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Topics NAB 2017

Today I met with Jean-Marc Bouchut to get the rundown on Angenieux’s new offerings showing at NAB 2017. Included is the compact and lightweight Optimo Style 48-130, available this fall, with a 44mm diameter image circle, T3 constant maximum aperture, and 3’1” close focus.

You’ll also hear more about Angenieux’s convertible rear anamorphic 10x zoom, the Optimo Anamorphic 44-440 A2S T4.5, which features a convertible rear group that can be swapped to a spherical element, turning the lens into a 25-250 T3.5. Angenieux has also developed a specially coated rear element for this lens that will provoke the characteristic “blue line” flare associated with classic anamorphic lenses of the ’70s and ’80s. Check out the video for more info on these lenses and accessories.

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Topics NAB 2017

In this video, I speak with newly-minted Panasonic Cinema Product Manager Mitch Gross about upcoming updates to the VariCam LT and other Panasonic products. In June 2017, Panasonic will release a free firmware update for the VariCam LT enabling RAW output of 2K at up to 240 fps. As when recording 240 fps internally, the RAW output uses a central 2K crop of the camera’s 4K sensor at 1:1, avoiding artifacts that can be introduced due to pixel binning or line-skipping. Additionally, Convergent Design’s Odyssey 7Q and 7Q+ external monitor/recorders will also receive a free firmware update in the June time frame to enable RAW recording of the 240 fps output from the VariCam LT. Also new is an updated Express P2 card reader, the AU-XPD3, which features Thunderbolt 3 connections for incredibly fast transfer rates when used with the latest computer hardware.

Be sure to stay tuned throughout the entire video for some tantalizing news about a new cinema camera in Panasonic’s line-up, sitting between the new GH5 and the VariCam LT. According to Mitch, the new camera will be formally previewed at the Cine Gear Expo in Los Angeles in early June.

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Topics NAB 2017

Today we’re here with Greg Smokler of Teradek to talk about their latest LUT box, the COLR Duo. The Duo is an upgraded version of the previous COLR, now sporting two, independent 3G-SDI outputs each capable of displaying their own 33x33x33 sided cube LUTs. Using system RAM, the DUO can store 30+ 3D LUTs. Probably among the most useful features on the unit are the hardware controls and integrated display, allowing you to control output settings and configure your network without the need to be tied to a computer.

The DUO’s 802.11 WiFi network is capable of generating its own ad-hoc network or can integrate into an existing WiFi network. Settings can be edited and LUTs can be loaded through the easy to use web interface that is found by navigating to the Duo’s IP address. The Duo features a gigabit Ethernet port for camera control, so any camera featuring a port for Ethernet control protocol will be able to be controlled remotely.

Be sure to watch the video above to learn more.

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I had ZEISS’ Snehal Patel over for a lively discussion about the new Compact Prime 3 and Compact Prime 3 XD lenses from ZEISS. This exciting new series of professional cinema lenses feature smaller and lighter housings than their CP.2 predecessors, consistent 95mm front outer diameters, and an updated focusing mechanism for a consistently smooth feel, even in cold weather. All lenses in the range are now “full frame” (covering up to the 35mm stills format, 24mm x 36mm, with a 43.4mm diagonal) and maximum apertures have been made more consistent as well. The 15mm, 18mm and 21mm focal lengths all open to T2.9 while focal lengths from 25mm and up all open to T2.1.

…continue reading At the Bench: ZEISS Compact Prime 3 and the Compact Prime 3 XD

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When Canon announced the Compact Servo 18-80mm T4.4 last year, it was also announced that it would be part of a family of lenses. Today, the Compact Servo 70-200mm T4.4 joins the ranks as the second lens of the series. With particular attention to usability, the 70-200 is physically identical to the 18-80, down to the placement and gear pitch of the focus, iris, and zoom rings. It utilizes the same optional hand grip unit, and like its sister lens is a parfocal design. Optically it also pairs well with the Cinema Prime lenses and is compatible with the Canon 1.4x and 2.0x Extender.

…continue reading First Look: Canon 70-200 Compact Servo

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Fujinon recently released the native Sony E-mount MK 18-55mm cinema zoom as an “ultra-compact, and 2 lb, 2 oz lightweight design lens that meets the needs of Super35 and APS-C sensor cameras.” The lens features “outstanding optical performance and low distortion with T2.9 speed across the entire zoom range, as well as fully manual lens rings for focus, zoom, and iris.”

…continue reading Behind The Lens: Fujinon MK 18-55mm Zoom

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Behind The Lens

As a documentary cinematographer, I am constantly struggling to decide which lenses I want in my kit for any given project. The options over the years have ranged from minimal to overwhelming. In the beginning, I was mostly restricted to DSLR-style lenses to interface with my EF or Sony E-mount cameras. Now, with the advent of lightweight cinema-style zooms, many of which allow for switchable (or at least option-based) lens mounts, the choices have opened up dramatically. This is what led me to do this lens test. I wanted to compile all of this lens information into one place, so I could easily reference it when deciding on a lens for a project. On one hand, I want to test these lenses for myself. I want to see how they perform, how they handle, and how they fit into my shooting style. But I also want to do this test to share the information with the filmmaking community at large; opening a conversation around the tools available to us only strengthens the visual style of our collective work.

…continue reading Presenting Behind the Lens: A Look at Documentary Zooms

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