CP+ 2018: Hands-on with Laowa ‘Magic Shift Converter’

CP+ 2018: Hands-on with Laowa ‘Magic Shift Converter’

Venus Optics has been making some very interesting lenses in the past couple of years. and at this year’s CP+ show the company is showing off an innovative ‘magic shift converter’, first announced last summer.

CP+ 2018: Hands-on with Laowa ‘Magic Shift Converter’

The magic shift converter fulfills two purposes. It acts as an adapter to allow a Canon or Nikon-mount Laowa 12mm F2.8 Zero-D prime to be used on a full-frame Sony camera, but it also enables a shift movement, to correct for converging verticals.

CP+ 2018: Hands-on with Laowa ‘Magic Shift Converter’

Here’s a 12mm F2.8, coupled with the shift converter, with the movement fully shifted. In this position, a photographer would be able to mitigate the common problem of converging vertical lines in architectural and interior shots.

When used with the converter, the 12mm F2.8 becomes a 17mm equivalent, F4.

CP+ 2018: Hands-on with Laowa ‘Magic Shift Converter’

The mechanism can be rotated, allowing you to shift +/-10mm in both X and Y axes, without vignetting.

CP+ 2018: Hands-on with Laowa ‘Magic Shift Converter’

Unlike a simple mount adapter, the shift converter contains five glass elements arranged in four groups, including two extra low refraction elements. According to the manufacturer, using the adapter has a minimal effect on image quality, and the 12mm should retain its ‘zero distortion’ characteristics.

For around $300, the Magic Shift Converter is a relatively low-cost upgrade to the 12mm F2.8. zero-D wideangle prime. Despite its relatively low price, build quality is impressively high. What do you think?

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From:: DPreview

ICG Publicists Awards Winners 2018

By Staff

Maxwell Weinberg Publicist Showmanship Motion Picture Award Get Out, Universal Maxwell Weinberg Publicist Showmanship Television Award Stranger Things 2, Denise Godoy, Unit Publicist Press Award Mike Fleming Jr, Deadline International Media Award Alex Zane (U.K.). Excellence in Unit Still Photography for Motion Pictures Award Scott Garfield Excellence in Unit Still Photography for Television […]

The post ICG Publicists Awards Winners 2018 appeared first on Below the Line.

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From:: BLT News

CP+ 2018: Nikon’s space cameras

CP+ 2018: Nikon’s space cameras

Nikon has a long history of making cameras for use in outer space. A small exhibition at this year’s CP+ show in Yokohama showcases some of the company’s most famous models.

First up is a Nikon Photomic FTN, adapted for use on the Apollo 15 mission to the moon. Although it looks much like a conventional FTN, this modified version features a thicker body shell, NASA-standard insulation in the battery chamber (electrical fires in space are no joke) and larger, easier to grip controls.

CP+ 2018: Nikon’s space cameras

The ‘horns’ on the lens enable the main controls to be manipulated easily when wearing thick gloves. Notice also the lack of a leatherette covering on the camera body. The modified FTN also featured internal changes to accommodate the thinner, polyester-based films used for specialist missions.

CP+ 2018: Nikon’s space cameras

This is another heavily modified F, without a viewfinder. This camera is similar to motordrive-equipped models supplied to NASA for the 1973 Skylab missions. The fatter, easier to grip controls are obvious in this view.

CP+ 2018: Nikon’s space cameras

The Nikon F was a relatively old camera by the time it was used on the Skylab missions, but NASA didn’t supply any modified F2 bodies – instead jumping straight to the F3 in the early 80s.

This is a ‘small’ F3, with a modified motordrive and high-magnification finder, supplied to astronauts on early space shuttle missions. Compared to the the earlier (and hugely costly) F/FTN conversions, the F3 cameras that Nikon supplied to NASA were much more similar to the standard models available for sale to the general public.

CP+ 2018: Nikon’s space cameras

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From:: DPreview

VENICE 001 Goes to Keslow

By Jon Fauer Peter Crithary, Dan Perry and the Sony LA Team barged into Keslow Camera today and surprised Robert Keslow by presenting him with Sony VENICE camera serial number 001. Peter emailed from LAX, where his flight back New York is delayed by winter storm Riley: “We completely surprised Robert by walking into his office this afternoon. I presented serial number 001… read more… → continue…

From:: FD Times

5 Reasons Why “The Florida Project” Should Have Been Nominated For Best Picture

By Conor Lochrie

Each year the nominations for the Academy Award for Best Picture are announced and invariably each year people decry the exclusions. This list will do this very thing, for it’s easy to feel justified in saying that The Florida Project (2017) should have earned a nomination for Sunday’s ceremony.

Sean Baker’s wonderful, enlightening drama is his fifth feature film and his best yet, and continues his honest attempts to illuminate lives less explored. It follows a six-year-old girl, named Moonee, who lives with her naive mother, Halley, in a rusting motel in Kissimmee, Florida, not far from Disneyworld. They exist on the poverty line, and Baker aims to show life like this from the insular perspective of a young child.

The result is enthralling, emotive, and entirely timely; in a time of great divide in America, The Florida Project feels like a wonderful thing. It’s another great success for independent company A24 and they would have been right in believing that the film was capable of following their own Moonlight with a Best Picture nod, but the Academy instead chose more traditional fare like Steven Spielberg’s The Post and biopic Darkest Hour.

Important and excellent choices were made in Get Out and Lady Bird, but Baker’s film was deserving of a place in the nine-strong list on its own merits. Following are 5 of the reasons why The Florida Project should have received a Best Picture nomination.

1. New Acting Discovery

The Florida Project

Just as he did in all of his previous features, Baker found amateur talent to fill his film. This time, the link was, surprisingly, Instagram: Bria Vinaite was a presence on the social media site, posting pictures of herself and documenting her life, when Baker discovered her profile and was immediately smitten. She was → continue…

From:: Taste Of Cinema

Tilta opens US-Based Repair Centre

By Newsshooter

Tilta’s US-based Repair Centre is now fully operational. The service center is at the Tilta store at 2801 W. Magnolia Blvd Burbank, CA where gear can be dropped off and picked…

The post Tilta opens US-Based Repair Centre appeared first on Newsshooter.

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From:: News Shooter

THROWBACK FRIDAY: Fast and Cheap: Lessons Learned for the No-Budget Feature Film – Indie Film Hustle

By Alex Ferrari

Please note: Throwback Fridays are archival episodes from the Indie Film Hustle Podcast. After many requests from the IFH Tribe to bring back some of the show’s best episodes, I decided to create Throwback Fridays. These episodes will not be posted every week but at least twice a month…if not more. There’s so much amazing info and knowledge bombs…

The post THROWBACK FRIDAY: Fast and Cheap: Lessons Learned for the No-Budget Feature Film appeared first on Indie Film Hustle.

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From:: Indie Film Hustle

Canon Moves Quickly Into Robotics [CR4]

By Canon Rumors While the EOS Rebel T7 and EOS Rebel T100 may not have lit the ethusiast world afire, Canon robotics just might. I spotted this guy while visiting customer service at Canon Canada today. The choice of using the EF 100-400mm f/4.5-5.6L IS as the legs was a solid one to allow for adjustable height. After … → continue…

From:: Canon Rumors

Designing Alex Boye’s “Warrior Song” DP West Webb

By Matt Workman

We both have never utilized a tool like this before, so we weren’t entirely sure if it would translate on the day. That fear changed immediately when the setup time was diminished at least by half, and the execution of the look was almost exact.

Cinematography Database: How did the Warrior Song project come together and what was the initial visual concept?
West Webb: The artist wanted to bring a little bit of Marvel’s Black Panther into the piece, so we tried to achieve a visual piece that didn’t necessarily mimc anything we had seen in the trailers.

We wanted to create something that granted a powerful feeling that would attribute to Alex Boye’s voice and movements. This was my first time working with Justin Key, former creative director at Big Machine Records. The initial project was a contest held by Hard Rock Cafe. Alex Boye’s “Warrior Song” won the competition, thus giving him a music video.

CD: What was the pre production process like with Cine Designer?
WW: I had been watching your tutorials for a few months off and on, dreaming of what it would be like to pre visualize a project. I always feared C4D for some reason, but when I finally decided to make the jump I found that it was far easier than I could have ever expected. I went back to the beginning of the tutorials and just followed along.

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From:: Cinematography db

Across from AbelCine: Moore Brothers Wine Co

By Jon Fauer There are many good reasons to visit AbelCine at their new location in Industry City, Brooklyn. Among these is a fantastic wine store across the alley from AbelCine’s main entrance: Moore Brothers Wine Company. Franz Wieser was the first to rave about the place. Moore Brothers Wine Company was founded in 1996 by Greg Moore, Sommelier and General Manager… read more… → continue…

From:: FD Times

KitSplit gear rental company raises $2.1m in seed funding

Camera gear rental company KitSplit has announced that it raised $2.1m in seed funding from investors that include 3311 Ventures, HearstLab, Entrepreneurs Roundtable, NYU Innovation Venture Fund, and others. The funds will, in part, help the company grow its presence in Los Angeles, according to TechCrunch.

KitSplit is an affordable—and increasingly popular—gear rental company that boasts a large customer base including notable companies like National Geographic and NBC. For renters, KitSplit provides access to a large roster of gear, including lights, camera, lenses, and even VR equipment, which are listed for rent by both individuals and businesses.

The company acquired then-competitor CameraLends last year, a business move that made it the largest rental company in the world.

According to company CEO Lisbeth Kaufman, who spoke with TechCrunch, digital media companies have expressed ample interest in KitSplit’s platform. “We’re reimagining the Hollywood production studio as a local marketplace,” said Kaufman. “We want to make resources like gear and staffing and location more accessible to all content creators.”

Though KitSplit offers rentals throughout the entire US, the company is currently focusing on the Los Angeles and New York City markets where it is hiring.

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From:: DPreview

Enter The AICP Awards

By avagnoni


Director Brian Billow (of O Positive) heard that winning an AICP Award – and having one’s work archived by the Department of Film at The Museum of Modern Art (MoMA) – may be having a strange effect on top creatives in the ad industry. In an investigative film, he uncovers examples of what for…

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From:: Shoot OnLine

Shooting in the Snow.

By alisterchapman

Probably a bit late now for many of my UK friends, but in case you haven’t seen it before here is a guide I prepared for shooting in the snow, http://www.xdcam-user.com/2016/12/shooting-in-cold-weather-and-shooting-snow-scenes-updated/

Shooting in the Snow. was first posted on March 2, 2018 at 5:43 pm.
©2018 “XDCAM-USER.COM“. Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at contact@xdcam-user.com
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Light.co launches ‘Depth Collective’ to support photojournalism with the L16 camera

Light.co, the company behind the innovative (if still in its infancy) Light L16 camera, has announced a new initiative called Depth Collective that aims to support photojournalists in their efforts at “pursuing the truth.” The initiative revolves around the L16 camera itself, which Light.co presents as an inconspicuous alternative to DSLRs for photojournalists who don’t want to be noticed.

“In the past few years,” the company said, “we’ve seen some photojournalists swap their DSLRs for iPhones to stay inconspicuous in their reporting—but they sacrifice quality to do so.” The L16 is a better option, says the company, thanks to its 16 individual camera modules, computational approach to photography, and 52MP max resolution.

Depth Collective members are given multiple perks under the membership, including a $500 discount off the L16 camera, early previews of new L16 updates and features, a shot at a bi-annual $5,000 reporting grant, plus a free Peak Design pouch and wrist strap.

Any visual artist or photojournalist can apply for Depth Collective membership, but they must have a UK or US address to which the L16 camera can be shipped—shipping elsewhere will start “soon,” but a specific date hasn’t been provided. Applicants must provide a link to their website or portfolio, as well as a brief statement about how the L16 camera will help them with their photojournalism. A full Depth Collective FAQ is available here.

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From:: DPreview

The intelligent Rylo 360° camera is now compatible with Android

The impressive little Rylo 360° camera got a ton of attention when it debuted late last year, but unfortunately, the camera was iOS-only at launch. That all changes today with the release of Rylo for Android.

The Rylo 360° camera comes with two 208° lenses, 4K video resolution, and auto-stabilization technology, but most of its magic comes from software. The corresponding smartphone app lets you edit and “direct” your videos after capture: you can set specific focal points or select objects to be tracked before exporting or sharing the final product, making it an interesting option for any budding 360-degree video maker.

Apart from a new companion Android app, the new Android compatibility simply means a different syncing cable. Otherwise, the camera itself and all of the accessories in the box are the same as the iOS model.

As it is often the case with Android accessories, though, the Rylo doesn’t work with just any Android device. Rylo says the camera is compatible with most Android phones running Android 6.0 or newer, but its list of recommended devices includes mainly recent Samsung and Google high-end smartphones. Also listed are a few devices that are supported but don’t have the processing power to export 4K 360-degree video.

If you are an Android user and want to try Rylo for yourself, it’s now available for $500 from the Rylo website. And if you want to see why we called Rylo “a 360° camera done right,” click the big blue button below:

Review: Rylo is a 360° Camera Done Right

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From:: DPreview