Teradek Bolt 4K MAX

Teradek Bolt 4K MAX joins Bolt 4K 750 and Bolt 4K 1500 (announced earlier this year). The Bolt 4K MAX is the most fully-equipped Bolt transmitter yet. Bolt 4K MAX can transmit 4K HDR video wirelessly—in real-time—over distances up to 5000 ft (1500 m) in normal operation and up to 10,000 ft (3000 m) in Broadcast Mode. For a limited time, all Bolt and Paralinx Tomahawk owners are eligible to earn a trade-in credit toward the new Bolt 4K. read more…

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Small4K Monitors

SmallHD announces two lines of new 4K HDR monitors. The name is “Small4K.” There will be a Small4K Vision Series and a Small4K Cine Series, each featuring three monitor sizes: 13″, 17″, and 24″. read more…

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SmallHD Cine7 RED Camera Control

SmallHD is releasing a new Camera Control for RED DSMC2 software license for their popular Cine7 touchscreen monitors. This software gives users full menu access to a RED DSMC2 camera when the monitor is connected using an included custom cable. With just a simple swipe across the screen, a menu appears as an overlay with offerings of multiple options to dial-in configurations for the camera. read more…

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Sony F EC 16-35mm T3.1 G Full Frame Zoom

Just as the FX9 was inevitable, so were more Sony E-mount cinema lenses. The new FE C 16-35mm T3.1 G zoom is the first in a new series of Full-Frame zooms. Focus, iris and zoom gears are all standard 0.8M. The iris clicks and declicks for cine or still work. Zoom is switchable from manual to servo. The servo unit comes with the lens and is operated by the camera handle or handgrip zoom control. The servo can be detached. The Sony FE C 16-35mm T3.1 G zoom lens will be available around Spring 2020. Estimated price is $5,500. read more…

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Sony PXW-FX9 Full Frame

The Sony FX9 is an affordable, compact, lightweight cine camera that can democratize Full-Frame. With a new companion Full-Frame zoom lens, this system is about the same size and weight as Super35 predecessors and still shoots both formats. Full-Frame cine becomes mainstream. And, history repeats itself. read more…

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ARRI ALEXA Mini LF

ARRI ALEXA Mini LF is shipping now. It is thoughtfully designed and meticulously built. Usually the measure of a camera’s goodness is to count how many petty peeves you wrote down to send to the engineers. The fewer the better. This time, the page was blank. It’s my favorite ARRI camera since the Arriflex 235. read more…

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IBC 2019 Slideshow

Highlights of IBC 2019 from FDTimes: slideshow. read more…

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MINI MIX from DMG Lumière by ROSCO

The MINI MIX from DMG Lumière by ROSCO blends six LEDs to create almost any color you can conjure up or you can accurately match Rosco gels. read more…

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Wooden Camera LPL Mounts for RED and Sony

Wooden Camera has LPL Mounts for RED DSMC2, Sony VENICE and Sony E-mount Alpha mirrorless cameras (a9, α7 series). LPL is the new lens mount introduced by ARRI in February 2018. It is standard on ALEXA LF and now ALEXA Mini LF. LPL has a 44 mm Flange Focal Depth and 62 mm Inside Diameter. ARRI Signature Primes only come with LPL mounts. By the way, all PL mount lenses fit by using a PL to LPL adapter. read more…

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Before the Fall

I’m now in lovely Freyung Hospital with a bunch of broken ribs after a close encounter with a metal post while mountain biking with Klaus Eckerl on Sunday. Photos of the carnage and recovery are on Instagram @fdtimes.

Freyung is about 2 hours east of Munich. IB/E Optics headquarters are in two large, modern buildings on -the main road leading into town. IB/E is also conveniently located right next door to the hospital. So, should you choose to visit, Klaus and team can demonstrate their impressive line of products in their offices or in the privacy of a hospital room :) read more…

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FDTimes Sep 2019 IBC Edition

Film and Digital Times September 2019 Edition will be distributed at IBC on Friday, Sep 13 beginning 12 noon Amsterdam time. That’s when the last embargo lifts. Paper copies will be available all over Hall 12 and elsewhere at IBC. It will also go online here at that time.

Also, visit FDTimes at IBC Booth 12.F30 (Aaton-Transvideo).

The worldwide edition printing in Los Angeles will ship on September 13 as well.

Watch the top left column of this page to download the PDF on September 13 at 12 noon Amsterdam time. read more…

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Servicevision Scorpiorama 70 Full-Frame 1.65x Squeeze Front Anamorphic

At IBC 2019, Servicevision will present new 1.65x FFA Full-Frame Front Anamorphic lenses. They have characteristic flares, streaks and the smoothness that you get from front anamorphic cylinders. The 1.65x squeeze ratio fills a 1.5:1 (3:2) Full-Frame sensor like ALEXA or VENICE and desqueezes it very nicely to 2.39:1 without wasting left and right side pixels in post. The Servicevision 1.65x FFA lenses are small and lightweight and have front anamorphic elements.  These lenses premiere at IBC in Servicevision’s booth 12.C43. read more…

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William Rexer’s Equipment List on “The Hunt”

William Rexer is shooting The Hunt, a TV series in New York for Amazon Studios. This article first appeared in June 2019 FDTimes, but now it’s updated with his comprehensive equipment list. REXER: “We’re shooting in Full Frame with three RED MONSTRO 8K VV cameras. I was attracted to the Sigma FF High Speed lenses and then I was blown away by them. We have three sets. I’m a big fan of Full Frame.  Amazon wants 4K deliverables. Al Pacino is the lead actor. It was very easy for me to explain that if we were shooting a medium close up and it was a perfect performance, you could easily pull a tighter shot out of it in the MONSTRO’s Full Frame 8K resolution. You have that flexibility. read more…

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Panasonic S1H Full-Frame 6K

Panasonic’s Matt Frazer describes the S1H as “a camera that speaks three languages: still, video and filmmaking.” Let’s begin with its compelling capabilities for filmmaking since the S1H has also been called a DSLM (Digital Single Lens Mirrorless) with “A” camera image quality. The S1H offers 6K Full-Frame 4:2:0 10-bit, 4K Full Frame 4:2:2 10-bit, and 4K Super35 4:2:0 10-bit internal video recording (among many other choices.)  An HDMI Type A connector outputs 4:2:2 10-bit 4K 60p/50p and other things that we’ll get to in another story. read more…

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Film and Digital Times Chinese Edition – FDTC

In time for BIRTV, the Film and Digital Times Chinese language PDF August 2019 Edition is now ready. Go to the FDTC (Film and Digital Times Chinese Language) landing page and download the latest issue.

Pick up a free paper copy  in the booths of many companies who were kind enough to do the translations. (Thank you!) And follow the FDTimes Chinese Edition on WeChat. read more…

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NEW K35 Primes by Servicevision.

Those Full Frame Fanatics from Barcelona are at it again. The same Servicevision team who designed and built the FFA Scorpiolens Anamorphic 2x primes have developed a completely new series of lenses with matching characteristics, flares and bokeh to augment the original, venerable, vintage Canon K35 sets. These new lenses are called NEW K35 by Servicevision. The set includes a 15mm T1.5… read more…

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FDTimes August 2019 Edition #96

Film and Digital Times August 2019 Edition #96 is now online for subscribers. Print copies are going out the week of August 12. Read all about the Angénieux introduction of Optimo Prime Lenses at the Cannes Film Festival. SIGMA Full Frame Classic Art Primes and fp Full Frame camera. “The Innocents of Florence” by David Battistella, shot with RED and… read more…

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Bright Tangerine Drumstix

Drum roll please. Bright Tangerine’s new Drumstix Sterling Titanium Support Rods are incredibly lightweight and very solid—¼ of the weight of stainless steel lens rods. read more…

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July 20, 1969 – One Giant Leap for Mankind

Fifty years ago today, Apollo 11 astronauts Neil A. Armstrong and Edwin E. “Buzz” Aldrin landed on the moon. They had lifted off in the Apollo 11 rocket from the Kennedy Space Center in Florida on July 16, 1969 and splashdown back on Earth was on July 24, 1969. Armstrong had a Hasselblad (HDC Data Camera) Medium Format Camera with a ZEISS Biogon 60mm f/5.6 lens fitted to his chest harness to shoot stills of the lunar excursion. An Angenieux 6×25 16mm format zoom lens in the Command Module shot live color images of Neil Armstrong and Buzz Aldrin on their trip to and from the moon. A 16mm Maurer camera with Angénieux 75mm f/2.5 prime lens was also shooting film of the Lunar Module’s separation and docking maneuvers from the porthole read more…

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Vocas LPL and PL Mounts

The Vocas camera accessory line will be shown at NAB 2019 in the booths of several leading brands such as Angenieux, Atomos, Panasonic, Spirit Labs, etc. read more…

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