An overview of  new gear, technology and services
we expect to see this year at Cine Gear Expo 2019. (Part 1)

Fujifilm's optical team have brought the optical and mechanical performance of  the Premiers to the Vista Vision image circle size creating a new lens series, Premista.  Fujifilm's new, state-of-the-art optical design has enabled unrivaled level of performance in a lens that is 45% Lighter, 28% Shorter with a 17% smaller diameter front element than the Fujinon Premier HK18-85mm, T2.0.  Cine Gear Booth Stage 7 - S211

See the Premista Projected at Cine Gear in Chrosziel's Lens Projection room L401 
(New York Street). Friday - 5:30pm to 6:00pm with Matthew Duclos, 
Duclos Lenses. Saturday - 2:00pm to 2:30pm with Casey Ehalt, Abel Cine

It will be a special screening of Rhinestone Blue, the first film shot on Fujinon's  PREMISTA large format lenses on Saturday June 1st,  11:30am at Paramount Theater.  The screening is followed by an Q&A with director Aisha Schliessler and renowned cinematographer Tobias Schliessler, ASC moderated by CML founder Geoff Boyle, NSC.

 Angenieux Goes Prime !
 The Optimo Prime series of 12 lenses provides full frame 46.5mm image circle coverage
with a consistent 1.8 T-stop (except on extremes). Available as PL and LPL and designed as
smart lenses, the Optimo Prime Series is very compact and lightweight.

They will support both Cooke/I and Arri LDS; and offer a common gear size and position for all lenses in the 12-lens set. Focal lengths include 18mm, 21mm, 24mm, 28mm, 32mm, 40mm, 50mm,
60mm, 75mm, 100mm, 135mm, 200mm and will be manufactured both in France and Germany.   Booth #40

This year Cine Gear Expo pays tribute to Academy Award®-winning cinematographer Claudio Miranda, ASC for Visionary Achievement in Cinematography. (pictured above with director Brad Bird, for their collaboration on Tomorrowland)

A pioneer in digital filmmaking, he embraces the latest technology to capture some of the big screen’s most groundbreaking imagery. He shot the first entirely digital feature, The Curious Case of Benjamin Button for which he earned Best Cinematography nominations from the Motion Picture Academy, BAFTA and the ASC. 

His use of enhanced environment LED technology gave life to ultra-real lighting and out-of-this-world vistas on Oblivion and Tomorrowland. Breathtaking visuals on Life of Pi garnered Miranda a 2013 Best Cinematography Oscar® and top accolades worldwide.

Super Hornet 575-C. . 30,000 lumens (2.5X the Hornet 200-C) 4" x 11" and 5.5 lbs. 
Head. 10" x  9" x  4" and 9 lbs. Power Supply 550 Watts. 90 - 264 VAC
Profoto Mount Compatible.  Hive C-Series Accessories Compatible
100% flicker free (0-100% dimming). Full Hive "SHOT" controls
Wired and Wireless DMX (Lumen Radio/CRMX)
Bluetooth App for iPhone and Android (increased range)
Preset Effects, Sources and Profile library along with 
new "Corrective Gels" Booth S321 Stage 5)

Panavision’s Camera-to-Finish Imaging 
Ecosystem Featured at Cine Gear 2019 

(Updated  Cine Gear Expo 2019 Release)  Come to see us at Stage 3 Booth 5408.
  • Company Launches LINK HDR, a Revolutionary New System that Empowers Creatives to View Content in HDR Throughout the Imaging Chain 
  • DXL-M Expands the DXL2 Ecosystem, Meeting Production Needs for any Shooting Scenario
    LCND Now has Expanded Features Including Wireless Controls 
  • LEE100 Filter System Makes its Cine Gear Debut
Panavision, the world-class provider of end-to-end solutions, will return to Cine Gear Expo (May 31-June 1) at The Studios at Paramount to showcase the latest innovations in the company’s ever-expanding production and post production ecosystem. Panavision, Light Iron and LEE Filters will display an array of integrated technologies and systems at booth S408 on Stage 3 – ranging from lenses, cameras and filters, to state-of-the-art production and post production workflows – that illustrate Panavision’s commitment to providing the most versatile and powerful storytelling tools. 
“At Panavision, our vision is to support filmmakers with solutions that expand creativity and efficiency,” says Kim Snyder, president and CEO of Panavision. “We’re always focused on adapting the tremendous power of technology to the needs of the visual artist. We’re proud and excited to demonstrate our latest advancements.”

Among the breakthroughs on display are Panavision and Light Iron’s new LINK HDR system. Creatives are producing for HDR-capable distribution platforms more than ever before as consumers seek premium viewing experiences. LINK HDR was developed to address the challenge of viewing HDR (high dynamic range) images throughout the production and post production process. 

Offering HDR and SDR viewing options in tandem, LINK HDR provides cinematographers, directors, editors and creative talent throughout the imaging chain the ability to view their image at the same quality delivered to consumers.
The LINK HDR system consists of:
  • Panavision LINK HDR On-Set Cart – a modular cart outfitted with various monitoring configurations that offers creatives the ability to view HDR and SDR live from the camera.
  • Light Iron LINK HDR Dailies – an NLE process that creates HDR and SDR deliverables simultaneously, which allows editors to cut, toggle between, and export in either format.
  • Light Iron LINK HDR Finish – a combination of creative talent, technical expertise, and leading technologies that link the creative decisions made on-set to the HDR mastering process for delivery to various HDR platforms.
“As adoption rates of the HDR format rapidly grow, it is more critical than ever for creatives to view a consistent image from on-set through the finishing suite,” notes Light Iron Supervising Colorist Ian Vertovec. “We want filmmakers to have all the tools they need for this new deliverable. The components of LINK HDR were designed with them in mind.”

Panavision’s Millennium DXL2 and DXL-M camera systems will also be showcased at the Panavision booth, demonstrating the value of this expanding ecosystem. With new industry developments, the DXL2’s 6G 4K SDI outputs, which allow direct connection to a Teradek Bolt 4K with a single SDI cable, can now be fully utilized. The latest enhancements to the DXL2 also include: an integrated C-Motion F.I.Z. module allowing the use of Arri WCU4 wireless lens control handsets with full lens mapping support; a proxy workflow that allows easy creation of traditional dailies while archiving 8K files for DI and VFX; a wireless audio module adding expanded audio capabilities; and DXL Control for iPhone and Android.

The DXL-M, which marries the modularity and connectivity of the DXL with the smaller size and weight of RED’s DSMC2 cameras, is now available to filmmakers. In addition to the Primo HDR viewfinder, DXL menu system and LiColor2, the DXL-M now offers 2x2 SDI outputs delivering two independent monitoring paths across 4x HD-SDI outputs. Along with added accessories, battery elevator and control upgrades, these advancements add to the efficiency and flexibility of the kit. The result is a fully-equipped camera that is conveniently adaptable to any shooting scenario, including drone, remote head shots and situations where space is at a premium.

Panavision’s LCND, a variable liquid crystal neutral density filtration system, will be presented with expanded new features. LCND is now wirelessly controllable via the Preston handset and offers functionality that translates to creativity on the set. The ability to maintain a given stop under changing lighting conditions by riding the ND filter instead of the iris adds powerful image control options at the moment of photography. LCND also has manual controls and a 24-hour internal battery built into the single filter tray.

Panavision’s longstanding emphasis on delivering superior lens quality and unmatched selection continues to be a priority as it serves the artistic needs of today’s creative community. At Cine Gear, filmmakers can examine the company’s proprietary portfolio of optics, including the Primo-X (weatherproof and compact drone and gimbal solution), Panaspeed (large format, high-speed T1.4 with the classic Primo look), H-Series (vintage portrait look for spherical large format), and UltraVista (1.65x large-format anamorphic) lines, as well as other lenses in Panavision’s large-format offerings.

In addition to exhibiting, Panavision, in partnership with RED Digital Cinema, will present a panel featuring Oscar®-nominated cinematographer John Schwartzman, ASC. Panavision’s SVP of Optics Dan Sasaki will join Schwartzman as he discusses his approach to visual storytelling and explores the fusion between visual concepts and tools. Schwartzman will reveal his decision-making process from pre-production to post on such projects as The Highwaymen and the upcoming Last Christmas, on June 1 at 11:45 a.m. in the Sherry Lansing Theater.

LEE Filters will highlight the LEE100, a newly updated 100mm filter mount system that boasts lighter weight and improved performance. The LEE100 Filter System incorporates a rotation lock as well as a newly designed clip-on polarizer filter for ease of use. Additionally, LEE’s full collection of lighting gels, including the expanded range of Zircon gels specifically designed for fine-tuning LED fixtures, will be touted, as well as the ProGlass CINE IRND range of neutral-density filters, precisely built to meet the exacting needs of cinematographers.

“The advancements on display at Cine Gear exemplify our commitment to providing end-to-end solutions that put creative flexibility in the hands of filmmakers,” says Snyder. “Each tool is conceived as an element of a unified ecosystem designed to deliver customizable solutions to meet any need or budget. We’re looking forward to the opportunity to present the results to our friends and colleagues in the filmmaking community, and we can’t wait to see how they’re used in the visual storytelling of tomorrow.” 

 The  Easyrig STABIL it will be available onsite at CineGear and we welcome everyone to stop by 16x9 and take it for a test. Also from Easyrig, the Venice Cheeseplate is now delivering.   We're excited to invite everyone to visit us at CineGear Expo May 31st through June 1st on the Paramount Studios NYC Streets Backlot, Booth #70.

 Orca Bags 3S Harness (Pre-order Only) Booth #70.
The Orca 3S (Spinal Support System) Harness. The new 3S features a patented design to help protect and support audio operators to perform their craft.  The 3S can be used with the stand-alone top vest, just the waist belt or the top vest and waist belt combined with the patented Spinal Support System.

The 3S waist belt features a unique "roller buckle" that helps tighten the waist belt on the operator's hips for proper weight distribution and the perfect fit.

Other Features
 - Built with special EVA sponge and mesh system for maximum air flow and ventilation
 - Pneumatic spring system that helps users adjust height of the harness spine as needed
 - Includes two back pockets for storage and USB port with cable for reserve power supplies
Expected arrival - August 2019

End of Part 1. More to come



RawFilm is the world's first subscription-based stock footage platform with premium content exclusively produced on RED Digital Cinema Camera available for immediate download in REDCODE RAW format. We are the only platform with one, straightforward license that fits every production. All of that for the most affordable price in the stock footage industry. 


RAWFILM provides high-class subscription-based stock footage, shot exclusively on 
RED cameras in REDCODE RAW Format.


Canon released its new professional EOS R Mirrorless Full Frame Camera System with a 20mm flange distance and 54mm mount, along with four new RF mount lenses, the RF 28-70mm f/2L USM, RF 50mm f/1.2L USM, RF 35mm f/1.8 Macro IS STM, and RF 24-105mm f/4L IS USM and three separate mount adapters are being made available, with one standard EF-to-RF Adapter, an EF-to-RF Adapter with Control Ring, and an EF-to-RF Adapter with Drop-In Filter System.

The EOS R packs a 30.3MP CMOS sensor with Dual Pixel CMOS AF technology and the latest DIGIC 8 image processor making possible to work with native sensitivities to ISO 40000, which can be expanded to ISO 102400. The AF system is, perhaps, the shining achievement of Canon’s camera, because it has an insane 5,655 focus points with 100% vertical and 88% horizontal coverage of the image area and includes functions such as Eye Detection AF. It can even support f/8 and f/11 lenses in all AF areas.

At the rear of the camera, you will find a 0.5" 3.69m-dot OLED EVF for eye-level viewing. The comfortable 23mm eye point is designed to allow space between your face and the camera body. The other rear display is a 3.15" 2.1m-dot vari-angle touchscreen LCD that provides all the benefits you would expect in a Canon body, including touch-and-drag AF. Completely new is the multi-function bar, which can be customized for fast, intuitive access to many commonly used features. The top panel has a dot-matrix LCD for checking current settings and camera status.

The EOS R comes with UHD 4K video at up to 30 fps, including the ability to record in Canon Log for wide dynamic range capture of up to 12 stops. Boosting quality, videographers can output 10-bit 4:2:2 to an external recorder over HDMI using Canon Log or even the BT.2020 color space for wide color applications. Full HD shooting will be possible at up to 60p while standard HD has slow-motion, 120p recording. Focus Peaking and the Dual Pixel Focus Guide will help keep everything in focus.

Canon EOS R Mirrorless Digital Camera with 24-105mm Lens $3,399.00
Canon EOS R Mirrorless Digital Camera (Body Only)  $2,299.00


Lens Mount     Canon RF
Camera Format     Full-Frame
Pixels     Actual: 31.7 Megapixel
Effective: 30.3 Megapixel
Max Resolution     6720 x 4480
Aspect Ratio     1:1, 3:2, 4:3, 16:9
Sensor Type / Size     CMOS, 36 x 24 mm
File Formats     Still Images: JPEG, RAW
Movies: MP4, MPEG-4 AVC/H.264
Audio: AAC, Linear PCM (Stereo)
Bit Depth     14-Bit
Dust Reduction System     Yes
Memory Card Type     SD
Image Stabilization     Digital, 5-Way

AV Recording
Video Recording     Yes, NTSC/PAL
Video Format     3840 x 2160p at 23.98/24/29.97 fps
1920 x 1080p at 23.98/24/29.97/59.94 fps
1280 x 720p at 29.97/59.94/120 fps
Aspect Ratio     16:9
Video Clip Length     Up to 29 Min 59 Sec
Audio Recording     Built-In Mic: With Video (Stereo)
Optional External Mic: With Video (Stereo)

Focus Control
Focus Type     Auto & Manual Focus
Focus Mode     Continuous-Servo AF (C), Manual Focus (M), Single-servo AF (S)
Autofocus Points     Hybrid: 5655

Viewfinder Type     Electronic
Viewfinder Size     0.5"
Viewfinder Pixel Count     3,690,000
Viewfinder Eye Point     23.00 mm
Viewfinder Coverage     100%
Viewfinder Magnification     Approx. 0.71x
Diopter Adjustment     -4 to +2 m
Display Screen     3.15" Rear Touchscreen Swivel LCD (2,100,000)
Screen Coverage     100%

Exposure Control
ISO Sensitivity     Auto, 100-40000 (Extended Mode: 50-102400)
Shutter     Type: Electronic & Mechanical
Speed: 30 - 1/8000 Second , Bulb Mode
Metering Method     Center-Weighted Average Metering, Evaluative Metering, Partial Metering
Exposure Modes     Modes: Aperture Priority, Bulb, Custom, Intelligent Auto, Manual, Programmed Auto, Shutter Priority
Metering Range: EV -3.0 - EV 20.0
Compensation: -3 EV to +3 EV (in 1/3 or 1/2 EV Steps)
White Balance Modes:  Auto, Cloudy, Color Temperature, Custom, Daylight, Flash, Fluorescent
(White), Shade, Tungsten

Buffer/Continuous Shooting     Up to 8 fps at 30.3 MP for up to 47 Frames in Raw Format
Up to 8 fps at 30.3 MP for up to 100 Frames in JPEG Format
Up to 3 fps at 30.3 MP for up to 47 Frames in Raw Format
Up to 3 fps at 30.3 MP for up to 100 Frames in JPEG Format
Up to 2.2 fps at 30.3 MP for up to 47 Frames in Raw Format
Up to 2.2 fps at 30.3 MP for up to 100 Frames in JPEG Format

Flash Modes     Flash On
Slow Sync
Built-in Flash     No
Max Sync Speed     Not Specified by Manufacturer
Flash Compensation     -3 EV to +3 EV (in 1/3 or 1/2 EV steps)
Dedicated Flash System     eTTL
External Flash Connection     Hot Shoe
Start-up Time     0.9 seconds
Shutter Lag     0.05 seconds
Self Timer     10 Seconds, 2 Seconds
Connectivity     1/8" Microphone, HDMI C (Mini), USB Type-C
Wi-Fi Capable     Yes

Battery     1 x LP-E6N Rechargeable Lithium-Ion Battery Pack, 7.2 VDC, 1865 mAh
AC Power Adapter     Not Specified by Manufacturer
Operating/Storage Temperature     Operating
32 to 104°F (0 to 40°C)
Humidity: 0 - 85%
Dimensions (W x H x D)     5.3 x 3.9 x 3.3" / 135.8 x 98.3 x 84.4 mm
Weight     1.45 lb / 660 g with battery and memory card

Courtesy of
Courtesy of  Canon USA


Introducing flowtech™. The world’s fastest tripod legs.
Performance tested in extreme conditions, the unique flowtech™75 is easier and faster to deploy and adjust than any other tripod, giving the camera operator ultimate versatility and improving their workflow. 2-stage 75 mm carbon fiber tripod with unique quick release brakes for instant and easy deployment, ergonomic carbon fiber design with strong magnetic legs locks for comfortable transport, exceptional torsional stiffness and a versatile hinge lock mechanism for low and high shots.

flowtech™75 is a 2-stage 75 mm carbon fiber tripod with unique quick release brakes for instant and easy deployment, ergonomic carbon fiber design with strong magnetic legs locks for comfortable transport, exceptional torsional stiffness and a versatile hinge lock mechanism for low and high shots.

The Sachtler System FSB 8 Touch & Go fluid head with flowtech™75 carbon fiber tripod legs offer a professional tripod system for videographers who use cameras weighing up to 10 kg / 22 pounds. The FSB 8 head provides friction-less leak-proof fluid drag with five levels of drag, for perfect pictures while panning, without jerks and vibrations. Identical across both horizontal and vertical planes, and allows complete disengagement of drag for fast panning. The system includes a mid-level spreader and bag. Height range in spreader less mode: 41 - 169 cm (16.1 - 66.5 in); height range with mid-level spreader: 78 - 173 cm (30.7 - 68.1 in).

Supports cameras to up to 10 kg / 22 lb. Friction-less Leak Proof Fluid Drag. Sachtler's Touch & Go plate mechanism Dynamic Counterbalancing System. Operates without any frictions from -40° to +60°C / -40°F to +140°F. Unique quick release brakes. Deploy and adjust your tripod in an instant. New ergonomic carbon fiber leg design. Easy to transport and exceptional torsional stiffness.Versatile hinge lock mechanism. Capture extremely low and high shots. Extensive endurance and environmental testing. Superior performance and reliability.

FSB 8 T fluid head (0705) + tripod flowtech 75 MS with mid-level spreader and rubber feet + padded bag flowtech 75 (9116); FSB 8 T: SRP: $2,755.00



Sony THOUGH is the world's toughest and fastest SD memory card, with a monolithic construction with high hardness materials have resulted in the world's highest level of bend strength, 18 times greater than the SD standard (180 N). This design eliminates the risk of physical damage and protect the data recorded onto the card, ideal for busy professional photographers even under severe shooting locations. The monolithic construction with rock-solid materials provides shock resistance, withstanding drops test from a height of 5 meters.This design reduces the risk of damage from dropping when swapping the card out frequently at busy shooting locations. THOUGH is the world's first rib-less, with no write protection switch design SD card. 

THOUGH is the world's fastest SD card. Get the most out of burst shooting. Sony developed high-speed capture technology to achieve the world's fastest write speed of up to 299MB/s. Along with the supporting UHS-II interface, this revolutionary write speed maximizes the burst-shooting capabilities of high-end DSLRs. The SF-G series supports the continuous shooting of 241 compressed RAW or 362 JPEG images when shooting by Sony α9, which has burst-shooting capability up to 20 frames per second. Dependable High-resolution 4K Video Recording, with the world's fastest write speed, up to 299MB/s, the SF-G series memory card can record high-quality 4K video. It supports V90, highest standard of video speed class, UHS speed class 3* and SD speed class 10 formats.

Highest level of water proofing (IP8X) and dust proofing (IP6X). Completely sealed with monolithic structure, this card is waterproof (compliant to IPX8) and recorded data is undamaged even if the card is submerged in 5 meters of water for up to 72 hours. Also, completely sealed with monolithic structure, the card is dust proof (compliant to IP6X) and keeps out all dust particles, and can be used in severe shooting environment. Even if the card is used in dusty or dirty areas or dropped in mud, it can be washed in fresh water and wiped off to be used again for perfect flexibility. In addition to the world's highest level of durability, this card offers has X-ray proof(ISO7816-1), Magnet-proof, Anti Static, temperature proof, UV Guard, and wide-ranging compatibility with major UHS-II supporting DSLR and mirrorless cameras.


Nikon Introduces Z Mount System, and Full-Frame Mirrorless Cameras: Nikon Z 7 and Nikon Z 6.
At the heart of the Z mount system is the new, larger-diameter mount, which unlocks further possibilities of lens design. The Z mount system will offer a variety of high-performance lenses, including the fastest lens in Nikon history, with f/0.951. Additionally, the new mount adapter will enable compatibility with NIKKOR F mount lenses, adding to the range of choices for photographers.
The Z 7 and Z 6 are equipped with a new backside illumination, Nikon FX-format CMOS sensor with focal-plane phase-detection AF pixels, and the latest image-processing engine, EXPEED 6. The Z 7 has 45.7 effective megapixels and supports ISO 64–25600 range of standard sensitivities (reduction to the equivalent of ISO 32 and expansion to the equivalent of ISO 102400 is also possible). The Z 6 has an effective pixel count of 24.5 megapixels, and supports a broad range of standard sensitivities, from ISO 100–51200 (additional reduction to the equivalent of ISO 50 and expansion to the equivalent of ISO 204800).
The Z 7 has 493 focus points2 and the Z 6 has 273 focus points2, enabling broad coverage of approximately 90% of the imaging area both horizontally and vertically. This hybrid AF system uses an algorithm optimized for the FX-format sensor, to automatically switches between focal-plane phase-detection AF and contrast-detect AF when focusing to achieve focus. Newly-designed NIKKOR Z lenses take full advantage of this system, providing faster, quieter and with increased AF accuracy than previously possible for both still images and videos.

The Z 7 and Z 6 are equipped with the new EXPEED 6 image-processing engine. Employing the superior resolving power of NIKKOR Z and NIKKOR F mount lenses, subjects are rendered more sharply than ever before. Noise is also effectively reduced. Additionally, a mid-range sharpening option has been added to Picture Control sharpness parameters. This option, along with existing sharpening and clarity parameters, allows users to make various textures within the screen sharper or softer, for both still images and video3. The cameras also offer 20 options of Creative Picture Control, supporting creative  imaging expression. The effect level is adjustable from 0 to 100.

The Z 7 and Z 6 are equipped with the new EXPEED 6 image-processing engine. Employing the superior resolving power of NIKKOR Z and NIKKOR F mount lenses, subjects are rendered more sharply than ever before. Noise is also effectively reduced. Additionally, a mid-range sharpening option has been added to Picture Control sharpness parameters. This option, along with existing sharpening and clarity parameters, allows users to make various textures within the screen sharper or softer, for both still images and video3. The cameras also offer 20 options of Creative Picture Control, supporting creative imaging expression. The effect level is adjustable from 0 to 100.

The electronic viewfinder adopted for the Z 7 and Z 6 is comfortable and easy to use, comparable to optical viewfinders. Both cameras are equipped with an electronic viewfinder for which an approximately 3690k-dot OLED panel has been adopted. The electronic viewfinder has frame coverage and magnification of approximately 100% and 0.8×, respectively, as well as an approximately 37.0° diagonal viewing angle. It draws on Nikon's superior optical technologies and image-processing technologies, ensuring a clear and comfortable view, with reduced aberration and minimum eyestrain, even during extended shoots. Furthermore, a fluorine coat that effectively repels dirt has been applied to the eyepiece protection window. In addition, the  menu can be displayed in the electronic viewfinder, allowing users to quickly view and adjust a variety of shooting settings, including ISO sensitivity, AF-area mode, and Picture Control, all while looking through the viewfinder.

The Z 7 and Z 6 support recording of not only full-frame 4K UHD (3840 × 2160)/30p movies using the FX-based video format, but also Full-HD/120p movies. Sharper 4K UHD movies are made possible, using the full-pixel readout4. Additionally, Active D-Lighting, electronic vibration reduction, and focus peaking can be used with 4K UHD and Full-HD movie recording.

Nikon’s original N-Log color profile can also be used with 10-bit5 HDMI output. The N-Log setting utilizes extensive color depth and twelve-stop, 1,300% dynamic range to record a wealth of tone information from highlights and shadows for more effective color grading. Timecode support makes synchronizing video and sound from multiple devices easier. Additionally, the control ring built into NIKKOR Z lenses  can be used to quietly and smoothly adjust settings such as aperture and exposure compensation.

The Z 7 and Z 6 are built for video. Portable cinematic powerhouses.  Bend time with ultra-smooth 1080p 120 FPS slow motion sequences. Preserve maximum detail, dynamic range, shadows and highlights for more control and creativity in post-processing with the new Nikon N-Log. Full-frame 4K Ultra HD. Cinematic 16:9 4K UHD/30p video with the sharpness and dynamic range of Nikon’s full-frame image sensors. Hybrid AF for video. Silky smooth, near-silent AF with automatic switching between phase-detect and contrast-detect AF. 10-bit HDMI Output. Record uncompressed footage with 64X more color data directly to an external capture device,compared to 8-bit. Requires optional HDMI Connecting Cable.  8K Time-lapse.

Other Features
Same level of strength and durability, as well as dust- and drip- resistance, as the Nikon D850, offered in a compact body.A 3.2-in., approximately 2100k-dot touch-sensitive LCD monitor, with a tilting mechanism. Silent photography function eliminates shake and noise caused by shutter release.
Peaking stack image function enables confirmation of the area in focus after shooting using focus shift, which is convenient for focus stacking. High-speed continuous shooting (extended) at approximately 9 fps (Z 7) and 12 fps (Z 6) captures fast motion. Interval timer photography that makes 8K (Z 7) time-lapse movie creation possible

An extended low-light metering range allows users to easily capture scenes such as the transition from sunset to starry night sky, using aperture-priority auto exposure. Built-in Wi-Fi® for direct connection to a smart device using SnapBridge Built-in Wi-Fi® makes the transfer of images and movies to a computer possible Support for existing digital SLR camera accessories such as the EN-EL15/a/b batteries, WT-7/A/B/C Wireless Transmitter (available separately) for transferring images and movies at high  speed over a wired or wireless LAN, and radio-controlled/optical controlled Advanced Wireless Lighting, which makes flexible multi-flash photography possible.

The MB-N10 Multi-Power Battery Pack that is currently in development will hold two EN-EL15b, effectively increasing the number of shots possible and/or movie recording time by approximately 1.8×. It will provide the same level of dust and drip resistance as the Z 7 and Z 6, and will support USB charging using the EH-7P Charging AC Adapter. Information regarding the release of this product will be announced at a later date.

Price and Availability
The Nikon Z 7 will be available September 27 for a suggested retail price (SRP) of $3399.95 for the body-only configuration, or for $3999.95 SRP as a kit with the new NIKKOR Z 24-70 f/4 S lens.
The Nikon Z 6 will be available in late November for the $1995.95* SRP for the body only configuration, or for the $2,599.95 SRP with the NIKKOR Z 24-70mm f/4 S lens kit.

For more information on these and other Nikon products, please visit

Related Posts Plugin for WordPress, Blogger...