Metabones has released a new lens adaptor, the FZ to EF Cine Smart adapter converts Canon to Sony FZ retaining aperture information for overlays and auto iris, as well as offering a manual aperture ring for quick and easy exposure adjustment. Metabones FZ to EF T Cine Smart Adapter The first announcement as a prototype at IBC had me raising my eyebrows for two reasons: The first: having used a previous solution from Optitek I was pretty disappointed with Canon EF/FZ marriage. The Optitek adaptor is very fiddly to use; aperture adjustments are done by two tiny buttons on the side of adaptor itself (not camera) and often the aperture readings would freeze altogether. So more competition in this adaption would be warmly welcomed. The second is the unique manual wheel Metabones has decided to include on the FZ to EF Cine Smart adapter. Despite still being an electronic adaptor and electronically controlling the adjustment of the aperture (as you would with the native lenses on your Sony FZ mount camera) there’s a wheel on the side that you can manually operate for aperture control. (Images via PhilipBloom.net) This is fantastic, it’s not quite in the league of a complete manual aperture control where the turning on the wheel directly opens/closes the aperture in a smooth fashion as it is still translating your adjustment into electronic information (aperture changes can only be as smooth as the camera/lens dictates). However it offers a very quick and fast way to change open/close your iris; one camera operators from a certain era will be very familiar with. The Sony FZ mount is found on cameras like the F3, F5 and F55. It’s great to have the option to adapt such a widely used lens format in terms of cost and versatility. The Metabones FZ to EF Cine Smart adapter will provide aperture information to the camera so you can visually see your stop, there is also the ability to auto iris. On the side you’ll find a user definable button as well as USB port for firmware updates. The Manual dial on the side of the adaptor is accompanied by an f-stop scale window, this ranges from f/1.0-32 and your lens will kick in at whatever range it is currently capable of doing (for example a f/2.8 will only start to adjust when the dial reads f/2.8 or higher) it does not unlock faster apertures. The adaptor is certainly a sizeable chunk, here’s a pic from Philip Bloom comparing it in size to the Optitek ProLock EF for FZ. When using it on a camera like the Sony F5/F55 I can’t really see the size being an issue. The cameras are built for PL sized lenses so a slightly bigger adaptor with relatively small EF lens isn’t going to prove very challenging. The final key feature of the Metabones FZ to EF Cine Smart adapter is the price, at $999 it is substantially more affordable than the Optitek, very good value for this type of lens adaptor. I hope to see the manual wheel > electronic aperture control in more adaptors, it would be great to see it in an E mount to EF for example, as long as the form factor is kept in relative size to the cameras it’ll likely to used it. There’s no word yet on availability, more info on the metabones website. via/ Philip Bloom & NewsshooterRead more
The cinema5D forum has evolved: I present to you the cinema5Dreviews page that we’ve been working on. This is not a new forum page, this is a whole new section of cinema5D, uniquely programmed and embedded into the cinema5D platform. What is it? cinema5Dreviews is a growing database of reviews for filmmaking equipment. It is in Beta right now. What can it do for me? It has a lot of very valuable information on each filmmaking product all put in one place by fellow filmmakers. You save time surfing the web and you might find information you could have missed somewhere else. No more endless forum searching for reviews and opinions on products. It is all gathered in one place. ➔ Opinions by fellow filmmakers (which you can trace back because they’re forum members) ➔ the best video reviews gathered by you from YouTube and Vimeo, or add your own. ➔ prices ➔ ratings ➔ collection of product highlights ➔ currently sortable by star rating, price or name Who is filling the database? You. And any other cinema5D forum member can add to the database. If you have tried or own the product you can add your opinion and give a rating for the product. You can also add new products and can add details to existing products. Not only HDSLR HDSLRs are great, they’ve upgraded our clips, films, productions, but we’re also embracing all other low budget large sensor cameras and their accessories. More categories to come, please post your preferred categories in the comments to this article. It needs to be filled This database has just been born and it will become more powerful the more you feed it. Since we’ve written this software on our own and with an extremely tight budget we need some time and your feedback to work out all the glitches. It’s beta, so if something doesn’t work please be patient and let us know. That’s it. The more you use it the better and faster we can improve the platform to your benefit. Now go check it out and add a product or two: www.cinema5d.com/reviews/Read more
In film every minute lost costs money and nerves. That’s why professionals tend to use high quality equipment. This support system is not very affordable for the normal user, but for its quality and functionality it’s a very good deal for professional video and when you’re dealing with frontheavy cameras. The build quality and versatility of this support system is outstanding. Screws, materials, sliding, everything is smoooth. The 16×9 Inc Cine Base M15 is currently available for the Sony FS100, Sony F3 and Panasonic AF100. You can upgrade the support system to go with each model by buying the additionally available baseplates. The kit for each camera is currently $1045: Check out the 16×9 Inc. PL mount which we reported about at NAB 2011. For more information visit the 16×9 Inc. website. B&H has provided these exclusive phone numbers for you if you have questions or require assistance: US: +1 877 502 5839 and INTERNATIONAL: +1 212 465 0114Read more
I reported about the MTF EF-mount last week, a device that would soon enable you to use a Canon EF lens with your favourite large sensor camera (F3, FS100 or AF100). For a long time, well ever since these cameras are out people have been waiting for someone to develop a mount that will give them aperture control on Canon lenses. It was great news at IBC when MTF announced that they’d have a sub 1100€ unit available in a couple of months, but it looks like the company Redrock Micro has also been working this. And the price looks pretty interesting.Read more
After 3 years of shooting on DSLRs I’m glad that production companys have the chance to use an amazing yet affordable alternative with a camera like the Sony F3. Shooting an ad on it last week was a major positive experience for me and I can only join in to the praises that come from everywhere about this baby. What a great picture and how convenient to use it is. I’d prefer it over a RED any day and at $14k this one is a nobrainer for me. If you wanna buy it try here. For another $3,680 Sony gives you a firmware upgrade that will activate s-log recording and HD-SDI 4:4:4 output. It kind of sucks that this feature is hidden in an expensive firmeware unlock, doesn’t it? But hey, this camera really is affordable for what it does. The firmware upgrade is available here. Many have asked if that upgrade is really worth the extra cash and Abel Cine, the New York based rental giant has finally put their meters on it to check out the real potential of this hack. The result: 13.5 stops of dynamic range with some nice LUT options that can also be recorded over HD-SDI. See the video below where Andy Shipsides explains and shows the additional menu options: via AbelCine, via nofilmschool.Read more
After the really really enjoyable first episode of the Zacuto SCCE they have finally released the second of three episodes. Once again I cannot stress enough that if you’re a camera person you really shouldn’t miss the chance to see this beautifully edited piece of well done camera comparison! It is not only revealing to see how digital cinema (and analog film for that matter) cameras compare, and to hear industry professionals speak about their observations, but also a great great opportunity to learn about very imporant aspects of cinematpgraphy like signal to noise ratio, resolution, compression that is very elegantly explained in these tests. Episode 2, “Sensors & Sensitivity” of the three part series continues with tests covering sensitivity, resolution, compression and the relationship between them. It is striking to see how bad DSLRs performed in this par of the comparison. While they had some good performance in the dynamic range part of the last episode, this time around they fail hard and show their weaknesses. Not only does moire go crazy as we all very well know, but most importantly the images are literally destroyed at times by the line skipping characteristics of the current HDSLR sensors and their unhealthy compression pipeline. Here’s a list of all the cameras that were compared: – Arri Alexa – Sony F-35 – Sony F3 – Canon 5D Mark II – Canon 7D – Canon 1D Mark IV – Nikon D7000 – Weisscam HS-2 – Phantom Flex – Panasonic AG-AF100 – RED ONE M-X – 35mm Kodak 5213 and 5219 film Here are some quotes I felt were important: “(…) shocking in a way to see how the stills cameras don’t work at all (…)” “(…) wow, I thought the Canon would be more on than that (…)” “(…) this isn’t a test that advocates for one camera over another (…) you might have one camera that works really well for one situation and another camera might not (…)” “(…) as the budget changes we’ve had to (…) use the Canon’s cause we had to (…) seeing, especially the AF100 (…) and how it compared to the F3 and how they compare to the bigger cameras, that was the biggest surprise (…) a new option that we could do (…) that’s bringing the quality back up.” There’s one more episode coming out in August. Stay tuned!Read more
The new $5k 4:4:4 8bit hdmi-out Sony NEX-FS100 was tested by the pros at AbelCineTech (they rent and sell all the pro moviemaking cameras in New York City). And 11.5 stops is actually a lot more than some of us expected! If you look at the findings of the SCCE that was published last week (thumbnail on the left), you will see that our favourite HDSLR cameras share the same dynamic range. And you might not remember that in comparison to many other video cameras dslr is actually doing quite good in terms of dynamic range (brightest and darkest the camera sensor will capture). The above video is also a very good tutorial and reference point on how to set your FS100 “picture styles” correctly. If you’re not an ultrapro and when you don’t have a testing environment like Abel Cine at hand it’s not easy to guess your best knee settings. The FS100 shares the same sensor as the much more expensive Sony F3 and it seems like it’s providing the same dynamic range as well. [UPDATE]: Apparently the F3 has a dynamic range closer to 12 stops according to the same test guy from Abel Cine. See this video for reference. Thanks to user Daniel Villiers for the hint. via nofilmschoolRead 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.