This is the Sony FS7

The Sony FS7 is Sony’s next e-mount Super 35mm camera, shooting 4K XAVC. Thanks to the E-mount you can use Canon EF lenses on it and the Metabones Speed Booster for when a full frame look is required. It has a 180fps slow mo mode, with an ergonomic design much improved and closer to the Canon C300, with top handle, top mounted LCD and built in ND filter. It really looks like Sony are going after the C300 market with this and it’s arguably going to be a much more capable tool. I’m impressed!! The camera will be announced today (Friday) … Read more

World premiere – SLR Magic APO 50mm T2.1 PL mount cinema lens

SLR Magic APO HyperPrime CINE 50mm T2.1

Hong Kong, China (September 12, 2014). SLR Magic will present a new CINE lens to the public from the APO-HyperPrime lens family in the upcoming Photokina 2014 fair in Cologne at the SLR Magic booth (Hall 5.1, L-011). The SLR Magic APO-HyperPrime CINE 50mm T2.1 is the first lens of the family. It achieves outstanding images under challenging lighting conditions. When taking pictures with many image-dominant, open light sources, it is common for correction defects to show up. Because the SLR Magic APO-HyperPrime CINE 50mm T2.1 is an apochromatic (APO) lens, longitudinal chromatic aberrations are corrected by its unique optical design and special selection of optical elements. The color defects are therefore significantly lower than the defined limits. Bright/dark transitions in the image, and especially highlights, are rendered with no colorful artifacts.

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Pictured: Venerable 5D Mark II used on new Mad Max movie

5D Mark II - Mad Max Fury Road

The old 5D Mark II has had an outing on the long-delayed new Mad Max movie as a “semi-disposable stunt camera”. The DSLR was chosen as a proven work-horse crash-cam despite being released way back in 2008. Principal photography for the film completed in December 2012 but ended way over budget and recently underwent various re-shoots, pushing the release date from 2013 to May 2015.

The 5D Mark II is a very old model by 2014 standards but I’m actually not surprised it still gets some very nice work in the film industry. I’m working on updating my 5D Mark III raw shooter’s guide with the intent to provide a version for 5D Mark II users and in the process discovered something very interesting about how the models compare… More on that in a moment.

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