Products
Canon EOS C70 4K Super35 Cine Camera
This is the first Canon Cinema EOS Camera with an RF Mount. It has a Super 35mm Sensor. If you’re familiar with the C300 Mark III, you’ll be at home with many of the C70 capabilities. Why would you want a new EOS C70 4K Digital Cinema Camera then? Because it is smaller than the C300 Mark III, is half the cost, has a versatile RF mount, can record H.265 video. Canon explained, “One request that Canon consistently heard was to put an RF mount on a Cinema EOS camera so that future lens performance could capitalize on the short flange depth. Those wishes have come true with the new C70 camera.” read more…
Tags: Camera, Canon, Canon EOS C70, Cine Camera, Super35
Sony FX6 Full Frame 4K Cine Camera
Download our FDTimes 22-page Report on the Sony FX6. The Sony ILME-FX6 launches officially on November 17 at 10 am EST. Like Fellini’s “Asa, Nisi, Masa,” mantra in “8 1/2,” the camera beat thrums: “Lighter, smaller, faster, cheaper.” The word “cheaper” is not the right one, but it thrums more melodically than “more affordable,” which is what the FX6 is. Lighter. The FX6 body weighs a mere 1 lb 15 oz. Smaller. FX6 is the smallest member of the Cinema Line, at 6 1/8″ long x 4 5/8″ high x 41/4″wide. In fact, the new FX6 is smaller and lighter than the Super35 FS7 II. FX6 is also smaller than the small S35 FS5. Faster. FX6 records up to 120 fps in QFHD (4K UHD) and 240 fps in FHD. More Affordable. FX6 will be US $5,999.99 when it ships in December. read more…
Sony F EC 16-35mm T3.1 G Cinema Zoom Lens
Welcome to “fly by wire” Cinema Lenses.
The Airbus A320 took off in 1984 and was one of the first commercial airplanes with digital, rather than mechanical or hydraulic, controls. Although we’ve seen cine lenses controlled electronically, the Sony F EC 16-35 T3.1 G (SELC1635G) Cinema Lens is altogether unique.
Externally, the 16-35 T3.1 lens looks familiar, albeit a bit smaller than what you’d expect. There are three separate, geared M0.8 rings for focus, iris and zoom. The iris has a mechanical switch to click or declick the aperture settings. This 16-35 T3.1 lens has a servo zoom. read more…
Atomos NEON 17” and 24” Monitor-Recorders
Atomos NEON 17” and NEON 24” HDR monitor-recorders are shipping later this month. NEON 17” has a Full HD 1920 x 1080 10-bit, 16:9 aspect ratio display. (If you’re shooting 4K, it can process and scale the image to HD.) NEON 24” has a 4K DCI 4096 x 2160, 10-bit, 17:9 aspect ratio display. (If you’re shooting HD or 2K, it upscales to 4K.) Both NEON displays have Full Array Local Dimming (FALD) backlight illumination. This can provide a 1,000,000:1 contrast ratio along with a 180 degree viewing angle. read more…
Tokina Cinema Vista Prime 40mm T1.5
Tokina introduces a new Cinema Vista Prime 40mm T1.5 lens. It joins the existing Tokina Cinema Vista Full Frame Prime lens set—all T1.5: 18, 25, 35, 50, 85, 105 and 135 mm.
The 40mm T1.5 image circle is 46.7mm. This nicely covers RED MONSTRO 8K VV, ALEXA Mini LF Open Gate and Sony VENICE FF. The Tokina 40mm T1.5 also has an area of illumination that will cover larger formats up to ALEXA 65 2:1 Open Gate. read more…
Aaton Smart Grip
The Aaton wood handgrip is iconic. This is the original. Now Aaton-Cameras and FoolColor have created a new take on this most comfortable handgrip. It is available now directly from Aaton-Cameras and Transvideo for 990 Euros. Foolcolor, of course, is Mikael Lubtchansky and famous FoolControl. The new handgrip is made of walnut wood from Grenoble. It connects directly to the camera and has a joystick, a 5-position switch and three silver buttons familiar to Aaton camera users everywhere. The new handgrip connects via Bluetooth to an iOS device (iPhone, iPad) running the FoolGrip App to program individual functions for the camera. At the moment the handle and the app are compatible with RED DSMC 1 and DSMC 2 cameras. (RED KOMODO and other cameras will be added soon.) read more…
ARRI Accessory Rail System ARS
ARRI’s Accessory Rail System ARS consists of Rails that attach to camera or mattebox, and Cubes that slide onto the rails and provide 3/8-16 and 1/4-20 mounting points for accessories, monitors, motor drivers, video transmitters, focus aids and whatever else you need to attach to the growing Christmas tree that is the camera.
ARRI Handle Extensions HEX
Once upon a time, there was an ARRI top handle called CCH-4. Its full name was Camera Center Handle 4. But not all camera crews carry cameras the same way. And so, the ARRI PCA team conceived of a modular system of handle extensions. The ARRI Handle Extensions HEX system carries on the design of the Camera Center Handle CCH-4. Each component can be connected in multiple ways to extend out from the top handle. It lets you customize your own top handle or turn it into a Hollywood Handle.
RED KOMODO 6K S35 Released
RED KOMODO is released and ready to order. This is the serial production model in black. Hundreds of custom color and white KOMODOs were already set free into in the wild—those were beta and special pre-release species. “KOMODO has turned into quite the beast,” Jarred Land said. “This tiny chameleon of a camera packs in amazing resolution, dynamic range and image quality with a global shutter that has allowed filmmakers to capture footage in ways never thought possible.” Here are updates and specifications that were missing from my previous post about KOMODO. read more…
Leitz THALIA Large Format Primes
Leitz Thalia primes cover Large Format, Full Frame, Leica Format and 65mm Format cameras like ARRI ALEXA 65, Fujifilm GFX 100, etc. The image diagonal is 60 mm. There are three Makro lenses in the Leitz THALIA set. They focus to 1:2, meaning that you can fill the frame with an object that in real life is twice as large as the sensor. The focus barrels are marked not only with distance, but also magnification factor and exposure (light loss) for which you have to compensate. The German spelling of Makro is used, with a “k.”
Tags: Leitz, LEITZ THALIA, Makro lenses, THALIA
Jarred Land on KOMODO 6K
Here is an interview with Jarred Land, president and co-owner of RED Digital Cinema, about the new KOMODO camera. This is a preview of the cover story and interview in the upcoming October edition of FDTimes. It’s the beginning of October 2020, the camera hasn’t been officially released, and thousands of people already know about it. Jarred explains, “Yes, it hard to believe that the KOMODO isn’t actually official nor commercially for sale yet in production form. It is vacant from RED.com and we are just ramping up to get ready for traditional manufacturing. And yet it is a camera that everyone seems to be already shooting… read more…
LEITZ PRIME Lenses
LEITZ PRIME lenses have been described as “cinematic with an iconic confluence of coatings, glass, design, art and craft.” Development began in 2015. In 2019, I remember rhapsodizing, “LEITZ PRIME lenses has the look of glowing, lusciously smooth skin tones, detailed details where you want them—sharp eyelashes and eyebrows—with silky sympathetic focus roll-off, gently tempered depth of field dimensionality, impressionistic luminous backgrounds, beautiful bokeh and harmonious contrast.
Tags: LEITZ PRIME, LEITZ PRIME Lenses
LEITZ ZOOM Lenses
All four lines of LEITZ Full Frame / Large Format / Leica Format cine lenses are delivering now. The M 0.8 series was introduced in 2016. THALIA came next, in 2017. September 2018 saw a new set of unnamed and untouchable Leica Format prime lenses inside a locked glass case at IBC. The name came in February 2019: LEITZ PRIME. Shortly after, LEITZ ZOOM lenses were announced. Here are the zooms.
Tags: LEITZ ZOOM, Lenses, MacroLux
P.A.T. Lens Charts
Stéphane Paillard is a former Camera Operator and Camera Assistant who turned his sharp knowledge into a thriving business designing and supplying high-tech lens charts and essential accessories. His company P.A.T-Accessories (Prêt à Tourner—Ready to Shoot) is a few miles from the location where the Lumière Brothers shot The Arrival of a Train at La Ciotat Station with their Cinematograph in 1895. P.A.T. charts let you check the resolution of a lens or the camera’s sensor. read more…
ARRI Signature Zooms
September 23, 2020. ARRI introduces four Signature Zoom lenses: 16-32 mm T2.8, 24-75 mm T2.8, 45-135 mm T2.8, and 65-300 mm T2.8 (110.5-510 mm T4.95 with dedicated 1.7x extender). They cover Large Format / Full Frame and have LPL mounts. So, now there is an ARRI Signature lens system consisting of four Signature Zooms and sixteen Signature Primes. Signature Primes were unveiled concurrently with ALEXA LF at BSC Expo in February 2018. First customer deliveries began in May 2018 with the 35, 47, 75 and 125 mm primes. Then, during every following month in 2018, at least one or two additional focal lengths shipped. By the end of 2018, I think delivered sets already consisted of thirteen lenses. Three more Signature Primes arrived in 2019; they were unique: 12, 15, and 280 mm. I cannot recall an introduction of so many cine lenses in such a short time. Pre-production 45-135 and 65-300 Signature Zooms have landed. read more…
Takumi 40.6 – 332 mm Full Frame
Musashi Optical System Company is located in Saitama, Japan. Their expanders, extenders and optical adapters are well known, including the OptMag, OptMag Plus and OptMore. Now, Mushashi-Opt presents their new Takumi 40.6-332 mm T4.8 Full Frame zoom lens.
Leica M10-R — 40 Megapixel Sensor
March 1914, Wetzlar. Oskar Barnack completes the prototype of his Liliput camera, the “Ur-Leica. It shoots 36×24 mm (Full Frame) stills, using 35mm cine film positioned horizontally. March 1925. The Leica I begins serial production and is introduced at the Leipzig Fair. The format is called Leica Format. 1930: the Leica I gets a 39 mm diameter threaded mount for interchangeable lenses and looking back, can be called a primordial ILMC—Interchangeable Lens Mirrorless Camera. 1932: the Leica model C standardizes on a Flange Focal Depth of 28.8 mm. 1954. The first M series Leica Camera, with a bayonet mount, is introduced at Photokina. Flange Focal Depth is now 27.8 mm and the mount’s Inside Diameter is 44 mm. July 2020: Leica Camera introduces the latest in their long line of M cameras–the M10-R has a new 40 Megapixel sensor.
ARRI Lightweight Lens Support LLS-1
The sun is swiftly setting and you are scrambling with five more setups until wrap. You’re changing lenses faster than a short-order cook. But where are those essential lens supports? Instead of excavating the depths of the Bermuda Triangle that is your Camera Assistant bag, use ARRI’s versatile, adjustable lens support. The Lightweight Lens Support LLS-1 secures lenses with diameters from 39 mm to 153 mm. That’s a wide range from primes without support threads to big zooms.
Canon EOS R5 and EOS R6
Canon launched the EOS R System in Hawaii on Sept 5, 2018 with the Full-Frame Mirrorless EOS R camera and RF lenses. At that time, it was made clear that there would be more to come. The more affordable EOS RP was released in March 2019. For the third act in the EOS R series, Canon introduced the R5 and R6 cameras on July 9, 2020. Both cameras are weather, dust and spray resistant. My favorite feature, carried from the original R, is the mechanical shutter that completely covers and protects the sensor from dust when changing lenses (when the camera is turned off). All cine and mirrorless still cameras should have this.
Tags: Canon, Canon EOS R5, Canon EOS R6, EOS R System
ARRI Bicycle Grip Adapters
Philip Vischer started out as a Camera Assistant, Focus Puller and Camera Operator. Next he worked as a camera rental manager and head of sales. These positions surely influenced the thoughtful designs he undertook in the latest phase of his career, as ARRI PCA (Pro Camera Accessories) Product Manager for more than the past ten years.Here are some of the latest Professional Camera Accessories from ARRI, including the BGA-2 and BGA-2. Note that these accessories are camera agnostic. read more…
