Nikon has released a detailed lens lineup chart that shows what NIKKOR Z lenses will be available all the way up to 2021. By the end of 2021 there will be 23 native Z mount lenses available. Eventually, there will be lenses ranging from 14mm all the way up to 600mm. Currently, there aren’t many … Continued
The Sigma fp will cost $1899 for the camera body, and you can pre-order yours starting today.
The main question about the Sigma fp on everyone’s mind for the past three months has been finally been answered.
Pre-order For The $1899 Sigma fp NOW
Back in July, we were given a ton of info about this unique little device, except for the price.
We know it will cost $1899 for the camera body or $2,199 to include the 45mm F2.8 DG DN Contemporary lens.
Headlining our Deals of the Week you can save as much as 50% on Sigma lenses.
This week in filmmaking deals: The Atomos Shogun Flame recording monitor is currently under $700, while the Sigma 105mm f/2.8 EX DG OS HSM Macro Lens is under $500. Also, you can save a few bucks on an LED softbox kit from Neewer, and if you need to stock up on clamps, clamp mounts from SmallRig are over half off. Finally, Adorama is running a special on the Mevo Plus Live Event Camera that saves you over $220.
The legendary filmmaker has found a new agency and, maybe, finally, a home for his long-gestating passion project.
Frances Ford Coppola has several classics on resume — The Godfather, Apocalypse Now, and The Conversation. But there’s one movie that has alluded him for years — but it looks like all that may change.
Coppola recently signed with agency CAA, reports Deadline, and a huge condition of the Oscar-winning filmmaker joining their talent roster is their promise to finally secure financing for his epic sci-fi drama, Megalopolis.
The 212-page script (because Coppola) has spent the better part of 20 years in development hell. Financing has been difficult to secure throughout that time, thanks to the film’s expensive futuristic setting. It centers on an aspiring architect struggling to build a mini-Utopia within the confines of the New York City of the future. So think Coppola’s Tucker in tone — but on a much bigger, sci-fi canvas.
Lots of directors get their start in advertising, so let’s go over how you can use our free script template to write a TV commercial.
Screenwriting is my passion, but I pay the daily bills right now by doing a lot of work in advertising — and even writing some television commercials. I made my way here by working for directors who generally were handed scripts by agencies and asked me to punch them up.
Advertising is a great, steady source of income, and mastering the basics can help your resume stand out from the other stacks. Much like our free screenwriting software post, we wanted to share this free TV commercial script template to use at your leisure as well.
You shouldn’t go in debt trying to get a good job!
So how do you write a TV ad?
Writing a commercial has never been easier and it has never been more in demand. Advertisements play before every YouTube video and all over Facebook and Twitter. There is a huge need for that kind of work and content — especially for people who can create a narrative that makes people keep watching.
Want to sell your idea to a studio or exec? These four TIFF veterans have some tips for you.
You have great ideas. You’re a stone’s throw away from your big break. Your script is written, your deck is complete. You’re ready to pitch.
So how do you sell your idea to a production exec? How do you not screw it up? Four major industry executives sat down at TIFF ’19 to share their advice on “Maximizing Your Intellectual Property.”
“The coolest shit happens at the margins. We want to explore cultural trends that are intersectional across race, class, geography.”
Moderating the panel was Anne Carey of Archer Gray, the award-winning producer behind Diary of a Teenage Girl (2015), 20th Century Women (2016), and Can You Ever Forgive Me? (2018). Joining her onstage were three power players with a boatload of experience across multiple formats, plus a hunger for fresh new content.
Now that the furore (or lack thereof) following the Sony a9 II announcement has subsided, rumors are starting to emerge regarding Canon’s forthcoming sports and wildlife flagship, the much-anticipated 1D X Mark III. An alleged leak suggests that the new camera will shoot at 30 frames per second, but of course, the details are a little thin.
I took a close look at the Westcott Flex Cine Travel Kit and took it for a spin on shoots to find out if it’s holding up to the job. Check out our review below (and the review video above).
On the feature I DP’d last summer, and again on a feature I shot last month, we used a 1×2 Flex Cine consistently throughout the shoot. It’s so lightweight and versatile that we were able to easily both fly it on a C-boom arm, and also mount it to the ceiling for our back or top light.
When I heard that Westcott came out with a new self-contained travel kit, I was interested in checking it out. If you’re like me, you do a fair amount of traveling where you’re lugging gear in the back of cars and around airports. While I do work on larger features, my bread and butter is still corporate work and direct response commercials – and these shoots often call for a lot of traveling. When I have a simple shoot that consists of basic interviews or shooting b-roll, the crew often consists of just a producer and myself. This is where a compact; airport friendly travel kit is essential.
Westcott sent me their Flex Cine Bi-Color 2 (1×1) Light Travel Kit to review and test? In this video I’ll show what’s in the kit and go over some of its pros and cons.
Westcott has a ton of different Flex Cine kits available. I wanted to check out one of their more affordable kits, the Flex Cine Bi-Color, 2 (1×1) Light Travel Kit. There is a lot packed into this 2-light flexible LED kit. It includes the following:
- 2 of the 1×1 Flex Cine Bi-color LED mats that adjust from 2800K – 6000K (more than the standard 3200K – 5600K)
- 2 collapsible frames that the 1×1 light mats can be attached.
- 2 Flex Cine Dimmers
- 2 Softboxes
- 2 dual-joint brackets
- 2 compact light stands
- 2 x 26V lithium-ion batteries
- 1 dual charger for the batteries
- 2 AC power adapters
- 2 straps
- 1 waterproof hard case.
At the heart of the kit are the 2 Flex Cine bi-color mats. By now most of you have seen and played with flexible mat lights. Westcott was one of first players in the flex mat game and they’re known for their durability/reliability. The Flex Cine mats are a pliable 1/3” mats that are rain resistant. They have magnetic corners and metal grommets, which makes them really easy to mount just about anywhere. They are really easy to conceal in tight spaces and the mats by themselves weigh only 3 lbs, which means you can gaff tape them onto a wall or ceiling if needed. Westcott stands by the build quality of the mats by offering a lifetime warrantee – which is great.
The Flex Cine Dimmers are well made with a hard aluminum case and they have very intuitive controls. The light mats have an 8’ cable attached to them which feeds into the dimmer. Having the dimmer separate from the mat keeps the weight down and allows for easy rigging. I do suggest that you buy the 16’ extension cable. This allows you to rig a Flex Cine mat to a ceiling and have plenty of hose for your dimmer.
The kit comes with 2 lightweight collapsible frames that the mats can Velcro to. It also comes with 2 dual-joint brackets that allow you to attach the frames to their stands. These are lightweight, flimsy stands but because the light mats weigh so little, the stands definitely work. In order to keep the kit to just under 50lbs, which allows you to check the case at the airport with no additional changes, Westcott needed to keep the stands very lightweight. Personally, I only use these stands when I’m traveling; otherwise I use more heavy-duty stands.
The kit’s softboxes work well with the lights. They are fast to set up – like everything else in the kit, they attached via Velcro. The inside of the softbox is lined with silver which helps increase the output so you only lose 1 stop of light when using the softbox. One concern I have abut the kit is how well all the Velcro they use will hold up over the years. Will it need to be replaced in 5 years? Not sure.
What is really impressive about this kit is it comes with two 26V lithium-ion batteries and a dual charger. I tested the batteries with both the Flex Cine 1×1 and 1×2. At full power the batteries lasted for 2 hours and 15 minutes in the 1×1 and 1 hour and 30 minutes in the 1×2. These are respectable times. I just did a shoot where we rigged 2 of the 1×1’s to a drop ceiling and we hid the controller and cables in the ceiling and used the batteries for power – eliminated any cabling in our shot. We had the lights at under 50% power, so I knew I had several hours of run time and it worked perfectly.
Finally, the kit’s hard case is your standard pelican style water resistant case but it’s cleverly laid out with compartments for all the accessories. It’s great to have a case where everything has its proper place and with a glance you can tell if you have all your pieces.
Westcott also sent a few light modifier accessories for me to review. Now these do not come with the kit but can be purchased separately.
The HARD DIFFUSION is what we used on the Flex-Cine 1×2 light on last summer’s feature film. As I mentioned, we had the 1×2 armed out as a backlight on most of the scenes we shot. The hard diffusion on the 1×2 worked great, especially when you’re trying to be a low profile as possible. On many of the shots the Flex Cine 1×2 was just out of the top of the frame, making the hard diffusion a better option than a larger softbox. Now I wish we had the EGG CRATE on that film shoot. This simply prevents the light from spilling into unwanted areas.
The CHINA CUBE is an interesting modifier. It’s a different take on China ball. A Flex Cine 1×1 is mounted on the top of the modifier and its light bounces around the silk sides and bottom and spills in all directions. The China Cube comes with 4 black out skirts, which can be attached to block the light from sides where you don’t want light spilling. We recently used the China Cube on a walk-and-talk scene shot on the Ronin 2. We attached the China Cube to a boom pole and had a grip walk backwards with it, arming it over the head of the camera operator and onto the talent. It worked well and was easy to use because it is so lightweight.
In the Field
To see how the Flex-Cine lights performed on a subject, I recruited my son to do several tests.
Here is the first test where I lit the subject with a Flex Cine 1×1 as key light on the right and another 1×1 as a rim light on the back left. I was curious to see the light quality difference with the softbox on and off. Using my light meter I dimmed the open face light down to match the output of the softbox. As you can see, the results are similar with a little softer light with the softbox on. I actually expected more of a difference. Note: the window is pretty far behind the subject and it is not influencing the key light.
Here a test of the softbox versus the hard diffuser. The softbox is definitely softer where the hard diffusion has more of a punch.
In this shot I was going for a more flat corporate look. I used both of the Flex Cine 1×1’s with softboxes as front the lights. I had the key on the right one stop hotter than the fill on the left. No back/rim light.
In this setup I have the 1×1 with the China Cube modifier as the front light and I have pretty bright rim light coming from another 1×1 through a softbox.
By the Numbers
I used my Sekonic C-800 to measure the output and color rendering of the lights. The Flex Cine 1×1 and 1×2 had good solid scores.
Here is some of the raw data. Check out the video to see my analysis.
I like the Flex Cine lights and I use these lights in my production. That’s why I wanted to review them. The Flex Cine Travel Kit is great little kit to have when traveling or to augment a larger lighting packing. Everything you need is packed into this kit including batteries. I personally wish the stands were more heavy duty, but I get the portable design that keeps the kit under the 50lb airport limit.
If you’re looking for some lightweight LED lights that are physically flexible and flexible in the since that they can be rigged almost anywhere, then give the Westcott Flex Cine kits a look. The Flex Cine Bi-Color LED 2-Light Travel Kit (1×1) that I reviewed retails for $3,799.90. Remember that the kit comes with two 26V batteries and a dual charger, which alone would set you back over $1000.
What do you think of the Westcott Flex Cine Travel Kit? Do you think it would be useful for your kind of work? Let us know in the comments below.
The post Westcott Flex Cine Travel LED Lighting Kit Video Review & Demo appeared first on cinema5D.
The music licensing platform Music Vine has launched subscription programs for both professional filmmakers and video creators. The subscription grants unlimited access to the entire Music Vine catalog and, for those working on large-scale productions, can be easily customized to include unlimited clearance. The Creator plans start at $13.99 per month and Pro plans start at $19.99 per month.
Music Vine is one of many music licensing platforms on the market. Since their launch in 2015, the Music Vine platform has been redesigned a couple of times already. Currently, it offers over 380 thematic categories and a unique weighted tagging system to reflect the nuances inherent in musical emotion more accurately, thus providing users with more relevant search results.
According to Music Vine, the quality of their music catalog is the most important thing. The platform differentiates from traditional ‘library music’ services by meticulously curating their catalog and working closely with their artists. Till now, the platform worked on a simple model where customers paid for the music they bought. Now they are launching new subscription plans. What exactly do they offer?
Music Vine Subscription Plans
Music Vine’s new offering encompasses two main subscription types called Pro and Creator. The Pro plans are for filmmakers, businesses, freelancers and production agencies, while the Creator plans are specifically tailored for YouTubers, personal social media and other creator platforms.
Under the Pro umbrella, there are two plans – the basic tier being Pro Lite, which costs $19.99 per month and grants clearance for small-scale productions such as corporate videos, wedding films, content marketing, and micro-budget indie films. For those working on larger scale productions, Music Vine’s Pro Standard plan will start at $35.99 per month and offers broader clearance for marketing, advertising, entertainment, and informative content. This plan can be further extended to provide clearance for those who are working on very large scale productions, and/or who require clearance for all media.
In a similar fashion to the Pro plans, there are two options for the Creator subscriptions – Creator Ambassador and Creator Standard, the former being a reduced rate plan for those happy to include a music accreditation when they publish any content featuring tracks from Music Vine. These plans cost $13.99 and $19.99 per month respectively and can be extended for those Creators generating significant revenue from their channels.
When designing the price plans, Music Vine wanted to keep the options clear and simple for videomakers, while ensuring the prices scale-up appropriately for the largest usages. According to Music Vine, it supports a sustainable and fair model for musicians. They have a packed release schedule of new artists over the coming 12 months. All mentioned prices are billed annually. In case of monthly billing, they do get slightly higher.
You might have noticed, that Music Vine is cinema5D’s partner and they provide us with music for our reviews. Our readers can get 25% off their music license purchase with the code C5D25 (valid for one use per customer). Please mind, that this code is only valid for music purchase, NOT for any of the subscription plans.
Music Vine Prize Draw
To celebrate the launch of their new subscription, Music Vine is giving away a couple of prizes (including a DJI Mavic 2 Pro drone, two DJI Ronin-S gimbals and three Zoom H5 audio records) to 6 customers. To enter, simply sign up to any Music Vine subscription plan before Thursday 12 December and tick the box to ‘Enter Prize Draw’ at the checkout.
What do you think of the new subscription plans for Music Vine? Do you use music from this platform for your projects? Let us know in the comments underneath the article.
The post Music Vine Launches Subscription Plans for Pros & Creators appeared first on cinema5D.
Back in July, we reported about the launch of the SIGMA fp full-frame camera. We visited the SIGMA factory in August, we asked questions about it at this years IBC in September and we posted about the official release of highly accurate 3D models of the camera and its available accessories in order to create an even further expanded pool of custom accessories. But one thing remained in the dark and that’s the price of the fp camera. Now the company spilled the beans and here it is: The SIGMA fp will be yours for $1,899 US. Preorders are open as we speak.
The SIGMA fp is not your average pocket-sized point’n’shoot camera. It’s kind of two cameras in one and it sports a full frame sensor. You can choose between a dedicated cine mode as well as a stills mode, accessible via a hardware switch right on the top plate of the camera, no more menu digging! That’s a lot of functionality inside this tiny body and it’s a fresh apporach of tackling all these menu settings and controls for both, stills and cine applications.
The SIGMA fp
With the introduction of the L-Mount Alliance at Photokina 2018 (read all about it here) rumors started to sprout about SIGMAs development of yet another camera, this time fitted with an L-Mount, obviously. Fast forward to July 2019 and here it is, the SIGMA fp. Despite the modular approach, the clean cut between stills and cine applications and the overall look of it, one question remained: The price.
Fast forward another three months, that question is know being answered: The SIGMA fp is officially a sub-$2,000 full frame camera. And it really needed to be. The competition wasn’t idle and other cameras cost about as much as the fp. So another question surfaces in the aftermath: How does the SIGMA fp compare to the full-frame competition, namely the Sony Alpha a7 III, the Panasonic S1, Canon EOR R or Nikon Z 6? To be honest, I don’t know. The SIGMA fp is not out yet but we will definitely take it for a spin once it is (stay tuned, review is coming soon)! What we do know are some hard facts about the specificatons of the fp:
- 35.9 x 23.9 mm CMOS Bayer sensor with 6000 x 4000 pixels (25.38 MP / effective: 24.6 MP)
- cine mode _ internal recording: H.264
UHD 4K (3840 x 2160) at 23.976p/25p/29.97p
Full HD (1920 x 1080) at 23.976p/25p/29.97p/59.94p/100p/119.88p
- cine mode _ external recording: 4:2:2 12-Bit
UHD 4K (3840 x 2160) at 23.976p/25p/29.97p
Full HD (1920 x 1080) at 23.976p/25p/29.97p/50p/59.94p/100p/120p
- external recording to USB SSD is possible
- micro HDMI out for streaming to an external recorder
- 3.15″ fixed LCD touchscreen
- Single Slot SD/SDHC/SDXC (UHS-II)
- Size: (W x H x D) 4.43 x 2.75 x 1.78″ / 112.6 x 69.9 x 45.3 mm
- Weight: 14.89 oz / 422 g (Body with Battery and Memory)
Also, SIGMA CEO Yamaki-san told us at IBC that internal CDNG recording will be possible, but only in 8-Bit internally (which is a bit of a strange combination to be honest). The full rundown reads as follows, but keep in mind that these specs are not finalized, yet:
- internal 8-Bit CDNG RAW in UHD 4K at 23.98/24/25p.
- internal 8 / 10 / 12-Bit CDNG RAW in HD up to 60p.
- external 8 / 10 / 12-bit CDNG RAW in UHD 4K/1080 HD at 24p.
More questions sourcing from the filmmakers community circle around the absence of dedicated log profiles for smooth post production. Right now, there is no such option but we may see (hopefully) some kind log profile in a future firmware update. SIGMA is well aware of the demand here! However, there are some picture profiles available but these are more about looks, not so much about being flat for easy grading.
Pricing and Availability
The SIGMA fp is available for preorder as we speak. If you don’t own any L-Mount glass yet, there is also a bundle available which might be pretty interesting: Get the SIGMA fp along with a 45mm f/2.8 DG DN Contemporary L-Mount lens with a $250 saving over at B&H. There are L-Mount adapters as well, so you can easily adapt other glass to the fp camera.
Links: SIGMA website
What do you think? Might this little camera be found in your bag in no time? Or do you prefer something bigger? Let us know in the comments below!
The post SIGMA fp Pricing Revealed – A Sub-$2,000 Full Frame Camera With RAW Capabilities appeared first on cinema5D.
Atomos just released a new firmware update for the Atomos Shogun 7: AtomOS 10.3. This firmware update upgrades the 7-inch display to 3000 nits peak brightness, which is double the initial 1500 nits brightness. Also, the Shogun 7 is now capable of Dolby Vision live output. Let’s take a closer look at this!
AtomOS 10.3 for the Atomos Shogun 7
During IBC 2019, we catch up with Atomos’ CEO Jeromy Young to talk about the new features that are supposed to be implemented to their flagship field-monitor/recorder, the Atomos Shogun 7. Less than a month later, Jeromy’s team held its promises with the release of AtomOS 10.3 for the Shogun 7.
This new firmware update upgrades the panel to 3000 nits peak brightness (+/- 10 percent), which is twice as bright as the initial 1500nit brightness. To achieve this jump in intensity, the Shogun 7 “uses all available brightness combined with the dynamic backlight control to create deeper blacks and ending with a brightest point at 3000nit” according to Atomos. But, keep in mind that 3000 nits peak bright is used for on-screen dynamic range, so 15 stops over 0-3000 nits. This is different to a regular high bright monitor which may show 8 or 9 stops but raises the black level and appears milky.
Once you’ve done the AtomOS 10.3 firmware update, the Shogun 7 will automatically jump to its maximum brightness in PQ and HLG modes. In native modes and Rec.709 modes, you have to turn the light up manually.
Part of this update, AtomOS 10.3, offers a new Dolby Vision live output. Also, you now can record high-frame-rate footage via SDI in RAW (including ProRes RAW). Cameras such as the Sony FS700, FS5 Mk I/II, FS7 Mk I/II, Panasonic Varicam LT, and EVA-1 are supported.
Pricing and Availability
This AtomOS 10.3 firmware update for the Atomos Shogun 7 is free, and it is available now on the Atomos website. As a quick reminder, the multi-camera recording and switching features of the Shogun 7 that were announced at launch back in April are still missing.
What do you think of this firmware update for the Atomos Shogun 7? Do you use the Shogun 7 on your productions? Let us know in the comments!
The post Atomos Shogun 7 Firmware Update Brings 3000 nits Brightness appeared first on cinema5D.
Nikon has just announced the launch of its much-awaited NIKKOR Z 58mm f/0.95 S Noct and the price tag is as crazy as the lens itself. Bravo, Nikon.
Following a successful Indiegogo campaign, Canon has publically launched its IVY REC clippable camera made for snapping images and recording videos in risky environments. As its name suggests, this model features a clip for directly attaching the camera to strap, loop, belt or similar item; the same clip also functions as a viewfinder, according to Canon.
The IVY REC Outdoor camera features a 13MP sensor, support for capturing 1:1 and 4:3 JPEG images in resolutions up to 3104 x 3104 and 4160 x 3120, video recording at 720p/30fps through 1080p/60fps in MP4 format, and a fixed 25.4mm F2.2 lens.
In addition to electronic image stabilization, the camera features a mono microphone, a memory card slot for saving content, a 660mAh rechargeable battery, and micro USB connectivity. IVY REC likewise features Bluetooth 4.2 and WiFi 802.11b/g/n, as well as support for the Canon Mini Cam, which provides access to image and video settings, battery life info, and remaining storage capacity.
The Canon Mini Cam app offers a live viewfinder mode and remote shutter with timer, plus there’s the ability to wirelessly transfer images from the camera to a mobile device. As indicated by Canon’s marketing, the model is also durable with a shockproof/waterproof design and support for operating temperatures from -10C to 40C (14F to 104F). The camera measures 110.5mm x 45.2mm x 18.5mm (4.4in x 1.8in x 0.7in).
The IVY REC Outdoor Camera will be available from Canon in Avocado (green), Riptide (blue), and Dragon Fruit (pink) colors starting next month for $129.99.
The World Is Your Oyster and Now You Can “REC” It With New Canon IVY REC Clippable Outdoor Camera
MELVILLE, NY, October 10, 2019 – Your activity of choice should not limit you on your quest to #RECtheWorld – from jumping on a trampoline, biking down a mountainside, screaming on a roller coaster or feeling the beat at a music festival. Down for just about anything, Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to announce the IVY REC Clippable Outdoor Camera. Made to go anywhere while capturing those larger-than-life moments – this new camera is made for adventure.
IVY REC Specs
Great for the outdoors, the clippable and wearable design allows users to wear it on a belt or bag and the clip doubles as a viewfinder – eliminating the potential to crack a screen. Simple to use with one click capture for both photos and videos, the IVY REC pairs with the optional Canon Mini Cam app1. When paired with a compatible mobile device2 such as a smartphone, you can keep informed about important settings including battery life of the IVY REC camera, remaining image capacity for the MicroSD card, video recording resolution (720p or 1080p)3, and image size. You can also use the app as a live viewfinder to capture photos and videos, and even use it as a remote shutter with a timer. For photos and videos, the app lets you wirelessly transfer them to your compatible mobile device to print and share. The go-anywhere camera is also waterproof4, shockproof5 and lightweight.
“We have learned a lot about the IVY customer since we launched our first IVY product over a year ago –their unique shopping habits and what’s important to them when it comes to consumer technology products,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “We’ve worked tirelessly to implement this knowledge into the next generation of IVY products, the IVY REC, offering the younger generation consumer the opportunity to go where the moment takes them and capture them in an instant.”
The Canon IVY REC comes in three colors: Riptide (Blue), Avocado (Green) and Dragon Fruit (Pink) and is scheduled to be available in October 2019 at an estimated retail price of $129.99*. For more information, please visit usa.canon.com.
About Canon U.S.A., Inc.
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions to the United States and to Latin America and the Caribbean markets. With approximately $36 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents granted in 2018† and was named one of Fortune Magazine’s World’s Most Admired Companies in 2019. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss and follow us on Twitter @CanonUSA.
†Based on weekly patent counts issued by United States Patent and Trademark Office.
1 Use of the optional Canon Mini Cam app requires compatible device to be connected to the Canon IVY REC via Bluetooth® and Wi-Fi®. The Canon Mini Cam app is available for free on the App Store and at Google Play. Data charges may apply with the download of the free Canon Mini Cam app. Compatible with mobile devices running iOS 11 or later, and Android devices running Android 5.1 or later.
2 Transfer of photos and videos requires Bluetooth and Wi-Fi to connect and pair with a compatible smart device, along with the use of the free Canon Mini Cam app, available on the App Store or Play. Compatible with iOS® versions 11 or above, Android™ smartphone and tablet versions 5.1 or above. Data charges may apply with the download of the free Canon Mini Cam app. This app helps enable you to upload images to social media services. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app.
#Additional faceplates will be available later in 2019.
3 Default video setting is 720p at 30fps. Setting can be changed to 1080p through the Canon Mini Cam app. Note: 1080p video is not supported for Live View. Maximum continuous video length is 10 minutes.
4 Waterproof to 2m/6.6 ft. for up to 30 minutes, based on IP68 testing. Tested in freshwater only. If exposed to non-freshwater, rinsing immediately with freshwater is recommended.
5 Shockproof up to 6.6 ft./2m. The shock resistant testing methods are unique to this product and do not guarantee against damage or malfunction of the product.
*Availability, price and specifications are subject to change without notice. Actual prices are set by individual dealers and may vary.
There are not a lot of people who are photographing landscapes in black and white. Most of us prefer a nice color presentation of a landscape. Nevertheless, black and white conversion can help a lot when processing a color photo.
A new video from Canon Korea gives us a closer look at Canon’s upcoming RF L F2.8 trinity and confirms what we’ve suspected from the get-go with the upcoming RF 70-200mm F2.8—it won’t be an internal zoom.
The 72-second video shows off sample images and specifications from each of the three lenses Canon showed off earlier this year: the RF 15-35mm F2.8 L IS USM, RF 24-70mm F2.8 L IS USM and RF 70-200mm F2.8 L IS USM.
As expected from the first time we saw the ridiculously compact 70-200mm F2.8 L IS USM, the lens will have an extending section for when shooting at longer focal lengths, as seen in the animated GIF above. This video marks the first time we’ve seen the extending section in action and as seen in the video, the zoom ring will have a rather short throw when going from 70mm out to 200mm.
Pricing and availability for these three lenses are still up in the air, but we expect to find out before the end of the year based on Canon’s own lens roadmaps.
Nikon Inc. announces the pricing for their fastest NIKKOR lens, the new NIKKOR Z 58mm f/0.95 S Noct and it falls right in the price range of high-quality cinema glass. The price? $7999.95 for what is likely the best lens Nikon has ever made. For those who do not know, the 58mm Noct is a one-of-a-kind lens that pays homage to the extraordinary optical legacy that the previous Noct-NIKKOR 58mm f/1.2 lens established, while demonstrating the superiority and potential of the very wide and shallow Nikon Z Mount. The new 58mm f/0.95 Noct lens is an exclusively manual focus prime lens.
The NIKKOR Z 58mm f/0.95 S Noct is in a class of its own, offering low light ability and extreme sharpness that excels in the hands of a capable creator. From stunning portraits to landscapes or astrophotography, all images are rendered beautifully thanks to its vast depth-of-field control, seductive bokeh and superb point-image reproduction. Paired with the Nikon Z system of mirrorless cameras the 58mm f/0.95 and Z7 should provide impressive sharpness and an incredibly shallow depth of field.
A Legendary Lens Reborn
The original Noct-NIKKOR 58mm f/1.2 was released in 1977, its name said to be derived from “Nocturne.” Made for nighttime photography, this lens became renowned for its ability to reproduce point light sources as point images. The design of the new Noct lens evolves with the most advanced optical technology for photographers and videographers, boasting an immense f/0.95 maximum aperture, staggering low light ability, and enticing bokeh characteristics.
The NIKKOR Z 58mm f/0.95 S Noct implores an extensive depth of field, producing elaborate bokeh and blur characteristics with good continuity for more compelling, three-dimensional imaging. Even when the distance between the subject and the background are insufficient, the new 58mm Noct lens can still capture sharp images with beautiful background blur due to the reproduction of an extremely sharp focus plane and vast shallow depth of field. Additionally, shooting point light sources at maximum aperture would normally produce sagittal coma flare. However, with the new Noct lens the causes of sagittal coma flare are eliminated across the entire frame with point light sources being reproduced as tack-sharp point images even at the peripheries, for clear and crisp night landscapes and astronomical shots.
A lens like the new NIKKOR Z 58mm f/0.95 S Noct is possible today because of the large Z mount, which allows for more light capture and faster data sharing between lens and camera, as well as improved flexibility for lens optics and design. The new Noct lens also boasts a large-diameter ground aspherical lens element crafted from the finest glass with outstanding surface accuracy, providing a higher refractive index that would otherwise be unobtainable. This pro-level lens is constructed with an optical formula consisting of 17 elements in 10 groups, ensuring a well-balanced lens that delivers incredibly sharp results.
Like the NIKKOR Z 24-70mm f/2.8 S lens announced earlier this year, the NIKKOR Z 58mm f/0.95 S Noct lens includes an ARNEO Coat, which provides anti-reflection performance to combat incident light reaching the lens surface from a vertical direction. Alongside the Nano Crystal Coat, which effectively reduces incident light from a diagonal direction, the new Noct lens can capture clear and sharp content with minimal ghosting and flare effects across a wide variety of backlit situations that are normally challenging. Additionally, the NIKKOR Z 58mm f/0.95 S Noct includes a lens information panel allowing photographers and videographers to confirm aperture, focus distance and depth of field at a glance. Users will also enjoy the increased number of functions that can be assigned to the lens Fn button, matching the Fn1/Fn2 buttons on both the Z 7 and Z 6 cameras. Additionally, an electromagnetic diaphragm mechanism is incorporated, providing stable aperture control even during continuous shooting. The fluorine coat of the new Noct lens acts as a dust, dirt and moisture repellent coating.
In addition to the refined and durable exterior design, the NIKKOR Z 58mm f/0.95 S Noct offers excellent operability and a feeling of precision in hand. The focus ring enables accurate manual focusing, allowing for the appropriate amount of torque and a large rotation angle, even for the extremely shallow depth of field afforded at f/0.95. The new Noct lens also adopts a control ring, where functions like aperture setting, and exposure compensation can be assigned. Furthermore, the inside of the lens hood is felt-lined, delivering clear rendering by effectively preventing light reflection inside the hood.
The Newest Additions to S-Line of Nikkor Z Lenses
The NIKKOR Z 58mm f/0.95 S Noct joins as the apex to the ever-expanding series of S-Line lenses, which also includes the recently announced NIKKOR Z 24mm f/1.8 S and NIKKOR Z 85mm f/1.8 S, all hailed for their sharpness and optical performance.
Price and Availability
The NIKKOR Z 58mm f/0.95 S Noctlens will be available October 31,2019 at a suggested retail price(SRP) of $7999.95 and will come with a special premium custom padded case (Trunk Case CT-101),in addition to theHN-38 Hood.T
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