‘Back to the drawing board’: Sigma says full-frame Foveon camera won’t arrive this year

Sigma CEO Mr. Yamaki, pictured in the company’s factory in Aizu, Japan.

Development of Sigma’s full-frame Foveon camera has met considerable setbacks and the camera is no longer slated to arrive this year. In a letter to customers, CEO Kazuto Yamaki apologizes for the delay and says the decision comes after ‘careful and rigorous testing.’ No new release date is given at this time, and Mr. Yamaki says that the company has decided to start over with a ‘clean slate.’

The full-frame Foveon project was first announced to the public at CP+ in 2018. At the following year’s CP+, Sigma released more details about the camera and said it would reach market in 2020. Mr. Yamaki discussed with us some of the challenges of taking Foveon full-frame, describing the difficulty of improving interconnected aspects of sensor performance like high ISO performance and color gradation.

Press release:

Development status of the full-frame Foveon sensor camera

Dear Customers,

Thank you for being a valued customer.

At Photokina in September 2018, SIGMA announced the development of an L-mount mirrorless camera equipped with a full-frame Foveon sensor. Then, at CP+2019, we shared our plan to release the camera in 2020 and have worked diligently on the development to meet our commitment.

As a result of careful and rigorous testing based on the latest development information, however, it has become clear that the launch of such a camera would be infeasible within this year. Still at this point, we cannot say for certain when the full-frame Foveon X3 sensor will be put into mass production.

In light of current development progress, we are not in a position to offer any specific release plan at present. We have therefore decided that we should start over the project with a clean slate, putting the production plan for this new camera back to the drawing board and going back to the development of sensor technologies.

Since the earlier announcements, your excitement with the launch of a “full-frame Foveon” has been a tremendous source of inspiration and encouragement for us. Everyone involved in the project has pulled out all the stops to make it a reality. I would like to express my deepest apologies for failing to meet your expectations and having to share this disappointing news.

I would like to emphasize that Foveon sensors are in a class of their own and that they are part of the identity of SIGMA cameras that embodies our ideals and philosophies. We are determined to continue dedicating ourselves to technology development to bring better image sensors to life.

I would like to once again express my sincerest gratitude to our valued customers for the strong support you have offered to us. On behalf of all SIGMA employees, I commit myself to you that we continue striving to live up to your expectation and prove that we are worthy of your trust.

I truly appreciate your patience and understanding.

Warmest regards,

Kazuto Yamaki
Chief Executive Officer
SIGMA Corporation

Caman Handle – Ergonomic LANC Camera Control at a Premium Price

The Caman Handle is an ergonomic LANC compatible grip that allows you to operate and control your camera the way you want. With four buttons and a joystick with customizable functions, you can customize the Caman Handle to your shooting style. Let’s take a closer look at this handmade premium product!

Caman Handle – History

The Caman Handle is a product handmade in Switzerland. It was designed by Camille Cottagnoud, an independent director of photography with over 30 years of experience on film sets. The small team launched the product in December 2019 after more than 13 years of development, prototypes, and field tests.


The Caman Handle in Africa. Image credit: Caman

The main idea behind the Caman handle was to design a product that could fit every handle, that you can operate with gloves while being fully customizable.

Caman Handle – Features

The Caman Handle does not connect directly to your camera. The handle is connected to a control module that communicates between the handle and your camera.


Image credit: Caman

Then, the control module connects to your camera via a cable and uses the LANC protocol to communicate with the camera. Indeed, it is compatible with nearly all Sony, Canon, JVC, Blackmagic Design cameras, and so on.


Image credit: Caman

The handle itself features four pressure-sensitive buttons. If you press the button softly, it can do an action, and if you apply more pressure, it can do another one. In short, it works like a traditional zoom rocker: the zoom will get faster when pressure is applied but will slow down if the force exerted is lessened.


Image credit: Caman

On the side of the Caman Handle, there is also a joystick that extends the possibilities of the system. The joystick does not move; it is pressure sensitive like the buttons. You can combine a joystick move with a button pressure to expend the number of assignable functions. So how do you assign custom functions to all the buttons?

Caman Handle – Customization

To program the handle, you’ll need to connect the control module to your computer via USB and launch the Caman App, which is Mac and PC compatible. The Caman App allows you to assign your favorite camera-functions to a single button or a combination of two or three.


The Caman Control Module. Image credit: Caman

Talking about customization, the four buttons are mounted on a grip that you can adjust to fit nearly all hands’ sizes. Indeed, by using a worm drive, you can extend or retract the space between each button. You can even use it with gloves!


The Caman Handle rig. Image credit: Caman

The Caman Handle attaches to your rig via an ARRI rosette mount. Also included in the package is a kind of extension arm that attaches to the handle. This arm allows you to reposition the grip where you want it without having to unscrew anything thanks to a system of nylon discs.


Image credit: Caman

The module, the hand strap, and the various parts of the handle are made in Switzerland. Most of the elements are 3D-printed, as is the cast for injecting silicone. The Caman Handle is made for day-to-day operations, and it is water and dust resistant.


Image credit: Caman

Pricing and Availability

The Caman Handle is available now for European customers only. The basic set retails for €2400.00 and includes one remote handle, a control module, one two-arm rig with a mounting plate, a USB cable, one screw for use in ultra-compact mode, and the Caman App software. You can purchase an additional Caman module for €399.00.


Image credit: Caman

At this price point, the Caman team is looking at the high-end market, and it is not for everyone. Otherwise, it offers unique functions you can’t find anywhere else.

What do you think of the Caman Handle? Do you think it solves real-life shooting problems? Let us know in the comments below!

The post Caman Handle – Ergonomic LANC Camera Control at a Premium Price appeared first on cinema5D.

Use DJI Batteries to Power Your Camera – Bird Eyes Technologies BA5000

Bird Eyes Technologies, a new American company, just released a new V-Mount/Gold Mount battery adapter that allows you to use DJI TB50/TB55 batteries to power your camera and accessories. The BA5000 Basic outputs 17 amps of power and features two D-Tap Power outputs. The BA5000 Pro version also includes a two-pin LEMO output and a 5v USB output.


Image credit: Bird Eyes Technology

Traditional V-Lock (V-Mount) and Gold Mount batteries are not the most affordable out there. Indeed, if you start investing in these, you’ll need two/three batteries and a charger, which can easily set you back over $1000. If you already have a DJI Ronin 2 or Inspire 2 that uses DJI TB50/TB55 batteries, the BA5000 battery adapter from Bird Eyes Technologies could save you some money.

Adapting Batteries

Battery adapters are not something new. Last month, we already reported about Kessler’s Mag Max 3A adapter that uses DeWalt power tool batteries to power your camera and accessories. Also, if you are a Freefly MoVi Pro owner, you’re probably already using the Ignite Digi TB50 battery adapters. As its name suggests, the Ignite Digi adapter also uses DJI TB50 batteries to power the MoVi Pro.


Image credit: Bird Eyes Technology

There are a couple of reasons why using DJI TB50/55 batteries can be attractive. First is the cost. Indeed, TB50 cells are $159, and larger TB55 batteries (178Wh) are more expensive at $475.00. Otherwise, quality V-Lock/Gold Mount batteries retail for anywhere between $200 to $975 each.

The second advantage is the charging speed of TB50/55 cells compared to standard V-Lock/AB, which is nearly twice as fast. Finally, TB50 batteries output around 17 amps, compared to approximately 12 amp for a V-Lock/AB battery pack.


Image credit: Bird Eyes Technologies

Bird Eyes Technologies BA5000 Features

The Bird Eyes Technologies BA5000 adapts TB50/55 batteries so you can use them to power your camera and accessories. The adapter features a positive locking mechanism to hold both the TB50 and TB55 battery securely in place. The BA5000 is made from T6-6061 Aluminum and Delrin.

In terms of output, the voltage output ranges from 16.8v to 11.5V with a 17 amp output. Also, there are two D-Tap outputs to power your accessories. At the back of the BA5000, there are two 1/4-20″ and one 3/8 -16″ threads if you wish to mount it elsewhere.

Regarding security, the adapter can detect and instantly shut down the power-output to protect your equipment if any of the following conditions occur: over/under voltage of the TB50 battery, over-current, over-voltage on the output side of the adapter if it goes over 17v, over-temperature of the electronics inside the BA5000, and short-circuit. This extra layer of security is a nice feature because nobody wants to fry camera equipment because of a third-party accessory.


BA5000 Basic on the left, BA5000 Pro on the right. Image credit: Bird Eyes Technologies

BA5000 Basic Vs. BA5000 Pro

Two versions of the BA5000 are available: a Basic version and a Pro version. There are a couple of differences between, including:

  • Both versions feature two D-Tap power output ports.
  • The Pro version includes a two-pin LEMO output (Teradek polarity) as well as a 5V USB output.
  • There is a small LCD screen on the Pro version that displays vital information about the adapter as well as the battery condition.

Choosing between the two versions depends on your needs for extra powering ports, as the core functions remain the same between the two.


Image credit: Bird Eyes Technologies

Price and Availability

The Bird Eyes Technologies BA5000 Basic retails for $449.00, while the Pro version costs $549.00. Both products should start shipping in April, but you can already pre-order it on Bird Eyes Technologies’s website.

As a comparison, a similar TB50 battery adapter to V-Lock/Gold Mount is already available from Rocky Design. You can hot-swap batteries on the Rocky Design version, and it gives you two D-tap output plus a LEMO output for $359.00.

What do you think about the BA5000 battery adapter from Bird Eyes Technologies? Do you already have DJI TB50 batteries? Let us know in the comments below!

The post Use DJI Batteries to Power Your Camera – Bird Eyes Technologies BA5000 appeared first on cinema5D.

FUJINON Premista 80-250mm T/2.9-3.5 Shipping

Nearly a year after the original announcement in April 2019, FUJINON is starting to ship the new FUJINON Premista 80-250mm T/2.9-3.5. This relatively lightweight and compact lens covers full-frame sensors. Let’s take a look at it!

FUJINON Premista 80-250mm T/2.9-3.5 Features

During BSC Expo 2020, we met with Marc Cattrall to talk about their new FUJINON Premista 80-250mm T/2.9-3.5 cinema zoom lens. This lens isn’t really “new,” as we already reported about it during NAB 2019.

The FUJINON Premista lenses, which consist of the 28-100mm T/2.9 and 80-250mm T/2.9-3.5, supports up-to a 46.3mm image circle (diagonal) without vignetting. Indeed, they are compatible with Full-Frame sensors and cameras like the RED Monstro 8K VV, ARRI Alexa Mini LF, Sony FX9, Canon C500 Mark II, and so on. At the moment, the only camera that is not covered by the Premista lenses is the ARRI Alexa 65.

The FUJINON Premista 80-250mm T/2.9-3.5 features the same shape, design, and 3.8kg weight as the 28-100mm T/2.9. It makes hot-swapping lenses on set a breeze. The focus ring features a full 280 degrees rotation for precise focus pulls.

Also, both lenses are available in PL and LPL lens mount. For rental houses, you can change swap the mounts by yourself, which is handy. The Premista series of lenses are compatible with the ZEISS eXtended Data system. In short, this technology enables recording of lens metadata, including focus/zoom/iris. Also, there is a built-in correction profile inside the lens that corrects shading and lens distortion. It is beneficial for VFX work and the post-production process.

Price and Availability

The FUJINON Premista 80-250mm T/2.9-3.5 is available now for $39.800. The FUJINON Premista 28-100mm T/2.9 is already available since August 2019 for $38.800. Indeed, these lenses are aimed at rental houses.

What do you think of these FUJINON Premista lenses? Do you think about renting these for your next project? Let us know in the comments below!

The post FUJINON Premista 80-250mm T/2.9-3.5 Shipping appeared first on cinema5D.

Sundance 2020: Spotlight on Sophia Olsson, DP of “Charter”

Charter is a masterfully made film from Swedish director/DP duo Amanda Kernell and Sophia Olsson.  This film has the grip of a chase movie, the psychological tension of great suspense, the urgency of a fugitive film…and yet still manages the heart of a great family drama.  This movie puts the audience inside a mother’s spontaneous abduction of her children during a terrible custody battle. Read on to learn more about the film’s cinematographer Sophia Olsson and how she achieved its bold look in some truly challenging circumstances.

Name: Sophia Olsson
Charter (dir. Amanda Kernell)
Category: World Cinema Dramatic 
Camera Body: Alexa Mini
Optics: Cooke Anamorphic

cinema5D: How did you find your love of cinema?

SO: I’ve had the passion for film since I was a teenager, especially when I found the smaller art house cinemas in Stockholm, Sweden, where I grew up. These cinemas screened films from many different countries in the world,  and that was a completely new experience for me—watching films I hadn’t had the chance to see before. This was way before internet. No streaming and nor Imdb existed. Imagine! Later on, I studied film science for a year, and there I got to see films on the big screen almost every day. So many of those still remain as my inspiration.

Ane Dahl Torp appears in Charter by Amanda Kernell. Image Courtesy of Sundance Institute | photo by Sophia Olsson.

cinema5D:  Any in particular that you’d like to mention?

SO: Hard to say…there have been so many, and they are always changing, but one of the early films that has stayed (an inspiration) for example, is the film Happy Together by Wong Kar-Wai and DoP Christopher Doyle. It really got to me in so many ways. The beginning of that film is very smart and strongly told—the way you get to know the characters and story in a captivating and truthful way…just in the first 10 minutes!

Another one is L’année Dernière à Marienbad from Alain Resnais and DoP Sacha Vierny. The absurdity of scenes and the playfulness of how it’s being told is always inspiring to watch. Again and again.

cinema5D: So then how did that love of global cinema translate into  a career in cinematography?

SO: I started with still photography and then moved over to film. When I started with film, I was doing everything, and then I got into Valand Film at Gothenburg University, formerly Högskolan för Fotografi och Film. I studied directing for three years.

I never felt completely comfortable with directing, but I really tried to for those years. After I had finished my studies there, I shot a short film, and that was totally different. I got the feeling of being in the right place—that I just belonged, and I felt calm. It was so obvious.

After that, I ́focused on cinematography. I then went to another film school, The National Film School of Denmark, and I had the same feeling there—finally, at the spot where I needed to be. (I spent) four great years there, and then I was out working.

Ane Dahl Torp and Tintin Poggats Sarri appear in Charter by Amanda Kernell, Courtesy of Sundance Institute | photo by Sophia Olsson.

cinema5D: You’ve collaborated with director Amanda Kernell before on Sami Blood— a film, I have to tell you, has stuck with me since Sundance 2016! Were you excited to work together again? 

SO: When Amanda wanted us to continue working together for Charter, I wanted to of course! Amanda is great in so many ways. Her scripts have a drive and no scene is left to chance. Her characters are complex and very different. At the same time, there is room for reflection and precise detail. Her directing and choice of actors are very well thought out. Yet, at the same time, she’s very intuitive on set.

cinema5D: What about Charter in particular attracted you to the project?

 SO: The number one reason was  director/writer Amanda Kernell. I guess that’s it. Then, we got the great production designer Sabine Hviid on the project as well, and the three of us had a strong and intense collaboration that I hope we will have many times more. We were insisting on finding the best locations, which took time, and finally we did. But we found or built locations that really served the story, and that enhanced the relationship within the family and all the emotions and phases they go through.

Sophia Olsson on a location scout in Tenerife, Spain in the  Canary Islands.

cinema5D: You and Amanda  seem to have the ideal Director/DP relationship.  Do you have advice for others on how to reach that kind of collaboration? 

SO: I would say it goes both ways. Listen to each other’s ideas. Be patient. Try to have the time to talk through the script and be open. Nothing has to be final right away. If you know early on that you will work together, I would say to invite the cinematographer before the script is finished to have her/his view on the story. That can be very helpful in the making of the film.

cinema5D: Before the script even! Wow. What else did you and Amanda do in pre-pro to prep the look?

SO: Amanda and I go through the scenes thoroughly to find the focus of each scene, what we want to achieve and how we think the transitions should be between the scenes. When we have the locations, we go there and walk it through to see if it ́s working. We write shotlists but very seldom storyboards. Floorplans though, are very (beneficial) for the crew and for ourselves to remember the scenery and shots we’ve planned out. We had a close collaboration as well with production designer Sabine Hviid about colors, style, fabrics, reflections and so on—especially when it comes to the difference between the cold wintery North of Sweden and the warmth in Tenerife.

Ane Dahl Torp and Sverrir Gudnason appear in Charter by Amanda Kernell, Courtesy of Sundance Institute | photo by Sophia Olsson.

cinema5D: What made you go with the Mini and the Anamorphics?  Why that combo?

SO: We really liked the texture of the Cooke Anamorphic for what we wanted to achieve. The family in the film is in a nightmare situation, and we therefore wanted the film to have a touch of something surreal, but just a touch. After tests, the Cooke Anamorphic were the ones that fit that expression the most. The softness and ability to have information in the blacks without becoming bland…they keep the dark side dark, but still not too contrasty or crushed blacks. The Cooke Anamorphic doesn’t have that strong of an anamorphic effect, but at the same time, you can sense there is something strange. It still breaks up the colors and ”straightness” of the feeling of reality, which we wanted to achieve.

cinema5D: Is there any strategy during principle photography that you and Amanda employ that you find to be consistently successful?

SO: Amanda has a lot of rehearsals with the actors before filming, and that is very helpful for us.  We can see if our thoughts are working or not. Sometimes we have planned our shots before the rehearsals and sometimes the other way around.

cinema5D: What about your interaction with the camera department and G&E?

SO: I really like a collaboration where you can be open and honest. That helps the creativity grow further. The collaboration with my gaffer Per Olsson is great. He gets ideas  from our talks about the feeling of the scene for how to solve the lights, not only technically, but creatively.  I trust him fully.  In general with my crew, (I make sure they know) we’re in this together and (ensure) we ́re kind to one another.

Ane Dahl Torp and Troy Lundkvist appear in Charter by Amanda Kernell,  Courtesy of Sundance Institute | photo by Sophia Olsson.

cinema5D:  There are so many scenes in the water for this movie…Most people who have worked on an indie crew know what that means  for the workload on those shoot days.  Did you guys have some underwater housing?  Did you shoot from a boat? How did all of that go down?

SO: We did have underwater housing for the shots in the pool and when the mother and son are swimming in the sea as well. I was operating. On the last scene in the film, when the mother is swimming in the sea at night, there we had a scuba diver operating.

The underwater housing we had was pretty big and heavy. It was fine to operate when I was underwater, but as soon as I was above (the surface), it was very ungainly and difficult to operate. But we made it work with some homemade solutions.

The scene at the end at night, out on the sea—we used a boat, and it was very difficult. I would do it differently, if I had to do it again, because it got complicated, and we had to work very fast—which is difficult in water. It was very cold  for Ane Dahl Torp, the lead actress.  We had to stress the shoot because of the danger for her health. She is such a champion.

Ane Dahl Torp and Troy Lundkvist appear in Charter by Amanda Kernell, Courtesy of Sundance Institute | photo by Sophia Olsson.

cinema5D: There is such a strong color story in this film.  Is involvement in post something you negotiate into your contract?

SO: It is. I was at the grading with Amanda and colorist Dylan Richard Hopkin. We had 10 or 11 days, and Dylan did a fantastic job.

This film is a deep exploration of complicated choices, which puts the viewer inside the protagonist’s dilemma. If you happen to be in Switzerland, Charter will drop in cinemas on March 13, 2020.  The rest of the world will have to wait for news of international distribution.  Fingers crossed. Until that fine day, you can take in Sophia’s work on Amanda Kernell’s first feature Sami Blood on Amazon Prime. 

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Luminar 4 Sends Data to Facebook in the Background by Default

A Reddit user running the Mac application Little Snitch 4 discovered that Skylum’s Luminar photo editor is “calling home” to Facebook while the app is in use, allegedly for “analytics purposes.”

The discovery was made by u/numblock699, who posted about the find on r/photography and r/privacytoolsIO earlier today. He noticed the anomaly as soon as he installed and booted up Luminar 4 on a new machine—testing was done on both Mac and PC—so the setting seems to be on by default, though we can’t find a way to turn this sharing off in-program.

When asked about the issue over Twitter DM, Skylum—the makers of Luminar—replied that the data collection is “done for analytic purposes.”

“Kindly note that the information we obtain with the help of in-app analytics does not provide any means for personal identification, i.e. it’s not connected to a name, email address, or other personal information in any way,” wrote the customer service rep. “Please take a moment to review our user agreement, in particular, the sections ‘When you use our products’ and ‘Your Data that we collect’.”

u/numblock699 send PetaPixel the full reply from Skylum, which you can read below:

Hi xxxxx! That’s done for analytic purposes. Kindly note that the information we obtain with the help of in-app analytics does not provide any means for personal identification, i.e. it’s not connected to a name, email address, or other personal information in any way.

Please take a moment to review our user agreement, in particular, the sections “When you use our products” and “Your Data that we collect”:



We use analytics software to allow us to better understand the functionality of our Products on your computing devices, and may use cookies installed on your computer to facilitate this process. Analytics software may record information such as how often you use the Product, the events that occur within the Product, aggregated usage, performance data, and to identify the source of the application download. We may link information we store within the analytics software to Personal Data you submit when purchasing Products or interacting with our Website. We do this to improve services we offer you, to share information and marketing materials about our Products and those of others, and to improve our marketing, analytics and site functionality.

I can assure you that the data is used only for the purpose specified above, therefore, you may feel free to allow it through your security settings.

If you would like to exercise any of your rights listed in our privacy policy, please email us at privacy@skylum.com.

There’s no way to know for sure what information is being passed back and forth, but u/numblock699 says that blocking the traffic between Luminar and Facebook ” doesn’t seem to cripple the software in any way.”

We’ve reached out to Skylum for comment/clarification on what kind of data is being shared, why it’s being shared, and if there is a way to opt-out in-program. We’ll update this post if and when we hear back.

(via Reddit)

Image credits: Image by Reddit user u/numblock699, and used with permission.

“Exploring the Toll Activism was Taking on People of Color Specifically”: Smriti Mundhra and Sami Khan on Their Oscar-Nominated Short St. Louis Superman

Bruce Franks Jr., an African-American resident of St. Louis, Missouri, grew fed up with senseless gun violence running rampant throughout his community. Inspired in part by the Black Lives Matter protests of Ferguson, MO following the 2014 slaying of unarmed teenager Michael Brown, Franks Jr. decided to run for office and was elected to the House of Representatives as a Democractic state legislator. Filmmakers Smriti Mundhra and Sami Khan’s St. Louis Superman, nominated for Best Documentary (Short Subject) at this weekend’s Academy Awards, chronicles Franks Jr.’s year-long quest to pass a bill that will classify youth-affected gun violence as an epidemic. […]

PVC Podcast Eps 12: RED Komodo Revealed, Loupedeck Review, Possible “Pro” Mode In OS X & More!

RED Komodo, Loupedeck, OS X Pro PVC podcast eps 12










Join Damian, Scott and Gary this week as they talk about some of the latest news in the industry. Hear the guys thoughts on the recently reveled RED Komodo drawings, Scotts Loupedeck review, the possibility of a “Pro” mode in OS X and more! Listen to the full episode below:

Read more about the stories talked about in the podcast here:

Loupedeck Review (Part 1, Part 2) By Scott Simmons

RED Komodo Revealed By Jose Antunes

The PVC Podcast is available on AppleAnchorSpotify, Google Podcasts, and more. Subscribe so you don’t miss future episodes! Have a question/ comment? Shoot us a message on Instagram(@provideocoalition) or send us an email: social@provideocoalition.com.

Canon EOS R6 IBIS in action request

To the source that sent the Canon EOS R6 image and wasn’t able to upload the video via our site form of the EOS R6 Read more…