Arma Orbital Non-Rotating Front For Lomo And Hawk C-Series Anamorphics

 Cinematography, Gear  Comments Off on Arma Orbital Non-Rotating Front For Lomo And Hawk C-Series Anamorphics
Mar 112020
 

It’s fairly common for vintage lenses to have their quirks.

Aesthetic quirks are usually embraced, it’s often why a particular lens is a selection in the first place, but mechanical quirks can be a whole different beast.

Some older lens sets require little modification to get up to spec – conforming all front diameters to the same size for ease, or using a thicker focus gear because one of the lenses telescopes a little.

But there are some popular lenses out there that are particularly tricky. Take the Lomo Round Fronts, for example, they telescope (substantially) as you focus and the front of the lenses rotates.

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Z CAM Electronic ND Filter for Z CAM E2 S6, F6, and F8 Cameras Now Available

 Cinematography, Gear  Comments Off on Z CAM Electronic ND Filter for Z CAM E2 S6, F6, and F8 Cameras Now Available
Mar 042020
 

Z CAM eND (electronic ND) Filter is a new product compatible with Z CAM E2 S6, F6 and F8 cinema cameras (EF or PL Mount versions). First introduced during the IBC 2019, the eND filter offers ND range from 1.7 to 6.7 stops in 1/3 stop increments. It is now available for pre-order.

Z CAM eND Filter Unit. Source: Z CAM

Last year during the IBC Show in Amsterdam, we stopped by at the Z CAM booth to talk about their new flagship cameras and we were happy to see the planned optional Electronic ND Filter unit. Make sure to check the video and the article itself.

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Sony a7III vs Fuji X-T4 vs Nikon Z6: IBIS and Video Comparison

 Gear, Mirrorless  Comments Off on Sony a7III vs Fuji X-T4 vs Nikon Z6: IBIS and Video Comparison
Mar 042020
 

YouTuber Max Yuryev recently went out on the streets of New York with the Sony a7 IIINikon Z6, and the brand new Fuji X-T4 to compare the video quality and—of particular interest to stills shooters—the IBIS performance of all three cameras side-by-side.

It’s really worth watching the comparison in its entirety above, especially if you have a 4K display and can crank the video’s resolution for the video comparison, but even without that it’s immediately obvious that Fujifilm did a lot of things right with this new flagship.

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Would You Buy an Olympus O-MD E-M1 Mark III Instead of a Sony a7 III?

 Gear, Mirrorless  Comments Off on Would You Buy an Olympus O-MD E-M1 Mark III Instead of a Sony a7 III?
Mar 022020
 

The launch of the new Olympus O-MD E-M1 Mark III has reminded the world that micro four-thirds is not dead, and right now, it’s almost exactly the same price as the Sony a7 III. If you were in the market, which would you buy?

Over on B&H Photo right now, there’s a dollar difference in price between these two cameras, though if you opt for the Olympus, you are buying a camera with a much, much longer name. That said, in a world when full-frame offers so much, why would you ever want the smaller sensor? This entertaining video from Vistek makes a compelling case for the Olympus, and clearly it’s a tool that definitely fits well under certain circumstances.

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FUJIFILM X-T4 Hands-on Review – The Good Has Just Become Much Better

 Cinematography, Mirrorless  Comments Off on FUJIFILM X-T4 Hands-on Review – The Good Has Just Become Much Better
Feb 262020
 

The new FUJIFILM X-T4 has just been released, promising to be one of the more interesting cameras to be delivered during 2020. If you are like me, an owner of the FUJIFILM X-T3 who wished for a little extra, then the wait is over. Enhanced performance, combining the advantage of the now discontinued X-1H (stabilised sensor) and articulating LCD screen, can now be found within this newcomer camera. Prepared to be impressed by what seems to be the best all around small and lightweight APS-C sensor camera that can shoot video, currently in the market? 

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The Three Main Advantages of Sony Cameras Over Fujifilm

 Gear, Mirrorless  Comments Off on The Three Main Advantages of Sony Cameras Over Fujifilm
Feb 242020
 

Last year, Usman Dawood of Sonder Creative decided to switch systems from Sony to Fujifilm for both his stills and video work, but he didn’t end up doing it. In this video, he shares the three main reasons why the switch never happened—in other words: the three “major” advantages of Sony cameras over Fuji.

The point of this video, says Dawood, is not to trash on Fujifilm or turn people off from the system. His goal is to inspire change in a company he respects a great deal.

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Canon EOS Rebel T8i Announced – the Entry-Level DSLR Is Still Alive

 Gear  Comments Off on Canon EOS Rebel T8i Announced – the Entry-Level DSLR Is Still Alive
Feb 132020
 

Alongside the announcement of the impressive Canon EOS R5, Canon also introduced a new entry-level DSLR camera: the Canon EOS Rebel T8i, also known as EOS 850D for European shooters. This new DSLR camera features the same 24.1MP APS-C CMOS image sensor as its predecessor, the Rebel T7i, and is seen by many as Canon’s commitment to its line of DSLR cameras with EF-mounts. Let’s take a closer look at it!


Canon EOS Rebel T8i – a T7i Revamp?

The Canon EOS Rebel line of cameras originally came out in 2003 with the Digital Rebel/300D. But, some of you probably remember more of the Rebel T2i/550D that came out in 2010 (here’s my colleague Nino’s review of the T2i/550D from 2010). Indeed, the T2i featured the same image sensor as the EOS 7D. Also, it was one of the first affordable DSLR cameras capable of shooting 1080P videos. Fast-forward ten years ahead with the recent announcement of the Canon EOS Rebel T8i.

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FUJIFILM X-T4 Announced and FUJIFILM X100V Launched

 Gear, Mirrorless, News  Comments Off on FUJIFILM X-T4 Announced and FUJIFILM X100V Launched
Feb 052020
 

During the third X Summit in London, FUJIFILM announced the development of the FUJIFILM X-T4. Otherwise, there is currently no information at all about this new camera. Also, the new FUJIFILM X100V, a camera designed mainly for photographers, was launched. Finally, for filmmakers, three new lenses for GFX and X-Mount cameras were announced. Let’s take a closer look at it! 


FUJIFILM X Summit 2020

FUJIFILM is one of those Japanese camera manufacturers who takes the video capabilities of their mirrorless camera seriously. As such, we have decided to share with the community their X Summit meeting happening in London, live.

A year ago, almost to the date, the 1st. X Summit was held in Dubai, and that is where past GFX medium format camera concept ideas, along with a working prototype of their GFX 100 were shown. Since then, lots of water has flown in the Thames river. The successful GFX 100 is already shipping (watch our two parts documentary on how this camera is being made by clicking here and here). Additionally, as promised during this X summit, the FUJIFILM X-T3 is continuously being updated with new firmware, adding features and improvements to our camera of the year 2019.

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Canon EOS-1D X Mark III – First Look

 Gear  Comments Off on Canon EOS-1D X Mark III – First Look
Feb 032020
 

BSC Expo 2020 in London, and our team had a chance to catch up with Barry from Canon to talk about the brand’s newest flagship camera: the Canon EOS-1D X Mark III. Let’s take a closer look at it!

The newly announced Canon 1D X III. Photo credit: cinema5D

Canon EOS-1D X Mark III – Features

The Canon EOS-1D X Mark III was announced at the beginning of January 2020 during CES 2020. If you’re new to Canon’s latest flagship DSLR camera, here is a quick sum-up of all its features:

  • The magnesium alloy body houses a Full-Frame 20.1MP CMOS sensor.
  • With the new DIGIX X processor, the camera is capable of capturing photos at 16 frames per second and 20 frames per second in LiveView mode.
  • You can shoot videos in 5.5K (5,472 x 2,286) up to 60fps in RAW 12-bit with no crop.
  • 4K DCI up to 60fps in 4:2:2 10-bit in Canon Log using an H.265 / HEVC codec. There is a slight crop in 4K DCI mode, around 256 pixels on each side.
  • For slow-motion and B-roll lovers, you can record at up to 120 frames per second in FullHD 1080P.
  • The 1D X Mark III uses CFExpress cards to store your media, and they are two slots for redundancy purposes. Also, you can set the camera to use the first memory slot to record your RAW footage and the second memory slot to store Proxy media.
  • The Canon EOS-1D X Mark III’s sensor is not stabilized. There is a Movie Digital IS to compensate a bit by cropping in the image.
  • New AF sensor that covers 90% of the image sensor. Dual Pixel CMOS AF technology is still there, but it doesn’t work in 4K 50P/60P uncropped modes and 5.5K RAW 60P video shooting modes.
  • Peaking and focus guides are available in video modes.
  • There is a headphone jack, 3.5mm mini-jack input, and micro HDMI port. You can record externally through the micro HDMI port of the camera in 4K 4:2:2 10bit but you can’t record RAW externally.

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Zero Zero Robotics V-Coptr Falcon – World’s First V-Shaped Bi-Copter

 Cinematography, Gear  Comments Off on Zero Zero Robotics V-Coptr Falcon – World’s First V-Shaped Bi-Copter
Jan 222020
 

Zero Zero Robotics rencently announced their new unique-looking drone: the V-Coptr Falcon. Indeed, this v-shaped bi-copter doesn’t look like your traditional quad-copter drone, because it only features two motors and two propellers. The V-Coptr Falcon can fly for up to 50 minutes with a transmission distance of 7km, it can avoid obstacles, and it features a 4K 3-axis stabilized camera. Let’s take a closer look at it!

Zero Zero Robotics

Zero Zero Robotics is a Chinese company that launched its first product – the Hover 2 – via Kickstarter about a year ago. The campaign for this autonomous drone was a huge success, and they raised over $1M quickly. However, to this day, all backers didn’t receive their pledge yet.

In a surprising move, the team at Zero Zero Robotics announced the launch of a new drone, the V-Coptr Falcon.

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A Review of the Sony FE 200-600mm f/5.6-6.3 G OSS Lens

 Gear  Comments Off on A Review of the Sony FE 200-600mm f/5.6-6.3 G OSS Lens
Jan 222020
 

We would all love to have the absolutely astounding supertelephoto primes that the pros use, but with prices well into five figures, they are simply not in the cards for most of us. Luckily, in the last few years, companies have been releasing better and better long zooms at more affordable prices. This great review takes a look at the Sony FE 200-600mm f/5.6-6.3 G OSS lens.

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A Review of the Panasonic S1’s After 10 Months

 Gear  Comments Off on A Review of the Panasonic S1’s After 10 Months
Jan 092020
 

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. 

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Insta360 Unveils the One R Modular Action Cam ‘Co-Engineered’ with Leica

 Action cams, Gear  Comments Off on Insta360 Unveils the One R Modular Action Cam ‘Co-Engineered’ with Leica
Jan 082020
 

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: 

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Nikon Z 6 and Atomos Ninja V ProRes RAW Recording Option – First Look

 Cinematography, Gear  Comments Off on Nikon Z 6 and Atomos Ninja V ProRes RAW Recording Option – First Look
Jan 062020
 

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.

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SIRUI 50mm Anamorphic Lens Review and Sample Footage

 Gear  Comments Off on SIRUI 50mm Anamorphic Lens Review and Sample Footage
Dec 202019
 

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.

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The Most Unfair Camera Comparison Ever: iPhone vs $250K TV Camera

 Apple, Cinematography  Comments Off on The Most Unfair Camera Comparison Ever: iPhone vs $250K TV Camera
Dec 182019
 

You’d have to look long and hard to find a more absurd camera comparison than this. After putting together a very useful video that explains why broadcast TV cameras are so huge and expensive, YouTuber Zebra Zone pit this $250,000 setup against its most obvious rival… the iPhone 11 Pro.

As a quick refresher, the broadcast “camera” that is being used is a combination of several very expensive elements:

  • BlackMagic Ursa Broadcast Camera – $3,000
  • Fujinon UA107 Box Lens – $212,000
  • Tripod and Fluid Head – $20,000
  • Remote Control Handles – $9,000
  • Camera-to-Lens Adapter – $7,000
  • Monitor – $1,800
  • Fiber Optic Transmission Module – $3,000

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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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