Canon showed a prototype 8K 19.7-138 mm T2.8 Zoom at InterBEE Tokyo. It covers Super35 format.
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 designers listened to suggestions from camera operators and the Dock will ship in a month or two with a much greater degree of fore-aft balance adjustment and shoulder pad position. Also, the front rosette/control has been lowered and also moves forward — thus avoiding the prototype’s problem of interfering with the lens barrels.
The new Dock will accept the Sony AXS-R5 RAW recorder. And there’s a cradle for wireless receivers. Docking is simple: lower the camera onto cradle, and then secure with 3 levers from the camera right side.
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 for the camera.
CION is a 4K 35mm cine camera
designed by cameramen (AJA’s Nick Rashby and Jon Thorn both worked as ACs and DPs). It is lightweight and shoulder-resting. CION shoots 4K/UltraHD and 2K/HD resolutions direct to Apple ProRes or AJA Raw. Info on where to place orders, click here.
AJA pioneered professional ProRes support with the Io HD, the first non-Apple device to encode ProRes, introduced in 2007, and then the Ki Pro recorder, introduced in 2009. CION offers in-camera recording directly to standard AJA Pak SSD media in the Apple ProRes family of codecs – including 12-bit ProRes 444 up to 4K/60p. CION also outputs AJA Raw at up to 4K/120p via 4x 3G-SDI outputs. Support has already been announced by Adobe and Colorfront. CION has a simple menu and interface with direct controls as well as live preview video. Settings can be remotely configured and viewed on any web browser via a LAN connection.
CION will be available from resellers worldwide.
Pricing for CION is US MSRP $8,995. AJA Pak SSD media is available at a US MSRP of $695 (256GB) and $1295 (512GB). AJA Pak Dock is available at a US MSRP of $395. Please visit www.aja.com for additional CION information, and a list of global CION dealers.
Third-party camera accessory manufacturers including Alphatron, MTF, Portabrace, Wooden Camera, Vocas, Zacuto and others have already produced several accessories, from viewfinders to lens mounts and protective cases for CION available from their retail sellers.
Wheels for GimbalRigs. Matthias Uhlig is releasing the successor to his Brushless Gimbal RC Interface (BGRCI) (http://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 like the DJI Ronin or the Freefly Systems Mövi family.
While the original BGRCI is a modular system with the option of two or three axis, the MK2 will always have three axes (3 wheels). It also will have a built in transmitter for the common and accepted Futaba FASST system. The great thing about the new system is that you only need a power source (and a gimbal rig, obviously) to operate. It connects to DJI Ronin and Gremsy gimbals right away. Freefly gimbals and others will need an inexpensive alternative receiver.
Matthias says, “Gimbals are taking over and there seems to be hardly any production going without one. With the BGRCI-2, they can now be used as stabilized remote heads by serious DPs who are not keen on operating with toystore joysticks.”
The BGRCI-MKs can be used with Hurricane Wheels gear head simulation software or as a USB input device for previz or virtual camera work.
Price is planed to be about 2800,- € plus tax & shipping, but it might be a little less. Paralinx in Los Angeles is the US distributor.
More information can be found at www.hurricanewheels.tv
Integrated transmitter – ready for Ronin
The integrated Futaba transmitter module connects to any DJI Ronin or Gremsy gimbal, as well as Freefly Mövi M5/10/15 equipped with an optionally available Futaba S-Bus Receiver. Uses genuine Futaba parts, an experienced RC manufacturer.
Spektrum and other versions can be made upon request.
The handwheels are balanced to 0.5g and run smoothly on the high resolution encoders. Precision potentiometers allow to adjust the trimming and electronic gearing for each axis individually. In conjunction with the gimbal controller software this offers a very powerful, yet simple control over axis speed and damping.
Built in USB Interface
Users of the interface boxes receive a copy of our one-of-a-kind gearhead simulation software upon request. You can also use the handwheels for previz or virtual camera work.
Power Supply: 9-36 V
Current Draw: 0.3A
Weight: ca. 3,5 kg
Compatible Gimbal Rigs (tested): all AlexMos based rigs, like DigiMove, Newton etc. , Mövi M10, DJI Ronin
Compatible RC-Remote Receivers:Futaba FASST/RASST, DJI Ronin
The first annual board meeting of Film and Digital Times Japan was conducted last night in a private teppanyaki dining room of Yebisu Restaurant — on the top floor of the Westin Hotel Tokyo. Chef Aya presented a refreshing take on what can usually be an overly-theatrical event with her calm, artistic, and almost zen-like cooking. The dinner was:
The fruits of these labors are now online: FDTJ free downloadable PDF
, and the printed edition is available at the NAC, ZEISS, and Angenieux booths of InterBEE Tokyo.
November 1614. The two-year Siege of Osaka began. The Tokugawa shogun ended the last opposition to rule from Tokyo.
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.
It began with requests for Japanese translations of various FDTimes articles. Next, Mr. Arato Ogura suggested a Japanese Edition for InterBEE, along the lines of the French edition for Micro Salon. Many volunteers came forward to help with the difficult task of translating and formatting.
This first edition of FDTJ is an experiment. It was not democratic. It was first come – first served. You got in if you could do a translation of recent FDTimes articles in time. Several thousand copies have been printed by NAC to distribute at InterBEE. The PDF is available online for free. A new Japanese language landing page is now online: fdtimes.com/japanese
If popular, we’ll continue with future editions and will endeavor to be all-inclusive with many more companies and products represented.
My thanks to the following founding members of the FDTJ volunteer team: Team Captain Arato Ogura, Yasuaki Mitsuwa, Yasuhika Mikami, Abe Tomonori, Masako Misaki, Shuji Nagata, Seiji Nakajima, and many more.
These latest specs did not make it to print or PDF in time for the Camerimage and InterBEE Japanese editions. I’ll update the PDFs when I can.
For the ARRI Alexa 65, David Zucker writes — please note:
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 comes in Sony E-mount only (18mm flange focal depth.) It will be the “kit lens” for the new Super35mm format Sony FS-7 digital camera, and is already a darling of the full-frame (24x35mm) A7S world.
Focus can be switched from auto to manual by sliding the focus ring forward or back. A linear autofocus motor is extremely quiet–no gears to make noise. SSM (Super Sonic wave Motors) are used for quiet zooms and iris control. The 28-135 uses double aspherics — aspheric surfaces on both sides of a lens element.
Juan Martinez and Tatsuro Kurachi dream of lenses. Could they be dreaming of the next model–perhaps one that covers 18-100 mm?
By Jacques Lipkau Goyard
“Cinema in India is like brushing your teeth in the morning. You can’t escape it,” says Bollywood superstar Shahrukh Khan. (Brush with bottled water or beer.) Mr. Khan is right, considering the vast number of people who flocked to Broadcast India 2014 at the Bombay Convention Centre in Goregaon on October 15th to 17th. The show had around 20,000 visitors – as in 2013 – making it again one of the most well-attended and successful Broadcast India shows to date.
This is India’s major exhibition dedicated to the entertainment and broadcast industries, showcasing the world’s leading companies with their latest technologies for Digital Cinema, shooting, broadcast, cameras, camera supports, lights, audio and mobile television
This year there were a few new entries to the usual suspects of foreign exhibitors coming to Bombay. Atomos presented their latest Shogun in a huge booth run by Leigh Hardingham and a group of local enthusiasts. Next to them were GoPro and RED. The new association AFFECT – Association des Fabricants Français d’Equipments Cinématographiques de Tournage – (French association of film equipment manufacturers) was helmed by Aaton Digital/Transvideo’s Jacques Delacoux in partnership with Thales Angénieux and K5600. Highlight at the Aaton Digital booth was the Cantar X3, which recently won a Cinec Award. The new Angenieux anamorphic Optimos were enthusiastically presented by Jean-Yves Le Poulain.
Traditional international Broadcast India exhibitors that have always believed in the Indian market were: Cooke, Cartoni, cmotion, Ronford-Baker, Bright Tangerine, ZEISS, Tiffen/Steadicam, Bebob, Panther and Lee Filters, flanked the other big brands: ARRI, Canon, Sony, Panasonic, Blackmagic, AJA, RED, etc.
Geoffrey Chappell, Director of Sales for Asia and the Middle-East at Cooke Optics, said “In a way, better than last year, maybe fewer visitors but more professional.”
Robin Thwaites, Tiffen’s International Director of Sales for Steadicam was happy about the quality of the visitors. “Broadcast India is always a good show for Tiffen and we hope to have an in-depth presentation and a workshop soon.”
Stephen Chappell, Sales Manager at cmotion, said: “2014 was the 10h consecutive year for cmotion and we are looking forward to 2015…”
Elisabetta Cartoni, Managing Director & CEO at Cartoni was not dissapointed. “For the contacts and sales to the Bollywood Film Industry… which now appreciates the price and technical competiveness of Cartoni’s Fluid Heads, in particular the Maxima and Master Mk2.”
Even considering Kavita Meer’s efforts (Director Saicom Trade Fairs) to improve Broadcast India, the 2014 edition had no structural improvements from last year’s new air conditioned VIP lounge, better services and food courts. Foreign exhibitors still had to face the humongous dust problem and lack of air conditioning during set-up. Hard for these exhibitors to set-up their booths – wearing masks – to cope with 80/90% humidity, clouds of dust and sticky weather – Anyway, that’s part of the “Incredible India” payoff syndrome.
The 2015 edition will be held from the 15th to the 17th of October at the Bombay Exhibition Center (Goregaon). For any inquiries, go to: www.broadcastindiashow.com
ARRI Rental Atlanta is now open. Ed Stamm presides. Ed ran the ARRI Rental Miami office (previously named ARRI/CSC). ARRI Rental Atlanta will be the USA mother ship for the new ALEXA 65 camera system. Craig Chartier takes over at ARRI Rental Miami as General Manager.
ARRI Rental Atlanta
3980 Dekalb Technology Pkwy, Suite 800
Atlanta, GA 30340
Phone 678 248 5432
Notes from BirTV 2014 (Beijing). Photos and Article by Jacques Lipkau Goyard
Confucius said, “If you think in terms of a year, plant a seed; if in terms of ten years, plant trees; if in terms of 100 years, teach the people.”
Beijing’s 2014 International Radio, TV & Film Exhibition (BirTV) is growing every year. It is one of the most influential exhibitions for the Broadcast and Film industries in Asia.
BirTV 2014 had 519 major international brands attending, including: Arri, Sony, Red, Panasonic, Avid, Cooke, cmotion, Litepanels, Cartoni, Angénieux, Canon, Vitec, Zeiss, Atomos, Cinectech italiana, Miller, and Hitachi – just to name a few.
More than 58,500 visitors were said to have attended this 50,000 square meter Beijing venue. That would have been 10% more than 2013.
Among the exhibitors, FDT received positive comments from Christine Beal (Business Development Manager – AB Live/3D) at Thales Angénieux “This is my first time at BirTV, not Angénieux. I feel this is a very domestic exhibition which covers a wide range of supplies for the Broadcast & Cinema Industry. We had lots of very good level visitors, many of whom were also interested in our 3D equipment, expressing real enthusiasm about it. Many are already involved in 3D from top management to operators.
“Very few visitors spoke English, so it is vital to have a reliable Chinese translator available. There were a wide range of products–from the most mobile, lightweight equipment to the most sophisticated. Products exhibited included the newest and latest technologies in 3D, 4K, and even 8K demos. I was told visitor attendance may have been lower than 2013 but I cannot tell; I feel this is still a very good level and we have just had very busy and long days. I look forward to more work with the Chinese world.”
Another comment came from Shriro’s Managing Director, Egon Helder: “We had an expanded presence and our Shriro Imaging Video/Cine team made a strong showing at this year’s BirTV with a full portfolio, including Zeiss lenses, Cartoni Fluid Heads and tripods, HPRC cases, Vocas rigs and matteboxes, Broncolor HMI lighting and new exclusive partner for China: Atomos of Australia (field monitors and recorders). The team spread out an impressive display of live functioning video/cine equipment including cameras from Red, Sony, Canon, Nikon, Blackmagic Design, Panasonic and Hasselblad. Regular live entertainment, product presentations and lucky-draw sessions brought Shriro’s presence at this show to a new level.
This year, many visitors were coming to see the latest development of 4K production. Shriro Imaging exhibited the latest affordable 4K products to the Beijing audience.”
“We premiered the latest Carl Zeiss CZ.2 15-30/2.9 zoom lens in China, together with its predecessors, 28-80/2.9 and 70-200/2.9. These 3 zooms lenses cover both Super35 and Full Frame (24x36mm) formats and are ready for 4K production – as are the CP.2 Compact Prime lenses. The CP.2 and CZ.2 lenses are designed for all type of cameras (HDSLR to high end digital movie cameras).The Interchangeable Mount System (PL, EF, F, MFT and E) guarantees high flexibility for present and future use in any situation and for a wide range of camera platforms. With the affordable price level of CZ.2 Compact Zoom lenses, they will definitely be a wise choice for many cinematographers.”
“Our new entry this year was Atomos. For the first time Shriro brought in the entire Atomos product range of video recorders and field monitors in an interactive way. Atomos premiered its flagship Shogun 4K recorder in the China market with its capability to record 4K RAW video in easily available and affordable recording media. Another new product was the Ninja Star, a 130 gram lightweight recorder mainly designed for drone cameras or cameras on image stabilizers that have strict requirements on weight. Fourteen of these were given away as raffle prizes to 14 lucky visitors during the 4 days of the show.”
“… This year we displayed the latest products from Vocas for Sony A7s, which is a small and affordable 4K camera. The unique Vocas double handgrip and cage for Sony A7s provides easy and stable handling of this slim camera with the flexibility to add on other accessories to suit different shooting requirements. All Vocas rigs and matte boxes are 100% manufactured in the Netherlands, using high grade aero aluminum to tolerate the most vigorous and challenging shooting conditions, while remaining light and maneuverable by the videographer and cinematographer.”
Talking about products made in Europe, Egon added, “Shriro displayed Cartoni’s latest range for small-size 4K video cameras, including the Smartpro and Focus HD video head with Stabilo carbon fibre tripod. The Smartpro carries a maximum load of 6kg and the Focus HD carries 12 kg. These heads and tripods are light weight and affordable. Other tripods and Fluid Heads were displayed with cameras and lenses fully rigged to provide visitors a hands on experience and trial on Cartoni’s 100% Italian made and designed products.”
“We also had the new HPRC watertight and unbreakable range of professional multi-purpose cases from Italy. They provide effective protection from dust, water and corrosion for valuable equipment.”
Egon concluded by saying that Shriro Imaging will continuously develop its Video and Cine product portfolio to meet the ever-changing market needs in Hong Kong and China. The staff in Hong Kong, Guangzhou, Shanghai and Beijing offices provide professional support and services to Shriro customers.
BirTV 2015 will be held on 26th – 29th, August 2015 at the China International Exhibition Center (CIEC), Beijing. This will be a good excuse to come taste delicious flavors and the world renowned Chinese cuisine as well as to meet Chinese friends and colleagues. They work hard in a crowded country, play hard, seem to be in a rush all the time, and they enjoy life at its fullest and share that feeling with you.
For more info, go to: http://www.birtv.com/birtv/ENGLISH/birtvis.asp
The man on the cover of FDTimes February 2014 is Lenzan Kudo.
He is a master musician, specializing in shakuhachi, the traditional Japanese flute. He was playing in the spectacular setting of the Peninsula Hotel lobby in Tokyo a year ago when we took this cover shot. And he’s playing there now.
Preparing for InterBEE, coming soon, it was time to catch up. Here is an interview with Mr. Kudo.
Jon Fauer: What were you playing when we took your picture at the Peninsula Hotel last November?
Lenzan Kudo: I was playing a shakuhachi — solo songs which are made for Japanese scales. The technique and way of using one’s breath is different from western music.
Do you perform there often? Where else do you perform?
It was the first time playing at the Peninsula Hotel. I am going to play there again in November this year. I am also playing at restaurants as well as a concert hall, temples and shrines. I would like to introduce my music and shakuhachi to as many people as possible. Actually, I have even played as a “busker” on a London street.
Tell us about the instrument, the shakuhachi and its history.
The instrument came from China around the 7th Century. The shape of shakuhachi has been changing and developed with the times. The current shakuhachi is very close to those used by zen monks from the Edo period (1603 – 1868). At that time, only zen monks were playing the instrument. But these days, everyone can play it and it’s becoming more contemporary. We play not only traditional songs but also pop music and jazz.
Were you always interested in music?
I have been listening to Japanese instrumental music since I was a child, but I was also interested in electronic music like YMO or Kraftwerk. My taste is very wide now. I am listening to jazz, classic and ethnic music as well.
How did you begin playing and how did you learn the shakuhachi?
I started playing the shakuhachi when I was a kid. It all started when I accidentally found one in the closet at home. I didn’t know anything about it but I knew it was some kind of instrument. I wanted to play it in my own style but try as I may, I couldn’t get it to produce any sound. I experimented in various ways trying and mostly failing to get any sound out of it. After about 6 months, although it didn’t sound very good, I finally made a breakthrough and was about to start playing notes. That sense of achievement got me hooked on the shakuhachi.
I learned from my home town shakuhachi master first and went to univirsty and learned more from other masters as well as a living national treasure.
Do you perform with other instruments?
I love to play many instruments. Its not perfect but I play piano, synthesizer, flute, Didgeridoo and koto.
I found your performance very cinematic. In a wonderful setting, great lighting, traditional clothing.
I would like to touch the audience’s 5th sense through my music. A place you can see, sounds you can hear from your ear, a little action you make…. Everything should be Art even if it’s almost slow-motion.
SARUME “Ama no iwato” was based on these ideas. It was made as an entertainment based on a Japanese mythology. I wanted to introduce a rich Japanese culture to the world. I hope the artists who cooperated to the show also become enlightened as well as the audience.
I would love to introduce my music in the USA and many other places in the world. People will be surprised by the sound of shakuhachi. I am trying to make sounds from the heart and feeling.
I am get ready for next performance these days.
SUP 10.0.1 fixes the distorted image recording bug in SUP 10.0.
It includes updated viewfinder software, so the viewfinder should be attached during the installation.
SUP 10.0.1 includes:
• Apple ProRes 4444 XQ. 500 Mb/s
• Support for SONY 64GB and 128GB SxS PRO+ memory cards.
• 180° Image Rotation: good for Steadicam upside down and ARRI Ultra Wide Zoom UWZ 9.5 – 18.
• Open Gate support for ALEXA XT M
• Lens Squeeze Factor metadata field. This is a big deal. The new metadata field allows manual entry of a lens squeeze factor (2.35:1, 2.39:1, 2.40:1) so post software can automatically de-squeeze anamorphic images.
• REC OUT = Clean MON OUT
• ARRIRAW 4:3 Cropped: To achieve 96 fps when shooting ARRIRAW 4:3 with anamorphic lenses, the new ARRIRAW 4:3 Cropped mode reduces the width of the recorded image to 1.2:1, which is the native anamorphic aspect ratio.
• Fast regular/high speed switching can now be done in about 20 seconds.
• Dimmable status information
• Monochrome status icons
• Colored camera index letter with monochrome frame lines
• Independent Peaking setting for playback. Peaking on the MON OUT and EVF during playback can be set independently from peaking during recording. The factory default is Peaking during playback = off’.
• Master Anamorphics Lens Data Archive (LDA) Lens Tables.
by Fabrizia Ianiro
Whoever observes the LED lighting industry’s current “Gold Rush” may feel overwhelmed. Is the bubble about to burst? We think not. Worldwide energy goals widely proclaimed by governments, albeit not at the same pace, suggest that this is just the beginning.
There is a lot of new and tough competition. By the time a manufacturer presents a technical advancement, a new product is already proposed by the competition. Some announcements can be overblown with claims that may not reflect genuine technological progress.
The path to success with LED lighting is more complex than it was in the tungsten era.
Driven by the need to quickly bring new lights to market, while achieving cost-savings, manufacturers often find themselves with timescales too short to provide enough time to recover their investments. Especially those located in political-economic areas (Europe!) that are enacting cautionary monetary policies and uncompetitive exchange rates with little support from the system as a whole.
Manufacturers are at a crossroads.
One path leads to today’s booming gold mine, to exploit before it runs out; the other leads to a long-term, long-lasting outlook and a business model based on professionalism, core skills and integrity.
As with cooking, the ingredients are what matters with LEDs. Creating awareness about the importance of the invisible ingredients inside a good LED is, however, a difficult task.
The maintenance of LED performance throughout its life (color, output, etc.) demands suitable mechanical design, redundant cooling and stable electronics: qualities not visible to the naked eye. Which is why it is important to provide technical information in marketing.
What is the value of a LED guarantee for thousands of hours of life if the driver and the LED engine cannot sustain even a fraction of its lifespan? And will service be a headache if the supplier is no longer there for support and upgrades in two or three years from now?
Customers should be asking themselves: “After the Gold Rush, who will be there?”
We plan on being there. Ianiro has been manufacturing lights since 1948. We take pride in the lighting products we developed and built. As Neil Young said in “After the Gold Rush,” with LED lighting, we will be “flying Mother Nature’s silver seed to a new home in the sun.”
Fabrizia Ianiro is Managing Director of Ianiro and Ianiro LED, based in Rome and Trento, Italy
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 zooms. At IBC we heard Sue Gibson describing how she uses adapters to fit 2/3″ long lenses on her 35mm format digital cine cameras. It is lightweight, compact, and reaches out very far.
Canon’s 50-1000 mm T5.0-8.9 zoom lens becomes a 75-1500 mm with its built-in 1.5x extender (giving it a 20x magnification). The 50-1000mm zoom lens has a removable servo drive unit, making it suitable for either broadcast-style or cinema-style production.
But first a brief detour. In April 2014, I met with Yasunori Imaoka, Group Executive, Canon Image Communication Products, along with Tetsushi Hibi, Senior General Manager, Canon Optics R&D Center, and Ryan Kamata, Sr Specialist, Canon USA Camera & Video Division. The following dialog took place:
Canon: What kind of lens would you like to see next?
Jon Fauer: Can I dream?
Canon: Yes, we are Canon.
Jon: How about a 20-2000 mm zoom?
Canon: Do you have any specific applications in mind for such a lens?
Jon: Sports, cars, wildlife, commercials, features, action. The shot at the Olympics with the runner approaching. A remake of “Kagemusha.” A charging herd of buffalo. For wildlife photographers, how about 3000 mm on the long end?
Canon: You’re getting greedy.
Jon: But as your cameras are more sensitive, it could be T5.6.
Canon: To replace the 150-600 [still photo lens]?
Jon: I owned one of your early 150-600 mm lenses, modified with a PL mount by Century Optics. It was huge and had a weird control that handled both zoom and focus, and wasn’t really a zoom. A new dream lens would zoom and be much smaller. So, I’ll see you next year at NAB with that lens?
Canon: We’re not sure about the 20-2000 but we are on the same page—we are always trying to develop innovative, new products that are beneficial and special for creative people.
Well, Canon was working very hard and very fast on such a lens. 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 zooms. At IBC we heard Sue Gibson describing how she uses adapters to fit 2/3″ long lenses on her 35mm format digital cine cameras.
Canon’s 50-1000 mm T5.0-8.9 zoom lens becomes a 75-1500 mm with its built-in 1.5x extender (giving it a 20x magnification). The 50-1000mm zoom lens has a removable servo drive unit, making it suitable for either broadcast-style or cinema-style production.
Canon 50-1000 T5.0-8.9 Specs
The removable Servo/Digital Drive unit has a zoom rocker switch, programmable zoom and focus settings, and data connections for broadcast field/studio controls of zoom and focus. Removing the drive unit is simple and lets you use cinema-style lens motors.
The Canon Cine-Servo 50-1000mm T5.0-8.9 zoom lens is compatible with industry-standard camera-to-lens communication protocolsfor most brands and models of 4K, UHD and HD cameras. These standards include 12-pin serial communication (common to major broadcast camera brands), Cooke /i Technology and Canon EOS-LENS data communication technology (used by the EOS C500, EOS-1D C, EOS C300 and EOS C100 Cinema cameras). With the Canon Cinema EOS system, lens data (including aperture setting) is displayed in the EOS camera’s viewfinder, and is recorded in the video file as metadata along with the model name of the lens and the lens focal-length.
Broadcast-style features include servo control of focus, zoom, and iris. The removable Digital Drive unit has a 16-bit microprocessor encoder linked to the zoom/rocker switch. It zooms smoothly, without lag, covering the entire range from full-wide to full-telephoto in a quick 1.5 seconds up to a very slow 180 seconds. The encoder can transmit accurate analog and serial data for zoom, focus and iris settings through the Drive unit’s 20-pin connector.
Operators can also manually control focus and iris settings from the drive unit or use it to program focus, zoom position/speed, and iris settings for precise, repeatable moves. A small LCD display on the drive unit displays current settings. Focus can be adjusted manually by rotating a knurled rubber collar on the lens.
With its Digital Drive unit/hand grip removed, the Canon 50-1000 mm T5.0-8.9 Zoom lens offers a unique range of long focal lengths–going all the way to 1500 mm with the built-in 1.5x extender. Lens barrel marks are engraved in both feet and meters on both sides of the barrel, and focus marks on the front side of the lens are marked on an inclined surface to make them easy to see while operating the camera. Luminous paint is used for the scale display on one side of the barrel to help make the markings visible in the dark. Both 0.8 type and 0.5 type gear module focus accessories can be used, and gear positions support the use of a follow focus and all other standard electronic accessories.
Canon Cinema EOS lenses are identified by their red alumite color near the mount. The EF mount can be replaced with a PL mount, or vice versa (electrical system included). This conversion can be provided at authorized Canon service centers. The EF and PL versions of the lens are designated CN20x50 IAS H/E1 and CN20x50 IAS H/P1, respectively.
Cinema EOS Lens Family
The new Canon Cine-Servo 50-1000mm T5.0-8.9 Ultra-Telephoto Zoom lens joins Canon’s Cine-Servo 17-120mm T2.95; CN-E 15.5-47mm T2.8 L and CN-E 30-105mm T2.8 L Compact Cinema Zoom lenses; CN-E30-300mm T2.95-3.7 L and CN-E14.5-60mm T2.6 L full-size Cinema zooms; and six Cinema prime lenses for single-sensor Super35mm production.
I am still dragging my heels about calling any lens 4K or any-K, but here’s what Yuichi Ishizuka, President and COO of Canon U.S.A. said about the new 50-1000 zoom: “The use of large-sensor 4K cameras is rapidly spreading beyond motion pictures and episodic television into many new types of productions such as broadcast sports and nature documentaries. We are proud to deliver a lens with the advanced 4K optical performance, impressive focal range and operational versatility required to serve the creative needs of today’s growing community of 4K and UHD image makers.”
Price and Availability
The new Canon CINE-SERVO 50-1000mm T5.0-8.9 Ultra-telephoto Zoom lens is expected to be available in the first quarter of 2015 for a suggested list price of $78,000. For more information about this new lens, visit the Canon U.S.A. website
Click on first image to begin slideshow.
The VariCam 35 has a 35mm sensor, PL mount, and records 4K RAW, 4K, UHD, 2K, HD and ProRes. The Varicam HS has three 2/3″ sensors, B4 mount, and records 1080p up to 240fps.
Both models will offer Apple ProRes 4444 and ProRes 422 HQ and both include Panasonic’s AVC-ULTRA family of codecs.
An interesting feature is how the 35mm and 2/3″ camera heads share the same recording module. An umbilical cable (coming in the next months) will connect between the camera head and recorder — useful for rigs, stabilizers, jibs, cranes and remote operation.
The VariCam 35 has a new Panasonic S35mm 4096 x 2160 (17:9) 4K MOS sensor with 14+ stops of dynamic range.
Working with Codex Digital, Panasonic will offer a high-speed 4K uncompressed RAW recorder for the VariCam 35 camera later this year (estimating December). It will record 4K VariCam RAW (V-RAW) up to 120 fps.
Both bodies are made of a rugged aluminum alloy and have a removable control panel.
Built-in color management includes support for the Academy Color Encoding System (ACES) and in-camera color grading.
Panasonic developed a new log curve (V-Log). The VariCam 35 can assign various LUTs to individual recording channels and camera outputs. For example, shoot UHD and record with the V-Log LUT, but assign a ”baked-in” 709 LUT on the HD / proxy recording for real-time monitoring, editing and dailies. The camera’s monitor, EVF and EVF outputs have similar selectable LUT capabilities. The VariCam 35’s In Camera Grading feature is fully flexible, with the camera able to record an ungraded 4K master (with associated metadata grading information) and graded (baked in) HD image simultaneously.
The cameras have a new OLED electronic viewfinder with optical zoom for checking focus.
The VariCam 35 records 4K and UHD in AVC-ULTRA 4K, and 2K and 1080p HD in AVC-Intra 100/200 (AVC-Intra200 available only for FHD recording) and ProRes. To handle rapid file exchange, the camera encodes a high-resolution 3.5 Mbs proxy in parallel with 4K and 2K production formats. Metadata will also be available and it is written to all recording formats and files.
Connections include: 3G-HD-SDI x4 for 4K QUAD output; HD-SDI out for monitoring (down-converting from 4K); a dedicated VF HD-SDI output with all EVF status and display data; two XLR inputs to record four channels of 24-bit, 48KHz LPCM audio.
The VariCam 35 uses Panasonic’s new expressP2 card for high frame rate and 4K recording. The camera has four memory card slots, two for expressP2 cards and two for microP2 cards. The new 256 GB expressP2 card can record up to 90 minutes of 4K/4:2:2. The microP2 card is designed for recording HD or 2K at “normal” production frame rates.
The VariCam HS records 12-bit 4:4:4 AVC-ULTRA for mastering and archiving–and 4:2:2 10-bit for documentaries and sports.
The VariCam HS has three newly-developed, 1920 x 1080p MOS imagers with 14 stops of latitude. The camera/recorder uses a traditional RGB prism/imager system.
TheVariCam HS offers real-time high frame rate and off-speed recording to 240 fps in 1080p (using AVC-Intra Class100), and has the ability to ramp / change frame rates while recording. For example, you can ramp a shot of a player from normal speed to super slow motion while the camera is running.
The new VariCam HS offers image controls such as matrix, detail, gammas and a new Log recording capability.
The VariCam HS has a range of recording formats including AVC-Intra Class100 (recording as 1080/24p, 25, 30p, 50 or 60p with VFR up to 240p), AVC-Intra Class200 (up to 30p/60i) and 12 bit sampled AVC-Intra Class4:4:4 (up to 30p). Both AVC-Intra Class200 and AVC-Intra Class4:4:4 are suggested where image quality is the most important consideration.
The VariCam HS includes V-Log in addition to FilmRec and Dynamic Range Stretch (DRS) image contrast management controls. The VariCam HS has Panasonic’s Chromatic Aberration Compensation (CAC) technology to minimize lateral chromatic aberrations of the lens. The VariCam HS also has in-camera color grading.
Like the Varicam 35, the VariCam HS encodes a high-resolution 3.5Mbs proxy file in parallel with other formats, and uses Panasonic’s new expressP2 card for high frame rate recording (frame rates above 60fps). The new 256 GB expressP2 card can record about 32 minutes of 240p 1080 HD video.
Both prices include the he AU-VREC1G common recorder, AU-VCVF1G OLED viewfinder, and the AU-VSHL1G shoulder pad/tripod mount.
For more information call Panasonic at 877-803-8492 or go to: www.us.panasonic.com/varicam
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 one from Canon. The other end of the Denz bracket has a female cold shot that holds the Canon audio/control module and 4″ monitor. The new system is able to position the monitor/viewfinder in many comfortable positions for handheld shooting.
Actually, the Denz bracket works on almost any camera with a hot/cold shoe and most other monitors as well.
Präzisionsentwicklung DENZ Fertigungs GmbH, Otto-Hahn-Str. 12-14, D-85521 Ottobrunn/München, Tel.: 089 62 98 66 0, email: info(at)denz-deniz.com
Blackmagic Design Camera 1.9.7 software is now available on the Blackmagic Design website. It includes dashboard on screen menus and disk formatting for the Blackmagic Cinema Camera and Blackmagic Pocket Cinema Camera.
The new disk formatting feature lets us format SSDs and SD Cards in camera. The disks no longer require a computer for formatting. Unlike computers that format disks for general storage use, the Blackmagic Cinema Camera and Pocket Cinema Camera confirm the brand of disk and other disks parameters and then format for highest speed video data recording and playback for that specific type of disk.
This also means that as new disks are released in the future, new software can be released to provide maximum performance.
There’s a choice of two disk formats, ExFAT and HFS+. ExFAT is compatible with both Windows and Mac OS X. ExFAT is good is you’re working on both Mac and Windows platforms. HFS+ is the native Mac OS format and allows higher performance on Macs and has good error protection because HFS+ supports journaling.
The new Blackmagic Camera Update 1.9.7 also includes the new dashboard menu that allows camera functions to be selected quickly. You can choose to format disks, enable focus peaking, go to the settings page, and select other camera operations with big graphic buttons.
Blackmagic Update 1.9.8 is for:
Blackmagic Cinema Camera
Blackmagic Pocket Cinema Camera Key Features
ALEXA Software Update Packet (SUP) 10.0 has been removed temporarily from the ARRI website because of a critical recording bug. This bug could cause distorted images being recorded — while the image in the viewfinder, REC OUT and MON OUT looks OK.
ARRI recommends downgrading all ALEXA cameras back to SUP 9.2, which is available from the DOWNLOADS section of the ARRI website. ARRI is looking into this issue and will post an updated SUP as soon as possible.