- The Year of Full Frame/LF/VV
- ARRI ALEXA Mini LF
- Canon Sumire Prime Lenses
- LEITZ PRIME & LEITZ ZOOM Debut
- Dr. Aurelian Dodoc on LEITZ Design
- Shot on Cooke
- Serguei Saldívar, AMC
- Fujinon Premista Large Format Zoom
- AbelCine Accelerator Program
- Don Burgess, ASC, Camera Owner
- Ben Richardson on Yellowstone
- Band Pro Optical Department
- Teradek 4K Wireless Video
- SmallHD FOCUS 7 Monitor
- DJI Master Wheels
- Blackmagic RAW
- Blackmagic URSA Mini Pro 4.6K G2
- and lots more
- —Dave Talamas, Talamas Boston“
You usually break news on products first. I can trust it’s accurate because I see pictures of you at the building they were made, shaking hands with the guy that made them. Very refreshing in this day of re-tweets and re-posts.
”—Shaun Dixon, Producer“Required reading for everyone in our company, shop, and rental departments
”—Otto Nemenz“We can’t emphasize enough how brilliant your magazine is. Keep up the great work.
”—Brad Wilson, Keslow CameraView All Readers’ CommentsAbout Jon Fauer
Jon Fauer, ASC is an award-winning cinematographer and director who has written 12 bestselling books, famous for their user-friendly way of explaining things as if you’re right there on location with him.
Cannes 2016
Over 120,000 of his books on cameras, cinematography, film and digital video have been printed. Think of this bimonthly Journal as Fauer’s next book — arriving a year early, with up-to-the minute information brought to you in episodic format.- Don Burgess, ASC, RED Camera Owner“I want to have the cameras that I can really get to know. It gives me more control over the images that I’m delivering. We recently shot Sextuplets. The challenge was the fact that one actor was playing six, and at one time seven, parts in the movie. The RED camera with the MONSTRO 8K VV sensor was a perfect choice for the movie because you need to oversize. We decided on a 2:1 aspect ratio. Mike Tiddes, the director, and I basically had conversations about how this show would be viewed and what Netflix wanted. We wanted to fill up the frame with as big an image on the TV as possible. When we looked at the various ways to approach that idea, this one seemed to be a balance between shooting for the big screen in 2.39:1, which I love. I’m not crazy about 16:9. So 2:1 was something that could work for the director and me. read more...
- FDTimes Japan: ALEXA Mini LF
With thanks to NAC Inc for translating the FDTimes Japan ALEXA Mini LF Special Report, here is the Japanese edition.
Paper copies were printed for the ALEXA Mini LF Launch in Tokyo yesterday. The event was held at NAC's office and in the café in front. Yas Mitsuwa reports, "More than 120 people participated in the event and people are looking forward to this new camera. Mr. Schenk and Mr. Shipman-Mueller were in Japan for the event."
Special thanks to Yas Mitsuwa and Keith for the translation, and Amemiya san (Mr. InDesign).
Here's the landing page for all FDTimes Japan editions. read more... - NAB 2019 FDTimes Slideshow
NAB 2019 was the year of Full Frame, Large Format, VV. The Big Picture. Anyone illusions of insufficient Full Frame lenses were quickly dispelled. They were everywhere.
ARRI launched ALEXA Mini LF. It was the camera ARRI users were waiting for. Light, small, flexible, Large Format.
Mole-Richardson's new 20K LED draws 30 Amps and outputs the equivalent of a 20,000 Watt tungsten unit. You can plug it into 2 household sockets, as long as they are separate circuits. I always remember gaffer Sal Martorano's motto, "A 20K is like a 10K with a double until you ask me for more exposure."
Here are some of the things we didn't cover in FDTimes April edition: read more... - IB/E Optics, TRIBE 7, BLACKWING 7 Lenses
Greetings from NAB Las Vegas. The question most asked has been, "Which German company is building the Tribe7 lenses?" Now we know: it's IB/E Optics in Freyung, Bavaria. Read on... read more... - New Blackmagic URSA Mini Pro 4.6K G2 with Blackmagic RAW
The URSA Mini Pro 4.6K G2 (Generation Two) camera comes with new electronics, a new Super35 4.6K HDR image sensor, 15 stops of dynamic range, 300 fps high frame rate shooting, Blackmagic RAW and more.
Blackmagic Design’s URSA Mini Pro 4.6K G2 is the second generation URSA Mini Pro camera with fully redesigned electronics and a new Super 35mm 4.6K image sensor. URSA Mini Pro 4.6K G2 supports Blackmagic RAW and has a new USB-C connector for direct recording to external disks.
The new URSA Mini Pro 4.6K G2 has many technological advancements over the original model. It has entirely new electronics for higher speed processing. The new Super35 4.6K image sensor captures up to 4608 x 2592 pixels with 15 stops of latitude at up to 3200 ISO. You can record full sensor 4.6K images at up to 120 fps, windowed 4K DCI up 150 fps, and windowed 1080 HD up to 300 fps. That makes URSA Mini Pro 4.6K G2 an excellent choice for slow motion stunts, documentaries, nature photography, sports and tabletop food commercials. read more... - Blackmagic RAW
Blackmagic Camera 6.2 update enables Blackmagic RAW in the Blackmagic Pocket Cinema Camera 4K. read more... - Angénieux and Cinema—from Light to Image
For quite some time, Angénieux has entertained the idea of doing a book about the incredible story of the Angénieux brand since the creation of the company in 1935. Angénieux is pleased to release a book around NAB exclusively for the cinema community before its release in book stores. It will be available via the Angénieux web site’s new e-shop. The bookstore release will come at the end of April in Europe and Cinegear time in the US. Worldwide distribution will follow. The common thread of the book is the Angénieux company’s 80-year, long-lasting passion for cinema, complemented by industrial adventures in photography, television, medical, optronics, and also space exploration. read more... - Canon Sumire Prime Lenses
Here's an FDTimes Special Report on Canon Sumire Prime lenses. Download the PDF.
Canon Sumire Prime lenses with PL mounts arrive just before NAB 2019, eight years into the impressive Cinema EOS evolution. These lenses are an inevitable sequel in Canon’s “episodic series” of more than 140 million lenses, including EF, EF-S and Cinema EOS lenses. Canon’s cine lenses have been largely centered on producing a broad range of Super 35mm zoom lenses. The recent flurry of interest in Full Frame for cine spurred Canon to create a contemporary set of prime lenses with PL mounts and a unique, esthetically pleasing look.
Our special report begins with a quick review of Canon cinema lenses and Cinema EOS developments, and then moves to in-depth interviews with the lens designers and planners, a visit to Canon's Utsunomiya factory to see how these lenses are made, and much more. read more... - ZEISS Supreme Primes Special Report
FDTimes Factory Tour and Special Report about the new ZEISS Supreme Prime lenses. Download 44-page 11MB (high rez) PDF. ZEISS Supreme Primes cover a FULL FORMAT image area up to 46.3 mm diagonal. They are incredibly small, lightweight and fast. The focus barrel has a unique, advanced square helical thread that is as smooth as cams and even more rugged. There are 13 lenses planned so far. read more... - ARRI Large Format Camera System
This is a standalone, 64-reprint of the ARRI Large Format Special Report from FDTimes February 2018 Issue 86. Download 9 MB PDF here. ARRI ALEXA LF Why Large Format? Stephan Schenk, Marc Shipman-Mueller Klemens Kehrer, Achim Oehler, Thorsten Meywald Building an ALEXA LF ARRI Signature Primes Signature Prime Lens Manufacturing New LPL Mount ALEXA LF Test by Matias Boucard ALEXA LF Dimensions ALEXA... read more...
News
Factory Tours
- Vocas LPL Mount for Sony VENICEVocas has an LPL mount for Sony VENICE. It is an LPL to E-mount adapter. Vocas also has a PL-to-E-mount adapter. So now, you can mix and match LPL, PL and E-mount lenses. Vocas Systems Larenseweg 121 Hilversum (NH) 1221 CL The Netherlands Phone: +31 (0) 35 62 33 707
- Teradek 4K Wireless Video
You’re the director of a Netflix show, shooting in 4K, viewing video on a gorgeous 4K HDR monitor. But you’re still tethered to the camera by cables because you don’t have 4K wireless. Or you’re watching wireless video when the camera is unleashed on Steadicam or gimbals—but it’s HD video, not 4K. You bellow, “When is Teradek going to build a 4K video wireless Bolt?” Here it is. Teradek introduced the Bolt 4K Wireless video transmitter/receiver system at NAB 2019. read more... - The Big Picture
Film and Digital Times April 2019 NAB Edition is now online, in print and in the mail.
Visit us at NAB Central Hall booth 10206 for free paper copies. read more... - Preston Light Ranger 2W
Preston Cinema Systems will be showing their Light Ranger 2W prototype at NAB. Focus Pullers will be shouting with delight: “A lighter, smaller, game-changing, essential focus helper.” LR2W is a wide-angle, 48 degree version of the existing LR2, which covers 18 degrees. You will want both. read more... - BLACKWING7 from Tribe7
Tuneable optics. Seven focal lengths in the initial set. A choice of 3 looks. Custom tuning by design and by appointment.
BLACKWING7 prime lenses will be available to order exclusively from TRIBE7 beginning March 2019, with production deliveries starting in Summer 2019. Additional focal lengths—including wide angle, macro, close focus and faster T-stop versions—will be developed during late 2019 and ship in 2020. read more... - Fujinon Premista T2.9 Large Format Zooms
Fujinon launches a new Large Format Zoom lens at NAB. Fujinon Premista 28-100 mm T2.9. The name is derived from Fujinon’s top-of-the line zooms, “Premier” and “Vista,” as in VistaVision. Premista. A companion to the Fujinon Premista 28-100 will arrive later this year: a nice long 80-250. This one is under development – specifications may change. Some additional Fujifilm Cine... read more... - ARRI ALEXA Mini LF – Large Format
Here’s the new little camera from ARRI that shoots big pictures. It’s ARRI’s latest addition to their large-format camera system. This is what many cinematographers were asking for: Large Format, lighter, smaller, modular. ARRI ALEXA Mini LF is quintessentially an ALEXA LF stuffed into the body of a Super35 ALEXA Mini. It uses the same large format CMOS sensor (36.70 x 25.54 mm). To picture the engineering involved, imagine unloading the entire contents of your 22-foot long camera truck and squeezing almost everything inside a BMW X3. ALEXA Mini LF’s carbon fiber body plus LPL lens mount weighs a mere 2.6 Kg. How convenient—that’s the same size and weight (about 5.7 lb) as the ubiquitous Maß (1-liter beer mug) at Oktoberfest. Read the full 22-page FDTimes Report. read more... - Designing Sony VENICE
We now came to the high point of the visit: a meeting mechanical, styling, electronic and software engineers who designed VENICE at the Sony Atsugi Technology Center. read more... - ARRI WVR-1s Small Video Receiver
ARRI WVR-1s Small Video Receiver The new WVR-1s from ARRI is a smaller, lighter Wireless Video Receiver. The WVR-1s is part of ARRI’s WVS family of integrated (in-camera) and standalone transmitters, receivers, monitors and associated accessories. The WVR-1s is smaller and lighter than ARRI’s WVR-1 receiver. It will be at home attached to a Wireless Lens Control Hand Unit and... read more... - RED Ranger at Rental Houses
Jarred Land talks about the new RED RANGER Camera, available exclusively to Rental Houses. "The RANGER is a special camera that we will sell only to authorized rental houses. They will get this camera that hopefully addresses some features and requests that are unique to rental houses." read more... - TRIBE7
Neil Fanthom and Bradford Young ASC are up to something. Today they launched a new venture called TRIBE7 and a technology called BLACKWING7. Since I’m sitting in London within shouting distance of Sherlock Holmes’s 221B Baker Street, a bit of deduction might help unravel some of the mysteries that are yet to be revealed. As Holmes might have told Watson,... read more...
New Products
New NAB 4/19 Edition
April 2019: Issue 93-94
Hi-rez 112-page printable 26 MB PDF download for subscribers. Click below on SUBSCRIBERS
Free, limited time preview, 112-page download, lower rez, 13 MB PDF. Click below on FREE PREVIEW.
(Best with Adobe Acrobat Reader, 2-page view, show cover page.)
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I was fascinated by your lecture on lighting. All too often we think of the gear, which is fun, but the essence of the art and lighting complementing or creating the look in cinematography is often overlooked. It’s often amps and lumens, not light and depth. I found your lecture to be extremely stimulating and enjoyable.
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