#moviemaking prime lenses

[karingottschalk]

What Is The "Hollywood 28" Vintage Prime Lens & Why Is It Still So Highly Sought After?

What Is The “Hollywood 28” Vintage Prime Lens & Why Is It Still So Highly Sought After?

[rowanfilms]

About 8 years ago I had the pleasure of working on my first feature as DP. Solace was written and directed by Vandon Gibbs. Good camera equipment was not as easily accessible as it is today but we worked with what we had. Which was just a Canon 5d mkii and some photography lenses. I didn’t know much about lighting at the time but I was pretty good at composing shots. Van knew what angles and focal lengths he wanted already. So it became more of a collaboration on actor blocking and camera movements. Apart from being new to cinematography, a more challenging thing about working on this set was a 6.5 minute shot, handheld, following the great Rhoda Griffis and Ric Reitz throughout the house while they argue. I believe we ended up trying this shot 19 times before realizing the 6th take was the best one. Even still, the shot is more shaky than I would like it to have been. My arms were incredibly tired (No handheld rig) Even though I was fairly inexperienced, when I go back and rewatch the film, I’m impressed. I forget how difficult it was to film 3 scenes, each shot within 3 days and trying to make it look like only 25 minutes. Also, for only using only one camera at a time, our continuity is flawless. Still highly recommended that you watch the movie. Although it looks low budget at times, the script, the acting and directing are so good that it’ll show you that big budgets aren’t what makes a movie worthy of watching. Now on iTunes and Amazon Prime video. #movie #Movies #moviestar #MovieNight #moviequotes #movietime #moviemaking #movieposter #movielover #movieset #moviefacts #moviebuff #film #filmphotography #filmmaking #filmmaker #filmisnotdead #films #filming #filmcamera #filmfestival #filmcommunity #filmmakers #filmproduction #filmlife #Filme #filmphoto #filmfeed #filmdirector #filmset (at Atlanta, Georgia) https://www.instagram.com/p/B-R_WWppWhq/?igshid=mob6uw49o8w0

[camerataetae]

^!^ Price #### Canon EF 50mm f/1.8 STM Lens - Black(0570C002) Now Is The Time Click Here http://cameraraho.blogspot.com/2021/10/price-canon-ef-50mm-f18-stm-lens.html

Canon EF 50mm Description

Compact and lightweight—an outstanding walk-around lens—Canon's EF 50mm f/1.8 STM is a great entry into the world of EOS prime lenses. With an 80mm effective focal-length on APS-C cameras, 50mm on full-frame cameras, it's an excellent prime lens for portraits, action, even nighttime photography. Its bright maximum aperture of f/1.8 helps it not only to excel in low light, but also to capture gorgeous, sharp images and movies with beautiful background blur thanks to its circular 7-blade design. An updated lens arrangement with new lens coatings helps render images with excellent color balance, plus minimized ghosting and flare. Performance is brilliant, with a stepping motor (gear-type STM) to deliver near silent, continuous Movie Servo AF for movies plus speedy, smooth AF for stills. A redesigned exterior with improved focus ring placement makes manual focus adjustments a breeze. Canon's most compact 50mm lens, the EF 50mm f/1.8 STM has a rugged metal mount, plus an improved minimum focusing distance of 1.15 ft. (0.35m) and a maximum magnification of 0.21x. Offering sharp performance for the best in movies and stills, it's a fixed focal length gem—the perfect lens for photographers and moviemakers to expand the creative possibilities with their EOS cameras.

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[gkfilmmaking]

Production: Cinematography and Tech

In the first few weeks of the course, we were yet to complete all of the equipment inductions and were therefore prompted to utilise whatever was available to us. For the first task I decided to use my Canon 700D with a RØDE Video-Mic Go attached on top and a Manfrotto compact tripod. This light weight set up was good for travelling through the woods, where we decided to shoot. I was able to show my two team members the user interface of the camera and go over some basic photography concepts before filming, as I was to be the actor. These were things such as the use of ISO, shutter speed and aperture to achieve the desired look of each shot.

Too high of an ISO will mean that the picture will be noisy and show visible gain. This will mean the clarity of the shot will be reduced as shown below.

With shutter speed it’s generally advised to stick to the 180 degree shutter rule. This means that whatever the frame rate, the shutter speed shout be double that. So when filming at 25fps, I normally shoot at 1/50th speed. Changing it one way or another can create footage with either a motion blur effect or it can be jittery with very clear motion.

Aperture determines how much light the lens allows in at once. With a bigger aperture the depth of focus will be very shallow and things far behind or in front of the subject will appear blurry. A higher aperture also means a brighter image and can be very useful for shooting in a dark environment. The effect is reversed for a smaller aperture, which can be used for ‘deep focus’, a technique used in Citizen Kane that allows all planes present in frame to be in focus (example below).

As we worked through the tech workshops, more equipment became available for us to shoot with and with it, a plethora of moviemaking techniques and methods we could employ.

We initially became acquainted the first year cameras, Panasonic EVAs. These came with prime lenses from 16mm to 85mm, f.2.6 to f.1.5. This not only meant we could now capture much better looking and more visually dynamic footage as a result of the better sensor and lens specs. It also gave access to a variety of tools, generally only available on cinema cameras, such as focus peaking and in built in ND filter. After getting to grips with the lighting too, I was able to produce some of my most visually pleasing films to date.

The frame above was shot on the Panasonic EVA with the a 3 point lighting set up, that I have spoken about in a different post. I really like how the aperture of the lenses, allows for a very shallow depth of focus, giving close up shots like the one above a very cinematic look. In order to get the most out of the available kit for the filming of my script, I would work with the director to consider the how to get the best shots possible with what we have. For example, we couldn’t have a 16mm wide shot in a particularly dark environment because it doesn’t have as large a maximum aperture as the other lenses and so I would either need more lights or to change to a 24mm lens.

For the filming of “This Is Not A Cult” we were unable to book out a Steadicam and were therefore forced to do the shot in handheld. Fortunately there was in camera stabilisation and the shot was taken on a reasonably flat road. However it was frustrating to have only one handheld shot in the film when the rest of it was on tripod. Even though this was unavoidable in the end it was good to have a plan B in mind, as it meant we could continue with the shoot, not depending on a single piece of kit. For the filming of my script, it would be helpful to have an kit list done before the end of preproduction so that each shot can be figured out with relevant logistical plans and it would give a higher chance of having all the right equipment ready in time for each shoot.

[dbmediastudio]

Behind The Scenes - Film Production Set www.dbmedialtd.com Specialist Grip Equipments we offer for rental and sale, Our hands on experience covers every challenge and every environment. We strive for the perfect shot creation with fast, safe and reliable grip equipment. from shooting packages or what you don’t have. Prime Lenses Dollies & Cranes Gimbals & sliders Audio Monitoring Consumables and more… Follow us: website: https://dbmedialtd.com/ facebook: https://www.facebook.com/dbmediadomain/ instagram: https://www.instagram.com/dbmedia_studios/ linkedin: https://www.linkedin.com/in/dbmedialtd/ twitter: https://twitter.com/dbmediadomain/ vimeo: https://vimeo.com/dbmedialtd/ pinterest: https://www.pinterest.co.uk/dbmediadomain/ cinematic weddings: https://dbstudiosltd.com/ #video #filmlife #videographer #filmfestival #art #camera #filmcommunity #bts #filmmakerslife #filmset #productioncompany #musicvideo #productionlife #actress #acting #filmmakersworld #hollywood #filmindustry #k #moviemaking #dop #filmschool #photographer #advertising #actorslife #indiefilmmaking #canon #filmcamera #independentfilm #shooting (at DB Media Film & TV Studios) https://www.instagram.com/p/CB-RkZXAsxj/?igshid=hzmuj7bhli2j

[tigerpastaishappy]

Legendary filmmaker Stanley Kubrick pushed the boundaries of moviemaking in many ways, and was responsible for some of the most enduring visuals in cinema. When he made Barry Lyndon in 1975, Kubrick shot with two ultra-rare Carl Zeiss primes, which had originally been created for NASA for use in the Apollo space program and were modified for Kubrick to use with a Mitchell BNC camera (which was also specially modified to accept the lenses).  

https://www.dpreview.com/articles/9811242514/kubrick-s-f-0-7-lenses-now-available-for-rent-but-start-saving-up

[dr-jack-bright]

Gucci Eco Eyewear And Sun Glasses

On an amazing day recently, we opted for a walk under a blazing, hot, high-altitude, springtime sun. Using the best pair of sunglasses is crucial to keep your eyes healthy if you're an enthusiastic athlete or woman. Frameworks that sit additionally from your face or have actually ducted sides and anti-fog lenses will maintain your sunglasses from misting up as you sweat. Furthermore, ordinary sunglasses grabbed at a corner store might refrain from doing the technique. There are numerous good factors beyond simply a style statement to use sunglasses when outdoors. Ray Restriction polarized sunglasses are sunglasses that are specifically developed to lower the glare of the sun from certain surfaces, such as water, glass, and also snow. These online shops function as a one stop buy all kinds of D&G sunglasses.

On the various other hand, with the sun low the sunglasses could be harmful looking southern or north, as the air-light would certainly be vertically polarized. If you ask me, polarized sunglasses are just as vital as the ideal carrying out snowboard. Sunglasses offer the very same usages for these well-known individuals as they provide for budding adults. Equip and shield your vision from dangerous UV rays with magnificently crafted sunglasses for women at EyeBuyDirect! The Car Association as well as the Federation of Manufacturing Opticians have created assistance for selection of sunglasses for driving. Aviator sunglasses created with thin metal structures inherently appeal more to women because they have the tendency to soften the face, therefore being fragile and also womanly. Try to find sunglasses with stainless-steel hinges as well, given that these won't corrosion or corrode from direct exposure to salt water. According to popular belief the musician, Corey Hart, was aiming to explain a totalitarian society which enforced the global use sunglasses at night. Whether one chooses simply a set or more of designer sunglasses and even the drug store range to have, the important point to remember is to use your sunglasses! Stage you could chewed asset inexpensive deals on-line or at outlet store, greater than likely the sunglasses are mosting likely to be specious of lightweight material. You will certainly likewise get a quick lesson on optics, and exactly how light could play a large function in making polarized sunglasses crucial. Due to the fact that it actually safeguards my eyes from wind, dust and warmth, I wear sunglasses day-to-day. Some have recommended that actors used sunglasses mainly to conceal the red eyes that typically come with long hrs of exposure to arc illumination in the very early days of moviemaking. BLESS Duo Edge blinged to the max amazing sunglasses from talented design duo of Desiree Heiss as well as Ines Kaag. Sunglasses have actually been used through the years by many individuals with more idea about their looks and layout and also exactly how it accessorizes the remainder of their outfits than for their prime feature of securing one's eyes. People who have an eager sense of style vouch by the layouts and appearance of these developer sunglasses. If you ride in a selection of lights conditions, search for sunglasses that provide either compatible lenses or photochromic lenses, whose color readjusts Aurum-Optics inning accordance with the amount of light outside. Take 2 sets of polarized sunglasses and position them perpendicularly against each various other. Anyhow, I just tell you all this to describe to you just how essential post-Lasik eye care, and also Lasik sunglasses really are. While they might be rather much more pricey compared to traditional sunglasses, some consumers choose polarized sunglasses because they uniquely block out glare, rather than making the entire visual field dimmer, which could be hazardous in some scenarios. As a guideline, the dimension of sunglasses has to be in proportion with the size of the face. The majority of the sunglasses have the very same size yet this truth could not implement to all sunglasses. Sunglasses were originally introduced to keep the eyes healthy by safeguarding them from the UV rays of the sun. A couple of crucial functions of the Roadster Edition sunglasses is that they include handmade acetate frames. Inning accordance with the American Optometric Organization, for a pair of sunglasses to appropriately shield the eyes from ultraviolet light, they must filter at the very least 99 percent of UVA as well as UVB.

[vellicore-llc-blog]

Canon Cameras - Ef 50mm F 1.8 Stm Lens Free Shipping

New Post has been published on https://vellicore.com/product/canon-cameras-ef-50mm-f-18-stm-lens-dh0570c002/

Canon Cameras - Ef 50mm F 1.8 Stm Lens Free Shipping – $147.99 – https://vellicore.com/product/canon-cameras-ef-50mm-f-18-stm-lens-dh0570c002/

Canon Cameras Ef 50mm F 1 8 Stm Lens Canon EF 50mm f/1 8 STM Standard & Medium Telephoto Lens Compact and lightweight an outstanding walk around lens Canon��s EF 50mm f/1 8 STM is a great entry into the world of EOS prime lenses With an 80mm effective focal length on APS C cameras, 50mm on full frame cameras, it’s an excellent prime lens for portraits, action, even nighttime photography Its bright maximum aperture of f/1 8 helps it not only to excel in low light, but also to capture gorgeous, sharp images and movies with beautiful background blur thanks to its circular 7 blade design An updated lens arrangement with new lens coatings helps render images with excellent color balance, plus minimized ghosting and flare Performance is brilliant, with a stepping motor (gear type STM) to deliver near silent, continuous Movie Servo AF for movies plus speedy, smooth AF for stills A redesigned exterior with improved focus ring placement makes manual focus adjustments a breeze Canon’s most compact 50mm lens, the EF 50mm f/1 8 STM has a rugged metal mount, plus an improved minimum focusing distance of 1 15 ft (0 35m) and a maximum magnification of 0 21x Offering sharp performance for the best in movies and stills, it’s a fixed focal length gem the perfect lens for photographers and moviemakers to expand the creative possibilities with their EOS cameras MPN: 0570C002 Manufacturer: Canon Cameras UPC: 013803256871

Canon Cameras – Ef 50mm F 1.8 Stm Lens Free Shipping Cameras & Frames Lenses & Filters

Manufacturer Number: 0570C002

[instapicsil1]

Pricing for the Sigma T1.5 Cinema Lenses was announced at @nabshow. These compact, high-speed primes will retail for $3499 USD. EF/E mount shipping in May, PL mount in June. Sign up for our newsletter to get the latest info. #sigma #sigmaphoto #sigmacinema #sigmacine #cinema #cinemalenses #cinelenses #cinematography #moviemaking #sigmaprimes #madeinjapan #8k #6k #4k #fullframe http://ift.tt/2pslY01

[karingottschalk]

Panavision: The Five Pillars of Anamorphic, Panavision’s Dan Sasaki explores the key attributes that distinguish anamorphic imagery. – Commentary

Panavision: The Five Pillars of Anamorphic, Panavision’s Dan Sasaki explores the key attributes that distinguish anamorphic imagery. – Commentary

[karingottschalk]

News Shooter: Blackmagic Design Pocket Cinema Camera 6K Review (lite)

News Shooter: Blackmagic Design Pocket Cinema Camera 6K Review (lite)

https://www.newsshooter.com/2019/08/22/blackmagic-design-pocket-cinema-camera-6k-review-lite/

“This is a ‘lite’ review of the Blackmagic Design Pocket Cinema Camera (BMPCC) 6K. I say lite because there is no way anyone can do a proper, in-depth review of a camera in a few days or even a few weeks. To properly review a camera you need to spend a lot more time with the camera than I have so far….”

[karingottschalk]

“Is the Fujifilm X-T4 the king of APS-C cameras? We have the answer!…”

Fujifilm X-T4 with Fujinon XF 16-55mm f/2.8 R LM WR zoom lens.

Commentary

One design inspiration for Fujifilm’s X-T4? Leica Leicaflex SL with Summicron-R 50mm f/2.0, made in 1968. The SL2 is considered one of the best analog-era 35mm SLRs.

I missed out to seeing a pre-production Fujifilm X-4 at Fujifilm Australia’s event at Ted’s World of Imaging earlier this year when COVID-19 struck home and I could not attend due to highly susceptible family members.

Such touch-and-try preview events can be useful but production versions are the real deal when it comes to assessing potential new hardware purchases.

DPReview is in prime position for obtaining early production releases and recently published its two-hander video review of the Fujifilm X-T4 alongside an in-depth text review plus image gallery.

A cursory skim through confirms my initial assessment of the desirability of the X-T4 for documentary stills photography and video production as an independent self-funded practitioner without the means to acquire every bit of hardware that comes down the turnpike, so I will be forgoing an X-T4 unless circumstances change.

Should some of us wait for the X-H2? Fujifilm X-H1 with VPB-XH1 battery grip and Fujinon XF 16-55mm f/2.8 R LM WR professional zoom lens.

Or we just might win the lottery. Ha!

COVID-19 and its worldwide economic havoc and consequent uncertainty for independent creatives means more belt-tightening and skipping over new models while trying to get the best out of past purchases.

There is plenty to like about the X-T4 for stills and video, especially video, and it is clearly one of the current best options for available light documentary work in either.

It is excellent to see that Fujifilm has now entered the small camera IBIS era (in-body image stabilization) and is reportedly approaching the IBIS in Panasonic’s Lumix DC-GH5, DC-G9 and S-Series 35mm cameras such as the Lumix DC-S1H, DC-S1 and DC-S1R.

Cinematographer, director, producer, writer Emily Skye of She Wolf Films production company with Panasonic Lumix DC-GH5 camera.

Some reviewers are speculating that Fujifilm may issue firmware updates to improve the X-T4’s IBIS, and that will be quite an achievement if they do so.

I have the most experience with the GH5’s stabilization in combination with non-stabilized autofocus lenses like those in Olympus’ M.Zuiko Pro range as well as manual-focus vintage lenses of East German design and German or Japanese manufacture, and can testify to the camera’s excellent IBIS for stills and video.

My baptism into the joys of IBIS occurred with my still-beloved Panasonic Lumix DMC-GX8 during a vacation away from Fujifilm cameras when the company had yet to get its head round video.

Australian photojournalist Daniel Berehulak using Panasonic Lumix DMC-GX8’s fully articulated LCD monitor. Now we have full articulation in the X-T4!

The GX8 has an earlier, stills-only version of IBIS than the GH5, but I soon discovered how useful, essential even, stabilization is for available darkness documentary work and I cannot imagine ever going back to non-stabilized cameras or at least non-stabilized lenses on such cameras.

Subsequently I picked up a copy of the legendary though often overlooked Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS stabilized zoom lens and would have added the equally impressive Panasonic Lumix G Vario 35-100mm f/4-5.6 Aspheric Mega OIS zoom, had I found a secondhand copy at a good price at the time.

Panasonic DMW-XLR1 Microphone Adapter for Panasonic Lumix G and S-Series cameras. Fujifilm needs to make one of these for its more video-oriented cameras.

Without the pleasure of access to a production version of the Fujifilm X-T4, I am reluctant to express any opinions about it here so have added links to articles by well-qualified reviewers in the list of links below.

Fujifilm X-T4

Fujifilm X-T4 with Fujifilm VG-XT4 Vertical Battery grip and Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens.

Fujifilm X-T4 with Fujifilm VG-XT4 Vertical Battery grip containing Fujifilm’s new larger NP-W235 Lithium-Ion batteries.

Fujifilm X-T4 with Fujifilm VG-XT4 Vertical Battery grip and Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens, in portrait or vertical orientation.

Fujifilm X-T4 with vari-angle LCD monitor swung out.

Fujifilm X-T4 with Vario-angle LCD monitor in closed position, excellent for protecting the monitor when not needed.

Fujifilm X-T4 with Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens.

Fujifilm NP-W235 Lithium-Ion Battery, rated at 7.2V, 2200mAh, much improved over the smaller batteries for the X-T3, X-Pro3 and other, older models.

Fujifilm BC-W235 Dual Battery Charger enables charging two NP-W235 batteries at the same time.

The Fujifilm X-T4 for moviemaking

Fujifilm X-T4 rigged for video production. Image courtesy of Fujifilm-X.com.

Links

Camera Labs – Fujifilm XT4 review

DPReview – DPReview TV: Fujifilm X-T4 review

DPReview – Fujifilm interview: ‘We will get through this crisis together’

DPReview – Fujifilm X-T4 full-production sample gallery

DPReview – Fujifilm X-T4 review

DPReview – Fujifilm X-T4 Review: Hands-on with Fujifilm’s newest flagship camera – video

DPReview – Fujifilm X-T4 vs X-H1: should you upgrade or hunt for a bargain?

DPReview – Fujifilm X-T4 vs X-T3: Which should I buy – and is it worth upgrading?

EOSHD.com – Canon 1D X Mark III Review // Filmmaking, video and cinema camera. Get the Fuji X-T4 instead?

Fuji Rumors – DPRTV Fujifilm X-T4 Review: “One of the Best Hybrid Cameras, But if You are a Video Shooter, Maybe Wait for Fujifilm X-H2” – excellent summary of major posts in the video.

Fujifilm-X – X-T4

jonasrask|photography – Fujifilm X-T4 first look preview – Closer to technical bliss.

News Shooter – Fujifilm X-T4 improves on an already solid camera

She Wolf Films – cinematographer, director, producer, writer Emily Skye’s production company.

Thomas Fitzgerald Photography – Thoughts on the Fuji X-T4

DPReview: Fujifilm X-T4 Review: Hands-on with Fujifilm’s newest flagship camera – Commentary "Is the Fujifilm X-T4 the king of APS-C cameras? We have the answer!..." Commentary I missed out to seeing a pre-production…

[karingottschalk]

The rumour sites have been running hot with the possibility of a low-light version of the Panasonic Lumix DC-GH5m giving rise to thoughts on what benefits such a camera might offer to documentary moviemakers and photographers working mostly in available light, or often, available darkness. 

The Panasonic Lumix GH5s is rumoured to have the same camera body size and shape as the Panasonic Lumix DC-GH5, great news for cinematographers and camera accessories makers.

A Micro Four Thirds answer to the Sony Alpha a7S low-light video camera series would be very useful for the sorts of immersive, fly-on-the-wall photo essays and short documentary movies on the cards for the ‘Untitled’ project’s Stories department.

Although I appreciated the Sony a7S series’ larger 35mm format sensor when I reviewed the Sony a7S, I much prefer Panasonic’s hardware design and engineering, its menu system and colour science, and Olympus’ manual clutch focussing M.Zuiko Pro f/2.8 zoom and f/1.2 prime lenses.

Most of all, I prefer the affordability and portability of Micro Four Thirds cameras and lenses, even if, as some users complain, some M43 flagship cameras can be a little on the large side.

Sample stills from another low-light, low-resolution high-ISO camera, the Sony Alpha a7S

Otherwise, though, I obtained some impressive available light results from the Sony a7S’ 12 megapixel, 35mm format sensor, especially when shooting stills in the gritty mixed-source lighting and grotty interiors of Sydney’s ageing inner-city underground railway stations.

Video on the a7S proved more challenging as its S-Log2 logarithmic profile was poorly understood at the time and little well-qualified advice was available on how to get the best out of it via camera settings and postproduction.

Further, the a7S’ S-Log2 base ISO is 1600, demanding the use of strong neutral density filters in a good set of fixed density NDs or a strong variable ND, which I did not have at the time.

The need for speed induces a need for density

Only now are strong, top-quality variable NDs like those from Aurora-Aperture and SLR Magic becoming available to satisfy the needs of documentary moviemakers for whom constant swapping from within big sets of fixed NDs is not an option.

Nowadays, if using the Sony a7S II or the coming a7S III, I would default to using Paul Leeming’s Leeming LUT One for Sony camera settings and camera profile LUT.

If the Panasonic Lumix DC-GH5S proves real and follows Sony’s example in having a high base ISO, then you may wish to consider some of the more recent ND filter solutions that I have written about:

Untitled: Stories of Creativity, Innovation, Success – Formatt Hitech Releases Firecrest Ultra, the Ultimate Colour-Neutral IR-Cutting Neutral Density Filters for Stills and Video?

Untitled: Stories of Creativity, Innovation, Success – News Shooter: SLR Magic Circular Fixed ND Filters Review – COMMENTARY

Consider a possible high base ISO GH5S in combination with the Olympus M.Zuiko Pro f/1.2 17mm, 25mm and 45mm prime lenses used wide open or close to it in bright light as well as darkness and the need for a good set of matched variable and fixed ND filters becomes even more urgent.

Low-light stills and low-res sensors

Getting back to stills photography, for some years glossy magazines have commissioned cover portrait photographs to be shot with high ISO RED cameras for the sake of behind-the-scenes videos, raw digital stills and top-quality raw video.

At the start of the digital era, before the camera makers’s megapixels contest began, we were often reminded that 6 megapixels was enough for magazine covers and double page spreads.

The 10.71 megapixels sensor being suggested as Panasonic’s choice for the for the Lumix GH5S should be more than enough for most digital and four-colour press publication, while the Lumix G9 may well be suited for big exhibition prints given its 80 megapixels high resolution mode.

Things are looking good for affordable, portable, high-quality digital documentary moviemaking and stills photography thanks to creative innovations like these.

A GH5S video features wishlist

I asked cinematographer/director Paul Leeming of Leeming LUT One for a the features he would like to see in a possible GH5S:

If they make a low light DCI 4K sensor variant I’d be very happy just with that alone. The main thing I’d like to see is more dynamic range than the GH5, and more frame-rate in 10bit 4K 48p internal would be lovely if they can’t do 60p. With UHS-II cards the write limitations are pretty much gone so then it comes down to the internal processor and what it has as a limit.

If Panasonic hits any or all of the following things I’d upgrade:

DCI 4K at 10 bit 4:2:2 48p internal or greater,

2 stops better noise performance,

2 stops better dynamic range (kind of linked to the noise performance) though to be honest even 1 stop better DR would be great.

Links

4/3Rumors

EOSHD – Is a new super-charged Panasonic GH5S on the way already with 4K 120fps HDR?

Fstoppers – Is Panasonic Going to Announce a Low Light Version of the GH5 Camera on December 15?

Max Yuryev – Panasonic’s $2500 GH5S lowlight MONSTER (I don’t have one yet) GH5 S – “Talking about the upcoming GH5-S!”

Neumannfilms – The Super Secret Project – is Neumann Films shooting an example short movie for the GH5S product announcement?

Image Credits

Image concept and hack by Carmel D. Morris.

Help support ‘Untitled’

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

Panasonic Lumix DC-G9 Mirrorless Micro Four Thirds Digital Camera – B&H

Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera  – B&H

Sony Alpha a7S Mirrorless Digital Camera – B&H

Sony Alpha a7S II Mirrorless Digital Camera – B&H

Panasonic Rumoured to Announce Lumix GH5S 4K Low-Light Video Super Camera on December 15, 2017 The rumour sites have been running hot with the possibility of a low-light version of the Panasonic Lumix DC-GH5m giving rise to thoughts on what benefits such a camera might offer to documentary moviemakers and photographers working mostly in available light, or often, available darkness. 

[karingottschalk]

Veydra LLC, maker of the Veydra Mini Prime manual-focus cinema lenses for Micro Four Thirds, Sony E-Mount and Fujifilm X-Mount cameras, is no more. 

Veydra’s Ryan Avery recently announced the company’s demise on its Facebook page, bringing to an abrupt end the story of this doughty little lens maker, throwing into confusion affordable native geared cinema prime lens choices for independent moviemakers. 

With its mission statement being “Veydra lenses are designed to be premium quality cinema lenses at the absolute minimum retail price”, Veydra gave thousands the opportunity of using cinema lenses instead of the more common stills-oriented  non-cinema zoom and prime lenses we have come to rely upon despite their shortcomings for video use. 

Veydra 50mm and 25mm Mini Prime Cinema manual focus lenses with imperial or metric markings, made by Veydra LLC.

Veydra LLC has gone out of business due to the conclusion of ongoing litigation between the founders of the company.

I offer special thanks to everyone involved in the success of Veydra; first and foremost all Veydra Kickstarter backers and customers. Specific thanks to those who made it possible from the start; Phil Holland, Illya Friedman, Matthew Duclos, Joshua Brown, Alex Jacobs, and all the supporters too numerous to mention here.

It’s been a wonderful journey and I thank you all for your support and kindness.

—Ryan Avery Co-Founder

Social media rumours have it that there was some conflict at Veydra about one partner licensing his lens designs out to another company, Meike, but another factor leading to Veydra’s end may have been the theft of US$200,000 worth of lenses from the company’s warehouse in 2017, after which the company seemed to drop off the radar.

There are cinema prime lens alternatives, however, with SLR Magic releasing an intriguing set of lenses for Super 16 and Super 35  digital cameras in M43, E-Mount and X-Mount.

Another option is Fujifilm’s impressive MKX cinema zoom lenses available in two focal length ranges and now in the same there mounts.

Should Fujifilm continue delivering on its promise to radically improve video functionality on its XF APS-C Super 35 cameras,  SLR Magic’s seven lens collection appears attractive with the lenses’ 18mm, 22.5mm, 27mm, 37.5mm, 52.5mm and 112.5mm equivalence in the 35mm sensor format.

So far Meike has only released three cinema prime lenses and not in all three mounts, in 12mm, 16mm and 25mm focal lengths, so time will tell whether the company is fully committed to supplying a full set of primes in three mounts.

A prime lens alternative? SLR Magic MicroPrime Cinema Lenses for Micro Four Thirds, Fujifilm X-Mount and Sony E-Mount.

SLR Magic MicroPrime Cinema 12mm T2.8 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 15mm T3.5 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 18mm T2.8 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 25mm T1.5 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 35mm T1.3 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 50mm T1.2 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 75mm T1.5 Fujifilm X-Mount.

Andrew Chan of SLR Magic with one of the company’s MicroPrime cinema lenses for X-mount and M43-mount cameras variously made by Blackmagic Design, Fujifilm, Olympus, Panasonic and others. SLR Magic also makes an excellent 1.3 to 10 stop variable neutral density filter solution perfectly suited to the MicroPrimes with their 82mm filter diameter as well as adapted to smaller filter diameter lenses via step-up rings.

A cinema zoom alternative? Fujifilm Cinema Zoom Lenses for Micro Four Thirds, Fujifilm X-Mount and Sony E-Mount.

Fujifilm X-T3 with Fujinon MKX18-55mm T2.9 cinema zoom lens, rigged for moviemaking.

Fujifilm X-T3 with Fujifilm VG-XT3 Vertical Battery Grip and Fujinon MKX 18-55mm T2.9 cinema zoom lens.

Fujifilm XH1 with Fujinon MKX 50-135mm T2.9 cinema zoom lens

Fujifilm XH1 with Fujinon MKX 18-55mm T2.9 cinema zoom lens

Fujifilm Fujinon MKX 50-135mm T2.9 cinema zoom lens.

Fujifilm Fujinon MKX 18-55mm T2.9 cinema zoom lens.

Fujifilm XH1 with Fujinon MKX 18-55mm T2.9 cinema zoom lens

Fujifilm XH1 with Fujinon MKX 50-135mm T2.9 cinema zoom lens

Links

4/3 Rumors – Veydra LLC has gone out of business

Duclos Lenses – Veydra Primes

dvinfo.net – New Glass: Veydra Cine Primes for Micro 4/3

Facebook – @veydraoptics

Lens Rentals – Veydra Cine Mini Prime MTF Optical Bench Tests

Meike – Cine Lens

PetaPixel – Over $200,000 in Cinema Lenses Were Stolen from Veydra Optics on Sunday

Veydra – website

Help support ‘Untitled’

Clicking on the links and purchasing through them for our affiliate accounts at Adorama, Alien Skin, B&H Photo Video, Skylum, SmallRig or Think Tank Photo helps us continue our work for ‘Unititled’.

Veydra LLC, Maker of Affordable Manual Focus Mini Prime Cinema Lenses, Is Dead. What Now for Lenses in Their Class? Veydra LLC, maker of the Veydra Mini Prime manual-focus cinema lenses for Micro Four Thirds, Sony E-Mount and Fujifilm X-Mount cameras, is no more. 

[karingottschalk]

https://www.sigma-global.com/en/news/2019/02/26/2042/

2019.02.26

Release of SIGMA Interchangeable Lenses for L-Mount

SIGMA Corporation is pleased to announce the launch of the Art line prime lens lineup for full-frame cameras in L-Mount. These L-Mount series lenses have achieved high-speed AF and are fully compatible with AF-C mode, in-camera image stabilization, and in-camera aberration correction. The lineup will consist of 11 prime lenses for full-frame cameras from SIGMA’s Art line covering from 14mm to 135mm currently available in other mounts, allowing the Art line, which pursues the highest performance, to be enjoyed on L-Mount cameras.

[Features] 1.　Optimized AF for L-Mount※１ With the AF drive control program and high-speed communication tuned for each lens, shooting at speed with high-precision AF control is achieved. The lenses also support the AF-C mode.

2.　Compatible with in-camera image stabilization※１ Compatible with in-camera image stabilization, the camera automatically detects the focal length of each lens and optimizes image stabilization performance.

3.　Data pre-loaded for compatibility with in-camera aberration correction※１ Fully compatible with in-camera aberration correction (corrections for peripheral illumination, chromatic aberrations, and distortion). By matching corrections to the optical characteristics of the lens, this function takes image quality to an even higher level.

4.　Native mount for a more rigid and stable feel Making the lens mount native provides a much more rigid and stable feel to the lens than using an adapter. Featuring a surface treatment to enhance strength, the brass bayonet mount offers a high-precision fit and exceptional durability. The mount connection area incorporates rubber sealing for dust- and splash-proof construction.

5.　Available SIGMA Mount Conversion Service※２ This service converts specifications of the mount of SIGMA lenses to that of a different camera body. Users can “tailor” their favorite lenses to the camera body if they plan to get a new one in the future. This allows continued use of their favorite lenses over the long term regardless of the camera system.

※1 Compatibility with each function depends on the functions available on each camera. ※2 The SIGMA Mount Conversion Service (chargeable) is different from a normal repair service. It is not available at stores. In order to apply for the service, please contact your nearest authorized SIGMA subsidiary or distributor.

SIGMA 14mm F1.8 DG HSM | Art Launch: TBD Case supplied

SIGMA 20mm F1.4 DG HSM | Art Launch: TBD Case supplied

SIGMA 24mm F1.4 DG HSM | Art Launch: TBD Case and Hood supplied

SIGMA 28mm F1.4 DG HSM | Art Launch: TBD Case and Hood supplied

SIGMA 35mm F1.4 DG HSM | Art Launch: TBD Case and Hood supplied

SIGMA 40mm F1.4 DG HSM | Art Launch: TBD Case and Hood supplied

SIGMA 50mm F1.4 DG HSM | Art Launch: TBD Case and Hood supplied

SIGMA 70mm F2.8 DG MACRO | Art Launch: TBD Case and Hood supplied

SIGMA 85mm F1.4 DG HSM | Art Launch: TBD Case and Hood supplied

SIGMA 105mm F1.4 DG HSM | Art Launch: TBD Case, Hood, Tripod Socket, and Protective Cover PT-21 supplied

SIGMA 135mm F1.8 DG HSM | Art Launch: TBD Case and Hood supplied

More about SIGMA Interchangeable Lenses for L-Mount

[Contact] For further information, please contact your local authorized SIGMA representative listed in the link below: https://www.sigma-global.com/en/about/world-network/

[Product information] SIGMA GLOBAL VISION:https://www.sigma-global.com/en/

Panasonic Lumix S1R 35mm mirrorless digital camera.

Sigma L-Mount Art lenses and EF-to-L-Mount adapter to be released early 2019

Sigma Mount Convertor MC-21 EF-mount to L-mount.

Sigma 14mm f/1.8 DG HSM | Art prime lens with L-mount.

Sigma 20mm f/1.4 DG HSM | Art prime lens with L-mount.

Sigma 24mm f/1.4 DG HSM | Art prime lens with L-mount.

Sigma 28mm f/1.4 DG HSM | Art prime lens with L-mount.

Sigma 35mm f/1.4 DG HSM | Art prime lens with L-mount.

Sigma 40mm f/1.4 DG HSM | Art prime lens with L-mount.

Sigma 50mm f/1.4 DG HSM | Art prime lens with L-mount.

Sigma 70mm f/2.8 DG Macro | Art prime lens with L-mount.

Sigma 85mm f/1.4 DG HSM | Art prime lens with L-mount.

Sigma 105mm f/1.4 DG HSM | Art prime lens with L-mount.

Sigma 135mm f/1.8 DG HSM | Art prime lens with L-mount.

Commentary

At the time of writing this article Sigma has the launch date of its first batch of L-Mount lenses marked as TBD but I hope the company can arrange to release them and the MC-21 Mount Convertor in its EF-to-L-Mount version at the same time Panasonic releases its Lumix DC-S1 and DC-S1R 35mm sensor mirrorless cameras.

No mirrorless hybrid camera system maker has managed to release its first cameras alongside an almost full collection of prime and zoom lenses, thus enabling early adopters to buy in and get to work almost immediately without the often years-long wait for the right focal lengths to finally appear.

Sigma’s first L-Mount prime lens release comprises a very usable set of optics, from 14mm up to 135mm, and it contains several that I consider essential as a documentary and portrait photographer and moviemaker.

Here is my ideal set of L-Mount lenses for a range of applications and genres:

Sigma 20mm f/1.4 DG HSM | Art

Sigma 28mm f/1.4 DG HSM | Art

Sigma 35mm f/1.4 DG HSM | Art

Sigma 40mm f/1.4 DG HSM | Art

Sigma 70mm f/2.8 DG MAcro | Art

Sigma 85mm f/1.4 DG HSM | Art

Sigma 105mm f/1.4 DG HSM | Art

Alternatively, one could purchase the MC-21 EF-to-L-Mount adapter and a set of Canon EF-Mount Sigma lenses for maximum versatility and use on a range of cameras via adapters.

Links

L-Mount

Lumix G | Experience – The new Panasonic Lumix S system – features in depth

Sigma Global Vision – Lenses

Sigma Global Vision – SIGMA MOUNT CONVERTER MC-21, The new mount converter enhancing  the extensibility of the L-Mount system.

Sigma Global Vision – Release of SIGMA Interchangeable Lenses for L-Mount

Help support ‘Untitled’

Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

Atomos Ninja V 5″ 4K HDMI Recording Monitor – B&H

Panasonic DMW-BGS1 Battery Grip – B&H

Panasonic DMW-BLJ31 Rechargeable Lithium-Ion Battery (7.2V, 3100mAh) – B&H

Panasonic DMW-XLR1 XLR Microphone Adapter – B&H

Panasonic Lumix DC-S1 Mirrorless Digital Camera – B&H

Panasonic Lumix S 24-105mm f/4 Macro O.I.S. Lens – B&H

Panasonic Lumix S PRO 50mm f/1.4 Lens – B&H

Panasonic Lumix S PRO 70-200mm f/4 O.I.S. Lens – B&H

Sigma Global Vision: Release of SIGMA Interchangeable Lenses for L-Mount 2019.02.26 Release of SIGMA Interchangeable Lenses for L-Mount SIGMA Corporation is pleased to announce the launch of the Art line prime lens lineup for full-frame cameras in L-Mount.

[karingottschalk]

Thanks to Fujifilm Australia, I have been lucky enough to try out the Fujinon XF 8-16mm f/2.8 R LM WR ultra-wide zoom in combo with the amazing Fujifilm X-T3 DSLR-style camera and its VG-XT3 Vertical Battery Grip.

My primary motivation in requesting the loan was so cinematographer/director Paul Leeming could use the X-T3 to shoot video footage in order to create a custom Leeming LUT Pro for it.

He did the same for my X-Pro 2 camera, and I am looking forward to eventually relying on Paul’s various Leeming LUT Pro 3D look-up tables to quickly and easily combine footage from those two cameras with video shot with my Panasonic cameras and, hopefully, Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K.

Fujifilm X-T3 with VG-XT3 Vertical Battery Grip and Fujifilm XF 8-16mm f/2.8 R LM WR lens.

At the moment I am using the Fujinon XF 8-16mm f/2.8 R LM WR for stills photography and for a self-funded independent documentary photographer and moviemaker I believe it is stills to which this lens is best suited.

Reason number one?

The Fujinon XF 8-16mm f/2.8 R LM WR does not permit attaching circular filters.

Fujinon XF 8-16mm f/2.8 R LM WR

Fujifilm Fujinon XF 8-16mm f/2.8 R LM WR wideangle zoom lens

Fujifilm Fujinon XF 8-16mm f/2.8 R LM WR wideangle zoom lens

Large and costly adapters are required in order to attach square or rectangular filters in front of the lenses convex front element, though someone may come up with a similar adapter for attaching wide diameter circular filters to it.

Another large and costly solution is to invest in a matter box, though which one may be best is beyond my current knowledge and experience.

As a budget-driven documentary video solo operator I have to keep my equipment load and expenses down so I rely on circular variable ND filters.

My current VNDs are built with ageing technology, and more recent ones are reportedly sharper, more colour-colour-neutral and offer a greater range of filtration density stops for today’s sensors.

I need to find the best contemporary VND and I want a great set of fixed density NDs for less run-and-gun style projects, and I want to upgrade from 77mm to 82mm to future-proof for coming bigger lenses.

All that aside, I absolutely love the results I have been getting with the Fujinon XF 8-16mm f/2.8 R LM WR.

It balances well on a battery grip-equipped X-T3 whereas it is far too large and heavy for an ungripped camera.

I cannot comment on how it works with a gripped or ungripped Fujifilm X-H1 as I have yet to experience that particular camera.

I wish the X-T3 had the X-H1’s in-body image stabilization aka IBIS and optical image stabilization on the 8-16mm lens would have been terrific.

The X-T3’s ungripped body makes for a great companion camera to my X-Pro2 as I discovered during my first X-T3 tryout late last year, equipping the latter with a Fujinon XF 18-55mm f/2.8-4.0 alongside the former with my Fujinon XF 23mm f/1.4 R attached.

Adding a Fujifilm VG-XT3 Vertical Battery Grip to the X-T3 turns it into a great handheld portrait camera with the addition of my Fujinon XF 56mm f/1.2 R.

But I digress.

The Fujinon XF 8-16mm f/2.8 R LM WR is the first Fujifilm Red Badge zoom lens I have tried, and so far it looks like it adheres to the common praise heaped upon the Fujinon XF 16-55mm f/2.8 R WR, that it is like having a set of top quality primes at your disposal but all in the one lens.

The widest lens I have ever used until now was the Fujinon XF 14mm f/2.8 R, equivalent in 35mm sensor terms to one of my favourite focal lengths for immersive documentary photography and video, 21mm.

The Fujinon XF 8-16mm f/2.8 R LM WR goes well beyond that excellent and affordable little lens with a focal length range from 12mm through to 24mm in 35mm sensor terms, the latter not one of my preferred focal lengths by any means.

The Fujinon XF 8-16mm f/2.8 R LM WR’s focal range is particularly well-suited to cityscapes and ‘burbscapes, though it can handle documentary shots in a pinch provided you set it at 16mm and watch out for weird volume distortion of people and objects too near the corners of the frame.

Some of that corner volume distortion can be corrected in post-processing with DxO ViewPoint but that can also introduce other distortions in the centre of the photograph.

I would rather have a pro-quality 18mm lens for immersive documentary work, but Fujifilm has yet to update its current quirky 18mm offering or release the coming Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens.

In my analog days I often made architectural photographs with 4”x5” sheet film cameras as part of corporate photography assignments, and as it was a sideline rather than a speciality did not have the set of wide-angle large format view camera lenses I would have liked.

The Fujinon XF 8-16mm f/2.8 R LM WR gives me all of those focal lengths and more.

Shooting architecture with a small handheld camera is a very different dynamic than doing it with a tripod-mounted field camera.

The small camera’s fast and easy mobility means one feels free to dart all around the subject and the zoom lens makes it so fast and easy to try out plenty of alternative camera positions.

I often found myself using the lens at its widest focal length when street furniture, signage and random objects and people got in the way.

So long as you keep a keen eye on potentially detrimental volume and perspective distortions due to distance from and angle of view to the subject, you will do fine.

On the other hand, if you want radical perspective and even more radical near/far object size comparisons, select one of the lens’ wider focal lengths and distort to your heart’s content.

The Fujinon XF 8-16mm f/2.8 R LM WR is possibly the sharpest lens I have ever used, with excellent resolution and micro-contrast.

Whether using Adobe’s Enhance-equipped Camera Raw 11.2, previous versions of Camera Raw or another raw processor or image editing application, its unsharpened raw files are impressive onscreen.

If adding sharpening in post-processing, go easy with it and you may also wish dial down your in-camera sharpening for certain subjects if you are a JPEG user.

The Fujinon XF 8-16mm f/2.8 R LM WR zoom lens makes for a superb addition to your Fujifilm lens collection if your work demands ultra-wide focal lengths, though its current high pricing will give some pause to stop, think and postpone purchase.

Many video-oriented users of Fujifilm APS-C/Super 35 cameras may be better off considering the Fujinon XF 10-24mm f/4.0 R OIS zoom lens for one or more of its most prominent differences – price, size, weight, optical image stabilization and not least the ability to easily mount circular filters of 72mm diameter or larger.

In terms of focal length, one loses 2mm at the wide and gains 8mm at the long end with the 35mm sensor equivalent of 15mm to 36mm, thus providing my preferred documentary photo and video focal lengths of 14mm, 18mm and 23mm or in 35mm sensor terms 21mm, 28mm and 35mm.

Add a medium-to-long zoom lens or some longer primes and you have most bases covered.

The Fujinon XF 10-24mm f/4.0 R OIS zoom lens is reportedly not as sharp or as high-resolving as the Fujinon XF 8-16mm f/2.8 R LM WR and I have read complaints about its lack of corner sharpness at certain wider apertures, so I hope it will be one of the lenses Fujifilm considers for revision in the very near future.

If the Fujinon XF 8-16mm f/2.8 R LM WR meets your needs despite its inability to take a screw-on filter and lack of OIS, and its price is beyond your budget, wait for the discounts and sales seasons or for Fujifilm to substantially drop its price.

If price is no object and if I were a full-time architectural photographer, this would be my number one and possibly only lens for the job.

Gallery, Fujinon XF 8-16mm f/2.8 R LM WR on Fujifilm X-T3

Fujinon XF 8-16mm f/2.8 R LM WR at 16mm and 8mm

Fujinon XF 8-16mm f/2.8 R LM WR at 16mm.

Fujinon XF 8-16mm f/2.8 R LM WR at 8mm.

Links

Fujifilm Global – Fujinon Lens XF8-16mmF2.8 R LM WR

Fujifilm X – XF6-18mmF2.8 R LM WR

Help support ‘Untitled’

Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

FUJIFILM VG-XT3 Vertical Battery Grip – B&H

FUJIFILM X-T3 Mirrorless Digital Camera – B&H

FUJIFILM XF 8-16mm f/2.8 R LM WR Lens – B&H

FUJIFILM XF 10-24mm f/4 R OIS Lens – B&H

FUJIFILM XF 14mm f/2.8 R Lens – B&H

Trying Out Fujifilm’s Fujinon XF 8-16mm f/2.8 R WR Ultra-Wide Zoom Lens on the X-T3 Thanks to Fujifilm Australia, I have been lucky enough to try out the Fujinon XF 8-16mm f/2.8 R LM WR ultra-wide zoom in combo with the amazing Fujifilm X-T3 DSLR-style camera and its VG-XT3 Vertical Battery Grip.