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.
The strange saga of 4K on the Olympus E-M1 continues!
Both myself and 43Rumors have independently received proof the 4K firmware update actually exists, despite other sources claiming it doesn’t.
These look like they’re going to be a great rental option for creative filmmakers looking for that dreamy low light look. Hawk, famous for their anamorphic lenses have launched a new range of standard spherical cine glass. The aperture is F0.95 following in the footsteps of Voigtlander with their 25mm and 17.5mm for Micro Four Thirds.
Unlike Voigtlander however, Hawk have gone all out and done a massive range of lenses which cover Super 35mm in PL mount. There’s not only a 17.5mm and a 25mm but a 21, 25, 32, 40, 50, 65, 90 and a 120.
I also recommend checking out the SLR Magic T0.95 50mm for those with low light kings such as the Sony FS100. Leica M easily adapts to E-Mount. The Hawks however are PL so you can use them on the other low light king, the Canon C300.
The Leica M Noctilux which costs $11,000 is a full frame F0.95 photographic lens. The SLR Magic HyperPrime CINE T0.95 is a full frame F0.92 lens designed for cinematographers with Leica M mount which retails for $3,000 – a third of the Noctilux.
It is quite a different lens to the Voigltander Nokton 25mm F0.95 for Micro Four Thirds. It covers a full frame sensor and APS-C mirrorless cameras like the Sony FS100 and NEX 7 whilst the Nokton vignettes on anything larger than Micro Four Thirds. I shot the above film on the Panasonic GH2 with Iscorama 36 anamorphic attached to the SLR Magic CINE but I am also using it on my NEX 7 and Fuji X Pro 1.
No you are not dreaming!
Finally a new anamorphic offering, these are the first images of a modded cine-Iscorama. The lenses are built in England by Alan, a cinematographer.
Only 8 exist. Above is the REDSTAN Iscorama 001.
An interesting precursor to a Canon Super35mm 4K cinema camera? Well, they have just announced the lenses for one.
Canon have produced two new very high end PL mount cinema zooms for use with PL mount digital cinema cameras like the RED Epic, Arri Alexa and Sony F35. These are Über High End expensive professional movie making zooms.
Get it on EOSHD’s Rare.eBay.Finds
Before DSLRs, when was the last time the worlds of cinema and SLRs merged?
Last week I had my eyes opened by a cinematographer friend who told me about a time during the 1970s (the golden age of cinema) when Leica got in on the game and produced a movie camera.
It appears the Sony F3’s sensor has a few tricks up it’s sleeve relative to the cheaper AF100.
Sony Japan say their Super 35mm Exmor CMOS in the upcoming F3 is completely new and has pixels which are 4x the size of typical DSLR CMOS ones. Approximately 12 microns sized versus as little as 3 microns on APS-C DSLRs (according to Sony).
The Canon 5D Mark II has a much larger sensor but 22MP. That one works out at 6.4 microns, so even against that beast the F3 comes out with twice the light capturing capabilities per pixel.