist who is digging the full frame look but don’t want to go back to 8-bit codecs,  then I’m sure we are sharing the same dilemma. I’ve started filming 10 years ago with a Panasonic GH1 and later moved to the original BMPCC camera but the full frame “look” always fascinated me and 8 vs 10-bit became a deal breaker when choosing my next camera.

My Wish List When Considering a Camera

  • a full frame sensor camera to get this creamy shallow depth of field with fast primes
  • a robust 4K 4:2:2 10-bit internal codec
  • the cam has a LOG image picture profile that provides good dynamic range and is flexible enough for grading in post
  • in body image (sensor) stabilization  (IBIS) would be great
  • the audio department should provide good sound quality with a headphone output, of course
  • a good viewfinder and/or screen is mandatory
  • decent battery life
  • lenses should cover wides and moderate tele and should be fast (below f4, ideally f2) – otherwise you would defy the purpose to go for full frame
  • in addition, the lenses should provide robust mechanics, a buttery smooth focus throw to allow for precise manual focus adjustment with hard stops at close and infinity focus
  • I don’t like messing with rigs, external recorders, HDMI cables, and all the auxiliary stuff and need a compact footprint
  • As a hobbyist, I just don’t want to spend more than $3500 all in all

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SIGMA fp LOG Picture Profile and RAW Output Recording via HDMI Coming Next Year

 Gear  Comments Off on SIGMA fp LOG Picture Profile and RAW Output Recording via HDMI Coming Next Year
Nov 182019
 

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!


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FilmConvert Camera Pack for Panasonic LUMIX S1 and S1H Now Available

 Cinematography, Gear  Comments Off on FilmConvert Camera Pack for Panasonic LUMIX S1 and S1H Now Available
Nov 072019
 

FilmConvert has announced the addition of a new camera pack for the Panasonic S1 and S1H cameras. If you are a FilmConvert Pro or FilmConvert Nitrate user, you can download these new profiles for free. Let’s take a closer look


FilmConvert
 Camera Pack for Panasonic LUMIX S1 and S1H

The Panasonic LUMIX S1 and LUMIX S1H – the version for filmmakers – are currently on fire! Indeed, the S1H is the first Netflix approved mirrorless camera. Also, if you want to learn more about the S1H, you can take a look at our complete S1H review by clicking here and our lab test by clicking here.

FilmConvertS1S1H_Featured

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Leica SL2 – 47MP Full-Frame Sensor with 5K/30P and 4K/60P 10-Bit Video Internally

 Gear, Mirrorless  Comments Off on Leica SL2 – 47MP Full-Frame Sensor with 5K/30P and 4K/60P 10-Bit Video Internally
Nov 072019
 

Leica has announced its new L-Mount full-frame mirrorless camera. The Leica SL2 features a 47MP full-frame CMOS sensor with 5-axis image stabilization. It is capable of recording 5K video at up to 30fps, 4K video at up to 60fps, and FullHD video at up to 180fps, all in 10-bit H.264. The camera features a high-resolution EVF, full-size HDMI port, two 3.5mm jack ports for headphones and microphone, and an all-metal magnesium body. It will be available from November 21st, 2019 for $5,995.

Leica SL2 full-frame mirrorless camera. Source: Leica

It has already been four years since the German premium brand introduced its Leica SL full-frame mirrorless camera. Our Leica SL review and Lab test articles from 2015 are a good reminder of its video capabilities. The newly announced Leica SL2 promises to bring even more video-oriented features. Let’s take a look!

Leica SL2 – 47MP Full-Frame Stabilized Sensor

The new Leica SL2 features a 47.3MP 3:2 full-frame CMOS sensor and Maestro III image processor, which enables up to 20 fps continuous stills shooting with an electronic shutter, 10 fps with a mechanical shutter, and 6 fps with a mechanical shutter and AF-C, for up to 78 consecutive DNG files with a color depth of 14 bits per RGB channel. The sensor features a 5-axis sensor-shift image stabilization system, which minimizes the appearance of camera shakes when shooting handheld.

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A First Look at the Fujifilm X-Pro3 Camera

 Gear, Mirrorless  Comments Off on A First Look at the Fujifilm X-Pro3 Camera
Oct 292019
 

The X-Pro3 is the latest camera from Fujifilm in their highly lauded X Series, and with it comes a highly interesting design with lots of features and power to spare. Is this unique camera the right one for you? This excellent first look video will give you a pretty comprehensive overview that should help you decide. 

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Panasonic S1H Review – Is it the Best Full Frame Mirrorless Camera for Filmmakers yet?

 Cinematography, Gear, Mirrorless  Comments Off on Panasonic S1H Review – Is it the Best Full Frame Mirrorless Camera for Filmmakers yet?
Oct 242019
 

The Panasonic S1H is now finally available for purchasing and we took it for a spin in order to put it through its paces. If you are in a rush and have no time to continue reading, here is my conclusion first: Currently it is the best mirrorless camera that can shoot video in the market. Of course, no filming device is perfect, but any manufacturer who would like to produce something even better will have to work harder to achieve this. Ready to dive into details? Keep on reading. 

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Zhiyun Weebill-S Compact Gimbal for Mirrorless and DSLR Cameras Announced

 Gear  Comments Off on Zhiyun Weebill-S Compact Gimbal for Mirrorless and DSLR Cameras Announced
Oct 172019
 

After the massive success of the Kickstarter campaign for their SMOOTH-Q2 smartphone gimbal, Zhiyun is back with a new gimbal for DSLR and Mirrorless cameras: the Zhiyun Weebill-S. This compact and robust handheld gimbal is a follow-up to the previous Weebill LAB that was announced at Photokina 2018. Let’s take a closer look at it!

Zhiyun Weebill-S Design

Zhiyun has just announced their new handheld gimbal for mirrorless and DSLR cameras: the Zhiyun Weebill-S. This fresh stabilizer is a follow-up to the previous Weebill LAB, but it is not a replacement. Overall, the one-of-his-kind design is similar between the two. If it works, don’t fix it.

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A Comprehensive Review of the Sony a7R IV

 Gear  Comments Off on A Comprehensive Review of the Sony a7R IV
Oct 142019
 
A Comprehensive Review of the Sony a7R IV

The Sony a7R IV brings the company’s latest innovations and improvements to the popular line of high-resolution full frame cameras. Along with its new sensor come a bevy of new upgrades and refinements to existing features, making it an interesting choice for a lot of photographers. This comprehensive and thorough review takes a deep look at the camera to help you decide if it is right for you. 

Coming to you from Maarten Heilbron, this excellent review takes a look at the Sony a7R IV. The a7R IV features lots of upgrades over the a7R III, the most prominent being the new 61-megapixel sensor, an upgrade of almost 50% over its predecessor. Along with the new sensor comes a better EVF, more ergonomic grip, more powerful autofocus, better weather-sealing, and more. The capability to fire at 10 fps at 61 megapixels is certainly a boon for many photographers, particularly wildlife photographers, who retain vast cropping capabilities with enough speed to capture animals in action, all supplemented by the capable autofocus system. 

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Sony a9 II Announced – More Speed for Pro Photographers, Same Video Specs

 Gear, Mirrorless  Comments Off on Sony a9 II Announced – More Speed for Pro Photographers, Same Video Specs
Oct 072019
 

Sony just announced the a9 II full-frame E-mount mirrorless camera. Aimed at professional sports photographers and photojournalistst, the Sony a9 II is all about speed. It has the same 24.2 MP CMOS sensor as the original a9. The camera is capable of 20fps continous blackout-free stills shooting with AF and AE tracking with electronic shutter (up to 10fps with mechanical shutter). The new a9 II also features better in-body image stabilization, weather resistance, and gigabit ethernet port for high speed communication. Available in October for $4,500 (€5,400).

Sony a9 II

Sony a9 sits on top of the alpha series of mirrorless cameras. It is aimed at professional photographers, who does not require the maximum possible resolution (for those Sony has the a7R series), but who require speed and other useful features (for example sports photographers and photojournalists). The first generation Sony a9 was presented during NAB 2017, so it has been more than two years. Today Sony announced the a9 II. What are its specs and innovations?

Sony a9 II – Speed Above All

As I mentioned above, the a9 series is all about speed. Sony a9 II (full model name: ILCE-9M2) features blackout-free continuous shooting at up to 20 frames per second (with electronic shutter) with Auto Focus and Auto Exposure tracking, 60 times per second AF/AE calculations. This applies for 1/125 sec. or higher shutter speed. In AF-C mode the maximum continuous frame rate will depend on the shooting mode and lens used. The number of AF calculations will depend on the lens used. A software update may be required for some lenses.

The high speed shooting can last for up to 361 JPEG images or 239 compressed RAW images (in “Hi” continuous shooting mode with UHS-II memory card), with no viewfinder blackout, allowing the photographer to follow the subject and action with no interruption to the EVF during picture taking. For times when mechanical shutter is preferred or required, the new A9 II has been improved to shoot at up to 10 fps, about 2x the speed of the A9.

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Magic Cinema ViewFinder – Free Director’s Viewfinder App for iOS & Android

 Cinematography, Gear  Comments Off on Magic Cinema ViewFinder – Free Director’s Viewfinder App for iOS & Android
Oct 022019
 

Magic Cinema ViewFinder is an application for iOS and Android devices that makes location scouting a lot easier. Although there are already a couple of apps in the market that do the same thing, the Magic Cinema ViewFinder is free. Let’s take a closer look at it!

Location Scouting with Your Smartphone

Back in the days, I used to take stills with a point-and-shoot compact camera while doing location scouting. Don’t get me wrong; it’s still relevant today. But, we now all have in our pocket a smartphone that features a capable camera, and that can launch dozens of apps to make your life easier. I use tools like Sun Surveyor to know where the sun will be at any given hour. Also, Green Screener is an excellent app if the job requires green screen lighting. But one of the most useful to me is Cadrage, which is a viewfinder tool for location scouting.

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GoPro HERO8 Black, Mods and GoPro MAX Announced

 Action cams, Gear  Comments Off on GoPro HERO8 Black, Mods and GoPro MAX Announced
Oct 012019
 

One year after the release of the GoPro HERO7 Black and a couple of months after the launch of the DJI Osmo Action, GoPro is back with loads of new products: the GoPro HERO8 Black, a couple of modular accessories called Mods, and the GoPro MAX that replaces the GoPro Fusion. Let’s take a closer look at all these new products for action lovers!

GoPro HERO8 Black – If It Works, Don’t Fix It

The GoPro HERO8 Black replaces the previous HERO7 Black. Let’s start with the exterior design because there is not a massive difference between the two:

  • The HERO8 Black measures 66.3mm x 48.6mm x 28.4mm, whereas the HERO7 is 62.3mm x 44.9mm x 33mm.
  • The HERO8 Black weighs 126 grams, which is 10 grams heavier than the previous version.
  • You don’t need a frame to attach your HERO8 Black to all existing GoPro mounts. Instead, the two swapping mounts are now built-in at the bottom of the action camera. They are retractable, so you can fold them if you don’t need to attach your camera to an accessory.
  • The lens cover is slimmer and is equipped with Corning Gorilla Glass which, according to GoPro, is “two times more impact resistant than previous models.” Gorilla Glass is the same type of glass that is used on iPhones.
  • There is no HDMI port on the HERO8 Black.

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Canon Just Announced the EOS M200 and the Launch Video Is Fascinating

 Gear  Comments Off on Canon Just Announced the EOS M200 and the Launch Video Is Fascinating
Sep 272019
 

Canon has announced the launch of the EOS M200, a small camera featuring a 24-megapixel APS-C sensor, Dual Pixel autofocus and 4K video. Canon has also packed in a few features that make it more accessible to those without a deep knowledge of photography who are looking to produce and share content quickly on social media. What’s more interesting, however is the marketing video itself.

When watching the video above, a few things jumped off the screen at me.

Connected But Still App-alling?

Web-ready content is key in today’s media environment and Canon is keen to push the M200’s wireless and Bluetooth connectivity. However, users can but hope that Canon is also taking steps to improve its smartphone apps which don’t have a particularly good reputation. Given that the example in this video shows a camera with the nickname of “EOSM200_C64D7,” Canon might still have a long way to go when it comes to understanding how to make something user-friendly.

Canon EOS M200

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Cooke S7/i 16mm Full Frame Plus and Anamorphic/i 135mm FF+ Introduced

 Cinematography, Gear  Comments Off on Cooke S7/i 16mm Full Frame Plus and Anamorphic/i 135mm FF+ Introduced
Sep 272019
 

If you value endgame-performance and money is nothing to worry about, Cooke has everything you need when it comes to cine lenses. At this year’s IBC, the company had two new lenses on display: The Cooke S7/i 16mm T2.0 Full Frame Plus (spherical) prime and the Cooke Anamorphic/i 135mm T2.3 cine prime. High-end glass for the high-end cine market.

Cooke S7/i

The new Cooke S7/i 16mm T2.0 cine prime (spherical). Image Credit: cinema5D

Yeah, I know. I won’t spend a cool $25.000 on a single lens, either. But there is a high-end, money-no-object market in which you just want to get that perfect shot. Check out the shotoncooke.comwebsite for a brief overview of productions shot on Cooke glass. Do you want that Cooke-look? Well, you better get some Cooke glass, then! At this year’s IBC, Cooke introduces two new primes to their lineup.

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CINE-X BMPCC 4K and 6K Battery Grip First Look

 Cinematography, Gear  Comments Off on CINE-X BMPCC 4K and 6K Battery Grip First Look
Sep 272019
 

During IBC 2019, we met Dimitar from CINE-X to talk about their new battery grip solution for the BMPCC 4K and 6K cameras. This CINE-X battery grip can be an excellent alternative to the official Blackmagic Design Pocket Cinema Camera 4K Battery Grip that was announced a couple of months ago. Indeed, the CINE-X version features additional D-taps and USB ports. Let’s take a closer look at it!

CineX_04

The back of the CINE-X battery grip features two Sony NP-F slots. Image credit: cinema5D

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Canon Unveils Entry-Level EOS M200 with Eye Detection and 4K Video

 Cinematography, Gear  Comments Off on Canon Unveils Entry-Level EOS M200 with Eye Detection and 4K Video
Sep 252019
 

Canon has just revealed a new entry-level mirrorless APS-C camera. The Canon EOS M200 won’t blow anybody’s socks off, but it brings some useful upgrades to Canon’s popular entry-level mirrorless EOS M100, adding eye-detection autofocus, 4K video, and more.

The main upgrade between the two cameras is the Digic 8 processor, which allowed Canon to include Dual Pixel AF with Eye Detection on the EOS M200. Canon also added (cropped) 4K/24p video, 1080/60p, and automatic support for vertical video when you shoot in portrait orientation and export to an iOS or Android device.

Otherwise, the camera remains largely unchanged. You still get a 24MP APS-C CMOS image sensor, flip up LCD touchscreen for selfies, built-in WiFi and Bluetooth for wireless file transfer, and a compact, travel-friendly design.

Here’s a quick intro to the Canon EOS M200’s main features:

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Cartoni Maxima 5.0 and Master 25 Fluid Heads with 50kg and 30kg Payload

 Cinematography, Gear  Comments Off on Cartoni Maxima 5.0 and Master 25 Fluid Heads with 50kg and 30kg Payload
Sep 232019
 

Cartoni is introducing two new professional grade tripod fluid heads at IBC 2019, the Cartoni Maxima 5.0 and the Cartoni Master 25, aimed at the cinema and broadcast communities respectively.

The tripod heads shown here somewhat continue the theme of Cartoni competing with other manufacturers directly, by trying to out-innovate rather than out-spec them.

Maxima 5.0

Maxima 5.0 is the next step in the evolution of Cartoni’s Maxima series, following its predecessors the Maxima 40 (payload of ~ 40 kg) and 30 (~ 30 kg) and it’s improving on those quite a bit.
The Cartoni Maxima 5.0 can handle payloads of up to 50 kg (110.2 lbs), weighing in at only 13 kg (28.6 lbs) itself. It will handle that payload throughout its +90 and -90° tilt range. The Cartoni Maxima 5.0 has a Mitchell mount, but can be adapted to use a bowl head. The sliding plate is compatible with ARRI, Sony and O’Connor. The Cartoni Maxima 5.0 features Cartoni’s patented counterbalance, which can be dialed in precisely and repeatably with the display on the head’s operator side. Additionally, there is a locking mechanism, that will prevent the head from shifting with the flick of one lever only.
As Elisabetta Cartoni mentions in our interview, this new entry into the Maxima series is set to compete directly with the very popular O’Connor 2575 fluid head, which has become somewhat of a favorite among filmmakers using larger setups with long lenses. The Cartoni Maxima 5.0, however, is supposed to be even more precise and optimized for these use cases than the O’Connor head. We didn’t yet have the chance to compare the two, but we hope to do so at some point in the future.

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Z CAM E2 S6, F6, and F8 Cameras – Shipping Soon with Optional Electronic ND Filter

 Gear, Mirrorless  Comments Off on Z CAM E2 S6, F6, and F8 Cameras – Shipping Soon with Optional Electronic ND Filter
Sep 232019
 

Z CAM E2 flagship cameras will be shipping next month. The S6 (6K super 35), F6 (6K full frame), and F8 (8K full frame) will come in EF-mount and PL-mount versions (user interchangeable). All versions will support the optional electronic ND filter unit. Z CAM E2 S6 will additionally come in M4/3 mount version without the electronic ND filter support.

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