SLR Magic expands the micro four thirds lens lineup with the new SLR Magic HyperPrime CINE 10mm T2.1 wide angle lens. With this latest addition, the portfolio of lenses for the micro four thirds system is now comprised of thirteen focal lengths. The product will be officially introduced during upcoming Photokina 2014 fair in Cologne.

The field of view of this new HyperPrime Lens corresponds to a 20mm lens in 35mm format and this fast wide angle of view opens up many new creative composition opportunities, particularly in the fields of interior, architectural and landscape cinematography and photography. Additionally, a fast max aperture of T2.1 makes the SLR Magic HyperPrime CINE 10mm T2.1 ideal for available-light photography.

We place our highest priority in the development on our lenses to fulfill the demands of professional cinematographers and photographers. The design and build of the SLR Magic HyperPrime CINE 10mm T2.1 is solid and reliable.

The SLR Magic HyperPrime CINE 10mm T2.1 (MSRP: $799 US) will be available from authorized SLR Magic dealers starting end of October 2014.

The SLR Magic HyperPrime CINE 10mm T2.1 will be first presented at Photokina 2014 fair. The SLR Magic stand would be in (No. L-011, Hall 5.1) during the fairs which are to be held in Cologne from 16th to 21st of September 2014. For all those who want to visit Photokina 2014 fairs.

Yesterday I had the opportunity of using for 30mn the Leica Noctilux 50mm f/0.95. I went to shot some video in the funfair of Bordeaux. I did not have ND variable filter (Leica is 60mm filter thread), so I had to use fast shutter speed, so sorry for the jitter effect... I try to do my best in this short time with this 8000€ lens. Today I went to the same place at the same hour with my SLR Hyperprime 50mm T0.95 lens, and I did the same shot, in the same condition (short time and no ND filter). This movie is a quick test where you can see in a alternate editing the difference between these two lens, wide opened at 0.95. This was not shot the same day so the light is a little different, but the weather was quite the same (cloudy with sun sometime).

All is shot at full aperture, 0.95

My opinion ? mmmm the Noctilux is an extraordinary lens, good rendering at f/0.95, smooth aperture ring. This lens is a little smaller and lighter than the SLR Magic lens. It's in M mount (Leica). The problem : the Noctilux is too expensive for me, 8000€ (10600$) !!! Please note that the SLR Magic I've used here is a prototype lens. It's be available in september in M mount, it's price is not fixed yet, but it will be around 2300€ (3000$), 3.5X less cheaper than the Leica.

The music mix is an homage to a movie director and one of his movie. The first who will find the name of the director and the title of the movie will win the two lenses... (I'm joking ;) ).

GH2 24P no hack Leica Noctilux 50mm f/0.95 SLR Magic Hyperprime 50mm T0.95 Nostalgic mode No ND filter so fast shutter speed to compensate (from 1/1000 to 1/4000 160 iso Full aperture 0.95 No color correction

Check image of E-M1 main board above. Usually biggest chips in modern cameras are as follows : main LSI chip, one or more RAM chips, flash chips.

In some cases, like in some modern Panasonic cameras it can be something that looks like one chip only - with main LSI located directly below custom chip that contains both flash and RAM.

Development of all of the chips mentioned is very complex and costly task. But they have one core difference - you can get modern mobile RAM (DDR2 or DDR3 usually) chips, same is true for flash. But if you are serious company you develop your own main LSI. Sometimes it is join efforts, for example Nikon use Fujitsu FR image LSI as core for further modifications. Join development allow to save costs, but usually means that any problem of the partner prevents adding important features (like Fujitsu FR issues with video until last generation).

Another core difference between this chips is the process that is used to manufacture them. RAM and Flash usually are at forefront of progress, as they are simpler chips and development costs are lower with better yields and ability to compensate increased costs with instantly visible increased capacity.

For LSI is much more difficult. Latest Fujitsu based LSI (like in Nikon) are still 65nm, as far as I know many other LSI are also in same or slightly smaller process. This is in the times were most mobile CPUs went 28nm. Why it is so?

Answer here is simple - development costs and ability to return investments. You can check table below:

Further it become even worse:

Companies try to overcome this with existing process optimizations like SuVolta ones.

the MB86S22AA Milbeaut image processing chip — the DDC tech can cut power consumption by 30 percent, but it can still have twice the processing performance of comparable chips. Fujitsu and SuVolta have been working together since the Summer of 2011.

In case of new process costs rise even more due to problems associated with initial stages of production.

Charts from http://m.eet.com/media/1160433/sv_mw_b_120601_technology%20extension%20oped_revm.pdf

How big are this costs?
Non-recurring engineering costs estimates for 28nm complex image LSI are about $29 millions of dollars.

In case of more iterations of development, producing more masks and modifications costs can be as high as $50 millions.

All this money must be returned from chip sales inside cameras. Millions of cameras.

Small companies usually have no chance to do it, so they use other solution - modern FPGA chips. We'll discuss in detail their specifics and development costs in next post.

So, as you see sharply declining sales of compact cameras do not start smile happily looking at your smartphone. Most of this cameras use same LSI as in big cameras, sometimes clocked down and with smaller amount of slower memory, but same chips. As otherwise it becomes impossible to be profitable.

Today all camera companies face complex problems:

• Necessity to move to 28nm (who did not do it already) and later to 14nm.
• Sharply rising development costs
• Declining overall cameras sales resulting in constant cuts and optimizations that have almost no effect.
• Steady or declining average camera prices (all companies went with idea to introduce premium cameras and design to rise the price)

In upcoming posts we'll touch FPGA development problems, 14nm costs comparisons, flash and ram issues, screens problems

Specifications:

• High resolution 1080HD Super 16mm sized sensor with superior handing of image detail.
• Super wide 13 stops of dynamic range allows capture of increased details for feature film look.
• Compatible with extremely high quality Micro Four Thirds lenses. Compatible with other mounts via common third party adapters such as PL mount and Super 16 cine lenses.
• Built in SD card allows long duration recording with easy to use media.
• Open file formats compatible with popular NLE software such as ProRes 422 (HQ) and lossless compressed CinemaDNG 12 bit RAW. No custom file formats.
• Features all standard connections, including mini jack mic/line audio in, micro HDMI output for monitoring with camera status graphic overlay, headphone mini jack, LANC remote control and standard DC 12 power connection.
• Built in LCD for camera settings via easy to use menus.
• Supports 1080HD resolution capture in 23.98, 24, 25, 29.97 and 30 fps.
• Compatible with DaVinci Resolve Lite color grading software.

Availableat:

• http://www.adorama.com/VDBMCCP.html

http://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera

• Compatible Cameras: FE-mount and E-mount cameras
• Optical Design: 9 elements in 8 groups
• Distance range: 0.3m to ∞, combined scale meter/feet
• Aperture: Manually controlled diaphragm, 13 aperture blades , Lowest value 16
• Filter Mount: Internal thread for 52mm filter; filter mount does not rotate.
• Surface Finish: Black anodized
• Length to bayonet mount: approx. 77.40mm (approx. 3.05in)
• Largest diameter: approx. 64.73mm (approx. 2.55in)
• Weight: approx. 535g (approx. 18.87oz)

SLR Magic extends it’s FE-mount lineup with the SLR Magic CINE 35mm F1.2 wide angle lens and SLR Magic CINE 75mm F1.4 telephoto lens. The products will be officially introduced during upcoming CINE GEAR 2016 show in Los Angeles.

The field of view of the SLR Magic CINE 35mm F1.2 and SLR Magic CINE 75mm F1.4 opens up many new creative composition opportunities, particularly in the fields of portrait, interior, architectural and landscape cinematography and photography.

We place our highest priority in the development on our lenses to fulfill the demands of professional cinematographers and photographers. The design and build of the the SLR Magic CINE 35mm F1.2 and SLR Magic CINE 75mm F1.4 is solid and reliable.

• Compatible Cameras: FE-mount and E-mount cameras
• Optical Design: 6 elements in 6 groups
• Distance range: 0.70m to ∞, combined scale meter/feet
• Aperture: Manually controlled diaphragm, 13 aperture blades , Lowest value 16
• Filter Mount: Internal thread for 52mm filter; filter mount does not rotate.
• Surface Finish: Black anodized
• Length to bayonet mount: approx. 78.68mm (approx. 3.09in)
• Largest diameter: approx. 64.67mm (approx. 2.55in)
• Weight: approx. 455g (approx. 16.05oz)

The SLR Magic CINE 35mm F1.2 and SLR Magic CINE 75mm F1.4 will be first presented at CINE GEAR 2016 show. There would be a demo at the ATOMOS booth in (Stage 16) during the show held in Paramount Studios in Los Angeles from 3rd to 4th of June 2016.

THE SLR Magic CINE 35mm F1.2 (MSRP: $499 US/ $3,299 RMB) and SLR Magic CINE 75mm F1.4 (MSRP: $499 US/ $3,299 RMB) will be available from authorised SLR Magic dealers by August, 2016.

I had a Blackmagic Cinema Camera which i sold, though I loved the image!

I had a Sony 6300 which I sold, im not getting on with Sonys that much.

Im seeing some really good footage with the Gh5.

But I still keep coming back to Canon ML raw, which has such a great image.

So do I go for a Gh5 with a speed booster or a 5d mark iii??

Thanks

Chris :)

Specs

• Four models with the choice of two sensors, 4.6K or 4K sensor in EF or PL mount.
• Built in dual CFast 2.0 card recorders allow unlimited duration recording in high quality.
• Open file formats compatible with popular software, such as CinemaDNG 12 bit RAW. No custom file formats.
• Support for CinemaDNG 4.6K RAW files and ProRes 4444 XQ, ProRes 4444, ProRes 422 HQ, ProRes 422, ProRes 422 LT, ProRes 422 Proxy recording at Ultra HD and HD resolutions.
• Features all standard connections, including dual XLR mic/line audio inputs with phantom power, 12G-SDI output for monitoring with camera status graphic overlay and separate XLR 4 pin power output for viewfinder power, headphone jack, LANC remote control and standard 4 pin 12V DC power connection.
• Built in high quality stereo microphones for recording sound.
• 5" foldout 1080 HD touchscreen for on-set monitoring and menu settings.
• Optional URSA Mini Shoulder Kit, allowing both tripod and shoulder use interchangeably.
• Built in gyroscope allowing recording of camera pitch, roll and yaw movements when working in RAW.

• Includes full copy of DaVinci Resolve software color grading and editing software

• Blackmagic URSA Mini 4K - $2995

• Blackmagic URSA Mini 4K PL - $3495
• Blackmagic URSA Mini 4.6K EF - $4995
• Blackmagic URSA Mini 4.6K PL - $5495

https://www.blackmagicdesign.com/products/blackmagicursamini

Tokina has a cinema line of zooms that come in MFT, but they are made for S35mm sensors. And JVC's LS300 can do their digital zoom in, but you need that specific camera. Panasonic's FZ2500 now has useable zoom motion w/ great range, but the lens is not constant aperture, nor is it fast enough, plus it's a 1 inch sensor. And yes there are plenty of broadcast zoom lenses, as well as C-mount zooms that can work with the right adapter & extender.

Something in the lines of 10-100mm, or 12-120mm with at least T2.1, has to be parfocal, but macro optional.
Kind of like the vintage 16mm zooms from Angenieux / Zeiss / Cooke.

I've been using the Olympus 12-40mm with gears for both zoom and focus, but it's not quite parfocal; was even dreaming of a full Duclos mod like their 11-16mm!

The GH5 serial is WG -PP001244.

The SLR Magic lens had a white sticker with number which has probably been ripped off by now.

Strangely enough, but it could be just coincidence, a similar lens has come on the market at ebay from a seller in Carlsbad, California, United States. Now it could very well have travelled that far in just over a week so Im not excluding it.

http://www.ebay.com/itm/SLR-Magic-35mm-T2-4-2x-Anamorphot-CINE-Lens-MFT-Mount-/282433781260?hash=item41c25d7e0c:g:r14AAOSwpkFY8XCh

I am considering first contacting Spanish Police to investigate with eBay but I was wondering about other people's experiences regarding possible sightings of their stolen goods and whether to just leave it be...

I'd be interested to know other peoples ideas.

Just a bit strange that this particular lens shows up! I don't expect I will ever see the camera again.

http://www.eoshd.com/2017/04/super-35mm-4k-comes-canon-5d-mark-iii-new-magic-lantern-module-real/

The Canon 5D Mark III will now record 4K, raw thanks to A1ex and his team at ML. The resolutions available are: 1920×960 @ 50p (both 1:1 crop and full-frame – 3×3 pixel binning) 1920×800 @ 60p (same as above) 1920×1080 @ 45p and 48p (3×3 binning) 1920×1920 @ 24p (1:1 square crop) 3072×1920 @ 24p (1:1 crop) 3840×1600 @ 24p (1:1 crop) 4096×2560 @ 12.5p (1:1 crop) 4096×1440 @ 25p (1:1 crop)

Limitations currently exist, of course (no sound is recorded and B/W display) but recording time seems very useful (no limits quoted, if they exist.)

Follow link below....

will cost $799 for the anamorphic adapter.

Product is on testing phase, but as it says on article product will not change from final design. They need testers pre buyers.

The volunteer test kit contains the following -

• SLR Magic – ANAMORPHOT 1,33 x 50 (RRP $799)
• SLR Magic 35mm T1.4 CINE II is (RRP $499)
• SLR Magic +0.4 Achromatic Diopter 77mm + SLR Magic +1.3 Achromatic Diopter 77mm (RRP $299)
• SLR Magic will offer the above set to volunteer testers for a reduced price of $1300.

Link removed. Selling of SLR Magic lenses on P-V is prohibited from now on.

More images will be uploaded soon.

I am trying to get my head around setting up something like this:

The idea came from a potential client who wants to pull off something similiar but with a more interactive setup, where People can go to an pre-installed Ipad and "launch" the comet (for example) through the push on a button.

Here's what I've got so far:

LED screen stands on street. Pre-rendered rgba clips sit on an Ipad which is connected to an ATEM unit through Lightning->HDMI Adapter (setup as secondary Screen). A camera behind the LED screen feeds the "window content" live through HDMI to ATEM. In ATEM software the live feed is overlayed permanently with whatever comes from the Ipad. ATEM output goes to LED screen.

So when a user goes to the Ipad and chooses a clip to launch it gets played over the Ipad's output and mixed live in ATEM and then displayed on the screen in front of the user.

There are a few possible problems which I can already think of: Will the Ipad output "black" (which would then black out my live feed) when nothing is being played? Can ATEM overlay two vieo feeds, one with alpha? Will alpha even be transferred via HDMI? EDIT: No it's not. So instead of rgba I could use greenscreen footage and let ATEM do a live key?

I would very much appreciate any of your thoughts on this.

THANK YOU!

We used a lot of lenses, from Voigtlander and Panasonic to Samyang with SpeedBooster XL, passing through some Chinon and Fujian 25mm C-Mount, allways with SLR Magic anamorphic adapters, we wanted the unsqueezed look.

Have a look.

PS: the aerial footage was done with a Phantom 3

SLR Magic Anamorphot 1,33 50
- 3 Diopters +1 +2 +3 Tiffen Series 9
- Adapter Ring for Series 9 tiffen filters 77mm
Price: 880 UK Pounds + Shipping

Sigma 18-35mm F1.8 ART - Nikon mount
Price:525 UK Pounds +Shipping

GoPro Hero 3 Black Edtion + Touch LCD
- Touch LCD
- 3 Extra Batteries
- 1 External Charger
- Chest and Head Strap
Price:370 UK Pounds + Shipping

-Will Ship internationally
-PayPal Payment

Thanks!

Specifications:

• Super 35 sensor
• Effective Sensor Size 21.12mm x 11.88mm (Super 35).
• Frame Rates
  • 3840 x 2160p23.98,
  • 3840 x 2160p24,
  • 3840 x 2160p25,
  • 3840 x 2160p29.97,
  • 3840 x 2160p30,
  • 1920 x 1080p23.98,
  • 1920 x 1080p24,
  • 1920 x 1080p25,
  • 1920 x 1080p29.97,
  • 1920 x 1080p30,
  • 1920 x 1080p50i,
  • 1920 x 1080p59.94i.
• Recording:
  • Apple ProRes 422 (HQ) at 3840 x 2160 and 1920 x 1080,
  • Visually lossless compressed CinemaDNG RAW at 3840 x 2160 and 1920 x 1080 * Global Shutter
• Ultra HD and 4K support
• Built In SSD recorder
• Touch LCD metadata entry
• Compressed Cinema DNG RAW and ProRes recording
• Thunderbolt and EF lens compatibility
• Cncludes FREE DaVinci Resolve and UltraScope.
• $2495 Retail price

http://www.blackmagicdesign.com/products/blackmagicproductioncamera4k

Available at:

• http://www.bhphotovideo.com/c/product/964119-REG/blackmagic_design_blackmagic_production_camera_4k.html

Good excuse for a PV NYC Meet-up!

I am selling the ultimate filmmakers kit.

Camera Panasonic GH4 + Battery Adapter (DMW-BGGH3) 7 batteries

Memory Cards Sandisk Extreme Pro 64GB Transcend U3 256GB Transcend U3 64GB

Lenses Lumix 35-100mm F2.8 Lumix Nocticron 42.5mm F1.2 SLR Magic Cine II 12mm F1.6 Olympus 60mm Macro F2.8 Voigtlander 25mm F0.95

Metabones XL 0.64x EF Adapter (with auto focus for EF Lenses)

Additional Panasonic FL580 Flash LCW Variable ND Filter 77mm Lens Clean Kit

ALL lenses come with step up rings attached to 77mm.

I can send pictures of all items on request. This is a serious filmmakers package.

• 3 SLR Magic diopters achromatic close up anamorphic set +0.33 +1.3 +1.8 (77mm thread)
• 1 Tokina +0.5 (72mm thread)

Normal trace of use, slight cleaning marks, tiny dust and tiny scratch. Will not affect the image at all

sold with their original boxes. 300€

If you like Ferrari's and sport bikes, I think you're gonna like this.

Some GH2 and Red One stuff along with several dji inspire and phantom shots in subsequent episodes.

Please feel free to comment and subscribe.... we're already getting alot of love and support from the petrol heads.

Petrol Episode 1 CLICK TO WATCH -

Petrol Episode 2 Episode 2 CLICK TO WATCH -

Well, now we're in post, and there are a few problems. The GX7's footage is, well, pretty vibrant: it's smooth, with vivid color, and very sharp focus. And not only is it difficult to grade Vlog to match it (Balazar's LUTs are a big help), I'm finding that my cine-lens footage is just a lot softer than the stuff shot with auto-focus lenses.

Is this kind of the rule with lenses-- that the auto-focus lenses made by Panasonic are just sharper than Rokinon or SLR primes?

(Also, a side question: if I use sharpening on my 4K footage, which is better: sharpen the 4K and then reduce to 1080p, or reduce to 1080p and then sharpen?)

• Large high resolution 4K or 4.6K Super 35mm sensor
• Global shutter
• 12 stops DR
• Very unusual design
• Compatible with PL or EF mount lenses.
• Changeable sensor and mount
• Dual recording - raw and prores
• User upgradable design
• Built in dual CFast 2.0 card recorders
• Open file formats compatible with popular NLE software, such as Apple ProRes and compressed CinemaDNG 12 bit RAW.
• Support for ProRes HQ, ProRes 422, ProRes LT, ProRes Proxy recording
• Dual XLR mic/line audio inputs with phantom power, 6G-SDI output for monitoring with camera status graphic overlay and separate XLR 4 pin power output for viewfinder power, 6G-SDI monitoring input, headphone jack, LANC remote control and standard 4 pin 12V DC power connection.
• Built in stereo microphones for recording sound.
• 3 separate built in LCD monitors for camera settings and metadata entry. Large 10 inch screen folds out for full resolution HD monitoring with wide viewing angle and high brightness.
• Supports Ultra HD and 1080 HD resolution capture in 23.98, 24, 25, 29.97, 30 up to 60 fps.
• Features liquid cooling system allowing higher frame rates when future sensors support this feature.
• Supports quick release tripod mounts and adding V-Mount and Anton/Bauer mount battery plates.
• Includes full copy of DaVinci Resolve software color grading and editing software.

Introducing Blackmagic URSA, the world’s first high end digital film camera designed to revolutionize workflow on set. Built to handle the ergonomics of large film crews as well as single person use, URSA has everything built in, including a massive 10 inch fold out on set monitor, large user upgradeable Super 35 global shutter 4K image sensor, 12G-SDI and internal dual RAW and ProRes recorders. Because the sensor and lens mount assembly can be changed, you can choose EF or PL lens mounts, or even a broadcast video sensor with B4 mount. This means you can upgrade to the latest sensor technology in the future and keep your investment in the camera body.

URSA features the world’s most intuitive and advanced touch screen camera user interface! There are two 5” touch screens on both sides of the camera that put your settings, controls and monitoring tools at your fingertips.

http://www.blackmagicdesign.com/products/blackmagicursa

I want to use the HDMI of my 2 GH3’s for webstreaming using some software like wirecast but also for recording instructional videos on my Mac.

Now I’ve been looking at solutions from AJA, Matrox, and Blackmagic but I’m unsure which one actually does what i need it to do.

This is the short list of features that I’m looking for: 2 hdmi inputs that can be streamed simultaneously to the web Able to record the HDMI of both cams to an SSD the device or card would help out with any rendering done by FCPX , Pr, AE, etc...

Extra’s: I have also one GH2, I’ve read that the HDMI of the GH2 is useless for recording but maybe it can be used for streaming? The possibility of adding the GH2 to the setup and thus having 3 cams would be a welcome bonus but not necessary.

I have an RME fireface 800 that i'll be using for audio capture.

What would you all see as the best way to go about doing this?

Via: http://43rumors.com

Specs

• 43 size sensor
• active MFT mount
• 1080p60, 4Kp30
• Price around $1599

for more info: https://iaremrsir.wordpress.com/2015/04/08/spaces-raw-cineform-raw-for-davinci-resolve/

and to get the plugin (top one): https://iaremrsir.wordpress.com/downloads/?hc_location=ufi