By now, almost everyone might have heard of the Metabones Speed Booster, a brilliant adapter that allows you to achieve a full frame look on a cropped sensor (APS-C or Super35) camera – particularly Canon EF lenses on Sony E or Panasonic GH2/3/4 cameras. The Speed Booster uses high quality glass that “compresses” the full frame image from the full frame EF lens to the smaller imaging area of the sensor, thereby even gaining over one full stop of light. In essence, it makes your lenses effectively “wider and faster”, which is nothing short of amazing. My Metabones Speed Booster Ultra “lives” on my Sony FS7, on which I can use my ZEISS Compact Primes or any Canon EF L lenses using the Speed Booster Ultra and the aforementioned benefits. Following a similar concept in a higher-end package, the newly announced IB/E S35 x FF Expander does something similar to the Metabones Speed Booster, but exactly the other way around: It’s meant for S35 lenses that are used on larger sensor cameras, like for example the RED Epic/Weapon. It’s a fact that many higher-end professional film lenses are S35 only, because they were created to expose the S35 negative of film stock, which is about half as big as the “full frame” 35mm from photo stills cameras (first used for filmmaking with the Canon 5D Mark II, most popular nowadays with the Sony A7 series). However now there are also higher-end cameras like the RED Epic on the market, which offer a sensor that is larger than S35. While the RED offers a crop mode at lower resolutions, in order to utilize the full resolution of the sensor you had to use “full frame” lenses so far. It makes a lot of sense to introduce that concept to the higher-end market, because this adapter further increases the compatibility of lenses to cameras. IB/E Optics created the S35 x FF Expander to facilitate common PL mount S35 lenses, and as we can hear in the video, the “camera side” offers an interchangeable mount which effectively also makes this a PL adapter for all your cameras (however please be aware that there will be flange distance related issues on some camera and lens combinations, meaning you cannot always achieve back focus with all lenses on all cameras – this needs to be tested before you set your eyes on a particular combination for a project!). More details on the Band Pro website. It will be available in December and sell for $6900.Read more
First prototype hardware of the Apertus Axiom, including a lens mount The open-source camera project Apertus, which has announced its module-based Axiom camera concept recently (read our post here), has its very first prototype ready and – in best open-source spirit – shares the prototype’s first images with the world in a very “raw” stage.Read more
[stream provider=video flv=x:/www.canon.com/news/media/20130304mov.mp4 img=x:/www.canon.com/news/media/20130304img.jpg embed=false share=false width=640 height=360 dock=true controlbar=over bandwidth=high autostart=false responsive=16:9 /] Canon just published a press release with a video showing off their latest development in sensor technology: An ultra lowlight sensitive HD sensor. Check out the video above to see the sensor in a prototype housing. Too bad it’s only published in 640×360 and not HD as these images look very promising.Read more
[UPDATE]: Pricing information on the new Kinefinity camera has been made official. The Chinese Alexa clone 2K digital cinema camera will start at $6300. The basic kit lacks HD-SDI and WiFi (these are added extras) but you won’t be facing the kind of additional expense that a Red Scarlet body entails. 3 XLR audio jacks, HDMI for monitoring and standard generic SSD drives are the order of the day for the basic Kineraw kit.Read more
In this interview Dan Chung from DSLR News Shooter speaks to JH from Kinefinity, the Chinese based company that is about to release a digital cinema camera. The camera has been resembling the industry leading Arri Alexa from the start, but it’s interesting to see a lot of RED in there now too, like the screen overlays that look almost identical and the front port that is dedicated to their proprietary EVF’s and screens just as on the RED’s. RED initially had a rough time to build a service and maintenance infrastructure and make sure their cameras worked as advertised. Let’s hope Kineraw can manage to get their camera and infrastructure live up to the standards required by the industry. In the video interview Dan and JH go over all the features and specs of the camera. The company seems to have improved the internal debayering and incorporated a new low-pass filter that should get rid of the aliasing as seen in previous beta footage. The camera records in 2K resolution at 12bit RAW to either the cinemaDNG or cineformRAW codec. And their mounting system is universal with adapters for many different lens systems. I think I overheard that it’s scheduled to come out in late August, but I couldn’t understand what JH said about the price. Maybe one of you had a better ear there, then please let us know in the comments. via DSLR News ShooterRead more
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