Are These Curved Camera Sensors a Glimpse Into a Better Future?

By Randall Esulto

Nikon’s recent patent filing may signify lighter, better, cameras in the near future.

Japanese blog “An Image on a Sensor” broke the story of a recently discovered Nikon patent filing for a new wide angle lens. What’s exciting about it, however, isn’t the lens itself—but rather the sensor it’s being designed for. According to the patent document, Nikon is working on an f/2.0 wide-angle lens to be used on a camera body with a full-frame, curved sensor.

The filing didn’t contain any information about the camera itself and so we don’t know if this design is for an SLR or a Mirrorless camera, but given the fact that curved sensors allow for higher resolution images in smaller spaces and require fewer lens elements to correct for image aberrations, it wouldn’t be surprising to see this new sensor on Nikon’s forthcoming full-frame mirrorless camera.

It wouldn’t be surprising to see this sensor on Nikon’s forthcoming full-frame mirrorless camera.

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From:: No Film School

Voigtlander 65mm FE press release states this macro “is one of its finest lenses ever”

By SonyAlpha Admin

Last week we reported that you can preorder the new Voigtlander MACRO APO-LANTHAR 65mm f/2.0 FE lens at BHphoto and Adorama. Shipment start is August 2. Today we have the full Voigtlander Press Text via DPreview: MACRO APO-LANTHAR 65mm F2 Aspherical Announcing the release of the Voigtländer MACRO APO- LANTHAR 65mm F2 Aspherical, a Sony […]

The post Voigtlander 65mm FE press release states this macro “is one of its finest lenses ever” appeared first on sonyalpharumors.

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From:: Sony Alpha Rumors

We’ve Ranked Every San Diego Comic-Con Trailer, Completely Subjectively, Again

By Jon Fusco

Superheroes are so 2017.

Another edition of Comic-Con is in the can and, with it, a whole new slew of trailers to get excited about. Just like we did last year, we’re taking the opportunity to rank a selection of these trailers completely in order of how hyped they get us. It’s simply indicative of the state of the industry that the San Diego based convention has become almost more of a studio blockbuster movie event than an annual gathering of D & D nerds.

As we noted last year, the convention is valuable because we, as audience members, finally get a chance to see if all the buzz surrounding any of these behemoth superhero titles might actually have a chance of panning out into something great. However, there is a clear shift in the type of stuff we saw come out of SDCC this year. That’s right, the fatigue is real. Comic-Con’s biggest draw is no longer superhero movies. It’s TV. Well really, it’s not even TV. It’s Netflix.

10. Bright

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From:: No Film School

Matthews to Feature MYWay Grip at IBC 2017

By Staff

Matthews Studio Equipment has announed that they will feature their unique new rigging system, MyWay Grip, at IBC 2017 – Booth 12-G71. “Today stage and location set ups are get more and more complicated and creative, often stressing out grips that are hampered by support equipment,” said Tyler Phillips, VP of marketing and product development at Matthews Studio Equipment. […]

The post Matthews to Feature MYWay Grip at IBC 2017 appeared first on Below the Line.

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From:: BLT News

Voigtlander says the new 65mm F2 E-Mount macro is one of its finest lenses ever

Lens manufacturer Voigtlander has just introduced a 65mm F2 macro lens for Sony E-mount that it says, “rates as one of the finest in the history of Voigtländer.” The Macro APO-Lanthar 65mm F2 Aspherical is designed to cover full frame sensors, and allegedly boasts exceptional correction of chromatic aberration.

While the lens is manual focus, it has electrical contacts so exposure information can be recorded in the camera’s EXIF data, and distance measurements can be used to assist in-camera image stabilization systems. The contacts also allow focus peaking to be activated.

Macro enthusiasts will be able to focus down to 31cm to achieve a maximum reproduction ratio of 1:2, while a ten-bladed iris should provide at least attractively rounded out-of-focus highlights. The lens weighs 625g/1.4lbs, measures 91.3mmx78mm/3.6x3in and takes a 67mm filter.

The Voigtlander Macro APO-Lanthar 65mm f/2 Aspherical will go on sale from the 1st of August and will cost £750/€1,000/$1,060.

For more information visit the Voigtlander website.

Press Release

MACRO APO-LANTHAR 65mm F2 Aspherical

Announcing the release of the Voigtländer MACRO APO- LANTHAR 65mm F2 Aspherical, a Sony E-mount macro lens for full frame sensors incorporating an apochromatic optical design and inscribed with the designation “APO-LANTHAR”

We announce the release of the Voigtländer MACRO APO-LANTHAR 65mm F2 Aspherical, a Sony E-mount macro lens for full frame sensors. The APO-LANTHAR designation is given to especially high performance lenses in the Voigtländer lens lineup. The legendary APO-LANTHAR lens that continues to enthrall photographers with its outstanding imaging performace and beautiful rendering was born in 1954, but its origins can be traced back around 120 years (see additional info about the APO-LANTHAR below).

A need for apochromatic optical designs that reduce the longitudinal chromatic aberrations of the → continue…

From:: DPreview

UK government will require drone users to register and take safety tests

The UK has announced new upcoming regulations that will require some drone owners to register their aircraft and to complete safety awareness tests related to drone operation.

The requirements will be implemented for all drones weighing a minimum of 250g / 8.8oz and registration will be possible both online and via apps, though the UK government says it is still exploring potential plans. The tests, meanwhile, will require drone operators to demonstrate knowledge of the UK’s various regulations related to drone usage, privacy, and safety.

The new requirements were detailed over the weekend by the UK government, which explained in a statement that these new measures will “improve accountability and encourage owners to act responsibly.” A recent safety research study is cited as one of the reasons for the planned regulations. In the study, various UK authorities found that drones weighing as little as 400g / 14oz can damage the windshields on helicopters.

Many details about the UK’s drone registration plans are still missing, including how much such registrations may cost, how long the registration is good for, the extent of identifying details the drone operator must provide, and more. The UK’s statement indicates that it is still developing its plans and hasn’t yet established these finer details.

The new regulations will follow the drone code established by the UK’s Civil Aviation Authority in 2016. That drone code establishes operational rules for drone owners, including requiring that the drone stay within sight of the operator, that it stay below 120m / 400ft, avoid all things related to airports and aircraft, and maintain acceptable distances from property and people.

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From:: DPreview

First images of the Really Right Stuff L-Plate for the Sony A9. And Gariz case in Stock at Amazon

By SonyAlpha Admin

At BHphoto and RRS homepage you can finally see the first images of the new Really Right Stuff L-Plate for the Sony A9. Looks good as usual! And the new Gariz Sony A9 leather case is now in Stock at Amazon US and Amazon DE too: – Thanks Robbie

The post First images of the Really Right Stuff L-Plate for the Sony A9. And Gariz case in Stock at Amazon appeared first on sonyalpharumors.

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From:: Sony Alpha Rumors

Watch: There Are No VFX in This One-Shot Video, Created Entirely In-Camera on a Massive Set

By Emily Buder

Bonobo’s ‘No Reason’ video may look like CGI, but it’s all in-camera effects.

To shoot the music video for Bonobo’s “No Reason,” director Oscar Hudson decided not to use CGI. Instead, he shot with a very small camera on a very big set.

“Doing this film with CGI would have been a thousand times easier,” Hudson said in a statement, “but for me, its physicality and imperfections are what makes it different, and I hope better.”

In the video, a single tracking shot moves through what appears to be the same room, over and over, as it becomes smaller and increasingly claustrophobic. According to Hudson, the video illustrates the Japanese concept of Hikikomori, an agoraphobic phenomenon in which young people who are overwhelmed with the outside world lock themselves in their apartments.

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From:: No Film School

Cinema Audio Society Announces Timeline for 54th CAS Awards

By Eli Williams

The Cinema Audio Society (CAS) has set the date and timeline for the 54th Annual CAS Awards. The CAS Awards recognize outstanding sound mixing in film and television as well as outstanding products for production and post-production. Recipients for the CAS Career Achievement Award and CAS Filmmaker Award will be announced later in the year. […]

The post Cinema Audio Society Announces Timeline for 54th CAS Awards appeared first on Below the Line.

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From:: BLT News

Canon Compact-Servo 70-200 Demo Days

By Abel Training

Join AbelCine and Canon on to get a closer look at the new Compact-Servo 70-200 in our NY, Chicago, and LA showrooms. Guests will get a chance to go hands-on with the lens, as well as have their questions answered by representatives from Canon and AbelCine specialists. This is an informal, showroom demo so feel free to stop by anytime between 11am and 3pm local time.

The 70-200 is the newest member of Canon’s Compact-Servo lens family. This lens combines high level 4K optical performance with a compact size of only 7.2 in. in length and a weight of only 2.76 lbs. provides outstanding mobility. Acknowledging the need to control zoom, focus and iris, Canon has developed this zoom lens with full external servo control. A nine-blade iris creates a rounded aperture so out-of-focus highlights appear circular. The lens also features a 2.8x zoom magnification, a focal length range of 70–200mm and a 130º smooth rotating focus ring. The 70–200 offers versatile video functionality, making it ideal for a wide range of video applications including documentary, cinema, news gathering, wedding and other video production.

To learn more about the Compact-Servo 70-200, watch our blog video:

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From:: Abel Cine

YouTube’s Video Editing Tool Gets the Ax

By Emily Buder

The decision comes as a surprise to exactly no one.

Do you use YouTube to edit your videos?

Most likely, your answer was, “Of course not.” That’s why YouTube has decided to kill off its video editor. Today, the company announced that, as of September 20, the tool will cease to exist. The company is also dropping its photo slideshow creation tool.

Of course, with standard internet speeds, editing video online is a much slower process than software-based alternatives such as Final Cut Pro and Premiere Pro, but the tool did provide a convenient way to make small changes. It enabled basic cuts, as well as the addition of text, photos, audio tracks, and transitions. YouTube has said that some video editor features, such as the trim, blur, and filter enhancements, will remain available after the more robust tool is disabled.

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From:: No Film School

Learning to ‘see’ light, tips from a National Geographic photographer

National Geographic photographer Bob Holmes takes stunning photos all over the world. But when you ask him how he captures these images, he won’t tell you about his favorite lens or any specific technique he uses. He’ll talk to you about what he sees. He’ll talk to you about light.

That was the subject of a recent conversation he had with Marc Silber of Advancing Your Photography: light. “Most people ‘look’ and don’t really ‘see.’ You’ve got to learn to see,” says Holmes. “We all look, everybody looks, but you’ve got to go beyond that and analyze what you’ve seen… to start with anyway.”

Once you acquire this ability to ‘see,’ explains Holmes, photography becomes about reacting to and capturing what’s in front of you—the camera is no longer ‘in the way.’

The duo goes on to talk about learning about light from iconic painters, and why it’s important to find work that speaks to you and try to unpack why exactly the lighting, composition, subject etc. evokes a certain emotion. The whole conversation, about 10 minutes long, is well worth your time and packed full of little gems. Check it out up top and let us know what you think in the comments.

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From:: DPreview

Listen to This: Independent Sound Mixers Talk On-Set Production Tips, Career Strategy and Work-Life Balance

By Audrey Ewell

Modern cinema, deconstructed to its most basic elements, is the art of combining light and sound to tell stories. If you’re reading this, chances are you can name five cinematographers. But how many production sound mixers can you name? To find out what it’s like to be in this essential line of work — and to hear their hard-earned advice on getting great sound — I spoke with three sound mixers working in independent film about a job that is, by its very nature, the sort of thing audiences only tend to notice if there’s a problem. Gillian Arthur, 30, […] → continue…

From:: Filmmaker Magazine

Sigma Cinema Primes – A Hands-on Review in the Field

By Graham Sheldon

Sigma Cinema Primes

Lens manufacturer Sigma followed up the launch of their cinema zooms with an impressive array of Sigma cinema primes. I took the new lens family consisting of a 20mm, 24mm, 35mm, 50mm and 85mm out for a spin in this field review.

Image Credit: Graham Sheldon

I’d been hoping to get my hands on the new Sigma cinema prime line for a field test ever since stopping by their booth at NAB 2017. Luckily I had a project recently that allowed me to take these lenses out into some rugged surroundings in Utah for a little shooting. I paired the lenses with the RED Weapon 6K, Canon 5D MK III and the Sony a7s I and II.

Sigma Cinema Primes – Build Quality

First off, not only do these lenses feel great to the touch, they also feel bulletproof. Their robust metal casing means you certainly notice their weight when lifting them out of their travel case (which comes included when you buy the set). 2.7lbs/1.2kg for the 20mm means they are certainly on the hefty side but, while I didn’t have a chance to shoot much handheld on this project, I didn’t really notice the added weight at all when I paired the Sigma cinema primes with an already heavy RED Weapon body.

This set was clearly designed with ease of use in mind. The lens control rings for focus and aperture have 0.8 modded gears that are placed consistently – perfect for quick lens swaps.

1/4″ screw. Got it.

The mounting shoe (pictured left) is a nice touch, though I would recommend using both screw holes to avoid the lens → continue…

From:: Cinema 5d

This Nat Geo cover was shot with a 10-year-old DSLR and an iPhone flashlight

European astronaut Paolo Nespoli sitting in a Soyuz launch module simulator, illuminated by a single iPhone flashlight. Photo © Alessandro Barteletti.

Photographer Alessandro Barteletti has spent the last year creating a photo essay for National Geographic, in which he tells the story of 60-year-old European astronaut Paolo Nespoli. The project has taken him all over the world with Paolo, but it’s the photo above that stuck with him, and that Nat Geo in fact picked for the cover of the July issue of National Geographic Italia.

For this project, Barteletti received access to the training centers in Europe, the US, and Russia, trailing Paolo and capturing photos honoring the astronaut as the first 60-year-old ever to be enrolled in a 6-month-long mission.

Behind the scenes with Barteletti, shooting Paolo Nespoli for National Geographic. Photo © Alessandro Vona

The memorable cover photo was captured in Star City, Russia, while Paolo sat inside the Soyuz launch module simulator.

“I came into the Soyuz with my Nikon D3 and a wide angle lens, ready to shoot Paolo when, suddenly, something unbelievable happened: all lights off, everything was dark and from the outside they started knocking on the door telling me I had only one minute left,” Barteletti tells DPReview. “I didn’t know what to do: that was the perfect setting for THE PHOTO, probably one of the best ones ever. Outside I had some led lights but if I had come out the module, they wouldn’t have let me come in once again.”

Paolo agreed that leaving the module wasn’t an option, and so they tried to come up with some way to capture the shot in the next 60 seconds… with no professional lighting anywhere in sight.

“I had an idea, one → continue…

From:: DPreview