Cartoni MASTER CINE 30


During dailies of The Immortal Story, Orson Welles turned to his cinematographer Willy Kurant, ASC, AIC, and said, “A film is never really good unless the camera is an eye in the head of a poet.” This was Welles’ first color film and last completed feature. It’s now on DVD from Criterion, described as a “jewel-like film, dreamily shot by Willy Kurant and suffused with the music of Erik Satie, a brooding, evocative distillation of Welles’s artistic interests—a story about the nature of storytelling and the fine line between illusion and reality.” Thinking of poets, cameras and heads, Welles and Kurant might have relished a camera perched upon the new Cartoni Master Cine 30 Head. read more…

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RED 8K HELIUM Super35mm Cameras


RED Digital Cinema starts shipping two new Super35 8K HELIUM Sensor Cameras today. RED WEAPON 8K S35 is the top-of-the line model featuring the new HELIUM sensor. The body is carbon fiber, in a shade close to dark end of a Technicolor gray scale. It shoots 8K (8192×4320) up to 60 fps, with data rates to 300 MB/s and 5:1 REDCODE RAW at full 8K 24 fps. This model offers a sensor upgrade path to RED DRAGON 8K VV sensor when available. RED EPIC-W 8K S35 comes in a black magnesium and aluminum alloy body. It has the same HELIUM sensor as the WEAPON 8K S35, shoots 8K (8192×4320) up to 30 fps, with data rates to 275 MB/s and 6:1 REDCODE RAW at full 8K 24 fps. Both models let you grab 35.4 megapixel stills from the 8K video. read more…

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ARRI Alexa SXT Updates


ARRI has been upgrading Alexa XT cameras to Alexa SXT since IBC (early September 2016). There are two different upgrade paths for those who have received XT cameras in 2015 or 2016 (Keep & Buy and SXT Upgrade 15/16) and one upgrade for XT cameras shipped in 2013 or 2014 (SXT Upgrade 13/14). Existing XT owners should check with ARRI. The big deal is that all upgrades will be SXT. There will not be an SXR upgrade (which was mainly a new Capture Drive module). Here’s a detailed look at ARRI’s Alexa SXT announcement as of September 2016. Alexa SXT cameras replace Alexa XT. There will be 3 models: Alexa SXT EV (Entry Version-EVF), SXT Plus (wireless control- EVF) and SXT Studio (wireless control-optical finder). Alexa SXT cameras benefit from electronics and image processing from the Alexa 65, color management and noise reduction from the Amira, more recording and monitoring options,… read more…

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DMG Lumière LED Lights


From Lyon, land of the Lumière brothers, come another band of brothers: Nils, Mathieu and Jean de Montgrand. Along with gaffer Nicolas Goerg, their company is DMG Lumière and they make extremely light, incredibly thin and innovative LED lighting fixtures. read more…

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Teradek Bolt 1000 & 3000 Wireless Video

Bolt 3000 RX

Here is an example of using a Teradek Bolt Wireless Video Transmitter and Receiver pair. You’re shooting handheld with a gimbal. Attach the lightweight Bolt TX (transmitter) to the camera. Connect a cable from the camera’s accessory DC output to the Bolt’s 2-pin Lemo power connector. Each transmitter works with up to four Bolt Receivers (RX). The receivers attach easily to monitors for the camera assistant, director, DP, and script supervisor. As Teradek’s slogan says, it’s a wireless set. The new Teradek Bolt 1000 and 3000 systems are 20% smaller and lighter and work over longer distances. The 1000 transmits video up to 1,000 feet, line of sight. The 3000 goes up to 3,000 feet. The video is visually lossless and there’s essentially no delay (less than 1 ms). So, pulling focus by watching a monitor will not be late.     Teradek Bolt 1000 transmitters use 11 channels in the… read more…

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New 85mm f/2.4 ZEISS Loxia

The ZEISS Loxia lens family

The ZEISS Loxia 2.4/85 is the latest lens in the ZEISS family for mirrorless Sony full-frame E-mount cameras (a7 series). The ZEISS Loxia 2.4/85 joins the Loxia 2.8/21, Loxia 2/35 and Loxia 2/50. The new Loxia 2.4/85 is based on an optimized ZEISS Sonnar design, with seven lens elements in seven groups. Minimum object distance is 0.80 meters. The manual focus ring has a rotation angle of 220 degrees.The electronic interface transfers both lens data (EXIF) and activates the magnification function of the camera if desired. The ever-popular De-Click function of the ZEISS Loxia lenses is aimed at cinematographers. The De-Click function lets you mechanically deactivate the click stops on the aperture ring  for silent and smooth operation. So, the ZEISS Loxia 2.4/85 is also an attractive lens for video cameras that have an E-mount, such as the Sony PXW-FS7 and FS5. Delivery of the ZEISS Loxia 2.4/85 will begin mid December 2016. The lens shade is included. The recommended retail… read more…

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Panasonic Firmware Update for VariCam LT


Panasonic has a new firmware update for the VariCam LT that adds RAW output via two 3G-SDI terminals to an external RAW recorder at 4K or UHD 60p. RAW recording will be compatible with Convergent Design’s Odyssey 7Q and 7Q+ and the Atomos Shogun Inferno monitor/recorder. The RAW CinemaDNG file is compatible with DaVinci Resolve 12.5.1, Drastic Media Reactor 5.04 and upcoming versions of major NLEs and grading systems. The new firmware upgrade Ver. 4.0 is immediately available for downloading here.

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Leica Noctilux 50mm F/0.95 M 0.8


Leica M 0.8 Leica Format (Full Frame 24x36mm) 50mm Noctilux pre-production model shown at Cinec. Iris scale is now nicely beveled.


OppCam Universal Monitor Mount System


  OppCam Universal Monitor Mount System (UMMS) is not a yoke, nor is it a typical VESA Mount. It is a new, secure way to mount a monitor onto a stand. Nearly all HD monitors today support VESA mounting. The full mouthful of the name is VESA FDMI—Video Electronics Standards Association Flat Display Mounting Interface. It’s a consumer electronics standard consisting of four tapped holes on the back of the monitor and a bracket. That’s how the TV is usually attached, rather inelegantly, to the wall in many hotel rooms. VESA mounts have typically been used to mount production monitors on set and on location. However, with previous systems, the monitor was rarely balanced in line with the stand. It was usually hanging out off-center. One wrong move, one kick of a leg, and the entire rig could topple over. Goodbye expensive monitor. Enter the OppCam UMMS. Monitors in the… read more…

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Canon C700 Possible to Expand to Full Frame, 18×24, S35 and other Formats

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Update. It seems that the new Canon Cinema EOS C700 camera has been designed from the outset with additional sensors in mind. This may include Full Height S35 18×24 mm, Full Frame 24×36, VistaVision, and possibly other formats. It will most likely depend on feedback from users, rental houses, cinematographers and camera crews. This is not an official announcement from Canon. But I don’t think I misunderstood when the concept was explained in meetings at IBC. Future upgrades to larger sensors may require different circuit boards, but this has been factored into the camera design as well. The idea is to have one camera body that can be updated and expanded–without having to scrap the housing, chassis and major assemblies.      

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Sony SEL PZ 18-110mm F4 G OSS


Sony’s newest E-Mount lens is a Super 35mm lens with power servo-zoom capability specifically designed for motion picture taking. The new lens, the E PZ 18-110mm F4 G OSS, covers both Super 35mm & APSC sensors. For a 6x zoom lens (18 to 110 focal range) it is surprisingly compact and lightweight coming in at only 2.4 lb (1.1 kg) –with a tough magnesium-alloy metal body. This lens would be excellent for Cinéma Vérité, documentary style cinematography.  It is similar in appearance to its predecessor, FE PZ28135G (28-135). This new lens incorporates significant improvements for motion picture production. Snap zooms are possible thanks to a fully mechanical zoom system.   The 18-110mm F4 G OSS zoom is compatible with both Sony α Mount System cameras (a7 series) and Super 35mm 4K camcorders. It will be a good match for Sony’s FS7 or FS5. It can be used  for taking still images while also offering the features desired… read more…

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Leica M 0.8 Full Frame Lenses


From Leica: another decisive moment. Leica Summilux-C and Summicron-C lenses were the result of repeated requests from cinematographers for legendary Leica optics in dedicated Super35 format cine lenses. Now CW Sonderoptic, sister company to Leica Camera, is bringing the iconic characteristics of Leica M Full Frame lenses back to the cinema world with new Leica M 0.8 lenses. read more…

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Canon Professional HDR 4K/UHD Displays


Canon U.S.A. has announced two new 4K/UHD displays  – the DP-V2420, a 24-inch high-luminance 4K reference display and the DP-V1710, a 17-inch 3840 x 2160 4K reference display, for use on set, in broadcasting vans, and in studios. read more…

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Sigma Full Frame and S35 Cine Lenses

Sigma Cine Lens Group in order

The rumors are confirmed. The big booth at IBC makes sense: Sigma is jumping into the cinema industry with a new line of CINE LENSES. The big news is that most of them are Full Frame, High Speed, ridiculously small and incredibly light. At IBC, Sigma introduces a new line of Sigma Cine Lenses. The initial set will consist of five Full Frame Primes: 20, 24, 35, 50 and 85 mm, all T1.5 — and a Full Frame Zoom 24-35mm T2. For Super35, Sigma offers two fast zooms: 18-35mm T2 and 50-100mm T2. read more…

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Angénieux Type EZ Zooms: FF and S35


Here are two new, convertible, compact zooms from Thales Angénieux. They cover both Super35 and Full Frame/VistaVision. This is a new paradigm for Angénieux: an affordable zoom lens filling the gap between the DSLR and Cinema lenses for the growing corporate, documentary and owner-operator markets. At IBC, Angénieux debuts two models. Type EZ-1 is a standard 3x zoom. Type EZ-2 is a wide-angle 2.7x zoom. Both lenses have exchangeable rear lens groups and hence the ability to be swapped between Super35mm format and Full Frame/VistaVision. read more…

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Panasonic+Codex VariCam Pure


At IBC 2016, Panasonic introduces the VariCam Pure. It  is a “co-production” between Panasonic and Codex. VariCam Pure is a new S35 4K/2K camera system with high-quality imaging, 14+ stops of dynamic range,  dual ISO 800/5000,   and built-in, uncompressed RAW to 120 fps. The new VariCam Pure camera records pure, uncompressed RAW up to 120 fps onto familiar, industry-standard Codex Capture Drive 2.0 media already widely used by many camera systems, post facilities and studios. read more…

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New Cooke Panchro Classics


In response to continued enthusiasm from cinematographers and demand by rental houses for Cooke Optics’ vintage Speed Panchro lenses from the 1920s-1960s, Cooke introduces a new series of Panchro Classics based on the original design, with PL mounts and modern mechanics. The Panchro Classic line is scheduled to ship around April 2017. read more…

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ZEISS LWZ.3 21-100mm T2.9-3.9

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ZEISS launches a new Super 35 format Lightweight Zoom: LWZ.3 21-100mm/T2.9-3.9 T*. It is light (2 kilos), compact, very affordable and has interchangeable mounts (PL, EF, F, E, MFT). What sets the new 21-100 zoom lens apart is a combination of attractive features: range, light weight, optical and mechanical quality, and astonishingly affordable price. Here’s a new Super 35 zoom lens from ZEISS for many types of productions that will fit digital and film cameras. read more…

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Canon Cinema EOS C700


This is the camera that many have dreamed Canon would build. They have. Canon presents Cinema EOS C700 at IBC 2016. It’s a Super35 format studio and shoulder-resting “A” camera with internal 4K ProRes and XF-AVC as well as integrated Codex uncompressed RAW recording. There is a choice of two lens mounts, PL or EF mount—and a choice of Global Shutter or Standard CMOS sensor. Pixel size is 6.4 x 6.4 μm. Depending on model and mode, effective image area is 26.2 x 13.8mm (29.6 mm diagonal) when shooting 4K and 28.9 x 15.2 (32.6mm diagonal) in RAW 4.5K. Download the 12-page PDF special report. read more…

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New Canon EOS 5D Mark IV


Canon USA announced the highly anticipated successor in the EOS 5D series of DSLRs, the EOS 5D Mark IV. From a still photography standpoint, Canon has improved upon the already impressive 5D line by upgrading to a 30.4 megapixel 35mm Full Frame Canon CMOS sensor, and with the help of their new processor, the DIGIC 6+, 7 fps for up to 21 frames of RAW images and unlimited JPEGS. Combined with its new WiFi and NFC capabilities, it’s perfect for delivering quick images to local devices for upload, image selection, or preview on the fly.   4K Video The DSLR video community, which has certainly embraced Canon’s 5D line, should be very pleased by the inclusion of DCI 4K video recording at 30p or 24p, as well as a new “Dual Pixel CMOS AF” system that allows improved autofocus and tracking during videos or Live View shooting. This new autofocus system… read more…

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