anamorphic

What’s the story behind Schneider Kreuznach’s return of the Iscorama?

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The famous Iscorama 54 is making a comeback. A small number of lenses are being made available for rental only. The Iscorama 54 anamorphic adapter appears to be identical in design to the original, other than the cosmetic appearances of the lens housing. In the rental kit, it’s being paired with spherical taking lenses by a Hong Kong company, which is interesting as Schneider Kreuznach could have paired it with their own cine lenses but chose not to.

So here’s the big question – is the “new” Iscorama 54 a freshly manufactured piece, or did Schneider Kreuznach find some new-old stock and give them a fresh lick of paint?

EOSHD investigates.

Read moreWhat’s the story behind Schneider Kreuznach’s return of the Iscorama?

Preview – Anamorphic goes medium format with Fuji GFX 100 and a look at the Leica SL2 5K 4:3 mode

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This will be a short introduction before I get down to shooting with the beasts you see above.

On the left we have the Leica SL2, which features a 5K anamorphic mode (4:3 aspect ratio) that records in 10bit LOG format.

On the right we have the Fujifilm GFX 100 which is my first medium format camera that has been useful for cinema. However one ingredient has been missing with medium format and that is anamorphic!

Read morePreview – Anamorphic goes medium format with Fuji GFX 100 and a look at the Leica SL2 5K 4:3 mode

A monstrous Fuji X-T4 is coming, rumoured to shoot 6K/60p with anamorphic mode and IBIS – The “X-H2” we always dreamed of?

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Fuji X-T4

Rumours have gained pace all over the place about the X-T4 and the discontinuation of the X-H2. I have to say this makes perfect sense if the X-T4 is going to be an X-H2 anyway in video terms. 10bit 6K/60p anyone?

Read moreA monstrous Fuji X-T4 is coming, rumoured to shoot 6K/60p with anamorphic mode and IBIS – The “X-H2” we always dreamed of?

Fujifilm hint at 44×33 large format “GFX-H100” filmmaker’s camera / open gate 4K3K

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With Canon debuting the C500 II today, demand for a full frame in a C-series body is clearly there but Fujifilm is looking further into to the future. Their X-Trans IV sensor technology has already debuted in the GFX 100 and X-T3 but there is a slideshow which shows how Fujifilm might be taking the technology much further than we believed…

A large format 44×33 camera optimised for open gate 4K3K RGB (perfect for an anamorphic mode).

Read moreFujifilm hint at 44×33 large format “GFX-H100” filmmaker’s camera / open gate 4K3K

Panasonic GH5 Review and exclusive first look at Version 2.0 firmware

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Firmware 2.0 for the Panasonic GH5 has been officially announced, and will be available for download at the end of September 2017. View the full press release and list of changes here

I’ve been testing a pre-production version of this on my camera thanks to Panasonic, to bring you my first impressions of the new features which include:

  • Professional 400Mbit ALL-I intraframe codec for 10bit 4K 4:2:2
  • “Open Gate” High Resolution Anamorphic Mode (4992 x 3744)
  • Hybrid Log Gamma with view assist feature for HDR shooting
  • New and improved autofocus engine for video
  • Performance optimisations and bug fixes

Read on to find out what it’s like to shoot with…

Read morePanasonic GH5 Review and exclusive first look at Version 2.0 firmware

SLR Magic Anamorphot CINE PL Set 35/50/70 – a shoot in London and Brighton with the Sony A7S II and Samsung NX1

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[vimeo]https://vimeo.com/159699501[/vimeo]

The new titanium PL mount SLR Magic Anamorphot cinema lenses are designed for RED users, Canon and Arri professionals. They’re also a great fit for the Sony A7S II and Samsung NX1.

Read moreSLR Magic Anamorphot CINE PL Set 35/50/70 – a shoot in London and Brighton with the Sony A7S II and Samsung NX1