Filmconvert Panasonic S1H & S1 Camera Packs

Filmconvert has released new camera packs for the Panasonic S1H and S1. The S1H is the first Netflix-approved mirrorless camera and now you can grade V-Log material from that camera using Filmconvert. The S1H is the video-centric variant, but thanks to Panasonic New Zealand Filmconvert were also able to profile the S1 model as well. … Continued

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Panasonic Lumix S Pro 70-200 f/2.8 O.I.S & 16-35 f/4 announced

Panasonic has announced two brand new L-Mount lenses with the Lumis S PRO 70-200mm f/2.8 O.I.S & Lumix S PRO 16-35mm f/4 lenses. The lenses are designed for professional use, completing the trio of Lumix S PRO zoom lenses, joining the 24-70mm f/2.8. The LUMIX S PRO line up now consists of six lenses.• LUMIX … Continued

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10 Great Sci-Fi Film Classics You’ve Probably Never Seen

Silent Running Bruce Dern

Science fiction is a wide and broad genre. So many classics have defined it, but sometimes, some of them are not recognized as such or they are overlooked. This list represents just the first step for bringing to light 10 movies that many film aficionados may not have seen. From different years and nations, these movies once again prove the immense power and versatility of sci-fi.

And of course, remember that there are many others out there that are ready to be discovered and enjoyed again.

 

1. The X From Outer Space (1967)

Late 20th century. A Japanese spaceship called AAB Gamma is traveling to Mars, in order to research on the possible presence of UFOs near the planet. During the mission, AAB Gamma runs into an unidentified alien spaceship that shoots a mysterious white liquid onto the hull of the vessel. The crew decides to take samples from the strange liquid and to bring them back on Earth. This decision will unleash a terrible creature.

With monsters, explosions, spaceships, mayhem and destruction, “The X from Outer Space” can be described by one word: cult. Directed by Kazui Nihonmatsu and starring Eiji Okada – who everybody will remember for the magnificent performance in “Hiroshima mon amour” (1959) – this Japanese kaiju movie is a classic monster movie that combines pure sci-fi moments with a great dose of comedy. For fans of B-movies and especially the great tradition of Japanese kaiju films, “The X from Outer Space” is a must see.

 

2. Silent Running (1972)

robots-silent-running

The orbit of Saturn. In order to protect vegetation and plants – in great danger of extinction on Earth – the spaceship Valley Forge is equipped with special domes that contain a variety of plants. However, an order imposes the spaceship crew to destroy the domes with everything inside; Freeman Lowell (Bruce Dern) – the botanist and ecologist who manages and takes care of the vegetation – decides to mutiny and rebel in order to save the plants and keep open the possibility of reforestation on Earth.

“Silent Running” is a classic gem that most people tend to forget about. It’s directed by the great Douglas Trumbull, mostly known for his ability in the special effects field; just to give you an idea, he worked on the visuals for “2001: A Space Odyssey” (1968), “Blade Runner” (1982) and “The Tree of Life” (2011).

Just like “Demon Seed” (1977), the topic and message of this movie are not only important, but also current; the deforestation and – more generally – the impact of humans’ action on planet Earth are widely recognized as harmful and possibly catastrophic for the ecosystem and for our survival. Trumbull – in conjunction with the screenwriters, including Michael Cimino – is able to convey this message, mixing an environmentalist tone with the canons of post-apocalyptic science fiction.

If you’re looking for conscious entertainment, look no further.

 

3. A Boy And His Dog (1975)

A Boy and His Dog

2024, America. World War 4 lasted only 5 days; after the nuclear destruction of the world, the last form of humankind tries to survive in a post-apocalyptic scenario. Vic (Don Johnson) roams around a desert-like landscape, looking for food and sexual encounters; his approach is rude and essential, since he didn’t receive a proper education due to the death of his parents. Vic is helped by a dog named Blood, who’s able to communicate in human language through telepathy. During their journey, Vic and Blood meet a girl named Quilla June Holmes (Susanne Benton); the appearance of Quilla will change drastically the path of both.

“A Boy and His Dog” is a crazy movie. In the first part of the movie, it seems like a normal and stereotypical post-apocalyptic story, with all the required clichés. Don’t get fooled by the premises because in the second and third part, the movie explodes in a mixture of dark comedy, surrealism, and thriller.

Even though “A Boy and His Dog” is a low-budget movie, the production design was smart and accurate; the sapient use of the desert and also the indoor scenes were able to elevate what might have been just another average B-movie. If you want to experience a heterodox buddy movie with creepy humorous segments and an engaging story, look no further.

 

4. Demon Seed (1977)

Demon Seed (1977)

Based on the book of the same name written by Dean Koontz, Demon Seed is a sci-fi movie with a sharp horror feel, which deals with the important and current theme of the relationship between human beings and technology.

Alex Harris (Fritz Weaver) is an inventor and developer of many technological devices; his house – where he lives with his soon-to-be divorced wife Susan (Julie Christie) – is totally automated and equipped with functioning technological computers.

Dr. Harris develops a revolutionary artificial intelligence program called Proteus IV with countless capacities. Increasingly autonomous, the AI device gains control of all the computers in the house and traps Susan inside. The super intelligent Proteus IV will drastically affect Alex and Susan’s lives.

For the low-budget profile, “Demon Seed” could be mistaken for another B-movie that combines science fiction premises with horror imagery. However, for the subject matter, it’s a highly challenging movie, forcing you to analyze and think about how impactful technology can be in our day-to-day life. “Demon Seed” makes you question the positive and meaningful role of technology and AI computer devices. The future doesn’t seem so bright anymore.

This highly underrated classic will stimulate your appreciation for science fiction and horror and make you think about important issues. Entertaining and educational.

 

5. Time Bandits (1981)

Time Bandits

Terry Gilliam has one of the most creative and recognizable styles in modern cinema; his movies are always unpredictable and crazy. “Time Bandits” is no different.

Living with parents who don’t really care about him, Kevin (Craig Warnock) has a sweet spot for history. One night while he is laying in bed, in a dream-like appearance, six dwarves come out of his wardrobe, chased by the head of a strange creature. Kevin decides to join them and – pushing one side of his bedroom’s walls – he follows them through this unknown and mysterious passage. A long adventure will start for Kevin and the six dwarves, through different time periods.

The aforementioned trademark style of Gilliam is always visible in the movie; this would be a normal teenage movie – like many others in the 1980s – without him. Gilliam is able to twist the genre and to exploit it in order to make it functional to his peculiar vision of cinema. “Time Bandits” is unmissable for whoever loves Gilliam and sci-fi and fantasy mixtures. A classic that is sometimes wrongfully forgotten.

Canon EOS Ra

Canon has announced the EOS Ra, which has been specifically designed for astrophotography enthusiasts. This is Canon’s first full-frame mirrorless camera dedicated to deep sky and night sky photography. Infrared-cutting filter Positioned in front of the CMOS imaging sensor is an infrared-cutting filter that has been modified to permit approximately 4x as much transmission of … Continued

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Sigma 24-70mm F2.8 DG DN Art Zoom Lens

Sigma has announced the 24-70mm F2.8 DG DN Art Zoom Lens for Full Frame Mirrorless Cameras. It will be available in Sony E-mount and L-mount. This is the second newly-designed Art zoom lens from Sigma and follows on from the 14-24mm F2.8 DG DN Art zoom. Sigma claims that the 24-70mm F2.8 DG DN Art … Continued

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Behind the Scenes – FILM RIOT “There Comes a Knocking”

A couple months ago I took a quick weekend trip to Texas to be on the set of Ryan Connolly’s new horror short film “There Comes a Knocking” This is a behind the scenes look at that film and the crew that pulled it together.

Watch this first if you haven’t seen it already ► http://bit.ly/2PQgUm8

Film Riots own BTS ► http://bit.ly/2JTqDVc

Outro music from ArtList IO ► http://bit.ly/GregArtlistio – Get 2 months FREE!

Stay up to date!
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Sigma 24-70mm f/2.8 FE lens officially announced!

Preorders are yet NOT open: Sigma 24-70mm FE lens at BHphoto, Adorama. Press release: Sigma Announces New 24-70mm F2.8 DG DN Art Zoom Lens for Full Frame Mirrorless Cameras; Available in Sony E-mount and L-mount Sigma Corporation today made the…

The post Sigma 24-70mm f/2.8 FE lens officially announced! appeared first on sonyalpharumors.

All-new Sigma 24-70mm F2.8 DG DN Art coming to E and L-mount

Sigma has announced the newly developed 24-70mm F2.8 DG DN ‘Art’ for Sony E and Panasonic/Leica/Sigma L-mounts. The new lens joins the previously-announced 14-24mm F2.8 DG DN Art as the second of Sigma’s DN, or ‘Digital Native’ zooms designed from the outset for full-frame mirrorless.

The new 24-70mm has a total of 19 elements, including low dispersion, special low dispersion and aspherical glass. Sigma’s ‘Super Multi-Layer’ and ‘Nano Porous’ coatings have been applied to reduce flare and ghosting. Autofocus is driven by a stepping motor and the lens can focus as close as 18cm (7.1″).

The new 24-70 is weather-sealed, features a brass bayonet mount and uses 82mm filters. The L-mount version weighs in at 845 grams (1.9 pounds) – a figure for the E-mount version was not available at launch.

You can get your hands on the 24-70mm F2.8 DG DN Art lens in just a few weeks. Pricing has yet to be disclosed, but it will naturally be compared against Tamron’s popular 28-75mm F/2.8 Di III RXD, which retails for $850.

Press release:

Sigma Announces New 24-70mm F2.8 DG DN Art Zoom Lens for Full Frame Mirrorless Cameras; Available in Sony E-mount and L-mount

Sigma Corporation today made the following announcement:

Launch of the 24-70mm F2.8 DG DN Art Zoom lens for full frame mirrorless cameras, leveraging the top-level Art zoom performance, featuring:

  • Best-in-class optical performance
  • Compatibility with the latest full-frame mirrorless camera bodies
  • Flexibility for various uses and photographic environments

Sigma 24-70mm F2.8 DG DN Art Lens

This second newly-designed Art zoom lens from Sigma is a large-aperture standard zoom for full-frame mirrorless camera systems and is available in Sony E-mount and L-mount. The Sigma 24-70mm F2.8 offers best-in-class performance due to a sophisticated optical design that delivers high resolution throughout the entire zoom range. This new Art zoom lens from Sigma follows the debut of the lauded 14-24mm F2.8 DG DN Art zoom for mirrorless cameras.

The Sigma 24-70mm F2.8 DG DN Art lens exerts superiority in mirrorless camera-dedicated designs, resulting in a reduced lens size and weight while achieving uniformity and high resolution from the center to the periphery throughout the zoom range. Compatibility with the latest mirrorless camera bodies and functions assists in various photographic environments and meets the high demands of both professional and advanced amateur photographers.

Key features include:

  1. Best-in-class optical performance. The F2.8 Art flagship zoom lens series is developed to achieve superior optical performance. 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. In addition to Super Multi-Layer Coating, Sigma’s proprietary Nano Porous Coating is employed to achieve high-contrast and clear image quality. This lens is designed to be less affected by strong incident light such as flare.
  2. Ensuring compatibility with the latest full-frame mirrorless camera bodies. The Sigma 24–70mm F2.8 DG DN ensures compatibility with various types of the latest full-frame mirrorless camera bodies for Sony E-mount and L-mount, (including the new Sigma fp camera), capable of exerting the best performance under any photographic circumstances.
  3. Flexibility for various uses and photographic environments. Featuring a dust and splash-proof body and zoom lock mechanism for preventing the lens barrel from extending unexpectedly, the 24-70mm F2.8 meets a wide range of needs for a variety of photographic environments. The maximum magnifications are 1:2.9 at the wide-angle end and 1:4.5 at the telephoto end, which provides a wider range of expression for close-up photography. The minimum focusing distance is 18 cm at the wide-angle end.

Additional features:

  • Zoom lock switch
  • Lens hood with a lock
  • Mount with dust- and splash-proof structure
  • Compatible with the Lens Aberration Correction
  • Available Mount conversion service
  • Designed to minimize flare and ghosting
  • Evaluation with Sigma’s own MTF measuring system: A1
  • 11-blade rounded diaphragm
  • High-precision, rugged brass bayonet mount
  • “Made in Japan” craftsmanship

The Sigma 24-70mm F2.8 DG DN Art will be available in L-mount and Sony E-mount in mid-November 2019 through authorized US dealers. Pricing will be announced at a later date.

For full product details and technical specifications as well as press imagery, please refer to the official press release here.

More details are available at: http://www.sigma-global.com/en/lenses/cas/concept.

Sigma 24-70mm F2.8 DG DN Art specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 24–70 mm
Image stabilization No
Lens mount Leica SL, Sony FE
Aperture
Maximum aperture F2.8
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 11
Optics
Elements 19
Groups 15
Special elements / coatings 6 FLD + 2 SLD + aspherical elements, Super Multi-Layer and Nano Porous coatings
Focus
Minimum focus 0.18 m (7.09)
Maximum magnification 0.34×
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 835 g (1.84 lb)
Diameter 88 mm (3.46)
Length 123 mm (4.84)
Materials Magnesium alloy
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock Yes
Filter thread 82 mm
Hood supplied Yes
Tripod collar No
Other
Notes Weight and dimensions for L-mount version

Panasonic’s new Lumix S Pro 70-200mm F2.8 offers up to 7 stops of shake reduction

Panasonic has officially unveiled the Lumix S Pro 70-200mm F2.8 for its full-frame L-mount system, adding a fast-aperture, stabilized telephoto zoom to the native lens lineup. The lens will go on sale early next year for $2600.

The 70-200mm F2.8 includes optical stabilization, which can be combined with in-camera ‘Dual IS 2’ system for a total of 7 stops of shake reduction. It’s dust and water-resistant, and offers a minimum focus distance of about 1m (3ft).

The lens weighs 1570g (3.5lbs) and accepts 82mm filters. Optical construction comprises 22 total elements in 17 groups, including one aspherical, three Extra-low Dispersion and two Ultra Extra-Low Dispersion lenses to reduce chromatic aberration.

The Panasonic Lumix S Pro 70-200mm F2.8 will arrive alongside the also-announced 16-35mm F4 in January at a price of $2600.

Press release:

Panasonic Launches Two New L-Mount Interchangeable Lenses for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Camera

Newark, NJ (November 6, 2019) – Panasonic is proud to introduce two new interchangeable lenses based on the L-Mount system for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Cameras. Designed for professional use, the LUMIX S Series offers uncompromising photographic expression with its high-quality cameras and lenses.

The LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200) is a large-aperture telephoto zoom lens that boasts high descriptive performance across the entire zoom range. The LUMIX S PRO 16-35mm F4 (S-R1635) is a versatile wide zoom lens that provides high resolution images and a beautiful bokeh despite its compact, light-weight profile. Both high-performing LUMIX S PRO lenses achieve LEICA’s stringent standards.

LUMIX S PRO/S Lens Lineup as of November 2019

  • LUMIX S PRO 50mm F1.4 (S-X50)
  • [NEW] LUMIX S PRO 16-35mm F4 (S-R1635)
  • LUMIX S PRO 24-70mm F2.8 (S-E2470)
  • LUMIX S 24-105mm F4 MACRO O.I.S. (S-R24105)
  • [NEW] LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200)
  • LUMIX S PRO 70-200mm F4 O.I.S. (S-R70200)

In addition to Panasonic’s existing portfolio of first-class lenses for the LUMIX S series family of cameras, the company is committed to designing and developing 11 or more lenses with the emphasis on the “LUMIX S PRO” class by March 2021. Currently, more than 46 interchangeable L-Mount lenses are available or will be available from Panasonic, Leica Camera AG and Sigma, opening up a virtually limitless spectrum of new creative possibilities.

LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200)

Designed and developed for professional field shooting, the LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200) uses 2 UED (Ultra Extra-low Dispersion) lenses, 3 ED (Extra-low Dispersion) lenses and optimum alignment comprising 22 elements in 17 groups, effectively suppressing both axial chromatic aberration and chromatic aberration of magnification. Astigmatism is also corrected with an aspherical lens, achieving high resolving performance. Adoption of a double focus system suppresses fluctuation of aberration even at close distances, which results in high descriptive performance from the center to the corners over the entire zoom range despite its large aperture.

Covering from 70mm to 200mm, the use of a Teleconverter allows a maximum 280mm (1.4x, with DMW-STC14) and 400mm (2x, with DMW-STC20) super telephoto shooting*1, with maximum 480 fps focus control for high-speed, high-precision auto focus. The O.I.S. (Optical Image Stabilizer) in the lens complies with the camera’s Body I.S. and the 5-Axis Dual I.S. 2*2 makes it possible to use a 7-stop slower shutter speed*3. Adoption of a focus clutch mechanism enables instant AF/MF switching and accurate manual focusing.

The constant F2.8 large aperture provides smooth defocus gradation from the focus peak to the neighboring area of the image to achieve a beautiful bokeh effect as well as a rich perspective. The LUMIX S PRO 70-200mm F2.8 O.I.S. also excels in video recording performance with a mechanism that suppresses focus breathing, which was a fatal problem in all interchangeable lenses designed for still image photography.

The rugged, dust/splash-resistant*4 design withstands use under harsh conditions even at 10 degrees below zero for high mobility. The filter size is 82 mm, with an 11-blade circular aperture diaphragm.

LUMIX S PRO 16-35mm F4 (S-R1635)

The LUMIX S PRO 16-35mm F4 (S-R1635) is a versatile wide zoom lens boasts high descriptive performance in both photo shooting and video recording.

Comprising 12 elements in 9 groups, the use of 3 aspherical lenses, an ED (Extra-low Dispersion) lens and a UHR (Ultra-High Refractive Index) lens and the optimum alignment achieves high MTF performance despite its compact size and light weight. It boasts stunningly high resolution toward the corners even at wide open as well as a beautiful bokeh, suppressing double line bokeh and vignetting.

A double-magnet linear motor is integrated for the AF actuator, featuring high power despite its small size, achieving a maximum 480 fps high-speed sensor drive. This realizes fast, high-precision AF to ensure that photo opportunities are never missed. Like the 70-200mm F2.8 O.I.S. (S-E70200), the 16-35mm F4 (S-R1635) adopts a focus clutch mechanism, enabling instant AF/MF switching and accurate manual focusing, as well as excels in video recording performance thanks to a mechanism that suppresses focus breathing.

It is also rugged dust/splash-resistant, *4 withstanding harsh conditions even at 10 degrees below zero for high mobility. The filter size is 77 mm, with a 9-blade circular aperture diaphragm.

Both lenses will be at retail in January. The LUMIX S PRO 16-35mm F4 will available for $1,499 and the LUMIX S PRO 70-200mm F2.8 is $2,599.

*1 Use of the tele converter reduces the effective aperture by one f/stop (DMW-STC14) or two f/stops DMW-STC20)
*2 5-Axis Dual I.S. 2 can be used with the camera LUMIX S1R, S1 and S1H, as of November 6, 2019.
*3 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm, when
LUMIX S1R/S1/S1H is used.]
*4 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to
direct contact with dust and water.

Panasonic Lumix S Pro 70-200mm F2.8 O.I.S. specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 70–200 mm
Image stabilization Yes (up to 7 stops with Dual IS 2 compatible bodies)
CIPA Image stabilization rating 7 stop(s)
Lens mount Leica SL
Aperture
Maximum aperture F2.8
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 11
Optics
Elements 22
Groups 17
Special elements / coatings 1 aspherical + 3 ED + 3 UED elements
Focus
Minimum focus 0.95 m (37.4)
Maximum magnification 0.21×
Autofocus Yes
Motor type Linear Motor
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Focus distance limiter Yes
Physical
Weight 1570 g (3.46 lb)
Diameter 94 mm (3.7)
Length 209 mm (8.23)
Materials Magnesium alloy
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock No
Filter thread 82 mm
Hood supplied Yes
Tripod collar Yes

Panasonic Lumix S Pro 16-35mm F4 debuts in January for $1500

Panasonic has announced the Lumix S Pro 16-35mm F4, a compact wide-angle zoom for its full-frame L-mount system. The lens will go on sale early next year for $1500.

Optically, the 16-35mm F4 is made up of 12 elements in nine groups and includes one ED, one UHR and three aspherical elements. The 16-35 weighs 500g (17.6oz) with an overall length of about 100mm (3.9″), and offers dust and splash-resistance. Its minimum focus distance is 0.25m (9.8″), and the lens accepts 77mm filters.

The Lumix S Pro 16-35mm F4 will arrive in January 2020 alongside the also-announced 70-200mm F2.8.

Press release:

Panasonic Launches Two New L-Mount Interchangeable Lenses for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Camera

Newark, NJ (November 6, 2019) – Panasonic is proud to introduce two new interchangeable lenses based on the L-Mount system for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Cameras. Designed for professional use, the LUMIX S Series offers uncompromising photographic expression with its high-quality cameras and lenses.

The LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200) is a large-aperture telephoto zoom lens that boasts high descriptive performance across the entire zoom range. The LUMIX S PRO 16-35mm F4 (S-R1635) is a versatile wide zoom lens that provides high resolution images and a beautiful bokeh despite its compact, light-weight profile. Both high-performing LUMIX S PRO lenses achieve LEICA’s stringent standards.

LUMIX S PRO/S Lens Lineup as of November 2019

  • LUMIX S PRO 50mm F1.4 (S-X50)
  • [NEW] LUMIX S PRO 16-35mm F4 (S-R1635)
  • LUMIX S PRO 24-70mm F2.8 (S-E2470)
  • LUMIX S 24-105mm F4 MACRO O.I.S. (S-R24105)
  • [NEW] LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200)
  • LUMIX S PRO 70-200mm F4 O.I.S. (S-R70200)

In addition to Panasonic’s existing portfolio of first-class lenses for the LUMIX S series family of cameras, the company is committed to designing and developing 11 or more lenses with the emphasis on the “LUMIX S PRO” class by March 2021. Currently, more than 46 interchangeable L-Mount lenses are available or will be available from Panasonic, Leica Camera AG and Sigma, opening up a virtually limitless spectrum of new creative possibilities.

LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200)

Designed and developed for professional field shooting, the LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200) uses 2 UED (Ultra Extra-low Dispersion) lenses, 3 ED (Extra-low Dispersion) lenses and optimum alignment comprising 22 elements in 17 groups, effectively suppressing both axial chromatic aberration and chromatic aberration of magnification. Astigmatism is also corrected with an aspherical lens, achieving high resolving performance. Adoption of a double focus system suppresses fluctuation of aberration even at close distances, which results in high descriptive performance from the center to the corners over the entire zoom range despite its large aperture.

Covering from 70mm to 200mm, the use of a Teleconverter allows a maximum 280mm (1.4x, with DMW-STC14) and 400mm (2x, with DMW-STC20) super telephoto shooting*1, with maximum 480 fps focus control for high-speed, high-precision auto focus. The O.I.S. (Optical Image Stabilizer) in the lens complies with the camera’s Body I.S. and the 5-Axis Dual I.S. 2*2 makes it possible to use a 7-stop slower shutter speed*3. Adoption of a focus clutch mechanism enables instant AF/MF switching and accurate manual focusing.

The constant F2.8 large aperture provides smooth defocus gradation from the focus peak to the neighboring area of the image to achieve a beautiful bokeh effect as well as a rich perspective. The LUMIX S PRO 70-200mm F2.8 O.I.S. also excels in video recording performance with a mechanism that suppresses focus breathing, which was a fatal problem in all interchangeable lenses designed for still image photography.

The rugged, dust/splash-resistant*4 design withstands use under harsh conditions even at 10 degrees below zero for high mobility. The filter size is 82 mm, with an 11-blade circular aperture diaphragm.

LUMIX S PRO 16-35mm F4 (S-R1635)

The LUMIX S PRO 16-35mm F4 (S-R1635) is a versatile wide zoom lens boasts high descriptive performance in both photo shooting and video recording.

Comprising 12 elements in 9 groups, the use of 3 aspherical lenses, an ED (Extra-low Dispersion) lens and a UHR (Ultra-High Refractive Index) lens and the optimum alignment achieves high MTF performance despite its compact size and light weight. It boasts stunningly high resolution toward the corners even at wide open as well as a beautiful bokeh, suppressing double line bokeh and vignetting.

A double-magnet linear motor is integrated for the AF actuator, featuring high power despite its small size, achieving a maximum 480 fps high-speed sensor drive. This realizes fast, high-precision AF to ensure that photo opportunities are never missed. Like the 70-200mm F2.8 O.I.S. (S-E70200), the 16-35mm F4 (S-R1635) adopts a focus clutch mechanism, enabling instant AF/MF switching and accurate manual focusing, as well as excels in video recording performance thanks to a mechanism that suppresses focus breathing.

It is also rugged dust/splash-resistant,*4 withstanding harsh conditions even at 10 degrees below zero for high mobility. The filter size is 77 mm, with a 9-blade circular aperture diaphragm.

Both lenses will be at retail in January. The LUMIX S PRO 16-35mm F4 will available for $1,499 and the LUMIX S PRO 70-200mm F2.8 is $2,599.

*1 Use of the tele converter reduces the effective aperture by one f/stop (DMW-STC14) or two f/stops DMW-STC20)
*2 5-Axis Dual I.S. 2 can be used with the camera LUMIX S1R, S1 and S1H, as of November 6, 2019.
*3 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm, when
LUMIX S1R/S1/S1H is used.]
*4 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to
direct contact with dust and water.

Panasonic Lumix S Pro 16-35mm F4 specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 16–35 mm
Image stabilization No
Lens mount Leica SL
Aperture
Maximum aperture F4
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 12
Groups 9
Special elements / coatings 1 ED + 1 UHR + 3 aspherical elements
Focus
Minimum focus 0.25 m (9.84)
Maximum magnification 0.23×
Autofocus Yes
Motor type Linear Motor
Full time manual Yes
Focus method Internal
Distance scale Yes
Physical
Weight 500 g (1.10 lb)
Diameter 85 mm (3.35)
Length 100 mm (3.94)
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock No
Filter thread 77 mm
Hood supplied Yes
Tripod collar No

Panasonic firmware adds to GH5, GH5S, G9, S1 and S1R, including G9 video boost

Panasonic has announced a series of firmware updates for its S1, S1R, GH5, GH5S and G9. Perhaps the most significant being that the G9 gains most of the GH5’s video capabilities.

The forthcoming firmware updates range from bug fixes and compatibility improvements through to the addition of significantly more advanced features than the cameras originally offered. All five cameras have been made compatible with Profoto wireless transmitters.

The G9 is the biggest beneficiary, gaining 10-bit 4:2:2 video capture for 4K at up to 30p and HDMI output of 10-bit 50 and 60p footage. It also gains variable frame rate video capture and can even install the GH5’s paid upgrade that adds V-LogL capture and waveform monitoring, highlighting how similar the two cameras are from a hardware perspective.

Meanwhile, the GH5S and G9 also gain animal detect autofocus, while both those cameras and the GH5 gain AF-On Near Shift and AF-ON Far Shift options to prioritize near or distant subjects.

On the full-frame side of things, the S1 and S1R gain CFexpress compatibility, function better with Sigma L-mount lenses and adapters, along with a host of minor fixes and feature extensions.

All five updates will be available from November 19th.


Panasonic Releases Firmware Update Programs for the LUMIX S1R, S1, GH5, GH5S and G9

Newark, NJ (November 6, 2019) – Panasonic is proud announce firmware update programs for the LUMIX Digital Single Lens Mirrorless cameras including the S1R/ S1 (S Series), GH5/GH5S/G9 (G Series) and application software to enhance functions and usability. All programs will be available at the LUMIX Global Customer Support website https://av.jpn.support.panasonic.com/support/global/cs/dsc/ on November 19, 2019.

LUMIX Full-frame Mirrorless Camera

S1R Firmware Version 1.3 / S1 Firmware Version 1.3

1. Expanded media compatibility

・Compatibility with CFexpress Type B card: A CFexpress Type B card boasts a theoretical performance of a maximum of 2,000 Mbps. Realizing an approximately 300% higher transfer speed than that of a conventional XQD card, it supports large-volume photos and videos.

2. Expanded compatibility with Profoto wireless transmitters

・Ability to use Profoto wireless transmitters “Air Remote TTL-O/P” and “Profoto Connect-O/P”, enabling wireless connection and control of external strobes for professional shooting.

* All functions may not be available depending on the situation.

3. Improved compatibility with Sigma interchangeable lenses and mount converter

・Ability to assign functions to the Fn buttons of Sigma L-Mount interchangeable lenses.

・The performance of Body I.S. (Image Stabilizer) when attaching a lens using the Sigma MC-21 mount converter has been enhanced by suppressing roll movement.

4. Improved compatibility with Panasonic interchangeable lenses

・Assignment of functions to the lens Fn buttons when the Panasonic LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200) is mounted.

5. Improved AF performance

・[AF+MF] can be used in AFC mode.

・Setting continuous AF on the live view screen in Creative Video mode or in other video recording modes when the video recording area is displayed.

6. Improved performance of High-Speed Video

・Ability to manually set the exposure according to the video exposure mode (P/A/S/M) in High- Speed Video mode.

7. Other major improvements*

・Ability to select the card slot to save the JPEG images developed by in-camera RAW processing.

・An Fn button can be used for checking the aperture effect.

・User can disable any physical operation by assigning the action to an Fn button.

・AF Assist Light is now on the Focus tab of the Video menu.

・The luminance level of photos (including 6K/4K Photo and Post Focus images) can be preset when played back over HDMI output.

・ Ability to lock (with the [AF/AE LOCK] button) when ISO Auto is set in M mode.

S1

・Previously, some users experienced a blue clipping effect in V-Log recording. This problem has been improved.

・Afterimages occurred in V-Log recording for some users. This problem has been improved.

*For more details on the update program, please refer to the firmware update information page of each model to be released on November 19, 2019.

LUMIX Micro Four Thirds Mirrorless Camera

GH5 Firmware Version 2.6 / GH5S Firmware Version 1.4 / G9 Firmware Version 2.0

1. Expanded compatibility with Profoto wireless transmitters (All)

・Ability to use Profoto wireless transmitters “Air Remote TTL-O/P” and “Profoto Connect-O/P.”

* All functions may not be available depending on the situation.

2. Improved AF performance

GH5S G9

・[Animal Detect] has been added to AF mode. Utilizing Advanced AI Technology, animals, including cats, dogs and birds, can be detected in addition to humans. The focus frame is automatically set on the target subject by analyzing the size and position of the target subject in the viewing image. The camera continues tracking these subjects even when they turn their back to the camera.

・It is possible to switch the subject to focus on by pressing the joystick in [Face/Eye/Body/Animal Detect] mode.

All・[AF-ON: Near Shift] and [AF-ON: Far Shift] functions have been added. [AF-ON: Near Shift] preferably focuses on a subject nearby while [AF-ON: Far Shift] preferably focuses on a subject far away.

・A Focus Peaking function is available in MF and any AF modes.

・Continuous AF capability is available on the live view screen in Creative Video mode or in other video recording modes when the video recording area is displayed.

3. Enhanced video functions (G9)

・4K 30p/25p 4:2:2 10-bit internal recording is supported.

・4K 60p/50p 4:2:2 10-bit HDMI output is supported.

・Luminance level for 10-bit video is supported.

・VFR (Variable Frame Rate) shooting is supported (FHD 2-180 fps/4K 2-60 fps).

・HDR video recording is supported.

・V-Log L recording and Waveform Monitor (WFM) are available with the Upgrade Software Key DMW-SFU1 (sold separately).

4. Other major improvements*

All

・[AWBw] has been added to WB mode.

・[Highlight Weighted] has been added to [Metering mode].

・[Exposure Offset Adjust] has been added to the Custom menu, which enables the user to adjust the standard exposure value for all metering modes.

・[0.5SEC] has been added for an option of [Duration Time (photo)] in [Auto Review].

・AE can be locked with the [AF/AE LOCK] button when ISO Auto is set in M mode.

・[MODE1] has been added to the Live View Boost function, which increases the frame rate for smooth image displays to enable easier manual focusing.

G9

・[MODE2] has been added to High Resolution mode, which reduces the subject’s motion blur.

*For more details of the update program, please refer to the firmware update information page of each model to be released on November 19, 2019.

LUMIX Sync Ver1.0.4

・Wireless connection (operation) with GH5/GH5S/G9 is supported.