A few days ago Samsung announced their first video shooting large sensor camera. The Samsung NX1 can shoot 4K on an APS-C sized sensor. Furthermore the camera is the first to make use of the new H.265 codec. What’s remarkable about this camera is not just its price point ($1,499 at B&H) but Samsung’s decision to move with a 4K Super35 sensor (APS-C) into the HVEC H.265 codec space. The new codec succeeds the very common H.264 codec and is capable of providing ProRes quality at 1% of the file size (5Mbit bitrate for 500Mbit video quality). Samsung NX1 product manager Mr. Sung Lae Park also mentioned that the camera would have a clean 4:2:2 hdmi output for external recorders. The camera is avalable for pre-order here: LINKRead more
The Lytro Illum is the long anticipated camera that brings light-field technology to a professional level. Light field technology allows you to precisely choose your desired focus point in post production so there’s no need to focus on your lens. Sam Tellman also talked to us about the possibilities of Lytro video in the future. If you’re interested in the science behind lightfield technology check out this article we wrote a few years back when Lytro was first introduced. The amazing thing about the Lytro Illum is that this camera is no more a toy, but now gives you full creative possibilities that we have never before seen in photography. Sam Tellman elaborated how Lytro Video may soon revolutionise the way we shoot video. Not only would there be no more need for focusing, but also things like slight changes in perspective and single sensor 3D would become a reality. Just think about the possibilities like enabling the viewer to decide where to focus when he watches a movie instead of the clumsy way 3D currently works. This technology may very well revolutionise the way we watch movies making their brainwash power even more effective. Yay. The Lytro Illum is available for pre-order and it will arrive at the end of September and cost $1.599 (including the F/2.0 lens).Read more
Fotodiox is famous for their practical lens mounting adapters like the Sony to EOS with built-in vari-ND. This year at Photokina they present one of the most intriguing lighting solutions I’ve seen so far: A circular, flat, lightweight LED with a smooth surface. These lights looked really impressive. While their output was not as strong as many other LED’s that are currently on the market, they had some unique attributes: They are surprisingly thin (less than half a centimeter in thickness), they are lightweight and they provide a smooth lighting surface (no annoying LED dots causing multi-shadows or harsh texture) and they provide a light clarity with a CRI value over 90. Slowly but surely it seems LED lighting is finally heading into the right direction and these lights seem like a hint on what the future lighting may soon become. The Fotodiox FlapJack Edgelight should be available early next year and will cost between $300 for the smaller lights and around $600 for the large one. The smaller lights are called C-200R and C-300R. They are now available on the Fotodiox WebsiteRead more
Korean manufacturer Varavon has introduced many interesting and innovative products since the dawn of DSLR video. Their latest products once again show their dedication to detail and usability. On the Varavon Wirecam they use their great Birdycam Gimbal (more on that later) and put it on a remote controlled wirecam. The Varavon Wirecam is basically a remote controlled dolly on a wire with the Varavon Birdicam gimbal attached to the bottom to create extremely smooth motion. It is remote controlled by two remotes so to control it properly you need two operators. See the video above for more details. The Varavon Wirecam will be available in November and cost $7000. More info here: www.varavon.comRead more
China based camera manufacturer Kinefinity is known for their very affordable RAW shooting cameras that were released earlier this year. Now they introduced a new codec that improves storage space by 3x. Kinefinity has created a lot of headlines for their very affordable 4K KineMINI camera and the 6K KineMAX that is to arrive next. We notice that Kinefinity is still working on improving the camera firmware and eco system around it. The introduction of their proprietary KineRAW codec and the continued improvement of the internal color matrix is just another step in making their cameras more accessible to filmmakers. Previously users could only record uncompressed DNG files in camera, the KineRAW codec promises a 3:1 compression without loss of quality. The new codec will be available soon. For more information check out their website: www.kinefinity.tv image via newsshooterRead more
We had the chance to get some hands-on experience with Sony’s new and long-awaited FE PZ 28-135mm F4 G OSS cine lens and talked directly to Sony’s cine product manager Sadanobu Ueda who explained all the details about the new lens on (see above) and off camera. Why is this lens important? Many users of large sensor cameras, be it dslr video users or those who use larger cinema cameras, have had to resort to photo lenses for large sensor video use. The new Sony FE PZ 28-135mm F4 G OSS cine lens is the first dedicated video lens for large sensor cameras. Here’s a list of the most important features: It has an ideal zoom range for most applications ranging from wide angle to close-up focal lengths. It has a continuous aperture of F/4.0. The lens can be controlled with accessories like motors or manual follow focus units due to it’s geared design, yet the focus rings are rubberised for easy handheld use. The focal length can be controlled with a built-in zoom rocker (zoom). The built in motors can also be controlled remotely from cameras with a zoom rocker (Sony FS7). With the flip of a switch the aperture can be clicked or de-cllicked for smooth operation. The lens features an optical image stabiliser. Hands-On Experience We had some hands-on time with a prototype of the lovely new lens and we can tell you that it truly is a lovely and sharp lens. Unfortunately we are not allowed to publish the footage we shot, but will reveiew the lens more in-depth in the future. The aperture F/4.0 seems to go all the way through, unlike Canon’s own and frequently used Canon 24-105mm that gets darker at the far end. The images appear very sharp and clear and we couldn’t see any obvious chromatic abberation or softening at F/4.0. We were told it is made for 4K applications. The optical image stabiliser behaved very nicely and smoothly and a lot like the one we know from the Canon 24-105mm, probably even a little better. We could use the 135mm focal length and get an extremely stable image from a handheld A7S. A very very welcome feature is the fact that you don’t lose focus when you change the focal length. So you can zoom all the way in to focus and zoom out again to retain a focused image, just like on a proper ENG lens. The declicked aperture is a wonderful feature to have. Overall the lens feels very well manufactured and strong. What we didn’t like so much was its size and weight. The Canon in comparison is definitely a more compact lens. Also we realised that the zoom was always motor-controlled. So even if you change the focal length with the zoom ring on the lens itself, it’s always a motor inside that actually controls it resulting in less precise and slower focusing possibilities. The lens will be available early next year and cost $2.499. It is already available for pre-order.Read more
As anticipated, Sony got us off to a flying start at IBC. They have many new announcements, with everything from a new monitor, to two new cameras to a firmware update for the F5, all sharing the same theme – 4K. Lets have a look at what they brought us. Sony PXW-FS7 We have an exclusive hands on video of this camera. It’s everything a previous Sony camera wasn’t – an ergonomic dream. The FS7 is a super35mm 4K camera, capable of shooting 10-bit 4:2:2 60p in 4K, and up to 180fps in 1080p. The camera will sit between the FS700 and F5, replacing no camera in Sonys current line up. Check out our dedicated exclusive article here. Sony 28-135mm F4 G OOS lens This lens came in conjunction with the PXW-FS7 release. This is a professional e-mount zoom lens, with a constant aperture of f/4. The lens features optical image stabilization, hard stop focus ring, proper aperture ring, and zoom rocker. check out our dedicated article here. Sony F5 Firmware Update I must admit, when I first heard of the Sony FS7, it sounded like they could’ve closed the door of the F5, leaving the new camera to sit directly under the F55. But no, Sony has provided a firmware update to the F5 which will enable 4K recording internal. We knew the camera could do this, so it’s great to see Sony embracing the technology rather than just closing the loop hole others found! Below is Sony press on the upgrade, which will cost around $1000. Sony CBK-55BK Shoulder Mount Dock for F5/55 Further more on F5/55 news, Sony announced a new shoulder mount dock for the super35mm duo. The dock requires no cables, and adds ENG ergonomics by offering white balance, gain and shutter controls on the front block. The rear block provides balanced XLR audio in, headphone out and wireless audio. Sony are pushing this product alongside their B4 to PL lens mount to provide the ultimate 35mm ENG setup for news and documentaries. Sony PXW-X200 The Sony PXW-X200 is an update to the current workhorse PMW-200 that further embeds Sonys new XAVC codec across its entire line. This means the camera will record XAVC Intra/Long GOP recording in 4:2:2 10-bit. Also is a longer 17x zoom lens, providing 29.3mm to 499mm 35mm equivalent. The new 1/2″ 3CMOS camera will also feature a host of wireless connectivity including NFC (near field communication) and live streaming. The latter will work with a firmware update and additional USB dongle; Sony displayed this feature during their conference streaming to a presenter in Amsterdam centre; watching this stream through a stream left no grounds for judgement however. Sony BVM-X300 4K monitor Sony also released a new 30″ 4K monitor. The BVM-X300 is an OLED RGB 10 bit reference monitor, utilizing TRIMASTER™ technology. “Sony’s exclusive TRIMASTER™ technology architecture, achieving excellent colour and picture quality reproduction, which makes this monitor ideal for 4K cinema production (onset monitoring, dailies and editing), 4K live production (camera control, program preview) and real-time 4K presentation.” If you’re attending IBC, be sure to check out the Sony booth with their latest releases (if you can get to it through the crowds of people!). If you’re not, don’t worry we’ll be bringing you all the latest and most exciting news along with another series of our On The Couch show.Read more
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