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

NEW ANGÉNIEUX OPTIMO ULTRA COMPACT LENSES

After an announcement at the Cannes Film Festival last July, Angénieux is pleased to present the first 37-102mm Full Frame Optimo Ultra Compact Zoom of a series of two. These compact lenses, also including a 21-56mm lens, will be the perfect companions to the Optimo Ultra 12X and the Optimo Prime series to create a complete Angénieux high-end Full Frame solution.

The 37-102mm lens was just presented for the first time in the world by Band Pro Film & Digital Inc, the exclusive partner for Angénieux lenses in the Americas, during a special event at New York’s Peninsula Hotel. A second presentation event will take place in Los Angeles on September 29, 2021.

The new Full Frame series of Optimo high-end compact zoom lenses is the result of decades of proven expertise in high precision optics and mechanics dedicated to cinema. The 37-102 & the 21-56 are the direct descendants of the iconic and Academy awarded Optimo 15-40 and 28-76 lenses, which have been the faithful companions of Directors of Photography for more than 15 years. Step by step, they will replace them on movie sets.

This new generation of high-end lenses is fully designed for the FF/VV format. Lightweight and compact, these lenses are among the lightest on the market. Thought for cinema users, the Optimo Ultra Compact lenses are the perfect addition to the Angénieux high-end Full Frame collection which already included the Optimo Ultra 12X and the Optimo Prime Series. 

They will seduce by their ergonomics, their superb optical quality from T2.9 (in FF/VV), including the famous Angénieux look and their high-precision mechanics. Image quality is consistent from T2.9 to T22 and at every focal length and focus distance.

The iris is also capable of closing completely. The balance of contrast, color and resolution offers an appealing cinematic look.

The new compact lenses will coexist with the extremely popular Type-EZ lenses - which were among the first Full Frame zooms and have been a huge commercial success - on two different segments of the market. The Optimo Ultra Compact lenses will join the Optimo Ultra 12X and the Optimo Primeseries on high profile productions while the Type-EZ lenses will continue to be the preferred lens for a huge variety of projects and applications in Full Frame.

About Angénieux

Angénieux is world-renowned for its camera lenses. Awarded four times in Hollywood by the Academy of Motion Picture Arts and sciences in 1964, 1989 and 2009, and by the Society of Camera Operators in 2012, as well as in 2014 by the British Society of Cinematographers in London, Angénieux lenses are a benchmark for image professionals. They are used worldwide for cinema, TV dramas, music videos or commercials.

The history of the brand started in 1935, more than 80 years ago, with the creation of the Pierre Angénieux Company. Since1993, Angénieux has become a Thales Group brand.

Cinema enthusiast and genius inventor, Pierre Angénieux laid the foundations of the modern zoom lenses and ensured the continued success of his company which experienced an incredible destiny. Pierre Angénieux was not only interested in cinema: he also turned to photography, television, optronics, medical. Angénieux lenses went all the way to the moon!

Chosen by NASA in the 1960’s, they have participated to different missions of the prestigious American organization. They were aboard Apollo 11 and participated to the extraordinary success of the mission, that, 50 years ago, showed the images of man’s first step on the Moon.

Currently available, the book « Angénieux and Cinema: From Light to Image” retraces through 270 pages widely illustrated,the incredible adventure of the Angénieux brand up to its most current challenges. The book is also available in English.


CANON EOS R3. NEW TOP FLIGHT MIRRORLESS

Canon has unveiled its topflight mirrorless camera, the EOS R3. Combining assets from the EOS R5 and the flagship EOS-1D X Mark III DSLR, the R3 is a high-performance body built for speedy shooting, featuring fast and precise focusing, and sporting a robust, professional-grade body.

It's the first 3-Series camera since the film era and introduces a wealth of new tech to Canon's mirrorless system, including an all-new stacked sensor, Eye Control AF, and a built-in vertical grip.

Announced alongside the new EOS R3 camera body, Canon is also expanding its lens lineup with the introduction of the RF 100-400mm f/5.6-8 IS USM and RF 16mm f/2.8 STM lenses. Relatively sleek and lightweight, these two lenses open up the RF lineup with more accessible choices at the wide and telephoto ends of the spectrum.


The EOS R3 is Canon's top-tier mirrorless body and currently is positioned between the high-resolution EOS R5 mirrorless body and the professional-grade EOS-1D X Mark III. The R3 combines the best of these two models, taking the speed, reliability, and physical characteristics of the flagship 1D X Mark III along with the technological advancements, mirrorless design, and multimedia prowess of the R5.

Sensor and Processor

While looking like a mixture of these two cameras, the EOS R3 does stand on its own with a variety of unique technologies, including a brand-new 24.1MP back-illuminated stacked CMOS sensor and an updated DIGIC X image processor. The stacked configuration of the sensor promotes faster readout speeds and reduces rolling shutter distortion to cater better to working with fast-moving subjects, and the BSI design is more efficient when gathering light, leading to cleaner image quality with reduced noise at higher sensitivities.

Another key element of this new sensor is its optimization for use with an electronic shutter function; top shooting speeds of 30 fps are possible with a 150-frame buffer, a top shutter speed of 1/64,000 second is available, and flash sync at 1/180 second is even possible. If working with a mechanical shutter, continuous shooting at 12 fps is available with a buffer of more than 1,000 frames, and flash sync is possible up to 1/250 second. In most cases, the electronic shutter will be the go-to function, and can remain a silent shooting option, or you can program an audible noise to accompany each shutter click to make it easier for subjects to recognize when a photo has been taken.

Complementing the updated sensor is a revised DIGIC X image processor, which helps to orchestrate many of the performance-oriented processes of the sensor, ranging from the fast continuous shooting to the AF, image stabilization, and video-recording capabilities. The sensor's capabilities also go on to boost the sensitivity range to ISO 100-102400 for working in a wide variety of lighting conditions.

In terms of video, the EOS R3 holds its own in the mirrorless realm with 6K 60p raw 12-bit recording and uncropped 4K 120p recording. The 6K and 5.6K recording areas can also be used for oversampled DCI and UHD 4K shooting with improved sharpness, reduced moiré, and lower noise. All 4K recording modes can be used with 60p, 30p, and 24p frame rates, and there is also a choice of HDR PQ and Canon Log 3 settings, depending on post-production workflow needs. Unlimited recording times are possible, too, and the R3 features mic and headphone ports, as well as a micro-HDMI Type-D port for clean output to an external recorder.

Autofocus

In addition to continuous shooting and readout speed improvements, the new sensor also lends itself to an improved Dual Pixel CMOS AF II system, which now features 1,053 selectable phase-detection points along with automatic AF zones and enhanced subject detection and tracking. The AF system can now intelligently recognize eyes, faces, heads (including helmets), animals, and vehicles, and tracking will automatically lock onto these subjects and maintain sharp focus throughout burst captures.

Something new to EOS digital cameras in general, Canon is also reintroducing Eye Control AF with the R3. This feature was a popular one dating back to the EOS-3 film camera days and has now been refined and tuned to work in conjunction with modern-day AF systems. This feature essentially allows you to use your eye to control where the initial focus point is, and then the camera will take control using subject tracking to keep the subject in focus. This feature will require you to "register" your eyes, and is activated simply by looking through the EVF, but will give shooters an even more intuitive means than a joystick for finding the perfect focus point prior to burst shooting.

One final point of the AF system worth noting is that it is sensitive down to -7.5 EV, meaning accurate and responsive AF performance is possible even in nighttime conditions. Coupled with a silent electronic shutter, quick burst shooting, and IBIS, this makes this camera stand out in terms of photographing live music performances and other low-light activities.


In-Body Image Stabilization

Not a new feature to Canon, but still one worth pointing out, is the In-Body Image Stabilizer (IBIS) that helps correct camera shake when shooting handheld in difficult lighting conditions or with longer lenses. This 5-axis system in the R3 is the same one used in the EOS R5 and R6 and can be used in conjunction with lenses featuring optical image stabilization to compensate for up to 8 stops of camera shake, depending on the specific lens in use.

Body Design

The new sensor and improved AF are great, of course, but among the most dramatic changes the R3 brings is a wholly new body to Canon's mirrorless lineup. It's the first Canon mirrorless body to sport an integrated vertical grip, which means it has duplicate physical controls for easier shooting in vertical orientation, greater handling comfort all around, and it takes the same large-capacity LP-E19 battery as the EOS-1D X Mark III. Some other similarities to the 1D X Mark III: The R3 has the same dust and drip resistance, with fully sealed buttons, dials, and terminals; it features wired LAN connectivity via an Ethernet port along with standard Wi-Fi and Bluetooth wireless connectivity; and there is an integrated GPS module for seamless location tagging.

The revised body also houses the impressive 5.76m-dot OLED electronic viewfinder and vari-angle touchscreen LCD. The EVF is the same high-res model found in the R5 and is a bright, clear means for eye-level viewing. This viewfinder is aided by the fast readout speeds of the stacked sensor, too, offers blackout-free viewing when shooting with an electronic shutter, and supports a 120-fps refresh rate for realistic motion portrayal. Conversely, the 3.2" 4.15m-dot vari-angle LCD is perfect for working from high, low, and front-facing angles and sports a touchscreen interface for intuitive settings control.

Complementing the updated sensor is a revised DIGIC X image processor, which helps to orchestrate many of the performance-oriented processes of the sensor, ranging from the fast continuous shooting to the AF, image stabilization, and video-recording capabilities. The sensor's capabilities also go on to boost the sensitivity range to ISO 100-102400 for working in a wide variety of lighting conditions.

In terms of video, the EOS R3 holds its own in the mirrorless realm with 6K 60p raw 12-bit recording and uncropped 4K 120p recording. The 6K and 5.6K recording areas can also be used for oversampled DCI and UHD 4K shooting with improved sharpness, reduced moiré, and lower noise. All 4K recording modes can be used with 60p, 30p, and 24p frame rates, and there is also a choice of HDR PQ and Canon Log 3 settings, depending on post-production workflow needs. Unlimited recording times are possible, too, and the R3 features mic and headphone ports, as well as a micro-HDMI Type-D port for clean output to an external recorder.

Autofocus

In addition to continuous shooting and readout speed improvements, the new sensor also lends itself to an improved Dual Pixel CMOS AF II system, which now features 1,053 selectable phase-detection points along with automatic AF zones and enhanced subject detection and tracking. The AF system can now intelligently recognize eyes, faces, heads (including helmets), animals, and vehicles, and tracking will automatically lock onto these subjects and maintain sharp focus throughout burst captures.

Something new to EOS digital cameras in general, Canon is also reintroducing Eye Control AF with the R3. This feature was a popular one dating back to the EOS-3 film camera days and has now been refined and tuned to work in conjunction with modern-day AF systems.

This feature essentially allows you to use your eye to control where the initial focus point is, and then the camera will take control using subject tracking to keep the subject in focus. This feature will require you to "register" your eyes, and is activated simply by looking through the EVF, but will give shooters an even more intuitive means than a joystick for finding the perfect focus point prior to burst shooting.

One final point of the AF system worth noting is that it is sensitive down to -7.5 EV, meaning accurate and responsive AF performance is possible even in nighttime conditions. Coupled with a silent electronic shutter, quick burst shooting, and IBIS, this makes this camera stand out in terms of photographing live music performances and other low-light activities.

In-Body Image Stabilization

Not a new feature to Canon, but still one worth pointing out, is the In-Body Image Stabilizer (IBIS) that helps correct camera shake when shooting handheld in difficult lighting conditions or with longer lenses. This 5-axis system in the R3 is the same one used in the EOS R5 and R6 and can be used in conjunction with lenses featuring optical image stabilization to compensate for up to 8 stops of camera shake, depending on the specific lens in use.

As you'd expect from a professional-grade camera, the R3 has dual memory card slots—one CFexpress Type B slot and one SD UHS-II slot—for file-saving flexibility. The CFexpress slot should be prioritized for 6K recordings and fast continuous shooting, but the SD slot is a convenient alternative for backups or less speed-critical shooting.

Finally, one final new bit of the tech the R3 is bringing to light is the Multi-Function Shoe. This next-gen take on a hot shoe essentially adds a row of pins at the front of the shoe for more intelligent accessory performance and functionality. To go along with the Multi-Function Shoe, Canon is also launching four additional accessories that take advantage of this new design.

The ST-E10 Speedlite Transmitter is a compact, lightweight transmitter that controls all five independent groups across up to 15 Speedlites simply by pressing the menu button on the transmitter and then adjusting settings on the camera's LCD. This transmitter is 30% smaller and 50% lighter than the ST-E3-RT II and, since it is digital and is compatible with the Multi-Function Shoe, it is battery-free and uses the camera's own power.

The DM-E1D Stereo Microphone is a shoe-mounted external mic that uses the Multi-Function interface for power and for digitally connecting to the camera, requiring no cabling for sync. It has three directional modes depending on recording needs, including a Shotgun mode for focused recording and 90° and 120° Stereo modes for wide-area recording.

The AD-E1 Multi-Function Shoe Adapter helps you transition from existing hot shoe accessories to the new Multi-Function Shoe; this adapter maintains the weather-sealed features of the camera when using accessories like the Speedlite EL1, Speedlite 600EX II-RT, OC-E3, or other shoe-mounted accessories.

The AD-P1 Smartphone Link Adapter is compatible with Android smartphones and uses the mobile device's data connection and a Mobile File transfer app for seamless and wireless photo, video, and voice memo transferring to FTP/FTPS/SFTP servers directly from the camera.


CANON EOS R3. Price: $5.999 (body only)

 Preorder at B&H 

Courtesy of B&H

RED V-RAPTOR 8K VV CINEMA CAMERA

RED Announces the First of the DSMC3 Line: The V-RAPTOR 8K Cinema Camera.

The new RED V-RAPTOR 8K VV cinema camera with a new 8K VV sensor that moves the RED family of cameras into a new, advanced DSMC3 line.

As the first of the DSMC3 platform, the V-RAPTOR features a compact form factor only slightly larger than the KOMODO, and it features a new multi-format V-RAPTOR 8K VV sensor that can natively capture in full frame as well as in 6K S35, 3K S16, VistaVision, and Anamorphic formats.

This multi-format design allows you to utilize non-full-frame lenses in S35 mode, and the camera has built-in features to make internal adjustments to accommodate a wide range of lenses.

The camera will be released initially in a V-RAPTOR 8K ST model in a limited edition white finish, and it will be released in a black finish at a later time. The camera fits easily into your production as an A/B camera in film production, for owner operators, or for content creators because of its versatility.


The new 35.4 MP V-RAPTOR VV CMOS sensor features phase-detection autofocus, a massive 17 stops of dynamic range, and high-speed frame rates over the GEMINI for even better low-light performance. The 40.96 x 21.60 CMOS sensor offers 8192 x 4320 resolution, 16-bit raw capture, reduced CMOS smear, and a new, fixed OLPF stack. Its high frame rate capability also allows for reduced rolling shutter artifacts with an extremely fast sensor read speed.

The V-RAPTOR can capture up to 8K 17:9 aspect at 120 fps, 4K up to 240 fps, and 2K in 2:40:1 aspect at up to a whopping 600 fps.


CF Card Reader

The camera comes with a rugged, locking RF mount, which is similar to the mount on the KOMODO, allowing you to utilize fast RF lenses. It is also compatible with third-party lens mount adapters from KipperTie, Wooden Camera, or Canon, so you can use PL and EF-mount lenses with electronic control support. The camera records to a CFexpress 2.0 Type B card, which can record raw R3D and ProRes files to up to 800 MB/s. 

There are three main recording modes, including REDCODE HQ with up to 360 MB/s at high frame rates for high-end VFX usage, MQ for standard cinematic shooting up to 300 MB/s, and LQ mode that shoots up to 180 MB/s for standard web streaming applications and long takes.


Creative Solutions

One of the handy new features of the V-RAPTOR is the dedicated user display on the side of the camera with an intuitive interface designed for camera assistants who need to adjust settings such as LUTs, controls, presets, formats, and general configuration (not for video preview). It features user pages to save custom presets, and there are quick buttons beside the display so it’s easy to use in the dark. The camera also features improved heat management with two intake ports on the bottom, a top vent, and a super-quiet 60mm fan that utilizes a thermoelectric heat exchanger that helps you change environments quickly without the need to recalibrate blackshade.


Small HD Monitor

The V-RAPTOR has multiple built-in interfaces, including two 12G-SDI outputs, a 9-pin EXT port for a breakout box, a USB Type-C port, a top Pogo pin for monitor, and a 4-pin power input. A 5-pin ODU output on the side can be broken out to an XLR input adapter or with a third-party 3.5mm adapter cable for audio input. The camera is powered using either the included power adapter or its built-in V-mount battery plate that accepts Micro V-mount batteries, such as the REDVOLT MICRO-V battery.

The camera also features wireless connectivity that provides live 1080p streaming, updated from 720p on the KOMODO, and it also allows wireless configuration from the RED smartphone app.

Multiple camera interfaces enable a wide range of accessories that are only compatible with the DSMC3 line (the RED Outrigger Handle is the only exception). RED partnered with SmallHD to create the DSMC3 RED TOUCH 7" LCD screen, which will utilize the Pogo interface and allow camera control functions using custom monitor software. 


The V-RAPTOR Wing Grips are custom-designed for the V-RAPTOR, as is the high-speed RED/Angelbird 660GB CFexpress 2.0 Type-B card. The partnership between RED and Creative Solutions will be releasing a start/stop top handle, extension handle, baseplate, breakout box with genlock/TC/Control/run/stop, tactical top plate, production plate, quick-release platform, production grips, and a DSMC3 5-pin ODU connector to add 3-pin XLR inputs. CoreSWX and RED also teamed up to create the REDVOLT MICRO-V 98Wh V-mount battery pack, in a compact form factor that provides 12A output for the V-RAPTOR.

Special Edition Starter Kit

RED will also be releasing a Special Edition Starter Kit, which will include the white V-RAPTOR ST Camera, an AC power adapter, two REDVOLT MICRO-V batteries, a dual V-mount charger, a 660GB CFexpress 2.0 card, a CFexpress card reader, a 3' EXT to timecode cable, the RED TOUCH 7" LCD, and two V-RAPTOR wing grips.


Priced at $24,500, a white ST version of the camera is available today for purchase via RED.com or from any one of RED’s authorized premium dealers while supplies last. The black version will be available in larger quantities before the end of 2021. RED also announced a forthcoming XL camera body will be released in the first half of 2022. The XL will be ideally suited for studio configurations and high-end productions, based on feedback to the RED RANGER body style.


SMALLHD CINE 13" 4K HIGH BRIGHT MONITOR



Cine 13" 4K High-Bright Monitor Cine 13 is SmallHD’s most agile, bright, and pixel-dense 4K production monitor yet. Boasting over 1500nits of brightness and 3840 x 2160 resolution, 4K is now more portable than ever.
 
Low-profile in design, this field companion can be rigged for almost any situation. With brilliant daylight visibility and full 4K clarity, Cine 13 is built for those on-set creatives who require critical focusing capability and a large display. 
 
Product Highlights 
13.3in / 34cm IPS LCD 1500+nits Brightness 3840x2160 Resolution 100% Rec 709 Color Weight: 6.8lbs / 3.09kg (with handle & feet)

Key Platform Highlights 
PageOS 4 software platform 4K HDR waveform and scopes Dual & Quad-View* Color Pipe color rendering Monitor Calibration Wizard Small4K™ 

Video Processing Architecture Inputs: 4x 12G-SDI , 1x HDMI 2.0 Outputs: 4x 12G-SDI, 1x HDMI 2.0* Unibody Smart Chassis Arca Slide-On Rail for battery and accessory mounting 2x 2-pin accessory power outputs Lower mounting rail included for ultimate flexibility Power 1x 4-pin XLR Hot-swappable dual inputs Dual-GM/VM Battery Plate (sold separately) 

A stunning 338 PPI display weighing in at only 6.8lbs High density, low profile. 

Model: MON-CINE-13 Display: 13" 3840 x 2160 Backlight Type: LCD Display: 13-inch, 3840x2160, 1500nits SDI: 4x 12G-SDI in, 4x 12G-SDI out HDMI: 1x HDMI 2.0 in, 1x HDMI 2.0 out Power Input: 1x 4-pin XLR 

 $ 4,699.00




ULTIMATE GUIDE TO CAMERA MOVEMENT

Camera movement is a surefire way to amplify your visual storytelling. Whether you opt for a dolly shot, a tracking shot, or decide to go handheld, a simple scene can turn into an electrifying moment. In this video essay, Episode 6 of The Shot List, we’re going to cover every type of camera movement in film. From the storytelling value of each camera movement to the camera movement techniques necessary to pull them off.


First up is the static shot — the absence of camera movement. Static shots are perfect for dialogue scenes or when you want to showcase the actor’s performance. A pan shot is a go-to when you want to reveal context, setting, or even build suspense. A whip pan can be a dynamic way to transition between characters in a scene or between different scenes. 

The tilt is a camera movement typically used to introduce characters or show the size and scope of a location. Pushing the camera in or pulling out are camera movements designed to either connect or disconnect the audience to a character or a situation. A zoom shot is not technically a camera movement because it is a function of the lens magnifying or de-magnifying the image. But when you combine it with a dolly camera movement, you can create a striking and cinematic camera movement called a dolly zoom. 

The dolly zoom effect compresses or stretches the background around the subject for an evocative and powerful camera shot. When a camera rolls, the world is literally turned upside down. Tracking shots will lead or follow the subject and can be utilized in any number of situations. When the camera follows parallel to the subject, it is known as trucking. When the camera movement surrounds the subject to make them feel surrounded or perhaps heroic, you’ve got yourself an arc shot. 

A boom shot is a vertical camera movement, which can be subtle or grand like a crane shot. The final camera movement is handheld with random shake and/or seemingly arbitrary zooms. When you’re going for documentary realism, this is the ideal approach to camera movement.

WHY HASSELBLAD CAMERAS ARE SO EXPENSIVE

I owned Hasselblad cameras (CM 500 & 500EL/M) so many years, it was a period over ten years, I was shooting only medium format 120 & large format 5x7, 8x10 chrome & negative film. Seldom 35mm. No digital, no computer, no Insta gratification, no Photoshop, no Lightroom.

Proofing w/Polaroid then process E6 or C41, push or pull and the square format shots were ready for client approval. Good Times. Then, forcibly I had to adopt digital acquisition and Hasselblad equipment went through the roof. But, still Hasselblad are the most reliable & sharp cameras & lenses for high end commercial & studio work. 📷 


WHY HASSELBLAD CAMERAS ARE SO EXPENSIVE.  August 8, 2021 by Udi Tirosh

Some of the most Iconic shots were taken with a Hasselblad (or Hassy as its fans call it). The album cover for The Beatless’ Abbey Road and the iconic Apollo 11 photo of Buzz Aldrin walking on the moon (shot by Neil Armstrong) are a few photos that almost everyone knows. On the flip side of this, a current Hassy would cost upwards of $30,000. And this is for the body only. A Fujifilm GFX 100S, also about 100MP, will set you back ‘only’ $6,000. So why are people willing to invest so much in a Hasselblad-made camera?

The folks from Business Insider dived into the Hasselblad pricing structure. Interestingly, Hassies were not always so expensive. They were pricey, but not to the point they are today. For reference, in 1948, Hasselblad’s first consumer camera cost around $500.

If you account for inflation, you’db be looking at something equivalent to $5,900 in today’s market. And again, looking at adjusted prices for Hasselblad bodies from the ’70s, you’re looking at around $5300.

The big pricing shit came with the move to digital. The first digital Hasselblad, the H1D from 2004, cost about $24,000, and it was a 22.0 Megapixel camera. (The previous film model was less than half that price). Hasselblad says that the main pricing factor for the camera is the large format sensor (Sony is making those). The large sensor allows for excellent low noise performance and impressive dynamic range. But the main reason that the camera is priced so high is that they had all made by hand.

With a low sales volume (The Verge reported under 10,000 units in 2018), you pay for the manual labor. And that is significantly more expensive than an automated assembly line.  The video explains that some of the work is done by the same people for over 30 years and is somewhere between a job and a craft. In total, a camera takes about six to eight hours to assemble, with calibration taking a big chunk of that time. And each camera sensor is individually manually calibrated.

[via Image Insider]

Udi Tirosh is the Founder and Editor in Chief of DIYPhotography.





ARRI Hi-5 HAND UNIT

The new ARRI Hi-5 is the most sophisticated hand unit on the market, providing reliable wireless camera and multi-axis lens control.


Weatherproof and solidly built, it features an exceptional radio link range and unique, swappable radio modules for different territories and shooting challenges.

 

Hi-Performance 
Multi-Axis Lens control. Powerful radio signal cuts through interference. Up to 100 virtual radio channels. Split-second reconnection time. High-contrast display. 

Hi-Versatility 
Swappable radio modules for different regions/situations. Three user buttons for personalized functions. Full camera control (including third-party cameras) Focus knob adjustable to operator preferences. Focusbug Cine RT support. 

Hi-Speed 
Fast and efficient new ECS ecosystem Smart pre-marked focus rings detected automatically. Integrated NATO rail and multiple mounting points.ECS Sync App: easy software updates and lens file management. Customizable touchscreen user interface. 

 Hi-Reliability 
Best rain, temperature, and dust protection on the market. Exceptionally strong materials and build quality Intelligent, high-capacity batteries. A tool that can be trusted for heavy use over many years. 

Hi-Tech 
Hot-swap battery technology Modular hardware and upgradeable software. Non-visual alerts via vibrating haptic feedback. Adaptable to future standards and networks. 



CINE GEAR EXPO 2019. WHAT IS THERE NEW TO SEE.

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

FUJINON/ FUJIFILM
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 www.fujinoncinelens.com

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
 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. 
www.angenieux.com   Booth #40


CINE GEAR EXPO AWARD
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.


HIVE LIGHTING
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"
sales@hivelighting.com Booth S321 Stage 5)


PANAVISION 
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.” 




16x9
 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

Subscribe to: Posts (Atom)