Making a Movie With The Sony a9

Amar Ramesh and his team from India created the above movie using the Sony a9 shooting at 20fps. In the past movies were filmed at 16fps, so 20fps isn’t far off from today’s modern 24fps standard. They started off with 12,000 photos and then paired it down to 2,500 for the above video which was created using Lightroom and Final Cut Pro. You can see the behind the scenes below and read the full story at Fstoppers.

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Kenko 400mm f/8.0 Reflex Lens

With a reflective optical system using mirrors, the lens realized surprisingly compact size and lightness while being super telephoto of 400 mm. Unique Ring Boke is attractive.

Lineup of nine kinds of mounts for single lens reflex and mirrorless.

※ Mount is T mount type, it is detachable type. It can convert to other mounts.

* Pinto is manual. Exposure corresponds to aperture priority AE (A) or (Av) or manual (M) only.

※ The setting of “Allow release without lens” setting is required by the camera.

Suggested retail price: Open

[Sale on 15th September 2017] Read More »

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Sony Unveils VENICE, Its First 36x24mm Full-Frame Digital Motion Picture Camera System

Sony Unveils VENICE, Its First 36x24mm Full-Frame Digital Motion Picture Camera System
Anamorphic Capabilities, Interchangeable Sensor, 8-stage ND Filter System, New Color Management & Established Workflow Combine into Unique Creative Filmmaking Tool

LOS ANGELES, Sept. 6, 2017 — Sony Electronics is unveiling VENICE – its first Full-Frame digital motion picture camera system. VENICE is the next generation of Sony’s CineAlta camera systems, designed to expand the filmmaker’s creative freedom through immersive, large-format, Full Frame capture of filmic imagery producing natural skin tones, elegant highlight handling and wide dynamic range. VENICE was designed through close collaboration with the creative community, fulfilling the requirements from filmmakers and production professionals.

VENICE will be officially unveiled on Sept. 6, in front of a select audience of American Society of Cinematographers (ASC) members and a range of other industry professionals. Sony will also screen a short film, “The Dig”, the first footage shot with VENICE, produced in Anamorphic, written and directed by Joseph Kosinski and shot by Academy Award winning Cinematographer Claudio Miranda, ASC.

“We really went back to the drawing board for this one,” said Peter Crithary, marketing manager, Sony Electronics. “It is our next-generation camera system, a ground-up development initiative encompassing a completely new image sensor. We carefully considered key aspects such as form factor, ergonomics, build quality, ease of use, a refined picture and painterly look—with a simple, established workflow. We worked in close collaboration with film industry professionals. We also considered the longer-term strategy by designing a user interchangeable sensor that is as quick and simple to swap as removing four screws, and can accommodate different shooting scenarios as the need arises.”

Full frame sensor and wide range of lens compatibility
VENICE combines a newly developed 36x24mm Full Frame sensor to meet the high-quality demands of feature filmmaking. Full Frame offers the advantages of compatibility with a wide range of lenses, including Anamorphic, Super 35mm, Spherical and Full Frame PL mount lenses for a greater range of expressive freedom with shallow depth of field. The lens mount can also be changed to support E-mount lenses for shooting situations that require smaller, lighter, and wider lenses. User-selectable areas of the image sensor allow shooting in Super 35 mm 4 – perf. Future firmware upgrades are planned to allow the camera to handle 36mm wide 6K resolution. Fast image scan technology minimizes “Jello” effects.

New color management system and established workflow for flexible post-production
A new color management system with an ultra wide color gamut gives users more control and greater flexibility to work with images during grading and post-production. VENICE also has more than 15 stops of latitude to handle challenging lighting situations from low-light to harsh sunlight with a gentle roll-off handling of highlights.

VENICE achieves high quality and efficient file-based production through Sony’s established 16-bit RAW/X-OCN via the AXS-R7 recorder, and 10 bit XAVC workflows. VENICE is also compatible with current and upcoming hardware accessories for CineAlta cameras (DVF-EL200 Full HD OLED Viewfinder, AXS-R7 recorder, AXS-CR1 and high-speed Thunderbolt-enabled AXS-AR1 card reader, using established AXS and SxS memory card formats.

Intuitive design & refined functionality support simple and efficient on-location operation
VENICE has a fully modular and intuitive design with refined functionality to support simple and efficient on-location operation. It is the film industry’s first camera with a built-in 8-stage glass ND filter system, making the shooting process efficient and streamlining camera setup. The camera is designed for easy operation with an intuitive control panel placed on the Assistant and Operator sides of the camera. A 24 V power supply input/output and LEMO connector allow use of many standard camera accessories, designed for use in harsh environments.

License options for individual production requirements
With VENICE, Sony is giving users the option to customize their camera by enabling the features needed, matched to their individual production requirements. Optional licenses will be available in permanent, monthly and weekly durations to expand the camera’s capabilities with new features including 4K anamorphic and Full Frame, each sold separately.

The VENICE CineAlta digital motion picture camera system is scheduled to be available in February 2018. For more information, please visit:

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New Mitakon Zhongyi Creator 35mm f/2 and 85mm f/2 Lenses For Sony E-mount

The Mitakon Zhongyi Creator 35mm f/2 and Mitakon Zhongyi Creator 85mm f/2 lenses are available for Sony A-mount and E-mount: Read More »

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IR: Inside Sony Kumamoto Summary

Image courtesy of image-resource

Imaging-resource went inside Sony Kumamoto after the earthquake and received unprecedented access. Previously IR released footage of the quake and cleanup effort, which you can view here, but today they released one of many follow-up stories to come. Below are the key points.

  • Photos from the article were hand picked by Sony
  • There’s a better than 50% chance that the sensor in your current camera came out of this factory.”
  • Sony grows its silicon and silicon wafers are sliced from massive, single crystals of silicon
  • “finished wafers are about 12 inches (300 mm) in diameter, by perhaps 4 to 6 feet long (1.4 – 2 meters)”
  • The process of growing a crystal of silicon is kind of like rock candy
  • In the early 1970s, 3-inch wafers were standard, now 12-inch (300mm) wafers are commonplace, and manufacturers continue working to increase sizes even further.”
  • The article covers at length the cleaning process of the silicon entering the Kumamoto facility and how it goes from a class 1000 (1000 particles larger than 0.5 microns per cubic foot of air) to class 1 (1 particle larger than 0.5 microns in size per cubic foot of air) clean room, which involved a purified water cleaning as the first step.
  • The factory is almost completely automated, with people mainly servicing machines.
  • Humans are just too inconsistent and dirty for this kind of work.
  • The air flow in these rooms is massive to suck any particles down through the floor.
  • When they cut the chips apart they use a 20-30 microns thick (0.02-0.03 mm or just 0.008-0.012 inches) thin-kerf diamond saw, and it spins at 30,000 – 60,000 rpm to minimize damage to the sensor and keep the blade rigid.
  • After they are cut Sony assembles the chip with whatever electronics it might need extremely quickly to create the package for camera manufacturers.
  • Then Sony tests their chips to ensure they meet specifications before getting them ready to ship out

If you are interested in learning more about these points you can read the entire Imaging-resource article here.

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Venus Optics Laowa 15mm F2 FE Zero-D Review

DPReview released their review of the Laowa 15mm F2 FE Zero-D and it’s very favorable. Venus Optic has been making some great lenses lately.

You can read the full review here.

What I like:

  • Distortion is very well controlled
  • Fast, wide and reasonably small
  • Good build quality
  • Sharp, even wide open
  • 15cm (6 in) minimum focus distance
  • 72mm filter thread

What I don’t:

  • No electronic communication so no EXIF info
  • Vignettes moderately throughout aperture range

Venus Optics Laowa 15mm F2 FE Zero-D: B&H Photo / Venus Optics / Adorama

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