Even though a standard size of approximately 95 x 145 cm is well established for batteries in the broadcasting and film industry today, there are quite a lot of applications where the traditional battery format reaches its limits. Take particularly small cameras, viewfinder monitors or accessories such as audio kits and carrying cases as an example - it doesn't make sense to work with a power supply that has nearly the size of the camera or accessory. More compact solutions are required here, that align with the small dimensions of the supplied units. Sometimes size does matter...
Cooke announced new focal lengths of its S7/i Full Frame Plus and Panchro/i Classic lens lines that the company said will be debuting between now and the end of the year.
Ready for demo at NAB will be the new Panchro/i Classic 135mm lens, first in a series of 2018 additions that will also bring 21mm, 27mm, and 65mm Macro lenses to the line. Built to emulate the look and feel of the original Speed Panchro lens, the line currently includes 18mm, 25mm, 32mm, 40mm, 50mm, 75mm, 100mm and 152mm lenses.
Also coming this year are 16mm, 21mm, 27mm, and 65mm S7/i lenses, Cooke said, adding to the already available 18mm, 25mm, 32mm, 40mm, 50mm, 75mm, 100mmm and 135mm versions. The S7i lens line is specifically designed with a 46.31mm diameter image circle to cover the full sensor area of the Red Weapon 8K, Sony Venice and ARRI Alexa LF.
Featuring a sensor slightly larger than full frame, ALEXA LF records native 4K with ARRI’s best overall image quality. This allows filmmakers to explore an immersive large-format aesthetic while retaining the sensor’s natural colorimetry, pleasing skin tones and stunning capability for HDR and WCG workflows. Versatile recording formats, including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps, encompass all on-set workflow requirements.
Accompanying the ALEXA LF camera are 16 large-format ARRI Signature Prime lenses, ranging from 12 mm to 280 mm and fitted with the ARRI LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they have been designed to render organic, emotionally engaging images, gently softening and texturizing the large format with natural skin tones and creamy bokeh. A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame.
The ARRI Signature Prime range is the first cine lens series to feature machined magnesium lens barrels, making the optics incredibly lightweight and robust. They are also the first to incorporate ARRI’s next-generation LDS-2 Lens Data System, with high data rates and absolute encoders for fast initializing. LDS-2 extends the possibilities of lens data and is being licensed to other lens and camera manufacturers.
The S35x8K Expander – using S35 lenses up to 8K.
Magnification from Super-35 to Full Frame
Maximum Image Performance – Minimum Light Falloff
With its magnification factor of 1.6x the S35x8K Expander scales the Super-35 image up to maximum 46.4 mm which covers full-frame format (ø43.5 mm) and even the RED Dragon 8K format (46.3 mm).
During the design of the expander, special attention was paid to ensure a minimum of light falloff and a maximum imaging performance up to the edge of the larger sensors.
The S35x8K Expander is recommended for lenses with a max. aperture of T-stop of 2.0, providing the best performance at T2.8, with optimal resolution and sharpness.
The PLx1.4 Mark II has improved optical performance espe-cially at higher T-Stops. It extends the focal length of S35 PL mount lenses by a factor of 1.4, losing only one stop of light. The recommended max. input T-Stop is 1.6.The extender features high-index, low-dispersion glass to en-sure the highest possible resolution and contrast with mini-mal optical degradation. The optical design is optimized for digital cameras with telecentric ray path at the sensor. Compatibility is achieved with a deep-set optical assembly that accepts lenses with deep protruding rear elements. The PLx1.4 Mark II is also designed to mount to any digital cine-ma camera with a native PL mount. The UMS Mount System makes it easy to change the mount to Canon EF, Sony E, MFT or others without re-shimming.
Sony launches VENICE today at the Sony Pictures Studios in Culver City. The European premiere will be in London at Pinewood on Thursday. VENICE is the new Sony Full Frame and S35 high-end cine camera.
The next-generation Angénieux Optimo Ultra 12x is a high-end, multi-format zoom with interchangeable modules to cover sensor sizes from Full Frame 24×36 and RED 8K VV to U35 and S35. It is the venerable Optimo 24-290 reference redefined, the zoom lens that accompanied almost every major motion picture production since it was introduced in September 2001.
The C3 VacuMount is a lightweight -3 kg-, resistant, and ultra-flexible vacuum mounting platform that delivers a multitude of rigging possibilities with ultimate functionality.
Schneider Radiant Soft Diffusion Filter & RHOdium FSND (Full Spectrum Neutral Density)
Radiant Soft Diffusion
These superior highlight controllers’ are capable of toning down skin imperfections, while still controlling contrast and blooming around in-frame lights.
Radiant Soft Difussion 1/4 - 5, available in 4x5,65 & 6.6x6.6
These filters answers the cinematographer’s call for a truly neutral ND that controls the IR within the full visible spectrum and into the near infra-red and are made specifically for the critical color standards of 4K, 6K, and 8K resolution cameras.
RHOdium FSND 0.3 - 3.0, available in 4x5,65 & 6.6x6.6
NEW: ARRI Lightweight Matte Box LMB 4x5
This modular matte box expands on the feature set and creative possibilities of the LMB-25 while retaining an entry-level price tag. Suited for a wide range of applications in just one product, this robust but lightweight matte box allows for an unprecedented level of flexibility.
From a single-filter configuration for gimbals, drones, or Steadicams to clamp-on versions up to rod-mounted solutions (using either 15mm lightweight, 15mm or 19mm studio rods), the LMB 4x5 makes short work of challenging situations. Altering the various applications doesn't necessitate any supplementary tools, making set-ups quick and easy. The new matte box is also a highly compatible to legacy accessories; all clamp adapters and filter frames from the former models LMB-5, LMB-15, and LMB-25 are compatible. The LMB 4x5 also maintains the streamlined design for which ARRI's LMB range is known.
The LMB 4x5 will be launched at Broadcast Asia in Singapore end of May and directly after at Cine Gear in Los Angeles early June. ARRI is looking forward to the first customer shipment expected in July 2017.
The VFM-058W, the lightweight viewfinder monitor, offers an outstanding picture quality with 5.5” LCD, and Full HD resolution of 1920 x 1080. Innovative and ergonomic design of VFM-058W makes you comfortable in the shooting environment and its light solid magnesium case achieves the highest efficiency of ventilation. The VFM-058W supports multi-formats including 3G/HD/SD-SDI and HDMI that offers a wide application range from DSLR cameras to Pro camcorder for broadcasting and movie shooting. The VFM-058W has various features such as Max Brightness function, Temperature Adaptive Color, HDMI-to-SDI conversion output, 1:1 pixel mode, Luma(Y’) Zone Check function, DSLR Scale, Waveform, Vectorscope, Range Error, Focus Assist, Markers, Audio Level Meter with speaker and time code display.
Tailored for today’s cinema and beyond.
Digital technologies have transformed traditional filmmaking and refashioned the market. New and innovative technologies in both production and post-production have paved the way for a more versatile, cost effective and advanced workflow. The ZEISS CP.3 family is the latest contribution from ZEISS to support creative and progressive filmmaking with an affordable, future-proof and premium quality lens set.
The ZEISS CP.3 lenses offer the perfect combination of high image quality and reliable usability. They exhibit the clean, crisp characteristics ZEISS is known for, together with an interchangeable mount system and full-frame coverage.
The ZEISS CP.3 XD version features innovative and ground-breaking lens data technology to speed-up and simplify the workflow on set and in post-production.
The ZEISS eXtended Data is a unique technology which is based on the Technology and provides information about the lens’ distortion and shading characteristics in real time. With the ZEISS CP.3 XD lenses, even small productions on a limited budget gain access to the advanced techniques common in state-of-the-art, big budget films, commercials and television shows.
Available beginning June 2017 in focal lengths: 18, 25, 32, 40, 50, 75, 100 and 135mm.
Ahead of NAB 2017, Angenieux has announced another addition to the Optimo Style line of zooms – a 48-130mm T3. The 48-130mm features a 2.7x zoom range along with the other lightweight Optimo Style zooms, the 16-40mm and 30-76mm. It weighs 4.3 lbs and Angenieux states it is idea for hand held, steadicam and drones productions.
Likely a variation on Angenieux’s 45-120mm Optimo zoom, the 48-130, along with Angenieux’s particular image characteristics, will be color matched to the Optimo series and will fit in well as part of a set. The lens comes in PL mount and will have optional interchangeable Panavision and Canon EF mount.
The 138mm diopter tray holds a 138mm diopter in a standard Arri style 4 x 5.65 matte box allowing quick attachment for close focus situations and rendering it unnecessary to tape diopters to the lens. The tray uses two standard width filter tray slots to accommodate up to a +2 diopter. Additionally the tray has two 1/4 – 20 holes on the bottom to accommodate alternative mounting methods.
Leica Cine MacroLux +2, +1 and +0.5 optics offer cinematographers and lens owners a creative way to get different looks and extend the performance of prime, zoom and anamorphic lenses
with 95mm front diameters. Each shares the same mechanical housing, which means that all three are compatible with 95mm front diameter prime, zoom and anamorphic lenses and that all of them can
be stacked and combined for new effects.
Sony Expands FS Series with New FS7 II Camcorder
New Model Delivers Advanced Features for creative Documentary and Indie Production with Electronic Variable ND Filter, Lever Lock Type E-mount and Refined Mechanical Design
– Electronic Variable ND
– 10 assignable buttons
– New Lens Lock Ring (Lever Lock Type) No rotation of lens anymore to detach.
– MPEG 2 Cache Recording
– BT 2020 Color Space
– New Arm Grip Position and Adjustments
– New 1/4 Full HD LCD (960/540) and rod ergonomics improvements
Body only: K-Version incl. SEL18110G Zoom Lens
Cooke now offers uncoated front elements for their S4/i series.
Available for each lens in the set.
Cooke S4/i: 12mm, 14mm, 16mm, 18mm, 21mm, 25mm, 27mm, 32mm, 35mm, 40mm, 50mm, 65mm, 75mm, 100mm, 135mm, 150mm, 180mm and 300 mm.
Light loss is about 10%, so depending on the lens, maximum T-stop is around T2.2 (instead of T2.0) with the uncoated front.
Teradek Bolt 500 Compact Wireless Video
Longer range, more reliable, and smaller than ever before, the Bolt 500 is the new standard in short range zero delay wireless transmission.
Increased range of an impressive 500-foot distance
ZEISS Lightweight Zoom LWZ.3 21-100mm/T2.9-3.9 T*
When you turn motion into emotion.
The new LWZ.3 will be launched at IBC 2016. Stop by to see just why this zoom lens can be used for such a wide range of applications. The new ZEISS LWZ.3 will be available in January 2017.
It is light (2 kilos), compact, very affordable and has interchangeable mounts (PL, EF, F, E, MFT).
The Angenieux Type EZ-1 is a standard zoom lens with a zoom factor of 3x. When configured for S35mm cameras, the focal range and aperture are set to 30-90mm F1.9 / T2. By exchanging the rear lens group, the lens becomes a 45-135mm F2.8 / T3 covering an image circle up to 46mm diagonal.
The Angenieux Type EZ-2 is a wide zoom lens with a zoom factor of 2.7x. When configured for S35mm cameras, the focal range and aperture are set to 15-40mm F1.9 / T2. Byexchanging the rear lens group, the lens becomes a 22-60mm F2.8 / T3 covering an image circle up to 46mm diagonal.
Canon’s new EOS C700 Super35 format camera is designed to be a flexible “A” camera for various types of shooting scenarios. The EOS C700 features both internal 4K ProRes and XF-AVC recording.
In response to continued enthusiasm from cinematographers and demand by rental houses for Cooke Optics’ vintage Speed Panchro lenses from the 1920s-1960s, Cooke introduces a new
series of Panchro Classics based on the original design, with PL mounts and modern mechanics.
"by Jon Fauer" FDT
The “XK6x20” digital cinema camera zoom lens offers high optical performance compatible with 4K cameras and covers a wide focal length range from 20mm to 120mm. It also realizes T3.5 brightness throughout the entire zoom range. There is no T drop*3 and it offers comfortable operation. Various scenes can be shot with this single lens. The “XK6x20” is equipped with a detachable drive unit for electric zooming and focusing that is a popular function with existing products. It also features 0.8mm gear pitch*4 for compatibility with standard cine accessories.
The new Angenieux Optimo 44-440mm, T4.5 long range anamorphic zoom, to be shown at NAB.
ARRI Alexa Mini Distribution Box
ARRI Alexa Mini EXT to 2 x RS (24V/1A), 1 x EXT (looped)
cable length 20cm
IB/E Optics APO Macro Lenses
The movement toward larger format sensors is still in progress early examples include RED Weapon 6k and 8k, Sony A7 or the ARRI ALEXA 65. Larger sensors deliver the film-look and an interesting bokeh due to their very shallow depth of field. These new cameras require lenses that can cover their larger camera sensor sizes. With the APO Macro FF lens family, IB/E Optics and Band Pro offer a new macro family consisting of 3 focal lengths: 100mm, 150mm, and 180mm. The APO Macro FF lenses feature full frame (24mm x 36mm) coverage 1:1 magnification, consistent T-stop T2.9 as well as robust and durable cine mechanics.
Lenses available Summer 2016.
The housings are manufactured from anodised aluminium frameworks supporting a black polyurethane housing. The clear PVC windows allow the user to view the camera controls and displays. The camera is inserted into the housing through a military specification dry suit zip, and the housing is rendered waterproof by closing the zip. The housings are rated watertight to a depth of four metres.
The Rota-Pola Tray with Circular Polarizer (filter included) is a geared filter tray designed to interface with the latest 4×5.65 matte boxes on the market today.
The Ultimate articulating arm system:
Ultra Lite - Ultra Strong - Ultra Adjustable - Ultra Durable - Ultra Adaptable - Ultra Control for your Production
The best, lightest weight, most convenient and versatile monitor arms on the market ULCS ->