NEW Sony A7 Mk111…Price $2000

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Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today introduced yet another impressive addition to their full-frame mirrorless camera lineup, the α7 III (model ILCE-7M3).

Sony’s unmatched innovation within the image sensor space is at the forefront of the new α7 III, as it features a brand new 24.2MPi back-illuminated Exmor R CMOS image sensor with increased sensitivity, outstanding resolution and an impressive 15 stopsii of dynamic range at low sensitivities. By combining this sensor with a variety of impressive features including extreme AF coverage of 93%, fast shooting at up to 10 fpsiii with either mechanical shutter or silent shootingiv, diverse 4Kvivideo capabilities and more, Sony has created a new tool that gives all types of creators – from enthusiast to professional – the ability to capture content in new and different ways than they ever have before.

“We are continually pushing to deliver more for our customers – more versatility, more functionality and most importantly, more innovation,” said Neal Manowitz, Vice President of Digital Imaging for Sony Electronics. “With the new α7 III, we’ve taken many of our newest and most advanced imaging technologies from the acclaimed α9 and α7R III models and paired them with an all-new 24.2 MP back-illuminated sensor to deliver the ultimate full-frame camera for enthusiasts, hobbyists and professionals alike. It’s a camera that punches far above its weight class in every capacity. Combined with our impressive selection of 26 native full-frame E-mount lenses, it provides a level of performance that is simply unmatched in the industry.”

The newly developed 24.2MPi back-illuminated Exmor R CMOS image sensor is paired with a front-end LSI that effectively doubles the readout speed of the image sensor, as well as an updated BIONZ X™ processing-engine that boosts processing speed by approximately 1.8 times compared to the α7 II. These powerful components work together to allow the camera to shoot at faster speeds while also enabling its impressive ISO range of 100 – 51200 (expandable to ISO 50 – 204800 for still images) and an overall 1.5 stopix improvement in image quality. The camera also features a massive 15-stopii dynamic range at low sensitivity settings, ensuring outstanding overall performance at all settings and in all shooting conditions, with significant advancements in accurate color reproductions of skin tones and the vibrant colors of nature.

This new full-frame model can also output 14 bit RAW format [ix] even in silent and continuous shooting modes, and is equipped with a 5-axis optical image stabilization system that results in a 5.0 stepv shutter speed advantage.

The innovative new α7 III full-frame mirrorless camera features a level of AF performance that has been largely improved over the α7 II, including the addition of 4D FOCUS™ capabilities. The new camera has 425 contrast AF points that work with a 693-point focal-plane phase-detection AF system inherited from the acclaimed α9 model. This innovative AF system covers approximately 93% of the frame, ensuring reliable focusing and tracking for even the most difficult to capture subjects.

AF response and tracking has also been greatly improved in the new camera, with almost 2xii the focusing speed in low-light condition and 2xii the tracking speed compared to the previous model as a result of the faster image sensor readout. This allows complex and unpredictable motion to be captured with far greater precision and accuracy.

The acclaimed Eye AF feature is also available in the new camera, even in AF-C mode, which is extremely useful for situations where the subject is turning around, looking down or otherwise obstructed. It also works when the α7 III is being used with Sony’s A-mount lenses with an optional LA-EA3 adaptor [x]. Additional improvements in focusing flexibility include the addition of a multi-selector or ‘joystick’ for moving focusing points quickly, the addition of touch focusing capability, AF availability in Focus Magnifier mode, an ‘AF On’ button and much more.

The new α7 III is an outstanding video camera as well, offering 4Kvi (3840×2160 pixels) video recording across the full width of the full-frame image sensor. In video mode, the camera uses full pixel readout without pixel binning to collect about 2.4x [xiii] the amount of data required for 4K movies, and then oversamples it to produce high quality 4K footage with exceptional detail and depth.

An HLG (Hybrid Log-Gamma) [xiv] picture profile is available on the α7 III as well, which supports an Instant HDR workflow, allowing HDR (HLG) compatible TV’s to playback beautiful, true-to-life 4K HDR imagery. Further, both S-Log2 and S-Log3 are available for increased color grading flexibility, as well as Zebra functionality, Gamma Display assist and proxy recording. The camera can also record Full HD at 120 fps at up to 100 Mbpsvi, allowing footage to be reviewed and eventually edited into 4x or 5x slow motion video files in Full HD resolution with AF tracking.

  • Newly Developed Full-frame 24.2MP[i] Back-Illuminated Exmor R™ CMOS Image Sensor with Evolved Image Processing
  • Wide ISO range of 100 – 51200 (expandable to ISO 50 – 204800 for still images) and 15-Stop[ii] Dynamic Range at low sensitivities
  • World Class AF system featuring 693 phase-detection AF points covering 93% ofimage area, 425 contrast AF points and fast and reliable Eye AF
  • Continuous Shooting at up to 10 fps[iii] with either Mechanical Shutter or Silent Shooting[iv] and full Auto Focus/Auto Exposure tracking
  • 5-axis optical in-body image stabilization with a 5.0 step[v] shutter speed advantage
  • High Resolution 4K[vi] Movie Shooting with full pixel readout and no pixel binning across full-width of full-frame sensor
  • The longest rated battery life of any Mirrorless camera[vii] at 710 shots[viii] per charge
  • Upgraded operability and functionality including addition of joystick for adjusting focus points, Dual SD Card Slots, SuperSpeed USB (USB 3.1 Gen 1) USB Type-C™ Terminal and more

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X Effects 14 …Rips (Launch price $39)

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A cracking set of 3D rip effects from idustrial Revolution.

XEffects Rips is a set of titles, effects and transitions for Final Cut Pro X that rip off sections of media leaving behind a paper tear edge.
Each plugin comes with 10 pre-loaded edges that can be offset for a realistic rip. Use any media including video or stills. Available exclusively for Final Cut Pro.

Create some interesting graphics with this set of plugins

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NYC at night shot with Panasonic GH5S

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Some great night footage of New York shot with a Panasonic GH5S

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New Fuji X-H1 stills/movie flagship !

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I can’t understand why this is promoted as a movie flagship camera when it clearly has problems recording beyond 15minutes, this is a bad limitation for any movie camera.

Having no headphone socket, how can you produce any dialogue with no sound monitoring.

When you compare this to a Panasonic GH5 for video there is no comparison, why do manufacturers not see this.

Update : I have just been informed that you get a headphone socket when you buy the optional battery grip and extended 4K video filming as well.

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ADVERT…Being creative on St. Valentines day with Production Gear

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Sorry had to show this from my mailing list…The lads at Production Gear are at it again with this well chosen wording to celebrate St. Valentines day.

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Panasonic GH5 focusing quicker with lens adapters

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Photo © Cinema 5d

Before we all get too exited this fix only works with lens adapters and at 25p and has no effect on Lumix lenses. I do not work with angles as I prefer shutter speeds but the fix also works with Syncro scan switched on.

I did not appreciate the way this news was and is being presented as its only useful for anyone using lens adapters, this is not apparent till you watch the video.

Here is the original video posted by YodaYeo the chap who discovered the solution my thanks to Timothy Bates for sending me this link.

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User Review NEEWER Follow Focus £39 plus an extra £12 for alternative gears.

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Can you get quality for less than £40 in the film industry, well it seems so with this NEEWER Follow Focus unit, very impressive, apart from the lens gear ring.

My JVC LS300 is heading over to Arran to film a pilot comedy film in 4K 25p and I thought a follow focus unit would make it easier to use.


I am using a older Nikon 24-85mm zoom lens which will give an equivalent field of view on the Super 35mm sensor of 36-127mm (1.5x).

Back to the gear ring that comes with the Neewer Follow Focus unit, shocking design. As you can see it has not got the ability to adjust to fit the diameter of the lens and sits proud of the lens.

Fortunately scanning Amazon I found this properly adjustable gear ring from Movo, you get a set of 3 for just over £12 a 67mm, 75mm and an 85mm. I like the way the plastic grips and cushions the lens barrel.

As you can see the Neewer follow focus works well with the MOVO gear ring.

You even get adjustable end stops allowing you precise pull focus positions.

Having had a loan of a £600 Cambo follow focus in the past I was very reluctant to buy the Neewer as I was not expecting much for my money. To my surprise it was a lot better than I had anticipated.

I did try it on my Panasonic GH5 but with the fly by wire focusing you don’t get the same definitive end stops of a manual lens although it did work I prefer to use it with the JVC LS300.

Marks out of 10…I will give the Neewer Follow Focus a 9 out of 10 losing one point for the badly thought out gear ring.

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One of my all time favourite lenses is my Sigma 18-35 f1.8 ART lens with my Metabones adapter on my GH5. Although this is an older story its worth another look as the line up of cinema lenses is fantastic.

SIGMA timed the announcement of its new line of cinema lenses, the ‘SIGMA CINE LENS’, in conjunction with the broadcasting general trade show; ‘IBC’ ( International Broadcasting Convention) held in Amsterdam, the Netherlands on the 7th September 2016. We had heard of stories for some time that SIGMA lenses had become a favorite among many users who customized their interchangeable photographic lens (‘still lens’), alternatively using them in film production shoots. We gained a reputation for our ‘motion picture lenses’ from professional users around the world, particularity through the outstanding optical performance of the Art line. Its innovative image quality that SIGMA pioneered shone through in a world of remarkable high-resolution digital photography and performance-centered lenses.

When the 18-35mm F1.8 DC HSM | Art, the world’s first F1.8 zoom lens, was announced in 2013, it was only in the United States that indicated very high sales. After investigating as to the reason why, it was the feedback of the people working in motion pictures who told us the lens was “amazing” and had used it regularly for their work. We had not originally intended for this lens to be used for the purpose of motion pictures and we remember being taken back by this revelation at the time. CEO of SIGMA Kazuto Yamaki, who took the lead in this project, recalls to us about what prompted bringing SIGMA to “cinema”

“The mere mention of movie-making equipment from the past would bring to mind equipment made according to enormous Hollywood budgets, a very special world beyond our reach. As well as there being a small number of manufacturers and choice available, they were incredibly expensive. It was with the advent of shared video content services like Youtube thriving over the past 10 years that the game has greatly changed. Content like web promotion and video clips for music and videos have become the norm. And at the same time, there has been an increase in individual and small-scale productions, that is to say the stage of the so-called independent producers has become bigger”. “One of the factors that has lead this change is the evolution of filming functions on SLR cameras, and the rise of small yet high-performing digital cinema cameras. The price of one camera in Hollywood was on a par with a high-end imported car. In other words, in a world where it was common knowledge that movie cameras would cost more than $100,000, it could be said that a rather drastic change in price has occurred.

It was the introduction of innovative cameras, with outstanding high-quality imaging, that has changed the situation. The cameras are also at a much more reasonable price than what is expected from a camera with a seamless balance of data handling and compactness. In the movie making industry, equipment is judged on the basic premise that “price of equipment equates to performance”. Without an ample budget, there was the problem of not being able to get hold of good quality equipment. With these digital cinema cameras becoming more prevalent, the doors have opened where even with a small scale budget, a movie with high-performance equipment and high-production values can be made.

CEO of SIGMA Kazuto Yamaki

“This technological innovation in cameras designed for cinema would bring a positive influence on both the market and overall artistic expression. We felt that with the rapid progress made on the one hand, the lenses were not keeping up with the evolution of cameras. Around the same time, we were asked by those in the industry around the world as to why SIGMA did not make interchangeable lenses for cinema (‘CINE LENS’). In a world where a single lens can cost anywhere between a few thousand dollars to a few ten thousand dollars, performance dictates price where even renting something for only the occasions it was needed would multiply and pile up the costs. We sensed the load being borne on the financial side of video production was a pressing issue to address.”

In a world that places demands on the quality of a single frame, SIGMA had gone ahead and delivered the high-performance Art line series of lenses for high-resolution photography. So for SIGMA, who had established the developmental know-how and mass-production technology to achieve this, there was no technological hurdle to overcome to develop the CINE LENS. As Yamaki explains, “Of course, we could develop a dedicated cinema lens, but the market was so small that to start from zero would not be effective for mass-production. However in regard to the development of the optics, the most important and difficult component with the biggest impact on cost, we copied the existing high-performance Art lens we had available. By configuring the mechanical structure toward cinema, we were confident we could make a landmark lens that combined the high standard of Art with compactness at the minimum of cost.

Sigma now have a full compliment of lenses from a 14mm T2, 20mm T1.5, 24mm T1.5, 35mm T1.5, 50mm T1.5, 85mm T1.5, 135mm T2 and three zoom lenses 18-35mm T2, 50-100mm T2 and finally the 24-35mm T2.2

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GH5 Faults “Playback button live during a recording”

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Can you believe this major fault found only by accident by a colleague of mine during a live theatre show.

He was filming the show as a 3rd camera and accidentally pressed the green playback button when the GH5 stopped recording and went into playback mode.

This has be be one of the worst mistakes I have found with the GH5 so far and Panasonic need to urgently address this with a firmware update.

As it was a 3rd camera there will be no consequences to his recording but had it been a single camera it would have been a disaster.

The same happens with the GH5S as well !!!

It has been pointed out to me this problem has existed over a few incarnations of the GH line from the 3,4 and now 5. This is no excuse for sloppy engineering, if Panasonic want the GH5 to be taken seriously within the video world then a simple menu addition needs to be added allowing users to deactivate the playback function during recording.

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NEW at BSC Expo the Arri Alexa LF €76,434 excl.vat

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Meanwhile back to a new expensive camera from Arri the Alexa LF, not sure if it should have been LP (Large Pockets). At a whooping €76,434 excl. vat you need to be producing something special to afford this camera.

Arri introduced the new system today at London’s BSC Expo, and claims the new system is smaller and lighter than current full frame models. The camera’s sensor measures 36.70 x 25.54mm and uses 4448 x 3096 pixels – all of which users will be able to utilize in open gate mode. When used in 16:9 mode a 31.68 x 17.82 mm area is exposed with a full 4K resolution of 3840 x 2160 pixels. This is a 36.3mm diagonal, so is fully compatible with lenses such as Zeiss’s Compact Prime and Cinema Zoom series of lenses.

A 2.39:1 ratio mode uses 4448 x 1865 pixels and a 39.8mm diagonal.

In all of these modes the camera can shoot at up to 90fps in Arriraw, but it can manage 150fps when used in 2.39:1. Arri says the sensor has an exposure latitude of ‘14+ stops’.

A new lens mount has been introduced with the system that uses a wider throat and a shallower flange so that lenses can be made with large maximum apertures that would not be possible with the narrow throat of the PL mount. It should also allow lenses to be slightly smaller and lighter. The LPL (‘Large PL’) mount is 62mm in diameter and has a depth of 44mm, so existing PL lenses can also be mounted via an adapter. Arri says it is making the LPL available under licence to other camera manufacturers and third party lens makers.

Its own collection of Arri Signature Prime lens system will comprise 16 lenses of between 12mm and 280mm. All will have a maximum aperture of T1.8 and will be compatible with the new LDS-2 lens data protocol, which Arri says it will also license. The mount will be able to read data from LDS-1 and /i lenses.

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