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The DZOFilm Catta Zoom FF series lenses are designed as cine lenses for mirrorless camera users. This is to provide mirrorless camera users with cinematic-quality looking images. These lenses are natively Sony E mount which allows for a wide range compatibility with mirrorless camera bodies.
On the other hand, the DZOFilm Catta Ace series lenses are designed as professional cine Lens for film and television industry users. These lenses are natively PL mount, however, they come with an EF Bayonet adapter to give you more options when you shoot.
The main differences are in the types of shell, the different native mounts, back element diameter, the quick release mount design, plug-in filters and their compatibility.
Types of Shell
The Catta Zoom FF series lenses exterior innovatively uses a strong fibreglass polymer. This makes them lighter than Catta Ace series lenses which is ideal for smaller setups/rigs which make us of mirrorless cameras.
The Catta Ace series lenses exterior is made with black aluminium alloy which gives them a more comfortable hold in the hand as well as makes the lenses more rugged & durable, which will withstand the test of time. Although not as light as the Catta Zoom FF series, these lenses are still some of lightest cinema style lenses available. The 35mm-80mm weighs only 1.64kg, while the 70mm-135mm weighs in at 1.71kg. With less weight, they are extremely portable and make for an excellent choice of lens for a run-and-gun gear setup, while still providing a cinematic-quality look.
Mounts
The Catta Zoom FF lenses are available in E/ RF/ L/ X/ Z mount options. In terms of Catta Ace, these lenses natively come in PL mount. However, each lens includes an additional EF mount bayonet, which converts the PL mount to EF mount. Besides, lenses can be adapted to other mounts with DZOFILM Octopus adapters.
The Octopus Adapters offer the following mount conversions for PL mount: PL-RF, PL-E, PL-L, PL-X. In terms of EF mounts, the following adapters are available: EF-RF, EF-E and E-l mount adaptations.
Back Mount Element
The Catta Zoom FF Lenses are all Fullframe lenses, which means that the back element mount is 43.5mm in diameter. Tis means that when equipped with a fullframe camera, the full size of the sensor is being utilised. On the other hand, the Catta Ace lenses covers Vista Vision which translates into a 46,5mm back element diameter which accommodates for the larger sensor.
Quick release Mount design
E? RF? L? X? Z? Pick one you love and that works with your setup. With the quick release mount design on the Catta Zoom FF Lenses, get rid of screws or screwdrivers to change the mount.Thanks to the lightweight volume of Catta Zoom FF lenses, mounts switch can be completed with a single twist and a tight fit, while the flange focal distance still keeps its accuracy and the Parfocal is normal.
Catta Coin Plug-In Filters
Catta Coin Plug-in filters are designed for the Catta Zoom FF series lenses. Rear plug-in fliter effectively reduce the influence of flare and ghost, to ensure the original high-quality performance. This allows the creator to stimulate their imagination anytime and anywhere to create more possibilities for pictures. Some common uses for plug-in filters include changing the Neutral Density (ND) of a scene, to create light streaks or stars and to mist filter freely.
The main features of the Catta Coin included:
DZOFILM double-sided nano coating reduces reflection and flaring
PVD Anti-Fingerprint tablet prevents glass surface from fingerprints and retain cleanness
It’s been quite a year for the photo and film industries, with a variety of impressive cameras and lenses making their way to the market… but it’s not over yet. As the year draws to an end, we take a look at the latest news doing the rounds as well as some pretty cool predictions for next year.
Flanders releases its 16″ DM160 Reference Grade OLED Monitor
Flanders introduces a new edition to its famous DM line of monitors. Weighing in at just 2.6kg the DM160 is an extremely lightweight, high-contrast 16″ OLED monitor designed for use in colour critical production, post, and broadcast fields. Sporting ultra-fast mode processing, a durable all metal chassis, FSI’s most advanced feature set, and a compact form-factor, the DM160 is an exceptional reference grade monitoring solution for any environment.
Cine Photo Tools is a South African Dealer for Flanders Scientific. For more information or orders, please contact us
Sony FR7 is the First Netflix Approved PTZ Camera
Netflix has recently added the Sony FR7 to its list of approved cameras for 4K capture, and is the first PTZ (Pan-Tilt-Zoom) camera to receive approval from the streaming service. It joins the other 13 Sony cameras in Netflix’s approval list.
Previously, footage coming from PTZ cameras could only be used for a fraction of the total runtime of a program (about 10%), whereas now the FR7 can be used as the A Cam of the show.
Introduced as the world’s first cinema full-frame PTZ camera to grant the cinematic look & feel in broadcasting, It’s little wonder why the Sony FR7 joins the list of Netflix approved cameras, as it shares most of its specs with the Sony FX6, which is already in the list. These include a full-frame CMOS sensor, 4K capture up to 120fps, Dual ISO, built-in NDs, SLog3, Fast Hybrid AF, dual CFexpress A/SD slots, same internal codecs, and even the ability to output 16-bit RAW over SDI
The new SmallRig RC 350 and RC 450 series consist of a total of 4 fixtures: RC 350D, RC 350B, RC 450D, and RC 450B. The “D” models are daylight-balanced (5,600K), while the colour temperature of the RC 350B and RC 450B is adjustable between 2,700 and 6,500K, all with a CRI 96+ and TLCI 97+ rating.
The RC 450D is the most powerful in the line-up. When using the included 55° hyper reflector, it is claimed to output up to 172,000 lux at a distance of 1 metre. The RC 350B outputs 115,000 lux at 1m (with hyper reflector, 5,600K,) the RC 350D – 149,000 lux at 1m (with hyper reflector,) and the RC 450B – 121,000 lux at 1m (with hyper reflector, 5,600K.)
According to SmallRig, its “AstralTech” optical system was used to achieve such an increase in brightness. This tech makes use of larger, more powerful LED chips as well as beaded front glass elements with high light transmittance.
The lamp head is equipped with a standard Bowens mount, and the design integrates a dual-fan cooling system, that is said to be very quiet.
Moreover, the RC 350 and RC 450 pack up to 9 built-in lighting effects (Flash, Paparazzi, Party, Faulty Bulb, TV, Flame, Fireworks, Breath).
You can adjust settings via the onboard controls on the back of each unit or the SmallGoGo smartphone app, or the optional wired control panel specifically developed for the RC 350 and RC 450 models.
Zoom’s MicTrak range of next-generation audio recorders
The Zoom MicTrak series offers three new high-quality recording solutions, aimed at different situations. The range consists of the M2 handheld recorder, the M3 shotgun mic recorder, and the larger M4 XY recorder.
The M2 is a digital recorder shaped like a handheld microphone. It is aimed at content creators and musicians, and offers 96 kHz 32-bit recording in mono or stereo via the integrated XY microphone capsule. Whether attached to a stand on your desktop or out in the field with the windshield fitted, the M2 offers the same straightforward operation as other Zoom devices.
If you’re working with video, the M3 gives you 32-bit 48kHz recording via a stereo shotgun mic integrated directly into your camera rig. You can switch between monaural, 90°, and 120° pickup pattern modes and record in stereo, dual mono, and MS RAW format. The M3 also works as a USB mic, making it good for streaming, and the M3 Edit & Play desktop app allows you to decode, edit, and export your recorded MS RAW files.
The flagship recorder in the MicTrak series is the M4, a 4-track 32bit 192kHz recorder with an integrated floating XY mic capsule to reduce vibration. You can record up to 1 TB to microSDXC card or use it as a USB mic and record in your DAW. The M4 is easy to navigate with its colour display and it can generate timecode for video sync. Overall, it’s an incredibly versatile recording device for almost any application.
NANLITE Announces FS-150B and FS-200B Bi-Color LED Spotlights with Bowens Mount
NANLITE FS-150B and FS-200B are new bi-color LED spotlights capable of CCT output between 2700 and 6500K, Bowens mount, umbrella mount, built-in power supply, and control module, 12 effects, and high CRI and TLCI rating.
The FS-150B is rated at 175W and it weighs 2.3kg without the reflector, while the stronger FS-200B is rated at 220W and weighs in at 2.6kg.
When it comes to output strength, the FS-150B maxes out at 26300 lux whereas the FS-200B can achieve up to 29490 lux (measured at 1m distance, with reflector, at 5600K).
Both lights feature a CRI average of 96 and a TLCI average of 97 throughout the whole CCT range (2700-6500K). When it comes to temperature changes in CCT mode, the lamps feature two modes of operation, Maximum Output and Constant Output. Like with all new NANLITE FS B spotlights, they include a handful of special effects that utilise the bi-colour output. As NANLITE claims, both lamps are cooled down by a low-noise fan. For sound-sensitive sets, the lights also offer a completely silent fan-less mode, but when activated, the maximum output is only 15%.
Rumour Roundup:
New Rumoured Sony Releases for 2023
what cameras can we expect from Sony in 2023 ? Take a look at the list below for the upcoming Sony Cameras of 2023 based on rumours:
The Sony a7C Mark II is expected to feature a higher megapixel CMOS sensor, could use Sony a7 IV‘s 33MP Exmor R CMOS Sensor, along with new video features like 8K video could coming.
The Sony ZV-E20 & ZV-E10 II will be the successor of ZV-E10 while ZV-E20 could feature with a new sensor, new video features, and some improvements over ZV-E10.
The Sony a7S IV is speculated to be released in late 2023 to 2024.
The Sony FX6 II professional cinema full frame camera could be announced in late 2023 to 2024.
Sony a1 II flagship full frame mirrorless camera is set to replace current Sony a1.
Sony A7000 Specs Leaked
Not featured on the above list, the Sony A7000 will apparently be officially announced in 2023. According to the very strong stories abound, official announcement is expected to happen by the end of May.
This new high-end APS-C E-mount camera will be the successor of the A6600.
The camera giant has had quite a year, but it seems like there is little time to rest as new rumours are predicting five new launches in 2023.
Canon Rumors’ list of expected Canon cameras for next year contains three APS-C cameras and two full-frame models. There will apparently be a Canon EOS R50 (which could sit below the Canon EOS R10) and another APS-C camera that will (somehow) slot in between the latter and the Canon EOS R7. A video-focused Canon EOS R7 C might also be en route.
Here’s a rundown of the current rumoured EOS R camera bodies coming in the next 12 months.
The Canon EOS R8/EOS R9 will be slotted between the EOS R7 and EOS R10 and will likely be APS-C (no confirmed specs.)
The Canon EOS R50 will slot below the Canon EOS R10 and will likely be a similar style camera to the EOS M line-up.
The Canon EOS R5 S is the long rumoured high-megapixel camera is still being mentioned.
The Canon EOS R5 II according to the latest rumours will be coming in Q2 of 2023.
The Canon EOS R7 C A cinema version of the Canon EOS R7 had been planned, but there is some conflicting information that the product has been scrapped.
In terms of lenses, Canon is set to release a trio of RF mount wide angle L prime lenses in the first half of 2023. One of the lenses will be the RF 35mm f/1.2L (or f/1.4) and an RF 24mm f/1.4L USM. The third lens is unknown at this time.
Life just got a whole lot easier for the travelling photographer! Adding tethering to your photography workflow helps increase efficiency, productivity, and collaboration during your shoot. With the recent release of Capture One for iPad, being able to take your tethered workflow on the go has never been easier.
Benefits of adding Capture One for iPad to your photography workflow
Capture One for iPad allows photographers to have the freedom to start their workflow anywhere, anytime. You now have all the tools you need right at your fingertips to work quickly and efficiently. By being able to tether to an iPad, with either a TetherPro Cable or wirelessly, photographers now have the chance to kickstart their editing process while out on the go and have the option to pick up where they left off on their desktop using the Cloud Transfer.
To keep the iPad secure and close by during your shoot, you can utilize the Frio Bigi or Aero Tab to keep the iPad screen close to your camera. To mount the iPad, you can mount directly to the tripod with the AeroTab or utilise the AeroTab, arm, and clamp. To increase safety in your tethered workflow, pair your gear with the Tetherguard Thread Mount and Camera Support to make sure that your cables stay secure and safe during your photography shoot.
How to utilise Capture One for iPad and tethering in your next photography shoot
The new software from Capture One allows photographers to go from shoot to delivery out in the field quickly with tethered shooting to iPad. Photographers can now reference images in the moment on a bigger screen, ensuring sharpness and quality, without bringing along a larger setup. This is a perfect addition for street photographers, wedding photographers, travel photographers, and on-site shoots to quickly show images to clients.
Being able to show images as they are being captured makes collaboration easier and increases client confidence while out on a shoot. Photographers now can deliver photos quickly and directly by being able to edit and export immediately from the iPad.
Streamlined COP for iPad vs. Capture One Pro
With Capture One for iPad, you can import, tether, edit, and organize your images while on the go. Capture One for iPad includes a more streamlined set of features compared to Capture One Pro. For those used to working with Capture One Pro’s full version, you won’t be able to use sessions and a few other features are limited.
Tethering allows you to connect your camera to your computer so that images are reviewed/imported as you take each frame. On any commercial shoot, tethering will be required so that your creative team can review how the images look and of course so that the client can see the progress of the shoot.
Renowned photographer Lindsay Adler takes us into her fashion and beauty photography, sharing her top 5 reasons why she finds tethering essential, and what gear she uses to achieve the perfect shot. “Tethering is an essential part of all of my studio shoots.” Lindsay says “Tethering allows me to preview and backup my images, check focus, review exposure, and make colour grading adjustments throughout my shoots.”
Let’s take a look at what Lindsay has to say:
1. Tether Cable: A tethered cable is what connects your camera directly to the computer. When you purchase a cable, remember that it will be specific to both your camera and the computer, so make sure it works within the system you area using. Lindsay shoots with a Canon R5 and a MacBook Pro, and therefore uses a USB-C to USB-C cable. We recommend taking a look at a right-angle cable for a more secure connection. As with most industry pros, Lindsay’s go to cable is always a Tether Tools TetherPro!
2. TetherBlock: A TetherBlock helps you to secure the tether cable to the bottom of your camera. This prevents the cable from wiggling/disconnecting during your shoot, or accidentally being ripped away from your camera. This is important for maintaining a consistent tether to your computer as well as preventing any damage to the port on your camera.
3. Tether Table: When tethering, you’ll need something to set your computer on. Sure, you could use a regular table, but it is more convenient to use something that can move around the shoot with you. A basic setup is a TetherTools Aero table. It has a grippy surface so that your computer is stable and I can attach the tabletop to a rolling stand.
4. Tethering Software: You’ll need some sort of computer programme/software to ingest/import photos will you shoot. This could be Lightroom, CaptureOne, or software specific to your camera brand.
5. Hard drive (SSD): When tethering it is important that you are backing up your images during a shoot. Lindsay recommends a solid-state drive by Sandisk Pro because solid-state drives are durable— if you accidentally drop your drive, an SSD doesn’t have any moving parts and therefore is much less likely to break/lose data.
Today Canon unveiled the EOS R6 II, and from what we can tell, this camera is full of improvements on the original EOS R6.
Initial reviews of the R6 II have been pretty impressive, with some pros even likening it a mini R3. The R6 was touted as a solid entry camera into a hybrid mirrorless market. But Canon hasn’t just updated this original, it has exceeded expectation, with significant physical and performance changes such as a new sensor and a better processor along with a more intelligent autofocus system, faster continuous burst rates, better rolling shutter suppression, 6K RAW video recording and much more! Canon itself is even calling the R6 II its fastest advanced full-frame mirrorless camera to date. the EOS R6 Mark II introduces more than 70 upgrades
The R6 II improves resolution performance with its 24.2 megapixel CMOS sensor, and it supports Dual Pixel CMOS AF II. The camera uses the same DIGIC X processor technology found in the EOS R5, EOS R6, and EOS-1D X Mark III.
The R6 II boasts superb IS performance, with up to 8-stops of co-ordinated control image stabilisation. It works in a coordinated way with lenses that have built-in optical IS, and brings the benefits of stabilisation to lenses that don’t have optical IS. Photographers can also capture images in very low light conditions, focusing in light levels as low as -6.5EV, and the ability to shoot up to ISO 102,400. The IBIS can help achieve sharper images through improved AF accuracy too. Having a more stable image makes it easier to keep the active AF point locked on the subject – particularly at high frame rates.
Speaking of high frame rates, Canon states that the R6 II is the fastest EOS to date. It can shoot continuously at up to an eye-watering 40fps with its silent electronic shutter (buffer size of just shy of 80 frames.) Being able to shoot at 40fps with full AF tracking opens up new creative possibilities, particularly in the world of sports and wildlife photography. It is able to hit these numbers despite the fact it is not a stacked sensor. Canon, however, is keeping mum about how they are to reach these sensor readout speeds without them becoming unusable due to rolling shutter, which has been remarkably reduced in the R6 II.
“I used to be happy with 7fps!” Teddy says. “Even 30fps on the EOS R3 is mind-blowing. But 40fps was perfect for capturing the speed flyers landing on the lake. Having so many successful shots can make it more challenging to choose the right image, but it’s better to have that than miss the perfect shot.”
Teddy Morellec, photographer & videographer.
The R6 II also offers the innovative RAW burst option, introduced in the R7, which saves a sequence of images captured at 30fps in a single file, from which individual frames can be extracted and saved as full-resolution RAW files later. What’s more, the R6 II now comes with a pre-shooting option (RAW burst) that captures RAW files for a half second before you push the shutter. This allows you catch a moment even if your reaction is slow.
Mike Burnhill, Canon Europe Senior Product Marketing Specialist explains: “sometimes the peak of the action occurs between frames.” When shooting extreme sports or sighting rare animals out in the wild, there are times where you don’t know exactly what’s going to happen until it happens. The pre-shooting option in the EOS R6 Mark II makes it possible to capture the action half a second before you fully press the shutter button. Mike explains, “You might be able to anticipate an event, but there will always be a lag between seeing it, pressing the button and the camera’s systems being activated,” says Mike. “Pre-shooting makes it much easier to capture the decisive moment, whether it’s a bird leaving a branch or a crocodile surging out of a river to grab a wildebeest.”
Canon has also made the autofocus a lot smarter on the R6 II, making it more advanced than any Canon model to date, including the R3, the company says. It now handles people, animals and vehicles, including motorcycles, cars, trains, helicopters, and horses. The data for birds, cats and dogs has also been refreshed. On top of recognising humans, it can now see eyes from much farther away, and gives you the ability to swap between left or right eye quickly depending on your composition. It now also sports an auto-select option that lets the AI decide what to track by analysing what’s in the frame and then selects an appropriate tracking algorithm.
Another notable new feature is HDR for moving subjects.
“What is great is that with all the functionality in both photo and video, all you have to worry about is having a good story to tell. The camera will handle 99% of the situation. You just need to go out and create.”
Teddy Morellec, photographer & videographer.
Video wise, the R6 II brings full-width 4K at up to 60 frames per second that is oversampled from 6K and can record at up to 4:2:2 10-bit in Canon Log 3. With a compatible external recorder, that quality can jump to 6K RAW. You can now shoot 4K 60p uncropped for 40 minutes. Cropped 4K 60p has a 50 minute limit, and supersampled 4K 30p has no limitations. A big improvement on the R6. Filmmakers will also be pleased to see that false colour warnings are available on the Canon R6 II. This technology will be familiar to users of Canon’s Cinema EOS cameras.
“We’ve improved the Dual Pixel CMOS AF II focusing for video, so it reproduces more closely what a professional focus puller would do,” Mike points out. “The EOS R6 Mark II introduces a new ‘Detect only’ AF option, which allows you to select the subject to focus on. The camera will then only track that object and won’t suddenly refocus on the background if the subject leaves the frame.” He continues, “Electronic focus-breathing correction makes it even easier to achieve professional-looking results,” he continues. “Typically, when you change the focus, the magnification changes as the optics move inside the lens. This creates a distracting ‘pulsing’ effect, where the background appears to change size. But with the EOS R6 Mark II, we’re able to correct that electronically. It means that you can use the cheapest zoom lens and make it look as if you shot with a high-end Cine Prime.”
Otherwise, it’s roughly the same weight and size as the R6, so ergonomically users will feel instantly at home with the new camera. However, handling has been streamlined. The on/off switch is now next to the shutter button, so it’s easier to activate the camera single-handed. For added convenience, the photo and video mode selector has been moved to the left side of the camera, similar to its position on the EOS R5 C. It retains the flip-out display for vlogging or selfies, dual UHS II card slots and 3.67-million-dot electronic viewfinder. It comes with microphone and headphone ports, along with a USB-C socket and a microHDMI jack.
Atomos has announced that it has successfully developed a new in-house “world-class” 8K video sensor that will allow video cameras to shoot in ultra-high resolution.
The news was shared in an announcement to investors earlier this month, but Atomos doesn’t provide much detail concerning the sensor itself.The company says that it chose to delve into sensor development because despite the fact that there are numerous 8K TVs on the market, the creation of 8K content has been slow.
Atomos says that it acquired the intellectual property rights five years ago with the goal of developing a leading-edge 8K video sensor.
“The 8K sensor is complementary to what Atomos has done historically (as well as not being a big shift away from core products) and creates opportunities for new revenue channels in very similar market segments, addressing very similar end users,” a company representative says.
With the development of the Atomos 8K sensor now complete, and the company affirms that it in active discussion with several unnamed camera makers who it says have shown “great interest.”
Atomos says that the technical specifications of the sensor will be made available under NDA to potential commercial partners.
Watch this space.
Sony Alpha A7R V Announced
The Sony a7R V camera has been just announced bringing to the table 8K video recording and a dedicated AI processor. Both photo and video modes will benefit from the ground-breaking new autofocus tracking capabilities. The Sony a7R V sports a 61MP Full-Frame sensor and Bionz XR processor, full articulated LCD screen, 8 stops of IBIS performance, 9M dots EVF, S-Log 2 & 3 / S-CINETONE and a host of other features.
RED and Fujifilm to Build Adobe’s Frame.io’s Camera to Cloud right into their cameras
It’s been eighteen months since Adobe acquired Frame.io , the video collaboration service that helps anyone from freelancers to large production houses streamline their review and editing workflows. Adobe has now announced native camera-to-cloud support for both RED and Fujifilm cameras. Upcoming updates from Adobe, RED, and Fujifilm will enable users to log into their Frame.io account and instantly transfer both RAW and Proxy video files up to the cloud to begin the post-production workflow.
Image: Adobe
Since C2C usually relies on 4G/LTE cellular connections, only proxy file uploads were supported. Now you’ll be able to shoot 8K RAW with a frame-accurate ProRes proxy and upload the 8K RAW, the proxy (or both) as fast as your internet allows. Moreover, your raw camera footage will be instantly backed up and accessible to anyone without downloading or shipping a drive. Besides enhancing your workflow, the crucial backup process will be easier and faster as well.
RED V-Raptor and Raptor XL will now have the C2C integration built-in to the cameras in order to upload 8K RAW straight to the cloud. Fujifilm’s X-H2S, too, will get support for C2C in the near future.
Adobe states that the “New partnerships with RED and Fujifilm are now removing the barrier of needing to physically move media…With the Camera to Cloud integration now built directly into the cameras, we’ve taken the next step toward the cloud-based workflow we’ve been envisioning—no additional hardware and no hard drives required. This is more than just a technological first—it’s a snapshot of the way every creative will work in the future.” Adobe continues: “Since day one, RED cameras have been C2C enabled through the use of the Teradek CUBE 655. But with this new innovation (available in late 2022), the RED V-Raptor and V-Raptor XL are able to upload 8K REDCODE RAW files directly to the cloud from the camera”
Adobe does emphasize that this functionality will require access to high-bandwidth networking (wireless or ethernet). Still, the company asserts adds that this C2C with RED unlocks the “Biggest workflow improvement in more than a decade and begins to remove the delays every creative team has been accustomed to with shipping drives”.
This functionality will be available in late 2022.
Fujifilm Announces FUJINON 25-1000mm Box Lens for Large Format Cinema Cameras
FUJIFILM announced the development of a new broadcast lens with a native PL mount that covers large cinema sensors: the FUJIFILM FUJINON HZK25-1000mm F/2.8-5.0. This lens is defined as the highest combination of magnification and telephoto reach for large-format cinema cameras, and is set to launch in 2023.
The FUJINON HZK25-1000 achieves an ultra-high zoom ratio of 40x with a telephoto focal length of 1,000mm, the highest combination of magnification and telephoto reach available to date for large cinema sensors.
“In actively observing and gathering feedback from professionals in the emerging world of cinema-sized imagers in live production, we identified a very clear customer desire for a long cinema lens to facilitate capture quality of a live show,” said Stosh Durbacz, Optical Devices Division, FUJIFILM North America. “With a pedigree that hails from the highly respected FUJINON Premier Series, HZK25-1000 provides the production with unmatched flexibility and reach while maximizing the highly sought-after cinema look to live audiences”.
Image: Fujifilm
The lens covers a 41.3mm diagonal sensor in the entire zoom range, larger than full-frame sensors. It has a dual-format system that supports two single sensor sizes thanks to a built-in 1.5x expander. Here is what FUJINON says about this feature: “The use of the newly developed 1.5x expander shifts the focal length of the telephoto side, enabling super telephoto image capture of 1500mm (1000×1.5). Additionally, when paired with a large format sensor, operators can shoot with a field of view equivalent to that of a super 35mm sensor while maintaining maximum optical performance, providing a true dual format lens. HZK25-1000 enables shooting with the same field of view in both large format and super 35mm formats.”
The use of the newly developed 1.5x expander shifts the focal length of the telephoto side, enabling super telephoto image capture of 1500mm (1000×1.5). Additionally, when paired with a large format sensor, operators can shoot with a field of view equivalent to that of a super 35mm sensor while maintaining maximum optical performance, providing a true dual format lens. HZK25-1000 enables shooting with the same field of view in both large format and super 35mm formats.
Most broadcast lenses have a B4 mount. However, FUJINON decided to take a different route by going with a PL mount with this new HZK25-1000mm. PL mount is a versatile industry-standard lens mount. Most cinema cameras feature a native PL mount and will be compatible with FUJINON’s latest mount box lens. There is a growing trend of using large format cinema cameras in live events, instead of traditional broadcast cameras. The result is more cinematic imagery.
As explained by Fujifilm: “Digital cinema cameras with image sensors larger than existing B4-mount cameras have been increasingly used in sports and live event broadcasting. The use of large-sensor cameras enables the expression of immersive images by offering smooth bokeh and high dynamic range for live broadcasting”.
The HZK25-1000mm has several built-in features like Automatic Restoration of Illumination Attenuation (ARIA), automatic chromatic aberration correction, and remote back-focus adjustment. Furthermore, existing FUJINON box lens accessories can be used in support of multi-camera operations.
Fujifilm states that the HZK25-1000 is the first commercially available box-type zoom lens compatible with large sensors that is equipped with optical image stabilisation. Great for stable shooting while precisely compensating for vibrations in the venue. This is achieved through Fujifilm’s unique ceramic ball roller system that provides a high level of anti-vibration performance against shaking caused by unstable platforms.
Leica Revives One of Its Most Iconic Film Cameras, the M6
Leica has revived one of its most acclaimed film cameras, the M6 rangefinder, a 35mm Film Camera released in 1984, but taken out of Production in 2002.
Not wanting to stray from the aesthetic of one of the most beloved film cameras ever produced, Leica kept the design, with only slight changes/upgrades.
Film photographers loved this 35mm rangefinder for its compact size, easy controls and the iconic design of the M-body. And now that film photography is experiencing a resurgence, Leica felt that it was the perfect time to reissue this classic.
“The Leica M6 is a milestone in the corporate history of Leica Camera AG. Since 1984, countless iconic pictures have been taken with it; it was a part of the product range for over 18 years and is still a fascinating camera with an extremely high utility value,” Stefan Daniel, Executive Vice President Technology and Operations at Leica, says.
The new Leica M6 has the same Leica M rangefinder body with a 0.72x magnification. Additionally, Leica says that it has coated all of its optical surfaces which makes them less sensitive to stray light. The red dot logo says “Leitz” instead of “Leica,” paying homage to its German roots. And that’s really it.
It still has the same mechanical shutter with a max speed of 1/1000. It uses the same 3V battery as the original M6 (but since it’s mechanical, you still don’t need a battery to use the new M6). And it uses the same slanted rewind crank for winding film that many nostalgic users will appreciate.
Leica’s Legendary Summilux-M 35mm f/1.4, the ‘King of Bokeh’, Returns
Leica revives another one of its classics. In addition to the iconic M6, the company is also bringing back the Summilux-M 35mm f/1.4 originally released in 1961.
Leica says that in 1961, the Summilux-M 35mm f/1.4 was the world’s fastest wide-angle lens despite the fact it was very small, light (7.05 ounces), and compact : “The lens provided new creative opportunities with its unique image rendering, delivering an unmistakable aesthetic unique to its character,” Leica says. “When photographing wide open, the lens delivers unmatched bokeh, an extraordinary pictorial look and intended flairs in backlit situations, earning the Summilux-M 35 f/1.4 the title ‘True King of Bokeh’.”
Leica says that this 2022 relaunch edition retains the original vintage design — and all of the benefits it held – but while the lens was originally designed for use with film cameras, the M mount is in use by both film and digital cameras, so photographers will have their choice of format with the Summilux-M 35 f/1.4.
Sony’s Pocket-Sized ZV-1F for Vloggers and Content Creators
Sony has come up with a few great solutions for vloggers over the years by designing high quality, feature-heavy cameras specifically for content creators and YouTubers.
Now Sony has created a camera for those content creators ready to make the leap from phone to camera . The ZV-1F is point and shoot vlogging camera with fixed lens that combines an easy-to-use interface with a wide range of practical features that makes upgrading both intuitive and rewarding. Its small size makes it an excellent everyday camera for anyone looking for higher-quality stills and video than their phone can capture without taking up much space. Despite its small size, the ZV-1F is packed with features to simplify capture and processing.
The ZV-1F is built around a Zeiss Tessar T* 20mm equivalent f/2.0 lens, which provides ultra-wide views ideal for shooting selfies, recording video, or capturing landscapes. A 20.1MP 1-inch sensor records high-resolution stills even in low-light environments. Video recording is possible up to 4K resolution.
The Eye AF function locks focus on human faces and eyes automatically while Face Priority AE ensures that your subject’s face is properly exposed. There are also three levels of Soft Skin Effect can be used to smooth out blemishes in-camera. A Bokeh Switch allows you to defocus around your subject to make them stand out in the frame. Product Showcase mode locks focus on an object, great for when you are creating review videos. You also have creative pre-sets.
The ZV-1F also has some great video features. Active Mode image stabilisation helps to keep your footage smooth when walking or moving the camera. Slow & Quick (S&Q) Mode allows you to speed up or slow down your footage in-camera. You can also add a Shot Mark and cut out 15 to 60-second clips to send directly to your smartphone to post. You can send video and images via Wi-Fi using the Imaging Edge Mobile Plus app, which can also be used as a remote control for your camera.
Taking the parameters of social media into consideration, the ZV-1F allows you to rotate horizontal footage in-camera, or use Vertical Video Mode to record directly in vertical orientation. The side-articulating touchscreen of the ZV-1F makes it possible to see yourself while recording, as well as make on the spot adjustments. A directional 3-Capsule mic captures sound.
To help minimise the leap from smartphone to camera, the ZV-1F features a touchscreen-based user interface, it’s also light and small enough to be held at arm’s length. It is designed to be used via its 3-inch vari-angle touchscreen. It can swivel out to the side and face the front (selfie screen), which is critical to vloggers and livestreamers.
Sony’s ZV-1F is not just a cheaper, less capable ZV-1. Rather, it is an affordable, easy-to-use entry point into a dedicated camera system for people who have been using their smartphones to create content.
Features:
20.1MP Type-1 Exmor RS CMOS sensor
20mm (equivalent) fixed lens with F2 max aperture
ISO range 125-12,800
Electronic image stabilization
425-point contrast-detect autofocus
Eye AF
3 in. vari-angle touchscreen with 921k dots
Shoots JPEG images at up to 16fps
Single UHS-I SD card slot
Can be powered over USB
Records 4K video at up to 30p
S&Qvideo at 1-120fps
Built-in Wi-Fi and Bluetooth
Accessory shoe (no electronic contacts)
NP-BX1 battery is CIPA rated for 360 shots / 60 minutes of video
W x H x D: 105.5 x 60 x 46.4mm (4.15 x 2.36 x 1.83 in.)
Weighs 256g
Nanlux Evoke 1200B 1.2kW LED Bi-colour Spot Light
Back in 2021, NANLUX joined the high-output LED party with it release the Evoke 1200. This daylight-balanced model is now getting a bi-colour sibling, the Evoke 1200B — Designed specifically to meet the exacting requirements of cinematographers, live events, stills, and broadcast professionals, the Evoke perfectly combines stunning levels of illumination and incredible flexibility, with the convenience of LED.
According Nanlux, this light is “a game-changer in bringing beyond-anticipation user experience for the large film crew who demand precision lighting on subtlety”. The company further claims that with a luminance of 61,030 lux at three meters with a reflector, it has all the credentials to combine the high-output of 1.8kW PAR or 2.5kW HMI fixtures with the benefits of a LED light source. All with a total weight of 7.75 kg.
The Evoke 1200B has a CCT range of 2700K-6500K, which can “provide sunrise to sunset recreations with an extremely high continuity and accuracy” making the need for lighting gels a thing of the past.
Scores for CRI/TLCI are rated at 96/95, respectively, while the TM30 grade gets an average of 95/Rf and 1020Rg. The Evoke also holds an IP rating of IP54 for water resistance when shooting in weather-related scenes on set or on location.
Dimming can be adjusted by knobs in .1% increments from 0-100 percent, with five onboard dimming curves, including Linear, Exponent, Logarithm, S-Curve, and Gamma 2.2. There are also customisable practical effects built in.
The achievement of such a high output is made possible by a new thermal-management system, whose fan supports four different operating modes: Smart, Full Speed, Low Speed, and Off.
Key Features:
• Wide CCT range of 2,700K – 6,500K • Powerful output comparable to 1.8KW PAR or 2.5KW HMI Fresnel • IP54 rated for both lamp head and power supply • Support both wired and wireless control via NANLINK APP, DMX/RDM, Bluetooth, Lumenradio CRMX • Fully dimmable from 0-100% in ultra-precise intervals of just 0.1% • “Flicker free” performance reported above 5,000 FPS. Perfect for application in volume studios and Ultra High Speed Motion Capture • 5 dimming curves: LINEAR, EXPONENT, LOGARITHM, S -CURVE, GAMMA 2.2 • Improved cooling system with 4 fan modes: SMART, FULL SPEED, LOW SPEED, OFF • Compatibility for all modifiers with NL mount
Sony has just announced the latest powerhouse in its R series. The high-resolution A7R V is the perfect blend of power, performance and intelligence. By combining an evolved image processor, a 4-axis multi-angle LCD monitor, 8K video recording, and a whole list of additional upgrades this camera will suit both photographers and video shooters alike. Sony made some pretty significant improvements to the a7R V to make it feel like a true step up from the previous generation, sporting the best of Sony’s current technology for menus, storage, video recording, body design, and more.
The A7R V keeps the 61MP Exmor R CMOS sensor found in the a7R IV, but it uses the newer dual BIONX XR processors found in the A1 and A7S III. This means that the A7R V has up to eight times the processing power of its predecessor, making it capable of handling huge volumes of image data while minimising latency, and boosting the camera’s movie and still-image processing power. Exposure control and colour reproduction accuracy is improved as well. The camera has a native ISO range of 100-32,000—expandable to 102,400, and can continuously shoot up to 583 compressed RAW images at 10 fps.
The 5-axis in-body optical stabilisation has been upgraded to offer up to 8 steps of stabilisation in the body alone, for the first time in the Alpha series. This achieves effective stabilisation for slow-shutter shots of interiors or night scenes where it is preferable to avoid the need for increased sensitivity. A new stabilisation algorithm provides precise detection and control right down to the single-pixel level, taking full advantage of the sensor’s 61.0 megapixel9 resolution to bring out the finest subject details.
With the latest artificial intelligence-driven (AI) autofocus system controlled by a new dedicated AI processor, which Sony says was trained with deep learning techniques, the A7R V has the best autofocus system in Sony’s lineup by a long shot. This new AI processor allows the A7R V to track a much more comprehensive range of subjects. For human subjects, the camera can focus on bodies, heads, and eyes using human pose recognition that uses detailed information about human forms and postures. Sony says the autofocus system can now also recognise more animals’ and birds’ eyes, heads, and bodies. In addition, it can track insects, and the leading edges of cars, trains, and planes.
The camera’s real-time tracking leans on 693-point high density phase detection and wide autofocus coverage, so you get fast autofocus even at the extreme corners of the frame. The full-time DMF lets you switch seamlessly from AF to manual focusing at any time. The latest algorithms also include a Focus Priority mode that provides more reliable AF in low light or when using smaller apertures, giving you high AF precision down to light levels as low as EV -4.0 in AF-S mode.
The A7R V’s AWB function has evolved alongside the camera’s AI capabilities. In addition to the “Visible Light + IR sensor” on the front of the body, the camera’s AI processing unit helps to achieve more accurate white balance in difficult lighting, such as when the subject is in shadow. A new AE algorithm can detect the skin area in faces to control exposure accordingly when shooting stills and movies.
The A7R V has the familiar look and feel that Sony users love, with the added feature of a brand-new four-axis LCD screen. The new design is both a tilt screen and a flip screen. The camera sports dual CFexpress slots, and a 9.44 mil dot EVF. There is a wealth of customisable buttons on the A7R V as there are many more things to control and adjust with the new AI focusing system.
In terms of the A7R V’s video capabilities, it has the ability to shoot up to 8K for about 30 minutes and unlimited 4K 24p/25p. It can record up to 8K at 24/25 fps with full AF and AE support. Full-frame 4K recording provides a full sensor readout with no cropping, up to 30 fps, while 4K/60 and 8K capture results in a 1.2x crop. The a7R V can capture 8K footage up to 10-bit 4:2:0 and 4K 10-bit 4:2:2. XAVC-HS is available for 8K and 4K recording in addition to HD. For subjects demanding a high frame rate, it can record up to 120 fps at 1080p. The AI-assisted tracking keeps a wide range of subjects in focus when recording. In terms of colour, the a7R V offers S-Log3, S-Cinetone, and HLG and HDR recording.
The a7R V hosts a range of advanced connectivity options. It can act as a UVC webcam for content creators streaming in 4K up to 15p. For workflows that demand lightning-fast turnaround, FTP file transfer via 2×2 MIMO can transfer 3.5x more data than the a9 II. Additionally, files can be transferred via wireless LAN, wired LAN (via adapter), or USB-C.
Feature Recap:
AI-driven Real-Time Recognition Autofocus
Four-axis LCD screen
Eight-stop image stabilisation system
Multiple raw file formats, including lossless raw, compressed raw, and three raw sizes plus JPEG and HEIF
Dual CFe-A card slots
10fps capture
583 image burst depth in compressed raw, 547 in uncompressed raw, and more than 1000 images in JPEG X-Fine
9.44M dot EVF, which is best in class
Video capture is possible up to 8K 24/25p and 4K 50/60p in 4:2:2: 10-bit All-I.
Pixel Shift capture with the ability to merge images with motion between frames
Dedicated Still/Video/S&Q mode dial
Breathing compensation support, focus mapping, and all the latest video tools Sony offers
UVC/UAC streaming over USB with the ability to record internally simultaneously
Wi-Fi 802.11 ac 2X2 MIMO
SuperSpeed USB 10Gbps over USB 3.2 Gen 2
Bluetooth connectivity allows for control and image transfer without needing a Wi-Fi connection with the camera
Big news from our partners at Phase One. The camera company known for its medium and large format digital technology will unveil their Patent Pending Technology, Fusion Shutter™ at the 2022 InterGeo in Germany.
This new Fusion Shutter technology is developed to provide the highest possible image quality for demanding imaging applications. It leverages combined electronic and mechanical global shutters to enable capturing of images with a very short exposure times without the adverse effects of the parasitic light sensitivity of electronic global shutters.
The company states that the advantage of Fusion Shutter™ is not directly about image quality, but about being able to capture high quality and high-resolution image data in applications previously not possible.
“The patent pending Phase One Fusion Shutter™ technology is the most powerful shutter technology on the market, and we cannot wait for the industry to see it at the 2022 InterGeo. Attendees will see first-hand how Phase One is pioneering the new era of imaging with next generation technologies. In addition to the unrivalled image quality that Phase One is known for, the Fusion Shutter™ technology enables customers to capture ultra-high GSD image data from faster moving aircrafts than previously thought possible.” Said Lau Nørgaard, Chief Technology Officer at Phase One.
At their booth, they will be debuting:
Phase One iXM-GS120: The newly launched global shutter camera with Fusion Shutter™ technology. The ideal camera for customers who need to capture images of the finest details of rapidly moving objects or from fast moving platforms
Phase One iX Suite: For easy, next-generation imaging data handling
Phase One PAS 880i: The most efficient, all-in-one solution for wide-area mapping and city-modelling
The newly announced Sony FX30 Cinema Camera contains all the great cinematic features ambitious filmmakers on a budget are looking for. The FX30 is the perfect first cinema camera, and entry into Sony’s Cinema Line (if you’re looking to upgrade down the line.) The FX30 is aimed at Indy shooters, documentary makers, videographers, future filmmakers, as well as regular content creators who want the full cine experience. Its compact size means you can take it anywhere, and as Sony says, ‘lets you concentrate on composition, not the complexity of crews and rigging.’
The FX30 has most of the features of the FX3 aside from sensor size. It sports an all-new back-illuminated 20.1 megapixels APS-C Exmor R™ CMOS sensor (Super 35 format) with a dual base ISO (800/2500), and 14+ stops of latitude. It also features 5-axis in-body image stabilisation, Eye AF and Object Tracking AF, outputs 16-bit raw out the HDMI and has an optional grip with XLR input built in.
The FX30 supports a variety of video recording codecs. It can shoot 4K Super 35 (16:9) by oversampling from 6K at up to 60fps. It also features the ability to shoot in high frame rates, including 4K at 120fps and full HD at 240fps. Both16:9 recording modes can shoot at 10-bit 4:2:2 while an HDMI Type-A connector can be used to output 4K, 16-bit RAW to an external recorder.
UHD 4K at up to 120p
10-bit internal recording
S-Log3/S-Gamut3
16-bit raw output
Standard ISO Range of 100-32000
Dual Base ISO (800 / 2500)
The FX30 features the same format options as the FX3. You can also adjust between Cine El, Cine El Quick, and Flexible ISO Log shooting modes for recording with the S-Log3 gamma curve, giving you flexibility when colour grading. You can shoot in these modes while monitoring with an appropriate LUT to preview the final image. In addition, the FX30 includes a selection of built-in cinematic looks, such as Sony’s S-Cinetone™ and uses advanced capabilities of the BIONZ XR processing engine for realistic colour reproduction and natural gradations.
The FX30 includes Sony’s legendary fast and reliable hybrid autofocus, with options for Real-time Eye AF (human, animal, or bird), Real-time Tracking, and AF Assist. It also lets you have more control when using the Focus Map, offering a stable angle of view when focusing thus making it easier to visualise depth of field, and Breathing Compensation.
The camera also has optical in-body 5-axis image stabilisation and time code sync, which is beneficial for run and gun shooting in Active Mode.
The FX30 is equipped with two memory card slots that are compatible with both CFexpress Type A cards and SDXC/SDHC cards. It is also compatible with the newly announced large capacity CFexpress Type A memory cards. The camera is dust and moisture resistant and uses a NP-FZ100 battery. You also have a 16-bit RAW output via HDMI and audio port. You can also use the FX30 to shoot still images with 26MP resolution.
We’ve previously talked about the evolution of the action cam. Brands like SONY and RED are packing all their cine tech into smaller cameras, revolutionising action sequences. We saw Top Gun: Maverick minimising green screen by using the compact Sony Venice in the fighter jets to capture live action, giving the movie a real immersive feel with super realistic flight sequences. Now Devotion, a movie about naval fighter planes, has also utilised this technique, but replacing the VENICE with an “Army of [RED] Komodos” to capture its dramatic dogfight sequences. Devotion promises tons of high-flying action and gritty war drama.
Rumour has it that the producers of Devotion were looking to capture similar dog fights seen in Top Gun: Maverick, but 10 times more. To do this, DoP, Eric Messerschmidt decided that the RED KOMODO was up to the challenge. “I was really excited by the story and by the approach that J.D. was taking with the film by trying to do as much in-camera work as we can.” Messerschmidt said.
So why KOMODO?
In Top Gun, Sony’s Rialto Camera Extension System had to be used with the Venice cameras because space is very limited on the fighter planes. The Komodo, however is so compact, production could “mount the camera all over the airplanes in places you could never put a motion picture camera before” Messerschmidt affirmed.
Another reason was that the main camera that shot Devotion was the Panavision DXL2 which owns RED’s Vista Vision sensor. Hence, the KOMODO fitted seamlessly to match it, because they both output the same format as R3D files.
Looking at the sneak peek pictures recently posted by Jarred Land, President at RED Digital Cinema, three KOMODOs were attached to the bottom of the plane. The various angles mean we’ll definitely be seeing some interesting aerial action shots from the various perspectives. There were also KOMODOs in the cockpit, but no photos were supplied.
Devotion, directed by JD Dillard, is an aerial war epic telling the true story of two U.S. Navy fighter pilots, Tom Hudner and Jesse Brown, during the Korean War and their tale of heroism, friendship, and sacrifice that would ultimately make them the Navy’s most celebrated wingmen. Watch the trailer below:
Combining strobes and continuous light for stunning sports portraits.
Light painting can get really get your creativity flowing, and it’s gets even more interesting when you combine it with regular flash to create dynamic and interesting images.
Client and Fitness Instructor, Justice Anderson, wanted to showcase the power of his personal training work. In this recent long exposure fitness shoot, photographer Bee Trofort worked in the dark with strip lights and added light painting to accentuate movement in a still photograph. To enhance the movement, Trofort added Spekular KYU-6 RGB Light Wraps to Anderson’s wrists and ankles. With the long exposure, she was able to capture beautiful streaking movement of Anderson’s workout in a variety of shots. View this video to see how she captures the physicality and form of this professional trainer:
Bee uses a combination of strobes and KYU-6 RGB wrap lights to get two exposures in one go. The first is the “regular” strobe exposure, a standard three-point setup with a key and rim light. The strobes control this exposure by popping them in a dark room. A “second” exposure is the long exposure that leaves the shutter open for a longer duration, capturing the light painting from the KYU-6 RGB lights. Bee attached the KYU-6 bracelets to her subject, which was set in different colours for different effects. They’re so easy to use, have a variety of colours and effects, and you can control the brightness as well.
It’s also important to set your camera up on a tripod for maximum stability because you will be combining two exposures, and you don’t want the camera to move between the two frames.
To achieve the shots, you need to set your strobe time to freeze and your shutter speed to light paint. This sounds complicated, but Bee affirms: “in reality, all it means is that you need to place your strobes to compose a shot and (if you can) set your camera to rear-curtain sync. That strobe will freeze the action and give you a sharp, clear image of your model.
Now, set the shutter to anything between three and ten seconds. You will have this long to play with the LEDs until the strobes pop, and your subject is frozen. Feel free to experiment with the exposure duration. In terms of aperture, there are no set rules for light painting. Remember, you can control the light brightness in two ways: by changing the aperture or by changing the brightness of the KYU-6 lights. Depending on your tests, feel free to change either.”
Ultimately it will take some trial and error to get your settings right for what your subject is doing, but that’s all part of the fun, especially with light painting.
IBC (International Broadcasting Convention) is one of the world’s most respected content and technology events for professionals engaged in the creation, management and delivery of entertainment and news worldwide.
We’re excited that these kinds of trade shows are up and running again because it gives us some insight into all the exciting industry developments. Now that IBC 2022 has just wrapped up, let’s look at some of the latest innovations from our favourite brands.
FUJIFILM X-H2
FUJIFILM’s new X-H2 is an 8K capable APS-C mirrorless hybrid with some impressive photo and video features.
This pro camera is based on the X-H2S, matching it with the same processor, in-body image stabilisation system, dual card slots, electronic viewfinder, and more. But with 40MP, the X-H2 becomes the highest-resolution APS-C digital camera on the market.
The X-H2’s back side illuminated X-Trans CMOS 5 HR sensor is paired with the new X-Processor 5 for optimal performance and image fidelity. This combination provides enhanced autofocus capabilities and blackout-free image bursts at 15 fps, all while being 10% more efficient on the batteries than its predecessor. ISO ranges from ISO 125 to ISO 12800, with expanded options in each direction.
This is also the first X Series camera that provides the Pixel Shift Multi-Shot function. This system records 20 separate images, spaced 0.5 pixels apart, and then combines them into a single 160MP DNG raw image.
The camera’s autofocus performance is also faster and more intelligent. This hybrid focusing system uses 425 phase-detection points and is now sensitive down to -7 EV for working in truly low-light conditions. Also, backed by deep learning, an AI adaptive algorithm means this focusing system is better suited to automatically detect and track a variety of subject types. Built-in 5-axis sensor-shift image stabilisation helps to minimize the appearance of camera shake by up to 7 stops.
The X-H2 is capable of 4:2:2 10-bit internal recording in 8K at 30fps and in both DCI/UHD 4K at up to 60 fps and Full HD at up to 240p. It also supports a variety of codecs. Continuous recording times up to 160 minutes are possible at all frame rates and resolutions that can be extended to 240 minutes with the external clip-on fan.
Canon’s new CINE-SERVO 15-120mm T2.95-T3.95 (CN8x15 IAS S) is designed to be a versatile lens that can be used for wildlife, documentary, broadcast, and cinema applications. It covers Super 35mm sized sensors, but can cover full-frame sensors if you engage the built-in 1.5x extender.
Canon already makes a 17-120mm Cine-Servo zoom lens, however, this version boasts 2mm more of wide-angle viewing and 8K optical performance than the original. That is a definite improvement over the older lens.
The lens offers 8K optical performance including chromatic aberration correction and reduced ghosting and flaring throughout its entire zoom range. The built-in extender increases the 15-120mm range to 22.5-180mm for telephoto use. The servo motor can be detached for cine-style camera use.
Like the rest of the Cinema EOS line, the 15-120mm provides a consistently warm balance, beautifully rendered skin tones and textures, and reduced focus breathing, and it has an 11-blade iris that produces natural-looking bokeh.
Kino Flo Mimik VR
Kino Flo’s Mimik VR is a first-of-its-kind product that allows video content to be perfectly mirrored on a LED light with a high tonal and colour rendering.
The whole idea behind the Mimik VR is that you can take the exact same light being emitted from a video wall and then use that to light your subject. In VR production, a videowall is often used to partly light the scene, to reflect the background on the subject. However, videowalls are RGB, so the light is not full spectrum.
KinoFlo introduces the Mimik VR a full spectrum illumination source where you can map every pixel to the background video, to properly light your foreground talent. Driven vu Helios by Megapixel, 2×4’ ~$5,000 pic.twitter.com/RhDALQFyjA
The Mimik VR, however, is “a lighting panel fed by a video signal,” that can light the foreground correctly, according to Frieder Hochheim, Kino Flo’s founder. It takes a 3D LUT of the video to extrapolate the RGB to a five-colour pixel comprising red, green and blue with both 2700K and 5600K whites. It has a very high refresh rate (31kHz), for shooting at high frame rates (at least 240fps) and is 16-bit to support HDR. It is driven by Megapixel VR’s Helios LED processor and fully synchronised with the videowall.
Also new is the Freestyle Air, a lightweight rugged range of three LED lights that run off existing Freestyle control systems and ballasts.
Nanlux Evoke 1200B
The Evoke 1200B is a 1200W Bi-colour LED Spotlight, with a CCT range of 2700K-6500K, and an IP 54 rating for both the light head and power supply. Essentially it is a Bi-colour version of the Evoke 1200. The Evoke 1200B can be used with a wide array of lighting modifiers from a Fresnel, to softboxes, to a reflector.
KEY FEATURES:
Two 1200W Bi-colour LED chips in Dot Matrix format
Higher light efficiency 61,030lux @3m 5,600K (with reflector RF-NLM-26), comparable to that of a 1.8kW PAR or 2.5kW HMI Fresnel
No flicker for Ultra-High-Speed shooting in raising the frame rate
Variable CCT range of 2700K to 6500K with continuity and accuracy ensured in adjustment
Excellent colour rendition with CRI/TLCI scores of 96/95, TM-30 Rf average 95/Rg average 102
Both lamp head and power supply built-in hermetically sealed structure and IP54 rated
Intuitive UI configuration of 4 buttons, 2 knobs and a 2.8 inch LCD display
0-100% smooth dimming in 0.1% increment with jump between 0-1% section eliminated
Five dimming curves to satisfy professional demands: LINEAR, EXPONENT，LOGARITHM, S-CURVE, GAMMA 2.2
“The Smart 5 series was designed in response to significant demand for smaller touchscreen monitors with the same quality and functionality of SmallHD’s Smart 7 and Ultrabright Series,” says Dave Bredbury, product manager for CS Cine. “We shrunk the display and increased the overall capabilities. Finally, users have access to our camera-control licenses for ARRI, RED and Sony VENICE on a 5-inch monitor.”
The Ultra, Cine, and Indie in the Smart 5 Series represent three tiers of brightness, I/O capability, and physical interface options to match a wide range of on-set workflows. If you’re looking for top-of-the-line 3000nit powerhouse with physical buttons and an ethernet port, you can go for the Ultra 5 for example. However, if you don’t have the budget or need for these top-line features, but you still want to be able to control your RED KOMODO with a daylight-viewable touchscreen, then the Indie 5 or Cine 5 would be a better option.
The Ultra 5 has touchscreen functionality with a full complement of front-facing physical buttons; 3000nit brightness, 2x 3G-SDI (I/O), 2x HDMI 2.0 (I/O), Ethernet port, 2-pin locking power connector, and locking 5-pin USB.
The Cine 5 has a reliable a combination of touchscreen functions with side-mounted joystick and back button; 2000nit brightness, 3G-SDI (I/O), HDMI 2.0 (I/O), 2-pin locking power connector, and locking 5-pin USB.
The Indie 5 has a touchscreen-only interface with physical power button and sliding touchscreen-lock switch; 1000nit brightness, 3G-SDI (I/O), HDMI 2.0 (I/O), barrel power input, and micro-USB connection.
Sony FR7
Sony’s new FR7 is a full frame interchangeable lens PTZ camera with variable electronic ND. According to Sony, it is the world’s first pan/tilt/zoom camera to combine a full-frame image sensor, interchangeable lenses and remote shooting functionality, opening up PTZ use to those seeking a cinematic look.
The V-RAPTOR XL features RED’s flagship V-Raptor 8K VV and 6K S35 multi-format sensor inside an XL camera body. The V-RAPTOR XL is designed to support high-end TV and motion picture productions.
This multi-format sensor allows you to shoot 8K large-format or 6K S35, which means you can shoot at over 4K even with S35 lenses. The sensor offers the highest recorded dynamic range and cleanest shadow performance of any RED camera to date and captures at up to 600fps at 2K.
RED also introduced its newest innovation, RED Connect. This is a license-enabled feature that allows full resolution live R3D video streaming via RED’s V-RAPTOR and V-RAPTOR XL camera systems.
Blackmagic Pocket Cinema Camera 6K G2
The G2 replaces the BMPCC 6K while adding features previously found on the 6K Pro model only. It sports a Super 35 sensor that allows shooting with a shallow depth of field and anamorphic lenses. It also has the latest Blackmagic generation 5 colour science and 13 stops of dynamic range, dual native ISO and EF lens mount.
Teradek has announced the Bolt 6 Series, the industry’s first 6GHz zero-delay wireless video solution that can deliver crystal-clear 6GHz transmission in high-traffic environments while remaining fully cross-compatible with the entire Bolt 4K BB3 ecosystem. The series can transmit and receive images and audio over the newly-available 6GHz frequency band as well as the industry-standard 5GHz, which dramatically reduces signal congestion in challenging RF environments while remaining fully cross-compatible across all Bolt 4K devices.
Unfortunately, South Africa is still in the very early stage of talks to open up the 6GHz spectrum for Wi-Fi and unlicensed usage to enable Wi-Fi in 6 GHz (Wi-Fi 6E).
Why RED 2 is another great video by Director/Cinematographer Mark Toia sharing his thoughts on the Power of RED, and why he continues to shoot on the most powerful and advanced cameras.
“So why do I choose RED? Well, it’s pretty logical. It’s a camera that’s got so much colour, depth, and incredible dynamic range that it can’t be ignored. And a ton of resolution. And shoots RAW that you can edit and grade in real-time. And not forgetting it’s got great frame rates, upwards of 400 fps at different crops. And the added bonus is the new V-RAPTOR sensor has another two stops in the blacks and another stop in the highlights to play with. RED’s 8K RAW file, gives me far more creative options on set and in post, and it’s the single one reason why I shoot RED.”
Sony has announced the latest in its Cinema Line, the ILME-FR7, a full-frame E-mount interchangeable lens camera with built-in pan/tilt/zoom (PTZ) functionality. It takes its current imaging technology and combines it with remote-controlled robotics. These versatile remote control and cinematic features make it a great fit for studio, live production, and filmmaking settings.
To clarify, the FR7 isn’t some kind of camera/gimbal hybrid. It is a stand-alone PTZ camera that is primarily targeted for use in reality shows, episodic drama, talk shows, cooking shows, and music videos according to Sony. But the creative possibilities are not limited to this of course, and can be used in fixed event spaces, houses of worship, streaming events, concerts, wedding venues, fashion shows, sporting events, and theatres. The FR7 not only has smooth pan/tilt/zoom functions, up to 100 presets, PoE++, and IP remote control, but it also has a full-frame cinema sensor with 15+ stops of dynamic range, dual media slots, genlock, timecode, and a Sony E lens mount for interchangeable lenses.
“The cinematic look and feel is rapidly becoming the norm in broadcasting and live production as it opens up new ways to tell a narrative. In parallel, over the last 2 years, we’ve seen a steep rise in content created remotely or in small locations where access is difficult. At Sony, we are always listening to our customers. We are thrilled to announce the FR7 that combines the flexibility of a standard PTZ camera with stunning visuals through advanced cinematic features.”
Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc.
Let’s delve a little deeper:
The FR7 features a back-illuminated 35mm full-frame CMOS image sensor Exmor R™ with approximately 10.3 effective megapixels and wide 15+ stops of dynamic range in a pan tilt zoom (PTZ) camera for the first time. In addition to wide dynamic range, low noise, and cinematic full frame bokeh, this sensor also delivers high sensitivity that allows ISO 800 to be expanded up to 409,600 when shooting in low light, which Sony says makes it ideal for places where lighting cannot always be controlled.
Fast Hybrid AF and pan/tilt/zoom functionalities allow you to focus on static or fast-moving subjects precisely and smoothly over a wide area, to avoid blurred images, even when a shallow depth of field is used. The same BIONZ XR™ processor found in the FX3, FX6, and a7S III is integrated into the RF7. This further enhances the camera’s detection performance for pinpoint eye focus in your subject, allowing you the confidence to concentrate on composing the best shot. Touch Focus can be used to initiate focusing with Real-time Tracking on the desired subject when using the FR7’s web app, with Real-time Eye AF if an eye is detected. The camera has a smooth pan tilt zoom operation that can be as slow as 0.02 degrees per second speeding up to around 60 degrees per second. Pre-sets can be set for smooth or fast pan and tilt, or rapid repositioning. The pan angle range is from -170 degrees to 170 degrees and the tilt angle range is between -30 and + 195 degrees in normal upright orientation, and -210 to 15+ degrees suspended from a ceiling mount.
A big feature of the RF7 is the ND auto setting (like the one found in the FX6 and FX9.) This impressive electronic variable ND system provides a clear filter and 3 user-definable pre-sets. The variable ND can be adjusted to provide between 2 and 7 stops of ND. It lets you keep your ISO, shutter speed and f-stop locked and then the electronic ND will automatically adjust keep your exposure correct. With this system, you can also do things like adjusting the depth of field in real-time as the variable ND will compensate automatically when you make changes to the f-stop.
The FR7 is built to work seamlessly alongside other Sony Cinema Line cameras in live or multi-camera environments. The camera can integrate and adapt to many workflow scenarios, from simple plug and play to more complex high-end productions, thanks to a comprehensive selection of video inputs and outputs, IP streaming, power supply, and synchronisation with other devices. With a new dedicated web application, pan, tilt, zoom, focus, record, playback, and all camera settings can be intuitively controlled from a tablet or computer. With its integrated remotely controllable pan/tilt mechanism, the FR7 can be mounted on a tripod, on a ceiling with the dedicated CIB-PCM1, or in other locations with limited access so that subjects can be unobtrusively followed and recorded from unique viewpoints. It is also compatible with Sony’s RM-IP500 remote controller for multi-camera production, expanding creative potential while reducing the need for dedicated staff in production studios and other shooting situations. Multi camera monitoring allows multiple cameras to be viewed remotely on one device, and multiple people can monitor footage remotely at the same time.
The FR7 essentially, has the same recording options as the FX6. It supports a wide range of formats including up to 120p at 4K and high-quality 4K 60p 4:2:2 10-bit out via HDMI and SDI, and sports dual slots for CFexpress Type A or SD/SDHC/SDXC cards. There are also XAVC Long GOP recording options as well if you want to minimise card space.
The FR7 has several of Sony’s Cinema Line features built into it to deliver that cinematic look and feel. These include a number of pre-set scene files such as S-Cinetone for natural mid-tones that are essential to healthy-looking skin colour, as well as soft colours and stunning highlights. Since the desired look can be created while shooting, you can save time spent in post-production. Shooting up to 120fps 4K (QFHD) and 240 fps FHD 6 slow-motion is possible, again creating that emotional possibility offered by a cinematic look.
The camera itself has no audio capture capability, but it can accept microphones via XLR.
KEY FEATURES:
Supports up to UHD 4K120 Video
Sony E-Mount Lens Interchangeability
4K Full-Frame Sensor
12G-SDI, HDMI & Streaming Output
Variable Electronic ND Filter
Smooth, Slow Pan & Tilt Movement
IR, IP & Web App Remote Control
Flexible PoE+ Installation
Genlock, Timecode & Tally Lamps
The Sony FR7 is set to be available November 2022.
Reunion Island is a small volcanic island located in the Indian Ocean, bordered to the west by Madagascar and to the northeast by Mauritius. Famous for being somewhat of a surfing Mecca, this paradise island was rocked by a series of horrific shark attacks between 2011 – 2019, of which 11 had been fatal. This led to Surfing and swimming being prohibited outside of the island’s relatively safe coral lagoon. Over the past couple of years, there has been surfing resurgence. Despite everything, throughout it all, the place where a few surfers continued to do what they loved the most was La Jetée, which is considered to be one of the (if not the) best air waves in the world.
In early 2022, filmmaker/surf photographer Alan van Gysen along with a small crew headed back to Reunion to reconnect with this incredible island and its people to produce a short film. La Jetée | A Surfing Return to Reunion Islandis the prequel to a bigger shark crisis documentary they are currently working on. The film sees Matthieu Guillaume, a local surfer from St. Pierre and local Cape Town surfers Luke Slijpen and Eli Beukes touring this area of the island and shredding some sick waves.
Shark attacks are still a concern on Reunion Island, and surfing outside of the designated protected areas is still technically illegal, but there has not been an attack in three years at the time of the production. Scientists can’t say with certainty why, but there is important research being done and the establishment of protected surfing areas at places like St.Leu have made getting in the water safer. The local surfing and lifeguard community have done an incredible job of rallying together with scientists to create water patrols and establish a number of protocols to try minimise the risk of an attack as much as possible at these spots.
Now Now Media is busy working on a more in-depth documentary on the shark situation in Reunion but in order to surf at St Leu, you’re supposed to register on the beach and have a shark deterrent device. Surfers still surf other parts of Reunion without organised protection measures but this is technically illegal (you could face a fine) and at their own risk.
La Jetée | A Surfing Return to Reunion Island
Starring Eli Beukes | Luke Slijpen | Allain Matthieu Guillaume
DOP Alan van Gysen
Filmers Alan van Gysen | Ian Thurtell | Julian ‘Ciel’ Celeste | Will Bendix
x2 Sony A7SIII cameras Sony 16-35mm lens Sony 24-70mm lens Sony 70-200mm lens Sony 200-600mm lens Atomos Ninja V monitor and recorder Sony K3M XLR sound mixer Senheisser G4 sound set Pro Salty Surf Water Housing
RED has been taking pre-orders of the new V-RAPTOR XL. If you’re interested in finding out more about this latest camera system, the most recent RED Tech LIVE episode is an hour-long tech talk that sheds more light on its features. In the episode, RED CEO Jarred Land, as well as Cleigh Reed, Jonathan Petts, and James Lucarelli gave an overview about V-RAPTOR XL. Information on the camera and its specs has been out for some time, so nothing really new was added during the talk, but some interesting information was shared during the long Q&A session at the end.
Let’s take a look into some of the more interesting questions that were answered:
According to RED, the AF feature is getting special attention from the R&D teams. While we know the camera has contrast and phase detection autofocus, Land, had some interesting things to say about where he sees this going. He clearly stated that he would like to expand the camera’s autofocus capabilities into areas like intelligent object detection and tracking, comparing it to Sony and Canon. But it’s not there yet.
Land says: “There’s something about the intelligence that the engineering team has put into the camera, and it’s not just about the accuracy of AF, and tracking, but there’s the capability in the camera actually to do…everybody uses AI to understand what’s tracking…and you know Canon and Sony do a little bit of this, but for me, it’s that stuff is incredible… Apart from just the improvements in the phase detection and contrast detection that are new, that’s coming, there’s a lot of deeper intelligence that we have with the camera that is a little bit more practical than just making sure it’s focused and in focus. You can actually use it as a trigger, or you can use it for…There’s a lot of things that I shouldn’t really talk about, but that I’m the most excited about because it saves just adding a bunch of stuff to your camera to get it to work”.
Land also went into some detail in the latter portion of Q&A section regarding an EF-Mount that is already in development. On the topic of an RF-Mount however, the team had to explain that due to the ND system taking up too much room, that would not be on the Cards.
The S35 version of the V-Raptor XL 8k VV was again confirmed and said to be in development and testing right now. The team positioned that camera in the lineup as being a smaller version of the XL, that could be particularly useful for product shoots, due to its higher DOF. “It’s probably will be ready in a couple of months. It’s already out shooing.” Land says, “ It’s got the same specs as the normal Raptor and the XL Raptor so same frame rates and everything. But the big difference between S35 is the sensor size which is a bit smaller than our traditional S35 sensors, specifically it’s just to make sure that it fits into those lenses. The biggest request for S35 now comes from the wildlife and sports shooters. The S35 will be full 8K, 120 frames per second”.
Land also elaborated on developing monochrome/ IR versions of the Raptor XL: “We were in the middle of making a couple of monochromes, but we got a special request from a special customer for IR (Infra-Red) XL. So we’re making those first…we’re making a few of them. You can do some really cool stuff with those cameras. So we’ll make a few of those and hopefully get to monochrome”. The V-Raptor IR will most probably be used to shoot day-to-night scenes.
If you shoot tethered with certain Sony, Nikon, or Canon cameras, now’s a great time to take a good hard look at Smart Shooter 4, a digital photography workflow application for tethered shooting, remote capture and advanced camera control. Smart Shooter is packed with elegant features, a sleek interface, and reasonable price point.
Here are some key features:
• High-performance tethering engine • Exceptional reliability • Live View display including overlay mode • Automatic download and display • Shoot to camera card, computer or both • Supports RAW and JPG • Supports Canon, Sony and Nikon Cameras • Mac and Windows support
Why Try Smart Shooter?
Smart Shooter brings an abundance of unique features that aren’t found in any other tethered capture software.
Advanced tethering features like multiple loupe view, filmstrip photo preview and zoomed live view
Flexible naming conventions
Fast transfer speeds for both JPEG and RAW files
Automatic download and display, download speeds in seconds
Real time live view output to help focus and compose your photos
In addition, Smart Shooter can be used via a TetherPro Cable or wirelessly with the Air Direct Wireless Tethering System. It’s just one of the many versatile ways that Smart Shooter is capable to be used for varying types of shoots that are set up in studio like food, portrait, or headshot photography or a more mobile shoot like sports, fashion, on-location photography.
Upgrade to Smart Shooter PRO
If you’re a high-volume, sports, or headshot photographer, you might consider upgrading to our PRO version. Smart Shooter takes a step further in its capabilities and allows for even more features that benefit photographers that might be looking for a simpler, faster and more efficient way of shooting.
Smart Shooter PRO Features
Create Your Own Scripts
Smart Shooter PRO can be driven from a script, giving you the ability to change camera settings and control when photos are taken. This allows you to take a series of different photos without manual camera of the camera or computer
Multi-Camera Control
Looking to connect to multiple cameras to your computer at the same time? Smart Shooter PRO allows you to select which camera is currently being controlling and hence will be affected by changes to settings and other commands.
Barcode Scanning
Scan a photo and detect if it contains a barcode or QR code, which can extract the text information from it. This text can be then used as part of the filename when saving the photo.
External API
Smart Shooter PRO can be integrated with an external system by using the External API feature. This provides way to integrate Smart Shooter with your existing software systems.
Should you upgrade to the DJI RS3 or RS3 PRO if you already own the RS2 or RSC2 camera stabiliser? well, we’re here to tell you that the perfect gimbal just got better!
Dan Watson’s popular YouTube channel is known for its real-world gear tests and comparisons. Being a fan of DJI gimbals, Watson claims that they are the among best on the market, particularly the new models. In this YouTube video, he breaks down what’s new with the RS 3 and RS 3 Pro, the differences between the two, and how they compare to its predecessors, the RSC 2 and RS 2. While the changes may seem small, they make a big difference.
Let’s look at the RS 3 and RS 3 Pro standout features:
The RS 3 Pro may be bigger than the RS 3, but thanks to its carbon fibre construction, it’s not much heavier (a real benefit if you’re working with larger camera setups.) Both gimbals have improved stabilisation and can be controlled and customised via the Ronin app. One of the biggest advantages the RS 3 Pro has is the DJI Ronin Image Transmitter, allowing for live monitoring remotely in 1080p30 up to 600 feet away. It also features full active track mode, so the RS 3 Pro will track a subject. This is great if you’re filming alone.
The RS 3 Pro can handle up to 10 pounds and the RS 3 can handle 6.6 pounds, they both have an adjustment knob on the plate to fine-tune where the camera is positioned and new clamps to lock things into place (a big improvement over the RSC 2’s screw attachments.) Both have an autolock feature. Their Bluetooth connectivity to your camera eliminates the need for cables to control it, including record start/stop.
There is a LiDAR Range Finder for the RS 3 Pro, which is a fairly fast autofocus feature to be used with the DJI focus motor and AF or manual lenses. Those autofocus settings can be modified.
In conclusion, Watson finds the updates to the new gimbals make both the RS 3 and RS 3 Pro must-haves for content creators, even going as far as to state that the RS 3 Pro is the “ultimate gimbal for just about everything.”
If you’d like to see more of what the DJI RS 3 Pro can really do and why it lives up to its ‘ultimate gimbal’ status, check out this video by Peter Lindgren:
HBO Max series Hacks Season 2 proves the dark mentorship of Deborah Vance and young writer Ava Daniels to once again be a strong and entertaining partnership. This has garnered the series 17 Emmy nominations including Outstanding Comedy Series.
Hacks Director of Photography, Adam Bricker, contributes to this colourful comedy and it’s complex characters by exploring their journey visually through his lens with impressive results. In an interview with AwardsRadar.com he states: “It’s rare to find a half-hour comedy so rich with character-motivated, visual storytelling…We wanted the show to feel naturalistic, so we used subtle juxtapositions to subconsciously support the story.” He adds, ” We were excited to use the cinematography to help convey the emotional journeys of our characters and enhance the storytelling.”
Bricker recently sat down with RED’s Naida Albright to discuss his mission of utilising these principles established in season 1 and applying them to new environments, storylines, and character development to ensure a strong and emotionally expressive visual look as season 2 hits the road.
In order to achieve the natural energetic, run, and gun comedic feel of this season, Bricker chose to shift from Panavision’s DXL2 with MONSTRO sensor that was used on season 1, to RED’s new flagship, small-bodied V-RAPTOR system. “It worked so well paring this robust modern digital sensor with this older vintage glass telling the generational story of a young comedian and an older comedian.” Check out the whole interview, to find out more as Adam and Naida dive deeper into specific scenes and the impacts of set design, wardrobe, lighting, and smallest of details that made the biggest difference in achieving the looks that resulted in an Emmy nomination for Outstanding Cinematography for Adam Bricker and the Hacks team.
So, you’ve invested in some strobes and you’re in the process of setting up your studio. Creative control is now in your hands. One of the essential features of a good photograph is the background. Selecting the right backdrop is the easiest way to add personality and style to your studio photography and videos. The backdrop behind your subject can make or break your image. When you get it right, your image stands out, however, if you’ve looked at a picture and something’s a little off but you can’t quite put your finger on it, it’s probably the background choice. One of the secrets of any successful photographer is paying attention to what’s behind your subject. Choosing the right background for your subject can be just as important as choosing the right lens for the shot.
The conditions in which you shoot are not always ideal, sometimes there is too little or too much contrast in the background, sometimes the background is uninspiring or not clean, sometimes the kind of look or theme you want is not achieved because of the background. Getting a photography backdrop solves all of these dilemmas, and will help you take better pictures for work, for business, or even your hobbies. Using a backdrop takes the guesswork out of how much light to use, what background is ideal, and can significantly improve the quality of your shots.
Whether you’re setting up a pro studio or a makeshift one in your spare bedroom, you’re definitely going to need a quality backdrop or two. We’ve got some good news for you. As the official South African distributor of Savage Universal Backdrops and products, Cine Photo Tools has the widest selection of paper backdrops in every size and colour, with an affordable price-tag to boot. We also stock an array of muslin, canvas, vinyl, and collapsible backdrops.
Seamless paper backdrops produce a clean look. You can modify background colours with lighting, and the images can be easily cut out if you want to replace the background. Seamless paper provides a smooth, sweeping look because there is no visible line between the floor and the background. This makes it ideal for studio use and product photography. It’s like using an infinity curve/ Cyc wall but without the high cost and labour involved in changing the colour. It also means that you can control the lighting and background of the picture without having to invest in high-end photography equipment, which is also perfect for budding photographers, entrepreneurs, and anyone who just wants to take great pictures.
So, if you are and starting out, you may be surprised at how easy and affordable it is to up your game with a good quality paper backdrop. If you are a pro photographer with backdrops in your arsenal already, there’s always room to expand your collection and get creative!
1. How do I choose the right seamless paper size?
Being prepared for the variety of photo shoots that come your way can be challenging. You may have to shoot a portrait of a single person, a large family, or even a pet. Perhaps you’re shooting products or food. How you shoot and what you shoot will affect your decision, as will your budget.
Choosing the appropriate seamless paper size will take some effort and consideration on your part. What does a typical photo shoot look like for you? Do you tend to capture head shots, or photograph families – or do it all? Will there be lots of movement on set, for example, when shooting pets, kids, live action? Do you shoot small or large products? How big is your studio? Can it handle a 3.5m+ paper roll, or do you shoot in a spare bedroom with limited space?
Fortunately, Savage Seamless Paper Backdrops make it super simple to fit your backdrop to both your subject matter and shooting style.
What colours do I need?
The science behind colour affects how we perceive light. Colour and light work hand in hand. Colours can also evoke emotion and help tell a story in photography. Your choice of background can add context to your image or it can lend emotion and feeling to a shot. Principles of colour theory — deeply rooted in nature — help us to understand how colours interact with each other, for example similar colours create calming harmony, while contrasting colours draw in our attention. Photography backdrops are essential in photo shoots because they can set the mood of the image. Backdrops are designed to enhance the subject of your picture either by providing contrast or blending into the background, you end up with crisp and professional-looking pictures all the time. Choosing and using the right colours lets you to communicate, allowing people to digest the message that the photo is trying to convey. Luckily, Savage paper backdrops come in over 50 shades to choose from, so you can create the perfect mood or effect.
Whether creating vibrant fashion looks, serene baby portraits, or powerful corporate head shots, your subject’s background plays an important part in the impact of your final image.
Some questions to consider:
• Who are your subjects?
• What energy do you want to convey?
• Will you light your background directly, or will it be lit by ambient light?
• How and where will your images be displayed?
If you’re just starting to build up your studio, we recommend having three or more backdrop colours on hand to offer clients a variety of backgrounds to complement the look or aesthetic they are going for.
Neutral backdrops are great for photographing very busy or colourful subjects. White, grey, and black seamless are studio staples that never go out of style. Grey is particularly flexible in that with a little effort, you can turn your grey backdrop into white, black or pretty much any colour you can imagine (using lighting gels.)
What you want to do in post-production, especially when shooting video, might also influence your background choice, like green screen projects.
The Bold: Bright, vibrant colours convey energy, positivity, and youthfulness.
The Beautiful: Soft, neutral hues add depth to your image while highlighting your subject’s features without distraction. These shades are ideal for fashion and beauty campaigns, as well as corporate shots.
Set the scene by going organic: Warm, rustic colours are good for cosy autumn portraits. Cool pastel greens, blues, and sandy tones make great beachy backdrops for summertime themes.
Celebrate the occasion: Whether it’s Christmas or Halloween, infuse your images with colours of the season.
How do I hang my paper backdrop?
A decent stand makes it easy to arrange your background behind the subject. Savage background stands are portable, and simple to set up indoors or outside. Cine Photo Tools offers a selection of stands.
The Savage 12 x 12 ft Background Stand is lightweight, yet strong enough to hold the large seamless paper rolls (as well as large fabric/muslin backdrops) as it can extend to 12′ (3.6576m) wide and 12′ (3.6576m) tall.
The Savage Port-A-Stand is lightweight and can go just about anywhere, as it easily folds up to fit into a 52” long carrying case for easy transport to your location shoots. The Port-A-Stand is a generous 10′ 7″ wide and 9′ 7″ high, meaning it can accommodate the popular sized 2.72m X11m seamless paper rolls or fabric of similar width, and strong enough to even hold vinyl backdrops. It’s the perfect solution for shooting out of studio.
To hang your backdrop, slide the crossbar through your new paper roll and then secure the crossbar to the two upright stands. Don’t forget to secure the backdrop – Spring Clamps come in handy to keep your backdrops from unravelling any more than you want it to, preventing creases and dents in your paper. So have a clamp or two ready to go before unrolling.
If you plan to sweep your backdrop out onto the floor for full-body shots, tape the ends to the ground with gaffer tape to ensure it stays flat and does not roll up. This will keep your set looking smooth and professional, and prevent any tripping hazards. The resin and natural rubber compound in the gaffer tape allows for a clean removal with no residue.
For narrow, lightweight backdrops you can be resourceful by hanging them from a light stand. This can help save floor space if required. It can also come in handy when designing creative sets incorporating multiple rolls.
Looking for a more simple or economical option? Simply cut off just enough paper to fill the frame and tape or pin it to your wall. This works well for head shots or vlogging.
If you want your seamless paper to last, don’t walk on it with dirty shoes. Because it is paper, you need to be aware of dirty or wet footwear because they leave marks and can damage the paper. Invest in shoe covers for you and your team or wear socks. Once it’s time to start shooting, make sure to clean off your model’s shoes before he/she steps on the paper. If it does get too scuffed or damaged, simply cut off the dirty piece and roll out more (remember, Savage paper is 100% recyclable.)
Store your Savage paper rolls upright in a dry place to prevent warping, waves, or ripples in the paper. Also, don’t leave your backdrop hanging on a stand. After each session, roll the paper back up tightly and evenly.
While paper backdrops are probably the most versatile, there are multiple types of backdrops, and they function quite similarly:
Muslin
Muslin backgrounds have stood the test of time across photography studios for decades. The backdrops are constructed from a cotton fabric. They come in various sizes and dyed in a single or mottled colours, or they are hand painted. They are lightweight, durable, very portable, and generally look good. Muslin tends to be less reflective than paper rolls as it absorbs more light than it reflects, so it can be easier to light. A great feature is that you can easily wash them if soiled (you may need to get the larger sizes commercially cleaned.) The backdrops are simple to bundle up and transport. These qualities make them one of the ‘greenest’ and most cost-effective backdrops, as they are easy to take care of and can be used over and over again.
An industry standard, Savage’s muslin backdrops are made of top-quality cotton. The colouring is consistent throughout the surface, and they do not easily wrinkle.
Image: Mike McGee via Savage
Muslin backdrops can look modern or retro, depending upon the style of lighting, and they’re a great addition to every photographer’s arsenal of backdrops. The material can be used as a background when hung flat or can be draped over surfaces to transform the look of a picture.
Like paper, you can use longer muslin as flooring for the subject. Solid colours function much like seamless paper, but you need to be cautious about folds in the muslin as they can be distracting from the subject.
Many images are suitable for a vinyl backdrop, but this form is limited to the vertical surface in the background. Separate flooring is needed. Vinyl backdrops are washable and durable, so great for children, dogs, food, spray images etc. because the clean up is easy. Also, they are quite pliable so they can be moved about without much difficulty. Vinyl backdrops can certainly withstand the test of a busy, high-volume studio!
Image: Leigh Demshar via Savage
One thing you need to be aware of when shooting with a Vinyl backdrop, is that they can be a little reflective, so you need to be cautious about how your lights are set up.
“As I was wiping dog hair, slobber, and bits of string cheese off of the vinyl with a wet cleaning cloth, I thought to myself (actually, I was alone at the studio, and said it out loud to nobody), WOW! This is amazing. On traditional seamless paper, I would have been slicing off the evidence of the session from the roll, getting it ready for the recycle bin. Instead, with a simple wipe, the vinyl was clean and ready for next time. Fabulous! If I don’t have to throw it away, I am getting more bang for my background buck.” – Leigh Demshar on using Vinyl backdrops.
canvas backdrops are the perfect choice for the studio-based photographer because of their long lifespan and versatile usage. While they may seem a little more costly than their paper counterparts, a high-quality canvas backdrop can provide a great return on your investment.
Image: Yev Z Photography via Savage
Savage canvas backdrops are made in the USA, with a unique multi-layering process that backs the canvas with a blackout centre to prevent light from passing through and then a layer of vinyl on the very back for extra durability. The backdrops are mounted to a heavy-duty aluminium core. Their matte finish means no glare.
Photographic doyens such as Richard Avedon, and Joel Peter-Witkin are all fans of the canvas backdrop, and of course there is Annie Leibowitz’s canvas backdrop signature look.
The painted canvas backdrops from Savage are lush in texture and quality with a sophisticated background pattern that is subtle enough to complement many styles of portraiture and add to the richness of your image. This texturing not only creates a unique look, but it also changes the way light interacts with the backdrop.
Cine Photo Tools is an official South African reseller of NANLITE products.
NANLITE produces award-winning high-quality, high-output lights at affordable prices, making content creation more approachable and diverse than it’s ever been. Catering to all creatives, projects that could only be accomplished by large studios and huge budgets are now in reach of anyone with a vision and the desire to turn it into reality. Whether you need creative colourful lighting or high-powered spotlights, NANLITE has it all with its wide range of video and photo LED lighting.
Although NANLITE only officially launched in 2019, the people behind it at NanGuang have been hard at work designing and building LED lighting for video production and photography for over 30 years. NANLITE is the next evolution in their quest to create the ultimate range of LED Solutions which includes Monolights, Panels, Fresnels, Tubes, Wands, and Accessories. What gives NANLITE the edge over many of its competitors is that products are made in -house at the NanGuang facility, which allows the company to closely monitor the quality and consistency of its products.
With so many lighting brands out there competing with each other, you might assume that NANLITE is just another part of a giant, faceless corporation, but NanGuang is a family-owned business that has grown from modest beginnings. Started by Lin BiGuang in 1992 with the goal of creating a better LED light, what followed was a relentless pursuit by a team of incredibly dedicated engineers and product designers, to make the best range of continuous LED lights possible with an obsession to quality and details.
NanGuang is not only passionate about their NANLITE systems, but also committed to listen to clients — and the industry at large — to keep creating high quality lights at affordable prices. This commitment to understanding customer needs has allowed them to develop an award-winning product range, which has gained several international accolades.
“Over the past three decades we have worked together, to create a brand which can compete on a world stage,” continues Nancy, “We are delighted to have formed a global family, where we are able to, listen, understand and share ideas, as we develop products which directly support the creativity of our customers.”
– Nancy Zheng, Managing Director
For Creatives working in the video, photo, beauty or content creation community, there is a powerful and convenient NANLITE system to match that gives power to your production and lets you experiment and create with ease. Since you have complete control over placement, adjustment, and colour temperature, you get to execute your vision just right. They are available in an extensive range of colour temperatures and intensities to match any environment.
Not just aimed at the video market, a lot of the NANLITE range has been developed with photographers in mind. For instance, they come with tungsten or daylight-balanced, and a few have RGB modes, as well.
While it shouldn’t be the only consideration, purchasing a “Netflix approved” camera might be a worthwhile investment, especially since many cinema cameras are a significant expense. It might be advantageous knowing that your investment at least has the specs required to ensure the expected quality of a Netflix Original. So what goes into Netflix’s camera selection process? Well here’s everything you need to know straight from Netflix:
A recent educational video published by the Netflix Production Technology Video Resources has shed some light on the how’s and why’s of its approved camera list. In the video, the company’s camera systems specialist, Kris Prygrocki answers the burning question we all have, revealing why Netflix even has an approved cameras list, and how it determines what gets included on that list.
So why have this list in the first place? Netflix wants filmmakers to use the most advanced camera technologies.
“One of the biggest priorities for us as a studio is helping our filmmakers do their very best work. We want our filmmakers to not just feel enabled, but also encouraged to use the latest and greatest capture technology that is out there to tell their stories,” Prygrocki says.
However, when determining what gets approved and what doesn’t, Prygrocki maintains that it is not just about 4K capture. High resolution is just one factor. Other important factors include Dynamic range, Colour reproduction, Noise performance, Sensor readout speed, Compression, Chroma subsampling, Bit-depth, and more. To test all of these factors, Netflix has a set of tools that it uses to evaluate cameras that are being considered for its approved cameras list.
Image: Netflix
“We do our best to remain as objective as possible by doing a multitude of tests and not just relying on one singular solution. We also make a point to stay in communication with the manufacturer to ensure that we are operating the camera system and testing it in the best way possible to achieve the greatest results. As informative as these controlled tests can be, they don’t always tell the whole story,” Prygrocki continues.
Netflix says that the company is transparent when it comes to putting its specifications for Approved Cameras together, and all of its requirements are built on years of experience and on the feedback it gets from professional filmmakers on their productions as well as the filmmaker community at large to understand what features are important to them. Further to this, Netflix also states that most of the feedback isn’t related to image quality.
According to Prygrocki other crucial considerations are related to the camera’s stability, reliability, and robustness during professional productions. These factors include Proper thermal management (is it going to over-heat on a professional film-set?), the reliability of the media (to prevent data loss), NLEs support of the chosen codecs, file structure, fitting metadata, timecode implementation, will you need to continually deal with colour correction and more.
Image: Netflix
But what if a filmmaker needs to use specialised gear in their film that an approved camera isn’t suited for, such as action cameras, drones, and slow-motion camera? These cameras are completely different from the cameras on the approved list. Some of them have low resolution, smaller sensors, and lacking a heat management system, and Netflix’s high standards make it much more challenging for manufacturers to produce equipment that can hold up.
“It’s always a struggle to try and balance the practicality of a camera’s intended use case versus image quality,” Prygrocki says, but Netflix does allow these cameras to be used where their specialty is necessary. These are called non-approved cameras which can be used on set in specific situations, and can only be done so under Netflix supervision and authorisation. This process is done on a case-by case basis.
“Even when you’re shooting with non-approved cameras, we want you to follow some basic rules, like shooting at the highest resolution, capturing at the highest data rate, and recording at a wide color gamut and log curve when and where it makes sense. Following these basic guidelines can help maintain optimal quality even when not using an approved camera,” he continues.
Image: Netflix
All of Netflix’s current “approved cameras” can be seen on its Partner Help Center, along with all of the other resources that the company has put together to help filmmakers create the best content.
Is being Netflix Approved a big deal, and should you invest in only Netflix Approved Cameras?
Well, yes and no. The answer isn’t that simple. Serving kind of as a third-party verification for a camera’s quality, if Netflix says it’s a good camera, it’s a good camera. This is supported by Netflix’s uncompromising reputation for demanding high-quality original footage to create its own content.
While it shouldn’t be the only consideration, purchasing a Netflix approved camera might be something to consider. Many of these cameras are an investment for filmmakers. If you are working with an independent production, Netflix approval helps futureproof the work so that if you are looking for a distributor, you are at least fulfilling their expectations. As such, the camera technology decisions Netflix makes matter if you want to get your new film, series or documentary you’re shooting shown on streaming services such as Netflix. It is good to know that investment at least has the specs required to ensure the expected quality of a Netflix Original.
Having a basic list of solid cameras that have already gone through a stringent quality check to choose from simplifies a part of your selection process. Instead of spending countless hours researching all the different features of video cameras, sensors, codecs, aspect ratios etc. you can head over to Netflix and just select what makes sense for your production.
So, if you are a professional, Netflix-approved is a good start, but it shouldn’t necessarily be your defining factor. There are many cameras out there capable of producing images to match those on the list.
Netflix’s approval process is for high-end production and, therefore, demands certain capabilities that not everyone needs. If you are working mostly for yourself or on small YouTube projects, you don’t need all those expensive extras.
Image: Netflix
If you are looking for a new camera and have some questions, please feel free to contact our sales team
Here are some of our favourite Netflix Approved cameras:
RED Komodo 6K
Resolution: 6K (6144 x 3240)
Formats: 6K up to 40fps, 5K up to 48fps, 4K up to 60fps, 2K up to 119.88fps
Sensor size: Super35
Mount: Canon RF
This compact, versatile and lightweight camera brings RED’s legendary RAW codec and image quality to a small formfactor and decent price point within the realm of cinema camera. RED used the Canon RF lens mount and the Komodo’s 19.9MP Super35 CMOS sensor, which boasts Global Shutter technology. This sensor can create images with 16+ stops dynamic range, eliminating rolling shutter artifacts. Users can also be certain they are getting RED quality thanks to the ability to record up to 6K at 40 fps, 5K at 48 fps, 4K at 60 fps, and 2K at 120 fps in REDCODE RAW for incredible post-production flexibility.
A first for RED is the ability to use Phase-Detect Autofocus with compatible lenses. Additionally, the touchscreen can be used for quickly changing focus and selecting subjects.
Canon EOS C70
Resolution: 4K(4608 x 2592)
Formats: 4K DCI at 60p 30p, 24p / 4K UHD at 120, 60p, 50p, 30p, 25p, 24p
Sensor size: Super35 CMOS
Mount: Canon RF
The Canon EOS C70 can record up to DCI 4K 60p resolution video to dual slots using SD cards. High frame rates can be recorded in 4K up to 120 fps and up to 180 fps in a 2K cropped Super16 mode. Codec options include Canon’s XF-AVC, XF-AVC Intra, and XF-AVC Long GOP, providing up to 10-bit, 4:2:2 DCI 4K images with reduced storage requirements. To boost your post-production workflow, the versatile EOS C70 supports both proxy recording rates and simultaneous recording in different formats, including 4K/HD and XF-AVC/MP4 options.
Canon EOS C70 can be used for any shoot as an A camera however, it can also work as a B camera to your EOS C300 MK III allowing for smother workflows then a project hits the editing or colour grading suite.
Formats: 4K DCI at 23.98p / 4K UHD at 23.98, 29.97, 50, 59.94p 30p, 25p, 24p
Sensor size: Super35 CMOS
Mount: Sony E
The Sony FX6 may use the same BSI-CMOS sensor from the Sony A7S III mirrorless camera and majority of its video spec and autofocus, but it answers a real need for filmmakers that Sony’s mirrorless Alpha cameras do not. For shooting video, the FX6 has full professional cinema controls and ergonomics, multi-channel XLR audio, built-in ND filters, no overheating issues and a very long battery life.
The FX6 records in 4K at 60fps full frame with no crop, which is stored internally to SD or the same new CFexpress Type A cards as first used in the A7S III. It can record DCI 4K at 17:9 XAVC-I 10-bit 4:2:2 at up to 60p, recording at 600Mbps.
Formats: 12K 17:9 up to 60fps, DCI 2.4:1 up to 75fps, 8K 2.4:1 up to 160fps, 8K DCI up to 120fps, 4K DCI up to 120fps,4K 2.4:1 up to 160fps
Sensor size: Super35
Mount: PL / EF / F
The new Blackmagic Ursa Mini Pro 12K is the best of all in terms of resolution, as it shoots in 12K. Blackmagic wanted to make a camera capable of the very best resolution with a filmic look as opposed to looking too digital. Of course, shooting in 12K gives you an enormous amount of scope for cropping if you are making a film in 4K. It’s also good for extending the life of your footage for when 8K and up becomes the standard. It is also ideal for VFX workers who want maximum resolution for green screen work.
The smaller sensor of Ursa Mini Pro 12K is packed with tiny photosites. So, while not having the best high-ISO performance, the highlight roll-off and colour gradation are much more organic and like film.
A helpful feature for location work where lighting conditions vary is the built-in ND filter wheel offering four-position wheel switches between two, four, and six stops of neutral density, plus a clear filter for no exposure reduction.
Footage is recorded to C-Fast 2.0 cards or the very fastest V90-class SD cards, or you can also plug in to a very fast SSD. To reduce file sizes, Blackmagic RAW gives you a choice of compression levels.
This is the only 12K cinema camera on the market at a similar price of other offerings that don’t even come close to its resolution, thus making it a great quality production camera that will last for a very long time in the industry.
Canon EOS C300 Mark III
Sensor size: 26.2 x 13.8 mm (Super35)
Sensor resolution: 4096 x 2160 (8.85 MP)
Card slots: CFexpress x 2, SDXC x 1
Lens mount: EF or PL
Max shooting resolution: 4K
The EOS C300 has been the go-to camera for many cinematographers over the years, so the release of its third iteration has really cemented this camera as a production workhorse, and one of our firm favourites. The EOS C300 is the first camera to benefit from Canon’s Dual Gain Output technology (in other words, dual native ISO) which results in a remarkably clean, low light picture quality, HDR acquisition and an enormous 16 stops of dynamic range. It’s capable of recording up to 120fps in 4K Super35 or 180fps in 2K Super16. Internal recording options include 4K Cinema RAW Light at 10-bit or 12-bit, 2K Raw at 10-bit or 12-bit and XF-AVC (MXF) at 4:2:2 10-but ALL-I or LongGOP. Its modular design means that you can change the lens mount between EF, PL or EF Cinema Lock without needing to take it in.
Photographer and best selling author, Glyn Dewis takes us through why and how tethering has made him a better photographer. In this video, he shows us how to Tether using Sony. If you want the full functionality that tethering your Sony Alpha series camera to Lightroom brings, follow this simple guide.
Download Smart Shooter 4 Software
To tether your Sony Alpha series camera to Lightroom, you need Smart Shooter 4. Once set up, Smart Shooter will only need to run in the background while you use Lightroom Classic to maximise your workflow. You’ll find having Smart Shooter 4 is seamless and fast. The good news is that Tether Tools offers a 30-day trial of the software to test out.
The following setup is only required once and is easy to do:
Click on the Menu tab on your Sony camera.
Find the PC remote function tab.
Select the connect method to USB.
From within your newly downloaded Smart Shooter software, follow the steps below:
Go to Preferences and click on the Lightroom tab and then click on Install Plug-in.
Make sure you tick the checkbox in both the Enable Lightroom Tethering Connection and the Allow Lightroom Plug-in to Shutdown Application box.
Click on Apply and then OK.
Keep Smart Shooter running in the background in order to tether your Sony Alpha camera with Lightroom.
Adobe Lightroom Classic Setup
Open Lightroom Classic and follow the simple steps we’ve outlined below:
Click on the File tab and open Tethered Capture.
Click on Start Tethered Capture.
Give your photoshoot a name.
Give a name to the files you plan to import.
Choose a location where you want to import the files to.
Click OK.
In this setup box, you can also apply metadata and keywords to the images you intend to import. Once this setup is complete, Lightroom recognises that your camera is connected. Camera settings will now be available, and you can change them on your computer screen.
Tethering efficiently into Lightroom requires a fast and stable cable connection. Have a look at our cable selection.
The Best Tethering Setup to Maximise Your Workflow
Even with the Sony A7R IV and its impressive 61-megapixel sensor, image import is extremely smooth and quick. You can download full RAW files to your computer hard drive with ease. A great benefit to tethering with the Smart Shooter plug-in is that it brings with it all the functionality you require, such as HDR, focus stacking, time-lapse, and many more features.
Improve Your Workflow with Your Sony Camera and Lightroom
Whether in your studio space or on location, Tether Tools has got your workflow needs covered. Once the easy setup is complete, you’re ready to plug in your Sony Alpha series camera to Lightroom and create the quality images you’re known for.
For improved workflow ability on location, make use of the Tether Table Aero System, which adjusts and fits your unique requirements. Keep your photography seamless and professional with our Tether Tools products.
When you hear the words ‘action cam’, we tend to immediately think of GoPro, but in the world of filmmaking, the term can mean something very different. There is a definite demand for smaller cameras on set that can be used to capture more exciting, dynamic shots, be it from a drone or from a body mounted camera. And when it comes to high end productions, this ‘stunt’ camera must produce an image that is on par with, or at least very close to, the primary camera system.
In the past, films such as Michael Bay’s Transformers used GoPros for close action shots, next to explosions, or car crashes. However, their use was controlled, and any shots from them that appeared in the final movie were really short. Jarred Land, Director of RED Digital Cinema, explained in a live stream session held by Scott Balkum that the GoPro “didn’t cut well” in high-end productions and also was limited to 20 frames before the audience could notice the difference between the GoPro and other cinema cameras. Furthermore, the rolling shutter artifacts were significantly noticeable especially in action shoots (fight scenes, crash-cam, etc).
Simply put, the GoPro, although very robust, lacks the image quality needed for cinema. So, when it comes to using cameras for stunt and action sequences, big budget, mainstream filmmakers are now turning to many of the tools used by independent filmmakers, including lenses. Cameras that were once reserved for music videos and small scale productions are now finding their way onto big budget sets in multi-million dollar blockbusters. As technology improves, these systems are now deemed close enough in quality to the A-cameras that they can be used without restriction on productions that demand the absolute best image quality possible, allowing directors to take their action sequences to a whole new level.
Let’s take a closer look:
RED KOMODO
Despite its popularity as a main production camera, RED’s KOMODO was in fact designed for stunt camera use. Its compact body along with a Canon RF-Mount system, makes it versatile and lightweight, and perfect for capturing the action up close and personal. For instance, The Batman used two body mounted KOMODOs during the wing suit sequence — one mounted on the helmet looking down the back of the wingsuit, and the other mounted off an arm looking at the actor’s face.
Proper action cinema cameras must be capable of both a global shutter and high Dynamic Range. One of the main appeals of KOMODO for action sequences is its global shutter that can deliver a decent DR that is good enough for professional productions. This means that it can be used in fast action shots where there is risk of high vibration, or to shoot difficult ‘flash’ light, such as explosions, without any of the rolling shutter issues found on other devices.
Matrix Resurrections BTS: Lana Wachowski’s RED Komodo.
This was one of the main reasons why KOMODO was used extensively throughout Matrix: Resurrections for the movie’s many high octane action sequences. A KOMODO was even melted while taking a shot during a vehicle explosion. The footage actually survived to make it into the final edit.
“We loved the KOMODO,” says Daniele Massaccesi. “It’s such a small body you can place it anywhere. We used it a lot in vehicles. On a movie like this with lots of fast motion, gunfire and explosions, you want the action to be as hard and as high resolution as possible. The global shutter eliminates that rubber motion you get from cameras with conventional shutter. It’s a terrific camera.”
Because KOMODO can shoot 6K, it has the same post flexibility of the larger REDs, allowing for stabilisation, reframing, as well as 120fps potential at 2K resolutions.
Recently the use of KOMODO has literally been taken to new heights in Michael Bay’s Ambulance, when it was used as an FPV drone camera. This kind of sequencing has revolutionised the way action movies are shot as the action sequences are extremely fast. Drones help capture shots that would not otherwise have been possible. Ambulance demonstrates the types of shot that you could only previously achieve with a GoPro, such as flying underneath a car during a chase scene as it launches into the air from a ramp. It is the first film screened in the theater (post-COVID era) that extensively utilises this technique using a cinema camera.
Using this ‘Cinema FPV’ technique really makes you move with the intensity of the action with rich, high definition shots. The compact form, global shutter and advanced tech in KOMODO allowed Bay to get right into the heart of the action. In many situations, he would take the camera without stabilisers, without a gimbal, and just run with it in his hands. Even lead actor Jake Gyllenhaal shot some action scenes himself. The film is non-stop intensity, and KOMODO was able to keep up with Bay’s special brand of high intensity action.
The Cinema FPV technique was also previously used on the set of Netflix’s action film Red Notice, directed by Rawson Marshall Thurber. In the opening shot, Thurber flies the audience over a bridge and straight into an eye-level shot of the Agent John Hartley character. From flight to the door to a museum, the camera never appears to cut, offering an added level of immersion for the audience. Thurber explains in an interview on comicbook.com. “Yeah, those are very, very special shots. In fact, those shots that you’re talking about had never been done before in the history of cinema, because the technology that we use to achieve those shots, you know, were invented about six weeks before we used them.” He continues: “There’s a tiny camera called the Komodo Camera from RED that’s about the size of a tissue box and we attached it to a race drone. There are shots in the movie we could only get with something that small that comes with high-res imagery. This is a 6K cinema grade quality camera and so we attached it to a race drone, put a small spherical lens on it, and we hired this incredible race drone operator named Johnny FPV, who’s the best in the world, to achieve these shots.”
Blackmagic Design Pocket Cinema Camera
The BMPCC has been used on features and TV as stunt cameras for a while now, for example, on episodes of 24 as well as movies such as Logan, Jason Bourne, and Avengers: Age of Ultron
More recently it has been used for action sequences during The King’s Man. Second unit director, Bradley Allan, described how the BMPCC 6K cameras were either mounted on Ronin 2 rigs or handheld for some of the key action sequences.
The BMPCC are lauded for their ability to grade easily to match other systems such as ALEXA (ARRI Alexa 65 In the case of The King’s Man). They are also extremely lightweight, and for a feature film at least, inexpensive enough to be ‘disposable’ when it comes to dangerous action. They have, additionally, been praised for their reliability.
A side note: The same film also used the Sony A7S III for head mounted POV style shots during fight sequences.
Sony VENICE
Top Gun: Maverick was one of the first features to be shot using Sony’s VENICE camera system.
Maverick not only used VENICE as the primary A-camera, but also as an action camera, mounted inside the fighter jet cockpits. In fact, the production was able to supposedly mount six VENICE 6K Cinema cameras there, which included the Rialto Camera Extension System for Sony VENICE. This effectively separates the sensor and lens system from the primary camera body.
Each camera used a different lens to ensure a variety of shots, and the actors operated them whilst the planes were in flight. This meant that the cast had to get a decent cinematography education so they could work these sophisticated cinema cameras inside the cockpit. Almost no CGI aerial shots were therefore needed in the film, and the close-up cockpit shots were taken during real in-flight sequences, giving the film super immersive and jaw-dropping flight sequences.
Not only is there the flexibility of the Rialto extension system, but the Sony VENICE camera is also IMAX certified, which for a film like Top Gun: Maverick, was important as it was filmed for IMAX.
Blackmagic Design, announced the Blackmagic Pocket Cinema Camera 6K G2, an updated next generation model for its popular Pocket Cinema 6K, with specs somewhere between the Pocket Cinema Camera 4K and the 6K Pro.
The Blackmagic Pocket Cinema Camera 6K G2 is very similar to the Pro version, including some notable features, such as the 6144 x 3456 Super 35 HDR sensor, an EF lens mount, Blackmagic Raw format, CFast 2.0 and SD card slots, and mini XLR audio inputs. Additional to this is an adjustable 5″ tiltable touchscreen LCD for easier framing of shots, a larger battery for longer shooting without needing to charge or change batteries, as well as support for an optional electronic viewfinder. The camera also has the latest Blackmagic generation 5 colour science, the popular cinematic Super 35 HDR image sensor with 13 stops of dynamic range, dual native ISO, and other great features found in the 6K Pro. It does not, however, include the internal ND filters. Simplifying these 6K Pro functions has allowed BMD to drop the 6K G2’s price point, making this camera just as powerful as the 6K Pro, but more accessible to a wide range of productions.
Image credit: Blackmagic Design
“Since the release of the Blackmagic Pocket Cinema Camera 6K Pro, customers have been asking for some of the features to be added to the 6K model…We’ve been able to achieve even greater manufacturing efficiencies which means that we are now able to release this new 6K model which adds an adjustable LCD touchscreen, larger longer battery life, support for the OLED viewfinder and improved on screen menus. We are excited to be offering these additional features that have been so popular with customers!” – Grant Petty, Blackmagic Design CEO.
More information about the new camera by Blackmagic Design:
The elegant design of the Blackmagic Pocket Cinema Camera packs an incredible number of high-end digital film features into a miniaturized, handheld design. Made from lightweight carbon fibre polycarbonate composite, the camera features a multifunction handgrip with all controls for recording, ISO, WB and shutter angle right at customers’ fingertips. Because it’s an advanced digital film camera, the sensor is designed to reduce thermal noise allowing cleaner shadows and higher ISO. Plus, the large 5-inch LCD makes it possible to get perfect focus at 4K and 6K resolutions.
Image credit: Blackmagic Design
Featuring a larger 6144 x 3456 Super 35 sensor and EF lens mount, the Blackmagic Pocket Cinema Camera 6K G2 lets customers use larger EF photographic lenses to create cinematic images with shallower depth of field, allowing creative defocussed backgrounds and gorgeous bokeh effects.
With the advanced Blackmagic OS, customers get an intuitive and user-friendly camera operating system based on the latest technology. The interface uses simple tap and swipe gestures to adjust settings, add metadata and view recording status. Customers also get full control over advanced camera features such as on-screen focus and exposure tools, 3D LUTs, HDR, metadata entry, timecode, Blackmagic RAW settings and more.
Image credit: Blackmagic Design
Whether users are shooting in bright sunlight or in almost no light at all, the 13 stops of dynamic range with dual native ISO up to 25,600 provide stunning low noise images in all lighting conditions. Plus, the 6K models feature a larger Super 35 sensor that allows shooting with a shallow depth of field and anamorphic lenses. All models let customers shoot up to 60 fps or 120 fps windowed. An amazing sensor combined with Blackmagic colour science means customers get the same imaging technology as the most expensive digital film cameras.
Blackmagic Pocket Cinema Camera features a large, bright 5-inch touchscreen that makes it easy for customers to frame shots and accurately focus. On screen overlays show status and record parameters, histogram, focus peaking indicators, levels, frame guides and more. The Pocket Cinema Camera 6K G2 LCD monitor is a more advanced display that can be tilted up and down so it’s easy to monitor a shot from any position.
Image credit: Blackmagic Design
Featuring the same generation 5 colour science as the high-end URSA Mini Pro 12K, the new Pocket Cinema Camera 6K G2 delivers an even greater advancement in image quality with stunning, accurate skin tones and faithful colour in every shot. Customers get a new dynamic 12-bit gamma curve designed to capture more colour data in the highlights and shadows, for better looking images. The colour science also handles some of the complex Blackmagic RAW image processing, so colour and dynamic range data from the sensor is preserved via metadata which customers can use in post-production.
The Pocket Cinema Camera 6K models support an optional viewfinder to make outdoors and handheld shooting accurate and easy. Customers get an integrated high quality 1280 x 960 colour OLED display with built in proximity sensor, 4 element glass diopter for incredible accuracy with a wide -4 to +4 focus adjustment. A built-in digital focus chart ensures customers get perfect viewfinder focus setup. Customers can also view critical status information such as frame guides. The Pocket Cinema Camera Pro EVF connects quickly via a single connector. The viewfinder has a 70-degree swivel range and comes with 4 different types of eyecups for both left and right eyes.
The Blackmagic Pocket Cinema Camera 6K models both now use larger NP-F570 batteries for longer shooting times without needing to change or charge batteries. A locking DC power connector is used so customers won’t have to worry about losing power during a shoot. Plus, the included AC plug pack can power the camera and charge the battery simultaneously. Even the USB-C expansion port can trickle charge the battery, so customers can use portable battery packs, mobile phone chargers or laptops. The optional battery grip lets customers add extra batteries to dramatically extend the power of the camera so customers can keep shooting all day.
Image credit: Blackmagic Design
All Pocket Cinema Camera models include a full version of DaVinci Resolve Studio, which is the same software used in Hollywood for creating high end feature films, episodic television shows, commercials and more. DaVinci Resolve features the new cut page with intelligent editing tools and innovative new features designed to help customers quickly find the footage customers want, edit it together and output it fast. In addition to the new cut page, customers also get DaVinci’s legendary professional editing, advanced colour correction, audio post and visual effects tools, all in a single software application.
Blackmagic Pocket Cinema Camera 6K G2 features:
Designed from carbon fibre polycarbonate composite.
6144 x 3456 sensor with 13 stops and dual native ISO up to 25,600.
Compatible with a wide range of popular EF lenses.
Up to 25,600 ISO for incredible low light performance.
Standard open file formats compatible with popular software.
Adjustable LCD screen.
Includes Blackmagic Generation 5 Colour Science.
Optional Blackmagic Pocket Cinema Camera Pro EVF.
Professional mini XLR inputs with 48 volt phantom power.
Larger NP-F570 battery, optional Blackmagic Pocket Camera Battery Pro Grip.
Includes full DaVinci Resolve Studio for post production.
Let’s Compare:
Blackmagic PocketCinema Camera 4K
The Blackmagic Pocket Cinema Camera 4K features a 4/3 image sensor with 4096 x 2160 resolution and an MFT lens mount, allowing you to capture wide dynamic range, Hollywood quality, digital film images in the palm of your hand! It’s an extremely advanced and affordable high end digital film camera!
Blackmagic PocketCinema Camera 6K G2
Featuring a larger 6144 x 3456 Super 35 sensor and EF lens mount, the Blackmagic Pocket Cinema Camera 6K G2 lets you use EF photographic lenses to create cinematic images with shallower depth of field. It also has an adjustable tilt LCD, viewfinder mount, mini XLR audio inputs and a NP-F570 style battery.
Blackmagic PocketCinema Camera 6K Pro
The Blackmagic Pocket Cinema Camera 6K Pro includes more pro features such as built in 2, 4 and 6 stop motorized ND filters with selectable ND, stop reduction or fraction settings shown on the display. As well as a super bright 1500 nit HDR screen making it ideal for use in bright sunlight.
Using a colourful backdrop is a great way to enhance your fashion shoot, and make a bold statement.
Fashion and beauty photographer Lindsay Adler shows us how to use a colourful backdrop to create beautiful fashion images in her latest video tutorial. Using Tangelo, one of the brightest backdrops by Savage Paper, Lindsay took the wardrobe as inspiration for her background and lighting choice.
Before choosing the backdrop, Lindsay selected the dress and model. She used the rich saturated colour palette of the dress to inform all of our other creative decisions.
When choosing a background, I go to colour theory. Do I want to go for complimentary colours or contrast, or a similar hue. In this instance, and for the overall direction of the shoot, I decided to go with a bright orangey background from Savage Seamless (actual name is Tangelo #82 — great great colour).
Once she had the orange from the model’s dress covered, she was able to showcase the pink/magentas of the dress by fastened pink gels to her two rim lights positioned high on either side of the model. She then put small white umbrellas on them to add texture to the scene. Lindsay then used one of her go to modifiers on her main light, a magnum reflector, to emulate the feeling of sunlight. This sunny light emphasised the colours even more.
She then used a Black Pro Mist filter on her camera to make the highlights in the image come to life.
Lindsay’s go-to set-up is the Canon EOS R5 with RF 24-105mm lens, and of course a TetherPro cable so she could see the final results and adjust things as needed.
The latest Road Trip USA brings the world of F1 racing to the streets of New York, the Florida everglades, and the ocean vistas of Miami. The trip ends at the Hard Rock Stadium in Florida.
This is the third in a series from Red Bull Media house. Both previous films were shot on RED, a perfect marriage of high-tech camera engineering and the adrenaline-fuelled fastest motorsport on the planet.
Emmy®-Award winning Director Nicholas Schrunk, DP Will Roegge, and drone specialist Johnny Schaer (aka Johnny FPV) were called on a mission to shoot this short that is based on high-octane sequences showing the power and extreme energy of the F1.
The team shot the F1 car by utilizing a combination of RED V-Raptor (as the main cam), Gemini (as a complementary cam), and Komodo (as an action cam).
In an interview with RED Digital Cinema, Schrunk takes us behind the scenes, talking about the challenges faced while shooting all the action, and how the RED cameras were able to deliver.
“We’re privileged to be partners with RED and for the chance to be among the first to get hold of its latest camera the V-RAPTOR for our hero film,” Schrunk says. “When we conceived this film, we knew we wanted to shoot large format to capture the grandeur of New York City, and it was the V-RAPTOR which really made this story fly.”
With the Florida city hosting the first race in America this weekend, Race to Miami features F1 driver Sergio ‘Checo’ Perez as he hot-foots his way to Miami for a first taste of the new circuit. The start sees a miscommunication between Pérez and Team Principal and CEO Christian Horner, sending Checo on this fast-paced 1,284km mission within 11 hours.
Image Credit: RED Digital Cinema
Shooting a high-performance F1 car racing around the city comes with some major challenges, because it’s not a conventional vehicle. As soon as the ignition is fired the car has just 60 seconds to get up to speed or the engine will overheat. The engine operates most effectively when traveling at race speed. Moreover, there’s no putting the car in neutral while waiting at a junction. So, shooting in New York city came with a host of logistical difficulties and required cameras that were consistent, high quality, and could keep pace.
“Once you turn it off, you’re going to be pushing it like a Flintstone car on the street, which is not great for the vehicle nor the look we were after,” Schrunk says. “These cars are designed to perform at speed and not to be idle. That meant there was simply no time for multiple takes. If something with the equipment doesn’t operate how you want or a mark is off, then boy, that’s a really expensive mistake! We relied on RED to capture everything as high quality as possible.”
Image Credit: RED Digital Cinema
Schrunk and Roegge armed themselves with a combination of RED GEMINIs positioned throughout New York City. A RED KOMODO was mounted onboard the F1 car for action-cam shots, and a V-RAPTOR was the prime storytelling camera used for the main car-arm shots following the F1.
“We picked RED V-RAPTOR because it combines a large-format sensor with incredible dynamic range during both day and night, and that gave us infinite flexibility to shoot around very tight permit windows.”
They shot full resolution (6K-8K) on all cameras allowing for scope during post without losing sharpness.
“We really like KOMODO because of the global shutter,” Schrunk relates. “Obviously, the resolution and the integrity of the film is there, but for high-action shooting there is really nothing on the market close to it. When you make whip pans and fast motion, the KOMODO snaps right into focus and it doesn’t have that frame or two delay that you get with other cameras. As a viewer you can really feel that. That’s why we like the KOMODO so much.”
“Mixing V-RAPTOR footage with GEMINI and KOMODO is a dream. All the shots just worked together, which meant we were able to spend time perfecting the creative grading as opposed to matching shots. It was such a treat on this project to have all the media from the REDs coming into conform with just a few nuanced tweaks mostly to do with lighting and lensing as opposed to format. It means you are ready to invest time in the creative grading rather than just getting media to match.”
The glass used was Masterbuilt Soft Flare Primes that are characterised by their softer-edged, smoother-contrast flares. The team was therefore able to capture the visceral reality of the experience while adding a smooth quality to the image.: “The combination of Masterbuilt lenses and the large format sensor just made a big city feel even bigger. Everything looked sharp and in deep focus with just enough of a tweak so the fall off at the edge is smooth and the bokeh is beautiful and creamy” affirmed Schrunk.
Image Credit: RED Digital Cinema
After leaving NYC, Checo’s journey takes him via the Florida Everglades, where his journey is interrupted by a large alligator lying in the car’s path. This results in a stand-off between it and a local passer-by.
“This was up there for memorable days” says Schrunk. “It’s beauty and the beast. We have a peerless engineered piece of motorsport and a 11-foot alligator, who we brought to the shoot. The gator just didn’t want to move – he was having way too much fun basking in the sun. Luckily, we had put a KOMODO underneath the nose of the F1, without it we wouldn’t have captured the reactions we did. This was a real high-risk angle right up in the gator’s face.”
The alligator is finally encouraged to move by a local who also offers to help point Checo in the right direction. With no room in the car cockpit, he water skis barefoot towed by the car at high speed along the bayou.
“An F1 car is obviously not made to tow anything, let alone a barefoot skier. The sheer terror of the engineers was something to behold, and since we wanted to capture this all in-camera, not VFX, we had to nail it then and there. We did.”
When Checo finally gets to Miami, he is able to unleash the full power of the F1 car. capturing its speed on film however presented a problem. Even at 120 km/h, which is sluggish for a F1 car, conventional filming equipment struggles to keep pace. The obvious answer was to use a drone.
“One of the main goals for our film was to capture these big moving wides and show how fast the car is going in a way that’s not possible from an onboard camera,” Schrunk says. “The problem is how to stay with a Formula 1 car traveling at 150 mph. If we shot from a helicopter with a gimbal-mounted camera you wouldn’t get close enough or low enough to the car because it rides so low to the ground. The car would appear flattened on-screen. Even a Russian Arm, which might top out at 110 mph is not an interesting shot. It would be like shooting from a car on a highway while a motorbike breezes by.”
Image Credit: RED Digital Cinema
The team wanted to capture this all-in-camera, so they enlisted the help of Johnny Schaer (aka Johnny FPV), the drone pilot who is world renowned for his experience flying racing drones – and racing drones alongside high-speed cars in order to get these crazy super-fast shots.
Schaer custom-built his own drone to carry a KOMODO at speeds up to 200 km/h around the Hard Rock Stadium, all while skilfully composing shots.
“He’s able to fly inches off the ground, orbit the car and then go back and high to follow the F1 car at speed. It meant we could tell the driver, ‘Go as fast you can, and we will shoot around you.’ This was an essential part of the creative to which Johnny was key.”
Johnny notes, “RED KOMODO is great for FPV flying. Weight is a huge consideration, so having a 2lb (900g) camera is fantastic. The global shutter is another tremendous bonus particularly because FPV drones don’t have a gimbal. With KOMODO there’s no jello on the image. Plus, you’re recording 6K. Most jobs I do are tailored to the KOMODO…The car is quite small, very low to the ground and of course it’s very fast. These all contribute to the coolness factor of the car, but also made it a challenging shoot. It was hard to keep up with the car without pushing the battery to its limit.”
Image Credit: RED Digital Cinema
At the time of shooting, in mid-2021, the track was still under construction. Schrunk chose to make it part of the story, with Checo realising the track is still being built but deciding to race on it anyway –christening the circuit months before its official race debut.
“This was a genuine, live construction zone which we didn’t want to shy away from, but we still needed to sell the idea that we are racing the circuit – which we actually did. There wasn’t even tarmac on some parts, we were just running on dirt track. It took a lot of planning but that was all part of the adventure.”
Image Credit: RED Digital Cinema
‘Race to Miami’ was a very challenging project which demanded camera versatility and various camera movement techniques. The combination of DSMC2, DSMC3, FPV Drone, and U-CRANE
All played their roles in getting the super-fast sequences of the F1.
The SUN-MOVER is a flexible and versatile light-shaping tool by Sunbounce.
There are many pop-up reflectors on the market, but the SUN-MOVER has a significant edge over them. Most of these kinds of reflectors bend or blow in the wind, making them flimsy and unmanageable, while giving you very little control over where the light is being reflected. The SUN-MOVER is just the opposite. The SUN-MOVER is made of a super stiff material that keeps the reflector skintight over its oval design. It sports two sturdy built-in handles which, along with a frame made of German spring steel and elastic hem, create the “PERMA-TENSE” effect which keeps the reflective screen under permanent tension, giving you that extra confidence in windy conditions. This spring frame also makes it easy to fold up within seconds to 1/3rd of its size; just pop it in its bag for convenient transportation. You can take this powerful light-shaper anywhere, and knowing you have it in your bag to use at any time — or even just as as a back-up — gives you assurance you need to create perfect light anywhere anytime.
It’s not just its durability that allows the SUN-MOVER to outclass the rest. The real unique feature of this modifier is that handles allow you to control the focus or hardness of the reflected light by bending the screen. This means that the reflection area can be adjusted to be concave or convex to create hard, neutral, or soft light qualities, thus allowing you to create a hard spotlight, neutral light, or a soft wide light.
Use your SUN-MOVER to control the quality of light and redirect it into darker areas. With the SUN-MOVER, no extra lighting or crew is required. In fact, due to its lightweight design, handles and permanent tension, you can hold the SUN-MOVER in your hand while shooting, or mount it on a stand.
This is your ultimate on the go, powerful but compact reflector for both photographers and videographers. Easy to travel with, fast set up, durable and versatile, what more could you need? Sturdy, Sunbounce quality guaranteed.
Returning to a physical show after its pandemic hiatus, NAB 2022 wrapped up last week. From a buzzing showroom to exciting announcements and product launches, here are a few of our favourite things:
Canon EOS R5 C
WINNER: NAB 2022 Product of the Year (Cameras) and Videomaker’s Best Cinema Camera award.
The hybrid EOS R5 C has the photo capabilities of the EOS R5 but adds pro features for filmmakers, including 8K long duration recording, a timecode terminal, built-in fan, and a wide range of video formats.
The EOS R5 C sports a 45-megapixel full-frame backside-illuminated CMOS sensor, and offers a native ISO range of 100-51,200, which is expandable to 50-102,400. This image sensor is paired with a Canon DIGIC X processor, which allows for continuous shooting at up to 20 frames per second.
The autofocus system in the EOS R5 C uses a Dual Pixel CMOS AF II system, offering nearly 100% coverage of the image frame and includes 1,053 total autofocus areas. It also includes animal, bird, and vehicle detection autofocus features, plus face/eye/head detection AF.
The EOS R5 C can record full-frame 8K 12-bit video footage up to 30fps (or 60fps with an external power supply). Non-stop 8K/60p recording is also possible thanks to the internal cooling. system. There are three new options for Cinema RAW Light: HQ (High Quality), ST (Standard) and LT (Light). There is also support for Canon’s Cinema Raw Light, HLG orPQ formats, XF-AVC codec, and Canon’s Log 3 gamma. In addition to this is a high-efficiency mode is ideal for those recording to an internal card, rather than an external recorder. You can record in MP4 as well.
Canon Flex Zoom Lenses (CN-E20-50mm T2.4 L F/FP and CN-E45-135mm T2.4 L F/FP)
WINNER: NAB 2022 Product of the Year (Camera Support, Control and Accessories.)
Canon recently launched its new Flex Zoom Lens series for its Cinema Lens line-up. The first lenses in the series are the CN-E20-50mm T2.4 L F/FP wide-angle zoom lens and the CN-E45-135mm T2.4 L F/FP telephoto zoom lens.
These lenses offer 8k optical performance, 11-blade aperture, constant t-stop value of t2.4, and the latest in metadata support.
NANLITE Forza 720B Bi-colour LED Spotlight and PavoTube T8-7X
WINNER: Videomaker’s Best Tube Light Award.
Nanlite launched its PavoTube T8-7X. The tube is thinner than most LEDS, easy to use and produces a host of creative effects. According to Nanlite, the PavoTube T8-7X is 50 percent lighter than most LED tube lights you’ll find on the market. Its compact design allows the tube to fit into tight spaces. The light features a CRI of 96 and TLCI of 9, plus bi-colour CCT, RGB, dimming and effects. It features a built-in battery that lasts for one hour at 100 percent brightness. Additionally, the light’s USB-C port lets you use external batteries.
The Forza 720B is the bi-colour version of its Forza 720, and offers a CRI of 96 and TLCI of 97. Forza 720B provides a high-level of accuracy for precise colour reproduction, and sports a Bowens mount. It offers 84.460 lux at a 1-meter distance when using the included 45° reflector, and is dimmable from 1 up to 100% of their intensity in precise 0.1 increments. It has a ‘constant light’ function that ensures your light output remains the same for every temperature, and a ‘max output’ mode that promises a maximum light output at every temperature.
Flanders Scientific DM220
Flanders Scientific showcased a prototype of its upcoming DM220 22″ 1920 x 1080 10-bit high-contrast Reference Grade OLED monitor at NAB 2022.
The DM220 is a high-contrast 22″ OLED monitor designed for use in colour-critical production and post-production applications. It features industry-leading fast mode processing, a durable all-metal chassis, an impressive advanced set of features, and a compact and lightweight form factor.
This monitor will have a Zero Delay mode, direct integration with Pomfort Livegrade, and Assimilate Live Looks, a feature set that includes AutoCal and ScopeStream, and a 1,000,000:1 contrast ratio.
It also features FSI’s 3rd generation Color Fidelity and LUT Interpolation Engine (CFE3) which features an array of calibration and LUT memories. The tetrahedral LUT interpolation found in the DM220 provides greater accuracy and visual performance than hardware utilising trilinear LUT interpolation. You can select from Rec709, EBU, SMPTE-C, DCI P3, Rec2020 Emulation, Native Wide Gamut, and Custom User Generated colour spaces.
The monitor includes a Real-Time Waveform and Vectorscope that update every frame. Scope position, size, and scale and background can be adjusted independently using dials on the face of the monitor. Real Time scopes work in all processing modes including Zero Delay Fast Mode.
EIZO introduced its new generation of coloredge monitors with two flagship HDR models for editing and post production earlier this year. The monitor were showcased at NAB 2022.
The 27-inch CG2700X (3840 x 2160) and CG2700S (2560 x 1440) monitors guarantee a very sharp image impression (109 ppi or even 164 ppi) and enable a perfect view of the imaged file. The remarkable detail ensures that high resolution content is displayed crisply, while the 27-inch screen provides ample space for displaying editing windows, toolbars, palettes, or other apps. This makes the monitor versatile for video editing, 3DCG creation, game development, photography, and other creative fields.
Lightstar introduced their AIRLITE balloon lights a while back. Now these popular lights are available in RGBWW. The colour temperature can be adjusted continuously between 2400K-10000K, dimming is adjustable from 0-100%. The AIRLITE has an integrated air pump, and is ready in about 60 seconds. During filming the pump can be adjusted to silent 10% power to keep the balloon inflated over long shooting times
Sony FE 24-70mm f/2.8 GM II
Claimed to be the world’s lightest and most compact lens in its category. This upgrade to the original (introduced in 2016) comes with several optical, focusing, and handling improvements, as well as a few new video-centric features. While it may look a lot like the first version of the lens, just about everything is different.
This lens features a constant aperture of f/2.8 across the whole zoom range, making it great for achieving shallow depth of field shots even in low light. It has a minimum focusing distance of 21cm and 30cm at 24mm and 70mm, respectively.
The re-designed autofocus system features four XD (extreme dynamic) Linear Motors and a floating focusing mechanism that delivers faster, quieter, and more responsive AF performance with improved tracking of subjects, in both stills and video modes.
The addition of a de-clicked aperture ring — accompanied by an iris lock switch – lets you perform smooth iris pulls.
Sony states that this 24-70mm is designed to keep all sorts of aberrations and distortions to a minimum. This new design features 20 elements in 15 groups which includes three aspherical elements, two extreme aspherical (XA) elements, two ED elements, and two Super ED. The lens focuses internally but does physically extend when zoomed. Additionally, Sony’s Nano AR Coating II helps reduce flares and ghosting, while a fluorine coating makes the front element water and dust repellent.
Aputure LS 600c Pro Light Storm RGBWW LED
WINNER: NAB 2022 Product of the Year winner (Location/Studio Lighting.)
The new LS 600c Pro is an RGBWW version of the 600d/600x Pro with a few improvements. It is Aputure’s first full-colour point-source light fixture, providing precision light control with a hyper reflector and vibrant colour with its RGBWW full colour spectrum. The fixture is capable of producing 600W of output and draws 720W. It features custom colour-blending optics, weather resistance, and professional level connectivity.
The LS 600c Pro is considerably less expensive than Arri’s Orbiter, and Aputure also claims it is twice as bright. The company states: “This fixture is designed for cinematographers who are looking for precision with their palette, and lives comfortably anywhere from small film sets to large virtual production stages.”
It is the company’s first COB RGB (chip on board, red, green, and blue) offering, and keeps all of the features of the 600d Pro including a weather-resistant construction along with support for connectivity standards Sidus Link, Art-net, and Wireless DMX.
The 600c features a wide tuneable colour temperature range of 2300 to 10,000K, 0.1 to 100% stepless dimming, fully tuneable green-magenta adjustment, and 90% of the colour spectrum in the Rec.2020 colour space, with flicker reduction through frequency selection. It includes more than 300 gel presets and XY colour control, has an SSI (spectral similarity index) in D56 (daylight balance) of 74, and an SSI (Tungsten) of 85.
Also announced: MC Pro and Tube MT Pro Prototypes.
In essence, the MC Pro is a brighter, high-quality version of the existing Aputure MC. This light is a small-sized (108 x 70 x 25mm 225g) 7W RGBWW fixture that is claimed to be three times brighter than the current MC. It has an output of 1,346 lux at a distance of 50cm and the same RGBWW technology that is found in the Nova series, and LS 600c Pro.
Aputure debuted its prototype RGBWW tube lights as well. The tube light series will be called the MT Pro. According to Aputure, the MT Pro uses the same RGBWW technology found in the Nova series and new LS 600c Pro. It has 9 different pixel effect modes, 9 FX modes, and is adjustable from 2,000-10,000K.
The first light to be released in the series is a 1ft long tube. The battery life is approx. 105 minutes when used at max power. It has integrated magnets so you can attach it directly to metal surfaces and it will come with a 45° soft honeycomb grid and a mini tripod with ball head.
Keep in mind that these are just prototypes and it may be quite a while before you can actually buy them.
Teradek Bolt 4K LT HDMI
Teradek unveiled its new Bolt 4K LT HDMI wireless video system. This is being touted as a lower-cost Bolt 4K that looks to be a good solution for indie content creators.
Providing HDMI-only transmission enables Teradek to offer this latest iteration of the Bolt 4K LT at a friendlier price. Its cross-compatibility with all other Bolt 4K models also makes it a versatile option for rental-houses, crew-owned kits, and “B” and “C” camera transmission on larger shoots. With its durable aluminium build, the system provides a 750′ line-of-sight transmission range and zero-delay transmission.
Atomos CONNECT and Shogun CONNECT 7
WINNERS: NAB 2022 Product of the Year (multiple awards for both.)
Atomos announced their next-generation monitor tech, with the release of the Atomos CONNECT accessory for the Ninja V and Ninja V+ and the Shogun CONNECT 7″ monitor.
Atomos CONNECT for Ninja V/V+
WINNER: Videomaker’s Best Accessory award.
The CONNECT provides additional connectivity to these already feature-rich monitors to adapt them, and your productions, to live cloud streaming environments, transforming your camera into fully connected devices that support a range of advanced cloud-based workflows.
The CONNECT covers the entire back of the Ninja V/V+ and provides a battery plate to power both devices, ultimately allowing multiple video and network interfaces for your pro digital or cinema camera. The device features a 12G SDI input, AtomX Sync wireless sync timecode technology for direct, long-range communication between devices, multiple power options to accommodate a variety of on-set scenarios, 12G-SDI interface, plus Wi-Fi 6, Gigabit Ethernet, and Bluetooth LE capabilities for flexible connections
Atomos Shogun CONNECT Recorder/Monitor
The Atomos Shogun CONNECT is a redesigned Shogun 7″ recorder/monitor that maintains all the great features of the Shogun, including HDR support, RAW recording, a bright 7″ display, input and output switching, and DCI 4K support. It is a fully integrated unit that includes both a fully-fledged Shogun 7 monitor/recorder and the aforementioned Connect module. So it is a streamlined unit rather than a bolt-on attachment.
Blackmagic Design ATEM Constellation HD live production switchers
BMD showcased its family of ATEM Constellation HD live production switchers. These new switchers are a designed for professionals looking to upgrade from the ATEM Mini, or for large broadcasters looking to get a more modern switcher for their studios.
“We are excited to introduce these new live production switchers, as many high-end broadcasters don’t need Ultra HD, but they still need to upgrade their studios,” said Grant Petty, Blackmagic Design CEO. “Plus a lot of our Atem Mini customers have been growing and doing innovative work. They are now looking to upgrade and purchase more advanced switchers that can keep up with their work as their streaming channels grow.”
All models include full standards conversion on every SDI input, 4 ATEM advanced chroma keyers per M/E row, a DVE per M/E row, media players, and a larger media pool.
The KYU-6 are the award-winning Cine-Lights from Spekular. The company formerly known as Spiffy Gear rebranded as Spekular, and relaunched on 08 August 2022.
The KYU-6 are amazingly compact, featherlight, and packed with features. These wrappable and wearable lights easily add a small, very bright key or accent light to your photos and videos. The KYU-6 can be used as a single light stick, a panel of three lights, or simply wrap it around fixtures, or as a wearable light for endless creative potential. It’s unique form factor can be used in many different creative ways to light up a product photo, a portrait, or even help as a special effect light.
The The KYU-6 comes in a 95+ CRI bi-colour and a clean wavelength RGB version. Weighing less than 45 grams, they are amongst the lightest and smallest cinematic lights available. You can hide them just about anywhere.
This lightweight, versatile light is great to keep with you all the time, on hand (literally as a wrist wrap) or in your camera bag. It is so low impact, you can easily take it anywhere you go!
Don’t be fooled by the size though. The KYU-6 is flexible and durable, as well as capable of delivering enough output to make it a great tool for adding interest to photos and video.
The KYU-6 has a rubber exterior, which not only makes it splash-proof but also protects it from dust and impacts. It is magnetic, and will stick to anything metal, but also comes supplied with several stick-on metallic disks so that you can easily attach it to non-metal surfaces, too. It has two threads for vertical or horizontal mounting and features its famous slap mechanism for wearing or mounting on just about any object.
The Internal battery lasts for about an hour on maximum brightness but can potentially give you up to 8 hours of light at a lower setting. You can also connect the KYU-6 to a power bank to use for extended periods of time.
The minimal size of this light makes it perfect to use as a practical or effect light. For video productions, it can be placed in many different places to create accents or light up cramped scenes without getting in the way. It works well as a closeup light, but also as a small fill light. For photographers, the flexible form factor allows for the creative lighting of small objects and is brilliant for closeups and macro work, as well as providing some backlight bokeh for small subjects. In product photography, you can hide the light without any extra gear. Or have it in plain sight and integrate it into the scene. It is also great for things like light painting.
Its narrow 5mm profile and infinite mounting options make it a smart choice in small spaces like cars, helmets, lamps and lanterns, or adding a splash of light to food & beverage or product photography.
It’s so nifty, you can also use it either as a small light to enhance your selfies or as an on-camera light for vlogging. It’s handy for using as a small practical light to replace light bulbs, or to light up a small dark corner on set that you can’t fit a big light into.
The KYU-6 also have some really solid practical uses, for example, as a wearable flashlight on or off set. It’s great to take with on those camping or hiking trips as it is space-saving, long-lasting and rechargeable from a potable power bank. Lightweight but still bright, these lights will give you the ability to do any sport activity during low visibility hours. Wrap it around your wrist or your bike, pretty much anything. And for those unexpected outages, loadshedding, or even when your car breaks down, it’s good to have a battery-powered light to give you the illumination that you need to deal with your emergency situation. Wrap the KYU-6 around your wrist or objects near you, or attach them to metals using the built-in magnet, or simply use it to signal your location.
The Bi-colour features 95-CRI, which you can tune between 2700K-6500K and offers 5 effect options, including Breathing, Candle, Explosion, Red carpet, and a fast Strobe light. You can control the intensity of light within the effects. It features five levels of dimming, even on the effects, and nine levels of temperature.
The RGB version features five levels of dimming and 15 different colours. You can control the brightness as well with 5 brightness settings. The clean wavelength RGB LEDs deliver excellent colours and pleasing tones for both video and photo. It has a wide array of effects to fulfil your creative vision. The effects include Breathing, Police, Fire, TV and Fireworks.
Do you really want to lug around another piece of equipment just for the sake of tethering at shoots?
Yes. Here’s why!
Encourages People to Purchase in Real-Time
Tethering at events, for example weddings or social gatherings, is a fantastic way to not only generate interest in your photography, but it also creates potential for on-the spot sales when people see your gorgeous shots and get caught up in the emotion and excitement of the day.
Makes You Look More Professional and Builds Client Confidence
Although many people nowadays have camera phones or a DSLR with auto setting, they probably don’t have a tethering setup with a dedicated Tether Table Aero, TetherPro Cable, and other pro workflow gear at their fingertips. And when it comes to your client experience, tethering makes a big difference. By tethering, you’re able to show your client their vision come to life with your shots in real-time.
Clients and/or subjects can often spend so much time worrying about how they look in the shots or if their ideas are coming through, and sometimes, hovering clients can be a little unsure about the positioning or angle of the shot. When tethering, the client can quickly look through the shots building their confidence on the shoot and you as a professional photographer. This boost in confidence is key when acquiring referrals or additional sales with the client.
Saves Time and Reduces the Chance of Reshoots
One of the most time-consuming parts of a photoshoot is going through photographs. When you tether, you can have the client choose their favorite photos right then and there, so you can get straight to editing without any back and forth over email trying to get their final choices, freeing up more time for you to book your next shoot. An added bonus is that your clients will love being able to do it on the same day.
The worst nightmare for many photographers is getting home after a shoot and uploading the files to a computer, only to realize the focus was slightly off. It can be especially difficult to tell if there is a focus, composition, or exposure issue when you’re shooting in the field. When you tether, you reduce the risk of reshoots due to any such errors.
Increases Collaboration
Finally, tethering is beneficial because it can increase collaboration between the client, art director, assistant, makeup artists, and more. They can get and provide feedback and make adjustments as necessary. The whole production works in synch to produce the best images for the client.
Canon has launched its first full-frame cinema zoom lenses: the CN-E20-50mm T.2.4 L F/FP and CN-E45-135mm T2.4 L F/FP. Both lenses feature dedicated focus, zoom, and iris rings with industry-standard 0.8mm pitch gears. In addition, the gears are located at the same position on both lenses, so you can switch between both in seconds. The focus throw is 300 degrees on both lenses, with luminous markings engraved for easy operation in low-light environments. According to the company, “the two cine-zoom lenses inherit the same subtle, warm colour tone synonymous with Canon’s full range of Cinema lenses.”
Available in EF and PL mount and designed for use on full frame 35mm and Super35mm cameras, they include Lens Metadata Support such as Cooke /i Technology™ and Zeiss eXtended Data™ protocols.
The new large-aperture lenses feature high-level optical design and performance while sticking with the style and ease of use of Canon’s EF Cinema lens series. With these two zoom lenses — featuring focal length ranges of 20-50mm for wide-angle and 45-135mm for telephoto — you can now cover the same range as its six existing prime lenses, going from 20mm to 135mm, which should cover most of your needs. Both lenses maintain a fast, constant T2.4 aperture across the entire zoom ranges, allowing for image capture in both natural light and darker environments. The lenses also have very similar dimensions and weight.
Both lenses feature 11 iris blades diaphragm and have a 114mm front diameter for clip-on matteboxes. Minimum focusing distance of the 20-50mm is 2″/60cm, while the 45-135mm is 3.3″/1m.
Lens Features from Canon official:
Designed for full frame cinema cameras
Capture increased cinematic quality, wider field-of- view, and greater depth-of-field. This compact and lightweight lens is designed for use on full frame 35mm sensor cameras.
Cinematic look with 4K optical quality
The lens produces superb colour rendition and detail, with sharp images from the centre to the outer edges, perfect for 4K HDR capture. 11 aperture blades create soft beautiful light rays and stunning depth of field falloff, whilst an internal focusing system delivers minimised focus breathing and excellent parfocal performance. The lenses render the beautiful and warm colour tones synonymous with Canon’s cinema lens family.
Constant T2.4 and broad focal length coverage
With a consistent light transmission of T2.4 throughout the zoom range, the Flex Zoom series offers a broad focal range from the wide-angle CN-E20-50mm T2.4 L F / FP, to the mid-focal range of the CN-E45-135mm T2.4 L F / FP. These lenses are the ideal pairing to cover a wide range of shooting situations.
Advanced Lens Metadata Support
The Flex Zoom series are compliant with a wide range of communication standards thanks to the versatile lens-to-camera communication function, including Cooke /i Technology™, and ZEISS eXtended Data™ (PL mount) and EF mount. This will enable to display or record lens meta data as well as utilize camera functions such as aberration correction, peripheral illumination correction and focus guide function with compatible cameras. External 4-pin Lemo communication provides metadata support for cameras not compliant with the above protocols.
Robust design and useful handling features
Both the CN-E20-50MM T2.4 L F / FP and CN-E45- 135MM T2.4 L F / FP share the same design with consistent front diameter, gear positions and gear rotation angles. Focus, zoom, and iris dials feature industry standard gears and 0.8mm pitch to suit third party follow focus accessories. The lens features luminous (glow in the dark) metric and imperial markings for easy operation in low light. Built for longevity, the premium design and outstanding optics and components, offer quick and precise operation, with durability ideal for professional video productions.
Charge Your Laptop with the High Capacity USB-C 100W PD Battery Pack from Tether Tools.
whether on-location or in-studio, you need to ensure that your tethered workflow is being met with optimal efficiency. Things like editing and reviewing images (with or without clients) require the use of a portable laptop. Because of this, you need high-capacity Power Delivery (PD) to power your USB-C laptops like the MacBook Pro, MacBook Air, and other devices.Tether Tools ONsite USB-C 100W PD 26,800 mAh Battery Pack is up to the job.
The ONsite USB-C 100W PD 26,800 mAh Battery Pack has a sleek, compact design that you can easily carry in your pocket, backpack, or camera bag. Its size and weight make this a perfect accessory whether on location or even just reviewing images at a coffee shop.
This battery can power a Macbook Pro for more than a full charge. For tablets, you can gain an additional 2-3 charges and 5 charges for mobile phones. In addition, the ONsite USB-C 100W PD 26,800 mAh Battery Pack can charge up to three devices simultaneously—one USB-C and two USB devices. The battery itself recharges in approximately 3 hours from empty.
But what makes this battery stand out from the rest? While there are many battery packs on the market, most USB-C batteries have lower PD thresholds, and can only charge smartphones, tablets, and other less power-hungry devices. The ONsite USB-C 100W PD 26,800 mAh Battery Pack, on the other hand, can easily power laptops requiring higher wattage needs, like a MacBook Pro.
In addition to this high capacity output, the Onsite 100W USB-C 100W PD Battery Pack can also give your camera uninterrupted power when paired with the Onsite Relay System. This pairing works great for long exposures, videography, streaming, or photographers looking to eliminate the hassle and disruption of changing out or charging camera batteries. TheOnsite Relay Camera Power System works with a power coupler that gets inserted into your camera battery slot. You can then draw power directly from the Onsite 100W USB-C PD Battery Pack or wall outlet to your camera, eliminating the need for a battery altogether.
Charging the battery pack is simple. With the included USB-C to USB-C charging cable, you can connect this with any USB-C wall charger you may have in your gear bag or around the house.
So, if you’re on the hunt for a powerful battery pack that will provide you peak performance and plenty of charge for your devices, consider the ONsite USB-C 100W PD 26,800 mAh Battery Pack and make this a standard piece of equipment you can rely on when shooting in the field, off the grid or in the studio and require extra mobility. Never be without power again.
Product Features:
Recharge a Macbook Pro 13in and other laptops 1.6 times
Quick charging – charge a Macbook Pro 13in from 0 to 100% battery in 2 hours
Recharge on an iPad Pro 2 times
Recharge SmartPhones 5 times
Powers Macbook Pro laptop for up to 8 hours with 26,800 mAh Battery – battery time will vary depending on power-consumption
The stats don’t lie, Canon has once again proven itself to be leader of the pack by celebrating its 19th year of holding the biggest share of the interchangeable lens digital camera market.
Canon’s interchangeable-lens digital cameras have maintained their place at the top of the global market between 2003 and 2021. From top-spec flagship models to reasonable entry-level systems, Canon’s diverse range of cameras has always catered to the diverse needs of photographers and videographers, so it’s little surprise it has maintained the number one spot
The Canon EOS 300D released in 2003 was a revolutionary camera that was competitively priced, even if it did only have a 6MP sensor. This market breakthrough heralded the beginning of Canon’s reign in the consumer market.
Since then, Canon continued to grow its range of ground-breaking products. Its launch of the professional-model EOS-1D series and the EOS 5D series marked a new age of high quality SLR video recording as well as high-resolution photos. The launch of the Canon EOS 1D and 5D series marked a new age of SLR, with these systems capable of recording high-quality, professional-looking video as well as high-resolution photos.
In 2018 the first Canon EOS R series was born, along with a brand-new lens mount to fit the new cutting-edge Canon RF lenses. Since then, Canon has continued to expand the range of mirrorless cameras designed to be faster, more powerful and perform better and faster than ever before. This can be seen most recently in the launch of its EOS R5 and EOS R3 systems. With new features such as Eye Control AF, In-Body Stabilisation, up to 8K video capabilities, Deep Learning AF, continuous burst modes up to 30fps and more, Canon remains at the forefront of tech advances, continuing to push itself in its quest for image quality excellence.
Canon added eight new RF lenses in 2021, and we can hopefully expect another eight this year, which means if they continue at such a stable pace, we can see as many as 32 lenses in four years’ time.
Even during Covid-19, Canon saw sustained growth despite its 1% dip in sales. As per Canon’s financial report, its interchangeable lens camera sales maintained over half (52%) of the global ILC market in 2021, which is a remarkable achievement when the world of tech was beset by lack of parts and other effects of the pandemic. Clearly Canon is doing something right.
This continued market domination is not Canon’s only priority. The company continues to steadily advance its cinema range while further expanding its line-up through new launches such as its EOS VR lens. With such an impressive résumé, we’ll find out if this camera giant can make it to two decades at the top next year.
Exchange your old FLO fixtures for up to 50% off new FreeStyle LED Systems and Kits, and Image LED studio lighting products.
You’ll earn a deep discount on each LED lighting product when you hand in a qualifying Kino Flo legacy product of similar design, such as trading in a used 4ft 4Bank fluorescent system for a new FreeStyle T44 LED.
Promotion is valid from March 7, 2022 – August 31, 2022.
Leading commercial and creative innovator Stephan Hambsch chatted to us about his career, gear, and what gives him his creative edge.
German/South African Stephan Hambsch is an award-winning cinematographer and director based in Cape Town. He shoots commercials, music videos and branded content both locally and internationally.
Stephan started his career in post-production, with his focus being the camera department. This laid a firm technical foundation for him, and in 2009, he landed his first job as a DOP (Director of Photography) shooting local commercials and online branded content.
“Filmmaking is such a collaborative effort and I feel that branching into directing and editing has really given me an understanding of what directors and editors need, thus making me a better cinematographer.”
In 2014, Stephan began directing, shooting mainly for the West African market. He then moved back into full time DOP work in 2017, taking the skills learned from editing and directing into his cinematography work. Stephan was able to bring together the perfect multidisciplinary blend of creativity and know-how, strengthening his ability to create visually rich video content with high production standards. Stephan continues to tackle technically demanding projects that are emotionally engaging, where he is able to deliver innovative and impactful content from initial concept to final outcome.
“Like a lot of DOPs of my generation, I started shooting a lot on DSLRs and owned a Canon 5D Mk II. I shot a lot on Sony and Panasonic video cameras before that, but I think the 5D was a real leap forward for me.”
While Stephan started out on DSLRs, he now shoots mainly with RED Digital Cinema and Arri cameras. “I own 2 RED Komodos and I love them,” says Stephan, “the small form factor makes them the perfect camera for handheld and gimbal work. The main reason why I like shooting on the Komodo compared to say a Sony a7s is the global shutter, which is especially useful when shooting high-speed tracking or handheld work.”
“The RED raw image is absolutely stunning, and it gives me enough latitude and colour space to really grade depth into my images that’s not possible with other cameras.”
As an adventure sports enthusiast, Stephan’s soul food in life includes getting outdoors into nature. When not busy with work, he can be found in the mountains climbing, high lining or trail running. Applying his professional skills to his personal passion, Stephan creates adventure sport content as a side project.
When we asked Stephan about his dealings with Cine Photo Tools (Sales) and Photo Hire (Rentals) he insisted: “[they] are amazing! I often have strange requests when it comes to gear and they are always able to assist me, and if they don’t have that specific piece of equipment in stock, they always make a plan. I firmly believe that we’re all one big family in the film industry and that feeling is certainly reciprocated when I walk through their doors.”
Stephan has worked on projects for Volkswagen SA, HiSense, Old Mutual, HP, Etisalat, 9Mobile, Amarula, Boiler Room, Reebok SA, Nike SA, SkySports UK.
Pantone has announced their new Colour of the Year 2022. The global colour authority and provider of professional colour language standards for the digital and design community, introduced a new blue shade, PANTONE 17-3938 Very Peri. Pantone states in their press releasethat the colour is a “dynamic periwinkle blue hue with a vivifying violet red undertone. Blending the faithfulness and constancy of blue with the energy and excitement of red, this happiest and warmest of all the blue hues introduces an empowering mix of newness.”
Now you can stay on trend in the studio this year using Savage Orchid Seamless Paper Backdropto get that Very Peri feel. Watch renowned fashion photographer, Lindsay Adler, build a Pantone inspired monochromatic photo shoot around her Savage Orchid background.
In January, Canon announced the EOS-1D X Mark III will be the company’s last flagship DSLR, stating that it wants to shift focus towards mirrorless cameras, and therefore would not produce any future flagship DSLR cameras. And now with both Sony and Canon quietly pulling the plug on several DSLR lenses, the future looks pretty grim for this fading format.
Canon has been slowly discontinuing many of its EF lenses over the past year. It has been noted by Japanese photographer, Kimio Tanaka, that from January to February 2022 alone, the number of EF mount and single focus lenses in the line-up decreased from 21 to 9 lenses, leaving 12 lenses to fade quietly away in one month.
This was on the heels of Sony discontinuing their A-mount lens line-up. While there’s no official statement by Sony, the company quietly pulled the plug, listing its A-mount lenses as “discontinued” on its official store, with both the Japan and US sites delisting the lenses. Rumours of this discontinuation started back in 2015 already, when Sony UK let slip that there were no future planned A-mount lenses in the works.
Nikon also placed several of its F-mount lenses on the chopping block last year. While not a huge loss to its overall DSLR selection, the trend is clear. New lenses (with the latest tech) will continue to be produced for mirrorless cameras only, which are clearly now the focus for these big camera companies.
Back in May last year, Sony discontinued the last of its DSLR cameras. While Canon has yet to go this far — it still plans on producing consumer-level DSLR bodies – there is a clear shift in focus away from their legacy systems towards their EOS R camera and RF-mount line-ups. There is a similar trend happening over at Nikon with its Z range of cameras and lenses. Mirrorless tech is evolving, and fast, with more options in the market than before. It won’t be a surprise if more players exit the DSLR market in 2022.
Honestly, it stands to reason. Reducing the number of mechanical parts in a camera increases reliability, size, weight, battery life, focus and speed. The DSLR lost its advantages over mirrorless a while ago with its superior crisp, clear optical viewfinder being one such advantage. These days, the Electronic Viewfinders on pro mirrorless cameras are so good that going back to an optical one can actually seem like a downgrade.
The Future is Mirrorless:
while old tech is disappearing, we’ve uncovered a few things in the works by Canon that may blow you away. Keith Cooper at Northlight Images has dug up a few Canon patents on several RF zoom lens designs. according to Canon Rumours , this patent application “includes designs for superzooms so wide in range that they appear to be versions of the mythical lens that forum posters sometimes use as an example of unreasonable expectations.”
The following lens ranges were found in Canon’s US patent application:
24mm f/4 – 400mm f/6.5
24mm f/4 – 300mm f/5.6
28mm f/4 – 500mm f/7.2
33mm f/4 – 600 f/7.2
Another patent shows a series of fixed aperture zooms:
200-500mm f/4
200-400mm f/4
300-800 f/8
It’s clear that as camera manufacturers pour money into developing new mirrorless technology, the DSLR market will eventually fall by the wayside. However, your DSLR is not done for just yet. If you’re new in the photography market, looking into buying a DSLR may actually be a good option. Buying second-hand, for example, makes things cheaper. Also, sales houses holding old stock may be offering great discounts on discontinued items, so you’ll be able to get a solid, feature-packed camera with good battery life and decent glass for less, and you’re going to still get gorgeous shots. Upgrading to a mirrorless system can not only turn out to be costly — especially if you’re adding lenses and accessories, while current DSLRs on the market continue to offer great features with reliability, and exceptional image quality. If you can’t justify the investment, you may want to hang onto your DSLR camera for a while longer. Also, if you photograph with more specialised equipment – a set of super-telephoto lenses, for instance, or a long macro lens – as things currently stand, you’ll struggle to get the glass you need to really capture your images. Options from third-party manufacturers also make for a comprehensive set of compatible lens options in the DSLR field.
But for professionals and those who want to keep up to date, going mirrorless is increasingly the better option for future proofing your investment creatively and financially. Evolution and adaptation to future technology is what will slowly see the era of the DSLR die out, and eventually feel as vintage as shooting film; how rapidly this happens remains to be seen. One thing is for certain, there are some exciting new developments in the works.
EIZO Corporation announced the first in a new generation of ColorEdge monitors – the 27-inch CG2700X (3840 x 2160) and CG2700S (2560 x 1440). These flagship models support HDR workflow and are the first ColorEdge monitors to feature a brand-new cabinet design and built-in network connection via USB Type-C connection.
The two new ColorEdge monitors differ primarily in resolution. The panel of the CG2700S has the popular WQHD resolution with 2560 x 1440 pixels, whereas the panel of the CG2700X offersa 4K UHD resolution of 3840 x 2160 pixels. Both monitors guarantee a very sharp image impression (109 ppi or even 164 ppi) and enable a perfect view of the imaged file. The remarkable detail ensures that high resolution content is displayed crisply, while the 27-inch screen provides ample space for displaying editing windows, toolbars, palettes, or other apps. This makes the monitor versatile for video editing, 3DCG creation, game development, photography, and other creative fields.
Both monitors are equipped with EIZO’s award-winning built-in sensor technology and ColorNavigator 7 colour management software. This allows you to calibrate the monitor automatically at designated times, ensuring the screen stays accurate over time and no need for a third-party calibration device.
The monitors also support HLG (hybrid log-gamma) and the PQ (perceptual quantization) curves for displaying and editing HDR content. Now your images will appear truer to how the human eye perceives the real world compared to SDR, ensuring reliable HDR content display for editing and colour grading.
The new USB Type-C connectivity lets Creators display video, transmit USB signals, and even supply power to a connected device, such as a tablet, MacBook Pro, or other high-end PC notebooks. This convenient multi-purpose connectivity makes it faster and easier to connect when moving between creative workstations or when working in a remote or home studio. Furthermore, the monitors have a LAN port directly built in for providing a stable network connection.
The ColorEdge CG2700X and CG2700S include Sync Signal. This function automatically adjusts the monitor’s settings, such as input range and input colour format, according to the video signal to ensure colour settings stay consistent throughout production.
The backside of the ColorEdge CG2700X and CG2700S incorporates a new punched metal design that allows for more airflow, keeping the monitor cool without a noisy fan.
Additional features:
Colour space coverage 99 % Adobe-RGB and %DCI-P3 98
Smooth gradients through 10-bit simultaneous representation from a 16-bit LUT
Precise homogeneity through patented Digital Uniformity Equalizer (DUE) technology
Nearest-neighbour interpolation function for video upscaling (CG2700X)
DCI 4K cropping option for displaying DCI 4K (4096 x 2160) content (CG2700X)
Ergonomic stand with height adjustment (155 mm), tilt adjustment (35° up, 5° down), rotation (344°) and rotation (90°)
Every photographer has had to face the headache of a hard-to-light situation. We put together a list of the top four tricky lighting situations and how to conquer them, so you’ll always get the shot. Let’s dive in!
1. Harsh Sunlight
One of the most difficult photography lighting situations that even experienced photographers struggle with is bright, unfiltered sunlight. Shoots at high noon result in harsh shadows on your subject, which can be artsy, aren’t typically the look that many people want for their outdoor portrait or wedding photographs.
If you don’t have any shade to shoot in, one of the best ways to work with harsh sunlight is to use a fill light. A small cold-shoe setup using the Tether Tools Articulating Arm and Frio Cold Shoe is perfect for on-the-go photographers. You can attach the flexible arm to your tripod, existing lighting setup, or even a tree branch, table, or chair to illuminate the shadowed side of your subject to create a more even lighting effect. With this setup, you don’t need another pair of hands, and instead, you get to be your own assistant.
2. Night Photography
As beautiful as night shots of a bright tent under the Milky Way are, these photographs take a great deal of preparation, patience, and well-planned lighting. If you’re shooting static scenes, you can get a great photo of the sky with just your camera and a tripod. But if you want any foreground interest or are shooting moving scenes at night, you need to bring additional lighting sources in to create crisp photographs.
To illuminate your subject, use a cold shoe lighting setup like the with a rotating, 360-degree base. The benefit of a cold shoe setup like this is that you don’t need to have the flash attached to your camera. This means that you can get creative with your lighting setup and shoot from angles that wouldn’t work with a hot shoe setup.
3. Reflective Surfaces
Photographing reflective surfaces like windows or mirrors can really set your photography apart because of the skill required. You need a polarizing filter and a lighting setup that can brighten your subject without being seen in the reflective surface.
A cold shoe with a clamp or suction like the Frio Cling is best for this situation, as you can place it out of the shot but above or below your subject and light it as desired. You don’t need a light stand; just suction the Frio Cling with your speedlight attached to any flat surface.
4. Concerts, Clubs, and Sports
In many photography situations, your subjects pose as you direct them. However, there are instances where not only do photographers have to deal with tricky lighting, but they also have zero say in what their subjects are doing, such as at concerts or during sporting events. In situations like these, having a flexible lighting setup like the Frio Grasp Bigi turns practically anything into a cold shoe lighting stand. Use the Frio Grasp Bigi on a door, table, or door handle and get epic action shots.
Lighting Up Everything With Frio Cold Shoe Setups
As cliched as it may sound, photographers create beautiful images with light. Sometimes that light doesn’t cooperate so you need to bring in reinforcements. With Frio, you get to control those hard-to-light situations. Remember, no lighting scenario is too challenging when you’ve got the right tools.
Lightstar is synonymous with quality, well-priced professional production lights. Their high-end LUXED range has been extremely successful worldwide as popular high-output LED spotlights.
Building on this success, Lightstar has launched its brand new LUXED-P range. The “P” stands for painter, which is their RGB line. All LUXED lights you already know will be now be available with RGBWW, from the single spot up to the new LUXED-P12.
While each spot can still be controlled individually over the dimmer, DMX and LumenRadio, Lightstar has added a new way to control the LUXED-P lights, which will be a free app that’s going to be available later this year. It will allow you to make immediate changes on the lights from your smartphone or tablet.
You won’t have to compromise at any point. The LUXED-P lights are also ready for flicker-free high-speed shooting. Quality and durability have always been Lightstar’s strong points and you won’t have to miss out on that with these new lights.
In addition, Lightstar has optimised the frame, display, and interface. Further details on these updates will be released soon.
LUXED-PS 160W RGBWW
LUXED-P2-LM 320W RGBWW
LUXED-P3-LM 480W RGBWW
LUXED-P4-LM 640W RGBWW
LUXED-P6-LM 960W RGBWW
LUXED-P9-LM 1440W RGBWW
LUXED-P12-LM 1920W RGBWW
Cine Photo Tools is the official Lightstar Partner in Southern Africa. The LUXED-P are available for Pre-order now.
Canon has officially announced its EOS R3. While the company confirmed plans for the highest-end mirrorless camera earlier this year, it has finally released full camera specs, and we’re impressed!
While the 24-megapixel stacked BSI sensor is lower resolution than the EOS R5’s, the R3 is all about high-speed performance, fast and precise focusing, and low light capability. This is Canon’s top mirrorless body and is positioned between the high-res EOS R5 mirrorless body and the professional-grade flagship EOS-1D X Mark III DSLR. The R3 combines the speed, reliability, and robustness of the 1D X Mark III along with the advanced technology and mirrorless design of the R5.
Canon hasn’t just repackaged its existing tech, there’s also a plethora of new features in the camera, including an all-new stacked sensor, Eye Control AF, and a built-in vertical grip. The EOS R3 sports a brand-new 24.1MP back-illuminated stacked CMOS sensor and an updated DIGIC X image processor. This translates to faster readout speeds and reduced rolling shutter distortion. The BSI design is more efficient when gathering light, leading to cleaner image quality with less noise.
Canon says it can shoot at up to 30fps with the electronic shutter and 12fps with the mechanical shutter, and the maximum native ISO is 102,400.
Ever used a camera that feels like it’s reading your mind? The R3 includes next-generation Eye Control autofocus technology that focuses wherever you are looking. This unparalleled control over AF allows the camera to react as quickly as you do – allowing you to respond fast to ever-changing scenes. According to Canon, photographers can select an initial AF point with eye tracking just by looking at an area of the 5.76-million-dot electronic viewfinder. The R3 has 1,053 AF points in total, and also makes use of this deep learning technology to recognise people, animals and vehicles accurately and confidently – wherever they move in the frame.
While the R3 produces sensational stills, it is a professional hybrid, able to capture cinematic, broadcast-quality video as well. With features that empower filmmakers to new levels of creativity, the R3 can shoot 6K at 60fps and uncropped 10-bit 4K at 120fps in the Canon Log 3 profile, which also provides greater dynamic range and colour-grading possibilities. Crucially, the same object recognition available to stills photographers is also available to videographers, so you can track moving objects around the frame, keeping them in sharp focus even when working. A handy feature for video shooters is the vari-angle touchscreen, which has a super-crisp 4.1 million-dot resolution.
Another new feature is the new Multi-Function Shoe in the middle of the camera, which will allow for high-speed data transfer between the camera and any compatible accessories that you mount on top of it. The new Directional Stereo Microphone (DM-E1D) and Speedlite Transmitter (ST-E10) are both fully compatible with the new shoe – which means they can draw power from the camera.
Tether Tools’ high-visibility orange TetherPro USB cables have become synonymous with tethered photography. And for good reason. Constructed to the highest possible USB specifications, these cables ensure consistent and reliable conductivity, and the fastest and most reliable transfers.
What cable do I need to shoot tethered?
Whether you have a new camera out of the box or you want to start shooting tethered like a pro, it’s important to note that not all cameras use the same cable connectors. Tether Tools has the right cable for most camera brands. Through research and technology development, Tether Tools has designed the perfect fit for your camera.
My TetherPro USB cable is 5 meters long, can I go longer?
When using longer cables, power is lowered and can lead to slow transfer speeds, dropped signals, workflow delays, and major complications for your shoots. The TetherBoost Pro USB 3.0 Core Controller boosts and regulates the power from your camera or digital back to the computer. You can now maintain a stable and consistent connection.
The TetherBoost Pro USB-C Core Controller Extension Cable extends the cable an additional 5m while enhancing the signal to help move your images up to 10Gbits for the fastest and most secure way to transfer your files from your camera to your computer. Connect a base tethering cable, up to 4.6m, to get a maximum length of 9.4m of distance while maintaining high transfer rates and connection stability.
Why are TetherPro USB Cables thicker than the cable that came with my camera?
The reason is the increased insulation – notice the thickness of the colored part around the copper wire as well as the increased white insulation between the colored wires. This provides two benefits. First, this added insulation provides extra protection to the stranded copper wire that transmit the signals from your camera to your computer, standing up to kinks, knots, and people stepping on your cable. Second, it provides greater shielding on the wires itself to prevent signal interference or noise in the transmission.
What’s the best way to secure my cable so it doesn’t get jerked out (or even wiggle out of my port)?
Any photographer who shoots tethered will tell you that one of the most frustrating things that could happen on set is an accidental disconnection of the cable from the camera. A trip or tug can cause your tether cable to become dislodged or cause serious damage to your camera’s data ports.
The orange colour ensures cables can be seen throughout the studio, during on-location shoots, and also makes it super easy to find in your gear bag. With multiple people (models, photographer, makeup artist, stylist, clients and assistants) all on a shoot, it’s inevitable someone will not see and trip over a cable in a sea of silver and black photography equipment positioned on set.
TetherPro high-visibility cables are bright orange to bring attention to the cable and avoid accidents. With the cable attached to expensive camera and computer equipment, avoiding accidents can save thousands of rands in damage.
How can I best take care of my cable?
A quality tethering cable is an investment and proper care and storage will help you get the most life out of it. Inside your cable are sensitive wires and shielding designed for fast transmission speed and noise-reduction. Although durable, if folded, bent or pinched you could experience communication errors. In addition to storing the cable in a Standard Organisation Case, a proper wrap post-shoot is always important. The good folks at The Film Look recently released a great video highlighting the best method on how to wrap your cables for both longevity and to avoid tangles.
Throwing cables in a bag or just bundling them up in a case is a big no-no, as shown in the video when storing your tethering cable always try to lightly roll your cables into a loose coil going with the natural curve of the wire. When not in use, try storing your tethering cable in a protective case where dust and impurities will not get lodged into the connector ends.
RED Digital Cinema has released a featurette of The Suicide Squad and how it was shot. Director James Gunn and cinematographer Henry Braham offer their insight into the cameras used for filming and how RED’s innovative technology made shooting action sequences easier. Together, Gunn and Braham evolved a dynamic shooting style that they agree wasn’t possible before the creation of RED’s latest camera innovations. “The Suicide Squad is a rollercoaster ride on the big screen,” Braham says. “You want the smallest physical technology you can possibly have with the best picture quality you can possibly achieve. That’s the case with RED.”
The movie was filmed entirely with IMAX-certified RED cameras. Gunn talks about just how awesome they are: “The way that this movie is shot is the way that I have wanted to shoot every movie in my brain, and it hasn’t been possible until this film.”
With so much action packed into every scene, shooting was quite a challenge . . . one that the RED was up to. Gunn and his team were able to move around easily due to RED’s ‘high resolution in a smaller camera design’ innovation. A lot of the filming was handheld for high maneuverability. Gunn remarks: that “Nearly every shot in this movie is moving. And not only it is moving, but we want to get it really close and around people and between people, and you just can’t do that with a bulky camera.” Each camera was mounted in a different way to offer maximum flexibility on set, allowing the team to shoot different angles of the same scene. Braham and his team made customised gyrostabilised mounts to enable genuinely stabilised hand-held movement: “The physicality of these cameras means you can invent entirely new ways to use them,” Braham says. “It’s like having an array of musical instruments all tuned in different ways for different shots. I can put one down and pick another up to achieve the exact shot we need.”
Cameras used included RANGER MONSTRO 8K VV, WEAPON 8K VV, and KOMODO: “Komodo is a great little camera,” Braham says. “There are shots in the movie we could only get with something that small that comes with high-res imagery.” He adds, “In the past, the technology has defined the types of movies… and I think that guys at RED are at the vanguard of this, you can now say, ‘this is the requirement of the movie. What’s the technology that we need to do it.’”
Tethering is essential to any photographer’s or videographer’s workflow. There are many USB cables out there, so why does it matter what brand you choose? For starters, there is more technology involved than we think so choosing the right cable for the job is important. To tether your camera to your computer/ device while working freely at a distance, you need a cable that’s up to some serious data transfer demands. It needs to be tough, protected, and able to withstand the wear and tear of processing high volumes of work at fast speeds, and withstand being dragged around studio floors all day. If you shoot tethered for clients, you’ll want to invest in a quality cable. Tether Tools is well known for its variety of products that make tethering easier and safer for your equipment. Their TetherPro cables were specifically designed with photographers and image transfer speeds in mind. You can notice the difference between a Tether Tools TetherPro USB Cable and your standard cable immediately. From the bright colouring to the thick diameter and reinforced connectors, you can tell these cables are made for the serious demands of daily use. Let’s take a closer look at what sets Tether Tools cables apart from the rest:
Tether Tools’ high-visibility orange TetherPro USB cables are undoubtedly kings of tethered photography, and are the only choice of professional photographers and videographers everywhere. You’ll recognise the trademark bright orange on professional sets around the world. You may find cheaper cables out there, but given the importance of tethered workflow, why compromise? TetherPro cables are constructed to the highest possible USB specifications and incorporate all of the latest technology ensuring consistent and reliable conductivity, and the fastest and most reliable transfers.
High-Visibility Orange Colour
While most of TetherPro cables also come in black, we recommend the orange and it’s not just about looks. The bright orange colour ensures cables can be seen throughout the studio, during on-location shoots, and also makes it super easy to find in your gear bag. With multiple people (models, photographer, makeup artist, stylist, clients, and assistants) all on a shoot, it’s inevitable someone will not see and trip over a cable in a sea of silver and black photography equipment positioned on set.
TetherPro high-visibility cables bring attention to the cable and avoid accidents. With the cable attached to expensive camera and computer equipment, avoiding accidents can save thousands in damages.
Increased Insulation
A cable’s weight and quality are also essential. Take a look at the photo above. The TetherPro Cables are thicker than your average cable. The reason is the increased insulation – notice the thickness of the coloured part around the copper wire as well as the increased white insulation between the coloured wires. This provides two benefits.
First, this added insulation provides extra protection to the stranded copper wire that transmit the signals from your camera to your computer. In other words, it stands up better to kinks, knots, and people stepping on your cable. Call it added insurance. Your cable will be dragged around the studio floor as you shoot so you need a cable where it’s exterior and connectors are tough, well insulated and protected.
Second, it provides greater shielding on the wires itself to prevent signal interference or noise in the transmission.
Constructed to the Highest Possible Standards
Many manufactures are able to make and sell cables cheaply by hitting the minimum required specifications for a cable. The TetherPro Cables are designed to the highest spec possible for that particular cable and connection. What that means is if the spec calls for a Ferrite Bead (that round part found at the end of some cables) or gold-plated connectors, then you can rest assured that the TetherPro cable has it.
Lengths Specific to the Photographer’s Needs
With years of industry research and experience, Tether Tools has found that one of the best ways to protect a cable and make it work to its fullest potential is to provide the appropriate length for the job. once you hit a certain length, the data transfer can become slow and unreliable. Technical issues including a dropped tethered connection are incredibly frustrating, especially with clients on set. This is why Tether Tools cables do not come in over 4.6m but rather provide you with the option of active extensions to ensure reliability and stability every time you shoot. TetherPro USB Active Extension Cables allow you to shoot tethered up to 20m without worrying about signal errors or corrupt data transfers.
Savage Widetone Seamless Background Paper has been the industry standard of quality backdrops for professionals. They can be used for photographic — such as portrait, commercial and product — and video shoots alike. They are also great for other applications such as theatre productions, special event decorations, display banners, posters, and even video projection screens.
These Paper Backdrops are easily interchangeable to achieve different looks and feels, helping you get the most out of your shoot. With over fifty shades, there is no problem getting the exact colour, and no surprises or permanency. The paper is high-quality with an exquisite, fine-tooth feel that belies its inexpensive price tag. They offer a smooth, non-reflective surface, just roll the paper down, and when you are done, simply roll it back up. Set up is convenient and quick, making them even fit for outdoor use.
The thick quality paper is sturdy, so you won’t get any kinks or creases. If the floor part does get ruined, simply cut it off and roll more of the paper down, even during the same session. The versatility these backgrounds offer is ideal for any shoot, so your creativity is never limited.
Savage Seamless Paper Backdrops are core-wound on a sturdy cardboard inner core for easy hanging from a backdrop stand or other support. Colours run from the basics to the exotic and just about anything in between. There are various sizes to choose from as well.
Looking for the most temperature-neutral greys? Try Stone Gray and Thunder Gray or our shade closest to an 18% gray card; Smoke Gray. (Please note that Seamless Paper is a dyed natural product and colour can vary slightly from batch to batch.)
The Savage Difference!
Established and Reputable
Family-run from the start, Savage is the gold standard for high-quality background paper from a company that has been perfecting photographic products since 1937.
Eco Friendly
Savage is committed to producing products that are environmentally friendly. Their paper products utilise on average 75% recycled fibre.
Company Ethics
Savage Seamless Paper is produced in their on-site plant in the USA. Savage is known for their family business atmosphere, and is committed to the highest working standards.
Cost Effective
Savage Seamless Paper is high-quality with an exquisite, fine-tooth feel that belies its inexpensive price tag.
Savage Supports Animal Rescue & Welfare:
Cine Photo Tools is the South African distributor of Savage products. We have the largest selection of paper backdrops.
Roger Horrocks, DP of the Netflix documentary My Octopus Teacher has been interviewed and had some of his clips featured on RED Digital Cinema’s Behind the Look: That Shot series. He chats about his filming history and how important shooting wildlife and its stories are for both filmmakers and audiences. The documentary has won more than 20 international awards, including an Oscar for Best Documentary Film and a Golden Panda Award.
My Octopus Teacher tells the story of filmmaker Craig Foster, who for almost a decade would take daily trips into the cold waters of False Bay, snorkelling in the kelp forests. While free-diving there, he encountered an octopus that would come to have a profound impact on him. He returned to her every day, documenting most of her short life cycle, forming a strong connection that would ultimately have a healing effect on him. During his journey, he invited Roger to join him in this extraordinary experience.
Roger is an Award-winning cameraman and has filmed underwater and aerial sequences for documentaries and features such as Our Planet and Blue Planet 2. He bought his first RED camera in 2015, a DSMC1 6K Epic Dragon, and still uses it today affirming in a social media post that “it is still creating luscious imagery that complements the potent 8K DSMC2 Helium. Tweaking the white balance of redcode raw footage in RedCineX to reveal the astounding colours of the silent world is undeniably one of my sweetest pleasures!”
Roger used a RED DRAGON to shoot scenes in My Octopus Teacher.
The two monitors are a simple, but meaningful, update to the FSI product line, and direct replacements for the AM210 and BM210 respectively with one key distinction from the older units, an all-new backlight providing two significant measurable performance improvements: Maximum colour gamut is now 96% of P3 compared to Rec709 maximum of previous models. Better black levels thanks to a 30%+ increase in contrast ratio.
Additionally, the new backlight uses a very similar LED element that is found in their higher-end DM170, DM240, and XM310K monitors further bridging the gap between entry level and top of the line solutions.
At the same price as the older units, the AM211’s and BM211’s wide colour gamut, higher contrast, and new backlight technology will be a welcome addition to facilities and productions that want to mix in more affordable monitoring options while preserving a great deal of visual consistency with their hero monitors.
From Editorial to Video Village – Colour Accuracy on a Budget
AM211
The AM211 is an affordable and accurate professional broadcast monitor. Large enough to be used in an edit suite yet lightweight, durable, and compact enough to work exceptionally well as a field monitor.
The Tools You Need and An Image You Can Rely On
BM211
The BM211 is a lightweight, power-efficient, and colour accurate professional display with an extended feature set geared towards production, editorial, and broadcast. The BM211 builds on the AM211’s capabilities with additional hardware that supports popular features like live side-by-side viewing for two signals, look LUT support, dual-link SDI compatibility, our advanced Video Data Analyzer, HDR Preview modes, and much more.
Additionally, FSI has brought tetrahedral LUT interpolation to the BM211 to maximize the performance of both calibration and look LUTs. Moving from trilinear to tetrahedral LUT interpolation further ensure consistency with FSI’s higher-end DM and XM series monitors, which all use tetrahedral LUT interpolation.
The Canon EOS R3 has just been announced by the camera giant – While details are limited, the camera will clearly be positioned above the EOS R5. Cross this with build quality and speed of the EOS 1D X Mark III, and it’s looking like this will be Canon’s most powerful full -frame stills camera for sports and news photographers.
Canon boasts that the EOS R3 features a new BSI stacked CMOS sensor, a powerful DIGIC X imaging processor, shooting capabilities of 30fps with AF/AE tracking, eye, head and body detection and a pioneering new autofocus Eye Control Function. It is the ideal camera for action photographers looking for quality images, both still and moving, of objects travelling at intense speeds.
The R3 is promised to be an “outstanding complement” to the two super-telephoto lenses also announced for the RF mount: the RF400mm f/2.8 L IS USM and RF600mm f/4 L IS USM, and that it will place great emphasis on “superb autofocus performance and speed, with fast-moving subjects.”
With pin-sharp accurate tracking and focus on fast-moving action, the EOS R3’s next generation Dual Pixel CMOS AF can track subjects’ eyes, heads and bodies travelling at speed – excellent for capturing even the finest of details in a split second. What’s more, Canon reveals it will add a new subject (yet to be disclosed) to the camera’s AF tracking.
One exciting new feature is the ground-breaking Eye Control Function, which enables users to simply select and move the AF point using their eye via the viewfinder. This instinctive feature offers professionals natural and speedy control over AF. Reducing the time to focus, which is usually done with a multi-controller/button.
The EOS R3’s build is Inspired by the EOS-1D series, allowing for ultra-intuitive control in the most demanding professional situations. Professionals will have the confidence to keep on shooting – whatever the conditions – whether they are pitch side or poolside, inside or outside, in snow or sunshine.
Initial EOS R3 key features:
· New Canon-developed stacked BSI CMOS sensor
· 30fps with AF/AE tracking
· Eye Control Function
· Subject eye and head detection
· Dual Pixel CMOS AF
· 1D series weather resistance
New lenses also announced:
The RF 100mm F2.8L MACRO IS USM – an impressive macro and portraiture lens which is the world’s first AF macro lens with 1.4x close-up magnification. In addition to this Canon also revealed details of a the new RF 400mm F2.8L IS USM and RF 600mm F4L IS USM, two telephoto prime lenses designed to meet the demands for sports and wildlife professionals, with incredible focal lengths and capabilities, especially when paired with EOS R3.
In portrait photography, your background should play a supporting role to your subject (background complementing foreground). To do this you need to flatter and accentuate your subject’s skin tone, especially when working with skincare or makeup brands. Enhancing without distracting from her/his features is a great way to strengthen a natural beauty concept.
Starting by selecting the right Savage seamless paper backdrop, and then modifying the tonality through your lighting setup and post-production processes, you can achieve a flattering background to complement your beauty model’s skin tone. Whether you blur your background, or use sharp, front-to-back focus, your background is vital to your final image.
Watch veteran portrait photographer, Lindsay Adler, as she selects her go-to seamless paper backdrops and adjusts them to flatter skin tones for any campaign. Find out which two Savage paper colours are her absolute must-haves for lighter and darker skin tones.
In the video, we not only have great behind-the-scenes footage, but we also get to see the versatility of paper backdrops, and how they can be used to support many different looks depending on how you choose to light them and your subject.
Don’t miss the opportunity to grab your camera, your outdoor lighting kit and have unique on-location shoot!
broncolor has created a tailored promotion for photographers on the go who need enough power to achieve flawless photographs.
The Move 1200 L is broncolor’s powerful battery power pack and the first choice for professional photographers who want a reliable power pack with two individually controllable outlets.
Whether you decide to go for the Move pack alone or for a complete kit, you will get more creative flexibility and more value for your money!
Did you know that a Move power pack is only 6 kg, has two lamp connections and delivers full 1200 joules? The MobiLED head is the lightweight champion with only 1.7 kg and is entirely compatible with all broncolor light shapers.
2 independent outlets.
1200 joule output.
170 flashes at full power with a single battery charge.
Impressive speed: a flash can be as short as 1/8500 s (t 0.1).
Extremely light MobiLED head with 30 W LED modeling light.
DZOFilm Catta Zoom FF 18-35mm/35-80mm/70-135mm Lens Kit (Sony E)R175,495.00
DZOFilm Catta Zoom FF 18-35mm/70-135mm Lens Kit (Sony E)R135,695.00
DZOFilm Catta Zoom FF 18-35mm/35-80mm Lens Kit (Sony E)R135,695.00
DZOFilm Catta Ace 18-35mm/35-80mm/70-135mm Lens KitR198,395.00
DZOFilm Catta Ace 35-80mm/70-135mm Lens KitR121,195.00
DZOFilm Catta Ace 18-35mm/35-80mm Lens KitR166,195.00
DZOFilm VESPID 6 Lens KitR187,195.00
