Tag Archives: Full Frame
Nikon Z 9 for Cine
Nikon’s flagship, top-of-the-line hybrid, mirrorless digital still and cine camera is adept at both stills and video. Its 8K 12-bit video images are as spectacular as its stills. It feels like a longtime friend the moment you grab it. With the Z 9, Nikon unquestionably raised the bar on image quality, ergonomics and versatility for filming on location and in studios. Images from the 45.7MP Full Frame Stacked sensor are gorgeous. The camera’s tactile, ergonomic heft is familiar. It may remind you of a Nikon F4 from analog film days. Every button is familiar and intuitive. The Z 9 records internal 8.3K 12-bit N-RAW up to 60 fps, or 4.1K 12-bit N-RAW up to 120 fps, or 4.1K ProRes RAW up to 60 fps. read more…
Tags: Full Frame, Nikon, Nikon Z 9 for Cine, Nikon Z9
Leitz M 0.8 Full Frame M-Mount Primes
Leitz M 0.8 are iconic Leica M lenses with a click-less iris, 0.8M industry-standard gear rings for lens motors, an 80 mm front diameter and 77 mm screw-in front filter threads. You can shoot with M 0.8 lenses on cameras fitted with M mounts, and of course, Leicas. These are among the smallest and lightest Leica Format / Full Frame lenses anywhere — and their look is the stuff of legends. read more…
Tags: Full Frame, Leica Format, Leica M lenses, Leitz, M 0.8
Tokina Vista Primes
Planning for the Tokina Vista Primes began in 2013. During the early stages, Ryan Avery, VP of Formatt KT America and Tokina Cinema products, met with cinematographers to get feedback. He also came up with the name: Vista Primes. From the beginning the lenses have been designed to cover beyond Full Frame and cover the RED 8K VV sensor (46.7mm image diagonal) that was introduced in June 2015. The image illumination of the longer focal lengths covers the 5K image area of the Alexa 65 camera that was introduced a year earlier, in September 2014. The lenses came to market a year later, in 2016. read more…
ARRI ALEXA Mini LF – Large Format
Here’s the new little camera from ARRI that shoots big pictures. It’s ARRI’s latest addition to their large-format camera system. This is what many cinematographers were asking for: Large Format, lighter, smaller, modular. ARRI ALEXA Mini LF is quintessentially an ALEXA LF stuffed into the body of a Super35 ALEXA Mini. It uses the same large format CMOS sensor (36.70 x 25.54 mm). To picture the engineering involved, imagine unloading the entire contents of your 22-foot long camera truck and squeezing almost everything inside a BMW X3. ALEXA Mini LF’s carbon fiber body plus LPL lens mount weighs a mere 2.6 Kg. How convenient—that’s the same size and weight (about 5.7 lb) as the ubiquitous Maß (1-liter beer mug) at Oktoberfest. Read the full 22-page FDTimes Report. read more…
Tags: 24x36, 36x24, ALEXA Mini LF, ARRI ALEXA Mini LF, Full Frame, Large Format
Fujinon Full Frame Zooms
This sounds like the introduction to a Ninja movie. In an undisclosed location at NAB, attended by unidentified executives from an unnamed company, Film and Digital Times has learned of new Full Frame zoom lenses being planned. The company is Fujifilm. They are developing Full Frame zoom lenses, to be announced later this year. We know they will be Fujinon Full Frame zooms. They will be lightweight, compact, high-end. The maximum aperture will be T2.X, where X is still being worked out. I would guess T2.9. They will weigh around 3 kg. read more…
Jonathan Maxwell on Full Format vs S35 DoF
Full Format vs S35 Depth of Field Depth of Field or “By how much do we have to increase the lens aperture filming on a small camera format to maintain the same Depth of Field as a lens filming on a large camera format ?” by Jonathan Maxwell, Optical Designer Everybody “knows” that the larger the camera detector you use the smaller… read more…
Depth of Field Repealed
On page 49 of Film and Digital Times February 2018 Edition #86, I wrote, “The difference in depth of field between Large Format and S35, comparing lenses with the same angle of view, is the equivalent of about 2 stops.”
This unleashed a deluge of debate among PhDs, Professors and Lens Designers sprinkled with some solid real-life testing. Uh-oh. Please do your own tests. And let us know your results. read more…
Tags: Depth of Field, Full Frame, Large Format
Gods of Focus Speak: Preston Light Ranger 2
Every Preston Light Ranger 2 user I’ve talked to refers to it as “a game changer.” For focus pulling on large sensor cameras I would add the phrases “an essential tool” and “job security.” My last two projects were both 65mm (one in 8K), and there is no way I could have perfectly achieved and repeated some of the shots without the LR2’s guidance. read more…
Full Frame Canon EOS C700 FF
Download the Film and Digital Times Camera Report — 4.5 MB PDF. Canon introduces a new Full Frame Cinema Camera. This is Full Frame democratized, FF for all. The Canon EOS C700 FF has a new 38.1 x 20.1 mm (43.1 mm Ø) Full Frame, 18.69 megapixel (5952 x 3140) sensor. Pixel size is 6.4 x 6.4 μm. The EOS C700 FF is aspirational Full Frame at an affordable price. It will be especially attractive for independent features, commercials and many other productions. EOS C700 FF records Full Frame RAW, ProRes and XF-AVC and comes with either Canon locking EF mount or PL. read more…
Tags: Canon C700 FF, Canon EOS C700 FF, Full Frame
New RED W8K VV (Full Frame) Monstro Camera
There’s a new large format camera in town. It’s the RED Digital Cinema W8K VV Camera with MONSTRO Sensor. MONSTRO replaces the 8K VV Dragon sensor. The carbon fiber Weapon camera body (brain) stays the same. (Weapon is the body, MONSTRO and Dragon MONSTRO provides improved image quality, with greater dynamic range and increased shadow detail. See the demo video “Iron… read more…
Art of Large Format
It was fitting that Sony introduced a working Full Frame prototype of Venice the camera in Amsterdam the city. Two weeks ago, Sony showed a Super35 version of Venice in LA. Howls of despair were surely heard in Tokyo and in the short intervening time, a Full Frame 24x36mm model serendipitously appeared at IBC. A short walk to the Rijksmuseum is… read more…
Tags: Full Frame, Sony VENICE
Scorpio Full Frame Anamorphic 2x Lenses
It was a crackly, barely audible yet reliably confirmed source the mobile phone. Did I hear correctly? It was OK to publish this news? Let’s hope so: Servicevision will announce Scorpio Full Frame Anamorphic 2x Lenses at IBC. They will be call FFA — as in Full Frame Anamorphic. 2x squeeze. Same maximum aperture of T2.2 as the Scorpio 2x Anamorphic S35 set. They will be the same size, or close to it. Resolution and look will be the same. There will be a whole set. Zooms as well. The lens assembly team at Servicevision has been working on the FFA lenses for some time, and they should be ready to ship in about 4 months. read more…
Full Frame Matters of Life and Depth
Hundreds of millions of Leica, Canon, Nikon and other still camera users have been playing in the fields of Full Frame for almost a century, ever since Oskar Barnack turned standard 35mm motion picture sideways and introduced the 24x36mm format. Full Frame 24x36mm format (FF) for Cine is barreling towards us. Sony recently launched the new a9 still camera that does quite decent video. At Cine Gear, Sony announced an imminent Full Frame cine camera. RED VV 8K, ARRI Alexa 65 and Panavision DXL are already dazzling directors and DPs with the allure of compelling, larger formats. Lots of Full Frame and Large Format cine lenses are already here: from Leica, Cooke, ZEISS, Sigma, Angenieux, IB/E Optics, Panavision, ARRI, Schneider, Canon, Sony and others. read more…
Sony Full Frame 24x36mm Cine Camera
Sony announced plans for a new Full Frame 24x36mm high-end CineAlta digital motion picture camera system at Cine Gear. The big news was the big picture. Few additional details were revealed. Full Frame 24 x 36 mm image sensor. Aspect ratio agnostic – including Full Frame, Super35 full height Anamorphic, Spherical 16:9 and 1:85:1 and 2.39:1. The resolution of Super35 anamorphic (18 x 21.6 mm image area) was announced to be 4K. Compatible with current and planned accessories for F55 cameras (DVF-EL200 Full HD OLED Viewfinder, AXS-R7 recorder, AXS-CR1 and AR1 card reader, AXS and SxS memory cards). read more…
SIGMA Cine Full Frame T2 14 & 135 mm
SIGMA Corporation adds two more cine lenses at NAB. Covering incredibly wide and extremely tight, the new cine lenses in the SIGMA FF High Speed Prime Line are 14mm T2 FF and 135mm T2 FF. Download 4-page FDTimes PDF article, including visit to SIGMA Headquarters and interview with lens designers. There are now seven prime lenses in the SIGMA FF High Speed Prime Line: 14, 20, 24, 35, 50, 85, and 135mm. All these cine lenses come with PL, EF and E-mounts. (Only the 24-35 T2.2 FF Zoom lacks a PL mount option: it comes in EF and E-mount only.) SIGMA offers a mount conversion service. read more…
Leica Thalia Large Format Cine Lenses
Large format cinematography gets more interesting today with Leica Thalia. CW Sonderoptic introduces nine new prime lenses that cover all formats from Alexa 65, Panavision DXL, RED 8K VV, Full Frame, to Super35. Leica Thalia primes ship with stainless steel PL mounts. An XPL version will be available for ARRI Rental. Thalia lenses have front diameters that are all 95… read more…
Mounting Questions: Please Reply
At high noon on September 22, representatives of many of the world’s prominent lens companies convened in Sigma’s meeting room at Photokina. The idea was to discuss what might happen for the next generation of full frame (24×36 mm) cine cameras and lenses. Could there be a common lens mount. Please read this discussion and let us know your opinions. read more…
Tags: Cine Lens Meeting, Cine Lens Mounts, E-Mount, EF Mount, FDTimes, Full Frame, FZ, Lens Mounts, PL, PV Mount
Full Frame & S35 Lenses at IBC
Full Frame was careening inexorably down the corridors of IBC like the stagecoach in the opening of The Hateful Eight. But a curious thing was afoot. IBC was packed with a plethora of Full Frame cine lenses. But there was a perplexing paucity of Full Frame cine cameras. What’s going on here? Why was the cart before the horse? read more…
Tags: FDTimes, FFDTimes, Film and Digital Times, Formats, Full Frame, Large Format, S35
Angénieux Type EZ Zooms: FF and S35
Here are two new, convertible, compact zooms from Thales Angénieux. They cover both Super35 and Full Frame/VistaVision. This is a new paradigm for Angénieux: an affordable zoom lens filling the gap between the DSLR and Cinema lenses for the growing corporate, documentary and owner-operator markets. At IBC, Angénieux debuts two models. Type EZ-1 is a standard 3x zoom. Type EZ-2 is a wide-angle 2.7x zoom. Both lenses have exchangeable rear lens groups and hence the ability to be swapped between Super35mm format and Full Frame/VistaVision. read more…
Jarred Land, Pres of RED
Here’s a preview of one of the featured interviews in the September IBC Edition of Film and Digital Times: with Jarred Land, President of RED Digital Cinema. At NAB, RED fired a Full Frame warning shot across the bow of the industry. Their RED Weapon 8K FF camera, due later this year, prompted a flurry of articles in our big 120-page Double Issue 71-72 about lenses that fit, cameras to come, and stuff to see. read more…
