HDMI

Ribcage RX0 – A Modded Sony RX0 with MFT Lens Mount

By Jakub Han

Ribcage RX0 is a modified Sony RX0 with passive micro four thirds (MFT) lens mount and removable IR-cut filter. Suitable for manual MFT and (via enclosed adapter) C-Mount lenses. Available for pre-order now, it should start shipping during the beginning of March.

Ribcage RX0 Modification. Source: Back-Bone Gear

Back-Bone Gear is a Canadian company that specializes in producing modifications for action cameras. They are offering modified models of GoPro cameras or Yi action cameras as well, where they take out the original fisheye lens and add a lens mount for small M12 or C-Mount lenses. Recently they added the Sony RX0 modification to their portfolio, which they simply call Ribcage RX0. The modification adds a Micro four thirds (MFT) lens mount to this compact camera.

Here is a quick roundup of the Sony RX0 specs:

  • 1” 15,3 MPx CMOS sensor
  • 4K UHD over HDMI out for uncompressed external recording
  • internally 1080p 24/25/30/50/60fps, 720p/120fps
  • Ultra slow motion up to 1000fps
  • ISO 80 – 12.800
  • Up to 1/32000 sec. Anti-Distortion Shutter
  • S-Log 2
  • 24mm (35mm equivalent) f/4 fixed aperture lens

If you are interested in seeing how the Sony RX0 performs under “documentary style shooting conditions”, head to our review by clicking here.

The added MFT lens mount is passive, which means it does not supply any power to the lens and does not allow any electronical camera-lens communication. Therefore the mount is designed for manual MFT lenses only. There is a C-Mount mounting ring included in the packaging. The lens mount can therefore be re-configured to C-Mount lenses at any time. Other adapters are not included, but the manufacturer claims it is possible to use other lenses too, with a proper adapter.

Ribcage RX0 also includes removable IR-cut filter, which allows capturing footage in certain wavelengths only (suitable for custom imaging and scientific applications).

Ribcage RX0 Specs Overview

New LockPort HDMI Adapters for Sony a7R III, A9 and Nikon D850

By Olaf von Voss

LockPort

Italian company LockCircle has released another batch of their famous LockPort accessories, this time for Sony a7R III, Sony a9 and Nikon D850 cameras. The ridiculously fragile micro-HDMI connectors on these cameras stay alive for much longer with the LockPort.

With these handy LockPort attachments the fragile micro-HDMI ports are being transformed into 90° rear or front facing full-size HDMI ports. In the case of the Nikon D850 an additional micro-USB to (rear facing) full-size USB port is available, too.

The LockPort

LockCircle started out with a very sturdy and well-disigned full-metal lens cap. But they didn’t stop there, obviously. Over time other handy accessories came our way. camera cages, custom-built cine lenses, matteboxes, filters, rods.. it’s all there.


The LockPort was one of their earlier products and it became very popular due to its ability of protecting your precious camera from expensive service charges. Modern DSLR and mirrorless cameras tend to offer only a micro-HDMI port for video output. These connectors are anything but “professional grade”, this is my opinion at least. With a connected HDMI cable a lot of force is exerted to these tiny (and non-lockable) connectors. Bottom line: The micro-HDMI port tends to break very quickly.

Sony a7R III, Sony a9 and Nikon D850

Three new models are now available: The LockPort A7M3 for Sony a7R III cameras, a Sony a9 model and another one for Nikon D850 cameras. Both Sony variants are so-called RF (rear/front) models. Two HDMI adapters are available, one is rear facing, the other is front facing but both will fit the LockPort cage. That way you can choose the perfect way of building your rig without too much cable clutter.

LockPort
The → continue…

From:: Cinema 5d

Panasonic Lumix DC-GH5S Review

The Panasonic GH5S is a video-focused Micro Four Thirds camera built around what the company markets as a 10.2MP sensor. It’s best understood as an even more video-centric variant of the GH5: it can shoot either DCI or UHD 4K footage natively (one capture pixel = one output pixel) at up to 60p.

Panasonic wasn’t the first company to introduce high quality video to what was otherwise a still camera, but with its GH series it has been constantly expanding the range of professional video features appearing in consumer stills/video cameras. The GH5S takes this logic one step further, by lowering the sensor resolution and omitting image stabilization to make a more single-minded video tool, rather than an hybrid intended to be similarly capable at both disciplines.

The ability to shoot DCI 4K at up to 60p with no crop is the most obvious distinction between this and the standard GH5, but the differences run deeper:

Key specifications

  • Oversized ‘Multi Aspect’ sensor with dual gain design
  • 10.2MP maximum usable area from at around 12.5MP total
  • DCI or UHD 4K at up to 60p
  • 10-bit 4:2:2 internal capture at up to 30p
  • 8-bit 4:2:0 internal 60p or 10-bit 4:2:2 output over HDMI
  • 1080 footage at up to 240p (with additional crop above 200p)
  • Hybrid Log Gamma mode
  • ISO 160 – 51,200 (80 – 204,800 extended)
  • AF rated down to –5EV (with F2 lens)
  • 3.68M-dot (1280 x 960 pixel) OLED viewfinder with 0.76x magnification
  • 1.62M-dot (900 x 600 pixel) fully articulated LCD
  • 14-bit Raw stills
  • 11 fps (7 with AFC) or 1 fps faster in 12-bit mode
  • USB 3.1 with Type C connector

As well as the ability to shoot DCI 4K at higher frame rates, Panasonic also claims the GH5S’s larger pixels and ‘Dual Native ISO’ sensor will mean it shoots significantly better footage in low light.

Differences vs GH5