Manfrotto launches new FluidTech Base for photo and video

Manfrotto launches new FluidTech Base for photo and video

Manfrotto introduced a new family of high-performance monopods for professional videographers and photographers: the XPRO Monopod+ The real surprise, though, is the new FluidTech Base.

The new series of monopods is the older series with an extra: the FluidTech – Full Fluid Base, which is the first of its kind. While the previous base offered panning, this model brings fluidity to all three axes – pan, tilt and swivel -, for the ultimate smoothness in an extremely compact solution, allowing hybrid functionality for still pictures and video footage.

Manfrotto launches new FluidTech Base for photo and videoManfrotto says that “when volume and weight need to be minimal, set-up speed is of primary importance, in crowded places where there’s no room for a tripod, or for creative, overhead footage – whenever a tripod is not the option, monopods are the solution. They enable users to quickly and easily move from one shooting point to another, providing stable support to video and photo equipment, ensuring incredibly smooth footage, ultra-sharp photos and creative shooting perspectives.”

This new generation brings image makers the ground-breaking FluidTech – Full Fluid Base, making Manfrotto XPRO Monopod+ the first of its kind on the market featuring fluidity on all 3 axes to deliver ultimate smoothness in an extremely compact solution for advanced video shooting.

When the priority is panning, 3D rotation can be locked in the vertical position, leaving pan movement free and giving additional shooting control (users should remember that the vertical lock does not guarantee full self-standing support when the camera is mounted).

The Fluidtech base easily attaches to the XPRO Photo Monopod+ by unscrewing the foot at the bottom of the monopod, converting the photo monopod into a video monopod for smooth video footage. The base is also available as a kit with all the new XPRO Monopod+ Video monopods. The XPRO Monopod+ Full Fluid Base (MVMXPROBASE) is compatible with all XPRO Photo Monopods+, with the exception of the MMXPROA3B.

The FluidTech Base is available for $99.99.

New update to DaVinci Resolve

New update to DaVinci Resolve

DaVinci Resolve 12.5.3 update is available now for both DaVinci Resolve and DaVinci Resolve Studio users, and can be downloaded free of charge from the Blackmagic Design website.

Blackmagic Design announced a new update for its professional editing and color correction software. DaVinci Resolve 12.5.3 features support for importing and exporting projects from the latest version of Final Cut Pro X, as well as additional improvements to Media Composer interoperability, ACES color science and more.

The update adds compatibility with the new XML 1.6 format used in the latest version of Final Cut Pro X. That means customers using the new version of Final Cut Pro X will be able to seamlessly send projects to the program for color correction and finishing and also generate XML’s to export projects back to Final Cut Pro X. In addition, the updated software includes PostgreSQL 9.5.2 for compatibility with macOS Sierra.

DaVinci Resolve 12.5.3 also adds support for ACES version 1.0.2, including the ACEScct color space. ACEScct is a quasi-logarithmic encoding of ACES data to make it suitable for color grading with DaVinci Resolve 12.5.3.

This new update also improves interoperability with Media Composer. AAF projects containing dip to color dissolves and certain transformation effects such as flip and flop are greatly improved, making it easier to successfully move projects from Media Composer to DaVinci Resolve for finishing. The program also improves Dolby Vision XML exporting for mastering and finishing high dynamic range content.

“In addition to being an incredible editing and color correction solution, one of the things that customers love the most about DaVinci Resolve is that it just works with everything,” said Grant Petty, CEO, Blackmagic Design. “This new update makes it easier and more reliable than ever to move projects from Final Cut Pro X and Media Composer into DaVinci Resolve. Once there, customers can use improved ACES and DolbyVision support to edit, color correct and finish their projects in high dynamic range and at the highest possible quality!”

What’s new in DaVinci Resolve 12.5.3

  • Added support for Final Cut Pro X XML Version 1.6
  • Added support for PostgreSQL 9.5.2 on macOS Sierra
  • Added support for ACEScct color science
  • Updated ACES support from ACES 1.0.0 to ACES 1.0.2
  • Improved performance when encoding to MXF XAVC
  • Improved importing of Flip and Flop from AAFs from Media Composer
  • Improved importing of Dip to Color dissolves from AAFs from Media Composer
  • Improved Dolby Vision XML export

See the Earth through DJI’s eye

See the Earth through a DJI's eye

As part of DJI’s tenth anniversary and as a celebration of the aerial image, the company created Above the World: Earth Through a Drone’s Eye, in partnership with publisher teNeues, a premium coffee table book with a unique perspective.

With over 200 pages of inspiring photos and multi-lingual, the book showcases some of the world’s best photos, captured on DJI products everywhere from China to Germany, from the United States to Dubai, and features well-known aerial photographers like George Steinmetz and Cameron Davidson, landscape photographers turned drone flyers such as Elia Locardi, as well as phenomenal images captured by non-professional photographers from the SkyPixel community.

See the Earth through a DJI's eye

Images captured on 6 continents, by people from almost 30 countries, reveal that beautiful aerial images can be captured by anyone. The collection of aerial photos opens to a view of our world never seen before.

Unveiled on the first of September, the DJI Edition of Above the World was officially launched at an exclusive event in Soho House New York this October and is now available from the DJI Online Store.

See the Earth through a DJI's eye

At the event National Geographic photographer and dedicated user of DJI drones Cameron Davidson spoke on his transition in aerial photography, from flying in a helicopter to flying his own camera drone. Audrey Barr from publisher teNeues introduced Adam Lisberg, DJI’s Communications Director for North America, who spoke on DJI’s 10th anniversary along with the company’s newest, and most accessible aircraft ever, the Mavic Pro before offering a vision for the next ten years and beyond.

The book Above the World: Earth Through a Drone’s Eye, with a cover price of $75,00, is, apparently, the first of a series, as DJI invites photographers to sneak peek inside and read through the insightful interviews from professional and amateur aerial photographers, ending with a comment: “Who knows, maybe your own photos will be in the next edition.”

Digital Anarchy releases Samurai Sharpen for Video

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Digital Anarchy Samurai Sharpen for Video is edge-aware sharpening software that uses a number of intelligent algorithms, as well as GPU acceleration to give users working with HD and 4K footage unprecedented image quality control.

While the need for sharpening video is important and widespread, the industry has been absent of new innovations. Samurai Sharpen has filled this void, giving video editors and colorists the ability to sharpen precisely the details they want and be highly selective of those areas they want untouched. This means areas like skin tones or dark, noisy background areas, which usually do not look better sharpened, can be protected and not sharpened. Samurai Sharpen’s intelligent algorithms gives users a great deal of control over the sharpening technique and where it’s applied.

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Samurai Sharpen for Video incorporates a variety of built-in masks, edge-aware algorithms, and unprecedented control over the sharpening technique, resulting in dramatically improved video footage. The built-in masks allow editors and colorists to apply specific focus on areas within the video for sharpening, while avoiding sharpening dark, shadow areas and bright, highlight areas.This allows for maintaining pristine image quality throughout the shot. The edge-aware algorithm provides another level of masking by restricting the sharpening to only the significant details you choose; for example, enhancing details of an actor’s eyes while preventing areas like skin from being affected.

Samurai Sharpen delivers additional features that allow precision control over how the sharpening affects the look of the footage. Editors can now control the overall strength of the effect, and can adjust the light and dark sharpening halos individually, providing the precise control needed to create effective, but subtle, sharpening.

Key features of Samurai Sharpen include:

  • Enhances Details with Modern, Edge-Aware Sharpening Algorithms
  • Built-In Masks to Protect Shadow/Highlight Areas
  • Precise, fine-tuning controls to adjust the look of the sharpening exactly
  • Supports Adobe After Effects/Premiere Pro and Final Cut Pro X immediately, with Avid and OpenFX coming soon

Samurai Sharpen runs in Adobe After Effects, Adobe Premiere Pro, Apple Final Cut Pro X. Support for additional platforms will be announced soon. Samurai Sharpen for Video is available immediately, and is regularly priced at $129.00. With today’s launch, Digital Anarchy is offering a special introductory price $99.00 until November 15, 2016.

Red Giant releases Magic Bullet Suite 13

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Red Giant Software has released Magic Bullet Suite 13, a major upgrade to the NLE plug-in package for color correction, finishing and film looks. There are a number of new features including an all new product Renoiser. For the first time ever, all of the color correction tools deliver real time performance through Mercury Playback support in Adobe Premiere Pro. Every tool in the suite has been updated, and runs on the GPU. Denoiser has also been rebuilt with much better overall performance. Details on all of the products in Magic Bullet Suite 13 are below. A free trial is available.

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Magic Bullet Suite 13 includes seven tools, six of which have received significant updates, and one of which is a brand new tool.

  • Magic Bullet Looks 4.0
  • Magic Bullet Colorista IV
  • Magic Bullet Denoiser III
  • Magic Bullet Mojo II
  • Magic Bullet Cosmo II
  • Magic Bullet Renoiser
  • Magic Bullet Film 1.2

PRICE

  • Full: $899
  • Upgrade: (from previous versions of Magic Bullet Suite) $299
  • Academic: $449

COMPATIBILITY:

  • Host-App: All of the tools work in Adobe Premiere Pro, After Effects and Final Cut Pro X. Some tools work in additional host apps.
  • OS: All tools work on both Windows and Mac.
  • Check the individual product pages for specific host-app and OS compatibility.

WHAT’S NEW IN MAGIC BULLET SUITE 13?

Red Giant Software has updated every single tool in the Magic Bullet suite, and added Magic Bullet Renoiser, a new tool that gives footage a cinematic texture and grain.

Magic Bullet Looks 4.0

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This update includes real time performance (through Adobe Mercury Playback support), new presets, tools and some essential workflow and UI enhancements.

  • GPU: OpenGL/OpenCL (Mercury Playback)
  • Looks Presets
  • Tool Presets
  • Source Tool
  • Renoiser Tool
  • Mojo II Tool
  • Reference Library
  • Universal strength slider
  • Looks Favorites
  • Resizing Scopes
  • Save Looks Workflow

Magic Bullet Colorista IV

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This major update for professional color correction for filmmakers includes Guided Color Correction, a simple Hollywood-tested, step-by-step process for quickly balancing your shot, as well as the new Colorista Panel, which turns Adobe Premiere Pro and After Effects into a professional color grading environment. Also included is RGB Point Curves, Log support and ability to load LUTs into Colorista IV.

  • Colorista Panel for AE and PPro
  • Guided Color Correction
  • LUTs
  • Color Temperature & Tint
  • RGB Point Curves
  • Streamlined Keyer Interface
  • Log Support

Magic Bullet Denoiser III

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Denoiser III has been rewritten entirely from scratch to give the best, fastest and easiest to use video denoiser on the market. Powered by technology from wrnch, a tech startup backed by Mark Cuban, Denoiser III’s speed and reliability will blow you away.

  • Incredible quality results
  • GPU acceleration
  • Near Real-time performance
  • New UI/Easier to use
  • Rewritten entirely from scratch
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Magic Bullet Mojo II

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Magic Bullet Mojo has always been a quick and easy tool for a Hollywood Blockbuster look in seconds. But Hollywood film looks have changed so has Mojo. Mojo II has been updated to give footage a sophisticated, cinematic style with a unified complementary color palette. Mojo has added additional tools like vignette, exposure, temperature and tint to give the most Mojo possible.

  • Updated cinematic style
  • GPU: OpenGL/OpenCL (Mercury Playback)
  • My Footage is… (LOG support)
  • Presets
  • Vignette
  • Exposure
  • Color Temperature
  • Tint

Magic Bullet Cosmo II

[embedded content]Our tool for fast, simple cosmetic cleanup just got even better. This upgrade to Cosmo II gives refined results that look more natural than ever. With the help of a new skin sampling tool you can easily balance skin tones, reduce wrinkles and remove skin blemishes, to make your talent look their best.
  • Better Results
  • Skin Sample Tool
  • Refined Visual Feedback

Magic Bullet Renoiser

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Renoiser is an entirely new product that gives footage a cinematic texture and grain. Whether you’ve denoised your video, created CGI and motion graphics compositions, or even shot on a camera that produces virtually noiseless footage, Renoiser’s all-new, realtime, GPU-accelerated grain engine rebuilds your footage with a cinematic texture more genuine than anything seen before. Renoiser is fully-customizable, and includes 16 noise/grain presets based on real film stocks such as 16MM, 8MM and much more. Renoiser supports OpenGL/OpenCL (Adobe Mercury Playback), so it all happens in real time.

Here are some great ways to use Renoiser:

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Magic Bullet Film 1.2

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This update to our tool for giving footage the look and color of real motion picture film brings OpenGL/OpenCL support. Magic Bullet Film 1.2 emulates the entire photochemical process – from the original film negative, to color grading, and finally to the print stock – but thanks to Mercury playback, you don’t have to wait to develop your footage, because it all plays back and renders in real time. Magic Bullet Film 1.2 is a FREE update to Magic Bullet Film 1.0.

  • GPU: OpenGL/OpenCL (Mercury Playback)

NOTE: Magic Bullet LUT Buddy has been discontinued. Read more in our FAQ. It’s worth noting that both Magic Bullet Looks and Colorista can both load LUTs.

Light & Motion Announces Stella Light Kits For Video

Lights… actually easy to use lights can make your life as a run & gun shooter surprisingly, well, easier. Otherwise, if the lights are too cumbersome or temperamental then they stay on the truck. Lights left on the truck do not get used meaning you, the shooter, are making some sort of compromise. I don’t like making compromises and I’m sure you don’t either. That’s why Light & Motion’s new lighting kits for their Stella LEDs looks interesting.

Thankfully, Light & Motion has created two new light kits to give you an all in one solution. The Stella Pro is for shooters needing a three-point lighting solution and the Stella Action for a single 0n, or 0ff, camera solution. The new light kits pair Light & Motions great lights with essential tools and accessories in a customized Tenba case. Now, you won’t have to search your favorite gear shop, or website, to piece together a kit yourself. Nope, Light & Motion has figured it out for you.

StellaLight & Motion’s Lights Survive The Elements

Think of these lights as similar to compact HMI lighting systems, but LED. Instead of a ballast or feeder cable, these lights can survive the toughest environments. The 5000 lumen Stella Pro 5000, 2000 lumen Stella 2000 and 1000 lumen Stella 1000 are all waterproof up to 328 feet and feature a rugged housing capable of withstanding drops from over three feet. So, those raining live shots can still be lit with Stella Pros, if you so desired.

To help these lights be waterproof, each light is powered by lithium-ion rechargeable batteries with great untethered run times. Depending on the power settings you choose, the Stella 1000 delivers a run time of 1.5 hours to 715 minutes; the Stella 2000 delivers a run-time of one hour to 415 minutes, and the Stella Pro 5000 delivers a run time of 1.5 hours to 715 minutes. If you run out of battery power the spLEDS can be powered by a D-Tap, external battery, or AC power. Each Stella spLED is balanced at 5,000K across all output settings and offers a flicker-free, 120-degree beam that can be easily modified using a number of accessories.

Stella Pro Kits

The Stella Pro 125 Kit includes one Stella 1000, one Stella 2000, and one Stella Pro 5000. The Stella Pro 225 Kit includes two Stella 2000s one Stella Pro 5000. The Stella Pro 555 Kit includes three Stella Pro 5000s. Each Stella Pro Kit also includes 3 KUPO “click” stands and an assortment of mounts and modifiers including light barn doors, a 50-degree focus optic, a 25-degree fresnel, a speed ring/gel holder, a glow bulb, a baby stand connector, and a charge/power source. All components are packed in a custom Tenba rolling case.

Stella

Stella Action Kits

The Stella 1000 Action Kit and Stella 2000 Action Kit pair a spLED with a range of accessories for on- or off-camera single point lighting. Each kit, like the Stella Pro Kits, comes packed in a custom Tenba case for added protection during transport and storage.

The Stella 1000 Action Kit includes one Stella 1000s spLED light complete with a snap on 25-degree fresnel (50mm), a snap-on diffuser (50mm), a cold-shoe mount and a 1/4-20 adapter. The kit also contains a pistol grip handle, a set of snap on barn doors (50mm), a Novoflex Ball-19 ball head, and an Elinchrom EL handled 25-61″ boom arm.

The Stella 2000 Action Kit includes one Stella 2000 spLED complete with a press on 50-degree focus optic (82mm), press on barn doors (82mm), a cold shoe mount, and a 1/4-20 adapter. The kit also comes with a pistol grip handle, a press on 25-degree fresnel lens (82mm), a press on 3″ speed ring/gel holder, a press on Glo Bulb (82mm), a Novoflex Ball-19 ball head, and an Elinchrom EL handheld 25-61″ boom arm.

Motion
Stella 2000 Action Kit

Pricing

All Stella Pro and Stella Action kits are now available. Pricing:

Stella 1000 Action – $579.99

Stella 2000 Action – $799.99

Stella Pro 125 – $2,999.99

Stella Pro 225 – $3,599.99

Stella Pro 555 – $5,599.99

If you are curious about these lights and how to use them then check out this testimonial from Corey Rich.

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Ty Evans: from skateboarding to filmmaking

Ty Evans: from skateboarding to filmaking

Ty Evans is a cinematographer/director known for pushing the boundaries of action sports filmmaking. On this video he reflects on how the principles of skateboarding shaped his approach to filmmaking.

The founder of Ghost Digital Cinema made a name for himself as a pioneer who incorporated high production value in skateboarding videos. Ty Evans ultimately established himself as an innovator throughout the industry. From his earliest days taking pictures of friends skateboarding to capturing feature productions with professional cinema cameras, Ty learned everything he knows about image capture outside of a traditional classroom.

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Ty Evans has his name associated to multiple skateboard videos, including Fully Flared, a street skateboarding video centered on the riders from the Lakai footwear company. The film, directed by Ty Evans, Spike Jonze, and Cory Weincheque, was one of the first skateboarding videos to use high-definition cameras. It is considered a skateboarding culture icon as the apex of professional skateboarding. Launched in 2007, it took four years to complete.

Ghost Digital Cinema is presented on its website as a company that “uses the passion for groundbreaking filmmaking and technology, along with our deep roots in the world of action sports culture to create unique visual entertainment. We specialize in getting the highest quality visuals with the latest in cinema innovation, and doing it in the most streamlined way possible.”

In this new RED Collective profile, Ty reflects on how the principles of skateboarding played an integral role in furthering his career. Watch as Ty discusses how RED cameras put technology previously reserved for big-budget productions into the hands of shooters everywhere and ultimately fueled his drive to learn and improve within his craft.

Ty Evans uses his RED cameras to capture motion projects across the globe. Visit Ty’s Facebook page or Instagram account to catch more of Ty and his company’s work.

Luminar, a new photo editor for Mac

Luminar, a new photo editor for Mac

With the launch scheduled for November 17 and pre-order starting on November 2, Luminar comes from the same people that made Aurora HDR and other apps: Macphun Software.

Macphun photography software is made for Mac only. The creators, based in California, believe this focus ensures they deliver the best user experience possible to their customers. With that in mind they’ve been almost secretly developing Luminar, presented as a universal all-in-one photo app designed to tackle any of your photography needs, and provide you with the ultimate photo editing comfort.

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It’s the most fantastic piece of software we’ve ever created, says the team at MacPhun, and looking at the specs available one has to accept that we may well – well, Mac users may well – be about to discover a new and viable option to edit their photographs. As a starting point the team assumed that in the modern world the perfect handling of RAW format should not be something extraordinary, so Luminar gives users the assurance that their RAW files will get the necessary pixel perfect treatment.

Luminar, a new photo editor for Mac

But RAW converter is only a small part of the myriad of the amazing features and tools you’ll get with the new software, continues the team at Macphun, so “in addition to flawless RAW support, you’ll get Layers and Custom Textures, Brushes and Masking (including automatic Luminosity, Gradient and Radial Masks), pixel-perfect Noise Reduction, a Healing tool, Crop & Transform, History Panel, Selective Top & Bottom adjustments, plug-in support, and a whole lot more.

The creators explain Luminar as “a truly complete photo editing powerhouse” and add that two words are all that is needed to describe Luminar: Simplicity & Creativity. In fact, the user interface is innovative as it adapts to the skill level and preferences of the user, so it is possible to make it look exactly the way you want to access only the tools you need. The promise is that “everyone will be able to use Luminar without special training, and everyone can achieve many, many beautiful looks to their photos using only Luminar.”

Luminar, a new photo editor for Mac

Filters, Presets and Workspaces, you’ll find everything inside Luminar. The first two you already know from other programs, but the Workspaces, although the name suggests something we’re all familiar with, are a bit different. Macphun says they’re like “personalized darkrooms” that feature only the tools most suitable for your type of photography; they are saved sets of different filters, logically grouped”. Workspaces that come by default include Portrait, Black & White, Landscape and Street, and users can always add new filters to a given Workspace, or even create their personal Workspaces tailored exactly as they need. Plus, you can even share and import Workspaces by other photographers.

If you’re a Mac user, this is a good excuse to visit Macphun website and find more about Luminar. The price, again, is in line with the recent batch of RAW editors and photo editors, like Affinity Photo. Luminar pre-order will begin, as stated before, on the 2nd of November. If you own a Macphun app for Mac, you’ll pay only $49 to get Luminar & exclusive bonuses. For new users (who don’t own any product by Macphun) the price will be very compelling as well – just $59.

Edelkrone Wing now comes in 3 sizes

Edelkrone Wing now comes in 3 sizes

The world’s most compact solution when it comes to moving a camera like a slider does, the edelkrone Wing, has new versions, adapted for smartphones and professional cinema cameras up to 15lb (7kg).

Presented as the key for a new age in cinematic motion, the edelkrone Wing, launched in August, offers users a perfect straight line for their camera to glide on, without the need to carry around a camera slider. The idea is excellent, especially for people that need to carry their gear on a backpack. The original edelkrone Wing, with a weight of 1.2lb (0,54kg) and dimensions of 147 x 45 x 86 mm, the Wing offers extreme portability, while giving users a “virtual” 16 inches (40cm ) slider.

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Although an ingenious solution, the original Wing has limitations, so edelkrone went to the drawing board and created two new models. In fact, the first model can only take cameras up to 3.3 lb (1.5kg), limiting the potential of the accessory. At launch it was compared to the SliderONE, which offers only 6cm or 15cm of camera travel but can carry equipment up to 20 lb (9.07kg).

The new edelkrone Wing now comes in three sizes, Wing 3, Wing 7 and Wing 15. The Wing 3, which is similar to the original, is no bigger than your phone, can carry cameras up to 3 lb (1.4 kg) as a weight of 1.2 lb (540 g). It offers, as the other models, a camera travel of 1.3 ft (40cm).

The new Wing 7 is announced as a go-to slider, lightweight and able to carry DSLR rigs and medium-weight cameras. In terms of specifications, it can carry up to 7 lb (3.2 kg) and has a weight of 3 lb (1.4 kg). Then comes the Wing 15, conceived to carry professional camera equipment, with a recommended camera load of no more than 15 lb (7 kg). Its weight is 4.4 lb (2 kg).

Edelkrone Wing now comes in 3 sizes

The three models come with a friction adjustment system, for silky smooth and consistent glides, and the Wing 7 and Wing 15 have a safety lock mechanism to prevent involuntary movement of set during transport.

While the concept is really interesting, it should be noted that the movement of the camera is manual, and only a real world test will confirm the smoothness of movement suggested in the video. If it works as promised, this is, no doubt, an interesting option to consider, although the prices asked by edelkrone are considered “high” by some people.

The Wing 3 costs EUR 299.99, the Wing 7 EUR409,99 and the Wing 15 EUR589.99, prices without taxes.

Sigma Cine lenses available December

Sigma Cine lenses available December

Sigma demonstrated for the first time to the public in the United States, during PhotoPlus Expo, the Sigma Cine family of products, designed for 6 and 8K cinema production.

The new family starts at a fast pace, one could say, with two lenses Cine High Speed Zoom 18-35mm T2 and 50-100mm T2. These lenses offer a constant aperture of T2 throughout the zoom range, and, adds Sigma, “their outstanding optical performance makes them fully ready for high-resolution shooting in 6K-8K. While offering the highest image quality in their class, these zoom lenses are compact and offer amazing value.”

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The High Speed Zoom is designed for E, EF and PL camera system mounts and Sigma indicates that these lenses and in fact the whole family has been tested for compatibility with each brand of cinema cameras. The family of Cine lenses includes two other segments, the Cine FF Zoom Line and the Cine FF High Speed Prime Line. The whole family was presented to the attendees of the 2016 PhotoPlus Expo, held at the Javits Convention Center in New York City this October.

The Cine FF Zoom Line includes only one lens now, the 24-35mm T2.2 FF. Compatible with a full-frame image sensor, the FF Zoom’s outstanding optical performance also supports 6K-8K shooting. Because so few lenses cater to the requirements of the latest digital cinema cameras’ image sensors, this line provides a rare option for cinematographers, says Sigma. The FF Zoom is designed for E and EF camera system mounts.

Sigma Cine lenses available December

The top of Sigma’s offer is represented by the Cine High Speed Prime lineup, which includes a whole series of lenses, offering extended coverage and multiple creative options. The line includes 20mm T1.5 FF, 24mm T1.5 FF, 35mm T1.5 FF, 50mm T1.5 FF and 85mm T1.5 FF. Highly compact and compatible with full-frame sensors, these lenses offer superior resolution. They bring a consistent level of light to the production, offering greater consistency to any film’s color, contrast and overall look before it enters post-production. The FF High Speed Prime line is designed for E, EF and PL camera system mounts.

With these lenses Sigma intends to extend to the Cinema industry the outstanding optical design of the company’s world-renowned Global Vision still photography lenses. The Sigma Global Vision, introduced in 2012, offers three distinct lens lines: Art, Contemporary and Sport. Designed for industry camera mount systems including Canon, Nikon, Olympus, Pentax, Sony and Sigma, each lens is handcrafted and tested in Japan to ensure a high-performance, premium product that is purpose-built to last. Now Sigma takes that experience to the moving pictures. Combined with the 100% new mechanical lens body design, the Cine lenses meet needs of advanced 6k and 8k cinema production with the core optical quality DNA that has defined the Sigma benchmark of imaging excellence.

Sigma Cine lenses available December

Coming from Sigma it should not be a surprise, but it is always good to know that the Cine lenses are also covered by the Mount Conversion Service. Successfully implemented for their still photography camera lenses, this service allows users to convert their lenses to and from EF and E-mounts (charges apply). If the camera system changes, it is possible to simply convert the mount system to continue using the high-performance Sigma lenses.

Available lens mounts are the Canon EF mount, which is used on the majority of digital cinema cameras, and the Sony E-mount, which is used on the Sony FS series. All lenses in the lineup may also be used on still cameras with the compatible mount for outstanding DSLR movie shooting. It should be noted, though, that the 24-35mm T2.2 FF is not available in PL mount.

Follow the link to read more information about the Sigma Cine lenses.