On Wednesday, September 6, Sony unveiled VENICE, its latest flagship CineAlta full frame (36mm x 24mm) and S35 motion picture digital  camera at the Cary Grant Theater in Sony Pictures Studios, Culver City, California.

Sony Picture Studios George Leon/Filmcastlive
The evening  presentation started with the introduction of the new VENICE camera features and the showing of  the short film "The Dig"  photographed by Claudio Miranda, ASC and directed by Joe Kosinski, followed by a Q&A panel moderated by Peter Crithary, Sony’s marketing and production manager for media solutions and production technology. The presentation ended at Stage 7 with a hands-on time with the cameras, lenses and workflow demos.

Peter Crithary, Sony’s marketing and production manager, introducing the next generation of CineAlta motion picture camera systems engineered from the ground up with a new ergonomic design, strong build quality, high dynamic range, high speed shutter readout sensor, 24x36mm Full-Frame 6K Sensor in a modular up-gradeable block design, ease of operation menu navigation,  8 step/ 8 stops mechanical ND filters built inside, PL and E lens mount making aspect ratio agnostic, full frame, widescreen, S35, anamorphic and more.

VENICE comes with a 24x36mm full-frame 6K sensor with 15 stops +  of dynamic range and up to a maximum resolution of 6048 x 4032 (firmware update). Also it can be configured to S35 window mode, Super35 18.66 x 24.89 mm, 4096 x 3024 (4-perf film equivalent) and S35 Window mode 14 x 24.89 mm, 4096 x 2160 resolution, similar height as previous Sony CineAlta (3-perf equivalent).

VENICE’s new full frame sensor can capture full frame 24mm high anamorphic, S35 18mm high anamorphic, S35+ 20mm high anamorphic, FF spherical, S35 spherical, S35 14mm high (as in F65, F55), etc. meaning you could use practical any still photo lens out there.

VENICE is the world’s first camera of its class with a servo-controlled 8-step Mechanical ND filter mechanism built into the camera chassis. It offers a massive ND of 0.3 (1/2 = 1 stop) to ND2.4 (1/256 = 8 stops) range that reduces time lost on set changing external filters. The ND filters also greatly increase VENICE’s flexibility when being controlled remotely on drones and cranes, or in an underwater housing.

 VENICE has control displays on both sides of the camera, with the main display on the camera outside for fast access to the camera settings by the camera assistant while shooting. The camera operator’s OLED mini display allows intuitive control of commonly accessed features such as ND filter, shutter, FPS, White Balance and Exposure Index. The control interface is an all-new design based on extensive researches with camera operators.

Interchangeable Sensor Block assembly with full frame sensor and E-mount. This module can be  easily swapped by the user on the field. No camera house services need it. Upgrade to future sensors available by Sony, keeping the camera.

VENICE can record two streams simultaneously onto two separate media cards. RAW or X-OCN on the AXS-R7 as a digital negative and XAVC or ProRes onto internal SxS cards for editing. VENICE will also, with a firmware update, record RAW or X-OCN on the AXS-R7 and XAVC 4K internally at the same time. When not using the AXS-R7, VENICE can record both XAVC 4K and ProRes simultaneously. If you’re using one SxS card, it would be ProRes 422 Proxy.

XAVC is the highest-performing implementation of H.264/AVC intra-frame coding. It supports 4K with superb efficiency and beautiful 10-bit pictures. VENICE supports XAVC Class480, which is the highest bitrate and quality available. Apple ProRes including ProRes 422 proxy formats are popular in postproduction, and are supported by VENICE. Using16-bit linear RAW format preserves all the information captured in 4K, with 16 times more tonal values than 12-bit RAW.

X-OCN - 16-bit eXtended tonal range Original Camera Negative. Full 4K and 6K* resolution, with extraordinary color reproduction, nicely suits Sony’s third generation color development, S-Gamut 3. In particular, 16-bit scene linear tonal gradation retains the camera’s full dynamic range, with far greater capacity for visual expression than 10-bit or 12-bit digital formats.

The DVF-EL200 was specifically created as the perfect partner for VENICE due to its exceptional performance and additional control features*. It has a 1920 x 1080-resolution OLED panel with exceptional high contrast, enabling precise, high resolution focusing and framing. Its all-new ergonomic design allows for tool-free attachment/detachment and reconfiguring within seconds. A rotary encoder provides instant access to brightness, peaking and contrast. The industry-standard LEMO connector offers exceptional durability. * V2.0 firmware required
VENICE has a surprisingly compact design which allows easier shooting in confined spaces or on drones. VENICE’s control buttons reflect the requirements of camera operators, carefully positioned for intuitive operation. They even illuminate for easy use on dark sets. On-set monitoring operation is further enhanced by the addition of an extra HD output alongside the standard 4K-SDI. VENICE can be powered by both 12 V and 24 V power sources that can be connected at the rear. A wide range of accessories are supported, including standard Fischer connectors. For enhanced durability in tough conditions, the viewfinder uses a LEMO connector. Suggested List Price: 42,000

Peter Crithary moderated the Q& A panel with Claudio Miranda ASC, and director Joe Kosinski. Claudio Miranda described the look of VENICE: “It has a very cinematic look. Colors are really beautiful. It is a sort of softer, cosmetic, tonally well rounded look, with skin tones that are gorgeous. It doesn’t feel video-like. It’s not harsh. This is a leap forward. Color rendition is really nice. Tonal values hold true in the lower toe of exposure. It holds highlight detail and color information. It doesn’t go red in the shadows. I would say there’s more dynamic range than the F65".

Jeffrey A. Reyes, BandPro Flm & Digital Inc., Sales Manager placed the same evening an order for fifty new CineAlta VENICE digital motion picture cameras. Preorder the new Sony VENICE at Band Pro and get it first!  Call your BandPro Salesperson at 1-888-BAND-PRO or email today.

Les Zellan, Chairman of Cooke Optics was one of the vendors at Stage 7 outfitting the new Sony VENICE camera with one of his Cooke s7/i 32mm lenses.

Peter Crithary, Sony’s marketing and production manager (l),  Dan Ming, Focus Puller of the short film "The Dig" and Claudio Miranda at  Sony Pictures studio 7 at the unveiling of Sony's CineAlta VENICE Full Frame & S35 digital motion picture camera.

Sony’s VENICE Features:

    Full Frame Sensor 24×36 mm
    Painterly Look
    6K Full Frame 6048 x 4032 maximum resolution
    4K Super35 window
    Full Frame, full 6048 photosite width of the sensor
    Widescreen spherical 2.39:1 or Large Format ‘Scope
    Super35 full height 2.0x squeeze Anamorphic
    8-Step, 8-Stop Internal NDs
    PL and Ruggedized E-mount
    Spherical FF & S35
    Anamorphic FF & S35
    15+ Stops of Exposure Latitude
    Native ISO 500  (maybe 800)
    Retains highlights and color detail 6 stops overexposed and 9 stops into the shadows
    Power:  both 12 VDC and 24 VDC

some text source courtesy of FDTimes

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Cine Gear Expo opens tomorrow and there is a lot to see. Camera and lens manufacturers have announced new releases for this year. Here is a small nugget of what is new on the floor at Paramount Studios.

Canon Cinema EOS C200 & C200B
Canon presents 2 new Cinema EOS digital cine cameras at Cine Gear: Canon EOS C200 and EOS C200B. C200 and C200B cameras have two 4K video formats inside: Canon’s new Cinema RAW Light and MP4. Canon’s Dual Pixel CMOS Auto Focus system.

The cameras come in two configurations--same insides; variations outside. C200 is the full production-ready camera package that can be used right out of the box, with an LCD Monitor, nice mounting brackets, Camera Grip and Handle and a 1.77 million dot OLED pivoting Electronic View Finder (EVF) at the rear. The C200B is the same camera -- but without the EVF in back, without handle, handgrips, LCD monitor or brackets.

The Angenieux 48-130 Lightweight Compact Optimo Style Zoom Lens and two new accessories for the Optimo A2S Anamorphic Zoom Lens line.The Optimo Style 48-130 T3 is the third lightweight compact zoom lens in the Angénieux Optimo Style line. It joins the Optimo Style 16-40 T2.8 and 30-76 T2.8, the two other lightweight compact zooms of the range, and the 10x Optimo Style 25-250 T3.5. The new Optimo Style 48-130 is the longest zoom in the lightweight series . It weighs only 4.3lb/1.95kg and has a Close Focus at 3’1”/0.94m. It is the perfect lens for close-ups, portraits, or tight shots either handheld, on Steadicam, remote heads, gimbals, rigs, or drones.  
See us at booth #40

 Cine Gear attendees can find Panasonic at booth S225 on Stage 15. Visitors can get hands on with Panasonic's range of cinema cameras, including the VariCam Pure, VariCam 35, VariCam LT and GH5In addition, Panasonic will be demonstrating its live 360-degree camera, 4K handheld camcorders and the AU-XPD3, the industry's fastest offload device with Thunderbolt3. 

The new, super fast DM5.
Light Ranger 2, MDR-4, DM2X. Come check out our Light Ranger 2 reel at Booth #53! The DM5 provides breakthrough power and speed in a compact, lightweight package. It is 2.5x faster than its DM4X predecessor and can provide big-motor performance for mobile camera applications where size and weight are critical. The motor uses polished metal gears coated with super hard diamond-like carbon to maintain its precision and virtually eliminate wear.

 Panavision to Unveil Powerful New Tools for Groundbreaking Millennium DXL 8K Camera.
 Panavision  will reveal advanced new tools for its unprecedented, large-format Millennium DXL 8K camera at their booth in Stage 2 #S302. Demonstrating the evolution of their innovative approach to filmmaking, Panavision will debut a set of fast, wirelessly controlled Primo Artiste lenses that cover the full 8K HDR image; the world’s first HDR OLED Primo Viewfinder; a new color spectrum filter called PX-Pro; and DXL Control, an iPhone app for remote camera control. These new technologies support Panavision’s Millennium DXL, which was engineered to offer superior creative control over the entire imaging chain.

Fujinon will have a new booth location at this weekend's Cine Gear Expo,  inside on Stage 15 - Booth S224 - located between ARRI, Panasonic and Blackmagic. In addition to showing our  full lineup of 11 Cine zooms, you are also invited to attend our Lens Projection Workshops featuring guest Optical Technicians from across the country.  We have partnered with Gecko-Cam to create an intimate  Lens Projection Room. 

Zyligh Pro-Palette Color LED Cyclorama Stage 15, Booth S211
 Designed for television studios and theatres, the 350-watt Pro-Palette Color LED cyclorama light produces a soft, even field of asymmetric light. Use its intuitive control panel to create millions of colors without gels or filters, or shine pure white for a clean chromakey wash. The Pro-Palette Color dims smoothly from 0-100% and features built-in DMX operation. Built for floor use or truss mount. Daisy chain up to four units for a broader spread.


The Exhibits at Cine Gear Expo 2017 will be open on Friday, June 2 and Saturday, June 3 at Paramount Studios in Hollywood, California. Attendees can look forward to a major film screening, filmmaker panel discussions, groundbreaking techniques and new equipment premieres from nearly 300 exhibitors. The Event will be packed with members of the world’s top motion picture, video, and new media community providing the perfect setting for networking with colleagues and getting the first look at newly released film-making technology.

At 7pm on Friday, Sony will present an exclusive screening of Phil Keoghan’s film Le Ride, preceded by a special announcement. The documentary focuses on a small under-resourced, untested team from New Zealand and Australia who lined up in Paris to ride in the toughest sporting event on earth, The Tour de France in 1928. 

The remarkable underdog story was brought back to life by Phil Keoghan who rode an original 1928 steel bicycle with no gears, and retraced the exact route covering an average of 150 miles a day, completely circumnavigating France in just 26 days. Le Ride was selected for South by Southwest, was the second highest grossing film at the New Zealand Film Festival, won the Festival Favorite Award at the Louisville International Film Festival, won the Best Director Award at the American Documentary Film Festival, and will have a wider international theatrical release this summer.

New cameras will be in abundance at this year’s exhibit, with Panasonic unveiling a small and lightweight “mystery cinema camera”, with low-cost media and workflow, and high-end cinematic imagery. More can be learned at the Panasonic presentation on Friday from 4:15 – 5:15 pm in the Paramount Theater.

Sony will be displaying its current and future professional motion picture imaging technologies, including 4K anamorphic and new 4K and High Dynamic Range technologies. RED Cinema visitors can check out their DSMC2™ accessories, compatible with the SCARLET-W™, RED EPIC-W™, WEAPON® 8K S35 and WEAPON 8K VV. New for Blackmagic Design is the URSA Mini Pro 4.6K, a professional digital film camera that combines the incredible image quality of URSA Mini 4.6K with the features and controls of a traditional broadcast camera.

 CineGear offers a close-up look at the world’s great lens brands. Cooke will reveal its new Cooke Anamorphic/I 45-450mm T4, with 2X squeeze. The newly launched “MK” Series cinema lenses from the Optical Devices Division of FUJIFILM, along with the UA Series of HDR zooms, will also make their Cine Gear debut. Carl Zeiss’ new ZEISS Compact Prime CP.3 lenses will be on display, offering the perfect combination of high-image quality and reliable usability. They exhibit the clean, crisp characteristics ZEISS is known for, together with an interchangeable mount system and full-frame coverage. 

Additionally, CW Sonderoptic will introduce the Leica Thalia large format spherical lenses and Leica M 0.8 lenses. Schneider-Kreuznach will be premiering the Radiant Soft Diffusion Filter made to smooth skin imperfections with minimal effect on contrast. Prepare to see the aisles packed with innovative products created to provide top of the line camera support. SmallHD offers a full lineup of monitors including the FOCUS 5” micro HDMI touchscreen monitor, UltraBrights with breakthrough screens up to 2500-nits, the color accurate 702 OLED, and full size daylight-viewable 13”, 17”, 24” & 32” Production monitors. Manios Digital & Film will showcase new camera accessories giving attendees the chance to inspect newly-developed fluid heads, tripods, specialty rigs, matte boxes, lights and power systems. Cool-Lux will be debuting an early prototype model of Clutch, a new transforming camera rig support for smaller cameras, and Matthews Studio Equipment will give a first ever look at the revolutionary MyWay Grip rigging system the future of on-set rigging.

Lighting professionals are sure to get their fix of new and exciting equipment. Known for innovative remote phosphor lighting BB&S Lighting will display their Pipeline Bank fixtures including a brand new 1’ 4-bank and 2’ 2-bank, joining 3’ and 4’ 4-banks in 3200°, 4300°, 5600°. Cineo Lighting plans to make an announcement focusing on a collaboration that combines NBCUniversal’s decades of production and broadcast experience with their award-winning proprietary technologies. DoPchoice and The Rag Place will be showing some exciting new products including the RABBIT-EARS, OCTA 7' and SNAPBOX

Among the crowd will be rental house VER, highlighting their Enhanced Environment process which utilizes LED walls and projection to light talent and fixtures in shot with amazing authenticity. Another out of the box company, Timecode Systems, will be showcasing not only a new, cost-effective way to streamline multi-camera production workflows using the UltraSync ONE, but also demonstrating how its system can now be configured to offer efficiency benefits to professional VR workflows.

Press release courtesy of  Lewis Communications:


The Wasp 100-C™ Omni-Color LED is the first LED with the color quality of Plasma. With up to a 98 CRI and 97 TLCI, Hive's first LED fixture uses a proprietary algorithm to combine 5 different color LEDs into brilliant white light and infinite color combinations.

Wasp 100-C™ Omni-Color
•   Saturation: 0% - 100% 
•   Hue: 360° Hue Control (Δ 6°) 
•   Output: 0% - 100% Dimming 
•   Temp: 1,650K - 8,000K (Δ 25K) 
•   Direct 100-240 VAC input via 4-Pin XLR 
•   Manual, DMX, Smartphone Control 
•   98 CRI / 97 TLCI 
•   5 lbs. (2.3 kg.) / 7.5 in (190 mm) long
Booth C10342.


New Canon 70-200 Cine Zoom: EF, AF, AE, IS

Exactly a year ago at NAB 2016, Canon introduced a new cine lens  for Super 35. The Compact Servo 18-80 mm T4.4 (CN-E18-80mm T4.4 L IS KAS) EF-mount zoom was a compelling hybrid that combined the best attributes of cine and still photography.

Three different lines of Canon lenses intersect in the design: more than 60 L-Series EF lenses for professional still photography, Cinema Zooms with manual focus/iris/zoom barrels (15.5-47, 30-105, 14.5-60, 30-300 mm), and Cine-Servo (17-120, 50-1000 mm) zooms. Now, a year later at NAB 2017, Canon's Compact Servo family gets a new sibling. The Canon 70-200 mm T4.4 (CN-E70-200mm T4.4 L IS KAS S) EF-mount zoom covers longer, essential focal lengths.

And so, with just two lightweight, compact, affordable, high performance lenses, you can cover any angle from wide 18 mm to long 200 mm. An accessory 2x extender gets you to 400 mm.   
NAB Booth C4325

SIGMA Cine Full Frame 14mm T2 & 135mm T2

SIGMA Corporation adds two more cine lenses at NAB. Covering incredibly wide and extremely tight,  the new cine lenses in  the SIGMA FF High Speed Prime Line are 14mm T2 FF and 135mm T2 FF.

 There are now seven prime lenses in the SIGMA FF High Speed Prime Line:  14, 20, 24, 35, 50, 85, and 135mm. All these cine lenses come with PL, EF and E-mounts. (Only the 24-35 T2.2 FF Zoom lacks a PL mount option: it comes in EF and E-mount only.) SIGMA offers a mount conversion service.
NAB Booth C11525 

Angénieux Optimo Style 48-130 T3.0

Angenieux welcomes a 3rd sister in their lightweight, high-class, high-quality, compact Optimo Style family of S35 mm format zooms. The new 48-130 T3.0  zoom lens joins the Optimo Style 16-40 T2.8 and 30-76 T2.8 zooms. Actually there’s a 4th Style sibling, a bit longer, less accustomed to hand-holding, but equally popular. He’s the bigger  brother: Angenieux’s Optimo Style 25-250 T3.5.

The new 48-130 T3.0 is the longest zoom in the lightweight series: excellent for close-ups, portraits, and tighter angles on all productions.

The Angenieux Optimo Style 48-130 has superb optical performances, covers an image circle up to 34.6 mm diameter, with a constant maximum aperture of T3.0. There’s no ramping (change of exposure) when zooming in. As with the rest of the Optimo Style family, there’s minimal breathing (changing image size when focusing), minimal distortion and minimal optical aberration. 
NAB Booth C9039

 New Cooke S7/i Full Frame Plus

The new Cooke S7/i lenses cover an image circle up to 46.31 mm diameter. That’s every format from RED 8K VV 21.60×40.96 mm (46.31 diagonal) to Full Frame 24×36 mm (43.3 mm diagonal) Full Frame and Large Format is gathering momentum. It is future-proof because these lenses work equally well on Super35, current Full Frame, VV and the inevitable arrival of new cameras to come.

The new Cooke S7/i lenses are extremely fast and go incredibly close. Maximum aperture is T2. Minimum object distance is around 4 to 6 inches in front of the wider ones. Front diameters are nicely compact at 110 mm.

Cooke /i Technology connections are in the expected places. Focus is the same familiar Cooke cam-drive mechanism that feels as smooth and silky as the image looks. The main difference is large format coverage.

Available beginning June 2017 in focal lengths: 18, 25, 32, 40, 50, 75, 100 and 135 mm..

NAB Booth C5414

Leica Thalia Large Format Cine Lenses

CW Sonderoptic introduces nine new prime lenses that cover all formats from Alexa 65, Panavision DXL, RED 8K VV, Full Frame, to Super35.

Leica Thalia primes ship with stainless steel PL mounts. An XPL version will be available for ARRI Rental. Thalia lenses have front diameters that are all 95 mm, just like Leica Summilux-C and Summicron-C lenses. They work with the same front accessories like clamp-on Leica Cine MacroLux +0.5, +1, +2 diopters. Thalias accept 92 mm screw-in front filters and have a rear net holder just like the Summilux-C. Incredibly, most of the large format Thalias are actually lighter and shorter than the Super35 Summicron-C primes, which are already extremely light and small. The mechanical design is consistently Leica-like, rugged and ergonomic.

The 15-bladed irises are totally round at every aperture and create the same beautiful, smooth bokehs across the entire set. The iris ring is linear—marks are evenly spaced across all T stops.

The initial set of 6 Thalia lenses is expected to ship around July: 30, 35, 45, 70, 100, 180 mm. The remaining 3 Thalias should ship towards the end of 2017: 24, 55, and 120 mm with close focus capability.  

NAB Booth C4345

Courtesy of  Film & Digital Times 
NAB Booth C10206


 New Technology showcasing this year at  NAB Show.


Audience Recognition Technology now uses Artificial Intelligence to control TV Content and Advertisement.
The recent trend to Digital Broadcast Television in conjunction with the advancements in Artificial Intelligence has provided the ability for Broadcasters and Marketers to know exactly who is watching the television. Using facial recognition and big data, FlySwipe has developed a technology that can determine which commercial to place in front of a viewing audience based on the groups gender and age. The technology is also able to limit adult oriented advertisement while children are present.

“This changes the way that advertisers can reach their intended audience while viewing TV in a group setting. Prior to this technology, you would not know who in the household is watching and could never use household Ad targeting effectively.” says William Delisi, managing partner and architect of the Audience Recognition Technology platform called A.R.T.™ The platform was developed by the Boca Raton based company FlySwipe LLC and will debut at the National Association of Broadcasters (NAB 2017) ( conference in Las Vegas, Nevada this year.

Marketers gather large amounts of data on TV subscribers called attributes which are based on their digital viewing habits, internet activity, buying habits and public records. TV is now transferring to the digital world enabling broadcasters to apply the same Ad techniques that are used on traditional web pages. Those Ads assume that the person who is logged on or is using the device is the same person that generated the individual’s attributes. This is not the case when using the typical family TV in the living room where multiple people view various forms of TV content.

The solution is to understand who is watching the content at any particular time. The A.R.T.™ platform distinguishes everyone in the viewing audience and matches multiple attributes against the inventory of Ads to deploy. The reliance on content to determine the Advertisement no longer works. Providing a commercial of women’s perfume fragrances to a male audience is not effective and would not happen when the A.R.T.™ platform is being utilized. The platform also can determine a mixed gender audience, or a mixed age group, and act accordingly to deploy the proper advertisement based on a brand’s requirement.

Marketers can acquire feedback from the TV audience without any interaction. A commercial may invoke a specific emotion such as sadness, laughter, anger or simply stress. This can be provided back to the marketer to determine if the correct response was anticipated. This same technique can be used by publishers to determine how a scene effects the TV subscriber. The platform can also determine if anyone is even watching the commercial or show that is being broadcast.
NAB 2017 Booth: SU13014 South Upper Hall


Wooden Camera's Director's Monitor  Cage v2 is engineered to be universally compatible with any monitor up to 9 inches (measured diagonally) and attaches via top, bottom, or rear 1/4-20 mounting locations. Newly designed main brackets also allow direct mounting to the rear of Convergent Design Odyssey and Apollo.

An included sun shade is adaptable to most monitors and snaps directly to the cage frame. The bottom of the shade is made of velcro, which can be adjusted to the proper width of the monitor and an included loop piece can be used to hook onto the bottom of the cage for a more permanent mounting of the shade. 

Vertical and side-by-side mounting of two monitors is also possible with the Dual Director's Monitor Cage v2! Works with: Blackmagic Video Assist, SmallHD DP4, DP6, AC7, DP7, TVLogic VFM-056W/WP, VFM-058W, Ikan D5, VK7i, VH8, VL5, VX9e, Odyssey 7, 7Q, Atomos Samurai, Ninja, Shogun. 

For more information, please visit:


Cineo Lighting will reveal the Quantum c80 (Qc80) full-gamut color lighting fixture at NAB 2017 (Booth C9945). Featuring 50,000 lumens of Cineo's proprietary color-tunable white light, the Qc80 also includes a full RGB gamut, which works in conjunction with the reference-quality white light as a complete, creative lighting toolkit.

To support the Qc80's innovative approach to saturated color technology, Cineo has developed a simple, four channel interface that provides control locally using the system's graphical control panel, through traditional wired DMX or with the Integrated LumenRadio™ CRMX bi-directional wireless DMX/RDM control.

The versatile Qc80 provides predictable, repeatable results for end users that are unachievable with any other lighting instrument. The same color shading can be realized through the camera regardless of the CCT used for photography. 

For example, +2 Green added to 3000K CCT will look the same as +2 Green at 4500K to the correctly white-balanced camera. In addition to Cineo's proprietary phosphor-converted white light LEDs, the Qc80 is the first unit designed with phosphor-converted saturated color LEDs, thus extending Cineo's deep-red color rendering technology. Cineo's Photo Accurate Dimming, which maps both local and DMX control to camera f-stops, is also fully supported.

“The Qc80’s color LEDs use the same die as its white LEDs, achieving identical thermal stability,” says Chuck Edwards, CTO, Cineo Lighting. “Ultimately, this allows for the color to remain consistent throughout the lifetime of a fixture. This product consistency means that our customers will achieve the highest quality results over the extended lifetime of the product.”

Weighing in at under 40 lbs., Qc80 measures 2 ft. x 4 ft. x 5.5 in., including the internal 800-watt power supply. As with all Cineo products, it features flick-free operation and a silent, passive cooling system without fans to ensure that no noise from the unit will disrupt a shoot.

The built-in USB port provides 5VDC power for accessories and supports uploading of new firmware as new features become available.

For more information, please visit


DoPchoice added  the new Octa 7 to its lineup of octagonal Snapbag® Rabbit-Ears softboxes. With a 7-foot (205cm) diameter, this larger octagonal-shaped softbox joins the smaller Octa 3  and Octa 5 to fit most LED soft lights. Each delivers smooth and even illumination across the  front with or without a baffle. The larger the Octa, the softer and smoother the light output around the subject.

Like the rest of DoPchoice’s Rabbit-Ears Snapbag family, Octas pack up small and set up fast. All 3 models are designed to employ DoPchoice’s revolutionary Rabbit-Ears™ system.

Rabbit-Ears are so versatile a single unit can quickly and securely mount to various LED light brands. All Snapbags feature a highly reflective inner fabric that provides maximum light output. Even without a baffle, they deliver even illumination across the front surface.

The spread of light from Octa Snapbags can be further controlled by simply installing a DoPchoice Snapgrid® on the front.

Octa Rabbit-Ears Snapbags fit a variety of softlights, including ARRI’s SkyPanel S30 and S60, THELIGHT Velvet 1 and 2 including the Power version, BB&S Lighting’s Area48 Softs, Cineo HS and Maverick Trucolors, Creamsource’s Full and Mini, Litepanels Astra1x1, and many more.

The Octa 7 weighs 6.5 pounds (3.45 kg) when installed (w/o Rabbit-Ears). When not in use, it conveniently folds to a compact and convenient 80x33x20-cm/31.5x13x7.8-inches. The Octa 7 Snapbag includes a Front Diffuser, Baffle and canvas carry bag. Setting up requires Rabbit- Ears which are sold separately but may be interchanged to use on a variety of Snapbags.

For more information visit


The new lenses were presented to a selected group of media professionals by the Optical Devices Division of FUJIFILM, with the participation of cinematographers Nancy Schreiber ASC, Bill Benett ASC, Eric Longden, Joe Slavin and Izzy Isidor Maxwell Pollak. 

 Fujinon’s MK 18-55 T2.9 is an affordable, lightweight, compact zoom lens intended for the rapidly growing independent owner-operator market. The MK 18-55 T2.9 is the first in a new series of Fujinon affordable E-mount zooms. (MK 50-135 T2.9 comes next.) The MK zoom only comes in E-mount (18mm flange focal depth) and represents a growing affirmation of a lens interface that was introduced by Sony.

 Nancy Schreiber, ASC sharing her thoughts in an interview 
of the new Fujinon MK 50-135mm zoom lens

Fujinon's Joshua Ewing answering questions 
about the new MK 18-55mm zoom lens

Bill Bennett, ASC taking a first look of the Fujinon MK 18-55 zoom lens

Shingo Harada, President of Fujifilm North America Electronic Imaging and Optical, 
presenting  the Mk series of cinema lenses at the ASC in Hollywood

Key Specs of both lenses: Parfocal, No Breathing, Built-in Macro, No Ramping and Lightweight Compact Design (2.2 lbs). The 18-55mm will be shipping in March and the 50-135mm T2.9 will be available this summer. Cinematographers can attach the MK 18-55 zoom onto Sony FS5, FS7, FS7 II, FS100, and FS700 cine cameras as well as Sony still cameras like the a7 series and a6500. Price $3799 USD

 Cinematographers and the Optical Devices Division of FUJIFILM gathered 
at the ASC clubhouse to launch the new MK series of cinema lenses, 
the MK 18-55mm zoom lens and the MK 50-135mm zoom lens.

The front diameter is a mere 85 mm and has 82mm threads for a front screw-in filter. There’s a Macro button for close focus to 1 ft 2.9 in / 0.38 m. You don’t need shims; a thumbscrew enables flange focal depth adjustment. (Once set, tape the barrel to avoid accidentally moving it.) Accessories include a lens support foot and rectangular lens shade.

for more information: read FDTimes article or visit FUJIFILM/Fujinon

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