Now that Sony added full animal eye AF the huge amount this had to happen: Sony launched the Instagram Animal Portrait Photo Contest! More info here: https://alphauniverse-mea.com/animaleyeaf/
Now all those billions of cat photos can make you win some prizes :)
Is Sony’s RX0 II GOOD ENOUGH to REPLACE your MAIN CAMERA? [FULL REVIEW]
Laowa 9mm f/2.8 Zero Distortion | Review (Toby Horn).
How To Overcome No New Camera Release Syndrome (Camera Conspiracies).
Tokina 100mm FE test at DC.watch.
Picking a Pocket Camera: Sony RX100 Edition (Explora).
Seetec Feelworld F6 Plus On-Camera Touch Screen Monitor (Personal View).
In the Field: The Sony FDR-AX53 (Mary Latvis).
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So folks, this is the Cinegear press announcement from Sony. Like I told you there is no Alpha news today. For that you have to wait next week (June 5/6):
Sony’s VENICE Continues to Evolve With High Frame Rate Up To 90 Frames Per Second At 6K
Sony Announces Version 5.0 Firmware for the Sony VENICE camera with advanced HFR capabilities up to 90fps at 6K 2.39:1 and 72fps at 6K 17:9, HD ProRes 4444 and more. The announcement was made at the grand opening of Sony’s Digital Media Production Center (DMPC) in Los Angeles. The DPMC is the industry’s most complete capture to display facility.
HOLLYWOOD, CA – May 30, 2019 – At the grand opening of Sony’s Digital Media Production Center (DMPC), the industry’s most complete capture to display facility, Sony Electronics is connecting users and creators to deliver the artists’ intent by driving hands-on experiences with the latest technology in Cinema. The DMPC in Hollywood is the flagship of several such facilities around the world, and is designed to be a resource for cinematographers, photographers, and anyone involved in image making. The venue* will host a press conference tonight revealing technology advancements with its VENICE full-frame digital motion picture camera. VENICE will receive additional High Frame Rate (HFR) capabilities and added workflow flexibility with a new Version 5.0 firmware update planned for January 2020.
Following the Version 4.0 firmware release this June, which includes an HFR license to support 120fps at 4K 2.39:1, 110fps at 4K 17:9, 75fps at 4K 4:3 and 60fps at 6K 3:2, VENICE’s Version 5.0 update will further enable cinematographers to shoot at speeds of up to 90fps at 6K 2.39:1 and 72fps at 6K 17:9/1.85:1. This addition enables VENICE to capture three times slow motion at 24p, even in 6K. Cinematographers can utilize the same camera across multiple speeds, maintaining the full-frame shallow depth of field, as well as the high picture quality of oversampling in 6K.
“Through an ongoing dialogue with cinematographers, we have continued to evolve VENICE to meet the needs of top talent,” said Neal Manowitz, deputy president for Imaging Product and Solutions Americas at Sony Electronics. “To date, more than 100 features and episodic productions have been shot on VENICE. The new Version 5.0 firmware will allow the camera to be even more flexible, ultimately increasing its benefit and versatility to all cinematographers.”
Notable projects shot on VENICE include this summer’s action thriller from STXfilms “21 Bridges” (DoP Paul Cameron, ASC), Sony Pictures’ “Bad Boys for Life” (DoP Robrecht Heyvaert) and the Johnny Depp drama “Minamata” (DoP Benoît Delhomme).
VENICE Version 5.0 Firmware
Version 5.0 also offer various features to achieve enhanced shooting usability and efficient production workflow. Highlights include：
• HFR Capabilities – Up to 90fps at 6K 2.39:1 and 72fps at 6K 17:9.
• Apple ProRes 4444 – Record HD videos in high picture quality with SxS PRO+, without Sony’s AXS-R7 recorder; this is especially effective for HD VFX workflow
• 180 Degree Rotation Monitor Out – Flip & flop images via viewfinder and SDI
• High Resolution Magnification via HD Monitor Out – Existing advanced viewfinder technology for clearer magnification is now extended to HD Monitor Out
• Improved User Marker Settings – Menu updates for easier selection of frame lines on viewfinder
Commitments to Best Imaging & Workflow Practices
In addition, regardless of VENICE firmware version, Sony has announced a new commitment with a key industry organization dedicated to achieving the highest quality image and preserving the filmmaker’s creative intent:
• ACES Support – VENICE has joined Sony’s F65, F55 and F5 in earning the ACES logo, meeting the specifications laid out in the ACES Product Partner Logo Program; with a newly available IDT and properly configured ACES color managed workflow, VENICE ensures a consistent color experience that preserves the filmmaker’s creative vision
Cine Gear Expo
To see VENICE in person, including the Version 4.0 HFR capabilities and the popular VENICE Extension System, visit Sony at booth #S101 in Stage 6 of Cine Gear Expo at Paramount Studios.
Additionally, Sony will present the following screenings and seminars during Cine Gear Expo:
• Free Screening of the Netflix feature Wine Country, which was Shot on VENICE
Friday, May 31 | 7:00pm | Paramount Theater
In honor of Rebecca (Rachel Dratch)’s 50th birthday, Abby (Amy Poehler) plans a scenic Napa getaway with their best, longtime friends. Workaholic Catherine (Ana Gasteyer), post-op Val (Paula Pell), homebody Jenny (Emily Spivey), and weary mom Naomi (Maya Rudolph) are equally sold on the chance to relax and reconnect. Yet as the alcohol flows, real world uncertainties intrude on the punchlines and gossip, and the women begin questioning their friendships and futures. A hilarious and heartfelt comedy directed by Poehler, Wine Country co-stars Tina Fey, Jason Schwartzman and Cherry Jones.
• 6K Imaging with a Powerfully Small Camera Package
Friday, May 31 | 4:30pm | Sherry Lansing Theater
DIT Arthur To (The Revenant, Live by Night, End of Watch) is no stranger to harsh production environments. When it came time to shoot a documentary about a humanitarian program in Iraq, he chose Sony’s VENICE camera to handle the demanding needs of a war-zone situation. Hear how to pair a Sony Alpha 7R III and Sony’s G-Master lenses with VENICE’s time-saving features to craft a nimble approach that maximized his creative freedom. Moderated by Debra Kaufman, frequent contributor to ETCentric.
• Get the Best Image Quality with the Fastest Turnaround
Saturday, June 1 | 10:15am | Screening Room #5
Cinematographer Alister Chapman will give a practical, live demo of just how easy it is to work with the amazing data available in the 16 bit X-OCN files of Sony’s VENICE camera. Chapman will then examine the many other ways VENICE provides efficient solutions for creating great images, including the internal ND filter system, using different LUTs for monitoring and exposure checking in addition to adding your creative look to the camera’s output, and the ease of swapping lens mounts or detaching the imaging block to utilize the VENICE Extension System.
• Crafting the Look of Guilty Pleasure TV
Saturday, June 1 | 11:30am | Screening Room #5
Join DP Star Berry, 1st AC Colin Duran and DIT Eric Henson for a case study of their work on the CW series Dynasty. Moderated by Jay Holben – producer, director and frequent contributing writer for cinematography publications.
• Mixing Cameras in Documentary Production
Saturday, June 1 | 2:45pm | Sherry Lansing Theater
In documentary filming, where you need to capture every single moment with the maximum excitement, there are often situations when a single camera cannot cover the best shot. Using examples from a production chasing thrill-seeking paragliders, award-winning cinematographer Robert William Scribner will share the ease of matching several different cameras in post-production using an S-Log workflow. See how a variety of Sony cameras — including FS7 II, FS5 II, Alpha 7R III and RX0 II — were utilized in this high-altitude adventure shoot.
*About the Sony Digital Media Production Center
The DMPC features a professional production stage for cinema camera and lens testing, along with a workflow suite for ingest and grading, and a viewing room with both 4K projection and Sony’s Crystal LED (CLED) display. At more than 23 feet wide, the CLED display has an aspect ratio of 2:66:1, ideal for 6K anamorphic VENICE content. New to the relaunched DMPC is a photo studio for hands-on classes with Sony’s Alpha cameras and E-Mount lenses, and a Sony Pro Support service center.
Sony A6400 Training Tutorial Video Overview Manual Video
Tamron 28-75 Sony Review // Is it a good lens for Sony APS-C? (Dunna Did It).
Sony A6400 Review (TheDigitalDigest).
NAB 2019: Feiyutech G6Plus 3-Axis Gimbal with Heavy Duty Phone Mount (Explora).
I Bet You Didn’t Know Your Sony Camera Could Do This (Ryan Mense).
Atomos announces Shinobi SDI monitor, Shogun 7 monitor/recorder and a Ninja V SDI module (DPreview).
Erich: “tested a new magnetic cable for a tethering shooting with an A7R3, It works excellently both in data transfer and with a charging function via USB-C. It protects the camera from damage!
The whole article is here: http://www.erichpueschel.de/?p=963“
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Mini I.S. Shootout: Nikon Z7 vs. Panasonic GH5 vs. Sony A7 III
No day passes without me thinking about the Sony 400mm f/2.8 GM (Alin Popescu).
Laowa 100mm f/2.8 2x Ultra Macro APO review (Richard Wong).
Zeiss Otus 100mm f1.4 review (CameraLabs).
Sony’s market value stays discounted even as profits pick up (Nikkei).
The Photographer’s Assistant: Tips For Assisting on a Photo Shoot (Explora).
Fotodiox RGB Large Panel Lights, Including Prizmo 1×2 (Personal View).
Personal photos and tests from SAR Admin Andrea on Instagram, Twitter, Facebook, Flickr and 500px.
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Sony RX0 II – Review and Sample Footage
Samyang AF 85mm f/1.4 Lens for Sony E Real world review (Keinan Vanunu).
Samyang 85mm F1.4 FE vs Sony 85mm f1.8 FE (리뷰톡톡).
All Huawei P30 Cameras Made by Sony (Image Sensor World).
Sony a7III and Nikon Z6 shadow noise — numbers (Jim Kasson).
Zoom F6 Audio Recorder (Personal View).
5 Quick Tips: Tell a Story When Photographing a Wedding (Explora).
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Tony Northrup analyzed the companies fiscal report and the sales trend (like this one one Amazon) to conclude that:
1) The Sony E-mount and Fuji X-mount are the mounts that are the most future proof. It means in five years from now those mounts will be still well supported
2) The Canon EOS, Canon R and Nikon F mounts are also highly likely to be fine in a few years from now
3) The Fuji GFX and Nikon Z mounts are uncertain. While the reason behind a possible GFX failure is the slim amount of potential customers in case of Nikon he has a different argument: Nikon as a whole is not doing well. And the Nikon Z mount camera sales are very slow.
4) The Canon EOS-M, MFT, L-mount and Pentax mounts are doomed
I agree 90% with it. I am not so pessimistic about the Nikon Z and MFT mounts though…
