Schneider Optics announces a new family of prime lenses specially designed and built for digital cinematography with full-frame sensor HDSLR and other professional cameras. Built in Germany by Schneider-Kreuznach, the new Schneider-Kreuznach Xenon FF-Prime Lenses are the latest addition to the company’s line of high-end optics.
Lenses available: 25, 32, 40, 50, 75, 100 and 135mm with 2x squeezeT2.3 apertureOffers anamorphic characteristics including 2:1 oval bokeh for out of focus highlightsThe Cooke Look® and colour matched with all other Cooke lenses.Compatible with Angenieux’s new line of compact anamorphic zoomsEspecially well corrected for astigmatism and lateral and longitudinal aberrations over the entire image areaLinear irisEquipped with the next generation of /i Technology for lens metadata captureCam style focus
Open source, 8000 lumen, ultra bright LED light pad with Electric IMP WIFI, Atmel AVR & Arduino micro controller built in.
Christophe LARUE's insight:
With the success of this project, the Lumapad will be one of the brightest LED lights made with all these incredible features. Thirty two (32) ultra bright LEDs are positioned in a landscape array to provide bright, even and controllable lighting on any subject. It is truly unbelievable how bright this thing is even though it draws only 88 watts.
Introducing the Odyssey7 and Odyssey7Q from Convergent Design, the 7.7" OLED monitor that can be upgraded to a professional recorder. From DSLR to cinema, every filmmaker will have an Odyssey.
Christophe LARUE's insight:
Convergent Design is announcing two exciting new monitor/recorder products: Odyssey7 and Odyssey7Q. The Odyssey family is intended to follow users as they journey through their careers from DSLRs to high-end 4K raw cine cameras, hugging the ever-changing camera technology curve and adapting to change without invasive hardware changes or costly upgrades. The Odyssey series combines Convergent Design’s knowledge and experience of both broadcast and cinematography recorders, while adding the capabilities of a high-end professional monitor for an amazing $1295 USD
Canon develops 35 mm full-frame CMOS sensor for video capture.
Christophe LARUE's insight:
The newly developed CMOS sensor features pixels measuring 19 microns square in size, which is more than 7.5-times the surface area of the pixels on the CMOS sensor incorporated in Canon's top-of-the-line EOS-1D X and other digital SLR cameras. In addition, the sensor's pixels and readout circuitry employ new technologies that reduce noise, which tends to increase as pixel size increases. Thanks to these technologies, the sensor facilitates the shooting of clearly visible video images even in dimly lit environments with as little as 0.03 lux of illumination, or approximately the brightness of a crescent moon—a level of brightness in which it is difficult for the naked eye to perceive objects. When recording video of astral bodies, while an electron-multiplying CCD,*2 which realizes approximately the same level of perception as the naked eye, can capture magnitude-6 stars, Canon's newly developed CMOS sensor is capable of recording faint stars with a magnitude of 8.5 and above.
"This is Part II of my three part series on Zeiss/Contax lenses for video.
In my Part I article, I discussed cost and feasability considerations in regards to these lenses, and offered a few tips on how to shop for a set of your own Zeiss Contax lenses. In this Part II article, I’ll discuss resolution charts and my notes on how the lenses perform at various apertures. I’ll also discuss about the handling and aesthetic reasons why I chose to build my lens set around Contax.
My forthcoming Part III article will delve a little more into the look of a Zeiss/Contax lens, the aesthetic it lends to the image. I will include a few examples of bokeh and flare characteristics at certain apertures. Onward…
Resolution Performance Here is a ZIP file of full-quality PNG framegrabs of a DSC Labs resolution chart, that show the performance of these Zeiss/Contax lenses on a Canon C300 camera. For comparison, I have included resolution frames of the Canon 85/1.8 and 50/1.4.
The company's new LCD occupies a similar dimension at 9.6 inches, but it also carries an extremely dense 3,840 x 2,160 resolution -- making it the world's smallest 4K display at a time when most everyone else is struggling to produce the giant variety
RED has just announced a monochrome version of the RED EPIC-M. Yes, it only does black-and-white. Why would they do this? Because without the need to debayer (the process by which colors are interpolated from otherwise colorless data), the full luminance values can be utilized, giving sharper and theoretically lower-noise images.
16.3MP APS-C X-Trans CMOS Sensor FUJIFILM X-mount 2.36 Million Dot OLED Viewfinder 2.8″ LCD 460K Dot Resolution Full HD 1080p 24fps Video with Stereo Sound Focal Plane Shutter 100-25600 ISO Range Magnesium Alloy Body $1,000 Body Only, $1,400 with 18-55mm f/2.8-4 OIS Lens November Availability
Apertus Axiom Alpha is the name of the Apertus Axiom prototype that is more than just a proof-of-concept. It is planned to already meet the demands of real world applications like being used for film production. We are certain though that while it will not be the answer to all our prayers and not the goal of all our dreams yet it will be the first step to embark on a journey to that place where we want to be one day. The main motto with Alpha is "Keep it simple!". The features are reduced to the absolute essential core. No luxuries.
Super 35mm CMOS Sensor12-bit Uncompressed CinemaDNG (Cineform is optional to a recorder they don’t make yet)2048 x 1080 // 1920 x 1080 // 1280 x 720One 2.5″ SSD SlotISO: 80-10,240 — Base of ISO 800Dynamic Range: 11.5 StopsElectronic Canon or Interchangeable Kinefinity MountMonitoring: 720p with 2 HDMI OutputsNo Fan or Phantom Power AudioOptional Handgrip with BatteryPower Consumption: 8-10 WattsNo On-board Monitor or LCD
The anamorphic lenses are looking like they will definitely live up to the Master Prime name — priced out of this world with performance to match. A 50mm T/1.9 is simply remarkable, especially if it doesn’t breathe and is sharp all around.
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