Matthews Grip Goes Mobile – MSE Rover Smartphone Cage

 Gear  Comments Off on Matthews Grip Goes Mobile – MSE Rover Smartphone Cage
Aug 232017
 

With the Rover smartphone cage system, grip manufacturer Matthews Studio Equipment enters the world of smartphone filmmaking.

 

With its 50 years of experience in the manufacture of grip equipment, Matthews Studio Equipment has become synonymous with industry-standard, quality products. Matthews’ new Rover smartphone cage system first made an appearance back in February for an unsuccessful Kickstarter campaign. Despite this brief setback, MSE went ahead with product development, bringing their pedigree in the industry into the new era of smartphone filmmaking.

The core of the Rover system are the two aluminium brackets that hold your phone in place. The system has been designed to work with most popular smartphones models and 3rd-party lens systems.

The cage itself is attached to a frame made of rods, which makes it possible to customise the placement of various accessories. In addition to a repositionable cold-shoe mount and fourteen 1/4”-20 mounting points (which Matthews calls Points of Freedom), the system also includes a tripod mount so you can attach a plate and go from sticks to handheld in no time.

Read More:

cinema5D

~

DJI Spark Review – Is it Really Suitable For Professionals?

 Gear  Comments Off on DJI Spark Review – Is it Really Suitable For Professionals?
Aug 012017
 

As a professional filmmaker and DJI Mavic shooter, Tamás Kiss wanted to test the capabilities of the tiny new DJI Spark drone, so he took it to the challenging Icelandic climate to put it through its paces. Here’s his DJI Spark Review, that confirms a lot of the observations I made during my hands-on session with the tiny new drone. – Introduction by Sebastian Wöber.

Read More:

cinema5D

~

Apertus AXIOM Beta – Your Open Source Camera. An Update and Recent Footage, by Johnnie Behiri

 Cinematography, Gear  Comments Off on Apertus AXIOM Beta – Your Open Source Camera. An Update and Recent Footage, by Johnnie Behiri
Jun 142017
 

It has been a while since we last reported about the status of the apertus AXIOM beta camera, so last week I took the opportunity to meet and talk to Sebastian Pichelhofer who is acting as AXIOM’s project leader, association chairman and one of the software developers, in order to find out what is new and in what shape and status the project currently is.  

AXIOM Beta Developers kit

It was nice to hear and see that this unique open source/open hardware motion picture camera system venture is really moving forward to the point where developers and early adopters alike can now already get their kit. Mind you, if you are an “end user” like me, then the camera is NOT YET ready for us as the enclosure and actual  operating system of the camera are still under development. Without those, operating the camera can be a tedious work.

 

Read More:

cinema5d

~

Sony 18-110mm Review – One-Of-A-Kind Versatile Video & Cine Zoom, by Sebastian Wober

 Cinematography, Gear  Comments Off on Sony 18-110mm Review – One-Of-A-Kind Versatile Video & Cine Zoom, by Sebastian Wober
May 192017
 

The conveniently-named Sony E PZ 18-110mm F/4 G OSS lens has been on our radar ever since it was announced in September, as it is one of the only lenses of its kind made for large sensor video cameras. In my Sony 18-110mm review, I will be looking at all the benefits and limitations of this lens. See the video review summary above, or read on for the details.

Sony 18-110mm Review

When looking at the new Sony E PZ 18-110mm F/4 G OSS, it makes sense to first look at its predecessor, the FE PZ 28-135mm F/4 G OSS (Review HERE). Back when Sony introduced their first lens in this series, it was the only “affordable” video lens made for large-sensor cameras with video functionality. Unfortunately, some aspects about it were not ideal: while it gave us a great focal range on full-frame cameras like the Sony a7S and Sony a7S II, the field of view was too narrow on crop sensor cameras (super35) like the Sony FS7, which it actually shipped with as a combo package. Also, the electronic zoom functionality was a big downside for many.

Fast forward to 2016 when Sony introduced the E PZ 18-110 F/4 G OSS, the subject of this 18-110mm review. Tailored to super35, it introduced a manual zoom functionality alongside several other improvements. Now this lens is finally on my desk and, even though the Sony FS7 is out for a shoot, I have no reservations to slap it onto our Sony a6500 to take it for a spin.

Read More:

cinema5D

~

Freefly MōVI Carbon and Pilot, by Rin Ehlers Sheldon

 Gear  Comments Off on Freefly MōVI Carbon and Pilot, by Rin Ehlers Sheldon
May 132017
 

NAB 2017 was abuzz with the sound of Freefly: adding to their big MōVI XL release, they have also announced the MōVI Carbon gimbal and Pilot controller.

Freefly MōVI Pilot

If you’re a fan of the MIMIC, you should be pretty jazzed about the MōVI Pilot. With remote control over the 3 axes of focus, iris, and zoom, the Pilot gives an AC or an operator a pumped follow focus that fully integrates with MōVI Pro. The Pilot features adjustable focus knob damping and a 2-axis joystick that can be set to control focal length, gimbal, pointing, or just about anything you want at the tip of your thumb.

Freefly promises a price point under $5,000, and if you want, you can reserve one before you even know what you’re spending. If you’re a part of a team that leans on a MōVI gimbal, this seems like a smart purchase to fully take advantage of what your rig can do.

Read More:

cinema5D

~

Sony Introduces the S3CA – A Sony a7S II Without Recording Limit by; Sebastian Wober

 Cinematography  Comments Off on Sony Introduces the S3CA – A Sony a7S II Without Recording Limit by; Sebastian Wober
May 022017
 

Many were hoping to see an announcement of something like a “Sony a7S 3” camera at this year’s NAB. Instead, we saw a new version of the Sony a7S II called S3CA. While there is indeed an “S3” in its product name, this is rather a “special version” of the a7S II for certain applications. Here’s all about the new Sony S3CA.

Sony S3CA

The S3CA is an interesting camera – it features the same sensor and processing as the popular Sony a7S II, but doesn’t limit your recording to 30 minutes, meaning your card size is really the deciding factor on how long you can record for.

The Sony a7S II was introduced in 2015 and has made headlines as being one of the best cinema cameras on the market, especially because of its impressive lowlight capabilities (see my lowlight review here).

On top of its a7S II heritage, the S3CA has a slightly smaller, box-shaped and more durable body and it has no screen or buttons – it requires a USB connection with a PC or Mac as a control interface. For some applications this could be a very interesting solution. The S3CA could for example be used during a live production and be controlled from the mixer instead of a camera operator.

The camera on display was hooked up to a computer app, in which I noticed that the image lagged and stuttered. The app, however, is not intended for monitoring. Instead, the camera features an HDMI output up to 4K for monitoring and external recording.

Read More:

cinema5D

~

Hasselblad H6D-100c Review – Shooting Medium-Format Video by; Christoph Tilley

 Cinematography, Gear  Comments Off on Hasselblad H6D-100c Review – Shooting Medium-Format Video by; Christoph Tilley
Apr 242017
 

In this guest review, Vienna-based filmmaker Christoph Tilley takes a close look at the Hasselblad H6D-100c – a 100MP, 4K Raw-capable medium format camera. Intrigued? Read on for his hands-on impressions.

Christoph Tilley reviews the Hasselblad H6D-100c

Shooting Medium-Format Video

Not too long ago DSLRs revolutionized the way we make films. These days, we are seeing the emergence of the first medium-format stills cameras capable of shooting video. What would it be like to shoot video on an such an extremely large sensor? 

Enter the Hasselblad H6D-100c, a 100 Megapixel Full-Frame Medium-Format Stills Camera. The resolution is absolutely incredible on this thing – each Raw image has a file size of 216,3 Megabytes. But why in particular is this interesting for us filmmakers? Well, this thing can also shoot 4K Raw video.

But what kind of results will you get when shooting video? And how does this large sensor compare to Super35 in the real world? To find out, we shot a typical interview scene on the RED Dragon with a 50mm lens wide open at f/1.4. Right alongside we had the Hasselblad H6D-100c with a 100mm lens at an f-stop of f/4.

Read More:

cinema5D

~

With the Panasonic GH5 Imminent, Atomos Announce the Ninja Inferno as the Ultimate Companion by; Mike Briggs

 Technique  Comments Off on With the Panasonic GH5 Imminent, Atomos Announce the Ninja Inferno as the Ultimate Companion by; Mike Briggs
Mar 262017
 

With reports that Panasonic have already begun to ship the hotly anticipated GH5, it seems Atomos have perfectly timed the announcement of their latest external monitor-recorder, the Ninja Inferno, due to ship March 31st. With 4:2:2 10-bit recording in 4k 60p and HD 120p, is this the ultimate companion for videographers awaiting their GH5 pre-order to arrive?

The Ninja Inferno will become the world’s first external monitor-recorder to accept 4k DCI signals from cameras like the GH5, recorded in ProRes or DNxHR and displayed on a 7″ 10-bit HDR touch screen LCD with 1500nits of brightness. You’ll get the typical rugged, high quality build you’d expect from an Atomos monitor-recorder made from ABS Polycarbonate. Also expect to see the usual features you’d expect in a premium external monitor-recorder such as focus peaking, zebra patterns, vectorscopes, false color and anamorphic desqueeze.

Read More:

fstoppers

~

Cinematic Motion with GoPro ND Filters – PolarPro Cinema Series Filter Review

 Action cams  Comments Off on Cinematic Motion with GoPro ND Filters – PolarPro Cinema Series Filter Review
Mar 062017
 

A little edit of my recent skiiing holidays in Flachau, Austria. I used the GoPro Hero 5 black with the Karma Grip Gimbal and PolarPro ND filters – combo that works very well! Music is “High Speed Chase” by Terry Devine-King, licenced from audionetwork.com

Let me know how you like it and feel free to share it!

Follow me on twitter: twitter.com/gunmac

The timelapse sequences were shot on my Sony A7s II

 

Read More:

cinema5d

~

The Medium Format Fujifilm GFX 50S Camera is Finally Here and Shoots Video, by Sebastian Woberr

 Gear  Comments Off on The Medium Format Fujifilm GFX 50S Camera is Finally Here and Shoots Video, by Sebastian Woberr
Jan 212017
 

A few months ago Fujifilm unveiled its new mirrorless medium format camera that also shoots video, the Fujifilm GFX 50S. Today they’ve finally released all the details, including the GFX 50S video capabilities, pricing and availability.

The Fujifilm GFX 50S is a Big Thing for Photographers

We’re all about video functionality here at cinema5D, but first and foremost, the Fujifilm GFX 50S is significant news for photographers as it introduces a much more affordable medium format system, including lenses and accessories, in comparison to other systems in this field. Now it’s official, that the new GFX 50S goes for $6,499.

Other benefits of the Fujifilm GFX 50S is its compact size, the removable OLED viewfinder with close to Full HD resolution and of course the high sensor resolution of 51.4-megapixels (8256 x 6192). Fujifilm is also releasing three lenses as part of the new GF series, which cover a variety of focal lengths and promises more lens releases throughout 2017.

 

Read More:

cinema5d

~

The Hardware of the Panasonic GH5 – An Interview with Panasonic’s M. Uematsu by: Fabian Chaundy

 Gear, News  Comments Off on The Hardware of the Panasonic GH5 – An Interview with Panasonic’s M. Uematsu by: Fabian Chaundy
Jan 082017
 

With the expected shipping date for the Panasonic GH5 just over the horizon (here’s our detailed feature GH5 hands-on post from earlier today), we thought it would be a good time to catch up with Panasonic’s M. Uematsu to chat about some of the more technical aspects of the next member of the popular GH line of mirrorless cameras. Check out our interview at cinema5D HQ… shot, of course, on the Panasonic GH5.

We all know how much of a cut-throat business the camera world is, with manufacturers constantly trying to one-up one another in a constant and quick succession of new camera releases. As the first big camera release of 2017, the Panasonic GH5 aims to come out swinging, promising to bring a host of truly nice features for indie filmmakers. And about time, too, as after almost 3 years, the popular GH4 was slowly starting to lag behind next to the competition.

But before diving into the great features that the GH5 will bring in a couple of months, we first wanted to know why Panasonic didn’t decide to go all out with some much-requested bells and whistles, especially given its popularity among filmmakers both amateur and professional. So, Panasonic, why didn’t you include internal ND filters and RAW recording?

Read More:

cinema5D

~

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.

Read More:

cinema5d

~

Sony RX100V & Sony A6500 Hands-On Video – Rolling Shutter & Overheating Solved?

 Gear  Comments Off on Sony RX100V & Sony A6500 Hands-On Video – Rolling Shutter & Overheating Solved?
Oct 182016
 

Yesterday’s press event at Sony’s European headquarters was very informative. We were given the possibility to record with the new RX100V but not with the a6500 as this camera was not yet ready for primetime, although we did get a A6500 Hands-On too.

Here are, in short, the new features that these cameras have to offer:

On both cameras: 

  • The Sony RX100V and Sony a6500 both share the same BIONZ X image processor and front-end LSI chip as the new Sony a99II, which allows for high volumes of data to be processed.
  • The buffer has been increased, which allows for capture of more photos per second and longer slow-motion videos.

Sony RX100V – Better rolling shutter effect control

Sony RX100V: 

  • Video image quality has been slightly improved.
  • Rolling shutter effect has been greatly improved because of better processing.
  • Autofocus is now faster and more accurate than before.
  • Photo mode allows up to six seconds of 24fps in RAW, theoretically allowing to create short 5.5K video clips.
  • New underwater housing (Marine pack MPK-URX100A, up to 40m/130ft).

Read More:

cinema5d

~

Laowa 15mm f/2 E-Mount and 7.5mm f/2 MFT Mount Lenses Announced

 Cinematography, Gear  Comments Off on Laowa 15mm f/2 E-Mount and 7.5mm f/2 MFT Mount Lenses Announced
Oct 062016
 

At Photokina, Chinese lens manufacturer Venus Optics, who sell lenses by the name Laowa and specialise in niche glass for various cameras, announced two new fast wide angle lenses:

After their 12mm f/2.8 E-Mount which we reported about in August, they now also offer a new 15mm f/2 for E-Mount, which is very fast for such a wide angle lens. It covers the full frame 35mm sensor of Sony A7 series E-Mount cameras and is fully manual with hard stops and manual aperture. It features a filter thread which isn’t a given on all wide angle lenses at 15mm. No info on pricing yet.

Their other new lens is a fully manual 7.5mm f/2 prime for Micro Four Thirds cameras. It will feature a comparable wide angle field-of-view given the 2x crop factor of MFT sensors compared to 35mm full frame cameras. What’s particularly noteworthy about this lens is its tiny size and weight which, when combined with the wide angle field-of-view and the staggering f/2 maximum aperture, make it an ideal choice for drone operators flying a GH4 (or GH5 in the future) on their multicopter. There is no word on pricing on this lens either, but they promise to be “competitive”, which has usually been the case with their lenses so far indeed.

Read More:

cinema5d

~

Cinevate Duzi 4 Slider Gets Compact Flywheel

 Cinematography, Gear  Comments Off on Cinevate Duzi 4 Slider Gets Compact Flywheel
Oct 042016
 

The Cinevate Duzi 4 slider arrives with a clever integrated carriage and flywheel for smoother shots without weight compromise, and is a re-vamped design to Cinevate’s popular portable slider system.

I’ve been using Cinevate sliders for years, including all versions of the Duzi since its original release. Having tried out most popular brands of sliders, the Duzi has always impressed me the most in relation to weight, operation, longevity and cost.

Only my Cinevate Hedron has ever given me smoother results, and this comes down to one single feature – the flywheel.

As the flywheel gains momentum, it irons out any knocks and fidgety motion resulting from user operation. But it comes at a cost: the Hedron is a far heavier system than the Duzi, and with the flywheel bolted on it’s much longer as well.

Read More:

cinema5d

~

An Introduction to the Canon EOS C700 Cinema Camera

 Cinematography, Gear  Comments Off on An Introduction to the Canon EOS C700 Cinema Camera
Sep 282016
 

The Canon EOS C700 was announced last month and raised a lot of interest, but also criticism among our readers. The new flagship model for Canon’s Cinema line was on display at IBC 2016 and we took the chance to take a closer look at the new camera.

A Closer Look at the Canon C700

With the C700, Canon moved on to a different form factor for the first time in quite a while. The Canon EOS C700 is reminiscent of competitor cameras such as the Panasonic Varicam, Arri Amira or the Sony F55/F5, and its features and pricing clearly target it at the higher end of filmmaking.

Read More:

cinema5d

~

 

Manfrotto Befree Live – Ultra Compact Video Tripod

 Gear  Comments Off on Manfrotto Befree Live – Ultra Compact Video Tripod
Sep 282016
 

Looking for an ultra compact video tripod solution? The Manfrotto Befree Live might be the setup for you.

The Befree Live is the most portable tripod in the range, with legs that fold around the centre column and lock in place. Instead of carrying a tripod over your shoulder, this now fits in your bag.

Designed for travel, vlogging and journalism, the Manfrotto Befree Live is orientated around video and filming, with a new fluid head for smooth panning and tilting. This uses the standard Manfrotto tripod plate, so you don’t need to switch between a QR plate and standard plate.

An advancement on this compact video tripod is the leveling system in the centre column. The ball leveling system is adjusted close to the video head, rather than at the bottom of the column, for quick adjustment. The tripod feet are also wider for more grip and stability.

Although you can’t adjust the amount of friction, there is a locking brake you can use to adjust the level of friction before the panning is locked. The load of the fluid head is up to 4kg, enough for a mirrorless or DSLR camera and lens for on the go shooting.

Read More:

cinema5d

~

Why the Olympus E-M1 MK II Might Just Be Your Next 4K Video Camera

 Gear  Comments Off on Why the Olympus E-M1 MK II Might Just Be Your Next 4K Video Camera
Sep 242016
 

Just a few days ago, Olympus unveiled their new MFT camera, the Olympus E-M1 MK II. It is not only the Japanese company’s first foray into 4K video, it is also a technology milestone in terms of image stabilization and pro video features.

The Olympus OM-D E-M1 MK II

Please make sure to read Graham’s article for a good overview of this new camera. As a reminder, here are the specifications:

  • New 20 Megapixel Live MOS Sensor
  • 4K UHD Video up to 30fps (3840×2160) and Cinema 4K up to 24fps (4096×2160)
  • 3.0 Articulating Touch Monitor
  • 121 Point Dual Auto Focus
  • Pre-Record Feature
  • 5-Axis Image Stabilization
  • Dual SD Card Slot (UHS II Compatible)
  • Weatherproofing: dust, splash and freeze-proof
  • Weight: 1.3 pounds.

One of the real achievements of this newly developed camera is the implemented image stabilization. As Janne Amunet puts it:

It really gives new possibilities in terms of moving the camera without having a huge production budget.

And that’s really it! The quality of stabilization that the Olympus E-M1 Mark II can achieve seems to be quite impressive, and can be even further improved when used alongside an Olympus lens with image stabilization. In a scenario like this, the result of both camera and lens add up to almost gimbal-like performance.

The other buzzword surrounding this camera is, of course, 4K. It’s a first for Olympus, but it’s good to see other manufacturers adopting more and more camera systems to choose from. The Olympus E-M1 MK II caters the micro four thirds system, just like the Panasonic GH4.

Read More:

cinema5d

~

Xeen 16mm T2.6 – Samyang Further Expands Cine Lens Lineup

 Gear  Comments Off on Xeen 16mm T2.6 – Samyang Further Expands Cine Lens Lineup
Sep 212016
 

Samyang has been quite busy lately. Among other mostly photo-related lens announcements, they have just unveiled the newest addition to their cinema lens line-up: the Xeen 16mm T2.6.

The Xeen 16mm T2.6 Cine Lens

Samyang keeps adding lenses to their current Xeen cinema lens line-up, with their newest addition just unveiled at this year’s Photokina. Sitting in between the 14mm T3.1 and the 24mm T1.5, the new Xeen 16mm T2.6 could become your new favourite wide angle lens. Due to its faster aperture, it might also prove to be much more versatile than the 14mm T3.1 option.

Samyang’s Jeon Min, Shin claims that the decision behind introducing a model with these specs is that the former wide angle option, the Xeen 14mm T3.1, may be just a little bit too wide (and more importantly, too slow) for most cinematographic needs.

This newest addition brings the whole Xeen range of lenses up to a grand total of 7 primes to choose from:

  • 14mm T3.1
  • 16mm T2.6
  • 24mm T1.5
  • 35mm T1.5
  • 50mm T1.5
  • 85mm T1.5
  • 135mm T2.2.

Maybe we’ll even see some more focal lengths to choose from in the future? At this rate of development, this might just be the case.

Read More:

cinema5d

~

Indiecam nakedEYE is First Compact VR RAW Camera – 12bit 4k 60p

 Gear, Uncategorized, virtual reality  Comments Off on Indiecam nakedEYE is First Compact VR RAW Camera – 12bit 4k 60p
Sep 152016
 

At IBC 2016, Indiecam presented their version of a VR camera. True to their roots, the nakedEYE is a small, lightweight and all-manual VR RAW camera. 

Austria-based Indiecam develops and manufactures high-quality miniature action cameras for filmmakers. Their RAW action cameras have been used on dozens of famous productions, like Ron Howard’s Rush or Into the Heart of the Sea.

The Indiecam nakedEYE is the logical next step when it comes to miniature RAW cameras. But according to managing director Raphael Barth this VR RAW Camera is just the first step in their move towards Virtual Reality Acquisition.

While a resolution of 4K is rather limiting when it comes to a full 360° VR image, the intriguing attributes about the Indiecam nakedEYE VR RAW Camera are:

  • Full Manual Controls
  • Global Shutter
  • High Dynamic Range and good low-light performance
  • 12-bit CinemaDNG RAW
  • 2 lens construction for an easy workflow
  • 2x 2K square sensors (4K 60p)

To me this looks like a very important step in professional VR production. While this seems to be the “Digital Bolex of VR cameras”, it surely is heading in the right direction for larger formats to come.

Read More:

cinema5d

~