Cine Gear: VISTA-M Lenses by T M Camera Solutions


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




A mix of modern optical performance and function with the character of a vintage lens. The all-new Masterbuilt VISTA-M lenses are Large Format lenses. The entire lens range has an aperture of T1.4 and a flair for flare.

These lenses are all about delivering vintage character. Like many older lenses, these MasterBuilt VISTA-M lenses all have very clear center sharpness and a look our Nathan Thompson thought reminded him of Canon C-35 vintage cinema lenses.

VISTA-M

Like a lot of the new lenses on the market, these lenses have a vintage look, but with the added benefit of modern optics,

VISTA-M
VISTA-M
VISTA-M
VISTA-M

Continue reading “Cine Gear: VISTA-M Lenses by T M Camera Solutions”

Cine Gear 2019: cMotion Cinefade VariND and Depth of Field


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




Subtle image control when done very well is subtextual to the viewer. To execute the effect smoothly and repeatedly can be a challenge. With the Cmotion lens control system the iris motor slaves to the Cinefade VariND allowing cinematographers to change their depth of field while maintaining perfect exposure.  The in-camera effect is remotely controlled with a cmotion cPRO LCS via the hand unit.

 

The Cmotion Cinefade VariND consists of a Motorised Polariser and a Static Polariser. When inserted into a matte box together, they form a variable ND filter that works as a standalone VariND or as a

Cinefade
Cinefade

Continue reading “Cine Gear 2019: cMotion Cinefade VariND and Depth of Field”

Poland’s National Football Association Livestreams with Blackmagic Design


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




Blackmagic Design shows off a Multicam broadcast workflow featuring URSA Broadcast and ATEM 2 M/E Production Studio 4K, to deliver a wide range of live streaming content for Poland’s national football association, Polski Zwiazek Pilki Noznej (PZPN).

Live production specialist, Transmisjelive, produces all content for PZPN’s YouTube channel, Łączy nas piłka (The Ball Connects Us), including action from Poland’s national, women’s and youth teams, as well as matches from Poland’s second league. “Our cameras give fans exclusive access to information and insights that traditional broadcasters cannot deliver, and the huge subscriber numbers on YouTube reflect that,” explains Artur Kuszel, a

Filmtools Logo

Continue reading “Poland’s National Football Association Livestreams with Blackmagic Design”

Cine Gear: Cooke Anamorphic/i Full Frame Plus Standard and SF Lenses


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




Large Format. Full Frame. That super shallow depth of field. The evolution of filmmaking has been in a state of constant change which seems to speed up faster and faster. Cooke Optics showed off their Anamorphic/i Full Frame Plus Standard and SF (Special Flair) prime lenses to give the ever-changing camera technology lenses fit to keep pace. Thes lenses give cinematographers the anamorphic characteristics, including flare and oval bokeh found in older lenses which may not cover the large format image circle.

The Cooke Optics Anamorphic/i Full Frame Plus Standard lenses coverage circle covers a full 24 x 36 still

Cooke
Cooke
Cooke

Continue reading “Cine Gear: Cooke Anamorphic/i Full Frame Plus Standard and SF Lenses”

Cine Gear: The Panasonic 6K Full-Frame Lumix S1H


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




This camera, according to Panasonic, is designed especially for film production. The LUMIX S1H is more than a mirrorless camera from Panasonic. Oh no, this camera, which was only teased at Cine Gear Expo 2019 and under plexiglass, appears to be feature rich and built for success in Panasonic’s portion of the mirrorless market they have carved out for themselves.

The LUMIX S1H is the world’s first camera capable of video recording at 6K/24p (3:2 aspect ratio), 5.9K/30p (16:9 aspect ratio), and 10-bit 60p 4K/C4K, and it combines the video quality of a professional camera and the high

Lumix S1H
Lumix S1H

Continue reading “Cine Gear: The Panasonic 6K Full-Frame Lumix S1H”

Cine Gear 2019: Shot On Cooke. “A Motion Gallery”


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




If you are a painter and you want to learn from the Masters you have to study those who came before you. Cinema is no different. It is an art, albeit a very technical art form, and to build upon the shoulders of those who came before you than you need to have seen their work. With Cooke’s new #ShotOnCooke online video gallery directors, cinematographers, and everyone really can learn the characteristics of Cooke Optics.

The brainchild of Cooke’s Director of Sales – Europe, Carey Duffy, #ShotOnCooke has been designed as an insightful, educational resource presenting professional content created with

Cooke
Cooke

Continue reading “Cine Gear 2019: Shot On Cooke. “A Motion Gallery””

Cine Gear: Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 MFT Lens


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




At Cine Gear 2019 we got to opportunity to check out the Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 ASPH Micro Four Thirds lens. With a f1.7 constant aperture throughout the entire range, one can bet this lens will become a favorite of GH5 and Blackmagic Pocket Cinema Camera 4K shooters.

Here are some quick highlights of this new lens: no focus breathing, step-less aperture, and a 9 blade aperture. The Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 ASPH., first mentioned last year, during Photokina, is now confirmed to be available after the 15th of July.

Panasonic Lense

The Leica

Panasonic Lens

Continue reading “Cine Gear: Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 MFT Lens”

Cine Gear 2019: Sony Xperia1, a wireless VENICE monitor?


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




The world’s first 4K OLED Phone… which can wirelessly monitor your Sony VENICE? The Xperia1 is more than a smartphone. This is a 21:9 CinemaWide display with HDR remastering technologies and Dolby Atmos sound in your hand. Let me break it down a little bit. Nearly 2:1 display, which is near perfect for Netflix streaming, and OLED color so good Sony compares it to their color confidence monitors for cinema.

Yes, this phone as 3 lenses. Yes, this is a top-of-the-line smartphone from Sony. Yes, it is brilliant. But, if there is a bit of this phone which is

Xperia1
Xperia1
Sony Xperia 1: a smartphone with CinemaAlta technology inside
Filmtools Logo
Xperia1

Continue reading “Cine Gear 2019: Sony Xperia1, a wireless VENICE monitor?”

Cine Gear 2019: Sony VENICE Firmware Updates with HFR and more


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




We had a chance to talk to Sony about the new firmware 4.0 for the Sony VENICE. The big news? High Frame Rates up to 90fps at 6K 2.39:1 and 72fps at 6K 17:9 on the large-format 6K camera.

At Sony’s booth, the new  Version 4.0 high frame rate capabilities and the popular VENICE extension System were shown to those who tried to get black VENICE t-shirt swag during Cine Gear 2019. Hey, it was a cool t-shirt.

Here are the key features of the VENICE Version 5.0 firmware, designed to achieve enhanced shooting usability and

VENICE
Venice

Continue reading “Cine Gear 2019: Sony VENICE Firmware Updates with HFR and more”

Cine Gear 2019: Panavision Shows Off Entire Lens Line Up


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




According to Panavision, the PanaSpeed lens line-up is a large-format update of the classic Primo look. At T1.4, the PanaSpeed lenses will be the fastest large-format lens option at Panavision. Considering these PanaSpeed lenses looks down-right drool-worthy, and the lenses have a super close focus, we had to stop by and see exactly how these lenses see the world. If you love how vintage cinema lenses look then you might want to take a look at the PanaSpeeds too.



Panavision


Panavision showed off several lens sets giving Expo attendees the unique opportunity to preview upcoming, innovative glass options:

Cine Gear: Canon Shows Off Sumire Prime Lenses


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




Sporting t-shirts showing the Cine Gear 2019 attendees how exactly to pronounce Sumire, Canon’s new PL Prime Lens line up, Canon also set up an example shoot to show off the beautiful lenses. Seeing is believing. Pronounced “Soo-mee-ray,” these new Canon prime lenses deliver a creamy interesting image when the aperture is wide open.

Covering the core range of focal lengths that cinema professionals desire, Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to announce the company’s first set of seven cinema prime PL-Mount lenses, aptly named Sumire Prime. Pronounced “Soo-mee-ray,” the word

Canon Sumire
Sumire
Filmtools Logo

Continue reading “Cine Gear: Canon Shows Off Sumire Prime Lenses”

Blackmagic Announces New Teranex Mini SDI to DisplayPort 8K HDR


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




Blackmagic Design announced the Teranex Mini SDI to DisplayPort 8K HDR, an advanced 8K DisplayPort monitoring solution with dual on-screen scope overlays, HDR, 33 point 3D LUTs and monitor calibration that’s been specifically designed for the professional film and television market and to take advantage of a new generation of monitors such as the Pro Display XDR. Teranex Mini SDI to DisplayPort 8K HDR will be available in Oct 2019 from Blackmagic Design resellers worldwide for US$1,295.

Teranex

Teranex Mini SDI to DisplayPort 8K HDR is an advanced 8K monitoring solution for DisplayPort computer displays or high-quality monitors such as the

Teranex
teranex
Filmtools Logo

Continue reading “Blackmagic Announces New Teranex Mini SDI to DisplayPort 8K HDR”

Blackmagic Announces New Teranex Mini SDI to DisplayPort 8K HDR


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




Blackmagic Design announced the Teranex Mini SDI to DisplayPort 8K HDR, an advanced 8K DisplayPort monitoring solution with dual on-screen scope overlays, HDR, 33 point 3D LUTs and monitor calibration that’s been specifically designed for the professional film and television market and to take advantage of a new generation of monitors such as the Pro Display XDR. Teranex Mini SDI to DisplayPort 8K HDR will be available in Oct 2019 from Blackmagic Design resellers worldwide for US$1,295.

Teranex

Teranex Mini SDI to DisplayPort 8K HDR is an advanced 8K monitoring solution for DisplayPort computer displays or high-quality monitors such as the

Teranex
teranex
Filmtools Logo

Continue reading “Blackmagic Announces New Teranex Mini SDI to DisplayPort 8K HDR”

Cine Gear: P+S Technik Technovision Classic 1.5X Anamorphic Lenses


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




Anamorphic. The look. The “texture.” There are times when you cannot replicate what an anamorphic lens can deliver. The more clinically sharp digital cameras become the more cinematographers will mess with the image to deliver something unique and dripping with character. This is where the P+S Technik Technovision Classic 1.5X Anamorphic lenses thrive, delivering huge amounts of cinematic character. Plus, they have two reasonably priced anamorphic zooms to match with their prime lenses.

Here is what P+S Technik writes about their lenses. The TECHNOVISION Classic 1.5X series of anamorphic lenses are available in two different zoom sizes

P+S Technik
Anamorphic
P+S Technik
Filmtools Logo

Continue reading “Cine Gear: P+S Technik Technovision Classic 1.5X Anamorphic Lenses”

Cine Gear: Zeiss Shows Off Supreme Prime Lenses and Talks Workshops


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




It was not all about the gear at the Zeiss booth on the Paramount lot during Cine Gear 2019. Not only did Zeiss show off their new large format Supreme Prime lens line-up they also took the time to put on some helpful workshops to help educate attendees.

The Zeiss Supreme Prime lenses are designed for cinematic large-format sensor coverage, making them a great for current and future camera systems. At T1.5 the Zeiss Supreme Primes demonstrate their unsurpassed craftsmanship in tricky low-light environments. The image, from my eyes, had that Zeiss look which is equal parts sharp and

Zeiss
Zeiss
Zeiss

Continue reading “Cine Gear: Zeiss Shows Off Supreme Prime Lenses and Talks Workshops”

Cine Gear: Zero Optik’s Rainbow Super Baltar Lens


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




On day 2 of Cine Gear Zero Optik showed off a new lens at their booth. It was not difficult to find vintage glass or the interesting lens flare which attracted us to Zero Optik. It was the rainbow dyed metal housing for a rehoused vintage Super Baltar. Why rainbow? Because June is LBTGQ pride month. Zero Optik decided to make a statement, in their own way, as an inclusive small company for all of the Cine Gear attendees to see. I know this is a one-off lens design by Zero Optik, but to have a lens in any color,

Zero Optik

Continue reading “Cine Gear: Zero Optik’s Rainbow Super Baltar Lens”

Cine Gear 2019: The Angenieux Optimo Prime Lenses


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




Drawing on over 80-years of Angenieux cinematic excellence the Optimo Primes are a very much long-awaited step forward in the world of cinematic professional options.  That signature Angenieux look in a complete prime lens set is what many Angeniux zoom lens shooters have been wanting. These Optimo Primes were first unveiled at the 2019 Cannes Film Festiva.

According to Bandpro, these lenses were designed to give today’s cinematic artists the freedom to work on the largest possible canvas, Optimo Primes provide full frame 46.5mm image circle coverage with a consistently fast 1.8 T-stop. All focal lengths provide maximum flexibility with

Angenieux
Angenieux
Angenieux

Continue reading “Cine Gear 2019: The Angenieux Optimo Prime Lenses”

Cine Gear: Fujifilm GFX100 Medium Format Camera with a 100MP Sensor


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




At Cine Gear 2019 we had the opportunity to meet the 100 Mega Pixel Fujifilm GFX100. This is not your father’s medium format camera, no. The Fujifilm GFX100 is a mirrorless digital camera system bringing the highest level of digital image quality to your grummy photographer hands in either video or still frames.

The GFX100 uses a large format CMOS sensor with over 100 million pixels making the GFX100 the highest resolution mirrorless digital camera ever produced. The 55mm diagonal length large format CMOS sensor can also shoot 4K 30P 10-bit color depth video. Not too shabby for a medium

Fujifilm GFX100
Fujifilm GFX100
Fujifilm GFX100

Continue reading “Cine Gear: Fujifilm GFX100 Medium Format Camera with a 100MP Sensor”

Cine Gear: Panavision DXL-M. Smaller and Lighter 8K Camera


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




Smaller. Lighter. The Panavision DXL-M is designed to work with RED DSMC2 cameras. The DXL-M combines the quality and performance of the 8K DXL into a smaller size and weight while making use of either the RED MONSTRO, GEMINI, and HELIUM sensors.

The Panavision DXL-M has many of the features found in the Panavision Millennium DXL-2 like the 600-nit Primo HDR Viewfinder, DXL Menu System and LiColor2. The DXL-M offers 2×2 SDI outputs capable of sending two independent monitoring paths across 4x HD-SDI outputs. Other bonus accessories and a battery elevator and control over an android phone.

Panavision DXL-M

“At Panavision, our

Panavision DXL-M
Panavision DXL-M

Continue reading “Cine Gear: Panavision DXL-M. Smaller and Lighter 8K Camera”

Cine Gear: Panavision X Series Lenses. Made To Fly


This post is by Brian Hallett from ProVideo Coalition


Click here to view on the original site: Original Post




Gearless? Smooth housing? LCD screen? You’d think these lenses were meant for flight. At Cine Gear 2019, we learned this is exactly how and why Panavision designed their Primo X lenses.

The Panavision Primo X Series is the first of its kind. These are cinema lenses specially designed for use on drones and gimbals. Each lens is fully sealed, weatherproof, and counterbalanced to be aerodynamic, and able to easily maintain a proper center of gravity.


Primo X

One of the interesting elements of many Panavision lenses are focus motors are built within the lens housing. This puts likely bulky, less aerodynamic, and

Panavision X

Continue reading “Cine Gear: Panavision X Series Lenses. Made To Fly”