Atomos Develops a New 8K Camera Sensor
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.
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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.
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”.
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
