Angenieux have just announced their new EZ series zoom lenses, which feature user switchable mounts and user switchable formats. EF on s35, E mount on FF, and anything in between. Your choice. Now that’s something worth exploring! The Angenieux Type EZ series So many choices… Which lens kit should I buy (or rent)? What are the requirements for the next job? These choices aren’t always easy ones to make, and we still can’t predict the future in terms of what the next camera will require. The new Angenieux Type EZ series zoom lenses could be the solution, as they not only offer user interchangable mounts but also another very neat feature: you can switch out the whole rear optical blocks to have the lens fit a s35 sensor or a full frame one. With a massive 46mm image circle in full frame mode, you can put this thing on whatever you like. Even a Red Dragon 8K sensor won’t be a problem for these zoom lenses. In fact, any Red camera recording at resolutions higher than 5.5K, ARRI Alexa Open Gate, ARRI Alexa 65 with VistaVision crop and also Full Frame DSLR cameras such as the Sony A7s Mark II, Canon EOS 5D mk 4, 5DS, 1DX Mark II. Again: your choice. In s35 mode, the diagonal of the image circle is up to 30mm. While the process of switching mounts is rather easy, switching out the rear optical block is a little bit trickier, and certainly shouldn’t be done on a busy set on the side of the road. But it is possible and that is the real point here! It’s also worth mentioning that when switching the rear optical block from FF to s35, it acts a little bit like a Speed Booster, increasing the aperture from T3 to T2. Not having to choose between either version when investing in glass certainly can bring great peace of mind, especially in a time when new cameras are coming out every few months. With the EZ Series, Angenieux is filling a wide open gap between their highly acclaimed (and very expensive) Optimo cine zooms and standard ENG style zoom lenses which often lack the distinct cine look. Two Versions, Multiple Choices There are two versions of the EZ series zoom lenses, the EZ-1 and the EZ-2. As mentioned above, both of them can be configured as either s35 or full frame versions. Here are the differences between them: The Angenieux Type EZ-1 is a standard zoom lens with a zoom factor of 3x. When configured for S35mm cameras, the focal range and aperture are set to 30-90mm F1.9 / T2. By exchanging the rear lens group, the lens becomes a 45-135mm F2.8 / T3 covering an image circle up to 46mm diagonal. The EZ-1 in s35 mode The Angenieux Type EZ-2 is a wide zoom lens with a zoom factor of 2.7x. When configured for S35mm cameras, the focal range and aperture are set to 15-40mm F1.9 / T2. By exchanging the rear lens group, the lens becomes a 22-60mm F2.8 / T3 covering an image circle up to 46mm diagonal. the EZ-2 in FF mode On top of that, every version is compatible with either PL, EF, or Sony E mounts. Your choice, remember? Another nice thing are detachable ENG style zoom servo grips and other accessories which will be made available by MOVCAM in the near future. Specifications of the EZ Series: EZ-1 FF mode 45-135mm T3 / f2.8, image coverage up to 46mm diagonal Lightweight (2,050g / 4.5 pounds) EZ-1 s35 mode 30-90mm T2 / f1.9, image coverage up to 30mm diagonal Extremely fast T2 across zoom range with no ramping Lightweight (2,150g / 4.7 pounds) EZ-2 in FF mode 22-60mm T3 / f2.8, image coverage up to 46mm diagonal Lightweight (2,070g / 4.6 pounds) Extremely wide coverage with minimal distortion EZ-2 in s35 mode 15-40mm T2 / f1.9, image coverage up to 30mm diagonal Extremely fast T2 across zoom range with no ramping Lightweight (2,120g / 4.6 pounds) Extremely wide coverage with minimal distortion Also, all EZ zoom lens share the following features: Internal focusing & zooming, lens size remains constant throughout zooming & focusing range. Traditional Angenieux look: colorimetry matches those of Optimo & OPTIMO STYLE series. Short MOD 0.6m / 2 feet In-lens thermal compensation, significantly reduces temperature drift. Precise and ergonomic focus ring with scale rotation of 300 degrees Luminescent FTZ markings, easy reading in dark Available with PL lens mount, easy conversion to EF or E mount by users Front diameter 114mm, matte boxes compatible with those used on OPTIMO & OPTIMO STYLE compact zooms Detachable ENG style zoom grip available from MOVCAM Conclusion What do you think? Are we seeing the start of a revolution? Depending on the price that’s yet to be announced, this developement could be a real investment saver for many of us. With the shorter lifespans of cameras it’s nice to have some peace of mind when it comes to the often very expensive lenses we use with them. Deliveries are expected to start from the 1st quarter of 2017. If you happen to be around for IBC, stop by at the Angenieux booth as some prototype lenses will be shown there. Booth #12.E33 For more information, please head over to Angenieux’s website.Read more
The wait is finally over and here’s our Canon 5D Mark IV Review. It’s a whole 60g lighter than its predecessor. But will it satisfy the hungry DSLR video user who has been waiting for Canon to come up with a better priced 4K DSLR camera? What’s more, will this camera bring back all those users who once owned a video capable Canon DSLR camera, but ended up looking elsewhere? I will let you decide for yourself. But in the meantime, here are my thoughts after spending a short day with this new camera. Perhaps the most important feature of the Canon 5D Mark IV is its ability to shoot 4K video internally and its advanced autofocus system. However, in my eyes, there’s no doubt that this feature-rich photo camera, with its 30.4 MP and Dual Pixel RAW, is mainly targeted at photographers. When it comes to video recording, it looks like Canon has decided once and for all to make a clear definition between their EOS line of video-enabled photography cameras, and their EOS C line, featuring large sensor cameras that shoot high quality video. Don’t get me wrong, this camera is capable of producing gorgeous-looking video, but lacks some essential features that would make the life of the occasional video shooter a lot easier. Findings in our Canon 5D Mark IV Review: Canon 5D Mark IV pros (in no particular order): DCI 4K (4096×2160) internal video recording in very nice 4:2:2 8 bit quality, with the texture we love from Canon. My video above was shot in very harsh lighting conditions and yet the camera preformed nicely. No overheating or shutting down. World camera with a large selection of frame rates and resolutions: 4K up to 30p, Full HD up to 60p and HD Ready (720) up to 120p. Dual Pixel AF with touchscreen functionality. It is also easy to control how fast the change between focus points happens. Dual CompactFlash and SD memory card slots for your choice of video recording. Full control of audio with the included headphone and mic jacks. To my eyes, very clean video image in all frame rates. We will review this in detail in our Lab tests. Recording in 1080/50,60p is possible, an important setting for broadcasters and moderate slow-motion lovers. In-camera realtime down convert from 4K to full HD. When picture style is set to “Neutral”, sharpness is already dialled all the way to minimum. Individual frames from 4K video can be saved as new 8.8MP still image files. Higher resolution LCD screen than the Canon 5D Mark III. Same old trusty batteries. Nice for everyone who is replacing their old 5D Mark II and III. A photo extracted directly from the 4K video footage Canon 5D mark iv video crop factor vs. full frame still Canon 5D Mark IV cons (in no particular order): 1.64x crop factor in 4K video mode. While in Full HD and 720p you can shoot in full frame. No C-log. If it was missing on the Canon 1D X Mark II, I did not expect the cheaper 5D Mark IV to surprise me here. MJPEG compression type. Be ready to purchase a bunch of memory cards as it will chew through them fast! Like with other Canon DSLRs that shoot video, there is a 4GB file limit. The camera will automatically create a number for files based on the time of recording. (this apply for cards lower then 256gb). No peaking. No punch in zoom while recording. No screen overlays to help with simulating 2,35:1 or any other ratio but 16:9. Rolling shutter is noticeable. Full measurements coming soon in our lab test. High frame rate 100/120 fps is limited to HD Ready quality only (720p). HDMI output is full HD only, although this time also with embedded audio. Maximum recording time: 29:58 minutes. Canon continues with its tradition of not including an articulated screen in their 5D cameras. Yet to be tested: HDR video mode (full HD only), and time lapse recording. Canon 5D Mark IV HDR on vs. HDR off (functioning in FHD 25p/30p IPB mode only) Conclusion: In my opinion, the new Canon 5D Mark IV is first and foremost a photo camera that can shoot high quality 4K video, and by doing so, helps the professional photographer in his work. As customers, we have to realize that Canon is making a clear definition between its product lines, and if you are in the market for a video camera that shoots high quality video and has all the usual functions from Canon, then you have to look at their EOS C line. We will continue to explore the new Canon 5D Mark IV in the next few days. We will put the camera through its paces in low light situations, check how good the audio quality is for run & gun documentary work, and publish our Lab tests, where we will evaluate dynamic range and rolling shutter. Stay tuned. Camera Picture profile for this video: Neutral. Edited in Adobe Premiere latest edition. Footage from the 3 available resolution was used (4K/1080/720). Slightly color corrected with FilmConvert. (Canon 1D C Neutral preset applied). Music supplied by Art-List, “The Monkey Funk by Yanivi“Read more
The long-awaited Canon 5D Mark IV makes it’s official announcement, with 4K video internal recording and dual pixel autofocus. After what feels like an age since the Mk III was released, Canon have finally caught up with competitors in offering 4K video, 61-point touch screen auto focusing and 2 new zoom lenses to its cameras feature line up. As an operator that switched from Canon to Sony for video, this is welcome news and finally puts Canon back on the map for superb quality photography and filming. 4K video has been long awaited in the DSLR side of Canon cameras, since it’s only been offered in the high spec cinema cameras. 4K is now offered internally in different frame rates (4K Motion JPEG video DCI cinema-type 4096 x 2160, but a cropped, non full frame image), with 60p HD resolution and 120fps in 720p too. HD is recorded in full frame, however. The colour bit depth is still 4:2:2 8-bit. This is recorded at 500Mbps MJPEG format, which is also used in the IDX II and 1DC models, that have 4K as a video recording resolution. 8.8mpx stills can be pulled from the 4K video as well. You now have the option of post focusing, as the dual pixel RAW offers photographers the option to choose their focus points after capture, much like the Litro Illum. With updated 4K video, advanced auto focusing features for the video shooter (Dual Pixel CMOS AF for responsive and smooth AF during video or live view shooting ), Canon is back in the race. But is it enough or too late? Let us know what you think in the comment secession. Stay tuned to our continuous coverage. First impression, fresh footage and lab test results are coming very soon! Post launch edit – A number of readers have commented about the lack of C LOG, and no full HD 120fps slow motion recording. We’ve seen a number of camera manufacturers add log profiles in after a camera release (Panasonic, JVC) so this could be on the horizon in a future firmware update. It’s very optimistic, but Canon is unpredictable with this kind of add in post-release. For the high frame rate slow motion, 120fps in HD isn’t even included in the closely priced C100 mark II. The 1.74x crop in 4K is to eliminate pixel binning from the massive 30.4mp sensor, but will make shooting wide angles somewhat of a challenge. The HD video resolution is a full frame sensor readout. Working with 500Mbps MJPEG files makes the workflow data heavy, but these files can be transcoded into ProRes or another format to make it easier to process and edit in post. The 5D Mark IV is scheduled to be available in early September 2016, but you can already pre-order from our site sponsors by clicking here (B&H) and here (CVP)Read more
We only send updates about our most relevant articles. No spam, guaranteed! And if you don't like our newsletter, you can unsubscribe with a single click. Read our full opt-out policy here.