#Arri PL-mount lenses

[karingottschalk]

Armando Ferreira aka @mondobytes Demonstrates His Ultimate Cinema Camera Rig Build for Panasonic Lumix S5II & Other Mirrorless Hybrid Cameras

[pleasestopthese]

the sony pmw-f3 aka "the camera". it's cheap now always, the colors are amazing, it has genlock. it was called "the poor man's arri" so if you like the look of those cameras but can't stand the thought of owning equipment made by a former nazi contractor, maybe the f3 is your girl. comes with a PL mount but you can also find other adapters for lenses a human being just starting out can typically afford and then get the bigger glass later when you've got your weight up. the viewfinder on mine was broken so i took it off and taped over the gap. the monitor is plenty good. one of the best. it weighs less than my field mixer.

[pannyhire]

Exploring Cinematic Excellence in Los Angeles: Zeiss Supreme Prime and ARRI Alexa 35 Rentals

Los Angeles, often referred to as the entertainment capital of the world, is a hub for filmmakers, cinematographers, and production companies seeking top-notch equipment to bring their creative visions to life. When it comes to cinematography, two names that stand out are the Zeiss Supreme Prime lenses and the ARRI Alexa 35 Rental camera. Let's delve into the world of these cinematic gems available for rental in Los Angeles.

  Zeiss Supreme Prime Rental Los Angeles

Zeiss Supreme Prime lenses have become synonymous with cinematic excellence. These high-quality cinema lenses are renowned for their impeccable optical performance, precision engineering, and the ability to capture stunning visuals with breathtaking clarity. In Los Angeles, filmmakers and cinematographers have the privilege of renting these exceptional lenses for their projects.

  The Zeiss Supreme Prime lenses offer a range of focal lengths, from wide-angle to telephoto, allowing cinematographers to choose the perfect lens for any scene. Whether you're shooting a sweeping landscape or an intimate close-up, these lenses deliver exceptional sharpness, minimal distortion, and beautiful bokeh, making them a preferred choice for many in the industry.

  These lenses are designed with cinematographers in mind, featuring consistent lens dimensions and a uniform front diameter, making it easy to switch lenses without adjusting camera accessories. The Zeiss Supreme Prime lenses also come equipped with a PL mount, ensuring compatibility with a wide range of professional cameras.

  When renting Zeiss Supreme Prime lenses in Los Angeles, you'll have access to the latest models, ensuring your project benefits from cutting-edge lens technology. These lenses are built to deliver stunning images in a variety of lighting conditions, making them ideal for both studio and outdoor shoots.

  ARRI Alexa 35 Rental

The ARRI Alexa 35 is a legendary digital cinema camera that has set industry standards for image quality, reliability, and versatility. Known for its exceptional image-capture capabilities, the ARRI Alexa 35 is the camera of choice for many top-tier filmmakers in Los Angeles and around the world.

  This high-end camera boasts a large 35mm sensor, enabling it to capture breathtakingly cinematic images. With a wide dynamic range, it excels in reproducing details in highlights and shadows, providing cinematographers with the freedom to achieve their artistic vision. Whether you're shooting a feature film, documentary, or commercial, the ARRI Alexa 35's image quality is unparalleled.

  What sets the ARRI Alexa 35 apart is its user-friendly interface and rugged build, making it appropriate for a variety of shooting scenarios. It's designed to adapt to various production needs, from handheld shots to complex rigs and setups.

  The ARRI Alexa 35 also offers a choice of ProRes or ARRIRAW recording formats, giving filmmakers the flexibility to choose the best workflow for their project. It's compatible with a wide array of lenses, including Zeiss Supreme Prime rental Los Angeles , offering cinematographers the freedom to experiment and achieve their desired look.

  Conclusion

Los Angeles is a city where cinematic dreams come true, and the availability of Zeiss Supreme Prime lenses and ARRI Alexa 35 cameras for rental adds to the allure of this filmmaking mecca. Whether you're a seasoned professional or an aspiring filmmaker, having access to top-tier equipment can make all the difference in your creative endeavours.

  For those looking to elevate their cinematography to the next level, you can find Zeiss Supreme Prime lenses and ARRI Alexa 35 cameras available for rental at [mention website] pannyhire.com. This reputable rental service provides access to high-quality cinematic equipment, ensuring that your project stands out with exceptional visual storytelling. When it comes to capturing the magic of Los Angeles on film, trust in the excellence of Zeiss and ARRI, available for rental at Panny Hire.

[findlayccarter]

Cinematography Specialism Workshop Notes

Sigma Cine Lenses

PL Mount used for Ursa, sturdier on camera with locking system

Filter thread 62mm

Focus throw: represents the amount of rotation needed to turn the lens focus ring to the minimum focus distance to infinity. Manual lenses have a large focus throw which means you can get very precise focus. The focus throws on the sigma lenses are quite narrow so it can be easy to miss the mark.

Blackmagic Ursa 

Mark 1’s is setup better for fiction and Mark 2’s is better for documentary

LED screen is high quality and accurate for focus 

V lock mount batteries 

Viewfinder/eyepiece uses a lot of power draw, image can also seem blurry but isn’t camera it’s the eyepiece that changes. Also adds a lot of contrast that isn’t there.

VCT plate has quick release plates on the bottom, means you can take the camera off quickly without taking whole plate of tripod 

Camera needs to be booked separately with Lenses, matte box, follow focus and batteries 

Comes with added bar for follow focus called toffee handle for speed pulling. Another pole called a whip can be added if the focus needs to be done from a distance

Satchler FSB8 and Video 20’s is light and work with Ursa

Satchler head – counterweight is wrong and creates some resistance but still very smooth useable

LUT – Lookup table – adds a filter over camera that lets you monitor what It would look like when you go to edit. It is not what you’re recording, it adds more contrast for example so you can adjust the final image more accurately, especially if you’re going for a specific style.

Better to use Rec 709 Colour gamma display as it’s a safer option for not blowing out highlights. Log gives you less error for margin.

Lights 

300W Arri Tungsten Balanced: Creates hard light, good for accent or back lighting

4500K is daylight temperature. Lower the kelvin the warmer it is and the higher the colder the image is.

When turning light on say sparking to warn people

If using gels, they need to be heat resistant

Smoke coming from the top of the lights is normal, dust burning off normally

Rating of power doesn’t mean they have more, less or the same amount of light, often it is dependent on the optics of the light

1000W Arri 1 large set: good for large backlighting, clean shadows with spot filter and shutters

It’s better to go big for lights then cut down to the right exposure instead of having to source extra light if you don’t have enough from a lower power one.

Average power socket is 3000W for a 13Amp circuit 

Extension cables will tell you what they’re rated for on them. If too low then it can trip the circuit and possibly create an electrical fire. This needs to be checked for high Watt lights 

Un-winded coils will give more power draw

2000W Arri Blonde – no glass, bare bulb, wider beam angle with a lot of light making it harder to control. Creates opportunity for bouncing in a big space or filling a scene. Gets hot very quickly.

Open face lights won’t ever give clean angles, mainly used for bouncing light into big areas.

2000W Arri Fresnel - has glass, better for cutting light with more power. Having the glass optic creates a stronger output even though it’s the same Watt as Arri Blonde, good for spotlights. 

HDMI lights plug into balance system

1200W HDMI light – has glass, best used to create sunlight, takes a while to warm up, shapes well with clean shadows. Damages lights if turned on and off a lot so choose when to put it on and off, must cool down before turned on again

Yoke – bar bend that is under the big lights, has an adjustable pin to move the angle of the light

Balancer regulates the power draw, also controls the flicker modes

To get the light high up in the air, there are wind up stands that are used. Good for recreating sunlight

Dedo 150w lights – Come with dimmer switch, good for drawing attention to something subtly in a scene or creating a beam in hazy atmospheres. Has a spot or flood function. Great for transport and they come in threes.

LED Kinoflow RGB colour flow – Power draw is a lot less compared to other lights. Very versatile light - Can create colour/saturation possible. Can change rate of flicker with set pre-sets (e.g., fireplace lighting). Option of flood light or honeycomb filter that creates more spotlight effect.

[vormax]

M42 to PL-mount Teleconverter 3x. A unique photo toy, any M42 lens can be installed in an Arri movie camera, the teleconverting ability is 3x, which means 30mm turns into 90mm. The aperture and sharpness fall, the picture is on a C if the aperture is left open. Why do need it? For a variety of movies, it can be needed like a Swiss knife, to solve certain tasks. Gives versatility, allows you to diversify the number of your lenses. Sometimes it's need...may be, do you need it ? - It's not up to me to decide. Weekly lot - PL mount teleconvector. .... Weeklylot? For a variety in optics and the development of new products, we decided to sell unique products once a week. These are single prototypes that will be sold at a reduced price-the cost price. For testing and development assistance. You will get a unique product that may never appear again. Single samples that are available. ... ... #anamorphic #vormaxlens #cinemalens #vormax #anamorphiclens #starter #экспорт #cinema #photography #artlens #voroninlens #anamorphot #lens #business #inovation #filmphoto #filmcamera #startup #filmphotography #export #фотография #35mmfilm #believeinfilm #filmcommunity #filmfeed #bokeh #lensculture #Weeklylot (at Cinematic) https://www.instagram.com/p/CSBx7HpoYGo/?utm_medium=tumblr

[jeanvaljean24601]

Full-Frame Showdown: Canon R5, Panasonic S1H, and Sony a7 IIICanon, Panasonic, and Sony.

Japanese camera makers that have played a huge part in major advances in video production over the last 20 years. While they have lost some ground at the top end to innovators like RED, and to market leaders like ARRI, they are massively dominant in the budget range most of us can afford. And for the first time in a long, long time they have relatively comparable cameras in their lineup. The reason why it's the first time in a long time goes back to the beginning of the DSLR/mirrorless revolution. Each company really targeted different markets. Sony was ahead of the game in moving towards full-frame mirrorless back in 2014 with its Alpha line. At the same time, Canon was still pushing hard on DSLR cameras with an internal mirror system that could adapt to PL mount, and Panasonic was out with the very popular, but smaller sensor GH line of cameras. Not only was Sony out early with full-frame mirrorless, they then came out with the  a7S II which was a huge hit among filmmakers for its high resolution and great low light performance. For nearly a decade, the three giants were competing in different spaces. Panasonic was up against Olympus and Fujifilm for the MFT market, Canon was up against Nikon for the DSLR market, and Sony had full-frame all to itself. That almost changed two years ago with the release of the RF line from Canon, a series of full-frame mirrorless cameras built around a brand new lens mount. But the resolution wasn't exciting. It was a 4K crop, and it just didn't sing to filmmakers. In 2019, Panasonic generated a ton of buzz with the LUMIX DC-S1H, a very filmmaker-focused full-frame mirrorless offering that shot 6K video, could do RAW over HDMI, 4K up to 60fps, and created very pleasing images. Combined with the same color science and log format as the very popular VariCam line of cameras made this an especially appealing choice for filmmakers who frequently rented or even owned that larger cinema platform. If you were on a VariCam show, you could feel comfortable using the  S1H as a C camera or for crash setups. Now Canon is catching up with the EOS R5, which is targeted towards filmmakers with a completely new sensor that is able to shoot 8K internal RAW footage. Now all the big players have options that are broadly in competition with each other. The Canon  R5 does 8K RAW internally. You can shoot 6K on the  S1H, but to get RAW you need an external recorder. For Sony, the current "filmmaker" camera is the  a7 III, which tops out at 4K. In truth, though, we don't care about the resolution number as an end in itself. The key is not the resolution of the file that is created, but the actual measurable perceivable resolution of the final image. If when projected on a movie screen you can't see any resolution difference between the 6K and 8K, then does it really matter? Canon currently is ahead based on the 8K number, but we're going to wait for real-world side-by-side testing with the cameras to see what actually passes the most information along. 8K also requires lenses to actually resolve 8K, which might not even matter if you are shooting with a vintage cinema lens. If you are picking this camera and hoping to shoot with a set of old Super Speed primes or the even older and softer Cooke Speed Panchros, you may not see any difference in resolution at the camera level. Canon has Dual Pixel Autofocus II on the EOS R5 that uses "deep learning" to identifying subjects. Autofocus development is likely going to be one of the key battlegrounds between the cameras. This is vital since Sony has gotten a major lead going in autofocus with some truly impressive results. Autofocus that actually feels like a tool filmmakers might really appreciate makes the a7 III very appealing. Panasonic has a whole host of lenses custom-built for the S1H but hasn't pushed its autofocus hard. While this shouldn't be the main reason a filmmaker chooses a camera, it can be a lifesaver in an interview setup with a subject who keeps leaning forward and back, for instance. If autofocus is a key decider for you, you should focus your attention on who's really ahead of the pack: Canon and Sony. Panasonic S1H As a reminder, in the end, you can make most cameras look like anything. As Steve Yedlin points out, there is so much power in post-processing that a lot of what we talk about when we discuss camera color science is just "wine language." However, color science does matter somewhat on smaller jobs when you won't have much time in post. If you are shooting something where you won't be invited to post, or where it will be online the next day, or even later that night, you want pleasing color straight out of the camera. This category, to me, leans towards Panasonic and Canon. Sony has traditionally had the strangest color science choices, with greens looking a bit off and skin tones a bit shifted towards the orange as well. It's improved over the years, but footage from the FX9 still looks a bit too saturated in the greens for me, and the a7 III fits in that space as well. The first Sony camera to really look good in this area was VENICE. Compare that to Panasonic, who has done an amazing job rolling down the VariCam look into an affordable package. For that alone, Panasonic wins the color competition. While Canon looks quite nice out of the gate, its look is the "look of YouTube," and while it's pleasing, it's very associated with vlogging and the DIY space. Based on footage seen so far, the S1H is the winner here to me. It was also the first  Netflix approved mirrorless camera, despite Sony having had 4K cameras available for several years prior. Panasonic felt like a real contender with its 4K 60fps, but the Canon R5 stomps it with a 4K 120fps shooting mode. If you are doing sports, action, or even a certain kind of narrative filmmaking, that 120fps is going to be killer. Sony is carrying the rear here with only 30fps in 4K mode from the a7 III. But that will most likely change with the up-coming a7S III. Canon uses the proprietary RF mount. Sony uses the proprietary E mount. Panasonic uses the open format L mount, part of the L-mount alliance with Leica and Sigma. While that isn't the biggest industry group, I tend to prefer open formats to closed formats, and that has some appeal. However, the E mount has a more robust lens offering at the moment than either RF or L. If you need to shoot today, and you need a lot of lens choices, E mount is the way to go. But then again, most lenses can be adapted. h96 max x3The only reasonable conclusion I can make is that it's a good time to be a filmmaker looking for a camera around $4,000. There are three very strong choices that are going to give you amazing images no matter what. If you already shoot a lot of VariCam, the S1H is the obvious choice. But the R5 deserves a lot of attention and testing for its new autofocus, IBIS, and 8K RAW, which is a real game-changer at this price point. Sony isn't out of the game by any means with its arsenal of lens choices and famous low light quality. It will come down to what your personal expectations and preferences are in a camera. h96 max tv boxSo which one makes the most sense for you?

[cineomdmcc-blog]

LF camera system consists of the high speed ALEXA LF and ALEXA Mini LF cameras, ARRI Signature Prime lenses, LPL lens mount, PL-to-LPL adapter, and Lens Data System LDS-2. The combined feature sets and form factors of ARRI's two large-format cameras encompass all on-set The requirements.

[karingottschalk]

Indie Filmmaker Michael Tobin Releases First Look Video Review of Irix 30mm T1.5 Cinema Prime Lens

Indie Filmmaker Michael Tobin Releases First Look Video Review of Irix 30mm T1.5 Cinema Prime Lens

[dbrodosi]

David Brodosi Reviews Sony PXW-FS7M2 XDCAM Super 35 Camera System

First off, a little background. David Brodosi has never used the original Fs7, and before using the Fs7 ii he was using Canon systems primarily. Like a lot of people turned off by Sony, David Brodosi had internalized the usual myths: poor ergonomics, poor menu design, poor autofocus, bad button layout, lens mount system with poor lenses to match… David Brodosi was a Canon user, through and through, and used the C300 and C100 mark ii on hundreds of shoots over a three year period. To get the vague part out of the way: at the end of the day, these cameras are just tools. They can all get the job done, whether its Canon, Sony, Panasonic, Arri, or what-have-you. So my immensely positive review of this camera that is forthcoming isnt meant to diminish other cameras, which have been great tools for me in the past. Ive now been using the Fs7 ii for the past 6 months, and have had a great experience with this camera.

To start out by addressing some of the common complaints/myths about Sony cameras from non-users: 1. David Brodosi find the menu extremely well designed and easy to navigate. The words for certain operations are slightly different than that of a Canon camera, but at the end of the day, it has all the same functions. Its easy to change codec, resolution, different color profiles, timelines, slomo, ect. That has been a non-issue for me, to my surprise. Read the manual, thats usually a good start on any camera if you ask me. 2. David Brodosi find the button layout also to be great. There are programmable buttons, easy access to audio controls. David Brodosi kind of wish the two XLR inputs were together instead of separate on the body, but its not a huge deal. I love the shoulder mount. It allows me to get very smooth handheld shots without using IS lenses. A look I really like. The retractable arm is also amazing. David Brodosi use it on every handheld doc shoot I have, and the footage is much more usable/smooth than what I was getting by holding the C100 mark ii from the top handle. 3. Yeah, so about the autofocus. If thats a dealbreaker for you, then this is definitely not the camera for you. Not great autofocus. But heres the thing, David Brodosi barely use autofocus anyways.

I have a hand on the follow-focus or focus ring constantly to fine tune things anyway, so it was never a big deal for me. The viewer is perfectly fine, nothing special, but very functional and well built. 4. David Brodosi have no idea why people are complaining about the lens mount on this camera. Having a PL style locking e-mount keeps the lens SO much steadier while filming. Yeah, it takes an extra ten seconds to change the lens. If thats a big issue, you can get an EF adapter like I did and strap that to the front and then boom, you have your standard lens mount system. But for cinematic work, David Brodosi far prefer the locking e-mount, which offers a lot of advantages in terms of image stability and quality. Now to get to the most important aspect of the camera: the image quality. Its amazing. Ive shot both in their cine modes as well as the standard color profiles (custom non-LOG). My experiences with both has been incredible. If you shoot at higher frame rates, there is bound to be more noise in the image. David Brodosi have noticed especially at night, the noise is much more noticeable than it was with my C100 mark ii, but its easily timed out later in Resolve/Neat Video ect, and gives you the fidelity you need to get the most out of your image.

The noise has not been a huge issue. Its just made me a little more careful in low light conditions while shooting slo-mo. The shooting modes are easy to access and awesome: time lapse, slo-mo (you push a button on the side of the camera and voila). The 4k is beautiful 4:2:2 10 bit depth. The HD will save your batteries and media and allow you to shoot forever, while still looking amazing. Size wise, its not quite as incognito as the C100, obviously… Its the price you pay for getting the best possible image at this price point. For documentary work, this camera is unmatched. You see, even without the autofocus, the design of the camera and focus-assist controls making clean focusing a breeze.

The audio controls are extensive, and impressive. This is important to me, as David Brodosi often shoot alone in dangerous places around the world. Its important for me to be able to work effectively as a one-person crew when needed. One of the crown jewels of design of this camera is the infinitely adaptable ND filter. Unlike Canons ND design, which works in broad steps, the ND filter on this camera can be rotated freely, giving you the flexibility to set your iris to maintain a constant look for a scene, and simple adjust the ND wheel without steps to get the right exposure. Its absolute genius, and will change the way you film forever. If you need RAW (which I dont for documentary work), theres an ad-on you can get that makes that possible. My biggest complaints: -Size -Noise in slo-mo and very low light situations are pretty minimal. There are no perfect cameras out there. They all have their pluses and minuses. For my purposes shooting documentaries around the world, I really cant imagine a better camera. David Brodosi highly recommends.

Photo of David Brodosi a quality-driven and award-winning Videographer with 15+ years’ progressively responsible experience. Adept at filming, shooting and producing video content to meet different clients’ specific requirements. Ability to strategize brand teams to identify content needed to meet company goals. Artfully edits raw footages to create powerful videos using a variety of software products.

[pannyhire]

Exploring Cinematic Excellence in Los Angeles: Zeiss Supreme Prime and ARRI Alexa 35 Rentals

Los Angeles, often referred to as the entertainment capital of the world, is a hub for filmmakers, cinematographers, and production companies seeking top-notch equipment to bring their creative visions to life. When it comes to cinematography, two names that stand out are the Zeiss Supreme Prime lenses and the ARRI Alexa 35 Rental camera. Let's delve into the world of these cinematic gems available for rental in Los Angeles.

  Zeiss Supreme Prime Rental Los Angeles

Zeiss Supreme Prime lenses have become synonymous with cinematic excellence. These high-quality cinema lenses are renowned for their impeccable optical performance, precision engineering, and the ability to capture stunning visuals with breathtaking clarity. In Los Angeles, filmmakers and cinematographers have the privilege of renting these exceptional lenses for their projects.

  The Zeiss Supreme Prime lenses offer a range of focal lengths, from wide-angle to telephoto, allowing cinematographers to choose the perfect lens for any scene. Whether you're shooting a sweeping landscape or an intimate close-up, these lenses deliver exceptional sharpness, minimal distortion, and beautiful bokeh, making them a preferred choice for many in the industry.

  These lenses are designed with cinematographers in mind, featuring consistent lens dimensions and a uniform front diameter, making it easy to switch lenses without adjusting camera accessories. The Zeiss Supreme Prime lenses also come equipped with a PL mount, ensuring compatibility with a wide range of professional cameras.

  When renting Zeiss Supreme Prime lenses in Los Angeles, you'll have access to the latest models, ensuring your project benefits from cutting-edge lens technology. These lenses are built to deliver stunning images in a variety of lighting conditions, making them ideal for both studio and outdoor shoots.

  ARRI Alexa 35 Rental

The ARRI Alexa 35 is a legendary digital cinema camera that has set industry standards for image quality, reliability, and versatility. Known for its exceptional image-capture capabilities, the ARRI Alexa 35 is the camera of choice for many top-tier filmmakers in Los Angeles and around the world.

  This high-end camera boasts a large 35mm sensor, enabling it to capture breathtakingly cinematic images. With a wide dynamic range, it excels in reproducing details in highlights and shadows, providing cinematographers with the freedom to achieve their artistic vision. Whether you're shooting a feature film, documentary, or commercial, the ARRI Alexa 35's image quality is unparalleled.

  What sets the ARRI Alexa 35 apart is its user-friendly interface and rugged build, making it appropriate for a variety of shooting scenarios. It's designed to adapt to various production needs, from handheld shots to complex rigs and setups.

  The ARRI Alexa 35 also offers a choice of ProRes or ARRIRAW recording formats, giving filmmakers the flexibility to choose the best workflow for their project. It's compatible with a wide array of lenses, including Zeiss Supreme Prime rental Los Angeles , offering cinematographers the freedom to experiment and achieve their desired look.

  Conclusion

Los Angeles is a city where cinematic dreams come true, and the availability of Zeiss Supreme Prime lenses and ARRI Alexa 35 cameras for rental adds to the allure of this filmmaking mecca. Whether you're a seasoned professional or an aspiring filmmaker, having access to top-tier equipment can make all the difference in your creative endeavours.

  For those looking to elevate their cinematography to the next level, you can find Zeiss Supreme Prime lenses and ARRI Alexa 35 cameras available for rental at [mention website] pannyhire.com. This reputable rental service provides access to high-quality cinematic equipment, ensuring that your project stands out with exceptional visual storytelling. When it comes to capturing the magic of Los Angeles on film, trust in the excellence of Zeiss and ARRI, available for rental at Panny Hire.

[cinemaresistance]

Joaquin Manchado DP testing the prototype The PLATON ALPA cámara 65 mmm IMAX-sized sensor in a very compact size – The “PL” in PLATON refers to the Arri PL-mount opening up the possibility to use dedicated SWITAR CINE lenses. PLATON uses the H6D100c back providing 4K at 400MB/sec on a 54x30mm sensor.

[vormax]

Anamorphic lens 1.33x 58mm f2.8 pl-mount.... .... For aps-c or super35, single focus, better glass lenses, all cups. It’s real budget anamorphic lens pl mount in all world. Available now. .... https://www.vormax.org/anamorphiclens .... .... #anamorphic #vormaxlens #cinemalens #cameraadept #anamorphiclens #coolens #lensporn #photographer #filmset #cinematographer #cinemalens #lensforcinema #lensmanufacture #cameraassistant #camerarig #cameraraw #filmphotography #exportrussia #madeinrussia #super35 #lenswide #cinematiclens #lensforsony @arri @#arrialexa #cameradept #lomography #cameragear #cameraaccessories #Plmount #производительобъективов #lensmanufacture #equipmentforcinema (at Hollywood) https://www.instagram.com/p/CHPxGxCBBhj/?igshid=n1jr1cwuzjc2

[thenewsvideos]

Watch Canon has introduced seven cine-focused optics in a new Sumire Prime lens series. Dubbed as lenses that “merge the art and science of cinematography”, the seven are the first from the company to arrive in the PL mount. This makes them compatible with 16mm and 35mm cameras developed by Arri in addition to Canon's own EOS C700 FF, EOS C300 Mark II and EOS C200 models, as well as selected cameras from Sony, BlackMagic and others. The seven lenses are the CN-E14mm T3.1 FP X, CN-E20mm T1.5 FP X, CN-E24mm T1.5 FP X, CN-E35mm T1.5 FP X, CN-E50mm T1.3 FP X, CN-E85mm T1.3 FP X and CN-E135mm T2.2 FP X. From left to right: CN-E14mm T3.1 FP X, CN-E20mm T1.5 FP X, CN-E24mm T1.5 FP X, CN-E35mm T1.5 FP X, CN-E50mm T1.3 FP X, CN-E85mm T1.3 FP X and the CN-E135mm T2.2 FP X. Image credit: Canon The lenses are said to achieve a uniform color balance across the range, which should help to reduce the need for additional grading when using different lenses on the same shoot. Canon also claims the .. video

#Games - #video -

[ashxpad]

Zeiss Adds Four Focal Lengths to ‘Supreme Prime Radiance’ Lens Line

Zeiss has expanded its Supreme Prime Radiance lens line up with four full-frame optics: 18mm, 40mm, 65mm, and 135mm. All four new lenses have a maximum aperture value of T1.5 and are designed for high-end film production.

These four new lenses join the previous six available focal lengths to form a lens family of eleven total lenses that all share a high speed and a uniform front diameter of 95mm with consistently positioned focus and aperture rings to allow for easy swapping during productions.

The company says that these new four lenses, along with the others in the Supreme Prime Radiance line, are designed to offer a distinctive look with consistent light flaring that can be controlled and leveraged for creative purposes. Zeiss says that the look of images made with these lenses is characterized by extremely smooth transitions between infocus and out of focus areas along with “elegant” bokeh.

The lenses are equipped with the Zeiss “eXtended Data” metadata technology that the company launched in 2017, which means that the lenses are able to provide frame-by-frame data on vignetting and distortion in addition to the standard metadata provided by Cooke’s /i technology protocol. Zeiss says this simplifies and speeds up workflows, particularly for VFX and virtual production.

The lenses are designed for use across a range of sensors, including full-frame cameras, and are compatible with current camera models such as the Sony Venice, the ARRI Alexa LF and Mini LF, or the RED Monstro. The lenses are only available in PL mount.

“The ZEISS Supreme Prime Radiance lenses began as a variant and complement to our existing ZEISS Supreme Prime lenses and have now evolved into a high-end cine set in their own right. Their sophisticated, artistic design has been so well received by the cine community that we are proud to expand the line with four new lenses, offering a comprehensive set of focal lengths for all kinds of artistic demands in cine productions.” – Christophe Casenave, ZEISS Cine Line Manager

While the lenses aren’t aimed at still photographers, Zeiss included a series of sample images taken with the lenses on a Sony Alpha 7R III to show how each of them not only renders an image but also to illustrate how the different focal lengths affect a scene from a single camera location. Below is the same photo captured with the four lenses in order: 18mm, 40mm, 65mm, and 135mm.

135mm, 100% Crop

One thing that is immediately noticeable when looking at these samples is the high quality of the image. These lenses are very likely not cheap, but they earn their high prices with how they render images. It would be great to see Zeiss put this kind of quality into lenses more designed for still-focused cameras.

The full Supreme Prime Radiance lens lineup now offers 11 total focal lengths: 18mm 21mm, 25mm, 29mm, 35mm, 40mm, 50mm, 65mm, 85mm, 100mm, and 135mm. Zeiss says that on average, lenses in this lineup weigh 3.5 pounds (1,600 grams).

The four new lenses can be ordered as a set, individually, or as a full group of all 11 lenses from Zeiss cinema lens dealers. Deliveries will start sometime in Q3 of 2021. No price was noted at the time of the announcement.

from PetaPixel https://ift.tt/3sHmibf

[bokehrentals]

ALEXA MINI LF & SIGNATURE PRIMES

In Spring of 2019, Arri announced their new camera which has changed the game in large format imaging. The Alexa Mini LF has the same size ALEV III sensor as the much larger Alexa LF (36 x 25mm, 4.4K) in a 5.7-pound compact body very similar in form to the revered Alexa Mini. Perfect both for controlled studio environments and rugged shooting, the Mini LF is just as versatile as the Alexa Mini. Arri Alexa Mini Lf Rentals gorgeous color science and remarkable dynamic range are now available in a large format accessible both to indie filmmakers and professional productions.

The current influx of large format cinema cameras has been followed by a plethora of lenses with image circles covering full frame. Arri’s own large-format signature primes are the perfect match for the Mini LF. Beautiful skin tone rendition, deep blacks, medium contrast and organic colors prepare the image for Arris famous color science in the Mini LF’s sensor. A fast aperture of T1.8, slight softening while maintaining resolution and smooth focus falloff make these lenses the ideal companion for cinematic full-frame shooting.

Read on to learn more about the Mini LF, from its sensor technology to recording formats, as well as its exceptional pairing with Arri’s signature primes.

ALEV III SENSOR

Arri has long been the captain of digital color science. It is widely agreed upon that film stock achieves the most beautiful colors possible in film; while contested, it is fair to say the Alexa line of cinema cameras is the closest digital has gotten to this ideal: rich, naturalistic color, pleasing noise, and great dynamic range. What goes on behind the scenes is a closely-held secret by Arri. Tests have shown that the Alexa cameras emulate the response of film to light, therefore achieving more pleasant and natural colors. It is common knowledge that Arri uses a dual-gain architecture, meaning that each photo-site outputs two 14-bit values covering different exposure ranges, thus increasing the camera’s overall dynamic range. The sensor photo-sites are also very large, increasing light sensitivity, decreasing the noise floor and increasing dynamic range. You can read more about the ALEV III sensor on Arri’s website.

HARDWARE

The Mini LF’s body has some major upgrades in comparison to the Alexa Mini. The slick new viewfinder, MVF-2, has eyepiece heating/defogging and real-time regulation of the image’s color accuracy. Stereo scratch mics are a huge help for syncing audio and music video work. The camera records to Codex Compact Drives, which supports its higher resolution recording.

 RECORDING FORMATS

The Mini LF records a variety of Apple ProRes and ARRIRAW flavors. It’s notable that the 16:9 recording mode has an image circle of 36.35mm, which allows for the use of some Super 35mm lenses. Check out this chart from Arri as you plan your next shoot.

SIGNATURE PRIMES: THE LOOK

Creamy, smooth mid-tones and shadows with deep blacks. Naturalistic focus drop-off. Organic color and skin tone rendition. Check out the Signature Primes reel.

These lenses are truly modern, with gorgeous rendering of fine detail, no breathing, and a rear magnetic filter and net holder which allows for the look to be manipulated. These are a perfect choice for when you need clarity and detail but don’t want to get too clinical. The lenses have character, but nothing that will distract or cause the images to be inflexible down the line.

THE LPL SYSTEM

Both the Signature Primes and the Mini LF feature Arri’s new LPL (large positive locking) lens mount, which has a wide diameter and shorter flange depth than the standard PL mount. This allows for large format lenses to be more compact while featuring low T-stops and great bokeh. The Signature Primes feature Arri’s updated data transmission system, LDS-2, which allows for much higher data rates than the previous generation and is made exclusively for LPL. Learn more about the new LPL mount on Arri’s website.

We have both the Mini LF and the Signature Primes available at Bokeh, and are working on a test with this combination right now. Check back on our website in the coming weeks for an in-depth look at what makes this a great combination.

Base in west LA, Bokeh Rentals is your premium Production Equipment Rentals house. Servicing the LA county area and cities all over the United States, Bokeh is sure to meet all of your production needs. Get in touch with us for a free quote and consultation.

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Kinefinity’s MAVO Edge shoots 8K video at up to 75fps with internal ProRes RAW recording

Kinefinity’s a relative unknown in a world with big names such as RED and Arri. They’ve not been around for long (only 8 years), but they sure are good at making big splashes, and this one’s a bit of a doozy. They’ve just announced the Kinefinity MAVO Edge camera which shoots 8K video on a full-frame sensor at up to 75 frames per second with internal ProRes recording.

The MAVO Edge houses a 44.7-megapixel 36x24mm full-frame CMOS sensor with a dual native ISO of 800 & 3200. Kinefinity says that this is a brand new sensor that they haven’t used before, although it has the same physical dimensions of the sensor found in the Kinefinity MAVO LF. Along with the new sensor comes a new image processing engine, which combine to provide up to what Kinefinity says is over 14 stops of dynamic range.

In front of the sensor is a built-in electronic neutral density filter which offers 2-7 stops of neutral density with super-fine adjustment as low as 0.01 stops. In front of this, the adaptable lens mount supports PL, LPL, Aftive EF and passive Sony E mount lenses, providing a wide range of lenses from which to choose.

When it comes to storing your footage, the MAVO Edge has two storage slots for KineMAG Nano SSDs. These are based on NVMe M.2 SSD tech, so should be able to keep up well with the high data rates required for shooting 8K wide footage at up to 75 frames per second. 8K DCI goes up to 60fps, while 4K DCI shoots up to 120fps with 2K DCI offering up to 240fps. All in ProRes RAW format.

You get a whole lot of connectivity with the MAVO Edge, including dual XLR ports with 48v phantom power, dual 1.5G/3G-SDI monitoring, timecode input and output, DC power output, a hybrid battery plate with dual D-Taps, a 12v port for powering third party accessories like video transmitters and motorised follow focus units. You also get WiFi, Type-C USB, GPS, 5G/4G, and a whole bunch more.

It’s an insane-looking camera, especially when they say it’s going to be priced at a mere $11,999. When you consider what a RED 8K setup costs, that’s really not bad at all. It’s available to pre-order from the Kinefinity website with the camera expected to start shipping in September 2020. If you want to find out more, Newsshooter has an excellent specs breakdown and comparison with other cameras in the market that’s well worth a read.

[via Newsshooter]

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Tags: 75fps, 8K, Edge, internal, Kinefinitys, MAVO, ProRes, RAW, recording, shoots, Video

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