NEW FUJIFILM FUJINON HZK25-1000MM PL MOUNT BOX LENS

FUJIFILM North America Corporation  announced the development of its new, ground-breaking FUJINON HZK25-1,000mm F2.8-F5.0 PL Mount Box Lens ("HZK25-1000"). This box lens features a native PL mount and achieves a zoom ratio of 40x with a telephoto focal length of 1,000mm, the highest combination of magnification and telephoto reach1 available to date for large cinema sensors.

"In actively observing and gathering feedback from professionals in the emerging world of cinema-sized imagers in live production, we identified a very clear customer desire for a long cinema lens to facilitate capture quality of a live show," said Stosh Durbacz, national sales manager, Optical Devices Division, FUJIFILM North America Corporation. "With a pedigree that hails from the highly respected FUJINON Premier Series, HZK25-1000 provides production with unmatched flexibility and reach while maximizing the highly sought-after cinema look to live audiences."

HZK25-1000 deploys a dual-format system that supports two single sensor sizes: a camera with a sensor equivalent to the large format size3 and a traditional super 35mm sensor. The use of the newly developed 1.5x expander shifts the focal length of the telephoto side, enabling super telephoto image capture of 1500mm (1000x1.5)4. Additionally, when paired with a large format sensor, operators can shoot with a field of view equivalent to that of a super 35mm sensor while maintaining maximum optical performance, providing a true dual format lens. HZK25-1000 enables shooting with the same field of view in both large format and super 35mm formats, and produces rich image expression by taking advantage of the camera's cinematic look.

Digital cinema cameras with image sensors larger than existing B4-mount cameras have been increasingly used in sports and live event broadcasting. The use of large-sensor cameras enables the expression of immersive images by offering smooth bokeh and high dynamic range for live broadcasting. While traditional lenses for single sensor cameras may be optimal for filming movies and commercials, the zoom ratio is considerably lower than that of a B4 mount lens, and lens characteristics when zooming and focusing are different from those applicable to lenses used in live broadcasting.

To address this, HZK25-1000 utilizes optical design technology to achieve a maximum aperture of F2.8 and 40x zoom ratio. This ultra-high zoom ratio lens is compatible with the large sensors of digital cinema cameras yet provides a brightness of F2.8 at the wide-angle. Not only does it enable filming in low-light environments such as indoor concerts or nighttime events, but the shallow depth of field also provides the advantage of beautiful bokeh, bringing a cinematic look to live event production.

Fujifilm’s proprietary optical technology suppresses aberrations by using a large-aperture aspherical lens and a fluorite lens5 that have been precisely polished. By eliminating unnecessary ghosting, flare, and color fringe, the lens delivers high optical performance and natural image expression.

The out-of-focus bokeh is controlled through repeated simulations using Fujifilm’s proprietary optical design application, "FOCUS" (Fujifilm Optical Class Library and Utilities System), which determines optimal glass materials from the infinite combination of possibilities. The texture of each layer in the out-of-focus area is verified to achieve a bokeh that softens and naturally melts the background. Furthermore, camera operators can operate the lens in a setup specialized for live broadcasting, since existing FUJINON box lens accessories can be used in support of multi-camera operation. Wireless controllers from Preston Cinema and ARRI are compatible with HZK25-1000 and can also be connected.

The lens is the first commercially available box-type zoom lens compatible with large sensors equipped with optical image stabilization, enabling stable shooting while precisely compensating for vibrations in the venue. The latest anti-vibration mechanism and firmware utilizes Fujifilm's unique ceramic ball roller system. This mechanism provides a high level of anti-vibration performance against shaking caused by unstable platforms.

In addition to stabilization, HZK25-1000 features all of the latest technological advancements that are now standard in most of Fujifilm's FUJINON broadcast lenses:

Automatic Restoration of Illumination Attenuation (ARIA)

•Remote Back-Focus

•Automatic Chromatic Aberration Correction

KEY FEATURES

Native PL Mount

Fast F2.8 (F5.0 at 1000mm)

Wide 25mm (9.9mm 2/3” equivalent)

Long 1000mm (1500mm with Expander)

Dual Format Expander Maintains Image Quality in S35 and Large Format

Beautiful Bokeh Brings a Cinematic Look to Live Production

Compatible with Preston Wireless FIZ and Microforce Zoom Controller

Stabilization

Automatic Restoration of Illumination Attenuation (ARIA)

Remote Back Focus (RBF)

Automatic Chromatic Aberration Correction (ALAC)

SPECS

Length: 669mm / 26.3"

Weight: 28.8kg / 63.5 lbs

Close Focus: MOD: 3.5m / 11'5"

⭐FUJINON HZK25-1000 Cine Box PL is a totally new class of lens, be among the first to see and demo it live on a Sony Venice 2 in both Super 35 & Large Format. Shown Dec. 12 @ SVG Summit (NYC) - Jan. 19 @ Fujifilm Day at ASC Clubhouse (LA) - Feb 20-22 HPA Tech Retreat (Palm Springs) - April 16-19 NAB (Las Vegas)⭐

Pricing and Availability: FUJINON HZK25-1000mm F2.8-F5.0 is expected to be available in Spring 2023. For more information, visit www.fujinon.com.   

KELVIN EPOS 300 LAUNCHED ON EUROCINE EXPO 2022

Award-winning LED technology pioneer Rift Labs announced the launch of the new cinema lighting brand Kelvin, and the very first product in the line-up, the Kelvin Epos 300.

A new line of products is pushing the boundaries of cinema lighting. With full RGB, best-in-class LUX output per watt, seamless and intuitive control of the light via their app and a bold promise with a 3 year Keep Rolling Warranty™, the handmade Epos 300 from Scandinavia is challenging the industry.

Available for pre-orders now at www.kelvinlight.com with deliveries starting in September 2022. Selected media and ambassadors will have access to the product before September.

Encased in 6mm thick aluminum plates, the Kelvin Epos 300 is a full color spectrum 300W LED COB studio light, engineered and handmade in Norway, Scandinavia. Utilizing Kelvin’s sophisticated 6-channel RGBACL light engine Cantastoria, the Epos300 enables extreme precision lighting across the full spectrum of colors within the 2.000 - 20.000 K CCT range.

Compatible with a Bowens mount, the light is built to last with its 6mm aluminum housing and can be controlled via the Kelvin Narrator Bluetooth app, DMX or Lumen Radio Skynode (included in the box). The Epos 300 is powered by 2 x V Mount Batteries or AC power supply.

The selling price for Kelvin Epos 300 is $2499 USD. Every light comes in a waterproof and durable rolling hard case.

What comes in the box:

Kelvin Epos 300 control unit with V-Mount battery plate.

Connectivity: Bluetooth, USB-C, USB-A, DMX 5-Pin XLR, wireless DMX lumen radio Skynode.

Quick Release Lighting Super Clamp Kelvin Reflector.

5-Pin Male-to-Female XLR head cable

3M Rolling, water and dust proof hard case.

100% Satisfaction Guarantee - Try Risk Free For 180 Days – No Questions Asked 3 Years Keep Rolling Warranty™ Lifetime Customer Support.

Kelvin is a premium light brand developed by LED technology company Rift Labs from Scandinavia with a proud history of manufacturing award-winning cinema lighting fixtures and lighting software for the global market in video and photo since 2010 with over 50 000 products sold. We are on a mission to explore the spectrum of light to create amazing products loved by people. The headquarter of Kelvin is located in Oslo, Norway with offices in Berlin and soon-to-open New York.

To learn more about Kelvin please visit www.kelvinlight.com

TOP GUN: MAVERICK BTS WITH DOP CLAUDIO MIRANDA, ASC AND FUJINON LENSES

Claudio Miranda ASC, the award winning director of photography behind Top Gun: Maverick, shares behind the scenes footage, stories from the set, and all the ins and outs of selecting and working with the gear used to create this history-making film.

 

GEAR LIST USED TO SHOOT TOP GUN: MAVERICK.     

Camera: Sony Venice      

FUJINON Lenses:      

Premista 28-100mm T2.9      

Premier 14.5-45mm T2.0      

Premier 18-85mm T2.0     

Premier 24-180mm T2.6      

Premier 75-400mm T2.8-3.8      

Cabrio 19-90mm T2.9      

Cabrio 20-120mm T3.5      

Cabrio 85-300mm T2.9-4.0 

Cabrio 25-300mm T3.5-3.85

Claudio Miranda, ASC

Fujinon Premista T 2.9 28-100mm

The Premista 28-100mm, the first of the series to be released, is a standard zoom lens covering a 28-100mm focal length. This is the equivalent of 6 prime lenses, which saves both time and cost caused by changing lenses frequently. Thanks to the adoption of a large-diameter aspherical lens and a new focus/zoom system, the Premista achieves stunning optical quality from the center to the corners, allowing the cinematographer to capture the feeling and texture of the subjects. The lens design contributes to the wide dynamic range by suppressing unwanted flare and ghosts thanks to Fujifilm’s original optical calculation software. Standard 6 lens cine prime set of “29mm, 35mm, 40mm, 65mm, 85mm, 100mm”

For more information, visit Fujinon Cine Lenses

ANGENIEUX OPTIMO PRIMES WITH INTERNAL OPTICAL PALETTE (IOP) EFFECTS

Angenieux’s Optimo Prime full format, single focal-length lenses address the modern DP’s need for high resolution, contrast, and uniform colorimetry but with flexible customization to support the quest for a certain “character,” which may be appropriate for different projects or sequences.

Watch Angenieux's intro reel to see the remarkable looks that can be achieved, thanks in part to their new Integrated Optical Palette (or IOP), and then read about the unique design philosophy and specifications of the Optimo Primes.

The Optimo Prime series, available in PL mount, consists of twelve focal lengths: 18mm, 21mm, 24mm, 28mm, 32mm, 40mm, 50mm, 60mm, 75mm, 100mm, 135mm, and 200mm. Most have fast maximum apertures of T1.8, with the widest and longest lenses featuring a T2.0 maximum aperture. All (except the 200mm) have 95mm front outer diameters, use standard 0.8 pitch-geared, non-linear focus and iris rings, and 320° of rotation for focusing. Interestingly, the Optimo Primes actually focus from a bit beyond both the minimum object distance as well as infinity. All feature 46.31mm image circles, covering even the largest of today’s 8K sensors. The Optimo Primes are color-matched to the Optimo Zooms and, when unmodified, show perfectly round out-of-focus highlights across the image plane thanks to their standard nine-bladed iris.

While providing modern mechanics and reliability, Angenieux’s unique approach to customization allows for, essentially, in-lens filtration at the rear, as well as in a central “slot” immediately before the iris. The irises can also be changed from the standard nine-bladed version to others, including a three-bladed design (for triangular “bokeh,” recalling some vintage lenses), or an oval shape for classic elliptical out-of-focus highlights as seen with many anamorphic designs. In addition, front elements are available coated or uncoated.

This unique design approach—internal and rear filter options, uncoated elements, and alternative iris designs—allow for an incredible number of different in-camera effects, as well as the ability to push and pull image aspects, such as contrast, resolution, flare behavior, bokeh character, and effects such as streaking. Angenieux refers to this customization as Integrated Optical Palette (or IOP).

At the rear of each lens are two threaded filter stages, one for when imaging to Super35-format sensors (40.5mm) and the other (46mm) for use with full-frame sensors. These rings can accommodate a special vintage-style filter that can help re-create looks from the golden age of cinema.

The central IOP stage can accommodate a wider range of filter types including streak filters (in colors like blue or orange), a “cracked” filter for elegant aesthetic distortions, and an uncoated element to provoke flares and reduce contrast. A “clear” filter is also available, which can be modified in any number of ways (think hairspray or Vaseline).

Another unique aspect of the Optimo Primes’ customization options is that modifications are relatively quick and easy for a qualified optics tech to perform or return to “stock.” The rear filter stage can be quickly and easily changed in the field, while the central stage, immediately before the iris, and the iris itself, can be modified in about 15 minutes at the bench.

Courtesy and available at AbelCine 

For more information about Angenieux lenses

CINE GEAR EXPO 2022 INDUSTRY AWARDS & KARL KRESSER TRIBUTE

Cine Gear Expo 2022 VIP Industry Awards & Karl Kresser Tribute

Legacy Lifetime Achievement Award: Steven Poster, ASC

Visionary Achievement Award in Cinematography: Lawrence Sher, ASC

Emerging Star Award: Autumn Durald Arkapaw

Technical Lifetime Achievement Award, SONY Electronics, SONY Venice

In Memoriam, Karl Kresser Tribute

Courtesy of Cine Gear Expo

NEW ALEXA 35 - 4.6K SUPER 35 DIGITAL CAMERA

ALEXA 35 is the smallest fully featured ARRI production camera ever, packing the features and processing power of a larger ALEXA into a Mini-sized body that can record native 4K at up to 120 fps. Fast and easy operation is assured through numerous usability improvements and a simple menu structure that will be intuitively familiar to crews. ALEXA 35 is the best A-camera, B-camera, and action camera on the market, all rolled into one.

Designed for flexibility

Five interchangeable lens mounts, two scratch mics, and internal FSND filters make ALEXA 35 ideal for changing shooting requirements. ACs will love the body-mounted LBUS connector, built-in serial port for distance measuring devices, and hot-pluggable viewfinder.

For over a decade the ARRI ALEXA camera family has set the gold standard for digital cinematography. Now, ALEXA 35 raises the bar even higher with a new Super 35 format 4.6K sensor and REVEAL Color Science.

17 stops of dynamic range

2.5 more stops than previous ALEXA cameras, with filmic highlight roll-off

Natural and beautifully rendered skin tones

Subtler tonal variations for immersive and emotionally powerful images

Easy workflow with REVEAL Color Science

ARRI’s discussions with filmmakers and careful review of the image pipeline have led to significant image quality enhancements and a faster, easier workflow. REVEAL Color Science is a suite of new image processing steps used by ALEXA 35 internally and also available through leading third-party postproduction tools for ARRIRAW processing.

REVEAL Color Science logo - POS - LARGE - RGB

ARRI Debayer Algorithm ADA-7

ARRI Color Engine ACE4

ARRI Wide Gamut AWG4

LogC4 Curve

LogC4 Look Up Tables

Backwards Compatible

ARRI Debayer Algorithm ADA-7

First step in the new and improved image pipeline

Converts ARRIRAW into camera native RGB image data

4.6K Super 35 sensor

Wide lens choice

ALEXA 35 can be used with a vast array of lenses--modern and vintage, anamorphic and spherical, Super 35 and large-format. If you want to shoot with ARRI cameras while fulfilling native 4K mandates, you now have an immeasurably broader lens choice.

19 recording formats

A total of 19 ARRIRAW and Apple ProRes recording formats, incorporating efficient in-camera downsampling and anamorphic de-squeezing, allow you to optimize data rate, resolution, and other parameters, based on your individual needs.

Choose your digital film stock

ARRI Textures allow you to alter the amount and character of grain in the image, and the amount of contrast at different levels of detail, perceived as sharpness. Previous ALEXA cameras were pre-programmed with a default texture, but ALEXA 35 lets you choose from a menu of ARRI Textures, like selecting a film stock.

Designed for flexibility

Five interchangeable lens mounts, two scratch mics, and internal FSND filters make ALEXA 35 ideal for changing shooting requirements. ACs will love the body-mounted LBUS connector, built-in serial port for distance measuring devices, and hot-pluggable viewfinder.

New side display

Read status and change settings without a viewfinder via the new camera left-side display and jog wheel. Great for TRINITY, Steadicam, Easyrig, drones, and cranes.

HDR viewfinder

Familiar MVF-2 viewfinder and menu structure from ALEXA Mini LF; now with the option to switch to HDR viewing in the eyepiece.

Integrated electronic modules

The Power Distribution Module PDM-1 (center) offers seven extra power accessory outputs, while the Audio Extension Module AEM-1 (right) provides two incredibly clean microphone preamp channels for onboard audio recording, as well as extra power outputs.

Media bay for Compact Drive 1TB and 2TB

All existing 1TB compact drives will work with the ALEXA 35, and the new 2TB version brings incredibly high frame rates to uncompressed ARRIRAW recording.

Versatile connectivity

ALEXA 35 offers a host of inputs and outputs for all your accessories. Highlights include two completely independent 12G SDI outputs, an ethernet connector for real-time streaming metadata, and regulated 12 V and 24 V accessory power outputs.

B-Mount, the new 24 V standard

Improved mechanics, impressive metadata, and enough power for all your accessories.

Below is a comprehensive review and test footage of the Alexa 35, courtesy of the guys from CVP, UK.

For more info, visit ARRI

Download ALEXA 35 brochure pdf here