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?
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 I can reveal a leaked slide-show shows 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).
The South Korean film industry is behind a push into anamorphic lenses.
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…
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.
For his upcoming snowy western Tarantino unearthed special cameras and 1.25x anamorphic lenses at Panavision which hadn’t seen the light of day since 1965.
The film was shot on 65mm film and will get a ‘Roadshow’ release on Christmas day in amazing 70mm.
SLR Magic today unveiled a set of 2x anamorphic prime lenses designed for indie filmmakers. The set comprising of a 35mm, 50mm and 70mm will be on show at IBC in Amsterdam from September 11-15th 2015 and later in New York at the Photo Plus show (Panasonic stand).
I have been out shooting with the SLR Magic Rangefinder.
- It completely takes over focus from any lens
- Solves lens breathing (reduces to such low level it isn’t noticeable)
- Adds cinema standard 240 degrees focus ring with FF gearing and hard stops
- Reduces minimum focus distance of all anamorphic lenses to 1m (even long-throw projector lenses)
For those who shoot anamorphic especially this will be music to your ears. These shooters will also be familiar with diopters, which are used to correct aberrations and achieve very close focus. Effectively the SLR Magic Rangefinder is a variable diopter and thus a rather brilliant concept as it is capable of taking over focus from the taking lens entirely from 1m (3ft 6″) to infinity.