First NDIamcorder released by Panasonic, RedShark Review

From Newtek.com

Panasonic has just released the AG-CX350, a new UHD/HD camera which is the very first camcorder to include support for encoding 1080p to NewTek’s NDI® bidirectional IP technology for transport of video, audio and data over standard networks. This new camcorder specifically uses the NDI/HX option, which engages additional compression to stay within bandwidth limitations on busier networks or over wireless connections and supports long-distance transmission. For More info Click Here.

Panasonic AG-CX350

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Sony Xperia 1: a 21:9 smartphone with CineAlta technology inside

Sony Xperia 1: a smartphone with CinemaAlta technology inside

World’s first OLED smartphone with 21:9 CinemaWide display and HDR remastering technologies and Dolby Atmos sound, the Xperia 1 was designed with input from the professionals at Sony’s CineAlta brand.

Smartphones with many cameras – or should I write more lenses? – seem to be the norm these days, so when Sony announced the Xperia 1 with “only” three cameras or lenses, no one paid much attention. Even when Sony announced the Xperia 1 as “world’s first Eye AF in a smartphone  with triple lens camera and up to 10 fps burst shooting with AF/AE tracking for precision focus and exposure” no one seemed much impressed, despite the fact that the three lenses associated with 12MP sensor cover the focal lenghts most expect to use with a smartphone: 16mm for wide landscapes, a versatile 26mm lens and a 52mm lens telephoto shooting (35mm equivalent).

More than the number of lenses, though, is what is behind them that makes the Xperia 1, according to the company,  a path to redefine Sony’s vision, offering users a flagship smartphone for “creative entertainment experiences with unprecedented professional-grade technologies”.  The world’s first 4K OLED smartphone  with 21:9 CinemaWide display (6.5”) and HDR remastering technologies is there for one reason: Sony wants this smartphone to take motion picture to the next level.

Sony Xperia 1: a smartphone with CinemaAlta technology inside

Cinema ratio display and BRAVIA technology

The 21:9 CinemaWide 4K HDR OLED display allows users to enjoy movies in their original format in the palm of their hands. Not only you get a cinema aspect ratio, the smartphone also delivers, says Sony, accurate colour reproduction that films are created in, for a viewing experience that’s true to what creators envisioned.

“We have established a new vision for our Xperia brand to bring our customers experiences beyond imagination,” said Mitsuya Kishida, President, Sony Mobile Communications. “We are continuing to push the boundaries in pursuit of innovation and our new Xperia delivers genuine technologies with a multitude of professional-grade features for creative entertainment experiences that are only possible with Sony.”

Pushing boundaries means using technology from the award-winning BRAVIA TVs on the display of the Xperia 1. The X1 for mobile engine brings HDR (High Dynamic Range) remastering technologies ensuring everything you watch, including streamed content, can be enjoyed with more contrast, colour and clarity.

Sony Xperia 1: a smartphone with CinemaAlta technology inside

Natural colours and Dolby Atmos

It does not stop there, as, claims Sony, “Xperia 1 has 10 bit tonal gradation representing a myriad of colours. Xperia 1 delivers deeper levels of black, while colours appear more natural. Inspired by Master Monitor colour reproduction from Sony’s professional technology, used in leading Hollywood studio productions, now you can experience unprecedent colour accuracy with our new Creator mode to bring content to life exactly as it was envisioned. The display, together with originally developed image processing, supports wide colour space ITU-R BT.2020 as well as DCI-P3 with Illuminant D65.”

Aware that sound is a key element for movies, Sony included multi-dimensional Dolby Atmos sound, for the ultimate vieweing experience, able to transport you into the story with moving audio that flows above and around you with breath-taking realism. The sound tuning on Xperia 1 is developed in collaboration with Sony Pictures Entertainment to ensure the mobile experience is as their creators intended.

Sony Xperia 1: a smartphone with CinemaAlta technology inside

World’s first Eye AF in a smartphone

Picture taking and movie shooting are both designed to offer better ways to tell stories. The triple lens camera contributes to that, but the use of technologies from the Alpha family of interchangeable lens camera are present through the BIONZ X for mobile.

The algorithm enables, claims Sony, “the world’s first Eye AF (Auto Focus) in a smartphone to bring the sharp focus exactly to the level of eyes and also delivers continuous burst shooting with up to 10 fps AF/AE tracking (Auto Focus and Auto Exposure) to give you precision focus and optimal exposure. Capture better low light images with the bright F1.6 lens and large pixel pitch 1.4m Dual Photo Diode image sensor ensuring even moving subjects are blur-free, while RAW noise reduction delivers beautifully clear images.”

Sony Xperia 1: a smartphone with CinemaAlta technology inside

Shoot 4K HDR at 24 fps in 21:9 format

Cinema recording is also taken to a new level, through the the collaboration with the engineers of Sony’s professional digital cinema camera division known for its CineAlta brand, famous for its Full Frame digital cinematography camera “VENICE”. You can shoot with natural cinematic tone and further apply expression-based colour management pre-sets with Sony’s new Cinema Pro feature present in the Xperia 1. Users are able to create the intended mood from total of eight different expressions to turn  clips into cinematic stories.

All of this can be shot in 4K HDR at 24 frames per second in 21:9 format… with a smartphone. Only Sony can bring this industry-leading professional technology to Xperia 1, enabling you to capture your everyday life in cinematic style with Cinema Pro. Xperia 1 also lets you grab 21:9 still image off the live view or recorded clips, even with or without the “Look” colour management pre-sets. And the unique hybrid stabilisation system running Optical SteadyShot with a unique algorithm to ensure smooth and shake-free recording.

Sony Xperia 1: a smartphone with CinemaAlta technology inside

21:9 display allows multi-window function

With the 21:9 ratio display it is possible to enjoy a new style of productivity with two apps simultaneously on one display, using the multi-window function thyat can be actived by voice. Powered by the latest Qualcomm Snapdragon 855 Mobile Platform, the Xperia 1 offers up to 25% faster CPU and up to 40% GPU performance versus the previous generation, and Snapdragon Elite Gaming, for handling processor-intensive apps and games with ease. The high capacity 3330 mAh battery, combined with Smart Stamina, Battery Care  and Xperia Adaptive Charging, help to keep you powered throughout the day.

The Sony Xperia 1 ships with Android 9 Pie and will be available in select markets from late Spring 2019.

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https://www.provideocoalition.com/sony-xperia-1-a-219-smartphone-with-cineaalta-technology-inside/

Lens Adapters ֠Speedboosters ֠M43 Cameras ֠BMPCC4K

GH5 or BMPCC4K are great and affordable cameras with amazing features. The only drawback is their small M43 image sensor that makes getting shallow DOF and wide angle shots more difficult. That can be easily fixed by using a speedbooster, focal reducing, lens adapter.

Here are my thoughts on the different lens adapters I tested

Lens Adapters I used were:
Metabones T Speed Booster XL 0.64x Adapter https://bhpho.to/2Ceh5j0

Metabones T Speed Booster Ultra 0.71x Adapter https://bhpho.to/2Ft8A7P

Original Metabones Speed Booster 0.71x Adapter
(no longer available)

Lenses I used were:
Rokinon 50mm T1.5 Cine DS Lens https://bhpho.to/2Izdwdx

Sigma 18-35mm f/1.8 Art Lens https://bhpho.to/2TlbGBn

Rokinon 14mm f/2.8 UMC Lens https://bhpho.to/2T7m1kf

Here are just the different tests I did using the lens adapters

———————————————————————————————-
DISCLAIMERS:
Some of my links have an affiliate code, allowing me to make a small commission at no additional cost to you. Thanks!

The opinions expressed in this video were not influenced by or paid for by any outside individual or company. I use and test lots of products that are sent to me or that I buy myself. In the end, I only talk about the products that I find interesting.

https://tomantosfilms.com/18793/lens-adapters-speedboosters-m43-cameras-bmpcc4k/

Samyang 14mm F2.8 and 85mm F1.4: two Canon RF lenses with manual focus

Samyang has two Canon RF lenses with manual focus

As part of Samyang’s Spring Collection, the company introduced its first lenses for the new Canon mirrorless camera. The MF 14mm F2.8 RF and MF 85mm F1.4 RF are… manual focus lenses.

Samyang has a huge collection of manual lenses for different cameras, but the company has also launched some autofocus lenses, so when the first rumors about RF lenses from Samyang appeared, the question was: manual or AF? Well, the first Canon RF lenses from Samyang have manual focus, which for some will be a reason to skip them.

This decision from users goes against Samyang’s expectations, as the company declared, announcing the lenses, that it was quick responding to customer demand as, says the company, “there are currently no Canon EOS R EOS RP camera lenses from brands other than Canon itself”. While the move, adds the company, “also proves the competitiveness of Samyang as a leading optical manufacturer”, it may not be exactly what the market wants, as manual focus lenses will not explore completely the new cameras from Canon, in terms of focus speed.

Samyang has two Canon RF lenses with manual focus

The Spring Collection campaign

Still, and for those that like the Samyang brand and don’t mind to use manual focus, the two lenses represent an interesting coverage for anything from landscape to portrait. These lenses were suggested when the company announced its Spring Collection campaign. Samyang said, then, that “taking into consideration the rapid growth of the mirrorless camera market, which offers excellent portability high-resolution, the Samyang ‘Spring Collection’ will introduce new auto focus lenses, greatly enhancing Samyang’s position in the industry”.

At the time Samyang also said that “following their first AF launch in 2016, this campaign will also introduce new lenses with high optical performance new camera mounts”.  The first lens introduced as part of the campaign was the XP 10mm F3.5  for Canon full-frame DSLR camera, with a version for Nikon F promised to arrive later in 2019.

Samyang has two Canon RF lenses with manual focus

A wide-angle for astrophotography

The pair for the Canon R mount is the second announcement for this campaign, which will introduce eight new lenses. The Samyang MF 14mm F2.8 RF now announced is an ultra-wide-angle, manual-focus lens with, says the company, excellent sharpness, even at its maximum aperture. The optical design, with 14 elements in 10 groups, includes ASP, H-ASP, ED and HR lenses to adjust the course of light and deliver clean yet lively images to the sensor. Flare and ghost effects are well-controlled by Samyang ultra-multi-coating technology.

The 115.7 wide angle of view of Samyang’s first lenses for the Canon RF mount, makes this lens ideal for wide landscapes, interiors and astrophotography. The built-in petal-shaped lens hood effectively blocks unnecessary stray light and maximizes image quality.

Samyang has two Canon RF lenses with manual focus

A portrait lens for Canon R

The MF 85mm F1.4 RF is a classic focal length for portrait. This design includes a total of 9 elements in 7 groups and Samyang says that “a H-ASP lens minimizes various aberrations and maximizes the image quality and contrast from corner to corner even when using a wide aperture”. The company says that “this lens is recognized as the optimal lens for beautiful bookeh with exceptional performance at wide open apertures”, another sign of how important bookeh seems to be as a Samyang has two Canon RF lenses with manual focusmarketing buzzword in 2019, as I’ve written previously. With the round-shaped aperture with 8 curved blades, the MF 85mm F1.4 RF creates a soft mood in your photographs with beautiful bokeh, especially in shots of portrait and city lights where the background is out of focus, adds Samyang.

Weather sealing for protection from light rain and snow are characteristics of the MF 85mm F1.4 RF, also present in the MF 14mm F2.8 RF. The first two RF lenses from Samyang will be displayed at CP+ 2019, in Japan, until March 3rd, and will the company will also present them at other international events. The MF 14mm F2.8 RF & MF 85mm F1.4 RF will be available soon on the market, says the company.

The post Samyang 14mm F2.8 and 85mm F1.4: two Canon RF lenses with manual focus appeared first on ProVideo Coalition.

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3 affordable wide-angle lenses

Wide-angle lenses are great for a lot of reasons but they can also be quite expensive especially if you want one that can shoot wide-open. Here are our three favorite wide-angles that we consider to be affordable and we have been using for a while.

Samyang 12mm F/2

Samyang Rokinon 12mm F2
The cheapest on our list: Samyang 12mm F/2

Recommended for: Gimbal walking shots,
landscape and low light

Price: $269.00

A classic
and probably the cheapest good wide-angle lens out there is one of our
favorites. The Samyang 12mm. It’s lightweight and small, has a plasticky
feeling but can capture sharp photos and videos.  And the best thing: It has an aperture of
F/2. Even though it’s not very sharp at F/2 it’s great to have that extra light
and shallow depth of field especially when recording video. The sharpest
performance is between F/5.6 and F/8 with the least amount of vignetting. Light
sources and lens flares have a star shape so that is something to keep in mind
when using this lens.

Because it’s a manual lens it lacks auto focus and has an aperture ring so it’s best to turn on focus peaking to make sure what you want to be in focus is actually sharp.

Venus Laowa 9mm F/2.8

Venus Laowa 9mm F2.8
New and tiny: Venus Laowa 9mm F/2.8

Recommended for: Gimbal walking shots,
landscape and architecture

Price: $499.00

The
newest lens on our list is the Venus Laowa 9mm F/2.8 which is not only super
tiny but built like a tank and actually quite heavy considering the size. The
image quality, colors and contrast from this lens are great and the Zero
Distortion claim also seems to be true. There’s still a high amount of
vignetting until F/5.6 but everything above is sharp and clear. It has a very
unique lens flare that filmmakers either going to hate or love.

Compared
to the Samyang 12mm this has a much wider field of view even though the
difference of 3mm doesn’t sound like much.

Even though the small size has a lot of advantages especially when it comes to travelling it can be tricky to change focus and aperture because it’s just so tiny.

Tokina 11-16mm F/2.8

Tokina 11 16mm F2.8
Old but still powerful: Tokina 11-16mm F/2.8

Recommended for: Documentary and timelapse

Price: $399.00

The last
lens on our list is a very old one. The Tokina 11-16mm. We have used this lens for
8 years now and it was one of the first affordable electronic lenses for crop
sensor DSLRs with a constant aperture of F/2.8 which was also the reason we got
it back then.

We
originally got it for our Canon 7D which we used it on for almost five years on
a daily basis. We didn’t only use it on documentary shoots but also commercial
work and timelapse photography. These days we still use it for example on
Cinema cameras or with adapters on other DSLRs and video cameras. Even though
this lens is not a full-frame lens it can be used on a full-frame camera
without vignetting when zooming in to 16mm.

The clear advantage the Tokina has over the other two lenses is the auto focus which works well for photos but is not quite up to date for shooting video. And of course, the zoom: Not being stuck with only one focal length is another big advantage especially in filmmaking.

3 Wide Angles 02
All three: Tokina 11-16mm, Samyang/Rokinon 12mm, Laowa 9mm

Depending on which camera system and lens mount you are using one of these optics will certainly be a good choice especially if you don’t want to spend too much money on a wide-angle.

Written by filmmaker Moritz Janisch, March 5, 2019

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Review: Fujifilm X-T3 for filmmaking

The Fujifilm X-T3 is a very capable stills camera but how good does it perform when it comes to capturing video? Watch our Vvdeo review below to find out!

The Fujifilm camera that got filmmaker’s attention first was the X-T2. It wasn’t really made for video recording but because of the detailed image and colors became popular among video creators. The X-T2 finally got on everyone’s radar when a big firmware update enabled the camera to shoot log internally as well as 120 frames per second in HD.

Two
years after the X-T2 was launched its successor clearly shows that Fujifilm is
focusing more and more on video features. The X-T3 can shoot 4K 60p at up to
400Mbps when recording in H.265. Even though this is not the fastest codec to
work with when it comes to editing it’s definitely worth it when color
correcting and grading the footage. Grading is also a lot easier because the H.265
footage is 10-bit with 4:2:0 subsampling. When using an external recorder like
the Atomos Ninja 5 it can even output 4:2:2 to really get the best out of the
image.

Fujifilm Xt3 Fujinon 56mm 1.2
The compact body is an advantage if the lenses are not too big.

Fuji’s flat picture profile F-Log is certainly a good choice for grading but the new HLG profile is a much needed extension because it doesn’t require a heavy grade which means you will spend less time in post adjusting and tweaking colors and contrast. The advantage of this HDR picture profile is that the footage looks more saturated and less flat even though it has a high dynamic range. This is especially useful for productions that need to be edited and finished quickly without the need for a professional color correction.

A
feature Fuji is constantly improving is auto focus. The continuous auto focus
works very well most of the time just like the face tracking which can be
useful for interview shoots or when vlogging.

Besides being able to record 120 frames per second in Full HD for a nice slow motion effect the camera can also do the opposite and record timelapses with the shortest interval of 1 second. A timelapse can be saved as JPEG or raw files with a resolution of up to 6K. But just like with other Fuji cameras there is no video preview or video file to display how the timelapse sequence looks like.

Fujifilm Xt3 Rode Videomic 01
The X-T3 with the RODE Videomic Pro

The
camera almost has it all. But one big feature is missing. IBIS. This certainly
isn’t a big deal when shooting with XF zoom lenses that have built-in image
stabilization or when using a tripod but filming hand-held with prime lenses is
pretty much impossible because the footage will be too shaky.

The X-T3
has a headphone jack and a 3.5mm microphone input as well as all the necessary
features to monitor the video on screen. The electronic viewfinder is bright
and detailed and overall quite useful especially when shooting outdoors on a
sunny day but also to add stabilization when filming hand-held. The ergonomics
are almost identical to the X-T2’s which is good if you are familiar with the
camera but rather unusual for everyone who hasn’t used Fuji cameras before. The
grip is small which can be an issue for people with big hands even if the
battery grip is attached.

Fujifilm Xt3 Video Menu
Video menu

The
battery life is okay but could definitely be better. During our testing I often
used the battery grip which meant the camera had access to three batteries in
total so I didn’t have to worry about running out of power so it always makes
sense to go out with a few batteries.

So
overall there isn’t too much to talk or complain about because the camera does a
lot of things right. Just like most mirrorless cameras the X-T3 has a recording
limit of 30 minutes in one take which isn’t a huge issue unless you’re shooting
long interviews.

The main
issue this camera really has, when it comes to video features, is the lack of
in body image stabilization, which I know is not important to all users but can
be if you’re currently using a camera that has it or if you want to use prime
lenses that don’t have stabilization. If IBIS is really important for your
style of filmmaking then I would recommend to take a look at the X-H1 which is
also a good tool for filmmaking but lacks 4K 60p and can’t record video with
10-bit.

The Fujifilm X-T3 is a great camera that deserves all the attention and is pretty much unbeatable for the price. This is not just a good tool for photography but can definitely be used for professional video productions as well.

Written by filmmaker Moritz Janisch, February 27, 2019

The post Review: Fujifilm X-T3 for filmmaking appeared first on Fenchel & Janisch.

https://www.fenchel-janisch.com/review-fujifilm-x-t3-for-filmmaking/