Fujinon Full Frame Zooms

This sounds like the introduction to a Ninja movie. In an undisclosed location at NAB, attended by unidentified executives from an unnamed company, Film and Digital Times has learned of new Full Frame zoom lenses being planned. The company is Fujifilm. They are developing Full Frame zoom lenses, to be announced later this year. We know they will be Fujinon Full Frame zooms. They will be lightweight, compact, high-end. The maximum aperture will be T2.X, where X is still being worked out. I would guess T2.9. They will weigh around 3 kg. read more…

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Desqueeze FF Anamorphic with Resolve

Here’s a reprint from the current edition (April 2018) of FDTimes about desqueezing anamorphic images with DaVinci Resolve. 8 pages. 

With the latest wave of Full Format cameras comes new interest in anamorphic Full Format lenses. The math gets numbing, but the result will be the possibility of many new exhibition/streaming formats that were never dreamt of in standards committees’ philosophies. read more…

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FDTimes at NAB 2018

Get the latest 96-page April Issue #87 of Film and Digital Times. For a limited time, you can download it for free. Subscribers: log in for the high rez edition.

The print edition is shipping now. It will also be everywhere at NAB 2018. Pick up a copy from our FDTimes bin in the front of Central Hall and at our booth C10206 (next to Sony, across SIGMA).

Sign up to receive an email whenever there’s a new post. Just enter your email in the box at the upper right of our homepage. fdtimes.com read more…

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ProRes RAW, Atomos, Panasonic

Final Cut Pro X gets ProRes RAW in the 10.4.1 update coming from Apple on April 9. It combines  the flexibility and advantages of RAW with the performance (data rates, speed, ease) of ProRes. ProRes RAW is a new format from Apple that combines significantly lower data rates with the performance of ProRes. You will be able to play full-quality 4K… read more…

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Micro Salon Italia 2018

A.I.C. (Associazione Italiana Autori della Cinematografia — the Italian Society of Cinematographers) brought Micro Salon Italia back to Cinecittà Studios after a 3-year absence, to where it first started in 2013. The first edition had only twelve booths, but this year, thanks to the larger space of Stage 10 – right across Federico Fellini’s famed Stage 5 – it hosted 56 booths in 2,000 sq mt (1,300 in 2017), 17 more than last year, with 83 major brand names and an extraordinary attendance of over 4,500 visitors. read more…

SONY α7 III Full Frame Camera

The Sony α7 III Mirrorless Still and Motion Picture Camera is the latest E-mount Full Frame (36x24mm) mirrorless, interchangeable lens camera in the alpha-series product line. Sony camera designers listened to users and have come up with very important tools for most photographers and cinematographers. read more…

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Jonathan Maxwell on Full Format vs S35 DoF

Full Format  vs S35 Depth of Field Depth of Field  or “By how much do we have to increase the lens aperture filming on a small camera format to maintain the same Depth of Field as a lens filming on a large camera format ?” by Jonathan Maxwell, Optical Designer   Everybody “knows” that the larger the camera detector you use the smaller… read more…

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Klaus and Uwe Eckerl, IB/E Optics, on DoF

In “Depth of Field Repealed,” FDTimes called for comments on “The difference in depth of field between Large Format and S35, comparing lenses with the same angle of view.” Klaus and Uwe Eckerl,  Managing Director and Optical Designer of IB/E Optics in Bavaria, write: Yes, Circle of confusion  really causes some confusion. In brief,  We agree with ARRI (1 stop difference)…. read more…

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Depth of Field Repealed

On page 49 of Film and Digital Times February 2018 Edition #86, I wrote, “The difference in depth of field between Large Format and S35, comparing lenses with the same angle of view, is the equivalent of about 2 stops.”

This unleashed a deluge of debate among PhDs, Professors and Lens Designers sprinkled with some solid real-life testing. Uh-oh. Please do your own tests. And let us know your results. read more…

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VENICE 001 Goes to Keslow

Peter Crithary, Dan Perry, Reginald Watson and the Sony LA Team barged into Keslow Camera today and surprised Robert Keslow by presenting him with Sony VENICE camera serial number 001. Peter emailed from LAX, where his flight back New York is delayed by winter storm Riley: “We completely surprised Robert by walking into his office this afternoon. I presented serial… read more…

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Across from AbelCine: Moore Brothers Wine Co

  There are many good reasons to visit AbelCine at their new location in Industry City, Brooklyn. Among these is a fantastic wine store across the alley from AbelCine’s main entrance: Moore Brothers Wine Company. Franz Wieser was the first to rave about the place. Moore Brothers Wine Company was founded in 1996 by Greg Moore, Sommelier and General Manager… read more…

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Andree Martin – AM Camera

  AM Camera is now open full time. As many know, Andree Martin was the wizard at Clairmont Camera who ran the service department and kept cameras running for many years. Now that Clairmont Camera has been acquired by Keslow Camera, Andree has set up shop with Kelly Condon (Mike Condon’s brother) in Valencia, Ca. It is near the Santa Clarita… read more…

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AbelCine Field-of-View Tool 2

Quick. You’re shooting with an ARRI Alexa Mini and a new Alexa LF. The Alexa Mini has a 21mm ARRI/ZEISS Master Prime. What lens do you choose to match the same field of view on the Alexa LF? What happens if you put the 21mm on the LF? You also have many other important, but vexing questions: image circles, crop factors,… read more…

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Canon EOS M50 Mirrorless 4K APS-C

Canon’s new EOS M50 Interchangeable Lens Camera (ILC)  is a mirrorless still camera that shoots 4K video. The 24.1 Megapixel sensor is APS-C format, approximately 22.3 x 14.9mm. Although Canon calls the EOS M50 “an all-around, entry-level camera” it has many interesting and innovative features that surely will trickle up to other products in the Canon  camera pyramid. The mirrorless EF-M mount… read more…

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Massis, Mont Blanc, Monstro, Sigma

“Samuel Renollet (RVZ) contacted me in mid-November 2017 for an adventure I couldn’t refuse: head to high altitudes and test the new RED MONSTRO 8K VV camera with SIGMA Cine Lenses. Samuel’s idea was a test shoot with this large sensor camera in difficult conditions, in the high mountains, with a small crew.” read more…

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Grand Format Lenses at Micro Salon

At the AFC Micro Salon in Paris, it was called “le Grand Format”– Full Frame, Large Format. And Grand Format was partout. Here is a parade of Large Format images. Photographed using a Sony a9 still camera with PL-to-E-mount adapter and LPL-to-E-mount adapter. All lenses wide open–maximum aperture. Credits and more details will follow as I edit this post. The filename… read more…

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ARRI Signature Primes: Faces and Food

What better way to test the new ARRI Large Format Signature Primes than some food photography in the company of fellow Film and Delicious Times foodies Thorsten Meywald and Howard Preston. Thorsten is ARRI Product Manager for Optical Systems and Howard is head of Preston Cinema Systems. Thorsten discreetly smuggled into the restaurant a rapid prototyped LPL to E-mount adapter and a Signature Prime. read more…

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Panavision DXL2

  On Friday, Feb 1  at BSC Expo in London, Panavision launched their new Millennium DXL2 8K Large Format camera. Sensor size: 40.96 x 21.60 mm (46.31 mm diagonal). No one at BSC Expo could have missed the significance of having most of the major cine manufacturers embracing the new, larger format, variously called Full Frame – Full Format – Large Format… read more…

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FDTimes 86F French Edition for Micro Salon 2018

FDTimes February 2018 Issue 86F French Micro Salon Edition is now online. Pick up a free paper copy at Micro Salon in Paris, Feb 9-10. We’ll be there. Meanwhile, here’s the online edition: Free Download. In French and English.  Massis, Monstro, Mont Blanc Emit en plein format au Micro Salon Loumasystems – Les derniers tournages Les maîtres de la mise au… read more…

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Gods of Focus Speak: Preston Light Ranger 2

Every Preston Light Ranger 2 user I’ve talked to refers to it as “a game changer.” For focus pulling on large sensor cameras I would add the phrases “an essential tool” and “job security.” My last two projects were both 65mm (one in 8K), and there is no way I could have perfectly achieved and repeated some of the shots without the LR2’s guidance. read more…

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