Here’s a quick look at NiSi new full frame cine primes. Offered in 25mm, 35mm, 50mm, 75mm and 100mm. Each lens weighs in at just under 3lbs and have a 95mm front diameter. They all seem to be fairly sharp edge to edge. Along with this sharpness is a very interesting flare characteristic that give this these lenses a vintage feel. This is the same lens design being offered by Kinefinity branded Mavo. The full set will likely cost you about $12,000 or about $2500 each but the final pricing is quite set yet. For more info, check out en.nisifilters.com/
I had a chance to get my hands on the new Blackmagic Pocket Cinema Camera 4k. The pocket aspect of it is a bit misleading, but certainly not a deal breaker in any way. Think of it as a marriage between a large mirrorless camera and the original Blackmagic Cinema Camera.
The new Pocket 4K spots an MFT lens mount and sensor. This is an all-new sensor with an ISO range of 200 – 25600. That’s unheard of in a BMC camera. From what I could see, those higher ISOs might even be usable.
On the back is a very high-quality LCD touchscreen. Sadly, it does not articulate in any way. I ‘m also unclear of the brightness and how well this highly reflective screen will fare outdoors.
The Blackmagic Pocket Cinema Camera 4k is running the same URSA software, so navigating the menus is a breeze. There are also quite a few dedicated buttons on the body that should reduce the number of trips into the software.
I just had a few minutes with this very popular new camera. It seems to be an ideal choice for URSA shooters looking for a second camera to add to their kit. It would be quiet at home on any mid-large gimbal rig. According to Blackmagic Designs, the Blackmagic Pocket Cinema Camera 4k should be shipping in Sept. for about $1300. Find more details at https://goo.gl/uNxzNh
I just got my new business cards from Moo. That’s the final ingredient. I’m looking forward to a good NAB this year. Let me know if you’re going to be out there. We should try to meet up.
I have to admit, I have a bit of a love-hate relationship with Aputure. For me, some of their products are a bit kludgy, with lots of pieces and cables, that I really think could be a better more streamlined. That said, Aputure Is the one company that keeps churning out products that meet both my functional and budgetary needs. The Amaran F7 & MX are the latest examples of that.
Amaran F7 & MX
Let take a look at their latest announcements. The F7 is the modern answer to the very popular Amaran 198c. Of course, it has more LED and better output. I would expect anything less. Aputure also listened to customer feedback and improved the powering options with the addition and d-tap and USB-C power ports. but the feature that impresses me the most is how they have managed to get some light power out of this bi-color light. I have always in team Bi-color. I love the flexibility and speed it offers and I’ve learned to just live with the fact that bi-color light is going be less efficient than the daylight version. For this first time that I’m aware of, Aputure has selected warm 3200k and cool 9500k LEDs so that when both are at full output, the resulting light is perfectly balanced to 5600K. Let’s face it, it’s in daylight situations that we need all that light. Many other bicolor units produce about 4000K and max output. That’s a bit of a compromise but can work in some situations. Oh, and did I mention the $98 price tag. I’m already sold.
The MX (or M10) this the big brother to the very popular M9. It’s bright, lightweight and tiny enough to fit just about anywhere. The MX takes that to the next level. It has it bit more bulk to accommodate the durable all aluminum construction. It has a 4-hour internal battery that allows you to tuck into tight spots, with needing room for an NP-F style battery. There’s also a clever Boost Mode that overdrives the LEDs, in 60 sed. burst, for increased output. I guess this is limited to 60 sec. to preserve the longevity of the LEDs. I can see this being pretty helpful on still shoots but less so for video.
Amaran F7 Specs
- 256 LED
- 3200k – 9500k Color Temp.
- 45° Beam Angle
- 1500 LUX @ 1m
- CRI 95
- TLCI 95
- 15w power draw
Amaran MX Specs
- 128 LED
- 2800K – 6500k Color Temp
- 120° Beam Angle
- 200 LUX @ 1m
- 260 LUX @ 1m Boosted
- CRI 95
- TLCI 95
- 2A power draw
All in all, these look like two very handy lights to have in your package. In fact, a couple of each could make for nice little lighting kit for when you have really to travel light. I’m looking forward to getting my hands on both of these as soon as I can. I’m pretty sure I’ll keep at least one MX in my camera bag and a pair of F7 in my light kit. Stay tuned for more.
There’s lots to celebrate about the various sensor options offer from RED, but low light performance has never been a touted feature. Well, with the help of a well-known space pioneer, RED has a new box to tick with its recently announces GEMINI 5K S35 sensor for the RED EPIC-W camera.
Following a trend from camera makers like Panasonic and Kinefinity, the new sensor features a dual base ISO sensitivity (800 & 3200). When in low light mode, RED promises images at 3200 that are as clean as its 800 ISO base. You can also expect to see about 2 more stops of detail in the shadows at the price of highlights clipping about 2 stops early. This really isn’t an issue, considering that maintaining super bright highlight detail is not typically the challenge of low light photography. In standard mode, the retention of highlight detail is better than some of RED earlier sensors. In low light mode, you do lose a bit of dynamic range, but according to RED, Its only about 1/2 a stop.
All in all, I happy to see RED tackle the low light issue. The Gemini 5K S35 version of the EPIC-W promises to a popular tool among commercial and indpendent filmmakers.
INTRODUCING THE NEW GEMINI 5K S35 SENSOR (Press Release)
Today, RED introduced the new GEMINI™ 5K S35 sensor for the RED EPIC-W camera. GEMINI 5K S35 leverages dual sensitivity modes to provide creators with greater flexibility for a variety of shooting environments. Whether capturing with GEMINI’s Standard Mode for well-lit conditions or its Low Light Mode for darker environments, RED EPIC-W 5K S35 delivers incredible dynamic range and produces cinema-quality images.
The GEMINI 5K S35 sensor provides exceptional low-light performance, allowing for cleaner imagery with less noise and better shadow detail. Operators can easily switch between modes through the camera’s on-screen menu with no down time and experience an increased field of view at 2K and 4K resolutions compared to the higher resolution HELIUM sensor. In addition, the sensor’s 30.72 mm x 18 mm dimensions allow for greater anamorphic lens coverage than with the HELIUM or RED DRAGON sensor.
Built on the compact DSMC2 form factor, the RED EPIC-W 5K camera and sensor combination captures 5K full format motion at up to 96 fps, boasts incredibly fast data speeds of up to 275 MB/s, and provides in-camera support of RED’s enhanced image processing pipeline, IPP2. Like all cameras in the DSMC2 line up, EPIC-W 5K is able to shoot simultaneous REDCODE RAW and Apple ProRes or Avid DNxHD/HR recording and adheres to RED’s dedication to OBSOLESCENCE OBSOLETE—a core operating principle that allows current RED owners to upgrade their technology as innovations are unveiled without having to purchase all new gear.
“While the GEMINI sensor was developed for low-light conditions in outer space, we quickly saw there was so much more to this sensor,” says Jarred Land, President of RED Digital Cinema. “In fact, we loved the potential of this sensor so much, we wanted to evolve it to make it have a broader appeal. As a result, the EPIC-W GEMINI now sports dual-sensitivity modes. It still has the low-light performance mode, but also has a default, standard mode that allows you to shoot in brighter conditions.”
Beginning at $24,500, the new RED EPIC-W with GEMINI 5K S35 sensor is available for purchase online and through select worldwide RED Authorized Dealers. Alternatively, WEAPON Carbon Fiber and RED EPIC-W 8K customers will have the option to upgrade to the GEMINI sensor at a later date.
- Low Light Optimized 15.4 Megapixel 5K S35 sensor
- Dual sensitivity sensor
- Seamless switching between Standard and Low Light modes
- Same RED Cinematic image
- 16.5 stops Dynamic Range
- 5K up to 96 fps Full Format
- 4K up to 120 fps and 2K up to 240 fps Full Format (no crop)
- Simultaneously record REDCODE plus ProRes or Avid
- Up to 275 MB/s write speeds
- Interchangeable lens mount
- Full modularity and a small, lightweight design
Kinefinity Cinema Cameras
As we all know, there’s no shortage of quality cinema cameras, at every price point. While Kinefinity isn’t a new name in the field, It hasn’t had much of presence in the US market until recently. The Terra 4K and 6Ks have been showing up more and more. With the announcement MAVO and MAVO LF, plus a set of affordable Cine Primes, with help from NiSi, we’re likely to be hearing a lot more about Kinefinity is the coming day.
Philip Bloom has spent quite a bit of time with the Terra 4k. His lengthy and informative review is enough to make you want to take a closer look. Like many camera makers not called Arri, Canon, Panasonic or Sony, the big questions will be timely delivery and reliability over time. The lack of a North American service center will like give many pro shooters reason to be wary. Will see if Kinefinity is able the address some of those concerns. I’m looking forward to visiting with them at NAB this year.