Products
Vocas Accessories for RED KOMODO
Vocas has a range of compact and handy accessories for the RED KOMODO.
With the side cage as the starting point, you can add components to build a complete cage with different top handles, handles, lens motors, microphone holder, additional 15 mm rods for mounting focus motors and shoulder supports. read more…
TILTA Kits for KOMODO
The TILTA Full Camera Cage for RED KOMODO protects the camera and provides 1/4-20 and 3/8-16 mounting threads for accessories. Handgrips attach to industry-standard Hirth-Tooth Rosettes in front and at the back of each side. A cold shoe on top accepts carrying handles. There are numerous configurations. The base of the cage has mounting threads to attach your camera to gimbals, drones and other places where balance is important. Several baseplates attach to the bottom of the cage for lens rods, Arca Swiss and Manfrotto as well as other quick release plates, and underslung battery plates. read more…
Tags: KOMODO, TILTA, TILTA Kits for KOMODO
Teradek Bolt 4K LT
I have been singing the praises of 4K and HDR wireless video on set and location. But there was a concurrent chorus of users who wanted a more affordable alternative. Now Teradek adds their new Bolt 4K LT Transmitter and Receiver to their Bolt 4K line-up. “Bolt 4K LT represents the culmination of a massive effort at Teradek,” said Nicol Verheem, Creative Solutions CEO. “We’ve added considerable technology upgrades without raising the price to the end-user.” What’s this? Same price as previous Bolt 2K models? Why would I want to upgrade? And at half the price of the current Bolt 4K systems, what’s missing? Yes, Bolt 4K LT is the same price as earlier 2K models. You want to upgrade because the image quality and signal range is greatly improved compared to your older 2K Bolts. But you don’t have to ditch them. For example, you can use them for B camera or second unit. read more…
Cinematography Electronics /i Lens Display
Larry Barton, President of Cinematography Electronics, was on the other end of a Zoom chat in high resolution, with dramatic lighting and Full Frame shallow depth of field. It was time to learn about the Cinematography Electronics /i Lens Display. Larry said: “What we’ve done with our /i Lens Display was to take the iris, focus, focal length and other metadata from the lens—combined with information from the CINETAPE 2—and make the information more user-friendly for focus pullers and lens technicians at rental houses.” read more…
Panasonic LUMIX DC-S5
The new LUMIX DC-S5 joins Panasonic’s growing line of Full Frame L-Mount hybrid mirrorless cameras that shoot stills and video. A quick review. The LUMIX DC-S1H is still the flagship for hybrid video, with a crisp 5.76 million dot OLED EVF and numerous video choices that include C4K Full Frame 4096×2160 All-I 4:2:2 10-bit 400 Mbps MOV H.265 files internal recording up to 30 fps. The LUMIX S1H has a 24.2 MP sensor. LUMIX DC-S1R has a high resolution 47.3 MP sensor. Both have 5.76 million dot finders. Now, if you want a lighter, smaller, cheaper companion to the S1H, the new LUMIX S5 beckons. It uses the same 24.2 Megapixel Full Frame sensor as the S1H. read more…
Tags: Lumix, Panasonic LUMIX DC-S5, panosonic
Leitz Henri Directors Finder
Rainer Hercher, Managing Director of Ernst Leitz Wetzlar GmbH (Leitz Cine), said, “The initial concept of Henri was to implement the Leica SL2-S for lens testing. And so, we decided to make our own system as a Director’s Viewfinder for the cine world, especially because the SL2-Sb camera, in my opinion, has the one of the best viewfinders in the business. It’s very good and very sharp. The colors and contrast are excellent. read more…
Leica SL2-S for Stills and Cine
The new Leica SL2-S launches today, December 10. Think of the “S” after the “SL2-” as “Special” or maybe “Sinematographer” with an “S.” That is because the SL2-S will be specially suited for cinematographers and anyone shooting stills and cine.
The SL2-S has a 24.6 Megapixel sensor inside. (Its sister SL2 has a 47 MP sensor). What is it about 24 MP sensors that puts them inside the Panasonic S1H and S5, as well as the SIGMA fp? Are these members of the L-Mount Alliance conspiring? What do they know that we should know? read more…
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
