Let’s take a look at the iPhone 11 Pro specs and how they compare to its competitors, including Samsung Galaxy Note S10+, Pixel 3, and more.
Apple sure knows how to put on a show, don’t they? As covered here at No Film School, the iPhone 11 took center stage this week with its new (perhaps already iconic) three-camera iPhone 11 Pro now shining bright in the limelight.
The design has morphed slightly from some initial leaks earlier this year, but this triple-camera system (which includes a 12mp 26mm f1.8 wide-angle camera, a 52mm f2.8 2x Telephoto, and a Super Wide 13mm f2.4) offers some impressive 4K video that is backed by Apple’s new A13 Bionic chip.
But how does this iPhone 11 Pro actually stack up against its competitors? Let’s take a look at the specs.
STC Optics has expanded its Clip Filter Series to include new filters for Panasonic Lumix M43 camera systems, as well as the Z Cam E2 4K Cinema Camera and Blackmagic Pocket Cinema Camera 4K. As with the existing Clip Filters, the new series is designed to be sandwiched between the camera body and lens, positioning the filter over the sensor instead of on the front of the lens.
STC explains that its Panasonic M43 Clip Filter is designed to fit in front of the shutter mechanism to avoid interfering with the camera’s anti-shake function. All of the filters are made with Schott B2790 optical glass with double-sided NANO anti-smudge coatings and A2 stainless steel.
The new Clip Filter lineup includes a sensor protector filter, neutral density filters offered in N8, N16, ND64, ND400 and ND1000, as well as 590nm, 720nm and 850nm IR filters, a 625nm UV-IR cut filter and Astro filters in the following options:
– Multispectra Multi-Band Interferometric Filter
– Bimodal Narrowband Filter
– Nightscape Starscape Filter
The STC Clip filters are available on Amazon UK for £81.99 to £91.99, depending on the model, with more options available on the STC website at prices ranging from $80 to $430.
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- Canon EOS C500 Mark II – Full-Frame 5.9K
- ARRI ALEXA Mini LF
- Sony PXW-FX9
- Teradek Bolt 4K MAX
- Panasonic LUMIX DC-S1H
- Blackmagic Pocket Cinema Camera 6K
- SIGMA Full-Frame Classic Art Primes
- FUJIFILM GFX100, Premista and ALPA XO
- RED RANGER HELIUM & RANGER GEMINI
- ARRI Orbiter
Today Avid announced that Media Composer will deliver native support for Apple’s ProRes RAW camera codec and support for ProRes playback and encoding on Windows. In addition, Apple will provide 64-bit decoders for DNxHR and DNxHD codecs within the Pro Video Formats package that is available from Apple as a free download for all users. These … Continued
Ansel Adams loved editing his images in the darkroom and often spoke about it. More importantly, he saw it as an important role in creating the final image that he had visualized when he took the shot.
Nisi Japan has launched a filter holder for the new Sigma 14-24mm FE lens. It is in Stock now at Amazon US. Links to new gear on preorder: Tamron 17-28mm f/2.8 FE: In the USA at BHphoto, Amazon, FocusCamera, BuyDig…
The post Nisi announced this filter holder for the new Sigma 14-24mm FE lens appeared first on sonyalpharumors.
“Hustlers” Director Lorene Scafaria on fighting stripper stigma (and convincing Usher he could play himself).
There’s a habit, after a big news story breaks, for us in the Film Twittersphere to dream-cast it. The trick is to visualize the narrative at its most vivid and electric, with grand sets and lavish costumes and a cast full of your favorite celebrities—typically ones who you assume would never actually be tapped for the role, and probably wouldn’t accept the job even if they were—Lorene Scafaria’s Hustlers breaks that mold.
The movie, which is based on a viral New York Magazine feature and stars Constance Wu and Jennifer Lopez, plays like a cool girl’s fantasy of the true story come to life, with all its complexity and dazzle intact.
‘The Load,’ Ognjen Glavonić’s austere Cannes premiere, is a tense thriller without the action sequences.
Ognjen Glavonić was a teenager when NATO bombed Yugoslavia in 1999. The airstrike campaign went on for so long that it became a grisly part of everyday life. In fact, for many who survived the Balkan wars of the 1990s, the somber reality of war was quotidian—the explosions, the omnipresent scent of danger, the small, desperate acts of survival. It is here that Glavonić situates his narrative feature debut, about a seemingly innocuous act of survival that winds up implicating a civilian in a war crime.
The Load is a day in the life of truck driver Vlada (Leon Lucev), who undertakes a dangerous journey from Kosovo to Belgrade transporting unknown, top-secret cargo. His instructions: drive, don’t stop until you’ve arrived, don’t attract attention, and absolutely do not unlock the back of the truck. It’s clear Vlada is uncomfortable taking the job, but the paycheck is his only hope of feeding his family.
Atomos has made two announcements that will bring improved video recording capabilities to two recently-released cameras: the Panasonic Lumix S1H and the Sony FX9.
First up, Atomos has shared more information regarding a previous announcement that it was working alongside Panasonic to co-develop a means to capture Raw video for the Lumix S1H. Atomos has now provided both a timeframe (albeit a rough one) and official specifications for the impending firmware update.
Atomos says the S1H firmware update will make it possible to record 5.9K/29.97p Raw and C4K/59.94p video on the Atomos Ninja V monitor-recorder over HDMI. Currently, the Lumix S1H can record 6K/24p (3:2 aspect ratio), 5.9K/29.97p (16:9 aspect ratio) and 59.94p 4K/C4K, so this update will be a substantial bump in recording capabilities. The firmware is scheduled to be launched in early 2020.
Atomos has also announced that it’s Neon 8K MCU (Adorama, B&H) will support 4K 16-bit Raw recording from Sony’s recently-unveiled FX9 camera. Details are scarce, but Atomos’ press release, embedded below, implies the functionality will be available when the FX9 ships later this year in December 2019.
It seems Atomos is adamant on working alongside camera manufacturers to get the most from the sensors inside the manufacturers’ latest cameras. In January 2019, Atomos said it was working with Nikon to bring 4K Raw video capture over HDMI to its Ninja V external recorder.
We’ve since learned this update won’t be free and will require cameras to be sent into Nikon service centers to perform an ‘internal upgrade’ to the camera, but the promise still remains. According to the latest information, the 4K Raw video update is still scheduled to be released before the end of the year.
LUMIX S1H Firmware Development Underway for 5.9K/29.97p and C4K/59.94p RAW Video Data Output to Atomos Ninja V
Newark, NJ (September 13, 2019) – Panasonic is proud to announce the development of firmware for the LUMIX S1H full-frame mirrorless camera which enables the output of 5.9K/29.97p RAW and C4K/59.94p video data to the Atomos Ninja V monitor-recorder. The firmware is scheduled to be launched in early 2020.
The LUMIX S1H is the world’s first camera to combine professional-level video quality, the high mobility of a mirrorless camera and a Full-Frame sensor. It is currently capable of video recording at 6K/24p*1 (3:2 aspect ratio), 5.9K/29.97p (16:9 aspect ratio), and 59.94p 4K/C4K.*2 *3 The LUMIX S1H will be introduced in late September 2019.
Panasonic has a long history of collaboration with Atomos. This relationship will deliver new RAW video functionality for the S1H. 5.9K up to 29.97p and C4K*3 up to 59.94p in RAW delivered over HDMI is in development. With this firmware Apple ProRes RAW can be recorded on the Atomos Ninja V.
A LUMIX S1H prototype with this firmware will be exhibited along with the Atomos Ninja V in the Panasonic booth (Booth No. C45, Hall 11) at the IBC2019 (International Broadcasting Convention) to be held in Amsterdam, the Netherlands, from September 13-17, 2019.
Atomos Announce 16bit RAW Support on New FX9 From Sony
PORT MELBOURNE, Australia, Sept. 13, 2019 /PRNewswire/ — Off the back of Sony Imaging Products & Solutions Inc. (“Sony”) unveiling their groundbreaking new FX9 today at IBC, Atomos is excited to announce 16bit RAW support from this new camera to the Atomos Neon 8K MCU.
“We have a long and proud history of collaborating with revolutionary companies like Sony, we are working closely with the FX9 camera team to deliver 4K 16bit RAW from the FX9 to our Neon cinema monitor-recorders.” Said Jeromy Young, Atomos Co-founder and CEO.
The FX9, which will go to market towards to end of 2019, features an advanced 6K full-frame sensor and has been designed to give professional shooters greater flexibility and capture capability, making it an ideal match for the Atomos Neon range. The FX9 has the same DNA as the popular VENICE cinema camera making it the ideal music, documentary, drama and event shooting.
“When paired with an Atomos Neon, the FX9 will be one of the most advanced production tools available today. We’re excited to empower content creators and filmmakers at the highest level through our ongoing work with Sony.” Added Young.
The Royal Observatory Greenwich has revealed the winners of the prestigious Insight Investment Astronomy Photographer of the Year 2019 competition, and as always, the winning images are spectacular.
This year, the competition received over 4,600 entries that were captured in 90 countries across the globe. The judges had the unenviable task of identifying a winner, runner up, and highly commended image for each category, a winner for the Robotic Scope category, and a winner for the new Sir Patrick Moore prize for Best Newcomer category (they ended up selecting two). From there, they had to whittle it down further, selecting just one image—one of the category winners—to take home the title of Astronomy Photographer of the Year and £10,000 (~$12,500) in prize money.
This year, the overall prize and went to the winner of the Our Moon category, Hungarian photographer László Francsics, who combined 32 multiple-exposures into this stunning shot of the total lunar eclipse over Budapest, Hungary on January 21st:
Description courtesy of the Royal Observatory Greenwich:
The phases were so close together that they blended perfectly in a continuous image that captured the shadow of the Earth. On the edge of the shadow appears a rare blue tint, the shadow of the Earth’s ozone layer. The sequences were taken with 3-minute gaps using a pre-programmed shutter remote. They were stacked onto each other using the faint background stars as a guide, so that the photographer could reveal the real orbit of the Moon.
Scroll down to see the rest of the category winners, and then head over to the Astronomy Photographer of the Year website to read more about each of the stunning photographs below:
Young Astronomy Photographer of the Year
Once the photographer decided to capture a deep sky image, he started researching online for nebulae and came across the magnificent Rosette Nebula. With the help of his father he built the equipment and together, over three nights in November, captured images images of the Rosette Nebula using different filters. In order to familiarise with processing images, the young photographer practised on one of his father’s older photographs and then processed the raw data of this image by himself.
Hendrik-Ido-Ambacht, South Holland, Netherlands, 26 February 2019
The photographer hiked in the snow to the top of the mountain Offersøykammen in Norway, to witness and capture the breathtaking giant aurora over the Lofoten Islands. He waited many hours and after midnight the bright Northern Lights finally appeared. The photographer shot this as a panorama to showcase the arched aurora over the mountains.
Lofoten, Norway, 9 March 2018
This is a deep image of the peculiar, elliptical galaxy NGC 3923. The galaxy features myriad concentric shells as a result of past mergers with other nearby galaxies. Recent research has documented 42 concentric shells in NGC 3923, more than in any other known galaxy. A prominent stream of stars extends towards the lower right, terminating abruptly in a shell-like fragment. Within the stream lies a small round galaxy believed to be one of the progenitors of the shell system. Now in the process of falling back towards the centre of NGC 3923, it shows a comet-like tail of stars extending behind it. Scattered throughout the field of view, far in the distant background, are numerous other galaxies. Some are even visible through the diffuse glow of NGC 3923. Many lie several billion light years away.
Auckland, New Zealand, 21 May 2017–25 March 2018
Our Sun Winner
A close-up of the solar limb with what looks like fireworks in the solar minimum period of the Sun’s cycle. A group of prominences are silhouetted against the background of space. The tonality has been inverted to express depth and contrast of the features in the Sun’s chromosphere. The data, captured with a monochrome (black and white) camera, has been colourised.
Buffalo, New York, USA, 29 July 2018
People and Space Winner
The image depicts the photographer and his dog, Floyd, surrounded by Mars, Saturn and the galactic core of the Milky Way galaxy. This photo encapsulates the photographer’s love for the cosmos. As his constant companions, the photographer often tries (and fails) to capture his dogs at night. With this shot the shutter speed was reduced to 10 seconds to allow to keep Floyd still. To counter this, the ISO was increased and the photographer whispered ‘don’t move, don’t move, don’t move’ to Floyd for the whole 10 seconds. The shot was repeated a number of times in order to capture a clear silhouette in a single exposure shot. The image contains everything the photographer loves about photography; the relationship with the landscape, family, dogs and friends.
Hadrian’s Wall, Hexham, UK, 9 August 2018
Planets, Comets and Astroids Winner
This is a sequence of images through the perihelic opposition of Mars in 2018 that follows the progress of the great global dust storm, which proved to be detrimental for the Opportunity Mars rover, which exceeded its planned lifespan by 14 years. The first frame (26 May) precedes the storm, with clouds on volcanoes in the Martian spring. The storm rapidly grew from regional to global coverage between 6 and 11 June (second and third frames), obscuring Opportunity, and only the Tharsis volcanoes were peeking out by 3 July. After a close July opposition, with features such as Syrtis Major only dimly visible through the dust, the usual darker albedo features returned as Mars disappeared into the distance again, while the south polar cap shrank into Martian summer.
Sydney, Australia, 26 May–30 October 2018
Robotic Scope Winner
With this image, the photographer decided to take on the challenge of revealing the very near infrared colours of Saturn, using the combination of the red and other two infrared planetary filters, the IR 685 and the IR 742, respectively. These are usually taken using special infrared planetary filters, in order to reduce the perturbation effect of the atmosphere, and RGB filters, to show the visual appearance of the planet. This choice of filters meant the photographer could push the limits of amateur astrophotography a little further. In doing so, he managed to shift the spectral range of the coloured image with 0.4 microns (620–1150 nm) towards infrared.
Chilescope, Atacama region, Chile, 26 August 2018
This mystical image of withered poplar trees was taken in the Mongolian region of Ejina, in the historical Kingdom of Xi Xia. The poplars’ resistance to erosion has led to an extraordinary formation of a desolate landscape and as a meteor falls, their shapes look like ancient creatures on an uninhabited desert.
Ejina, Inner Mongolia, China, 12 August 2018
Stars and Nebulae Winner
These are two nebula complexes, far apart from one another. The one on the right, NGC 3576, is closer to Earth, and its shape provides the title of this image. Both are active stellar nurseries, lit and shaped by the radiation from energetic young stars, showcasing a spectacular array of structures and colours. Acquired with narrow band filters, the composite image colour scheme follows the three-colour Hubble Palette standard.
General Pacheco, Buenos Aires, Argentina, 24 March 2018
Best Newcommers Prize
This is an image that the photographer wanted to capture since starting astrophotography in September 2018. This strip of the Orion constellation includes some of the best targets in the Northern Hemisphere. According to the photographer, the image shows what can be done with a pretty average DSLR camera and a lens and is hopefully an inspiration to those who have some photography kit already and want to get started. The image is a mosaic of two panes at 200 mm. Both panes were stacked in PixInsight, and have same basic early processing of gradient removal and colour calibration. Both images were then transferred and stitched together in Photoshop with further work done to reduce noise, bring out the dust and control the stars’ size and colour.
Embleton, Northumberland, UK, 30 January 2019
The Moon was shining bright over the sand dunes in north-central China, when the photographer decided to capture this image with a friend. After enjoying a sunset and the rise of the Moon, they began to take photos of the magnificent starry sky.
Ningxia, China, 25 July 2018
The winning images, runner-ups, and highly-commended images will be showcased alongside a selection of 68 shortlisted images in a special Astronomy Photographer of the Year exhibition at the National Maritime Museum, which opened to the public today.
Congratulations to all of the extremely talented commended photographers.
Credits: All photos used courtesy of the Royal Observatory Greenwich.
Sony has unveiled the FX9, a new XDCAM camera that features a 6K full-frame sensor, a hybrid autofocus system and, most interestingly, an E-mount for attaching lenses.
The camera is based around a newly-developed 6K Exmor R sensor that features over 15 stops of dynamic range, Dual Base ISO (ISO 800 and 4000) taken from Sony’s Venice cameras and internal oversampled 4K 4:2:2 10-bit recording. Sony does note though that the FX9 will only support 3840×2160 recording at launch with full 4096×2160 recording following in a future update. The FX9 is also capable of capturing Full HD at 120 frames per second.
The Fast Hybrid AF system features a 561-point phase-detection AF sensor that covers roughly 94 percent the width and 96 percent the height of the imaging area. Sony has also taken inspiration from its FS7 series and included a continuously variable electronic variable neutral density (ND) filter.
|An illustration comparing Sony’s Exmor CMOS sensor to its new Exmor R CMOS sensor.|
The FX9 is also capable of recording image stabilization metadata that will be able to be imported into Sony’s Catalyst Browse/Prepare software to precisely stabilize footage in post-production via an update expected to be out in December 2019. Sony says other post-production software developers are being encouraged to adding this functionality as well.
|A list of selectable framerates on the FX9 in both full-frame and Super 35 modes.|
Sony has also made the FX9 compatible with existing and new accessories, including Sony’s UWP-D wireless microphones, the XDCA-FX9 extender kit that enables 10-bit Super35 4K video at 120 fps (as well as 16-bit Raw output in an upcoming update) and additional accessories.
To pair with the FX9, Sony has announced the FE C 16-35mm T3.1 G, an E-mount lens designed to work hand-in-hand with the new E-mount camera system. The lens features two Extreme Aspherical (XA) elements, an 11-blade aperture diaphragm and floating focus groups to offer improved focusing across the entire zoom range.
The FX9 will be available ‘towards the end of 2019’ while the FE C 16-35mm T3.1 G lens is set for a spring 2020 release. Pricing information hasn’t yet been confirmed for either units.
Sony Launches FX9 4K Camera with Newly-Developed Full-frame Sensor, Dual Base ISO and Fast Hybrid Auto Focus System
Next generation camera offers greater flexibility to bring artistic vision to life
SAN DIEGO, CA — SEPTEMBER 13, 2019 — At IBC 2019 in Amsterdam, Sony today unveiled the PXW-FX9, its first XDCAM camera featuring an advanced 6K² full-frame sensor and Fast Hybrid Auto Focus (AF) system. The new camera offers content creators greater creative freedom and flexibility to capture stunning images that truly resonate with audiences.
Building on the success of the PXW-FS7 and PXW-FS7M2, the FX9 uniquely combines high mobility with an advanced AF system, impressive bokeh and slow-motion capabilities thanks to its newly-developed sensor. The FX9 also inherits its color science and a Dual Base ISO from the VENICE digital motion picture camera, creating the ultimate tool of choice for documentaries, music videos, drama productions and event shooting.
The FX9 was designed in close collaboration with the creative community and is an example of Sony continuously evolving cameras to innovate for the customer and market needs. The FX9 benefits from the versatility, portability and performance expected of an FS7 series “Run & Gun” style camera, while also offering High Dynamic Range and full-frame shooting features.
“We are always listening to our customer’s voice, pushing to deliver innovation that allows them to realize their full artistic intention,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “With the new FX9, we are striking an attractive balance between agility and creative performance. We’ve combined the cinematic appeal of full-frame with advanced professional filmmaking capabilities in a package that’s extremely portable and backed by the extraordinary versatility of Sony E-mount.”
The newly-developed Exmor RTM sensor offers wide dynamic range with high sensitivity, low noise and over 15 stops of latitude that can be recorded internally in 4K³ 4:2:2 10bit. Oversampling of the full-frame 6K sensor’s readout allows professionals to create high-quality 4K footage with impressive bokeh effects through shallow depth of field, while wide-angle shooting opens new possibilities for content creators to express their creativity.
A dual base ISO of 800 and 4000 enables the image sensor’s characteristics to best capture scenes from broad daylight to the middle of the night. With S-CinetoneTM color science, the new sensor can also create soft and alluring facial tones. The camera can also capture content up to five times slow-motion with Full HD 120fps shooting played back at 24p.
The shallow depth of field available with a full-frame image sensor requires precise focus control, and the enhanced Fast Hybrid AF system, with customizable transition speeds and sensitivity settings, combines phase detection AF for fast, accurate subject tracking with contrast AF for exceptional focus accuracy. The dedicated 561-point phase-detection AF sensor covers approximately 94% in width and 96% in height of the imaging area, allowing consistently accurate, responsive tracking – even with fast-moving subjects while maintaining shallow depth of field.
Inspired by the high mobility “Run & Gun” style approach from the FS7 series of cameras, the FX9 offers content creators shooting flexibility thanks to a continuously variable Electronic Variable ND Filter. This enables instant exposure level changes depending on the filming environment, such as moving from an inside space to outdoors or while filming in changing natural light conditions.
Additionally, the FX9’s image stabilization metadata can be imported to Sony’s Catalyst Browse/Prepare⁴ software, to create incredibly stable visuals even in handheld mode. Sony is also working to encourage third-party non-linear editing tools to adopt this functionality.
The FX9 comes with a wide range of customizations and expansion features. These include compatibility with the new UWP-D series of wireless microphones via Multi Interface Shoe™ (MI Shoe) with digital audio interface, the XDCA-FX9 extender kit enabling 10bit Super35 4K 120fps and 16bit RAW output in a future update, compatibility with Sony BP-GL and BP-FL series batteries, D-Tap, RJ-45 interface and stable “Dual Link” streaming by using two carrier lines, as well as DWX slot-in type digital wireless receiver commonly used in broadcasting settings⁵. The FX9 will also be compatible with the newly launched E-mount lens FE C 16-35mm T3.1 G, which uniquely balances full manual operability for professional cinema shooting and auto-control functions.
“What narrative cinematographers, documentary filmmakers, music video directors and broadcasters have in common is a need for a flexible camera that allows them to tell unique stories, no matter the environment in which they operate. As a next-generation professional camera, the FX9 captures stunning visuals with the lifelike image quality available from a full-frame sensor, while adding the benefits of advanced auto focus features and customization. This makes it the ultimate creative tool for modern storytellers,” concludes Neal Manowitz.
The FX9 will be available towards the end of 2019 and on display at the Sony stand (A10, Hall 13) at IBC 2019 September 13th– 17th. For more information, please visit www.pro.sony/ibc.
A variety of additional content related to Sony’s cinema imaging products, including articles, videos and events, can be found at www.sonycine.com.
¹Initially supported recoding aspect is 16:9; 17:9 (active about 19M pixels) will be supported by future update.
²6K Oversampling; not capable of 6K recording.
³3840×2160 recording is initially supported; 4096×2160 recording will be supported by future update.
⁴Planned to be supported by Ver.2019.2 in December 2019.
A future update will be scheduled sequentially for summer 2020. Further details will be announced.
Sony Unveils Full-frame E-Mount Cinema Lens FE C 16-35mm T3.1 G, Designed for High Optical Performance and Reliable Operability
Lens offers greater flexibility for video content creation, with servo zoom and autofocus/autoexposure system
SAN DIEGO, CA — SEPTEMBER 13, 2019 — At IBC 2019 in Amsterdam, Sony today introduced a new full-frame E-mount, 16-35mm lens (FE C 16-35mm T3.1 G) to accompany the newly announced FX9 full-frame camera. The lens offers high optical performance, reliable operability and intelligent shooting functions for cinematographers. It is compatible with the full range of Sony’s E-mount cameras – from Alpha™ interchangeable lens cameras to the VENICE digital cinema camera – bringing unprecedented creative flexibility for all content creators. Sony also announced their intention to expand the FE C Cinema Lens line-up going forward.
“The performance of our new E-mount Cinema Lens series offers filmmakers greater creative freedom and helps them concentrate on their artistic vision. Encompassing the full range of Sony E-mount cameras, our “One Mount” solution is the most powerful system designed for today and for the future,” comments Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics.
Lens for a new age of full-frame video shooting
The new lens is compatible with the intelligent shooting functions of E-mount. Paired with the new full-frame FX9 camera, it supports fast and accurate auto focus, making it possible to track quick-moving subjects while maintaining a shallow depth of field.
Stunning bokeh and corner-to-corner resolution
The two XA (Extreme Aspherical) elements with extreme surface precision of 0.01-micron, together with circular 11-blade apertures, deliver beautifully smooth bokeh in every frame. The two XA elements and three aspheric lenses are positioned in a way that effectively reduces field curvature, astigmatism and, in combination with two ED (Extra-low Dispersion) glasses, reduces color distortion. Additionally, floating focus employs two focusing groups, providing outstanding resolution at every zoom position. Nano AR (Anti Reflection) coating drastically reduces flare and ghost phenomenon.
Excellent operability with three independent rings, remote control from the camera, and a detachable servo zoom
The new E-mount lens further offers accurate and precise operability thanks to three independent rings for focus, zoom and iris that content creators can manipulate to get the exact results they desire. The linear response Manual Focus (MF) feature provides direct adjustment for precise and repeatable manual focusing. The focus ring with a large rotation angle also includes a distance scale, which makes it possible to quickly and easily set the same focus position during scenes that need to be shot repeatedly.
The new range also supports a number of lens accessories to facilitate a variety of different shooting styles. The industry standard 0.8mm pitch gear on each lens ring provides the option to use follow focus and remote actuators. Equally, the widely-available 115mm diameter matte box and lens support can be used to aid accurate, responsive and precise operability. Additional functions include a de-clickable iris ring that prevents unintended iris change during shooting, the option to reverse the rotation direction of the zoom ring to be fitted with user’s preference and detachable servo zoom that provides smooth zooming expression.
The new 16-35mm (FE C 16-35mm T3.1 G) will be available in Spring 2020.
To learn more about the new cinema lens, visit Sony stand (A10, Hall 13) at IBC 2019 September 13th-17th. For more information please visit www.pro.sony/ibc.
A variety of additional content related to Sony’s cinema imaging products, including articles, videos and events, can be found at www.sonycine.com.
Hype for Google’s new flagship phone has intensified in recent weeks with photographers excited about what new technology the tech giant will be squeezing into its latest model. To add to the fervor, a leaked promo video suggests that a dedicated astrophotography mode will be incorporated.
There are so many new cameras to talk about we needed more people to talk about them.
Jordan Pacheco joins George and Charles to talk about the features that make the Sony FX9 stand-out, people using the iPhone pro as a cinema camera, and how Charles wants to be a stagecoach driver in London.
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Professional event photographer and photography teacher Mik Milman recently published a video that’s bound to receive some mixed reactions. In it, Milman laments the dearth of experience of many photographers who pass themselves off as “experts” on YouTube, earning thousands of followers and possibly misleading beginners by offering bad advice and unqualified critiques.
Controversial as the topic might be, Milman does a good job of keeping the video from turning into a “get off my lawn” rant. He’s simply pointing out that people should be wary of all of the folks passing themselves off as “experts” on social media. A large following or YouTube success does not always correlate to skill, knowledge, or useful experience.
“What I am concerned with is when you have people who are presenting themselves as experts, who really don’t know what they’re talking about,” explains Milman. “Their education is YouTube. They watch other YouTube channels, they regurgitate it, they remake their own version of those videos […] that’s dishonest, it’s not authentic, and I think as viewers we need to ask ourselves, ‘who are we listening to?’”
The other type of video that he’s concerned about—the type that actually inspired him to film and publish this response—is the “critique” video that amounts to nothing more than opinion.
“That is not what a critique is meant to be. It’s not just you giving your unqualified opinion on something,” says Milman. “I ask myself, what happened to mastering a craft before you attempt to teach it?”
What do you think? Have you felt that, as Milman describes it, people seem to just jump in these days and “teach” others as they go? Have you ever been misled by a YouTuber who came off more experienced than they actually are? Watch Milman’s full video above, and then let us know your thoughts in the comments.