Fujifilm GFX Eterna

We’re very happy to see Fujifilm create a medium format cine camera.  What we know so far is that it features the same sensor as their medium format GFX 100 Mark II camera.

We were a bit surprised that there wasn’t better dynamic range on the GXF 100 Mark II compared to its full-frame counterparts (although you of course still benefit from the field of view that the sensor provides).  Also, the rolling shutter is not great on this camera.  Hopefully both of these factors can be corrected in the Eterna.

We look forward to the first footage which we will post here.  We have no further details at this time.

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ZEISS Nano Prime High-Speed Cine Lenses

As mirrorless becomes more dominant and relevant to filmmakers, manufactures have started to produce more lenses for their platforms.  Mirrorless mount physics should make possible a better quality of lens than what was possible before.

Zeiss has released this interesting set of lenses with 6 focal lengths all at T1.5: 18mm, 24mm, 35mm, 50mm, 75mm, 100mm.  It’s $26,000 for the set which works out to $4,333 a lens.  These lenses are “initially available for the Sony E-mount” but we expect that the Canon R-mount is just around the corner.

ZEISS Nano Primes are cinema lenses designed for modern full frame mirrorless cameras — initially available for Sony E-mount. Lenses for everyone looking for highest performance and cinematic look in a small package. The six focal lengths all feature a consistent high speed of T1.5, come with a small and robust real cine lens housing with professional cine ergonomics and have an interchangeable mount.

Nano Primes are lenses for all cinematographers. No matter if up-and-coming or seasoned DP. For all budgets. No matter if small or big. For all projects. No matter if for commercials, documentaries or music videos, for series, independent or features films. Lenses that check all the boxes when it comes to look, ergonomics, size and weight or lens data workflow. Lenses that you can afford. Lenses that won‘t let you down.​

​ZEISS Nano Primes are the go-to lenses for everyday: True Cinema. For All.​

Visit Zeiss’s website for more information.

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RED Digital Cinema V-RAPTOR [X] 8K VV

This small cinema camera is targeted at a niche audience with its $30,000 price tag.  It’s still good news for all of those who produce video as technology, given enough time, tends to trickle down and become more affordable.  An affordable full-frame global shutter sensor may come our way given enough years and demand.  Those who shoot RED will likely find this camera interesting.  They’re stating this is the worlds’ first large format global shutter camera.

This camera is an achievement and RED should be praised for that.  The previous Raptor’s were and still are excellent cameras, and perhaps more will become available used now.

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OCTOPUS16 Super 16 Cinema Camera

Octopus Cinema has a camera in development that looks amazing to us.  There hasn’t been a good 16mm digital cinema camera for a while since Blackmagic abandoned that sensor size and let’s not talk about the Bolex D16.  And the price is said to be under $1000.  The unfortunate reality here is that this product is in development and may never see the light of day.  But here’s to hoping.

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Tuner by Module 8: Give Your Lenses a Cinematic Look

The term cinematic look is overused.  However, this innovative product found a way to amplify the aberrations in your image so to emulate some expensive vintage lens looks.  We will need to wait for more reviews to come in to see how close they actually got, but this product is something new and interesting.

This $1300USD adapter comes in three looks:

  • Baltar
  • K35
  • Anamorphic

And each comes with four mount options:

  • Canon EF to Canon RF
  • PL to Canon RF
  • Canon EF to Sony E
  • PL to Sony E

There are discounts offered for purchasing 2 or 3 at a time.  Visit the module website for more information: https://www.shopmoment.com/module-8

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