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New Lumix S1R and S1 full-frame mirrorless cameras

 

Panasonic has announced that it's developing two new full-frame mirrorless cameras, which will be released early in 2019. 

 

The new system, dubbed the Lumix S system, has been developed in partnership with Leica and Sigma, with the cameras featuring Leica’s L mount, which is already used on some of Leica’s existing bodies, such as the SL.

 

A prototype camera was shown at 2018 Photokina with two new Lumix models being introduced next year – the 47-megapixel Lumix S1R and the lower-resolution Lumix S1, which will have a 24-megapixel sensor.

 

The system is a departure from Panasonic’s 'G' series, which uses much smaller Four Thirds sensors, although the company is keen to emphasize that both lines will continue to be developed and will exist simultaneously; 2018 marks 10 years since the launch of the Lumix G1, the world’s first mirrorless camera, which is credited as kicking off the entire sector.

 

At launch, three new Lumix lenses will also be available: a 24-105mm, 70-200mm and a 50mm f/1.4 (aperture values for the two zoom lenses have yet to be confirmed). There are plans for more than 10 Lumix lenses to be developed by 2020, while existing Leica SL and TL lenses can also be used with the new cameras.

 

Broad system

 

As this is just a development announcement, official camera specifications are a little thin on the ground. However, Panasonic has confirmed that the new system will feature a completely new sensor, as well as a new Venus processing engine.

 

It also confirmed that there will be a dual image stabilizer, fast autofocusing and 4K video at 60p. The electronic viewfinder is claimed to be a higher resolution than those found in the Nikon Z7 or Canon EOS R (but the exact figure has not been stated), while the touchscreen will be tiltable on three axes.

 

Weather sealing, along with the ability to work in very cold environments, is promised, as well as a vast array of dials and buttons on the body to give quick and easy access to key settings for experienced photographers. The shutter is also said to be “extremely durable”. Like with the Nikon Z7 and the Z6, both bodies will be identical in terms of build and handling, with the key differences being internal.

 

Both cameras will have dual memory card slots – with Panasonic adopting the XQD format for the first time for one of those, while the other accepts SD format cards.

 

The higher-resolution Lumix S1R is aimed particularly towards professional stills photographers, while the lower-resolution S1 is targeted at video users.

 

Panasonic already enjoys high esteem with professional videographers, but recognizes that it needs to do some work to make it a credible stills alternative to more established brands.

 

As such, it's launching a new network for professional photographers, aptly named Lumix Pro. This will offer help and support to professional users in a tiered system, with the top tier allowing pros to access support no matter where they are in the world.

 

Pricing for the Lumix S1R and Lumix S1 to be announced soon.

 

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Hensel Certos Series

In early 2018, Hensel engineers decided to launch a project to fill the

void in the Amature to Advanced Amature high quality flash market.

They decided on a compact series of low power flashes, even the hard working

, busy pros could rely on. The Certos 200 & 400 light weight monoheads

were then born and after rigorous testing, just introduced.

 

The Certos line, based on the success of the Integra mini and the Integra pro

series, owes much of its ingenius design to its predecessors'

 decade long professional track record.

 

Nekova will be happy to have a sample customised set shipped out

to Cenral & East Asian retail outlets & educational centers

at the discounted promo price, directly sent from Hensel's Wurzburg plant.

 

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Fujifilm GFX

100mpx ......

Early 2019....!!

 

Soon after the Fuji GFX 50R, Fujifilm also announced that early next year, they will be releasing a 100-megapixel GFX camera. While details are short, there are numerous interesting things to discuss : 

 

Note that for the purposes of this preview, we will refer to the camera as the GFX 100, although the name may not be final.

 

Key Features :

 

102-megapixel medium-format mirrorless GFX camera

Integrated vertical grip

Phase-detect autofocus pixels across the entire image sensor

World's first in-body image stabilization system for a medium-format mirrorless camera

X-Processor 4 image processing engine

World's first 4K-equipped medium-format mirrorless camera

Camera Body

 

 

 

 

 

As of now, we don't have full details on a finalized design for the GFX 100, but we do know that it will include an integrated vertical grip. The GFX 50S offered an optional vertical grip, which added a space for a second battery and a full suite of controls when shooting in a vertical orientation. The GFX 100 opts for a grip built into the body, much like you see on DSLR cameras such as the Nikon D5 and Canon 1D X II. The camera has a size and weight similar to a high-end DSLR as well, despite the image sensor being 1.7 times larger.

 

 

 

While we don't have official dimensions yet, looking at the body images provided by Fujifilm it appears the GFX 100 is roughly 5% wider than the GFX 50S, but a little shorter than a 50S with a battery grip attached. Interestingly, the 50R is wider than both of them. Like the GFX 50S and 50R, the GFX 100 will be constructed using a magnesium alloy body, and it stands to reason that it will feature a similar or improved level of weather sealing.

 

Looking at the prototype on display at Photokina in Cologne, the GFX 100 shares some design elements with the GFX 50S, much more so than with the GFX 50R. It's interesting to note that the integrated vertical grip appears to be bare metal, or at least not covered in the grippy material like the primary camera grip.

 

 

 

 

The top of the camera is also a bit different than the GFX 50S. Where the GFX 50S has dedicated ISO and shutter speed dials, the GFX 100 prototype has only one top dial. The 100 also gets a larger status display and a couple extra buttons on top. Other than that, there are many similarities in terms of button placement and control layout. The GFX 100 does not have the same protrusion behind the rear display, however, which is a nice aspect of the new GFX 50R and definitely nice to see with the GFX 100.

 

We don't have specifications for size and weight nor do we know if there have been any changes to the electronic viewfinder, rear display or top display, but it's clear that the GFX 100 will look to capitalize on the usability strengths of the GFX 50S while employing a sleeker aesthetic, like the GFX 50R.

 

 

GFX 100 development video

Image Sensor, Image Stabilization and Video

 

The star of the GFX 100 concept is a new 102-megapixel medium-format image sensor. The sensor will continue to be 43.8 x 32.9mm, which as mentioned above is 1.7 times larger than a full-frame image sensor. Fujifilm has not yet stated what the expected dynamic range performance of the sensor is or what the ISO range will be. Further, the sensor has phase-detect autofocus pixels across the entire image surface, a world's first as of September 25, 2018.

 

The GFX 50S and GFX 50R instead utilize a contrast-detect autofocus system, which has proven to be a bit sluggish at times, and does not cover the entire frame -- although it does come impressively close to full coverage. We do not yet know how many PDAF points the GFX 100 will feature, but the GFX 50S and 50R offer 425 CDAF points.

 

 

In what is another first, the GFX 100 will also offer in-body image stabilization, making it the first medium-format digital camera with IBIS. The lack of in-body stabilization is notable on the 50-megapixel GFX cameras, but Fujifilm is quick to note that as you increase resolving power, image stabilization becomes even more critical. It will be curious to see how well the image stabilization functionality works as it would be quite the feat to be able to reliably shoot 102-megapixel images handheld.

 

 

 

There is yet another breakthrough to discuss with the GFX 100. The GFX 50S and 50R can record only Full HD video at up to 30p, which falls well behind modern standards for digital cameras. The GFX 100 will be able to record 10-bit 4K video at up to 30p, a first for a medium-format mirrorless camera. This new feat is thanks not only to the new image sensor, but also due to the new X-Processor 4 image processing engine, which was just introduced in the Fuji X-T3.

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FUJIFILM UNVEILS 102MP GFX100 WITH PHASE DETECTION PIXELS ACROSS WHOLE SENSOR

 

 

 

 

Fujifilm has announced a new flagship medium format concept camera, introducing the Fujifilm GFX100, the first mirrorless camera with an image sensor measuring 43.8mm x 32.9mm.

 

The Fujifilm GFX100 promises to be a camera that marks a number of firsts, as it becomes the first medium format mirrorless digital camera that has phase detection pixels across its entire sensor.

 

What’s more, the Fujifilm GFX100 will be the first medium format digital camera to offer in-body image stabilisation, which the company says allows for handheld capture without fear of camera shake.

 

The new Fujifilm medium format concept camera will also support 10-bit 4K video recording at 30p.

 

The Fujifilm GFX100 camera’s 102-megapixel sensor has been specifically developed for this camera and also employs Fujifilm’s X-Processor 4 processing engine.

 

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 Z6 & Z7

Specs

  Nikon Z7                                                               Nikon Z6
  • 45.7 MP
  • 493 AF Points
  • 9 FPS
  • Touch Screen LCD
  • 5-axis Stabilisation
  • Hybrid PDAF
  • 4K UHD 30p, FHD 120P
  • N-Log colour profile
  • 4:2:2 10-bit HDMI output
  • Weather Sealed
  • Wi-Fi
  • Bluetooth
  • XQD
  • 24 MP
  • 273 AF Points
  • 11 FPS
  • Touch Screen LCD
  • 5-axis Stabilisation
  • Hybrid PDAF
  • 4K UHD 30p, FHD 120P
  • N-Log colour profile
  • 4:2:2 10-bit HDMI output
  • Weather Sealed
  • Wi-Fi
  • Bluetooth
  • XQD

 

 

 

 

 

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سونی از نخستین دوربین سینمایی فول فریم ۶ک خود پرده برداشت

حس‌گر فول فریم، وضوح ۶۰۴۸ در ۴۰۳۲ پیکسل و ساختار ماجولار، ونیز را به گل سرسبد دوربین‌های سینمایی سونی تبدیل کرده است

 

سونی همان‌گونه که حدود سه ماه پیش وعده داده بود، از نخستین دوربین سینمایی فول فریم خود رونمایی کرد. محصول مذکور، Venice نام دارد و اولین دوربین فیلم‌برداری این شرکت از سری سینه‌آلتا است که در دل آن، حس‌گر فول فریم ۳۶ در ۲۴ میلی‌متری خانه کرده است. حس‌گر بزرگ «ونیز» تصاویر را هم با وضوح ۴۰۹۶ در ۳۰۲۴ و هم ۴۰۹۶ در ۲۱۶۰ پیکسل ثبت می‌کند، اما با به‌روزرسانی نرم‌افزار داخلی دوربین در آینده، وضوح تصاویر تا ۶۰۴۸ در ۴۰۳۲ پیکسل (۶K) نیز قابل افزایش است.

ونیز نخستین دوربینی است که از فیلتر هشت مرحله‌ای کاهنده نور (ND) بهره می‌برد. ساختار آن نیز ماجولار است و به همین سبب مشتریان سونی می‌توانند بسته به نیازهای خود، پیکربندی دل‌خواه و متفاوتی از این دوربین را سفارش دهند. سونی دوربین خود را به کانکتور LEMO مجهز کرده است تا کاربر بتواند طیف گسترده‌ای از تجهیزات جانبی را به آن متصل کند.

اگرچه دوربین‌های سینمایی حرفه‌ای ماهیتا دستگاه‌های پیچیده‌ای هستند، طراحان سونی کوشیده‌اند محصول خود را طوری طراحی کنند که کار با آن تا جای ممکن آسان باشد.

 

حس‌گر فول فریم دوربین سینمایی ونیز

برخورداری از منظره‌یاب OLED، پشتیبانی از فرمت‌ها و نسبت‌های تصویری متعدد، دامنه دینامیک ۱۵ استاپی، سامانه جدید مدیریت رنگ، و سازوکارهای تسهیل‌کننده فرآیند پساتولید، از دیگر ویژگی‌های بارز دوربین ۶K سونی به شمار می‌رود.

ونیز با طیف گسترده‌ای از لنزها اعم از آنامورفیک، سوپر ۳۵ میلی‌متری، کروی، و همچنین گیره لنزهای فول فریم سری PL و سری E نیز (که کوچک‌تر، سبک‌تر و وایدتر هستند) پشتیبانی می‌کند.

انتظار می‌رود نخستین پیکربندی از دوربین جدید سونی فوریه ۲۰۱۸ وارد بازار شود، اما قیمت آن هنوز اعلام نشده است.

 

 

The Venice-6K; with

Sony's New Full-Frame Sensor &

A Wide-Range of Lens Options

 

VENICEVENICE comes with a newly developed 36x24mm Full Frame sensor to meet the ever-growing sensor size camera market. What’s great about this sensor though is its flexibility. The 36x24mm Full Frame is just one way, or size the sensor can shoot. The new Full Frame sensor offers several different frames recording sizes with user-selectable areas: Full-frame full-width 36mm at 6K (a future firmware upgrade), Super35 full height 2.0x squeeze Anamorphic, Super35 mm 4- perf, and Super35 17:9 and 16: 9. This gives the VENICE a huge advantage on compatibility with a wide range of lenses, including Anamorphic, Super 35mm, Spherical and Full Frame PL mount lenses for a greater range of expressive freedom. The lens mount can also be changed to support E-mount lenses for shooting situations that require smaller, lighter, and wider lenses. Fast image scan technology minimizes “Jello” effects.

 

 

Intuitive Design & Refined Functionality 

VENICE has a fully modular and intuitive design with refined functionality to support simple and efficient on-location operation. It is the film industry’s first camera with a built-in 8-stage glass ND filter system, making the shooting process efficient and streamlining camera setup.  The camera is designed for easy operation with an intuitive control panel placed on the Assistant and Operator sides of the camera. A 24 V power supply input/output and LEMO connector allow the use of many standard camera accessories, designed for use in harsh environments.

8 Step ND Filter System

The VENICE has two servo-controlled, mechanized optical ND filter wheels to reduce exposure up to 8 stops. The neutral density goes from clear to ND 0.3 to ND2.4. The ND filter options are ND.3, ND.6, ND.9, ND1.2, ND1.5, ND1.8, ND2.1, ND2.4. Also, this 8 Step ND filter system will be able to be controlled wirelessly. If you’re lucky enough to have the VENICE on a crane, jib, or a drone you will be able to change the ND without having direct access to the camera. This is a pretty big plus for those edge of the day shoots where a DOP might be swapping out ND to keep up with the ever-changing light.

 

 

VENICE Recording

The VENICE supports in-camera XAVC or ProRes HD recording onto SxS cards. If a cinematographer decides to attach an AXS-R7 recorder with 4 screws then the recording options become more desirable. The bolt on AXS-R7 recorder will allow a director of photography to record 16-bit linear RAW in 4K or the AXS-R7 recorder will allow a shooter to record X-OCN 6K 16-bit with significantly smaller file sizes onto AXS cards.

 

 

 

Dual Recording

The VENICE can also record two video streams at once onto two different media formats. The AXS-R7 digital recorder can be set to record the Raw or X-OCN as XAVC or ProRes proxies are recorded onto internal SxS cards. In a future firmware update, the VENICE will record raw or X-OCN onto the AXS-R7 while the VENICE also records 4K XAVC internally as its proxy setting. What if a shooter does not have the AXS-R7 handy? Well, there is an option to record both XAVC 4K and ProRes 422 Proxy onto an SxS card at the same time.

 

 

Future Proofing

The VENICE also has the option to replace the Sensor Block when new and improved Sony sensors become available. While this technology in digital cinema cameras is not new it is new to a Sony Camera. Sony also takes the idea a little bit further.  The VENICE Sensor Block is a user-changeable Sensor Block that can be changed out in the field without a need for a clean room. Cinematographers can forget about sending their camera back to the manufacturer for costly upgrades. The key to the field changeable sensor is because Sony has made the whole front of the camera removable. Only four hex screws hold the Sensor Block and its necessary components onto the camera body.

 

 

 

License Options 

With VENICE, Sony is giving users the option to customize their camera by enabling the features needed, matched to their individual production requirements.  Optional licenses will be available in permanent, monthly and weekly durations to expand the camera’s capabilities with new features including 4K anamorphic and Full Frame, each sold separately. 

 

 

 

 

 

 

Lens Mount

At the time of the announcement, the VENICE has two lens mount options: a PL option and a locking E-Mount option. Interestingly enough, the PL mount sits on top of the locking E-Mount meaning just about any mount, or adapter can sit on top of the locking E-Mount. This means the VENICE works with existing PL Lenses, will accept Panavision mounts and will likely accept almost any mount that comes in Super35, Full-frame, or large formats. The PL mount is attached directly to the existing E-Mount by six screws on the front. How does this all work? The flange depth for an E-mount is a measly 18mm whereas the flange depth for a PL mount is 58mm. The PL mount comes with industry-standard lens metadata contacts for Cooke/i at 12 o’clock.

VENICE Dual-Base ISO

Originally Sony announced the VENICE with a base ISO of 500.  For the cinematographer, this might have been a nice request but for indie shooters or documentary shooters, the base ISO of 500 was a little too low for their needs. Thankfully, Sony listened to and has now added a dual ISO function to the Sony VENICE. Now, the camera has 500 and 2500 has base ISO options. At NAB 2018, I had a chance to look at the ISO sensitivity with the camera and I think it is not much to be worried about. At 500 and 2500 the image was beautiful and clean. At 8000 ISO there was noise in the blacks which I think can be cleaned out with noise reduction like the one found in DaVinci Resolve.

Sony’s VENICE

  • Full Frame Sensor 24×36 mm
  • 6K Full Frame 6048 x 4032 maximum resolution
  • 4K Super35 window
  • Widescreen spherical 2.39:1 or Large Format ‘Scope
  • Super35 full height 2.0x squeeze Anamorphic
  • 8-Step, 8-Stop Internal NDs
  • PL and Ruggedized E-mount
  • Spherical FF & S35
  • Anamorphic FF & S35
  • 15+ Stops of Exposure Latitude
  • Retains highlights and color detail 6 stops overexposed and 9 stops into the shadows

 

 

 

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Canon Goes Full Frame: Canon EOS C700 FF 5.9K 

The Canon EOS C700 FF was just announced. Now Canon also goes full frame with this new flagship camera that sits at the top of the powerful Cinema EOS range. It uses a next generation full frame 38.1 x 20.1mm CMOS sensor which, according to Canon, can record 5.9K with up to 15-stops of dynamic range.

Three sensor modes

One main difference and advantage of this new C700 model is that the EOS C700 FF has a brand new, cutting edge, high-resolution full frame sensor (38.1 x 20.1mm) with three sensor modes – full frame, Super 35mm (crop) and Super 16mm (crop) – to offer high quality and versatility while shooting, which makes this camera suitable for large range of productions and operators (DPs, freelancers and broadcasters). 

Canon C700 FF – Canon goes Full Frame with their new flagship camera.

5.9K RAW footage at 60 fps

The EOS C700 FF can capture 5.9K RAW footage at 60 fps, 4K (crop) at 72fps and at high speed, up to 168fps (2K crop), and records 5.9K RAW files, or 4K ProRes files, with an optional CODEX CDX-36150 recorder. Furthermore, there are options to record 4K internally to ProRes or XF-AVC formats to dual CFast 2.0 cards. These multiple recording formats allow for a very diverse workflow with this camera, and it makes it a very flexible tool. 

Canon is a bit vague about whether there will be different versions of the camera with PL and EF mounts. It will probably be interchangeable, but only through a service center, like it is already the case with the original C700

Dual Pixel AF technology

The Canon EOS C700 FF uses the really superior Dual Pixel AF technology – which is probably the best video autofocus in the industry.

Canon EOS C700 Full Frame Cinema Camera (Cinema Locking EF-Mount)

Canon EOS C700 FF Key features

  • 5.9K full frame CMOS sensor
  • 15-stops dynamic range
  • Canon picture science
  • Broad range of lens options
  • Various sensor modes including full frame, Super 35mm and Super 16mm
  • Accurate and reliable Dual Pixel CMOS AF system with Canon EF mount
  • Supports multiple recording formats including Canon Cinema RAW, ProRes and XF-AVC
  • Built-in ND filters, IP streaming capability and optional accessories for camera control for flexible camera operation.

 

The price of the C700 FF will be ~28,000€.

Available in August 2018.  

 

Canon CN-E 20mm T1.5 L F Cinema Prime Lens

In addition, Canon has just announced a new fast 20mm Cinema Prime T1.5 lens. It fits right into their existing line-up.

  • Covers Full Frame and Super 35 sensors
  • 11-blade iris
  • Focus breathing minimized to virtually zero
  • Markings on both sides of the barrel
  • Rear markings on an angled surface
  • Smooth, stepless 300° focus ring
  • Geared manual iris ring
  • Shares 114mm front barrel diameter, focus rotation, 36° iris rotation, and focus and iris gear positions with the rest of the CN-E line-up
  • Glass construction counteracts temperature induced marking discrepancies
  • Dust and water-resistant housing
  • Focus markings can be switched to metric labeling if you send the lens to Canon for modification

 

 

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The New Canon Full-Frame C700

 

 

See The Impossible ....!!

 

 

 

Canon has just unveiled the latest addition to its Cinema EOS line: the C700 FF camera, with a full-frame CMOS sensor for higher-resolution rates, and shallower depths of field than those offered by Super 35-sized cameras. The EOS C700 FF is available in a locking Canon EF-mount version, featuring Dual Pixel CMOS AF (DAF) technology, and in a PL-mount version, for compatibility with a wide variety of pro cine lenses. Another announced addition to Canon’s cinema family is the full-frame, EF-mount CN-E20mm T1.5 L F Cinema Prime lens that provides an ultra-wide option between the existing 14mm and 24mm in the L F series.

 

ProRes and XF-AVC Internal Recording

Like the C700, the versatile EOS C700 FF can record internally at capture rates up to 4K in ProRes and XF-AVC, with the option of recording 5.9K RAW up to 60 fps using the optional CDX-36150 Codex Recorder. A wide selection of 2K/UHD/HD recording rates includes a 168 fps option in 2K RAW/Super 16mm cropped mode.

 

 

With its 20.8MP Full Frame CMOS sensor, and triple DIGIC DV 5 image-processing, the EOS C700 FF produces an effective pixel rate of up to 18.69MP. Oversampling 5.9K in the 4K/UHD mode can be used for an improved 4K image with reduced moiré, and minimized grain. For creative image control, the EOS C700 FF supports both Canon Log 2 and Log 3 gamma curves.

 

Key Features

Additional camera features include anamorphic and B4 (with optional adapter) lens compatibility, a dynamic range of 15 stops, IP streaming, and support for multiple LUT formats. Five internal ND filter settings provide options for quickly adjusting your exposure.

 

Form Factor

The EOS C700 FF features a rugged magnesium body with rounded edges for comfortable handling. Its modular design enables you to attach the Codex recorder, the EVF-V70 OLED viewfinder, and other components only when needed, suiting the camera to tripod-based, handheld, gimbal, or stabilizer use.

 

Cinema Prime CN-E20mm T1.5

The lightweight, full-frame, EF-mount CN-E20mm T1.5 shares the same form factors as most of the other Canon L F Cinema Primes, including placement of focus and iris gears, diameter, and length. Marks can be switched between feet and meters, and are placed on both sides of the barrel for easy viewing of focus and iris settings. Additional features include an 11-blade aperture for smooth bokeh, extensive barrel rotation of 300˚ for precise focus pulls.

 

 

 

 

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