ND

A Brief Review Of The Fotodiox ND Throttle Lens Adapter With Built In Filter

By Noam Kroll

Years ago when I was first starting to use lens adapters with my Lumix GH2, I remember wishing there was an adapter on the market that had a built in ND filter. I had no idea if this was at all possible from an engineering or design perspective, but just felt that having the ability to control ND filtration easily across every adapted lens would be a lifesaver.

Like many of you, speed is key for me when I’m on set. I often work on productions with limited time and budget, and therefore am always on the hunt for tools that can help speed up my workflow without sacrificing quality… This of course is why I thought an adapter with a built in ND would be so invaluable.

Not long ago, Fotodiox released a line of products to serve this very need – their ND Throttle adapters. They are designed to adapt a wide variety of glass (Canon, M42, Leica, etc.) to cameras with mirrorless mounts like those offered by Sony, Blackmagic, Panasonic, and Fuji amongst others.

While I’ve been keeping my eye on these adapters for some time, I only recently found a direct need for one as I’ve been shooting more and more with my Fuji X-T2, and have been wanting to adapt my Canon glass to it.

So a couple weeks ago I decided to order the adapter and test it out to see how what kind of optical performance it was capable of.

Here are my thoughts…

CANON EF – FUJI X ND THROTTLE

My first impressions of the adapter straight out of the box were quite positive. It felt well built and sturdy on my camera. It had no issues locking into my X-T2 (some adapters are a bit tight or loose), and it held even some of my heavier glass → continue…

From:: Noam Kroll

Sony Venice – Full-Frame 6K CineAlta

By cameraman

Finally, a Sony camera with a catchy name instead of a confusing number, which from a marketing point of view, has got to be a good start. Although Venice is Sony’s first 36x24mm Full-Frame digital motion picture camera system, it’s great to see it uses the already established and very efficient 10-bit XAVC or 16-bit RAW/X-OCN with the R7 recorder. So that’s SxS or AXS cards and compatibility with other CineAlta hardware. However, it also looks like a future firmware upgrade will also give the option of internal ProRes which is a format still favoured by many in post production who’d rather not transcode.

In many ways this feels like Sony are aiming to compete directly with Arri in the Cinema market, so the concept of having different licences for various camera features will also be a familiar one. Out of the box, the Venice looks like a 4K S35 sized camera. If you want to try some Full-Frame loveliness or even Anamorphic formats you’ll need to purchase an optional licence. These licences will be available on a permanent, monthly or weekly basis.

Ignoring the expected cost and complication of various licence options, there’s still plenty to drool over. A claimed 15 stops of dynamic range, ultra wide colour space, 8 step ND filters, PL or E-Mount lens options and that lovely Full-Frame shallow look. Venice also has a modular design that apart from allowing additional options like RAW recorders, opens up the possibility of even upgrading the sensor in the future.

In many ways, the fact that this is only 6K resolution on a full frame sized sensor could be seen as a disappointment, especially as Sony already → continue…

From:: Extra Shot

Sony unveils the Venice, its first full-frame cinema camera system

Sony has just unveiled a new, groundbreaking (at least for them) cinema camera. It’s called the Sony Venice, and it’s the company’s first 36x24mm full-frame digital motion picture camera system.

Designed in “close collaboration with the creative community,” the Venice is the newest generation of Sony’s CineAlta series, which promises natural skin tones, “elegant” highlight handling and wide dynamic range. In the case of the Venice, the camera’s 36x24mm sensor promises 15 stops of latitude to tackle challenging lighting scenarios, and a brand new color management system with ultra wide color gamut for more flexibility in post.

The headline feature is the sensor itself, though. The full-frame chip can be switched out by the camera’s user by simply removing four screws, and at 36x24mm it’s compatible with Anamorphic, Super 35mm, Spherical and Full Frame PL mount lenses. If you’re really feeling frisky, the lens mount can be modified to support E-mount lenses.

Additional features include a built-in 8-stage glass ND filter system, weather sealing, 10-bit XAVC, 16-bit RAW and S-OCN recording via the Sony AXS-R7 recorder, and a modular design that allows you to use the Venice with current and upcoming CineAlta accessories.

The camera is expected to arrive officially in February of 2018, and while Sony didn’t reveal a price, it seems filmmakers will have the option to ‘license’ different builds for specific production requirements like 4K anamorphic and Full Frame. To learn more, head over to the Sony Venice landing page, or read the full press text below.

Press Release

Sony Unveils VENICE, Its First 36x24mm Full-Frame Digital Motion Picture Camera System

Anamorphic Capabilities, Interchangeable Sensor, 8-stage ND Filter System, New Color Management & Established Workflow Combine into Unique Creative Filmmaking Tool

LOS ANGELES, Sept. 6, 2017 — Sony Electronics is unveiling VENICE – its first Full-Frame digital motion picture camera system. VENICE is → continue…

From:: DPreview