Considering cinema’s origin in black and white, it’s not surprising that many filmmakers have an obsession with color in films. From wardrobe choices and color gels to post-production filters and fonts, movie color schemes play a vital role in a director’s vision.
F-Stops are a familiar term when it comes to photography. As more photographer start to delve into the world of video, though, they’ve started looking at cinema lenses. The familiar F-Stops are gone, replaced by T-Stops. What does it mean? Aren’t they both basically the same thing? Why do two seemingly identical lenses such as the two Samyang 20mm lenses above have different maximum F and T values? What’s the difference?
It’s a little difficult to sum up the difference in a sentence or two, but Sareesh Sudhakaran from Wolfcrow is here to help. In his latest video, Sareesh talks us through the differences between F-Stops and T-Stops. We also learn when it is better to use a lens which uses one measurement over the other, and which may be most cost effective.
Sigma announced that they were jumping into the world of cinema in a big way at the beginning of September. Last month, they announced pricing and availability for the first two cine lenses in the range to be released. These are the 18-35mm T2.0 and 50-150mm T2.0, both due to start shipping in just under two weeks.
To show off their capabilities, Sigma have produced the 15 minute short film “Blur”. Shot entirely with the pair of Super 35mm (APS-C) zoom lenses, on the Arri Amira, it’s a touching story. A boy’s slightly weird father, seen by his friends as the “cool dad”, is obsessed with his camera. His photographs aren’t very good, but he keeps shooting.
For those new to photography or video, lenses can seem like a scary subject. There’s so many different types, and numbers and letters that all denote different things. There’s countless different mounts and adapters. So many different features and options. Is the lens even the right one for your size of sensor? It can be hard to know where to begin.
In this video from YouTube filmmaker D4Darious, we’re talking through all of the important information you need to know about lenses. Covering everything from the basics of aperture and focal length to more advanced capabilities such as built in stabilisation and macro. Even if you’ve never held a camera or lens before, this’ll be easy for you to follow.
Sigma recently made a big leap into the world of the cinema by announcing 8 new cine lenses all at once. While most are expected to be released throughout the course of 2017, pricing and availability for the first two has now been announced. Those two lenses are the 18-35mm T2.0 and 50-100mm T2.0 lenses for APS-C sensor cameras.
Designed for super high resolution 6K and 8K footage, they’re also very fast at T2.0. Priced at $3,999 each, they’re certainly not inexpensive lenses, but they’re not too unreasonable when stacked up against the competition. These lenses are compatible with the “Super35” image size standard and are available in Canon, Sony and PL mounts.
Located at the foothills of the Blue Ridge Mountains in Virginia, the Library of Congress Packard Campus was originally built as a nuclear bunker. It stored $4 billion in gold, and would’ve been the location to which the President would have been taken had the need arisen during the Cold War. Now that this potential need no longer exists, it is home to 6.3 million pieces of the Library of Congress’ movie, TV and sound collection.
It has miles of shelves, 35 climate controlled vaults for sound recordings, safety film and video tape and 124 individual vaults for flammable nitrate film. It’s also a complete lab for the preservation and restoration of cinema’s finest moments. In this video, we get to take a look inside the Packard Campus, and see some of the archives and restoration rooms.
Elliott Montello is an Anglo Argentine living in Vancouver BC. Living life a s a Director, Cinematographer and self proclaimed pinball wizard, Elliot has been involved with numerous music videos and movies. A life long fan of the Mad Max films, he wanted to create his own apocalyptic world but with more of a 21st century feel than the eighties infused originals. [Read more…]
When Sigma set their mind to something, they really seem to go all-in lately. That’s what they’ve done today, by announcing EIGHT new Cinema lenses at the same time. The new collection of lenses comprises five T1.5 primes and three zoom lenses. Well, it’s certainly a nice collection to kick off their entry in the world of cinema lenses.
It makes sense that Sigma are expanding their range into other markets. Their quality control has gone way up in recent years. Many of their photography lenses now keep up well with Nikon, Canon and other 3rd party counterparts. With the move toward video for many photographers, this is a smart move. And if Sigma’s photography lenses are anything to go by, they’ll be extremely competitive.
Canon have announced their new flagship cinema camera, and it’s quite a beast. It’s a much larger camera than the previous EOS C offerings, aimed at serious production. It’s also a far more modular design offering a lot of customisation.
With the optional Codex recorder, it captures 4.5K RAW video at up to 120fps. Internally, it captures 2K ProRes at up to 240fps, and 4K ProRes at up to 60FPS. It is the first Cinema EOS camera to support anamorphic shooting with a built in “de-sequeeze” function for external monitoring. It also features the same dual pixel autofocus technology of the 5D Mark IV.
Switching from stills to video can be a pretty daunting task, even for experienced photographers. Adding motion to those images presents a whole slew of issues that you can’t anticipate without experience or advanced warning.
In this in-depth video with filmmakers Dave Brusca and Fernando Martinez, we are taken behind the scenes on AdoramaTV’s film crew to get some tips on the equipment, how to set it up, and how to use it like a pro.