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Camera Archive - Page 3 of 4 - CINEGEARBLOG.COM

Tag Archive: Camera

F65 CineAlta Digital Motion Picture Camera

Sony F65 CineAlta 8K Digital Motion Picture Camera

Building upon the distinguished CineAlta™ platform, the F65 represents the next generation technology for Digital Motion Picture acquisition:

  • F65 CineAlta Digital Motion Picture Camera
  • Building upon the distinguished CineAlta™ platform, the F65 represents the next generation technology for Digital Motion Picture acquisition:
  • Industry’s first 8K 20M-Pixel CMOS imager for digital motion picture production
  • From this imager, the F65 will derive brilliant HD, 2K, True 4K resolution, and higher
  • 16bit Linear RAW output
  • F65 adheres to 1.9:1 aspect ratio, DCI Projection standard (4096 x 2160 or 2048 x 1080) Choice of picture composition as needed: 1.85:1, 1.78:1, 1.66:1, 1.33:1, 2.35 spherical, 1.3x anamorphic, or 2x anamorphic cropped
  • Wide dynamic range, low S/N ratio, and high sensitivity
  • Optional SR-R4 on board SRMemory recorder
  • HD-SDI Monitoring outputs with viewing LUT’s
  • The camera can shoot 1 to 120 fps
  • 16 bit-RAW recording in SRMemory™ card (sold sep.)

Read more at sony.com.

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Yesterday Jim Jannard published the frame rates for the RED EPIC:

Just for reference, these are the frame rate specs for EPIC (all shown widescreen except QuadHD and 720P).

5k 2.40 = 120
QuadHD = 127
4k 2.40 = 150
3k 2.40 = 200
2k 2.40 = 300
720P = 360


Read more at REDUSER.net.

The Ikonoskop team is waiting for you at NAB 2011, booth C9545 in hall C. They show the new A-Cam dll camera with different lens mounts, the memorycard, new footage, different workflows. In collaboration with P+S TECHNIK we will display the 3D Freestyle Rig equipped with two A-cam dII.


Just read on the REDUSER.net forum that adobe is hooking up their line of products with RED EPIC support. Until now the support is working in Adobe Premiere, Adobe After Effects and Adobe Media Encoder. All CS5. You can even mix material of RED ONE and RED EPIC in the same timeline and includes Rocket support.

Read more at REDUSER.net

Zeiss just announced a set of 5 cinema lenses. They come in a custom made case.

These lenses are included:

  • Distagon T* 2,8/21
  • Distagon T* 2/28
  • Distagon T* 2/35
  • Planar T* 1,4/50
  • Planar T* 1,4/85

With these Zeiss reacts to the growing demand of affordable lenses with a precise manual focus.

The recommended retail price is 4562,- € exclusive of taxes.

NAB 2011: Zeiss cinema lens set in a custom made case

The boldest piece of Sony’s sensor narrative is about size. On the heels of the Super35mm-sized single CMOS sensor the compnay developed for the F3, Sony has announced another CMOS single-sensor milestone: Its newest CineAlta camera featuring an 8K x 2K chip. That gives the new 8K CMOS inside a total pixel count of 20.4 million pixels, far more than the roughly 8.8 million pixels of the current 4K x 2K sensors in other existing cameras on the market. The new sensor size obviously also brings with it higher color reproduction and resolution than can be captured by those other 4K sensors. But don’t confuse sensor size, pixel density and resolution with the recording format. The images are still recorded and output in 16-bit RAW 4K (16:8:8). During our demo at Sony’s Atsugi Technology Center in a suburb of Tokyo, however, those images were noticeably crisper, brighter and cleaner as a result of the extra pixels. Blacks were deep and rich, too. No shades of gray here, though if you were shooting a mountain climber against a textured, marbled slab of granite, this imager would certainly pick up every bit of uncompressed detail. I’m told the camera will shoot from 1 through 72 fps. Crank that up to a High Frame Rate mode and you can go all the way up to 120 fps.

Read more at studiodaily.com.

Another nice test of the PMW-F3 by Linton Vivian:

Shot in one day with a demo Sony PMW F3 Super35 CMOS Sensor Camcorder from the Video Pro Business Centre in Brisbane Australia.

Using the supplied Sony PL Mount Primes, 35mm, 50mm and 85mm. Also the Duclos adapted Tokina PL Mount 11-16mm Lens. This short video was shot at 720p 25p overcranked to 50 fps at 35Mb/s.

Thanks to Mark Broadbent for his Slidecam and Lens and Robert Dew from the Video Pro Business Centre for lending me the camera for a test run.


In this video Chris Duke shows how to motorize your Kessler Pocket Dolly by using a drill.

The Kessler Pocket Dolly v2.0 is a great slider, however when it comes to sliding by human hand, it is limited by the skills of the camera operator.

The “elektraDRIVE BUNDLE PACKAGE with ORACLE Controller” is a $1,314.95 add-on to their $649 slider making it a $2k package, and a whole lot of extra parts.

What if you could pull off the same motor slide effect with something you already have in your garage, using a variable speed drill–and saving $1,300!!

There are two methods:

1. From the bottom: use a 9/16 socket

2. From the top: use a sawed-off 3/16 hex key

ARRI Tech Talk on ALEXA SUP 3.0 by Marc Shipman-Mueller:

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