Wisdom comes from experience. Cooke’s expertise gained from years of making cinema lenses ranging from some of the very first cinema lenses to new Large Format 1.8x anamorphic lenses. In this NAB-AT-HOME 2020 video Les from Cooke and I talk about lenses, the state of the industry, and wisdom learned from a long career.
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 new additions to their Macro line-up, Large Format Anamorphic, and Large
Hooray! Finally ProRes Raw is supported in both the Mac and Windows versions of Adobe Creative Cloud. I’ve been waiting a long time for this. While the FCP workflow is solid and works, I’m still not the biggest fan of FCP-X. I’ve been a Premiere user for decades although recently I have switched almost 100% to DaVinci Resolve. What I would really like to see is ProRes Raw in Resolve, but I’m guessing that while Black Magic continue to push Black Magic Raw that will perhaps not come. You will need to update your apps to the latest versions to Continue reading “ProResRaw Now In Adobe Creative Cloud Mac Versions!”
The firmware updates enabling the much-anticipated Atomos Ninja V and Panasonic LUMIX S1H RAW over HDMI combination have unfortunately been slightly delayed from the original 25th May release schedule, to ensure the highest possible level of RAW recording.
An unforeseen technical issue has come to light in the final rounds of beta testing that needs rectification prior to shipping. The companies are working together to complete the development as soon as possible. We apologize to our mutual customers waiting for the functions this release
Please note that Panasonic will be releasing Ver 2.0 firmware on May 25th with various improvements to camera functions,
The newest wide-angle lens from Irix joins the ultra-wide 11mm, standard 45mm, and macro 150mm. Inspired by their popular Firefly and Blackstone 15mm f/2.4 models, the new cinema lens is lightweight, affordable, and exhibits very little distortion. Available in EF, E, PL and Micro 4/3 mounts. The new cinema lens fits in perfectly as it […]
One really cannot beat the speed of a B4 lens on a 2/3-inch sensor. If you have worked in the news, then you know how fast the combo can be used to capture a developing scene. The ability to cover an event with this combo is incredibly fast. I talked to Larry Thorpe at Canon about the less expensive, and portable CJ18ex7.6B KASE
The portable CJ18ex7.6B KASE is an important 4K UHD telephoto zoom lens that is part of the 2/3-inch UHDgc series. Its compact size and low weight support the high mobility shooting often entailed in documentary
Tokina Cinema has announced the new 25-75mm T2.9. Its focal length falls between its predecessors 11-20mm and 50-135mm, creating a versatile trio of zooms. While it’s designed to cover Super 35 cameras, combining the Tokina Cinema 1.6x Expander and the 25-75mm you’ll have a 40-120mm T4.2 that covers FF/VV sensors. It is mechanically and optically […]
Own a set of Tokina Cinema Vista Primes but want the exciting flare found in the Tokina Cinema Vista One lenses? Well, you may have found just a little bit of luck.
Today, Tokina Cinema announced the Vista One Upgrade Program. Owners of Tokina Cinema Vista Primes can upgrade their existing lenses to the popular Vista One single-coated version. The cost of the upgrade is $19,349 for a 6-lens set of 18mm, 25mm, 35mm, 50mm, 85mm, and 105mm lenses when customers send in existing Vista Prime lenses for conversion to the Vista One single-coated version. The conversion is also available
$7,000 is the newly announced price for a custom color RED Komodo 6K Camera. As for the regular (black) RED Komodo? Well, a black RED Komodo is a little cheaper, priced at $6,000.
Jarred Land, RED Digital Cinema president, posted to his Instagram page stating the California camera company is geared up and ready to sell limited editions of the 6K Komodo camera.
Now that COVID19 manufacturing restrictions are slowly being lifted, RED’s factory has slowly started production; hence RED announced a limited run. Now, you cannot just type up red.com on your browser and click a link to
Atomos and Z CAM bring ProRes RAW recording over HDMI from the E2 cinema camera to the Ninja V 5″ HDR monitor-recorder. The 12-bit color smooth color creaminess we all drool over is coming to the pint-sized Z CAM E2; the E2 is the MFT camera. Or is the drooling just something I do myself, gross. The Ninja V will record 12-bit Apple ProRes RAW at up to 4Kp60. 12-bit ProRes RAW will give Z CAM users the best possible image quality from the camera. Now, we all may start shooting tremendous amounts of 4Kp60 in 12-bit; best to
The HEDEN Ymer-3 system circles around HEDEN’s already our legendary FIZ motors. The HEDEN Ymer-3 channel FIZ controller has quite a few features like lens mapping, LenSaverTM manual calibration, manual override, for safe use on any lens with or without end stops, and one of the quickest manual calibration system on the market. In the ole U.S.A., one can find the HEDEN Ymer-3 with Bold Distribution the makers of Bold Bags.
All of these Ymer-3 features in the hand of a single camera assistant. FYI, I live in the South; we sometimes have trouble pronouncing words correctly.
CineMatch is a camera matching plug-in from FilmConvert. The idea of CineMatch surrounds around a single-click solution to match different cameras in post-production with ease and speed.
To find out more about CineMatch, the good fellows from FilmConvert fired up their computers in New Zealand and jumped on an early morning Zoom call with me. Coffee in hand, FilmConvert answered my sometimes silly or dumb questions. On the surface of CineMatch, I understand the need for matching color between two cameras quickly. Trust me, live a life as a news photographer and the cripplingly quick deadlines that come with it,
On the latest Go Creative Show podcast, cinematographer Adriano Goldman ASC ABC provides a behind the scenes look at Netflix’s hit series The Crown. Adriano and Go Creative Show host, Ben Consoli, discuss the challenges of filming the first couple of episodes, the stunning visual approach to the series, why they changed cameras and lenses … Continued
The ARRI Signature Primes exemplify top of the line optical precision while also retaining an organic, emotionally engaging image. These lenses produce an impeccable image.
Yet, as good as the glass and design of the ARRI Signature Primes are, one is more likely to rent these lenses than outright own. ARRI’s Art Adams shows us how a cinematographer may bring his own set of tools when using ARRI Signature Primes.
As Art demonstrated in the video above, the ARRI Signature Prime lenses are highly adaptable for image manipulation. Using the Universal net holder and magnetic positioning system, cinematographers can find