FDTimes will be at NAB 2022. Pick up copies of the April 2022 edition in the publication bin at the entrance to Central Hall.
Make yourself at home in our unoccupied FDTimes booth # C6244. But, unfortunately I will not be there nor will it be staffed. Too busy preparing the June 2022 edition. See you soon! read more…
Canon announces “the launch of a new series of lenses for the company’s EF Cinema Lens lineup — the Flex Zoom Lens series.” Watch what they say: “The first lenses in the series are the CN-E20-50mm T2.4 L F/FP wide-angle zoom lens and the CN-E45-135mm T2.4 L F/FP telephoto zoom lens.” Does “first lenses in the series” mean that more Full-Frame Zooms are on the way? I would guess yes. You won’t have to flex your muscles to work with these new Canon Flex Zoom Lenses. They are very light (less than 7.5 lb / 3.4 kg). They are very compact: shorter than 9.7″ / 246.4 mm. And they are amazingly fast for compact Full-Frame zooms: T2.4 maximum aperture for both, without ramping. The Flex zooms come in EF or PL mount, designated by the product name of F for EF, and FP for PL. The EF mount provides electronic shading and chromatic aberration correction when used on Canon’s EOS R5 C with an EOS RF-to-EF mount adapter. The PL mount has the latest /i3 Technology.
Here are additions and changes to the FDTimes November 2021 report on DJI’s Ronin 4D. New firmware, when the camera ships soon, will let you: Use the Remote Monitor to view and control the main monitor interface with “Mirror Control Mode.” Stream a clean video feed via HDMI and SDI ports on the Remote Monitor Expansion Plate with no overlaid… read more…
Faster than you can say, “Otto Nemenz,” this photo just arrived. Band Pro delivered one of the first Angénieux Optimo Ultra Compact 37-102 Full Frame Zoom lenses in the Americas to Otto Nemenz International yesterday. Above, left right: Amnon Band, Alex Wengert, Otto Nemenz with 37-102, Dan Lopez, Fritz Heinzle. read more…
You spot it right away. On the front, it says EOS C. C as in Cinema. On the left side, there’s a big red shutter/start-stop button. The Canon EOS R5 C Full-Frame hybrid video and stills, mirrorless, RF-mount 8K camera is here.
From the front, the R5 C looks very similar to the R5, which launched on July 9, 2020. If you said that the R5 was essentially a remarkable 45 megapixel still camera that also did 8K video, well, the new R5 C is a remarkable 45 megapixel camera equally adept at both stills and video. read more…
Easyrig’s new STABIL Light is a spring-loaded arm that smooths your moves while working with an Easyrig Minimax.
It supports cameras and gimbals from 2 to 7 kg. This includes many of the newer, lighter, smaller packages: ALEXA Mini, Mini LF; Sony FX6, FX9; Canon C300, C599; RED V-RAPTOR, KOMODO; DJI Ronin 4D, etc.
Easyrig Minimax is a vest and backpack with shock absorber that supports your camera weightlessly from a fixed bracket overhead. STABIL Light is the accessory L-shaped, spring-adjustable overhead support that replaces Minimax’s rigid arm.
With Minimax alone, the camera would move up and down as you walk or run. With Minimax + STABIL Light, up and down movement is absorbed. So, when the script calls for the camera to follow the good guys chasing the bad guys along a narrow path through a dense forest, Minimax + STABIL Light + gimbal + camera will glide you smoothly through the scene. read more…
Blackmagic URSA Mini Pro 12K gets an update. Blackmagic Camera 7.7 Update provides improved color balance, improved demosaicing for better shadow detail, improved demosaicing to reduce moire effects on fine patterns, improved USB-C camera connections and Blackmagic RAW 2.2.1. URSA Mini Pro 12K’s sensor performance is improved with adjustments to its demosaicing algorithm to offer a more neutral color balance and enhanced clarity in shadow areas. Blackmagic Camera 7.7 update for URSA Mini Pro 12K provides a more neutral color balance for better skin tones and a natural highlight rolloff. read more…
Like a Lonely Planet geeky guidebook, not as amusing as Mark Twain’s The Innocents Abroad, less strenuous than Survivor, here is a quirky travel guide of a RED KOMODO’s journey to Film and Digitial Times. The accessories and methods listed here are not comprehensive. In fact, they are the result of things that happened to be shipped, arrived and tried. (This article first appeared in FDTimes Aug 2021 Issue 109, pages 32-44.)
Four years and nine days after the original VENICE camera first launched five miles from Venice Beach, at Sony Pictures Culver City, VENICE 2 arrives in 6K and 8K. Except for a completely flat base with big air vents, they look very similar to the original VENICE. The design is clean and understated.
Not understated is the performance of this camera. Sixteen stops of exposure latitude retain highlights and reveal shadow detail. Skin tones are smooth and gentle. Images are elegant, natural, with a quality that seem almost tactile and impossibly three-dimensional.
If you have used the original VENICE, the learning curve is almost instantaneous. This is a familiar friend.
Cooke is back in the Varotal zoom lens business. These things seemed to go in cycles. Horace W. Lee designed the legendary Cooke Speed Panchros a century ago, in 1921. A half century later, in 1971, Cooke introduced the 20-100 mm T3.1 Varotal zooms, designed by Gordon H. Cook. Primes returned in 1998 with the Cooke S4 series. And now, Cooke announces two new Full Frame Varotal zooms: 30-95 mm T2.9 and 85-215 mm T2.9. They come in PL or LPL mounts. read more…
October 7, 2021. Panasonic announced their new full-frame cube-style LUMIX DC-BS1H. Panasonic’s Matt Frazer said, “Picture an S1H mirrorless camera put into a box. Hence the B in BS1H.”
Matt asked why I call it a cube and not a box-style camera. The reason goes back to Fritz Gabriel Bauer’s sassy comment, “A camera is just a box onto which you put beautiful lenses.” That’s a tongue-in-cheek statement from the guy who developed the innovative Moviecam cine cameras. Surely, a good cine camera is much more than a box.
And so, the good BS1H is much more than a box. It is also more than just an S1H mirrorless hybrid still/cine camera stuffed inside.
Both share most of the same specifications: 24-megapixel full-frame (35.6 mm x 23.8mm) sensor with Dual Native ISO, 6K full-height recording, wide dynamic range, V-Log, anamorphic desqueeze, and more. read more…
This is one of the most captivating cinema cameras since, well, the birth of cinema. I hear howls calling for superlative deleted, but please indulge this attention-grabbing opening line for a few moments. The DJI Ronin 4D is like a polymath of primordial portable 1895 Lumière Brothers Cinématographe, mixed with 1970s Aaton LTR, styled by a dreamed-up team of DaVinci, Gaudí and Ive, commingled with stabilizers, Lidar, integrated wireless video and wireless control, inspired by Inspire 2, Zenmuses and ancestral Ronins. It is an astonishly seamless cinematographic system. Download the free 22-page FDTimes DJI Ronin 4D Special Report. 22 pages. 5.3 MB PDF. read more…
You may ask, why is Elsie Kühn-Leitz the cover story of September FDTimes and why are the new Leitz lenses called ELSIE?
Rainer Hercher, Managing Director of Leitz-Cine Wetzlar, explains:
“The story began when we discussed the naming of our lenses. Previously, we had followed the Leica tradition of naming lenses according to their apertures. Summilux-C were T1.4. Summicron-C were T2. But then, at a certain point, we wanted to honor the fundamentals that the Leitz family started in 1849 in Wetzlar.”
An Angénieux 37-102 Full Frame Optimo Ultra Compact Zoom was hand-carried from the factory in Saint-Héand, France to its USA premiere in New York. The 37-102 is the first of two new Angénieux Optimo Ultra Compact Zooms. The other one covers 21-56 mm. If the 2.7x zoom range sounds familiar, you probably have been using the iconic Angénieux Optimo 15-40 and 28-76 Super35 Spherical zooms, introduced 16 years ago. And so, the US launch was celebrated at the Salon de Ning rooftop outdoor event space on the 23rd floor of the New York Peninsula Hotel. read more…
SIGMA Corporation CEO Kazuto Yamaki introduced two new Full Frame mirrorless camera lenses today. The SIGMA 24mm F2 and 90mm F2.8 DG DN | Contemporary lenses now bring the total “I series” lenses to six. Today also is the 60th Anniversary of SIGMA Corporation. Kazuto Yamaki said “If you asked me who my mentor was, I will immediately give you the name of SIGMA’s founder, my father Michihiro Yamaki. His determination, philosophy, poise and conduct as a manager have had a monumental influence over me in many ways.” read more…
Following on the Super35 KOMODO, another repilian-named RED camera arrived.
RED announced V-RAPTOR, as in Velociraptor.
V-RAPTOR is an 8K Full Frame (VV) or 6K Super35 cine camera. It weighs 4.03 lb.
V-RAPTOR has a new DSMC3 body that is just slightly larger than KOMODO–so it’s about 4.25″ h x 4.25″ w x 6″ long. The sensor was described as a new design with 8K resolution 8192 x 4320 (40.96mm x 21.60mm) and blisteringly fast top speeds–including 120 fps in 8K. read more…
If you are a wildlife, sports, stunts and action cinematographer or photographer, a 150-600 zoom lens may be a constant companion.
Now, there’s a completely new SIGMA 150-600mm F5-6.3 DG DN OS | Sports zoom lens. It covers Full Frame and comes in SIGMA/Leica/Lumix L-Mount (20mm FFD) or Sony E-mount (18mm FFD).
The result is like an extension of the Olympic motto Citius, Altius, Fortius: Faster, Lighter, Smaller, Smarter, Sharper — Together. read more…
Sony FX6 and FX9 (as well as FS7 and FS5) cameras have a nice right handgrip with a built-in zoom rocker. The assumption is that you’ll use a Sony zoom lens that has an internal zoom motor.
But what if you want to use a photo or cine zoom lens that lacks an internal motor? There are many E-mount Sony, ZEISS, SIGMA, Angénieux and other zoom lenses there for the asking.
Chrosziel’s new Zoomer (CDM-UNI-Z2) Universal Zoom Motor attaches to a 15mm lens rod. read more…
Read all about it. The new ARRI Hi-5 is featured in Film and Digital Times August 2021 edition. Download free PDF.
Tail Slate Mode protects you from the muscle memory impulse to cut when the Director says “Cut.”
The display screen lets you navigate by touch or buttons.
There are 10 pre-engraved focus rings. A smart chip is embedded within each ring and the Hi-5 automatically adjusts accordingly.
OCU-1 Camera Operator override and Focus Puller handoff is seamless and good.
Hi-5 has a built-in base so it can rest at a comfortable angle on a flat surface like your Inovativ Echo camera cart’s top shelf.
A pivoting bracket slides onto the Hi-5’s top NATO rail to support a monitor.
Three different Radio Modules plug into the rear of Hi-5 for different ranges and regions.
All Hi-5 units include ALEXA camera control by default. Sony and RED camera control is planned with a future software update.
Focusbug Cine RT Ultrasonic Rangefinder System integration is expected with future firmware updates. read more…
Angénieux lifted the mystery at Cannes today. Christophe Remontet, Managing Director Cinema Optics, announced two new Full Frame Optimo Ultra Compact Zoom lenses:
Specifications are expected in August, with the official launch of prototypes at Cine Gear in September and IBC in December. Christophe said that deliveries could be early 2022.
These two lightweight and compact zooms complement and match the existing Optimo Ultra 12x (36-435 T4.2 in FF/VV and 24-290 T2.8 in S35)
and the 12 Optimo Primes. read more…