SIGMA Welcomes New Line of Full-Frame Classic Art Prime Cine Lenses; Launches /i Technology-compatible Cine Art Prime PL mount lenses; and Announces SIGMA Mount Converter MC-31; See Them All at IBC 2019
September 10, 2019
Sigma Corporation today made the following announcements:
Introduction of the new series “Full-Frame Classic Art Primes” to the lineup, a new solution from SIGMA that meets the most advanced technological demands for classical expression; Compatible with Cooke’s /i Technology communication protocol, these lenses are ideal for shooting and editing with the latest imaging technology
Launch of new Art Prime PL mount lenses that support Cooke Optics’ /i Technology communication protocol in the latest addition to the SIGMA Full-Frame High Speed Prime Line.
The development of SIGMA MOUNT CONVERTER MC-31, a converter that allows PL mount lenses to be used on L-Mount cameras.
SIGMA’s new “Full-Frame Classic Art Prime” offers unrivaled expression for artists SIGMA’s answer to the demand for a classic, cinematic look from a prime lens is the brand new Full-Frame Classic Art Prime Line, compatible with 8K shooting with large format sensors, while achieving outstanding compact design.
The new Irix Cine 11mm T4.3 will be offered in following lens mounts: Canon EF, Sony E, MFT and Arri PL. Price will be announced soon.
Press release:
Irix Cine 11mm T4.3 into the art of cinematography
IRIX, known for high mechanical and optical quality, pleasantly presents the 11mm T4.3 – the second full frame lens from it’s new cinematography line. Enjoy the new perspective of super panoramic film shots made with Irix Cine lens!
Irix 11mm T4.3 is the second unique lens from the new Cine line. Its extremely short focal length, rectilinear image projection and the large image circle of 43.3mm (covering the full frame format) make it one of the most outstanding cine lenses on the market. Depending on the diagonal of the sensor, the lens can provide a moderate wide angle of view for classic wide-angle shots or super-panoramic 123 degree viewing angle in a 2.39:1 widescreen format. Irix 11mm T4.3 thanks to its unique parameters, provides perspective not available in film optics, thus releasing creativity in creating dynamic shots.SAR
The same, but different optics The lens optical system is based on the new optical formula, developed especially for cinematic purpose. It consists of 16 optical elements, which four are made with high refractive index (HR) glass, three other have aspherical surfaces and last two are made with low-dispersion glass (ED). The use of large front lens and other special glass elements provides crisp cinematic shots in a resolution up to 8K while keeping the focus “breathing” effect at the lowest level. The lens offers large maximum T number of 4.3 which can be reduced to T22, thanks to rounded shape of iris blades.
Functional and highly innovative When designing the lens mechanical system of 11mm T4.3, we used newly developed technical solutions that have been successfully implemented in the Irix Cine 150mm T3.0 lens. The new Multi Start Thread focusing mechanism allows quiet and precise focusing even under adverse weather conditions such as rain, humidity or extreme temperatures. The focusing geared ring rotates 180 degrees and depending on the lens version, has focusing scale with metric or imperial units.
Thanks to the another innovative solution like adaptive ring, the Irix Cine 11mm T4.3 ensures great ergonomics of operation both by hand and with follow focus mechanism. Moreover, despite of the very short optical system layout, geared rings of focus and aperture were placed at the same height as in other Irix Cine lenses – all for better ergonomics and more intuitive use.
The exceptional functionality are a distinctive feature of all Irix products. The same applies to the Irix Cine 11mm T4.3, whose extremely compact design (weights 1,1 kg) has been also equipped with an innovative Magnetic Mount System for accessories. The MMS system allows quick and easy attachment of variety dedicated accessories. The lens hood included in the kit with the lens is the first element of the MMS system. The system will be expanded with further accessories in the future.
Prepared for all weather conditions The ultra wide field of view of the Irix 11mm T4.3 means that its natural work environment is outdoor. It’s durable magnesium housing and numerous rubber seals guarantee the safety of both the optical system and the camera sensor in an every weather conditions.
Designed to work in accordance with film industry standards The 11mm T4.3 is another lens of the Irix Cine line that proves that newest technical solutions can perfectly harmonize with well-established film industry standards. The lens has a front flange with a diameter of 95mm and geared rings in the Mod 0.8 standard, which ensures its compatibility with most cine gear accessories. Attention to maintaining the standard also applies to the family of Irix cine lenses whose geared rings are in the same position and have unified rotation angle.
Irix Cinematic The new line of Irix Cine Lenses is created in close cooperation with professional filmmakers; their ideas and suggestions were an important factor in the design process. The designers earlier experience in the field of photography led us to create new and better solutions for the Irix Cine products.
Available camera mounts The new Irix Cine 11mm T4.3 will be offered in following lens mounts: Canon EF, Sony E, MFT and Arri PL.
Price and availability The price and availability of the Irix Cine 11mm T4.3 lens will be announced shortly.
Canon announces the CJ15ex4.3B – a 4K broadcast portable zoom lens with class-leading magnification and wide-angle focal length
London, UK, 5th September 2019 – Canon Europe today announces the expansion of its industry-leading 4K broadcast lenses for 2/3-inch sensor cameras with the launch of the CJ15ex4.3B. Offering the outstanding optical performance known of Canon’s UHDxs series, the class-leading CJ15ex4.3B supports a maximum zoom of 15x and a wide-angle focal length of 4.3mm. Now a Canon lens for every broadcast filming scenario, this lightweight (2.19kg) and compact lens enables broadcasters to achieve 4K optical performance, even with its built-in 2x extender, ensuring footage is of the highest resolution – from the centre of the image to the very edges. With viewer demands for 4K content rising, the CJ15ex4.3B is the ideal choice for broadcasters looking to future-proof their content when upgrading to 4K systems and workflows.
Canon announced the Canon Cinema EOS C500 Mark II. Preorder it at Adorama or B&H Photo.
Press release:
Canon launches the EOS C500 Mark II – a compact and versatile 5.9K Full Frame next generation Cinema EOS System camera
London, UK, 5th September 2019 – Canon Europe today releases its next generation Cinema EOS System camera – the EOS C500 Mark II. Created with the expertise and technical knowledge at the heart of Canon’s innovative products, and built on the foundations of Cinema EOS System, the EOS C500 Mark II is a compact and versatile 5.9K Full Frame camera. The EOS C500 Mark II’s impressive Full Frame sensor, developed and built by Canon, is powered by Canon’s new DIGIC DV 7 processor. Supporting 5.9K internal Cinema RAW Light and 4K 4:2:2 10bit XF-AVC recording, this camera enables professionals to creatively explore Full Frame, cinematic image. It is the first camera in the range with the ability to record 5.9K Cinema RAW Light onto new, faster storage media – CFexpress cards. Providing professionals with greater flexibility and efficiency, simultaneous recording of the same file format is also possible to dual CFexpress card slots.
The compact size of the camera provides cinematographers with unparalleled creative freedom. With its flexible, modular design, professionals can configure the camera with different expansion units to suit production requirements. The EOS C500 Mark II is the first Cinema EOS System camera to feature a user interchangeable lens-mount for EF Cinema Lock, and PL, giving professionals a wide variety of lens selection. It is also the first Cinema EOS System camera to support Electronic IS.
Breathtaking Full Frame image quality
Featuring Canon’s 5.9K Full Frame CMOS sensor, the EOS C500 Mark II provides a cinematic, immersive Full Frame look combined with Canon’s natural, smooth skin-tone and faithful colour reproduction. Thanks to the 5.9K sensor and the newly developed DIGIC DV 7 processor, the EOS C500 Mark II is an ideal choice for professionals looking to produce content in top quality 4K as it uses a high-quality debayering algorithm when over sampling 5.9K into 4K. This suppresses moiré and reduces noise, resulting in exceptional image quality. With its 15+ stop latitude with wide colour space, the EOS C500 Mark II is perfect for High Dynamic Range Productions. In addition to this, the camera is equipped with a built-in motorised Full Frame ND unit (2,4,6, 81 and 102 stops) making it possible to create images with a shallow depth of field – even in the daytime.
Efficient recording and workflow
The versatile multi-recording format ability of the EOS C500 Mark II provides workflow efficiency to fulfill production requirements. With Canon’s new DIGIC DV 7 image processor, the camera offers Cinema RAW Light internal recording with 5.9K resolution. Cinema RAW Light format has all the benefits of a RAW file in terms of flexibility in post-production yet allows the EOS C500 Mark II to record high quality files in a smaller file size.
In addition to the camera’s ability to record internally onto CFexpress cards in Canon XF-AVC format with 4K 4:2:2 10bit, simultaneous recording as well as proxy recording is possible. This provides professionals with ultimate flexibility, allowing them to choose a recording format suited to their filming and workflow needs. The camera features an advanced 12G-SDI interface which has four times higher transmission speeds compared to 3G-SDI. This 12G-SDI interface enables 4K 50/60p output with a single cable – simplifying 4K workflows. Additionally, the HDMI output allows for 4K 50/60p via a single cable.
Exceptional expandability and versatility for wide production requirements
Cinematographers can configure the camera using two different expansion units – the EU-V1 and EU-V2. Two viewfinders (EVF-V70 and EVF-V50) are also available as optional units. The ability to configure the camera with Expansion Units, along with its compactness and lightweight design, gives cinematographers greater shooting flexibility.
The expansion unit EU-V1 adds a Genlock/Sync BNC interface, Remote B interface for the optional RC-V100 Remote Controller, and an Ethernet interface for IP streaming or browser remote control operation. The EU-V2 expansion unit also includes these interfaces but adds a further two XLR inputs, as well as 12-pin Lens interface. In addition to this, it is equipped with a V-Lock battery mount with D-tap and 24V Power Output.
Stable filming with Electronic IS and Pioneering Auto Focus technology
The EOS C500 Mark II is the first camera to incorporate Electronic Image Stabilization in a Cinema EOS System, providing the camera with 5-axis Image Stabilization. When a lens that supports data transmission is attached, focal length data is automatically received. However, when used with a lens with no lens communication, Electronic IS is possible by manually inputting the focal length. In addition to this, Electronic IS is also compatible with anamorphic lenses.
As with other cameras in the range, the EOS C500 Mark II features Canon’s renowned Dual Pixel CMOS Auto Focus. Offering high-speed One-Push AF and continuous AF, professionals have the reassurance that footage will be focused. They can also benefit from smooth, intuitive touch focus operation with the new LCD monitor LM-V2, as well as the Dual Pixel Focus Guide which notifies professionals where the focus position is, whether it be in front or the back, helping accurate focus control. Additionally, the EOS C500 Mark II has Face Detection AF and Tracking AF, enabling focus control in a variety of filming situations. To further fine tune AF performance, the camera offers the ability to set the AF tracking speed and response.
Additional features for ultimate creative freedom
The EOS C500 Mark II supports user LUTs, allowing cinematographers to apply or customise their own LUTs. Loading them onto the camera for precise-look monitoring, cinematographers can also apply different LUTs for each terminal. With the added LUT button, professionals have greater operational flexibility. The EOS C500 Mark II also includes high frame rate recording up to 50/60 fps in 5.9K resolution with the Cinema RAW Light codec.
Also launching today is the DP-V3120 and CJ15ex4.3B which, along with the EOS C500 Mark II, will be on display, for the first time globally, on the Canon stand (Hall 12, Stand D60) at IBC 2019. The EOS C500 Mark II will be available from December, more information about the new Cinema EOS System camera can be found here: https://www.canon-europe.com/video-cameras/eos-c500-mark-ii/
Use for independent films, documentaries, blogs and more.
Designed from carbon fiber polycarbonate composite.
Multifunction grip allows single hand operation.
2 models with 6K at 6144 x 3456 and 4K at 4096 x 2160.
Compatible with MFT or EF lens mounts.
Wide 13 stops of dynamic range for film looks.
Up to 25600 ISO for incredible low light performance.
Records full resolution up to 60 fps or 120 fps windowed.
Standard open file formats compatible with popular software.
Built in SD, UHS-II and CFast card recorders.
Features incredible quality Blackmagic RAW recording.
Built in 5″ touchscreen allows accurate focus when shooting 6K.
Blackmagic OS as used in URSA Mini and URSA Broadcast cameras.
Includes Blackmagic Generation 4 Color Science.
Features full size HDMI for monitoring with status overlay.
Professional mini XLR input with 48 volt phantom power.
3D LUTs can be applied for both monitoring and recording.
USB-C port allows recording directly to external disk.
Built in timecode generator for sync muli-camera shoots.
Supports still frame capture up to 21.2 megapixel.
Localized for 11 popular languages.
Supports remote camera control via Bluetooth.
Powers via 12V DC input and can recharge via USB-C.
Includes full DaVinci Resolve Studio for post production.
Blackmagic announced the Blackmagic Pocket Cinema Camera 6K with Canon EF mount, and it has a pretty competitive price. Blackmagic Pocket Cinema Camera 6K is available now for US$2,495.
Fremont, CA, USA – Thursday, 8 August 2019 – Blackmagic Design today announced the Blackmagic Pocket Cinema Camera 6K, a new handheld digital film camera with a full Super 35 size 6K HDR image sensor, 13 stops of dynamic range, an EF lens mount and dual native ISO up to 25,600 for incredible low light performance. This new model builds on the popularity of the Blackmagic Pocket Cinema Camera 4K but has a larger Super 35 sensor size with 6K resolution, allowing higher image quality. The EF lens mount model works with a wide range of lenses from companies such as Canon, Zeiss, Sigma and Schneider.
Blackmagic Pocket Cinema Camera 6K is available immediately from Blackmagic Design resellers worldwide for US$2,495.
The elegant design of the Blackmagic Pocket Cinema Camera packs an incredible number of high end digital film features into a miniaturized, handheld design. Made from lightweight carbon fiber polycarbonate composite, the camera features a multifunction handgrip with all controls for recording, ISO, WB and shutter angle right at their fingertips. Because it’s an advanced digital film camera, the sensor is designed to reduce thermal noise allowing cleaner shadows and higher ISO. Plus the large 5 inch LCD makes it possible to get perfect focus at 4K and 6K resolutions.
Featuring a larger 6144 x 3456 Super 35 sensor and EF lens mount, the Blackmagic Pocket Cinema Camera 6K lets customers use larger EF photographic lenses to create cinematic images with shallower depth of field, allowing creative defocussed backgrounds and gorgeous bokeh effects. This means that customers can shoot in 6K and then in post production zoom and re-frame to allow wide shots and close ups to be created, all from a single camera and without losing image quality.
Blackmagic Pocket Cinema Camera 4K and 6K both have an incredible 13 stops of dynamic range which means they preserve more detail in the lightest and darkest areas of an image than simple video cameras can. This allows customers to set exposure for an indoor scene such as a cafe and still retain the details of bright outdoor light coming through a window. Customers even get more colors than the standard DCI-P3 colorspace used for feature films.
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The Blackmagic Pocket Cinema Camera features dual gain ISO up to 25,600, which means both the 4K and 6K models are optimized to minimize grain or noise in images, while maintaining the full dynamic range of the sensor. The native ISO of 400 is ideal for scenes with on-set lighting. The gain is set automatically as they adjust the ISO setting on the camera, so it’s easy to capture great images when they don’t have time to set up lights.
The new 6K model will shoot up to 50 fps at 6144 x 3456 16:9 or 60 fps at 6144 x 2560 2.4:1 and 60 fps at 5744 x 3024 17:9. For higher frame rates they can window the sensor and shoot up to 120 fps at 2.8K 2868 x 1512 17:9. Customers can even work in true anamorphic 6:5 using anamorphic lenses in 3.7K 60 fps at 3728 x 3104.
Blackmagic Pocket Cinema Camera records using standard open file formats so customers don’t have to waste time transcoding media. Recording works in industry standard 10-bit Apple ProRes files in all formats up to 4K or 12-bit Blackmagic RAW in all formats up to 6K. Best of all media files work on all operating systems plus customers can format media cards and disks in HFS+ for Mac and ExFAT for Windows.
The Blackmagic Pocket Cinema Camera features built in CFast and SD UHS-II card recorders, and a USB-C expansion port for recording direct to an external media disk. Customers can use regular SD cards for HD or higher performance UHS-II and CFast cards for native 4K or 6K when using Blackmagic RAW. Imagine capturing over an hour of full resolution 6K images on a single 256GB SD UHS-II card.
Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from their camera. Video formats such as H.264 are highly compressed, plus add noise and weird artifacts, causing original sensor detail to be lost forever. Blackmagic RAW eliminates this problem and gives them stunning images with incredible detail and color throughout the production pipeline from camera to edit, color and mastering. It also saves camera settings as metadata so customers can set ISO, white balance and exposure in camera or override them later while editing, all without any loss of quality. Blackmagic RAW files are also small and fast to use making them easy to work with.
The rear of the Blackmagic Pocket Cinema Camera features a large, bright 5 inch touchscreen that makes it easy for customers to frame shots and accurately focus. It’s like getting a built in Blackmagic Video Assist with their camera. The touchscreen displays critical information while shooting, as well as menus for setting up the camera and intuitive touch to focus controls. On screen overlays show status, a histogram, focus and peaking indicators, levels, frame guides, playback controls and more.
With the advanced Blackmagic OS, customers get an intuitive and user friendly camera operating system based on the latest technology. The interface uses simple tap and swipe gestures to adjust settings, add metadata and view recording status. Customers also get full control over advanced camera features such as on screen focus and exposure tools, 3D LUTs, HDR, metadata entry, timecode, Blackmagic RAW settings and more.
Featuring the same Generation 4 Color Science as the high end URSA Mini Pro G2, the Pocket Cinema Camera delivers stunning, accurate skin tones and faithful color in every shot. Blackmagic Generation 4 Color Science uses a complex dynamic 12-bit gamma curve designed to capture more color data in the highlights and shadows, so they get better looking images. The color science also handles some of the complex Blackmagic RAW image processing, so color and dynamic range data from the sensor is preserved via metadata which customers can use in post production.
The camera includes a full size HDMI connector for monitoring with support for HDR and clean 10-bit output. There’s also a mini XLR connection with 48 volt phantom power for attaching professional microphones, a 3.5 mm video camera style microphone input, headphone connection and a professional locking DC power connector.
Digital film cameras shoot logarithmic colorspace to preserve the dynamic range, which is great for later post production, however when these files are viewed on a monitor they can look flat and washed out. 3D LUTs solve this problem because they allow customers to apply a “look” to the monitor so customers get an idea of how the finished images will look like when editing. The Pocket Cinema Camera works with industry standard 17 and 33 point 3D LUT files, or customers can work with the built in LUTs such as Extended Video, Film to Video, Film to Rec.2020 and more.
Professional cameras include professional features and customers also get a built in timecode generator, allowing shooting with more than one camera while keeping perfect sync. Simply plug in an external timecode generator such as Tentacle Sync into the 3.5 mm audio jack and the camera will automatically detect timecode and lock the internal generator. Now each camera can start and stop recording and all the shots from all cameras will have the same matched timecode. Imagine shooting a music festival with multiple roving cameras. Best of all the new DaVinci Resolve 16.1 will automatically find and sync the shots from all cameras so they don’t need to waste time sorting through thousands of shots.
The Blackmagic Pocket Cinema Camera uses standard removable LP-E6 type batteries and also features a locking DC power connector so they never have to worry about losing power in the middle of a shoot. The included AC plug pack can power the camera and charge the battery at the same time. The USB-C expansion port can also be used to charge the battery from portable battery packs, mobile phone chargers or a laptop computer. Customers can even add an optional Blackmagic Pocket Battery Grip that lets customers use 2 batteries to dramatically extend the power of the camera.
Blackmagic Pocket Cinema Camera 4K and 6K models include a full version of DaVinci Resolve Studio, which is the same software used in Hollywood for creating high end feature films, episodic television shows, commercials and more. DaVinci Resolve features a revolutionary new cut page with intelligent editing tools and innovative new features designed to help customers quickly find the footage customers want, edit it together and output it fast. In addition to the new cut page, customers also get DaVinci’s legendary professional editing, advanced color correction, audio post and visual effects tools, all in a single software application.
“The Blackmagic Pocket Cinema Camera 6K features incredible new 6K imaging and EF lens support that customers have asked for,” said Grant Petty, Blackmagic Design CEO. “It has all of the great features customers love from the 4K model, but now adds an EF lens, increased 6K resolution for even higher quality images and more. Plus, with the built in Video Assist features, customers don’t have to purchase and carry around extra equipment. DaVinci Resolve Studio is also included, making it an incredible all in one solution that enables anyone to be creative and tell a story.”
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