Just announced are Canon’s new 18-80mm T4.4 EF Compact Servo lens and ME200S-SH Multi-Purpose camera.
Weighing in at only 2.65 lbs the 18-80mm was designed for video and is as versatile as it is compact and lightweight. It was developed with full external servo control to control zoom, focus, and iris/aperture and there is also a new optional ZSG-C10 grip to help support different shooting styles. Other features include high level 4K performance, a no step iris mechanism, accessory support, and is parfocal. There is also additional support for use with Canon Cinema EOS cameras. It supports dual pixel autofocus and the dual pixel focus guide, image stabilization, and EF communication functions. This compact servo lens will be priced at $5225.
The other announcement Canon made is for the release of their new multi-purpose camera. Built in the same vein as Canon’s 4,000,000 ISO ME20, the ME200 can be configured to tackle just about any pro video scenario such as cinema, television, surveillance, and documentary work. It weighs 2.2 lbs and has dimensions of 4”x4.6”x4.4” (LHW) which allows for numerous builds and use with various camera systems.
– Features include
Canon Super 35mm CMOS Sensor
Dual Pixel Auto Focus
12 Stops of Dynamic Range
1080p/720p Video to 60fps
3G/HD-SDI and HDMI Terminals
Locking EF Mount
One Shot Auto Focus
Built-in Motorized ND Filters
Motorized IR Cut Filter for Infrared
Push Auto Iris
Compatible w/ Select EF-mount Lenses
RS-422 Remote Control Terminal
Recently Panasonic held an event at the Digital Cinema Society called “Meet the VariCam35”. Panasonic has posted a series of videos from this event. This particular video was brought to my attention by our friends at No Film School.com. In the video Michael Cioni explains the concept of “dual native ISO”, a feature of this newly developed sensor technology in the VariCam, and how it benefits the shooter in the form of extreme low light image quality and dynamic range. You can read the full No Film School article here. Check out the video series below.
We are extremely excited to announce that we will be selling the forthcoming Sony A7s 4K photo-full-frame SLR-type camera. This is a very exciting new camera that, while technically not an SLR, features a full frame sensor capable of extreme low light capture. The camera has a max ISO in video mode of 409,600. That number is crazy big. To put it in perspective thats about 5x more sensitive then the class-leading Canon EOS C100. Sony has custom designed this sensor to offer premium video quality at 4K resolution. Because it is only a 12 mega pixel sensor it has virtually no aliasing effect when shooting in 4K. The relative low pixel count (compared to many 24+ mega pixels DSLRs) and the sensors large surface area allow all the photo sites to be bigger. Thus it is more sensitive in low light and picks up more detail on every pixel.
The A7s does not record 4K internally. Rather, it has already been shown featuring the Atomos Shogun 4K HDMI recorder. Atomos and Sony partnered early in the development process so that these tools would fit together naturally. The A7s also features an optional XLR module that can provide 2-channel balanced phantom power audio with hard gain control.
We are currently taking pre-orders for the A7s and the Atomos Shogun. The A7s will sell for $2,498 body only. The Atomos Shogun will sell for $1,989. To pre order with us give us a call at 503-780-6293 or send us an email at firstname.lastname@example.org . It’s also worth noting that we will not only be caring the A7s but also the full line of pro Sony A-series and E-series SLR bodies and lenses.
Blackmagic beta tester, John Brawley, is back with more footage from the new Blackmagic Cinema Pocket Camera. This time, John took the Blackmagic out on a rainy night in Sydney Australia. The footage was shot at 800 and 1600 ISO with a variety of lenses (you can find a detailed description on John’s Blog).
The results are stunning. No noise reduction was added to the footage, though it does have a light grade. Based on what we can tell (and considering Vimeo’s compression), the shadows are pretty clean. Furthermore, the wide dynamic rage is evident as well. With the exception of a few very dark shots, much of the detail in the shadows are preserved, while maintaining nice looking highlight hot spots. What is less evident is whether or not the Blackmagic Pocket Cinema Camera retains the sharpness of its older sibling, the original Blackmagic Cinema Camera. Though, again, that may have something to do with Vimeo’s compression. Until we see a side-by-side comparison similar to OneRiver Media’s demonstration from last year, I don’t know that we’ll get an accurate gauge for how aggressive the compression on the CinemaDNG footage, applied by the camera itself, really is. Read John Brawley’s full post here. By Eric C. Petrie