A WORD ON GEARED HEADS

by George Leon. Originally published October 2009

There are three types of heads and many brands of heads available to camera operators and directors of photography for use in studio or on location. The types of heads are fluid, friction and geared heads. Mostly, all new heads are made of aluminum alloy, some older heads and accessories were made of magnesium and much older heads were made of cast steel.

The fluid head employs the principle of fluid resistance. The restricted flow of a high viscosity liquid forced through grooves machined inside a metal drum creates drag on the lateral and vertical movements of the head. The friction head employs the the principle of surface resistance. The friction of fiber discs against metal washers creates drag on the lateral and vertical movements of the head. The geared head employs the principle of mechanical advantage. The ratio of the angular speed of driving members to driven members of a gear train, linkage, or cable creates force on the lateral and vertical movements of the head.

The Cartoni c 40 is hand-crafted from the latest hi-tech metal alloys, C40 S is a Heavy Duty fluid action head specifically designed to support Studio/EFP configurations or 35mm film cameras. The Counterbalancing system, activated by an 8 - position easy-grip selector, works with three reinforced groups of helicoidal high section springs. This mechanism combined with a 60mm. sliding base, allows the camera person to fine tune an extremely wide range of cameras weighing from 10 to 45 Kg (22 lbs to 100 lbs) throughout a tilt range of -/+ 65 degrees.

Technovision MKII geared head with 3 speed settings, built-in tilt plate. Optional gear reducers for this geared head are available, providing more control with gear ratios.

Today, most friction heads-tripod combos are manufactured for low cost consumer still and video photography with the exception of Gitzo, that makes consumer and hi-end tripods and friction and fluid heads for the still photography market. Fluid heads are the most popular and are marketed for the consumer, pro-sumer, and professional market and mostly are offered as an option to a tripod according to your needs, type and weight of camera. Friction heads were in use for all types of still photographic and consumer motion picture cameras around world, until Chadwell O'Connor invented the fluid damped camera head in 1952.

Worrall Geared Head

Geared heads were manufactured to cater the need of fluid camera movement using the heavy weight or cumbersome motion picture cameras of the past. The use of gears predates to the early days of cranking cameras, friction heads and poorly designed geared heads that were the norm for camera panning and tilting for several decades in Hollywood and the world over until George Worral created the Worral Geared Head in 1952. "The first stable, smooth and balanced triple-mode geared head." "It took very little force to move it." Worrall said. Epics such as "Lawrence of Arabia" and "Dr. Zhivago" were filmed using the Worrall Geared Head.

The Mitchell Geared Head was a predecessor of the Worral head. Shown above with 3 speeds and built-in tilt plate.

The Mitchell Vitesse Geared Head allows 360 degrees movement on two axis; pan and tilt.

Now days, the making of better, lighter and studier fluid heads with more features than ever, along with resistant lighter graphite tripods have become the equipment of choice for the broadcast news gathering industry, the documentary and the independent filmmaker. Sachtler, Bogen, Manfrotto, O'Connor and Vinten to name a few, have revolutionized the portability of fluid camera movement.

Sachtler’s fluid head Cine 30 HD features a side-load mechanism for the camera plate. A key advantage of this technology is that the fluid head can be side-loaded together with its camera set-up – quickly and easily. The mechanism is compatible with camera plates from OConnor and ARRI. The operating elements, manufactured according to 2K processes, are especially convenient. If you need a front box for all sorts of utensils or tools, it is simple to mount an adapter which is exceptionally practical for film and HD shooting.

The GearNex geared head is a precision, lightweight and compact pan and tilt gear head designed for independent and professional filmmakers. Perfect for all professional cameras such as: RED ONE • Panasonic Varicam • Panasonic HDX900 • Sony F900 • Panasonic DVX100 • Panasonic HVX200 • Sony FX1 • Sony EX1/EX3 • Other lightweight 35mm and 16mm film cameras. Nothing beats the smoothness of a geared head for certain moves, and some moves are actually much easier with a geared head than a fluid head as on dolly.

Geared Arrihead 2 on a Fisher 10 dolly

Geared heads have been the preferred choice of motion picture cameramen for decades. The gear head provides precision control over your shots. Make small detailed corrections to compositions. Rock solid control on long lenses. Minimizes fishtailing on dollies and cranes. Repeatable moves without overshooting your mark. (Panahead Geared Head, shown above)

Besides of the geared heads shown here, we should mention other important heads that allow the director of photography or the camera operator get the job done like, the Cartoni Dutch Head, the Van Diemen Swing Head or Tango Head, the Lambda Head or Nodal Swing Head and the Weaver Steadman 2 and 3 Axis Head to name a few.

Among the remote and motion controlled heads I would like to mention , the Scorpio Head, the Hot Shot, Super Shot and Star Cam by Egripment, the Technovision Super Crane with 3 xis Z Head, the Louma 2 Camera System, the Talon by Ravens Claw and the Mark Roberts MOCO Milo . Check The Talon and Mark Robert's MOCO Milo at Camera Control in Santa Monica, USA in the video window above- click ON DEMAND- search for Talon or Milo on playlist.

All these choices of camera movement lead us to the next question: Which set-up is better, a fluid head or a geared head for your next project as camera operator? To answer this question, I would like to refer to the commentaries made by Roger Deakins, BSC/ASC in his oddly interrupted internet forum. (I spoke with Roger about the subject and about other camera and lighting setups he did during the production of the Big Lebowsky and Revolution Road while vising the ASC Open House in 2009).

Roger explained,

A geared head allows for a very accurate pan or tilt and a clean hard stop. I know it might seem like an old fashioned tool and I sometimes don't even carry one on some shoots but it is a surprisingly accurate and easy tool to use. I especially like it on a stage. Try it out! If you operate and want to use a remote head you might then have to use wheels in just the same way.

There are some cinematographers whom I admire a great deal and who never use a geared head. Even when they operate a remote head they might use a joystick instead of wheels. And, of course, many Cinematographers don't operate the camera themselves anyway. Maybe it is just a personal preference but I do find I have a lot of control on a geared head. I don't always use one and there have been films where I haven't had one on the shoot at all, but I would say that more often than not I have one in my camera package. It really does depend on the look I am going for and the nature of the work. It seems to me that a geared head gives me a more solid feel, a kind of forced formality to my shots and I will use one for those films or scenes where I want to have a more 'controlled' look. I will also tend to use one in a studio situation, for long dialogue scenes and for many specific dolly moves that require speed and a firm stop.

The first time I used one on a professional production was on '1984'. I didn't have a geared head in my camera package but the Line Producer ordered one for me to use on a particular long lens shot. He was playing a trick on me really. As had no confidence in me as a cinematographer he thought that hiring the geared head would show up my failings. He had no way of knowing that I had practiced with a geared head whilst at Film School and could sign my name with one. He never found out though. Whilst he was looking over my shoulder, I completed the shot, which was purely static, and then suggested he send the head back as it was an expensive rental item.

The compact geared head smaller, lighter in weight and equally efficient is the formula of the future. The ARRIHEAD 2 is it is successful product. With an equal equipment range and operating convenience, it is 8 cm shorter and approximately 4 kg‘s lighter than the large ARRIHEAD. With this design, the ARRIHEAD 2 is an ideal production tripod head not only for 35 mm cameras, but also for 16 mm filming. (Arrihead shown above)

The head I prefer is the Arri Lightweight head and I use a set of large wheels instead of the smaller ones that come with this particular model. Much of the work I do is with a remote Power Pod head mounted on an Aerocrane jib arm and,in much the same way, this requires the use of a set of wheels to control the head. One way or another it is important, for me at least, to be able to use the wheels.

Practice? Just get a geared head and practice signing your name - or you might start with a figure of eight and build up to it. By the time you can achieve your signature you will find that operating by the wheels has become second nature to you and that is what it's about. You need to be able to get behind the camera and, without a rehearsal, operate the shot you want. It is no use having to practice with the stand ins or the actors. If you plan to be a cinematographer who operates the camera, you need to be able to concentrate on the WHY of the shot and not the HOW.

The gear head does take some practice and I wouldn't recommend using one without being very confident in your ability with it. I was taught to use a stick with a felt tip at the end of it, instead of a camera, and practice until I could sign my name with it! Roger concludes.

So, I say that the choice and the use of a fluid head versus a geared head is one of the decisions a director of photography or camera operator have to resolve early in pre-production. Any of the two choices are O.K. Both choices represent only another tool in the cinematographer's bag.

Here is a list of geared heads. Some are new models in active use by many cinematographers and other are older models but still found at different rentals houses or found for sale at different used motion picture equipment companies.
• Arrihead
• Arrihead 2
• Arri/Mitchell Geared Head
• Ceco Blimp Type 2-Speed Geared Head (TH-7)
• Ceco Pro-Jr. Geared Head
• GearNex Gearhead
• Houston Fearless Cradle Head
• MGM Geared Head
• Mitchell Geared Head
• Mitchell Mini (Lightweight) Geared Head
• Mitchell Vitesse Geared Head
• Mitchell Vista-Vision Geared Head
• Moy 16” Classic
• Moy 16” Standard
• Samcine Moy Geared Head
• Samcine Moy MkIII Geared Head
• Moy 16” Neptune Underwater Head
• Moy 22” Legend
• Moy 12” Mini
• NCE Geared Head
• NCE Cradle Geared Head & Model CGH
• NCE Jr. Geared Head
• NCE/Ultrascope MkI
• NCE/Ultrascope MkII
• NCE/Ultrascope MkIII
• Panahead
• Panahead, Super
• Panahead, Compact
• Sea Head
• Technovision Technohead MkI
• Technovision Technohead MkII (H)
• Technovision Technohead MkIII
• Worrall
• Worrall Mini
(List compiled by Ryan Patrick O'Hara)
Roger Deakins photo ©George Leon 2009

Moy Geared Head on set.

SONY LAUNCHES NEW 8.6K VENICE 2

Venice 2 is a full-frame digital cinema camera with internal X-OCN recording and choice of 8K and 6K sensors. 🎥🎬 It is a cinema camera created by and for the cinematographer. The camera comes with one of two full-frame image sensors, each offering exceptional picture quality. Thanks to new internal recording capabilities, users can capture even more colors and detail within the compact body they already know.

36 x 24-mm Full-Frame Sensor. VENICE 2 features one of two 36 x 24‑mm full-frame image sensors, designed specifically for the demands and performance of high-end cinematography. Each offers remarkable sensitivity, latitude and color rendition, and because the sensor blocks are interchangeable, users can easily switch between sensors—without any extra firmware—and can even use the sensor from their original VENICE. The new 8K sensor can capture images up to a maximum resolution of 8640 x 5760, while the established 6K sensor offers up to 6048 x 4032. Both offer powerful oversampling for incredible 4K images.

Full-Frame full-width 36‑mm 8K and​ 6K. In full-frame, you can use the full width of the sensors (6048 or 8640 pixels) for widescreen spherical 2.39:1 or Large Format Scope. Full-Frame can be used creatively in a number of ways—for example, to allow for extra shallow depth of field or super-wide shooting.​

Super35 full height 2.0x squeeze Anamorphic. For anamorphic shooting and production, Super35 full height 2x squeeze anamorphic is supported.

Super35 17:9 and 16:9. These popular image sizes have native support in VENICE 2, and the 8K sensor makes it possible to capture 5.8K footage in these modes. Current Super35 mm PL mount lenses can be used as well.​

Phenomenal Latitude. VENICE 2’s 8K sensor has an exceptional 16 stops of latitude, while the 6K sensor boasts 15+ stops of latitude. This means that both imagers can deliver phenomenal images with very little noise, in conditions that range from searing sunlight to almost no light. VENICE 2 also excels at High Dynamic Range imaging, allowing for unprecedented creative freedom in grading.

More Colors for More Expression​. VENICE 2 can exceed the BT.2020 color space, with a color range wider than DCI-P3. This means it can beautifully reproduce the true color of the scene in front of your lens. The camera also provides a broad palette in the grading suite, using the established workflow of Sony’s S-Log3 and Ultra-wide Color space, S-Gamut3. Plus, VENICE 2’s 6K and 8K sensors match colors almost perfectly, making your grading experience even better.

High Frame Rate. VENICE 2 can shoot at speeds of up to 120fps at 4K and 90fps at 6K, when using the 6K sensor. In combination with an anamorphic license, it also allows shooting at speeds of up to 75fps at 4K 4:3 and 72fps at 4K 6:5. With the 8K sensor, VENICE 2 can achieve up to 60fps at 8.2K and 90fps at 5.8K.

Fast Shutter. Jello effect is something we don’t need when filming. VENICE 2 has high-speed readout sensors, which minimizes the Jello effect that is typical with CMOS sensors.

Interchangeable Image Sensors. VENICE 2 allows you to easily remove and replace the image sensor, swapping between the 8.6K and original 6K image sensor as required. This also means a 6K sensor can be swapped between VENICE and original VENICE 2.

Dual Base ISO. VENICE 2 features dual base ISO, meaning that the 8K sensor offers Base ISO3200 in addition to Base ISO800, while the 6K sensor has Base ISO500 and Base ISO2500. High Base ISO3200 excels in low-light High Dynamic Range capture, with an exposure latitude from 6 stops over to 10 stops under 18% Middle Gray, for a total of 16 stops. High Base ISO 2500 offers an exposure latitude from 6 stops over to 9 stops under 18% Middle Gray, for a total of 15+ stops.

Internal 16-bit X-OCN and 4K ProRes Recording in a Compact Body. New for VENICE 2, cinematographers and colorists can unlock the incredible creative possibilities of 16-bit X-OCN recording, without an external recorder. Users can enjoy the full dynamic range and color reproduction of the image sensor, capturing in 4K ProRes 4444 and 422 HQ. With such a compact design, and no external recorder, set-up is faster, simpler, and easier, particularly for gimbals, Steadicams, and drones.

Anamorphic Look. VENICE 2’s support for anamorphic lenses allows for the capture of breathtakingly beautiful images. When combined with the ability to shoot 4:3 and 6:5 aspect ratio at high horizontal resolutions, this can give users stunning lens flare, bokeh, and emotional impact. The 8K sensor can shoot 5.8K with an aspect ratio of 6:5, while the 6K sensor can shoot both 6:5 and 4:3 at 4K.

PL Lens Mount. VENICE 2 comes with the industry-standard PL lens mount and is compatible with all Super35 and full-frame PL lenses—spherical and anamorphic. The lens mount includes contacts that support Cooke /i Technology, and lens information is recorded as metadata, frame by frame. We have also added support for ZEISS eXtended Data.

Lever Lock Type E-mount​. E-mount offers unsurpassed compatibility with Sony lenses. E-mount (lever lock type) gives users the ability to change lenses by rotating the locking collar rather than the lens itself, which means that in most cases lens support rigs don’t need to be removed, saving time during a production.

VENICE 2 6K Extension System. VENICE 2 users can expect the same image quality and integrity when using the robust CBK-3610XS Extension System, which makes VENICE 2 more mobile and discreet. The system is fully compatible with VENICE and VENICE 2 camera systems that use the 6K image sensor block* and is ideal for countless mounting set-ups and filming scenarios. These could include use with gimbals, handheld stabilizers, underwater and helicopter housings, and 3D/VR rigs, as well as in tight and unconventional spaces, such as in vehicles, on cranes, or Russian arms. *Extension System for VENICE 2 8K is planned to be released by early 2023

8-step Mechanical ND Filters. VENICE 2 follows the world-first of VENICE, with a servo-controlled 8-step Mechanical ND filter mechanism built into the camera chassis. It offers a massive ND of 0.3 (1/2 = 1 stop) to 2.4 (1/256 = 8 stops) range that reduces time lost on set changing external filters. The ND filters also greatly increase VENICE’s flexibility when being controlled remotely on drones and cranes, or in an underwater housing.​

High performance, proven recording formats. VENICE 2 offers complete production flexibility. The camera supports internal recording of X-OCN or 4K ProRes recording onto AXS memory cards, removing the need to attach additional recording hardware.

X-OCN – 16-bit eXtended tonal range Original Camera Negative​. Full 4K, 6K or 8K resolution, with extraordinary color reproduction, nicely suits Sony’s third-generation color development, S-Gamut 3. In particular, 16-bit scene linear tonal gradation retains the camera’s full dynamic range, with far greater capacity for visual expression than 10-bit or 12-bit digital formats.

16-bit X-OCN offers significant file size reduction, which makes working with full-resolution content from VENICE 2’s 8.6K or 6K sensor far more practical in terms of file transfer times and storage requirements.

Apple ProRes 4K. Apple 🍎 ProRes, including ProRes 4444 and Apple 4K ProRes 422 HQ, are popular in post-production, and VENICE 2 supports Apple ProRes 4K. This means there’s no need for transcoding; you can simply handle these 4K ProRes formats directly from the camera.

Technicolor 🌈Look Collection. The Look Collection for VENICE allows anyone to add the artistry and experience of Technicolor colorists to their VENICE productions. Free downloads of LUT (Look Up Table) files can be used for on-set monitoring, as well as be applied in post-production. Also included are .ART files, Sony’s new proprietary file format, which offers enhanced performance compared to 3D LUTs.

For more info about Sony Venice 2 visit, https://pro.sony/ue_US/products/digital-cinema-cameras/venice2

NEW STELLA PRO REFLEX: FLASH AND CONTINUOS LIGHTING

Light & Motion StellaPro Reflex Marries Flash and Continuous Lighting.

Making a name for itself with powerful, compact, and durable LED lights for video and action sports applications, Light & Motion is taking things up a notch with the Reflex and Reflex S—a new breed of LED fixture that supports ultra-fast flash as well as a highly capable continuous light. It also maintains a lot of StellaPro’s DNA with its ability to run on a battery, a tiny size, and beautiful quality of light. Hybrid video/stills shooters desiring a single light for all their needs will definitely be pleased.

You’ll find the Reflex to be a light that answers a lot of questions all in a single package. It’s a strobe and a continuous light. It’s lightweight and rugged. It’s battery or AC powered. It’s ultra-fast and able to offer accurate color. Whether you’re shooting weddings, events, action, adventure, editorial, or portraiture, the StellaPro Reflex can do the trick.

Being dual purpose does require a unique take on the light. It features a single, large flicker-free LED to perform both the continuous lighting and flash functions. This is a solid LED, much like earlier offerings from Light & Motion, which offers TLCI/CRI of 93/92, daylight color balance, and maximum output of 9,000 lumens on AC power or 6,000 lumens on the included battery handle. Plus, in the burst (strobe) mode it will double that output and hit 18,000 lumens. It’s a reliable fixture that balances power and size, delivering similar output to similar-size LEDs and on-camera speedlights.

StellaPro Reflex S. One of the best aspects is the speed of this system compared to more traditional strobes, like a monolight. The Reflex S can hit speeds of up to 20 fps at full power without overheating. There is also no real recycle time, meaning that every time you hit the shutter you will have the Reflex ready and waiting. If you are looking to freeze action with the flash, then you are in luck because it does have a flash duration as short as 1 ms (1/1,000 second).

It is with speed where we can identify the differences between the Reflex and the upgraded Reflex S. The base Reflex offers continuous shooting of 10 fps and a minimum flash duration of 5 ms (1/200 second) while the Reflex S will offer the full 20 fps and minimum duration of 1 ms (1/1,000 second). You’ll have to choose based on your own need, but both are good.

Flexible power options are the same for both, and many will likely opt for the included battery handle for on-the-go shoots. This battery will support continuous lighting up to 6,000 lumens for 30 minutes at full power or for up to 15,000 full-power flashes at 18,000 lumens. It connects using a standard USB-C port, and with 100W USB-C AC adapters you can achieve a maximum output of 9,000 lumens. Being standard USB-C PD, you can power the Reflex with a number of accessories, including large battery packs with D-tap to USB adapters.

For flash firing to sync properly with your camera, you will need to ensure a good connection. The Reflex offers built-in radio receivers to handle this, and StellaPro offers support for Profoto, Elinchrom, and Godox standards to make it easy to add a Reflex to your current kit. Alternatively, there is a standard 3.5mm input for a wired connection to other triggers or directly to a camera.

Physically, the Reflex and Reflex S are tiny lights, perfectly suitable for on-camera or handheld use. They are also very durable, with IP65 weatherproofing that will let them hold up to a little bit of inclement weather when working outdoors. They are rated to survive drops from 3.3' high. With the battery grip, they are light, weighing around 1.5 lb.

Plenty of accessories and modifiers will be available to work with the Reflex and Reflex S. Included is a medium optic, although a wide 50-degree and spot optics are also available. A Chimera speedring and 24" and 30" octaboxes are available for softer lighting, as well. Or you can use the Profoto C-stand adapter for using Profoto light shaping tools. Users should have no problem getting the light to look just the way they need.

A cool accessory would be the bar attachment, which lets you mount up to five Reflex lights on a single stand. This will give you power equivalent to a typical battery-powered monolight if you were looking for maximum output. When using a trigger, all with sync perfectly.

The Reflex is opening the door to a new type of light, one that appeals directly to the ever-growing hybrid market where stills and video are of equal importance. Having a single light for every shot is a hugely appealing idea, and the Reflex just might be the perfect light for many shooters.

Stella ProReflex: $849.99 /// ReflexS: $1.096.00

Courtesy of B&H

NIKON Z9 FIRST MIRROLESS FLAGSHIP

Nikon’s first mirrorless flagship, the Z9, delivers speed, resolution, and connectivity in a professional-grade body. Fast, intelligent AF and subject tacking use deep-learning technology to ensure sharpness when photographing at up to 30 fps or recording 8K video. Fast processing speeds and a new 45.7MP stacked sensor design also enable a blackout-free viewfinder experience and the body features an integrated vertical grip, four-axis tilting touchscreen LCD, and reliable weather sealing.

Nikon Z 9 Top Features

45.7MP FX-Format Stacked BSI CMOS Sensor. EXPEED 7 Image Processor. 493-Point Phase-Detection AF with Intelligent Subject Detection. 20 fps Shooting in Raw, 30 fps Shooting in JPEG, 120 fps Shooting at 11MP. Up to 8K30p and 4K120p Video Recording Internal 10-Bit Recording, ProRes 422 HQ and H.265 Support. New High-Efficiency Raw File Format. Blackout-Free EVF and Four-Axis Tilting LCD Touchscreen. Integrated Vertical Grip, Dual CFexpress Type B Card Slots. Built-In 5 GHz Wi-Fi, Bluetooth, and GNSS 45.7MP Stacked CMOS Sensor and EXPEED 7 Processing. Newly developed 45.7MP FX-format sensor features a stacked structure that promotes fast readout speeds and helps greatly to reduce rolling shutter distortion. The high-resolution sensor is also back-illuminated, which helps to reduce noise and contributes to smooth, rich tones for photo and video applications.

Complementing the sensor is a new EXPEED 7 processor that provides the speedy foundation of the Z 9. Quick processing ensures fast top continuous shooting speeds of 20 fps for raw images, 30 fps for JPEGs, and an impressive 120 fps for 11MP stills, with full-time AF and AE. EXPEED 7 processing also enables dual-stream technology, which provides true blackout-free viewfinder performance for more accurate capture of fast-moving action.

Advanced Autofocus System Backed by Deep Learning. The on-chip phase-detection autofocus system employs 493 points for full-frame coverage and subject tracking. Using the power of deep-learning AI, intelligent automatic subject detection and tracking is possible, helping to keep up with the fastest-moving subjects, including nine distinct subject types ranging from people to animals to vehicles in still and video modes.

Class-Leading 8K30p and 4K120p Video. More  just top stills performance, the Z 9’s video performance is similarly class leading with support for recording UHD 8K at 30p video with full pixel readout and continuous recording times more than two hours. 4K 30p recording is possible using an oversampled 8K area for improved sharpness and full frame 4K up to 120p can also be used for slow-motion playback. Additionally, the Z 9 supports 10-bit internal recording as ProRes 422 HQ or H.265 files.

Professional Body Construction. A flagship requires top-tier design, and the Z 9 delivers with professional-grade durable and weather-sealed construction with numerous high-end details.

Real Live Viewfinder benefits from dual-stream technology for blackout-free viewing when shooting at top continuous shooting rates.

Nikon’s first four-axis tilting touchscreen LCD means you can easily work from high and low shooting angles in horizontal and vertical orientations.

Magnesium-alloy chassis and fully weather sealed, just like the D6 and former flagship DSLRs, for assured use in inclement conditions.

Dual CFexpress Type B memory card slots offer fast, flexible saving for photo and video applications. Integrated sensor shield protects the sensor during lens changes and there is also a VR lock to secure the in-body Vibration Reduction system in place during travel.

Nikon’s Most Connected Camera. Professional image makers rely on the ability to deliver photos and videos quickly and easily, and the Z 9 is Nikon’s most connected camera to date. Physical connectivity is possible via full-size HDMI, USB Type-C. Ethernet ports and wireless connectivity are available using Bluetooth and 5 GHz Wi-Fi. The Z 9 features the classic 10-pin port for wide accessory compatibility as well as PC sync for flash triggering. GNSS is also integrated for in-camera geotagging.

New Nikon Software: NX Mobile Air and NX Tether. Expanding the Z System ecosystem even further, Nikon is also launching a pair of software solutions to benefit capture and workflow ends of the shooting process.

NX Mobile Air is an app for mobile devices that helps manage and transfer images when working on location. This app supports a wired connection between the camera and mobile device and enables transferring of imagery, IPTC data, voice memos, and more.

NX Tether is a free application that enables tethering with Nikon cameras, and supports displaying captured images on a computer monitor when connected via USB or wireless.

New Lenses: NIKKOR Z 100-400mm f/4.5-5.6 VR S Lens. Super-telephoto reach in a compact, portable form factor, this S-Line lens delivers a versatile focal length range perfect for sports, wildlife, and travel. Vibration Reduction limits camera shake while a new Inner Balance technology keeps the lens stable when shooting fast-paced action using a gimbal head.

NIKKOR Z 24-120mm f/4 S Lens. The advanced 24-120mm everyday zoom range covers wide angle to short telephoto to act as a one-lens solution for everything, from landscapes to portraiture. As an S-Line lens, it features advanced optics and sophisticated stepping AF motors for speedy and smooth performance

FTZ II Mount Adapter. Featuring a revised and streamlined form factor that’s better suited for cameras with a battery grip, the FTZ II is the bridge between hundreds of legendary F-mount lenses and the mirrorless Z system. This adapter maintains full optical quality, AF performance, and weather sealing for a seamless shooting experience.

Development Announcement: NIKKOR Z 400mm f/2.8 Lens with Built-In Teleconverter. Nikon is announcing the development of a future super-telephoto prime—the first for the Z system—with the upcoming NIKKOR Z 400mm f/2.8 lens, which will feature a built-in teleconverter for even greater reach and flexibility. Stay tuned for more information in the coming months

Z9 Firmware Update Coming 2022. A huge firmware update is already scheduled for the Z 9, in 2022, bringing a wealth of improved capabilities to the video system of the camera. This free update will allow the Z 9 to record at resolutions greater than 8K and greater than 4K and will add 12-bit raw recording in Nikon’s own N-RAW format, as well as ProRes RAW HQ. N-RAW will support recording at up to 8K 60p using full pixel readout and ProRes RAW will support recording at up to 4K 60p.

Courtesy of B&H

NEW DJI RONIN 4D 6K AND 8K CINEMA GIMBAL CAMERAS

Introducing the DJI Ronin 4D 6K and 8K Cinema Gimbal Cameras

DJI has just announced the Ronin 4D, the brand’s newest line of professional cameras for the next generation of cinema production, featuring two all-in-one 4-axis gimbal cameras: the Ronin 4D 8K Cinema Camera and the Ronin 4D 6K Cinema Camera. The Ronin 4D’s modular system is made up of a core processing unit and a gimbal camera featuring DJI’s flagship Zenmuse X9 sensor and the new DJI CineCore 3.0 image processing system with DCCS (DJI Cinema Color System). The core cameras can be built out with a variety of mix-and-match accessories, depending on your production needs in the studio or on location.

DJI Ronin 4D

The compact camera features a built-in gimbal that installs on the arm of the main unit, and it adds a fourth Z-axis to the traditional 3-axis configuration for additional stability in motion, particularly during dolly movement, to prevent vertical shake. The gimbal provides multiple visual sensors, an IMU (inertia/force sensor), and a barometer to keep the camera rock steady. Its AMF (Automated Manual Focus) technology provides accurate autofocus while also allowing the camera operator to control focus at any time during the automated process.

Ronin 4D 8K Cinema CameraRonin 4D 8K Cinema Camera

On the inside, the Ronin 4D provides either the Zenmuse X9 8K sensor that can capture up to 8K75 video with 800/4000 dual native ISOs or the Zenmuse X9 6K sensor that can capture up to 6K60 or 4K120 video with 800/5000 dual native ISO. The CineCore 3.0 image processing system allows the camera to record ProRes RAW, 422 HQ, and H.264 formats internally; it utilizes ActiveTrack Pro for tracking shots, and both sensors feature an advertised 14+ stops of dynamic range. The full 8192 x 4320 resolution features crisp detail that can be cropped to 4K, re-centered, and stabilized in post, retaining the same high-quality imagery.

Other features of the camera include built-in 9-stop ND filters, HDMI and SDI outputs, and a DL lens mount to support a variety of full-frame, carbon-fiber lenses, which will be available in the near future. The DL mount also allows for interchangeable lens mounts such as Leica M and Sony E-mount that provide zoom, macro, and anamorphic options for your production. The camera can record internally using a built-in CFexpress Type-B slot on the main body, and it also features a USB 3.1 Type-C port to record externally to a 1TB PROSSD. It records on-board audio using the 3.5mm and XLR input connectors on the main body.

Since the design is modular, there are numerous accessory options available to add to the camera to complete your rig, including a top handle, X9 focus motor, high-bright monitor, and focus/pan/tilt handgrips. An expansion plate can be added to provide an SDI port, XLR input, and timecode. An optional wireless transmitter uses DJI’s O3 wireless video technology, allowing you to monitor up to 1080p60 video from the camera up to 20,000' away over 2.4 and 5.8 GHz DFS frequencies using secure AES-256 encryption.

Optional, 1TB PROSSD 1TB and a High-Bright Monitor and LiDAR Range Finder.

With the optional LiDAR Range Finder, you can focus accurately using an intuitive waveform, which can detect up to 43,200 points within a 33' range with varying surface textures and subtle light changes to provide autofocus and ActiveTrack Pro, working with an enormous amount of data. The camera is powered either from a DC power input or from a high-capacity TB50 battery, which can provide up to 2 hours of shoot time.

DJI Ronin 4D 4-Axis Cinema Camera 8K Combo Kit $11,499.00

DJI Ronin 4D 4-Axis Cinema Camera 6K Combo Kit $7,199.00

DJI PROSSD 1TB $799.00

Courtesy of B&H

NEW CANON 3D VR RF 5.2 F2.8L DUAL FISHEYE LENS

This ground-breaking new EOS VR SYSTEM includes the new Canon RF 5.2mm F2.8L DUAL FISHEYE lens for digital interchangeable lens cameras, enabling 180° VR shooting with one camera to a single sensor.

The Canon RF 5.2mm F2.8L DUAL FISHEYE dual forward-facing fisheye lenses have an ultra-wide 190-degree field of view which form the basis of its stereoscopic VR capture capability. Canon’s advanced lens design then enables projection of two images onto the camera’s single sensor for perfect alignment and synchronisation straight out of the camera. By utilising the lens in this way, VR setup is simpler than a two-camera system.

Pushing optical boundaries with the stereoscopic Canon RF 5.2mm F2.8L DUAL FISHEYE lens features the famous red ring, denoting it as a professional L-series lens that utilises two UD elements per lens, helping to produce sharp clear images, from edge-to-edge.

The Canon RF 5.2mm F2.8L DUAL FISHEYE lens SWC coating is ideal for shooting with the sun in the frame, as it suppresses ghosting and flare of sunlight – a commonly encountered shooting condition in VR capture.

The brand-new EOS VR SYSTEM uses the Canon RF 5.2mm F2.8L DUAL FISHEYE lens on a single sensor camera where no lens alignment is required – meaning only one file is produced for both the left and right images which is already perfectly synchronised.

This allows the Canon software or plug-in to accurately convert the captured dual circular fisheye format to a standard 180° VR format, ready for further editing in Adobe Premiere Pro or viewing on a VR headset.

Learn more about Canon VR Systems: https://canon.sm/2YiQlNn