Products

S4/i Uncoated Cooke Look

Cooke now offers uncoated front elements for their S4/i series. This is a lot more practical and affordable than a one-way ticket of blasting the coatings off your existing lenses. In fact, for not much more than the cost of a filter, two choices of Cooke looks—with regular and uncoated fronts—are now available for each lens in the set. read more…

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AbelCine at Industry City

AbelCine’s New York operation is expanding to Industry City, a vibrant, new community of artists, artisans, innovators, designers, businesses, restaurants, retail spaces, art galleries and factory outlets on the Brooklyn waterfront. AbelCine’s new 12,500 square foot Development Center is already up and running at Industry City, working on R&D, engineering, manufacturing, and systems integration. read more…

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IB/E Optics+BandPro Large Format Raptors

There are now 6 members of the Raptor Large Format prime lens family. The new prototype Raptors shown at Band Pro Open House were 40, 60 and 80 mm. They join the 100, 150 and 180 mm Macros.    

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Sony FS7 II Quick Guide – Free Download

Read FDTimes’ free 12-page how-to quick guide to Sony’s new cinéma vérité PXW-FS7 II camera. New features of the camera: Lever Lock E-mount, In-Camera Electronic Variable ND, versatile viewfinder, smarter SmartGrip, improved ergonomics. read more…

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New Sony FS7 II with Lever Lock E-Mount

Sony introduces the new cinéma vérité PXW-FS7 II. The successful FS7 will remain in Sony’s lineup. However, the FS7 II is the model you’ll want for its new Lever Lock E-mount, In-Camera Electronic Variable ND, versatile viewfinder, smarter SmartGrip, and improved interface. Imagine the familiar E-mount of previous FS or a7 series cameras. Now, instead of twisting the lens clockwise to secure it within the mount, the new Lever Lock E-mount works like an industry-standard PL, PV or Mitchell style breech lock. read more…

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Inter BEE 2016 – FDTimes Booth 7507

11/16/16 – 11/18/16
Inter BEE 2016 Tokyo: Film and Digital Times Booth 7507

Film and Digital Times will be at Inter BEE 2016 in booth 7507 (Next to NAC and ZEISS, across from Canon and Blackmagic).We will be handing out free copies of Film and Digital Times Japanese Language Edition #79J. InterBEE is like NAB or IBC in Japan. It’s not just broadcast. Lots of motion picture equipment is on display. It’s an excellent opportunity to get an inside look at equipment and trends from a country that builds much of the equipment we use and is in the top 5 of motion picture production worldwide (around 400 live action features produced last year.) read more…

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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… 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

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… read more…

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New 85mm f/2.4 ZEISS Loxia

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… 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… read more…

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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.

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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… read more…

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

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… read more…

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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… 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

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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