I feel that Sigma are now one of the most innovative of Japanese manufacturers, certainly the most adventurous. Just look at the products.
There are 3 Sigma creations I’ve invested in recently that have blown my socks off and bazooka’d the tea out of my cup…
[youtube]http://www.youtube.com/watch?v=jIFwXztcOzA[/youtube]
This video very clearly shows how impressive the new Kipon EF adapter is for Micro Four Thirds. It is shown working with the Canon 70-200mm F2.8L on the Panasonic GX7. I might even expect performance to be more impressive on the GH4 thanks to its faster AF engine.
Read moreAutofocus is MEGA fast on new Kipon Canon EF lens adapter for Micro Four Thirds
As the megapixel race continues, there’s something the average consumer doesn’t realise. Most of them are walking around with 6MP lenses on their 24MP DSLRs.
[vimeo]http://vimeo.com/116985909[/vimeo]
[pullquote]Comment on the forum[/pullquote]
[pullquote]SLR Magic 10mm T2.1 is currently in-stock at B&H, click here to check current price and full specs[/pullquote]
Two of the most exciting lenses for GH4 and BMPCC users at Photokina were the SLR Magic 10mm T2.1 and the Voigtlander 10mm F0.95. The SLR Magic wide angle is now available and gives you back your 24mm wide-end in 2.3x 4K mode. You could view it as an upgrade to the well regarded 12mm T1.6. Compared to the Voigtlander it has the advantage of less chromatic aberration, a stepless aperture and focus gearing designed for video use. Other than that it’s hard to do a detailed comparison because the F0.95 isn’t out yet!
I put the lens through its paces in Berlin and here are the results.
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.
Read moreWorld premiere – SLR Magic APO 50mm T2.1 PL mount cinema lens
Following in the footsteps of their highly successful 12mm T1.6 wide angle lens for Micro Four Thirds mount, SLR Magic based in Hong Kong have developed a 10mm T2.1 lens, optimised for cinematic use. I’ll be reviewing the new lens very soon on EOSHD, the sample unit having arrived today. This has the potential to be a great wide choice for the GH4 especially in 4K mode where every millimetre counts on that smaller recording area.
As for image quality, I have high expectations for the new lens. The existing SLR Magic 12mm T1.6 is a fantastic lens, very characterful, it will be interesting to see what character and performance the 10mm exhibits. Stay tuned to EOSHD to find out.
Read moreNew SLR Magic HyperPrime CINE 10mm T2.1 lens for Micro Four Thirds (plus ND)
[vimeo]http://vimeo.com/85849379[/vimeo]
Above: beautiful new film from Seb Farges shot with the SLR Magic Anamorphot on the Sony A7 and Olympus E-M5.
SLR Magic have officially announced the Anamorphot developed with feedback and technical assistance from EOSHD and the anamorphic community.
To order: there is currently a pre-order offer for people who follow the Twitter handle @anamorphot and email a screen grab of it to support@slrmagic.com by Feb 14th (GMT +8).
[vimeo]http://vimeo.com/81352789[/vimeo]
(The anamorphic footage starts around 10 seconds in)
The new SLR Magic Anamorphot 50 jointly developed with the help of EOSHD is here in it’s final non-prototype form and I’ve shot the above video with it (Sony FS100). This should give you an idea of how the flare moves around during a shot and the general anamorphic aesthetic you are able to get with the adapter.
Also part of the fun of the adapter is that like the Iscorama it sings with certain lenses, which all have a different look. I’ve been trying it out with a bunch of them…
