Testing out the Sony A7iii in New York. Filmed with the SLR Magic 35mm/75mm with a SLR Magic Anamorphot-40 1.33x Anamorphic Adapter. Filmed in Hybrid Log Gamma.
- Super 35
- Dual Native ISO – Panasonic’s method to extract more information from the sensor without degrading the image
- Advanced Colorimetry
- Native EF Mount
- Electronic Image Stabilisation (EIS)
- IR Cut In/Out (Panasonic claims that “Unique photographic effects and night vision imagery are possible with this control over infrared”
- Integrated ND Filter Wheel (2/4/6 stops)
- 4K60p / 2K up to 240p
- 4:2:2 10-bit
- The camera can record in several formats and compression rates. A complete breakdown of recording formats will be available at the time of the EVA1’s release.
- Video Codec up to 400 Mbps
- V-log & V-gamut
- 4K outputs in both HDMI and SDI simultaneously
- SD Card Recording
- 5.7K Raw Output to third-party recorders via a future update.
- Dual native ISO
- XLR Audio Inputs
- HDMI & SDI 4K Video Outputs
- Removable handgrip (for easy mounting on drones, gimbal rigs or jib arms)
- Timecode in/out
- LCD sun shade included
- Compact form factor and lightweight – 1.2kg/42.3 oz. (body only)
- 6.69“ x 5.31“ x 5.23“ / 17cm x 13.5cm x 13.3cm (LxHxW)
The camera will cost $7,345 (body only) and will be available Fall 2017.
Dji announced the new and improved Dji Ronin 2. The Dji Ronin 2 looks
SmallHD announced the Focus this week at NAB. The Focus is SmallHD’s first 5 inch, touch-screen HD video monitor. Daylight view-ability (800 Nit Display = no Sunhood Necessary), touch-screen, and a mounting option coming in at only $500.
It is designed for use with smaller DSLRs and Mirrorless cameras (HDMI Only). This monitor also uses the same menu interface the 500 and 700 series monitors do which means you will be able to use all the same features like Peaking, LUTs, Waveform, Zebra, and much more.
The Monitor mounts to the top of your camera through the hot shoe with a 180° tilt mount. The mount also has an additional cold shoe mount located on the side of the arm as seen in the photo above so you can mount a microphone or even a small fill light. The compact size of this monitor makes it a great addition to a run and gun setup.
The hardest thing I found when using my SmallHD 502 monitor was the amount of LP-E6 batteries I needed to carry. But with the Focus you can travel even lighter than ever before. The Focus uses Sony L-series batteries that are more powerful and will last longer. You can even piggy back off the monitor’s power supply so you can power your camera (Dummy Battery Needed).
When the Focus begins shipping in early June 2017, we’ll be able to accurately stack it up against the Black Magic Video Assist which unlike the Focus actually has built in sdi.
Overall at this price range it is a great deal for someone looking to get a monitor for a smaller camera package like a Panasonic GH5 or even a Sony A7s II.
Zeiss announced a new line up of compact cinema glass this year at NAB, the CP.3 and CP.3 ΧD Lenses. Redefined with new technology and better ergonomics the new CP.3 series lenses consist of ten different focal lengths that range from 15mm all the way to 135mm. The new series covers all applications from wide-angle to telephoto.
The lenses also feature advanced lens coatings, painted lens rims, and special light traps within the lens barrel to reduce glare and flares you would get when using the CP.2s. These lenses also provide higher contrast, richer blacks, and more saturated colors.
Compared to the CP.2 series the CP.3 model is more compact and weigh less.
- Color matching and covering full frame across the full range of focal lengths from 15 to 135 mm
- Consistent T-stops simplifies lighting on set and exposure compensations (T2.9 for 15 to 21 mm and T2.1 for 25 to 135 mm)
- The compact and light-weight design is ideal for handheld, gimbal, drone and Steadicam applications
The Zeiss eXtended Data is a feature that gives the filmmaker even more creativity and choice. Via external LEMO interface the CP.3 lenses will give information about lens’ distortion, and shading characteristics in real-time to make your workflow even faster. Lens settings are digitally captured every frame avoiding the need to manually record every shot.
Overall Zeiss makes high quality optics and if you are in the market for beautiful cinema glass like these or close to the CP.3s then be sure to search the web for Zeiss CP.2s because I am sure a lot of filmmakers will be moving up to the new CP.3 series and the price might drop on the older models.