PRG Opens New Facility In Albuquerque

As a global leader in entertainment and event product solutions, PRG brings one of the largest inventory of cameras, lenses, accessories and LED technology to New Mexico. The new camera prep facility is centrally situated in Albuquerque, between I-25 Studios and Albuquerque Studios, with access to Santa Fe Studios and Downtown. In addition to camera-prep, […]

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Testing the Canon RF 70-200mm f/2.8 Lens for 10 Days in California

The trinity is now complete. Since the release of the Canon EOS R about a year ago, the mirrorless camera is my go-to tool for shoots. Not least because of its size and weight, as well as the amazing lenses (RF 28-70mm f/2, RF 50mm f/1.2, and my RF 24-240mm f/4-6.3 expedition lens) the EOS R has benefits over its DSLR counterpart.

With the EF lens-adapter combination that I’ve been using so far, especially for the EF 11-24mm f/4 wide-angle lens and the EF 70-200mm f/2.8 tele-zoom lens, there was a noticeable imbalance between the camera body and the lenses. There was no optical quality loss when I used the adapter ring, but compared to the camera, my old 70-200mm f/2.8 was pretty long and heavy.

With the release of the trinity lens set in the RF mount, I can now use the EOS R for a focal length of 15mm to 200mm with a fixed aperture of f/2.8 and a 5-stop image stabilization — and all this with lenses that are specifically designed for the mirrorless system. I’d like to share my experiences with you here, especially with the RF 70-200mm f/2.8.

Disclaimer: I’m a Canon Ambassador and I was sent the lens to test on a commercial job. This test report is based on my subjective experiences over 10 days under real-life conditions. The report covers day-to-day use of the lens. I’ve intentionally left out technical details and lab tests since this isn’t something that applies to my daily use.

Canon EOS R with RF 70-200mm at 200mm – f4 – 1/1600 – ISO 100

My first experiences using the RF 15-35mm f/2.8 and the RF 24-70mm f/2.8

When I compare the new RF 15-35mm to my old lens (EF 11-24), sometimes I miss the 11-14 mm focal length. But the fixed f/2.8 aperture lens and its 5-stop image stabilizer, things my EF 11-24 didn’t have, makes up for this. Better yet, it’s about 30% lighter, and not needing an adapter ring makes it quite a bit shorter.

The fact that the RF 15-35mm f/2.8 lets you use filters with a diameter of 82mm that can also be used with the RF 24-70mm f/2.8 isn’t really that important to my daily work, but this is definitely an advantage for lots of nature photographers. The EF 11-24mm f/4’s bulbous front lens doesn’t make this possible.

The RF 24-70mm f/2.8 is pretty much the same size and length of my old EF 24-70mm f/2.8, but with its 5-stop image stabilization, it outdoes the old lens, also when it comes to optical quality. Especially on the edges, the differences are easy to see (just as for the 15-35 compared to the 11-24). I’m not going to get into these two lenses in more detail here; my focus will be on the RF 70-200mm.

Canon EOS R with RF 15-35mm at 35mm – f3.5 – 1/400 – ISO 800

The “little” RF 70-200mm f/2.8 is a big accomplishment

The first time I saw photos of the new lens, I could hardly believe my eyes. After waiting for more than a year, it looks like I’ve finally got a tele-zoom solution for my EOS R. Armed with the RF 15-35mm, the RF 24-70mm and the latest RF 70-200mm, I headed off to California for 10 days to test the trinity set on a commercial shoot.

Pros

Weight and size

To reiterate, size and weight are important factors when considering the EOS R mirrorless system. The RF 70-200mm f/2.8 is almost 30% smaller and lighter than the EF 70-200mm f/2.8. The length, when zoomed at 200mm, is the same as my old EF lens. But what’s most important for me: it’s much shorter at 70mm. I often have to carry my gear around for hours in my backpack. Any extra space I gain in my photo gear backpack can be used for other things.

5D Mark IV with EF 70-200mm f/2.8, EF 24-70mm f/2.8, EF 11-24mm f/4
EOS R with RF 70-200mm f/2.8, RF 15-35mm f/2.8, RF 24-70mm f/2.8

Image stabilization

When it comes to the RF lens, the 5-stop image stabilization has 1.5 aperture stops more than my previous EF lens. Image stabilization has improved a lot, especially when it comes to long focal lengths or filming. This makes it possible for me to photograph with shutter speeds that I never dared use before, never mind when I’m taking tele shots! The following picture was taken at almost 160mm at just 1/20 seconds:

Canon EOS R with RF 70-200mm at 158mm – f6.3 – 1/20 – ISO 100
100% crop of the image above. No post production sharpening.

Here’s a sample video filmed at 200mm with image stabilization:

Extremely quick auto focus

On this shoot, I shot more than 3000 photos with the 70-200. I took more than 75% of them with an open aperture of f/2.8, often with continuous autofocus. There were considerably less unfocused images using this lens. This is due mostly to the two nano USM autofocus motors, which separately control two groups of lenses. The result: For continuous shooting, the number of sharp photos is higher overall.

As a reference point, look at the logo on the left side of the helmet. On the right side is a 100% crop of the image you see on the left.

The third photo was taken with the following settings:

Canon EOS R with RF 70-200mm at 70mm – f2.8 – 1/2500 – ISO 200
Canon EOS R with RF 70-200mm at 124mm – f2.8 – 1/2000 – ISO 200

Top performance for shots against the light

I love taking photos against the light. For this photo shoot, I decided against a flash or light bouncer, preferring to use Lightroom to edit the shadows and darker areas. The special Super Spectra coating reduces lens flares and scattered light.

Canon EOS R with RF 70-200mm at 119mm – f4.5 – 1/1250 – ISO 200
Canon EOS R with RF 70-200mm at 77mm – f2.8 – 1/2000 – ISO 200

Photos that are crisp and clear

I am totally sold on the crisp definition that the lens makes possible. I was already very satisfied with the results I got from the EF 70-200. The new RF takes it up a notch. The pictures are extremely crisp overall. This is especially noticeable on the edges of the photos.

Canon EOS R with RF 70-200mm at 119mm – f4.5 – 1/1250 – ISO 200
Canon EOS R with RF 70-200mm at 95mm – f2.8 – 1/2500 – ISO 100

Cons

It’s a real challenge to come up with cons for the RF 70-200mm. Some people gripe about the extending lens barrel. During my 10-day shoot, the extending barrel had no negative impact on the images. As compared to other Canon external focus lenses (like the older 100-400), this new lens has a filter between the extending barrel and the main barrel to prevent dust from getting sucked into the lens.

If, after long-term use of the lens, the filter was shown to not prevent this, then this definitely would be a drawback. I haven’t used the lens enough yet to know whether this is an issue. To date, I see no disadvantages to extending lens barrel. On the contrary: I’m quite happy to make use of the extra space I’ve gained to put other lenses in my backpack.

In conclusion

Canon EOS R with RF 70-200mm at 70mm – f2.8 – 1/1250 – ISO 100

Just as the EF 70-200mm f/2.8 is part of a serious Canon DSLR photographer’s toolkit, the same applies to the RF 70-200mm f/2.8 for those using mirrorless EOS R or EOS RP cameras. In my line of work, a compact tele-zoom lens is worth its weight in gold, and right now, there’s no other lens that holds a candle to this one. In my eyes, the optical quality, combined with its compact size and low weight make this lens a must for photographers who work with Canon’s mirrorless system.


About the author: Martin Bissig is a professional photographer and Canon Europe Ambassador based in Switzerland. The opinions expressed in this article are solely those of the author. You can find more of Bissig’s work on his website and Instagram.

Panasonic Unveils 70-200mm f/2.8 and 16-35mm f/4 Full-Frame L-Mount Lenses

Panasonic has added two much-anticipated lenses to its “S Pro” lineup of L-Mount lenses for the full-frame mirrorless Lumix S1, S1R and S1H cameras: The Lumix S Pro 70-200mm f/2.8 O.I.S. and the Lumix S Pro 16-35mm f/4.

The two new lenses bring Panasonic’s L-Mount lens lineup to six total lenses, including one prime and five zooms:

  • Lumix S Pro 50mm f/1.4
  • Lumix S Pro 16-35mm f/4
  • Lumix S Pro 24-70mm f/2.8
  • Lumix S 24-105mm f/4 Macro OIS
  • Lumix S Pro 70-200mm f/2.8 OIS
  • Lumix S Pro 70-200mm f/4 OIS.

And Panasonic is promising to design and develop “11 or more lenses with the emphasis on the ‘LUMIX S PRO’ class by March 2021.”

Lumix S Pro 70-200mm f/2.8 OIS

The star of the show is the stabilized 70-200mm f/2.8 telephoto zoom lens, which brings Panasonic’s full-frame “holy trinity” one step closer to completion.

The optical construction is made up of 22 elements in 17 groups, including two Ultra Extra-low Dispersion (UED) elements, three Extra-low Dispersion (ED) elements, and one aspherical lens elements to tackle chromatic aberration and astigmatism. Like many of the high-performance mirrorless lenses that we’ve seen lately, the S Pro 70-200mm f/2.8 features a dual-focus motor that should be quick, accurate, and helps to suppress aberration at close focusing distances.

Additionally, the lens is fully weather sealed and features optical image stabilization that, when paired with the S1-series in-body image stabilization, offers a reported 7-stops of shake reduction. If that claim pans out in real life, we’re talking about being able to shoot a 1-second exposure where you’d need 1/125th un-stabilized.

The Panasonic Lumix S Pro 70-200mm f/2.8 OIS lens will be available in January for $2,600. To learn more or place a pre-order today, click here.

Lumix S Pro 16-35mm f/4

Joining the 70-200mm f/2.8 is a versatile wide-angle zoom that’s a favorite of photographers who can’t quite afford to drop the cash on a 14-24mm f/2.8, don’t mind giving up one stop of light, and appreciate the additional reach: The Lumix S Pro 16-35mm f/4.

The optical construction is made up of 12 elements in 9 groups, including three aspherical elements, one Extra-low Dispersion (ED) element, and an Ultra-High Refractive Index (UHR) element. This formula promises “stunningly high resolution toward the corners even at wide open,” out of a relatively lightweight package.

The lens features a double-magnet linear motor for fast and accurate autofocus, a weather-sealed construction, and “a mechanism that suppresses focus breathing” for video shooters who don’t want their framing to change when they pull focus.

Like the 70-200mm f/2.8, the new Panasonic Lumix S Pro 16-35mm f/4 lens will ship in January, and this one costs an easier-to-swallow $1,500. To learn more or pre-order yours, click here.

FilmConvert Camera Pack for Panasonic LUMIX S1 and S1H Now Available

FilmConvert has announced the addition of a new camera pack for the Panasonic S1 and S1H cameras. If you are a FilmConvert Pro or FilmConvert Nitrate user, you can download these new profiles for free. Let’s take a closer look.

FilmConvert Camera Pack for Panasonic LUMIX S1 and S1H

The Panasonic LUMIX S1 and LUMIX S1H – the version for filmmakers – are currently on fire! Indeed, the S1H is the first Netflix approved mirrorless camera. Also, if you want to learn more about the S1H, you can take a look at our complete S1H review by clicking here and our lab test by clicking here.

FilmConvertS1S1H_Featured

FilmConvert is continuously updating its list of camera packages, and they have just introduced a new camera pack for the Panasonic LUMIX S1 and S1H. This camera pack is compatible with the FilmConvert Pro and FilmConvert Nitrate plugin. For more information about FilmConvert Nitrate, you can take a look at our article here and even get a 10% discount when purchasing the plugin.

To test their new camera profile, the team at FilmConvert took the camera out for a test drive – the video is at the top of the article – to Zealandia, an eco-sanctuary in Wellington, New Zealand. They shot it with only one lens, the Panasonic Lumix S 24-105mm F/4 Macro OIS, in the V-Log picture profile at 48 frames per second. Grading was done in FilmConvert Nitrate using the KD P400 Ptra film stock. The results they got with the S1H handheld are pleasing to the eye. Also, you can see the full Dynamic Range of the camera in such severe conditions.

Pricing and Availability

FilmConvert camera packs are always free. You can download the new camera packs along with support for a wide selection of other cameras from the FilmConvert website.

Furthermore, they are running the FilmConvert Short Film Competition at the moment, and entries are closing in a few days.  This might be your call to get your film out there and have a chance to win some great filmmaking packages.

What do you think of this FilmConvert camera pack for the S1/S1H? Do you already use FilmConvert Pro or FilmConvert Nitrate? Let us know in the comments!

The post FilmConvert Camera Pack for Panasonic LUMIX S1 and S1H Now Available appeared first on cinema5D.

Sigma Unveils the 24-70mm f/2.8 Art Lens for Full-Frame Mirrorless

Sigma has announced the new 24-70mm f/2.8 DG DN Art lens for full-frame mirrorless cameras. It’ll be available at launch for the E-mount by Sony and the L-mount by the Leica/Panasonic/Sigma L-Mount Alliance.

The new lens is the second DN Art lens designed for full-frame mirrorless cameras, following the 14-24mm f/2.8 DG DN Art. Sigma says the new 24-70mm f/2.8 offers the best optical performance of its class thanks to a sophisticated optical design.

While remaining smaller and lighter than its DSLR counterparts, the new Sigma 24-70mm f/2.8 DG DN Art achieves a uniform high resolution from the center of the frame to the edges throughout the entire zoom range.

“By employing three aspheric lenses, this zoom lens thoroughly subdues aberrations such as axial chromatic aberration or sagittal coma aberrations, which are difficult to correct in post-processing, tailors the resolution and achieves uniformity and superior optical performance from the center to the periphery throughout the zoom range,” Sigma says.

On the front of the lens is Sigma’s Super Multi-Layer Coating and Nano Porous Coating, the latter of which helps the lens achieve high contrast and clear images. The coatings help reduce flare and ghosting when shooting with strong incident light.

Build-wise, the lens is both dust- and splash-proof, and there’s a zoom lock switch on the body to prevent the lens barrel from extending when you don’t want it to.

Other features and specs of the lens include maximum magnifications of 1:2.9 (wide) and 1:4.5 (tele), a minimum focusing distance of 7in/18cm (on the wide end), a locking lens hood, an 11-bladed rounded diaphragm for smooth bokeh, a rugged brass bayonet mount, and Japanese manufacturing.

The Sigma 24-70mm f/2.8 DG DN Art will be available in E and L mounts starting in mid-November 2019. Pricing has yet to be announced.

Dictators, Predators and Magical Thinkers (and Some Combination Thereof): Doubling Up at DOC NYC

Now in its 10th year (though still in November, AKA doc-tsunami festival month) the upcoming DOC NYC is celebrating the anniversary with a wealth of nonfiction riches. Boasting a whopping 300-plus films and events — including 28 world premieres and 27 US premieres — this year’s edition will also be hosting an eclectic array of guests. On hand will be everyone from musician Robbie Robertson — star of Daniel Roher’s Once Were Brothers: Robbie Robertson and The Band, which opens the fest — to fashion force-of-nature André Leon Talley (who starred in Kate Novack’s The Gospel According to André just […]

VueScan application makes thousands of old scanners compatible with macOS Catalina

Apple’s latest desktop operating system, macOS Catalina, dropped support for 32-bit applications. As a result, many older scanners lost native support for the operating system, forcing owners to upgrade to newer hardware or use a different computer that retained compatibility. Third-party scanning software VueScan offers a different solution, namely support for around 6,000 older scanner models.

VueScan was upgraded this week to version 9.7. With it, Mac users can use their older 32-bit scanner with their Apple desktop or laptop even if they’re running macOS Catalina. The third-party software is made possible by reverse-engineering drivers for more than 6,000 older scanners from 42 manufacturers, including film scanner and flatbed models.

Manufacturers include Ricoh, Canon, Fujitsu, Kodak, Nikon, Panasonic, Polaroid, Samsung, Mitsubishi, and Epson, among others; a full list of supported models can be found here. Overall, VueScan supports around 2,400 scanner models on Windows, 2,100 models on Mac, and 1,900 models on Linux.

The software is available for $49.95 USD (Standard Edition) and $99.95 USD (Professional Edition), the latter of which includes support for film and slide scanning, among other things.

Leica SL2

The new Leica SL2 comes with improved ergonomics, a more comfortable grip, in-body image stabilization and excellent 4K Full Frame video. The L-Mount’s 20mm shallow flange depth and the in-camera stabilization accommodate Leica M, S and R lenses. PL, LPL and other cine lenses not only fit but also benefit from the 5-axis sensor stabilization. Meanwhile, Leica continues to roll out an impressive series of new SL lenses. The SL2 camera menu is designed with 2 separate modes: “Photo” and “Cine (Video).” read more…

Panasonic S1 & S1R Firmware

Panasonic has announced that the company will release firmware updates for the S1 and S1R. The most important features from my perspective are the ability to use CFexpress Type B cards, improved auto focus performance, and the ability to now manually set the exposure when shooting in the VFR mode. The other big fixes are … Continued

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Panasonic G9 gets 4K 30p/25p 4:2:2 10-bit internal recording

The Panasonic G9 is getting the ability to record 4K 30p/25p 4:2:2 10-bit internally. This makes it the most affordable hybrid mirrorless camera capable of 4:2:2 10-bit internal recording. The G9 will also get V-Log L as a paid license upgrade, as well as VFR (Variable Frame Rate) FHD 2-180 fps/4K 2-60 fps). All firmware … Continued

The post Panasonic G9 gets 4K 30p/25p 4:2:2 10-bit internal recording appeared first on Newsshooter.

How to Intercut Scenes In Your Script

Intercutting scenes in your screenplay can show a distinct handle on your storytelling abilities and help you save page length. Here’s how.

Perhaps you’ve gotten to a part in your screenplay where you have a ton of scenes or action happening at once. You hate writing a dozen sluglines and you feel like you’re wasting page space just writing back and forth.

Enter the intercut, a useful tool to handle simultaneous action in any screenplay. Let’s walk through how to intercut scenes in your screenplay. We’ll go over script format, ways to use intercutting, and look at a few famous examples of intercutting in movies.

How to Intercut Scenes in your Script

Intercut Definition

When a screenplay alternates from one scene to another scene, which take place at the same time, this is called an INTERCUT. Instead of writing scene headings over and over, you can write one scene heading for each location and then indicate that the scenes are INTERCUT together by placing that INTERCUT atop the page to the right.

Read More

Sigma 24-70mm f/2.8 FE lens: Image samples, MTF graph and “Best-in-class optical performance”

Preorders are yet NOT open: Sigma 24-70mm FE lens at BHphoto, Adorama. Sigma published the full 24-70mm f/2.8 FE product page (Click here). Sigma is aiming high with this lens as they say it has the “Best-in-class optical performance” Best-in-class…

The post Sigma 24-70mm f/2.8 FE lens: Image samples, MTF graph and “Best-in-class optical performance” appeared first on sonyalpharumors.

Leica SL2: First sample images from this new 47MP camera

The Leica SL2 is the brand’s latest full frame mirrorless camera sporting a new 47MP sensor, updated processor, redesigned ergonomics and an upgraded 5.76M-dot OLED viewfinder.

We got our hands on an SL2 prior to launch and we’ve been shooting around downtown Seattle alternating between Leica’s beefy but versatile 24-90mm F2.8-4 and Sigma’s charmingly compact 45mm F2.8. Here are our initial samples.

See our Leica SL2 sample gallery

DPReview TV: Leica SL2 first impressions

Chris and Jordan are off to Germany to try the new Leica SL2 at Leica headquarters. Will Chris get to keep a camera for his birthday? Will Jordan declare it the best Leica ever for video? Tune in to to get the answers to this and more.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Sample images from this episode

The Leica SL2 is a refined full-frame camera with in-body stabilization, fast burst shooting and capable video features

The Leica SL2 is a major update of the company’s original full-frame mirrorless camera, the SL, which was introduced four years ago. The SL2’s design isn’t a dramatic departure from the original, though the hard edges have been softened, the grip has been refined and a new three-button rear interface is similar to that of the Q2. Build quality and weather-sealing has improved to the point where the SL2 has earned an IP54 rating.

The real differences between the SL2 and SL can be found on the inside. The SL2 has a 47MP full-frame CMOS sensor – likely similar to what’s in the Q2 and Panasonic’s S1R – and a 5-axis sensor-shift IS system that can also be used to produce 187MP Raw images. Its contrast detection autofocus system has been improved according to Leica, and a ‘Smart AF’ feature can automatically switch between focus and shutter release priority.

Photos can be composed via a 3.2″ touchscreen display with 2.1 million dots or a large 5.76M-dot electronic viewfinder. As before, a small status display on the top plate shows important shooting information.

The SL2 can shoot bursts at 20 fps with the electronic shutter and 10 fps with the mechanical shutter, both with AF locked. For continuous focus and exposure, you’ll need to drop to 6 fps. The camera has dual SD card slots, both of which are capable of UHS-II speeds. The official battery life rating for the SL2 is 370 shots per charge, but as always, you’ll likely do better.

The SL2 can shoot DCI or UHD 4K at up to 60p from nearly the full width of the sensor. Both 60p and 50p footage are captured as 8-bit 4:2:0, while 30p and below can be recorded or output as 10-bit 4:2:2 streams. There’s also an option to shoot 5K at up to 30p from a 4:3, roughly 1.6x, cropped region of its sensor. The camera will let you shoot using a proprietary L-Log gamma curve for any of its 10-bit modes and the standard, ready-for-use HLG curve in its 10-bit 4:2:2 modes.

The Leica SL2 will be available on November 21st at a list price of $5995.

View our SL2 sample gallery

Go hands-on with the SL2

Watch DPReview TV’s first impressions

Press release:

A New Icon: Leica Camera Announces the New Leica SL2, Successor to the Trailblazing Leica SL

New camera resets the tone for the mirrorless market

November 6, 2019 – Building on the foundation established in 2015 with the visionary Leica SL-System, Leica Camera proudly introduces the Leica SL2, the storied brand’s new icon and next evolutionary step towards building the perfect all-purpose camera. By listening closely to the valued feedback of photographers and existing SL owners, Leica made many efforts to push the envelope of technological innovation and performance while respecting its heritage of design and legacy. In addition to a technical marvel of pure performance and unmatched build quality, the Leica SL2 is also a joyous experience to use with improved ergonomics and more comfortable grip married to the well-established, simplified three-button control layout, further unifying the Leica design language across multiple product lines. While cutting-edge new features such as in-body image stabilization unlocks newfound potential from legendary Leica M-Lenses, it simultaneously augments the growing selection of SL-Lenses which are some of the finest optics Leica has ever produced. The Leica SL2 is the natural evolution of the innovative Leica SL, serving as a groundbreaking embrace of the future of digital photography and videography while paying homage to its respected history and lineage.

CMOS sensor with 47 megapixels for superior image quality

The unprecedented resolution of the SL2’s CMOS image sensor in full-frame format results in an unparalleled level of detail rendition and image quality. Enormous dynamic range, a color depth of 14 bits per RGB channel and a sensitivity of up to ISO 50,000 enable outstanding image quality in all lighting conditions. Even when combined with Leica TL lenses, which are designed for the smaller sensor format of the Leica TL2 and CL, the SL2’s sensor still delivers an excellent image resolution of over 20 megapixels.

Optical image stabilization through sensor-shift technology

In a major evolution of the SL, the Leica SL2 features a suspended sensor which adjusts its position in order to quickly and efficiently compensate for camera shake. This in-camera method even makes image stabilization available to lenses that are not equipped with their own.

Additionally, in multishot mode, the tripod-mounted camera can record up to eight consecutive frames, whereby the sensor is shifted in half-pixel increments in between every exposure. This key feature results in images with an incredible quadrupled resolution of around 187 megapixels, leading to an extreme increase in detail resolution.

Improved ergonomics for stress-free shooting in any situation

Despite significant technical improvements, the Leica SL2 is neither larger nor heavier than its predecessor and feels particularly compact to handle. This is due to the fully redesigned camera body, whose handgrip and the edges have been subtly refined for easier handling.

Improved body design paired with increased durability make the SL2 the perfect companion for all forms of shooting. The SL2’s IP54 certification ensures an elevated weather sealing for more rugged situations, while a new option to turn off noise reduction during long exposures allows for more hands-free shooting. Less worry about the weather and environmental situations means photographers can focus more on getting the shot.

Overall the design of the SL2 recalls more of the iconic Leica identity and traditional design DNA elements that the brand has become known and loved for.

Streamlined design with new status menus

The Leica SL2 offers an innovative user interface whose efficient design allows photographers to focus their attention on the creative process. The design alignment with the existing M and Q systems makes the adjustment even easier for existing Leica photographers.

The main recording parameters can be viewed on the rear display and adjusted quickly and easily with a simple finger tap. A click wheel, a joystick and three strategically placed, individually configurable buttons also contribute to a straightforward operation. Thanks to two dedicated status menus for stills and video recording, the parameters for either shooting mode can be adjusted entirely separately from each other.

Limitless connections

Featuring an L bayonet lens mount, the Leica SL2 is not only compatible with the ever-growing portfolio of SL-System lenses, but also with lenses of the TL-System and with the legendary lenses of Leica’s M, S and R-Systems via adapter, providing more than 170 Leica lens options, guaranteed to offer the right fit for any photographic scenario. The L-Mount Alliance expands this scope of possibilities even further, by giving SL2 photographers access to L-mount-compatible lenses from Sigma and Panasonic.

Maestro III processor for ultra-fast operation

The new Maestro III processor facilitates a superior operating speed that shines in many aspects of the SL2’s performance. The autofocus is significantly faster and allows for a virtually lag-free shutter release in any shooting situation, which is further complemented by the new Smart AF mode, which autonomously switches between focus priority and shutter release priority. Full-resolution recordings of consecutive images are possible at 10 frames per second with the focal plane shutter, and 20 frames per second with the electronic shutter. Thanks to two UHS-II-compatible SD card slots, raw files can be saved simultaneously in DNG and JPEG format.

Leica EyeRes® viewfinder with even higher resolution

The camera’s electronic viewfinder now boasts a resolution of 5.76 megapixels, allowing for a large, entirely natural-looking viewfinder image. Simultaneously, the experience is further enhanced when using the touchscreen, which has increased in size to a 3.2-inch diagonal, and now offers a significantly higher resolution of 2.1 megapixels.

Perfect tool for cinematographers

In addition to its great appeal for photographers, the Leica SL2 speaks the language of cinematographers, as the camera is able to record up to 60 frames per second in Cine 4K mode, and up to 180 frames per second in Full-HD mode. Activating Cine mode transforms the SL2 into a manually controlled cine camera as ISO becomes ASA, the shutter speed is marked in degrees on the rotary disk shutter, and the f-stops indicating the aperture ratio are replaced by T-stops, which measure the actual amount of light transmitted through the lens. Connecting audio equipment to the Leica SL2 no longer requires the use of adapters, as the camera now features a build in headphones and mic jack, complemented by a fully-fledged HDMI connector for external monitors.

The Leica SL2 is available in Leica Stores and Leica Boutiques beginning November 21, 2019, at a recommended retail price of $5,995.