Atomos: Atomos and Panasonic Announce 35mm Full Frame Raw Video over HDMI from the Lumix S1H to Ninja V

https://www.atomos.com/press-releases/atomos-panasonic-lumix

MEDIA RELEASE

FOR IMMEDIATE DISTRIBUTION 28 August, 2019

Atomos and Panasonic announce 35mm full frame RAW video over HDMI from the Lumix S1H to Ninja V

Atomos is excited to announce co-development with Panasonic of RAW over HDMI from the brand new Lumix S1H to the Atomos Ninja V 4K HDR monitor-recorder. The RAW update will be available free on the Ninja V when released by Panasonic.

“We are very proud of continuing to develop new ground-breaking technology with a company of the calibre of Panasonic. We are both highly committed to the democratisation of filmmaking for creators, and the ability to transmit RAW over HDMI from the S1H to a Ninja V is a major leap forward in this endeavour.” Said Jeromy Young, Atomos CEO.

As the world’s first full-frame mirrorless camera capable of 6K internal video, the Lumix S1H combines the quality of professional cinema-grade video cameras with the size and photo capability of a mirrorless, making it the perfect companion with the Ninja V.

“The leading brand of external monitor-recorders is definitely Atomos. Both companies have a very good relationship and we have been providing 4:2:2 10bit HDMI output recording for the Lumix GH series for years. We are very proud to be developing RAW output via HDMI with Atomos for the S1H.” Said Panasonic at their launch event in LA.

Added Young: “Our advancements in screen technology now allows creators to accurately monitor RAW video in real-time as it would be viewed in the home or cinema for perfect preservation of creative intent. Our pristine custom Atomos HDR screens are second to none in colour accuracy and representation of brightness from RAW signals. When combined, these advantages create a dream workflow for filmmakers.”

The new Lumix S1H will be shown working with the Ninja V at the upcoming IBC show in Amsterdam from 13 September at the RAI Hall 11.D25, more information on the combination will be available during the show.

Media contact:

Eric Nielsen, Step 3 Eric@step-3.com +1.202.276.5357

About Atomos

Atomos Limited (ASX:AMS) is a global video technology company delivering award-winning, simple to use monitor-recorder content creation products. These products give content creators across the rapidly growing social, pro-video and entertainment markets a faster, higher quality and more affordable production system. The company’s range of products take images directly from the sensor of all major camera manufacturers, then enhance, record and distribute them in high-quality formats for content creation using the major video editing software programs. Since being founded in 2010, Atomos has established strategic relationships with key technology providers within the ecosystem including Apple, Adobe, Sony, Canon, Panasonic, Nikon and JVC Kenwood. Atomos is based in Australia with offices in the USA, Japan, China, UK and Germany and has a worldwide distribution partner network. For more information, visit http://www.atomos.com. Learn more about Ninja V athttps://www.atomos.com/ninjav

All trademarks are the property of their respective owners.

panasonic_lumix_dc-s1h_press_04_1024px
Panasonic Lumix DC-S1H with Atomos Ninja V.

Commentary

Atomos and Panasonic are to be congratulated for collaborating on allowing the Panasonic Lumix DC-S1H to record ProRes RAW raw video onto the Atomos Ninja V 1000 nits 5-inch monitor/recorder.

In my humble opinion, ALL camera makers need to do the same so we have affordable options for professional-quality moviemaking in all genres when cinema cameras remain out of reach.

Raw video recording with an in-body image stabilized camera like the Panasonic Lumix DC-S1H is an excellent solution for high-end available light documentary moviemaking especially in combination with HLG or full V-Log profiles, and even more so with 35mm sensors even if they are set to record as Super 35.

As a documentary photographer and videographer, I have long been hoping for a reasonably affordable Super 35 4K solution for producing great stills and video with the minimum of equipment.

It is pleasing to read Atomos CEO Jeromy Young’s statement in this press releases that “we are both highly committed to the democratisation of filmmaking for creators” and even more so that Panasonic has now seen fit to bestow its DSLR-style cameras with features from its high-end VariCam cinema camera line. 

VariCam image quality at hybrid camera prices… nice!

Links

atomos_ninjav_exploded_01_1920px
Atomos Ninja V exploded.

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Panasonic UK: Panasonic LUMIX introduces the LEICA VARIO-SUMMILUX 10-25mm F1.7 ASPH, the world’s first* standard zoom lens achieving full-range F1.7 [Press Release]

https://news.panasonic.co.uk/panasonic-lumix-introduces-the-leica-vario-summilux-10-25mm-f17-asph-the-worlds-first-standard-zoom-lens-achieving-full-range-f17/

panasonic_leica_dg_vario-summilux_10-25mm_f1.7_aspheric_01_1024px
Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric wide to standard zoom lens.

Panasonic LUMIX introduces the LEICA VARIO-SUMMILUX 10-25mm F1.7 ASPH, the world’s first* standard zoom lens achieving full-range F1.7

Panasonic LUMIX is proud to introduce a new standard zoom digital interchangeable lens, the LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025), which boasts a large F1.7 aperture throughout the entire 20-50mm (35mm camera equivalent) zoom range with exceptionally high optical performance clearing the stringent LEICA standards. The LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. is suitable not only for shooting stills but also for video to satisfy both professional photographers and videographers.

The full-range F1.7 high-speed aperture provides beautiful bokeh and outstanding image quality. Covering a focusing distance from wide angle to standard zoom range, the LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. functions as a multiple fixed focal length lens providing the same or an even higher level of image quality than prime lenses can offer. It is suitable for a variety of daily shooting situations, from dynamic landscapes to low-light , dispelling the need to change lenses depending on the situation.

Comprising 17 elements in 12 groups, the lens system features three aspherical lenses and four ED (Extra-low Dispersion) lenses that will effectively suppress axial chromatic aberration and chromatic aberration of magnification. Spherical aberration and distortion are also corrected by the aspherical lenses for stunningly high resolution. The use of aspherical lenses and the optimum design of the lens system results in a compact size and light weight despite its outstanding optical performance.

Compatibility with a maximum 240-fps high-speed sensor drive realizes high-speed, high-precision auto focusing. Notably, the new lens excels in video recording performance. In addition to the silent operation achieved by the inner focus drive system, the step-less aperture ring and micro-step drive system in the aperture control section help the camera to smoothly catch up to brightness changes when zooming or panning. The optical design achieves exceptional barycentric stability to minimize image shifts during zooming. Adoption of a focus clutch mechanism enables instant AF/MF switching and accurate manual focusing. The LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. also excels in performance with a mechanism that suppresses focus breathing, which was a problem of interchangeable lenses designed for still image photography.

The rugged dust/splash-resistant*1 design withstands use under harsh conditions even in 10 degrees below zero for high mobility. Nine blades give the aperture a rounded shape that produces an attractively smooth defocus effect in out-of-focus areas when shooting at larger aperture settings. Filter diameter is 77mm. Highly reliable metal mount ensures long term use.

The LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH has a recommended retail price of £1,799.99 (Ireland €2,079.99) and will be available from 15th July 2019.

Panasonic is committed to expanding the line of Micro Four Thirds line up through its LUMIX G series of cameras and lenses.

* As a digital interchangeable lens for a mirrorless camera, as of 31st May 2019
*1 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.
Design and specifications are subject to change without notice.

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Panasonic Global: Panasonic Develops a New LUMIX S1H Full-Frame Mirrorless Camera With Cinema-Quality Video and the World’s First 6K/24p*1 Recording Capability [Press Release]

https://news.panasonic.com/global/press/data/2019/06/en190603-2/en190603-2.html

panasonic_lumix_dc-s1h_01_1024px
Panasonic Lumix DC-S1H 35mm mirrorless camera with Panasonic Lumix S 24-105mm f/4.0 Macro OIS zoom lens.

Panasonic Develops a New LUMIX S1H Full-Frame Mirrorless Camera With Cinema-Quality Video and the World’s First 6K/24p*1 Recording Capability

Osaka, Japan – Panasonic Corporation announced today the development of the LUMIX S1H, a new Digital Single Lens Mirrorless camera equipped with a full-frame image sensor. It is the world’s first camera capable of video recording at 6K/24p *1 (3:2 aspect ratio), 5.9K/30p (16:9 aspect ratio), and 10-bit 60p 4K/C4K.*2 *3 Combining the professional-level video quality and high mobility of the mirrorless camera, Panasonic will release the LUMIX S1H to world markets in fall 2019.

Since starting the development of video recording technologies for digital cinema in the 1990s, Panasonic has produced a host of innovative technologies for impressive cinematic imagery, such as 24p video recording, slow motion video using a variable frame rate, and the wide dynamic range and color space of V-Log/V-Gamut. Panasonic has been working with film creators for over a quarter of a century to design and develop a number of cinema cameras, which has resulted in stunningly high video performance. The LUMIX GH1 made its debut in 2009 as the world’s first Digital Single Lens Mirrorless camera capable of full-HD AVCHD video recording.*4 The LUMIX GH4 was launched in 2014 as the world’s first Digital Single Lens Mirrorless camera*5 capable of 4K video recording. And in 2017, the LUMIX GH5 was released with the world’s first 4K/60p, 4:2:2 10-bit 4K/30p recording capability.*6 The LUMIX GH5 is highly acclaimed by film creators for its high performance, excellent mobility, and superb versatility in film production.

The new LUMIX S1H has been designed and developed by applying the vast expertise and technologies accumulated in the cinema cameras of the LUMIX S Series of full-frame mirrorless cameras. It packs all of these technologies, especially in the field of digital signal processing and heat dispersion, into a compact, lightweight body to achieve both high performance and nimble mobility. It opens the door to creative film production in ways that conventional, bulky camera systems simply could not do.

The main features of the new LUMIX S1H are as follows:

1. High resolution up to 6K for multiple formats
Maximizing the use of the pixels in the full-frame image sensor, the LUMIX S1H, as a digital camera, has achieved 6K/24p (3:2 aspect ratio) or 5.9K/30p (16:9 aspect ratio) video recording for the first time in the world.*1 It is also the world’s first full-frame digital interchangeable lens system camera*1 to enable 10-bit 60p 4K/C4K *2*3 video recording. It accommodates a variety of recording formats, including 4:3 Anamorphic mode, to meet professional needs. Its high-resolution data can also be used for creating 4K videos with higher image quality or for cropping images in 4K.

2. Rich gradation and a wide color space virtually equal to those of cinema cameras.
The LUMIX S1H features V-Log/V-Gamut with a wide dynamic range of 14+ stops, which are virtually the same as those of the Panasonic Cinema VariCam, to precisely capture everything from dark to bright areas. The color and even the texture of human skin are faithfully reproduced. Designed under consistent color management, the S1H’s recorded footage is compatible with V-Log footage recorded by VariCam or V-Log L footage recorded by LUMIX GH5/GH5S.

3. High product reliability that allows unlimited video recording.*7
In every S1H recording mode, video can be recorded non-stop under the certified operating temperature so the user can concentrate on shooting.
Panasonic now offers three innovative models in the LUMIX S Series of full-frame Digital Single Lens Mirrorless cameras – the S1R, the S1, and the new S1H. The LUMIX S1R is ideal for taking high-resolution pictures, the LUMIX S1 is an advanced hybrid camera for high-quality photos and videos, and the LUMIX S1H is designed and developed especially for film production. With this lineup, Panasonic is committed to meet the demands of every imaging professional by challenging the constant evolution of the photo/video culture in today’s new digital era.

The LUMIX S1H prototype will be exhibited at the “Cine Gear Expo 2019.”*8

Notes:
*1. As a digital interchangeable lens system camera, as of May 31, 2019 (U.S.). Panasonic research.
*2. As a full-frame digital interchangeable lens system camera, as of May 31 May, 2019 (U.S.). Panasonic research. In Super 35mm-equivalent size.
*3. Corresponding to 4K (4096×2160) as defined by Digital Cinema Initiatives (DCI).
*4. As of March 25, 2009, as a digital interchangeable lens system camera. Panasonic research.
*5. As of March 25, 2014, as a Digital Single Lens Mirrorless camera. Panasonic research.
*6. As of January 25, 2017, as a digital interchangeable lens system camera. Panasonic research.
*7. Recording time varies depending on the battery capacity and memory card capacity. When the camera’s temperature rises above the specified operation temperature, the camera may automatically stop video recording to protect it from heat damage.
*8. Cine Gear Expo 2019 is the premier annual event for professionals engaged in the technology, entertainment and media industry to be held at Paramount Studios in Los Angles, U.S., through May 30 to June 2.
– Design and specifications are subject to change without notice.

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Blackmagic Design: Blackmagic Design Adds Blackmagic RAW to Blackmagic Pocket Cinema Camera 4K

https://www.blackmagicdesign.com/media/release/20190305-02

Blackmagic Design Adds Blackmagic RAW to Blackmagic Pocket Cinema Camera 4K

New Blackmagic Camera 6.2 update adds Blackmagic RAW to the Blackmagic Pocket Cinema Camera 4K!

Fremont, California, USA – March 5, 2019 – Blackmagic Design today announced Blackmagic Camera 6.2 update which adds support for Blackmagic RAW to the Blackmagic Pocket Cinema Camera 4K.

Blackmagic Camera 6.2 update is available as a free download from the Blackmagic Design website.

Blackmagic RAW, a revolutionary next generation codec that combines the quality and benefits of RAW with the ease of use, speed and file sizes of traditional video formats. Blackmagic RAW is a more intelligent format that gives customers stunning images, incredible performance, cross platform support and a free developer SDK.

With Blackmagic Camera 6.2 update, customers using the Blackmagic Pocket Cinema Camera 4K now have the ability record images using Blackmagic RAW for the first time. This allows them to capture the highest possible quality images in smaller files, giving them much longer recording times with the media they already own. For example, customers can record over 2 hours of full cinematic quality Blackmagic RAW footage in 4K on a single 256GB SD UHS-II card. With Blackmagic RAW 12:1 you can even record 4K DCI images to an SD card, giving you stunning cinematic quality images on incredibly small, inexpensive cards. In addition, Blackmagic RAW gives customers an even faster, more fluid and higher quality editing and color correction workflow in DaVinci Resolve than ever before.

Once the camera has been updated, customers can choose between 3:1, 5:1, 8:1 and 12:1 constant bit-rate recording or between constant quality Q0 and Q5 recording. This lets them prioritize image quality or file size. The constant bit-rate encoding options give customers incredible images at predictable and consistent file sizes. Constant quality Q0 and Q5 use variable bitrate encoding so complex frames are encoded at higher data rates, preserving the maximum amount of detail and quality possible. Blackmagic Design Generation 4 Color Science is used for superior imaging that results in extremely accurate skin tones and gorgeous, lifelike colors. Blackmagic RAW images are encoded using a custom non-linear 12-bit space designed to provide the maximum amount of color data and dynamic range.

In addition, Blackmagic RAW features extensive metadata support, highly optimized GPU and CPU accelerated processing on the desktop and more.

Traditional RAW codecs have large file sizes and are processor intensive, making them hard to work with. Video file formats are faster, but suffer quality problems due to the use of 4:2:2 video filters that reduce color resolution. Blackmagic RAW solves these problems, giving customers the same quality, bit depth, dynamic range and controls as RAW, but with much better performance and smaller file sizes than most popular video codecs. Once files are brought into DaVinci Resolve, additional GPU and CPU acceleration make decoding of frames incredibly fast, so customers get extremely smooth performance for editing and grading.

When the Blackmagic RAW settings are changed in DaVinci Resolve, a .sidecar file can be generated or updated if one already exists. When opened in other software applications that support Blackmagic RAW, the .sidecar file, which contains the Blackmagic RAW settings made in DaVinci Resolve, will be automatically used to display the image. If the .sidecar file is removed then the file will be displayed using the embedded metadata instead. This innovative new workflow gives customers a non-destructive way to change Blackmagic RAW settings while working between different applications.

Blackmagic RAW is much more than a simple RAW container format. Its intelligent design actually understands the camera and the sensor. This means the image data, along with the unique characteristics of the image sensor, are encoded and saved into the Blackmagic RAW file, giving customers much better image quality, even at higher compression settings, as well as total control over features such as ISO, white balance, exposure, contrast, saturation and more.

In addition, Blackmagic RAW uses Blackmagic Design Generation 4 Color Science for superior imaging that results in reproducing extremely accurate skin tones and gorgeous, lifelike colors that rival those of cameras costing tens of thousands of dollars more. Images are encoded using a custom non-linear 12-bit space designed to provide the maximum amount of color data and dynamic range.

Blackmagic RAW also makes it easy for any software developer to access all this technology. The free developer SDK lets any third party software application add Blackmagic RAW support on Mac, Windows and Linux. The Blackmagic RAW developer SDK automatically handles the embedded sensor profile metadata, along with Blackmagic Design color science, for predictable and accurate image rendering that yields consistent color throughout the entire pipeline.

Blackmagic RAW features two types of file compression. Customers can choose either constant quality or constant bitrate encoding options, depending on the kind of work they are doing. This lets them prioritize image quality or file size. Constant quality uses variable bitrate encoding so complex frames are encoded at higher data rates to preserve detail and maintain the highest possible quality. Blackmagic RAW Q0 has minimum quantization and yields the highest quality, while Blackmagic RAW Q5 uses moderate quantization for more efficient encoding and a smaller file size. Blackmagic RAW 3:1, 5:1, 8:1 and 12:1 use constant bitrate encoding to give customers the best possible images with predictable and consistent file sizes. The ratios are based on the unprocessed file size of a single frame from the camera’s sensor, making it easy to understand the relative amount of compression being used.

The pristine camera native quality of Blackmagic RAW Q0 and 3:1 are perfect for effects heavy feature film and commercial work. Blackmagic RAW Q5 and 5:1 are extremely high quality making them great for episodic television and independent films. Blackmagic RAW 8:1 and 12:1 offer high quality and speed, making it suitable for productions that wouldn’t normally consider shooting RAW. Now, more customers than ever will be able to use high quality Blackmagic RAW images in an incredibly efficient way that was impossible before.

Featuring a fully scalable design and completely modern CPU and GPU acceleration, Blackmagic RAW is optimized for AVX, AVX2 and SSE4.1 enabled processors, multi-threaded, works across multiple CPU cores and is GPU accelerated with support for Apple Metal, CUDA and OpenCL. Frame decoding and image processing is extremely fast, making it super smooth for editing, color correction and visual effects in DaVinci Resolve. Another benefit of media being stored as single files, and not image sequences, is it makes media management easier and file copying much faster.

The free Blackmagic RAW Developer SDK is available on Mac OS, Windows and Linux. This SDK takes care of all the work for developers, so adding support for Blackmagic RAW to third party software applications is easy and fast. Developers get access to GPU and CPU accelerated algorithms for decoding files, along with unique information about the camera’s image sensor so their applications can accurately decode and display the files. The SDK features highly descriptive and flexible metadata options designed to support today’s modern workflows. Metadata is embedded directly in the .braw file or it can be stored in a .sidecar file. Metadata is important because it contains the Blackmagic RAW settings along with information for the slate, iris, focus, focal length, white balance and a lot more. The metadata in .sidecar files can be used on top of the embedded metadata without overwriting it. Blackmagic RAW also supports frame based metadata so customers can access values, such as focus distance, that often change on a frame by frame basis.

“Blackmagic RAW has been incredibly successful since we introduced it last fall on URSA Mini Pro,” said Grant Petty, Blackmagic Design CEO. “The new Blackmagic Camera 6.2 update is exciting because it makes this incredible new technology available to Blackmagic Pocket Cinema Camera 4K customers absolutely free! They get the visually lossless image quality of RAW with the speed of traditional video workflows!”

Availability

Blackmagic Camera 6.2 update is available today as a free download from the Blackmagic Design website http://www.blackmagicdesign.com/support

Press Photography

Product photos of Blackmagic Pocket Cinema Camera 4K, and all other Blackmagic Design products, are available at http://www.blackmagicdesign.com/media/images

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to http://www.blackmagicdesign.com

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Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K.

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Sigma Global Vision: Release of SIGMA Interchangeable Lenses for L-Mount

https://www.sigma-global.com/en/news/2019/02/26/2042/

2019.02.26

Release of SIGMA Interchangeable Lenses for L-Mount

SIGMA Corporation is pleased to announce the launch of the Art line prime lens lineup for full-frame cameras in L-Mount. These L-Mount series lenses have achieved high-speed AF and are fully compatible with AF-C mode, in-camera image stabilization, and in-camera aberration correction. The lineup will consist of 11 prime lenses for full-frame cameras from SIGMA’s Art line covering from 14mm to 135mm currently available in other mounts, allowing the Art line, which pursues the highest performance, to be enjoyed on L-Mount cameras.

[Features]
1. Optimized AF for L-Mount※1
With the AF drive control program and high-speed communication tuned for each lens, shooting at speed with high-precision AF control is achieved. The lenses also support the AF-C mode.

2. Compatible with in-camera image stabilization※1
Compatible with in-camera image stabilization, the camera automatically detects the focal length of each lens and optimizes image stabilization performance.

3. Data pre-loaded for compatibility with in-camera aberration correction※1
Fully compatible with in-camera aberration correction (corrections for peripheral illumination, chromatic aberrations, and distortion). By matching corrections to the optical characteristics of the lens, this function takes image quality to an even higher level.

4. Native mount for a more rigid and stable feel
Making the lens mount native provides a much more rigid and stable feel to the lens than using an adapter. Featuring a surface treatment to enhance strength, the brass bayonet mount offers a high-precision fit and exceptional durability. The mount connection area incorporates rubber sealing for dust- and splash-proof construction.

5. Available SIGMA Mount Conversion Service※2
This service converts specifications of the mount of SIGMA lenses to that of a different camera body. Users can “tailor” their favorite lenses to the camera body if they plan to get a new one in the future. This allows continued use of their favorite lenses over the long term regardless of the camera system.

※1 Compatibility with each function depends on the functions available on each camera.
※2 The SIGMA Mount Conversion Service (chargeable) is different from a normal repair service. It is not available at stores. In order to apply for the service, please contact your nearest authorized SIGMA subsidiary or distributor.

SIGMA 14mm F1.8 DG HSM | Art
Launch: TBD
Case supplied

SIGMA 20mm F1.4 DG HSM | Art
Launch: TBD
Case supplied

SIGMA 24mm F1.4 DG HSM | Art
Launch: TBD
Case and Hood supplied

SIGMA 28mm F1.4 DG HSM | Art
Launch: TBD
Case and Hood supplied

SIGMA 35mm F1.4 DG HSM | Art
Launch: TBD
Case and Hood supplied

SIGMA 40mm F1.4 DG HSM | Art
Launch: TBD
Case and Hood supplied

SIGMA 50mm F1.4 DG HSM | Art
Launch: TBD
Case and Hood supplied

SIGMA 70mm F2.8 DG MACRO | Art
Launch: TBD
Case and Hood supplied

SIGMA 85mm F1.4 DG HSM | Art
Launch: TBD
Case and Hood supplied

SIGMA 105mm F1.4 DG HSM | Art
Launch: TBD
Case, Hood, Tripod Socket, and Protective Cover PT-21 supplied

SIGMA 135mm F1.8 DG HSM | Art
Launch: TBD
Case and Hood supplied

More about SIGMA Interchangeable Lenses for L-Mount

[Contact]
For further information, please contact your local authorized SIGMA representative listed in the link below:
https://www.sigma-global.com/en/about/world-network/

[Product information]
SIGMA GLOBAL VISION:https://www.sigma-global.com/en/

panasonic_lumix_s_series_01_1024px_80pc
Panasonic Lumix S1R 35mm mirrorless digital camera.

Sigma L-Mount Art lenses and EF-to-L-Mount adapter to be released early 2019

Commentary

At the time of writing this article Sigma has the launch date of its first batch of L-Mount lenses marked as TBD but I hope the company can arrange to release them and the MC-21 Mount Convertor in its EF-to-L-Mount version at the same time Panasonic releases its Lumix DC-S1 and DC-S1R 35mm sensor mirrorless cameras.

No mirrorless hybrid camera system maker has managed to release its first cameras alongside an almost full collection of prime and zoom lenses, thus enabling early adopters to buy in and get to work almost immediately without the often years-long wait for the right focal lengths to finally appear.

Sigma’s first L-Mount prime lens release comprises a very usable set of optics, from 14mm up to 135mm, and it contains several that I consider invaluable as a documentary and portrait photographer and moviemaker.

Here is my ideal set of L-Mount lenses for a range of applications and genres:

  • Sigma 20mm f/1.4 DG HSM | Art
  • Sigma 28mm f/1.4 DG HSM | Art
  • Sigma 35mm f/1.4 DG HSM | Art
  • Sigma 40mm f/1.4 DG HSM | Art
  • Sigma 70mm f/2.8 DG MAcro | Art
  • Sigma 105mm f/1.4 DG HSM | Art

Alternatively, one could purchase the MC-21 EF-to-L-Mount adapter and a set of Canon EF-Mount Sigma lenses for maximum versatility and use on a range of cameras with different-sized sensors via adapters.

What is next for Sigma’s L-Mount lens collection?

Zooms and long telephoto prime lenses, I assume.

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  • Atomos Ninja V 5″ 4K HDMI Recording MonitorB&H
  • Panasonic DMW-BGS1 Battery GripB&H
  • Panasonic DMW-BLJ31 Rechargeable Lithium-Ion Battery (7.2V, 3100mAh)B&H
  • Panasonic DMW-XLR1 XLR Microphone AdapterB&H
  • Panasonic Lumix DC-S1 Mirrorless Digital CameraB&H
  • Panasonic Lumix DC-S1R Mirrorless Digital CameraB&H
  • Panasonic Lumix S 24-105mm f/4 Macro O.I.S. LensB&H
  • Panasonic Lumix S PRO 50mm f/1.4 LensB&H
  • Panasonic Lumix S PRO 70-200mm f/4 O.I.S. LensB&H
  • Sigma LensesB&H

Lesspain Software: Kyno 1.6 is Here

“Kyno 1.6 brings checksum-verified camera offloading, new metadata and copy workflows, Red (R3D, Redcode) Raw support and tons of other improvements. Check out the release notes at lesspain.software…”

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Kyno 1.6 is here!

https://support.lesspain.software/support/solutions/articles/12000016005-release-notes-for-kyno-1

1.6.0 (macOS: 106027, Windows: 1.6.0.23) – Released 2019-02-25

This major update brings a number of exciting new features and improvements as well as fixes for issues that have been reported.

The highlight of this feature is without a doubt the addition of verified copy (sometimes called “offloading”) using industry grade checksum verification based on the established media hash list (MHL) standard. From now on, you never have to leave your favourite workflow tool from camera card to edit/delivery.

Kyno Premium users will welcome the much-requested support for the RED RAW R3D format that you can preview and transcode with Kyno 1.6.

If you’re looking to get in touch with us directly be sure to drop us a line at @lesspainsoft on Twitter or on Facebook at facebook.com/lesspainsoft. If you have questions or need support just pop on over to support.lesspain.software and we’ll point you in the right direction.

What’s New (all editions):

  • Added “Copy & verify” function (aka verified copy, aka offloading) that copies your camera media or any folder with industry-grade verification using the media hash list (MHL) standard, full or incremental mode supported.
  • Added workflow for exporting and importing/merging descriptive metadata to aid collaborative workflows that operate on multiple copies of the same material.
  • Added new “Paste & rename” workflow for people copying and batch-renaming in one step as part of their ingest process.
  • When browsing through similar clips using the “next” and “previous” button or shortcut audio track and speed settings are retained for similar clips.
  • Added marker and subclip statistics to “Create report” function
  • Improved stereo audio track handling when sending files to Premiere Pro
  • Use full file name as clip name when sending to Premiere (or exporting for Resolve) instead of removing file extension to be consistent with what Premiere does on regular import
  • Display the XDCAM type in clip metadata for XDCAM footage
  • Support rewrapping of HEVC files to Mov container
  • Selected audio track and playback speed are retained when skipping through similar files
  • Thumbnails are now created with current LUT settings applied
  • LUTs are now applied when exporting still frames from videos
  • Added fade in/out support to transcoder
  • Added preset for XDCAM HD 422 29.97 FPS
  • Added FPS column to Excel export
  • Include marker and subclip titles when matching search term in the Browser filter
  • Added possibility to filter assets based on folder name and date range
  • Allow tags to be imported and exported
  • Added a global index as a naming variable to count across multiple rename, export or transcode operations
  • Added video/audio codec, format, start, end, path as optional metadata columns in Browser
  • Display overlay icons for tags, metadata, markers in list mode
  • Support playback of certain old PCM audio tracks from old camcorders
  • Improved sorting in Navigator tree
  • Adjusted labels for color properties to be more in line with industry standards
  • Made subclip time range controls in transcoder window take into account clip timecode
  • Renamed MJPEG transcoding preset to Photo JPEG because it’s more known under that name

What’s New (Premium edition):

  • RED RAW R3D support (playback and transcoding)
  • Multi-Destination verified copy (aka offloading) in one step. Back up your camera media in a simple workflow in two locations
  • Added ability to automatically transcode files in delivery workflow
  • Added ability to transfer image files together with video files in delivery workflow
  • Add a new folder naming option in delivery options
  • Improve behaviour of delivery folder history
  • Automatically display folders created by local delivery in Navigator tree
  • Sort subfolders correctly in delivery folder selector
  • Improve performance of delivery folder selector for slow connections

New Enterprise Features:

  • Changed Custom Package Deployment configuration overrides to one XML file that can be loaded from file system or via HTTP
  • Added functionality for delivery endpoints to be preconfigured via Custom Package Deployment
  • Added functionality for tags to be preconfigured via custom package deployment

Fixes:

  • Identified and busted the cause for accidental folder moves in the folder navigator
  • Improved display of drag and drop items (folders, clips)
  • Kyno now prevents input of invalid folder names on Windows
  • Fixed Premiere Pro 2019 not being detected automatically by the “Send to” function
  • Fixed a minor inaccuracy in duration filter
  • Fixed a rare crash that happened during drag & drop on certain OSX versions
  • Fixed a bug where moving a file between volumes resulted in a stale file remaining in the old location
  • Fixed a bug on Windows that prevented another volume to be registered in the workspace with the same drive letter
  • Fixed a problem where in rare cases empty clip names where transferred to Premiere or Resolve
  • Fixed a bug that caused certain HDR ProRes files not to play back
  • Fixed a rare freeze on Windows when double-clicking subclips

Kyno 1.6 Screenshots

LumaForge: Media Asset Management and Kyno

Commentary

Kyno goes from strength to strength as it continue to add essential video and photography production functions that many of us have relied for on a cluster of other dedicated applications made by a range of small software companies.

Add up the licence fees for all of that ever-growing cluster of separate applications and compare it to Kyno’s licence fees in whichever version, Kyno, Kyno Premium or Kyno Enterprise, is relevant to your work.

I am particularly excited about Kyno 1.6’s checksum-verified camera offloading after having tried out a number of dedicated offloading products as well as its metadata workflow improvements as the latter has been something of a sore point for a while.

Kyno 1.6’s ability to add two LUTs – one for camera profiles and one for looks LUTs for example – to still frame image files exported from markers as well as thumbnails is also very welcome.

These and more new and improved features are making Kyno the number one on-location media management system for a range of producers including self-funded independent documentary moviemakers and photographers like me.

I have already put the offloading function in Kyno 1.6 – now updated to version 1.6.1 – to good use in the course of reviewing a camera and lens and look forward to putting more of its new features and improvements to use in the coming days.

I can only imagine what may be coming in Kyno 1.7!

Support for Blackmagic Cinema DNG and Blackmagic Raw come to mind right now for example  – I received some sample BMPCC 4K footage from Paul Leeming the other day – and look forward to Kyno adding support for all the latest affordable hybrid and video cameras and camcorders as they appear.

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