Products

Hawk V-Plus Vintage ’74 45-90 T2.9

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Vantage introduced their new Hawk V-Plus Vintage ’74 Front Anamorphic Zoom Lens 45-90mm/T 2.9 at Camerimage. It is one of the few front anamorphic zooms on the market — providing glorious oval bokehs and the ever-popular look of front anamorphic lenses, along with vintage low contrast, flares, aberrations, vintage coatings — all in a modern mechanical housing that works with the latest accessories, matteboxes, and lens controls.

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Alexa 65 Launch in Hollywood

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There were gasps of wonder and OMG tweets at the ARRI Alexa 65 screening last night. It was a fitting Hollywood venue for the official worldwide launch of the camera. The 65mm digital camera’s 6K images were projected on a 4K projector in the Linwood Dunn Theater at the Academy. These were the very halls where it had been agreed a while ago that film would not be replaced by digital until it looked as good–or better. This was better.

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FDTimes in 5 Languages

Film and Digital Times now comes in five languages: English, French, Spanish, Chinese, and Japanese. Click on the International Editions links at the top right of any page. So far, the international edition PDFs are free downloads. Enjoy.  

Get a Grip

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Richard Franiec is a still photographer. He also is an inventor/manufacturer of elegantly machined metal grips for all those stylish but slippery still cameras that fit in your pocket but are not terribly easy to hang on to. I first…

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Jon Dreams of Sushi

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I began dreaming of Jiro on a visit to AJA last month. Nick Rashby, President of AJA, invited me to dinner at Sushi in the Raw–in Grass Valley, CA. Cut to: Tokyo, a few weeks later. Sushi maestro Takashi Ono presides over 10 seats at the counter and 2 tables. He is the second son of Jiro Ono, the 90-year old dreamer of sushi. If we were naming films, this would be “Son of Jiro” — as good as, perhaps better than, the original.

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Canon 8K Zoom

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Canon showed a prototype 8K 19.7-138 mm T2.8 Zoom at InterBEE Tokyo. It covers Super35 format.    

Sony F55 Doc Dock

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Updates from InterBEE in Tokyo. Sony showed the latest improvements on their “Doc Dock” (also known as Build Up Kit) that turns the F55 into a comfortable, shoulder-resting Documentary/ENG style cameras system. Introduced a few months as a prototype, the…

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AJA CION to Ship December

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Tokyo. InterBEE. Nov 19. If you are good and the elves in Grass Valley deem the camera to be ready, AJA CION is expected to ship around Christmas time. AJA announced at InterBEE this morning that they are now accepting orders…

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Hurricane Wheels

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Wheels for GimbalRigs. Matthias Uhlig is releasing the successor to his Brushless Gimbal RC Interface (BGRCI) (www.hurricanewheels.tv) — the new Brushless Gimbal RC Interface MK2. The BGRCI offers a more professional way of controlling handheld (or airborne, crane mounted, car mounted…) gimbal rigs…

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FDTimes Japan

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November 1614. The two-year Siege of Osaka began. The Tokugawa shogun ended the last opposition to rule from Tokyo (Edo). November 2014. A 400th anniversary celebration in Osaka, with Samurai museums, tours of the castle, concert by Aiko, and the launch of Film and Digital Times Japan.

 

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Sony 28-135mm f/4 FF Zoom

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Meet Masahiro Hosoi, Sony Designer of the 28-135mm f/4 Full Frame (24x36mm) Zoom Lens. It could be what you would call “disruptive technology.” How can a 35mm cine zoom have a suggested price of a mere $2,500 when it ships in December? Admittedly, it…

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Canon 50-1000 T5-8.9 Cine Zoom

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Today, Canon officially introduces: New Canon Cine-Servo 50-1000mm T5.0-8.9 Ultra-Telephoto Zoom Lens with Built-In 1.5x Extender for 35mm digital cine cameras Sports, nature and documentary cinematographers will salivate–here is a lens for 35mm format that could rival long 2/3″ format…

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Denz Monitor/Finder Bracket

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Two “D’s” — Denz and Deity. Here’s a very good Denz bracket to mount the superb Deity Mira eyepiece on a Canon C300/500 onboard monitor. The Denz handle replaces the Canon attaches to the top hotshoe of the C300/500 and replaces the original…

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K-Tek ProShot

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Tino Liberatore and Brenda Klemme Parker were carrying this intriguingly versatile ProShot rig around Cinec the other day. It’s a cool combination of monopod, baby legs, stabilizer, and shoulder rig–all in one and easily configurable without tools. A “secret” to its success is the…

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Denz BP12 Adapter for Alexa

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Seen at Cinec, the latest Denz BP12 adapter attaches to the base of ARRI Alexas. The baseplate slides onto industry-standard bridgeplates. Denz bridgeplates come in lengths of 600, 440, 325 and 200 mm and have almost indestructible, Teflon-impregnated hard-coat which provides a smooth surface. www.denz-deniz.com

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Sony 28-135 Zoom

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At Photokina, Sony’s new 28-135 mm f/4 E-mount zoom is another hint of where I think things are heading for motion picture cameras and lenses. It’s a full-frame still format (24x36mm) zoom. And it has optical image stabilization. I had not realized…

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Denz 90° Camera Bracket

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Denz Digital Camera Bracket 90°  (DCB 90) Portrait mode framing is increasingly popular. (Yes, it’s easier to hold the iPhone vertically to take pictures.) This will surely affect how we view and compose not only stills, but also video. To avoid cropping or…

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Canon C500 & C300 Updates

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As Canon celebrates its 80th anniversary and delivery of 100 Million EF lenses, free firmware upgrades were announced for the Cinema EOS C500 4K and C300 cameras, to be released in November. Canon’s 30-inch Canon DP-V3010 4K display gets a new firmware upgrade: support for ITU-R BT.2020 color gamut (Rec. 2020) and ACES (Academy Color Encoding System) color management standard.

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ARRI Alexa 3.2K ProRes for UHD

ARRI will offer no codec before its time. That time is when the image and color scientists on Tuerkenstrasse declare picture perfection. In an upgrade announcement reminiscent of the famous Orson Welles line (“we will serve no wine before its time”), ARRI Alexa…

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ProRes UHD for AMIRA

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A new software upgrade for ARRI’s documentary-style AMIRA camera will allow it to record ProRes UHD files offering future-proof headache relief. Producers, studios and companies considering the longevity of their programs wanted assurance that they would be suitable for UHD transmission, viewing, streaming or downloading. The old mantra of “we’ll just do the re-make when the next standard rears its head” is no longer credible. (Remember how long it took stations and studios to move from standard 16mm to Super 16mm, long after every new camera in the world was already fitted with a S16 gate?)

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