Wide angle users with APS-C/Super35mm cameras are well catered for by the excellent Tokina 11-16mm f2.8. It’s my personal favourite ultra wide angle zoom thanks to it’s constant f2.8 aperture and 77mm filter thread size. It is now firmly established as the number one choice for many large sensor video camera shooters because there is no direct equivalent from Canon or Nikon. Duclos lenses makes an excellent conversion of this lens which adds better geared manual focus, aperture rings and optionally a PL mount.
The Tokina AT-X 11-16 f/2.8 PRO DX Ⅱ
This week Nikonrumors.com is reporting that Tokina has announced a version 2 of the lens which they have said has a new aspherical element, ultra-low dispersion glass and faster autofocus motor (not that I would use AF for video with this lens). It’s too soon to say if this version 2 lens is substantially better than the old one, but if it is then it is sure to be popular. Availability is said to be March for the Nikon fit version and July for the EOS one.
Right in time for the launch of the Nikon D4 and Canon EOS-1DX comes an elegant front filter solution from Fotodiox that allows the use of screw in neutral density filters on the popular 14-24mm f2.8 Nikkor lens. The lens is very sharp and has been very popular with both Nikon and Canon shooters (who use a G lens adapter) looking for a fast ultrawide zoom. There are few full frame alternatives and none at f2.8.
For video DSLR use there has always been the issue of how to fit a ND filter. Up till now there hasn’t been any simple screw in solution for an ultra-wide zoom lens on full frame cameras. The only option was to add ND to the Nikkor 14-24mm was to put gels on the back of the lens, or buy a custom Lee filter square filter holder.
The Fotodiox adapter kit complete with 2 ND filters
The Fotodiox solution consists of a metal adapter ring that attaches to the lens that has a huge145mm filter thread on the front and a custom lens cap. ND filters in this size would usually be quite expensive but Fotodiox offers their own moderately priced ND4 and ND8 filters along with a circular polariser. Hopefully they will bring stronger ND filters as well soon. The price for a kit with the adapter, cap, ND4 and ND8 is $299.95.
Lens adapter maker Metabones and Conurus have developed a smart adapter to allow the use of Canon EF glass on Sony NEX cameras like the FS100, NEX5n and VG20. It gives control of aperture and also apparently image stabilisation too. It is similar to the MTF services adapter which we previously featured this adapter differs in that it uses the camera body’s controls to adjust aperture and does not have an external box or power. It is also much lower cost and could prove a welcome addition for FS100 shooters looking to use EOS lenses – how it actually works for video shooting is still to be seen.
This from their website –
This Smart AdapterTM has the following features:
True electronic integration of aperture diaphragm – let camera automatically choose aperture in P or S exposure modes, or dial in yourself on the camera body in A or M modes.
Powered by camera body. No external power source required.
Wide open button (opposite of depth-of-field preview function) makes manual focusing easy.
Disclaimer: we are NOT licensed, approved or endorsed by Sony or Canon. This product is developed independently without any involvement of Sony or Canon.
Compatability:
EF lenses
EF-S lenses (see note below)
Image stabilization (IS)
Electronic manual focusing (EF 85/1.2L, discontinued non-IS white telephotos, discontinued EF28-80/2.8-4L)
EXIF (focal length, aperture, lens ID) P, A, S, M exposure modes
Contax N mount lenses modified to Canon EF by Conurus
Contax 645 NAM-1 adapter modified to Canon EF by Conurus
Sigma, Tamron and Tokina lenses in Canon EF mount
Note: vignetting at corners may occur for certain EF-S lenses because they are designed to cover a 1.6x crop image circle but Sony NEX has a 1.5x crop sensor.
I can break all reviews into two categories: those that are solicited, and those that are not. This is the latter. And I write this unsolicited review because I believe Blackrapid’s straps have changed my life in a significantly positive way.
DSLR News Shooter is a great resource for finding out about new gear and user opinions of the most up to date technology. Looking at the past couple weeks there are reviews of new cameras, new sliders, new glass and even a new user medium. As technology (and our gear habits) advance its easy to forget about some of the most basic parts of our kit.
But its ok, Blackrapid has not forgotten. The relatively nascent company rethought the most basic element of our kit — the strap.
Here’s how it works:
FasternR System: Each strap uses a small screw which attaches to your cameras tripod mount. Between the screw and the camera is a small rubber washer unit which both protects the camera from getting scratched as well as stops the screw from unintentional loosening. After two years of using the system — the screw has never become loose enough to which it came even close to following off. I’ve climbed mountains, crossed rivers and sat on the side of helicopters with cameras hanging from this screw.
ConnectR System: On the other side of the camera mount is Blackrapid’s ConnectR System — which is essentially a carabiner that allows the FasternR to swivel. These two items together make an amazing combination because you can have the camera move at your side, without the strap moving — or without needing to adjusted your clothing as you move. The straps then sling either diagonally (RS models) across the chest or vertically down the torso (DR models), distributing weight across the entire body.
Comfort Level: The strap has done wonders for my physical health, but beyond general comfort Blackrapid has made a strap that is completely adjustable to any body type. On each strap — there are two “stoppers” which can be placed where the user wants the camera to either fall or stop when at desired shooting position. If you place these right, pulling your camera up from your side will be smooth and the camera will stop exactly where you feel comfortable shooting. In addition, Blackrapid make’s male and female models for … varying chest shapes.
Health: For years after work I had neck and back pain from using traditional camera straps that place a heavy weight across the neck. Within weeks of changing straps, I actually felt physically better. I was less soar, my posture improved and I even began to sleep better.
Mobility: Here I am in sunny India. I often find myself shooting in crowded places. With Blackrapid’s straps, the camera hangs upside down, and you can rest the camera either on your hip or toward the small of your back. Either way, the camera isnt sitting right under your face like a bullseye. This is great for a number of reasons. In a crowd like the on above you can sneak through protecting the camera with your body. Second, the straps allow you to hide the camera. In Bihar, India (where the average annual income is $350) you might stick out a bit being foreign and walking around with $10,000 around your neck. When using Blackrapid straps in dodgy places, you can keep the camera out of direct site, making it a little easier to blend in and possible — a bit safer.
The system also allows you to use your hands for other stuff, while still keeping the cameras safe. Below, I’m using a Blackrapid DR-1 Double Strap, moving a three meter jib with a Canon 60D on it, with a Canon 7D and Canon 5DMII safely at my sides.
For video oriented DSLR photographers: These things are great. I hate shooting video with a strap attached to the camera. Blackrapid straps come instantly on and off. Since I normally have multiple cameras rolling the straps come in handy all the time when one camera becomes unneeded but I want to have either a lens or a camera on standby.
In addition, in between shots I often have to move small distances that would be easier to not have a camera attached to a tripod, but not far enough away where I want to put a camera away. These straps make it easy for me to not completely disable, but partially de-rig and move from place to place without carry all the weight of the camera all the time.
For still oriented photographers: These things are also great. Above, I’m at a Prada Show shooting a new collection of clothing. While its great to have 10 lenses with you, sometimes space is an issue and being nimble helps. With one Blackrapid DR-1 Double Strap I can shoot all night with two cameras, no bags and no accessories needed to tie around my waste. For fashion, news and wedding photographers two cameras and two lenses is often enough.
MODS: There’s also a ton of add-ons and modifications that work with these things. when shooting stills a Brad which helps stabilize the camera a little.
Normally, I’m not so head over heals, “ready to propose” about a product — but between the utility and the physical health benefit — this one definitely has me.
– Jonah M. Kessel is a Beijing based freelance visual journalist working with the New York Times. See his web site here and follow him on Twitter here.
Smiles all round - James Velacott and Andy Jackson with the C300
After a long day shooting out on location with a pre-production Canon C300 I invited DOP Andy Jackson, James Velacott of Cherryduck productions and Guardian freelance shooter Felix Clay to discuss their thoughts about the new camera with me. Below is a quickly thrown together video of our discussion.
As described in my previous post the idea was to try the camera on a ‘real world’ assignment where time was limited and events were beyond our control. After some discussion we chose an idea that James had come up with – Damyns Hall airfield near London where an aviator called Bob Pluck keeps his microlight.
Andy Jackson and myself filming Bob and his microlight
To keep everything realistic we then sent the rushes out to Paul Cope and Adam White of the post production team at Cherryduck for editing and grading. The footage looked very clean and detailed on the monitors in the edit suite, to my eyes far less digital than many other large sensor cameras I have tried.
The end result (bottom) can be seen below alongside a 1080P ungraded version of the edit for comparison. The camera was set in Canon’s C-log gamma curve and frame rate was 25P.
For me the camera is great advance over the Canon DSLRs like the 5DmkII and although it it not cheap it does do almost everything that I need out of the box. I look forward to buying one if I can only find the funds for it.
I’ve been lucky enough to test a pre-production Canon C300 for the past few days. I’m really happy to post this short story collabrative project shot entirely on the camera.
I was joined last Sunday by DOP Andy Jackson who regularly shoots for the BBC, James Velacott of Cherryduck productions and freelance shooter Felix Clay who works mainly for the Guardian.
The idea was to film a mini-documentary in just one day. It was then edited and graded by Cherryduck’s in house team. I’ll be talking about our experiences shortly, but for now I hope you enjoy the results.
Yesterday I had a chance to get a hands-on with a pre-production Nikon D4 at the company’s UK headquarters. James Banfield of Nikon UK demonstrates the video functions in the video below.
We tried the camera’s clean HDMI output with the Zacuto EVF and Atomos Ninja and I can confirm that it works. We also tried the headphone output and the audio functions of the camera and I’m pleased to report they also work as expected.
Testing the HDMI out of the D4 with the Zacuto EVF and Atomos Ninja
I was allowed to see the images on a monitor but not take any away for publication. What I did see (admittedly in a dimly lit Nikon showroom) looked pretty nice with no obvious false colour artefacts. James said that given that the camera is pre-production the picture might not be representative of the finished product and that they are still tweaking the image settings of the camera. Proper assessments of the image quality from the camera (and especially its HDMI output) will have to wait until production cameras appear.
Testing the headphone output and audio input with a Juicedlink DT454
Hopefully I will get to test a production unit soon. Like many others I’m keen to see how this camera stacks up against the competition – namely the Canon 1D X, C300, Sony FS100, F3 and Panasonic’s offerings. These are certainly interesting times.
The Sony F3, Canon C300 and Nikon D4 - how will they compare?
Below is Nikon’s first sample video from the D4 by shooter Corey Rich.
Many people forget it was the Nikon D90 that started the DSLR video revolution. It predated the launch of the Canon 5D mkII by several months. Sadly Nikon didn’t take the lead in DSLR video, instead leaving Canon to rule the roost. Nikon have put video into their recent DSLR cameras, notably the D7000 and D3s, but the image quality of the footage was frankly not as good as the competition (except that the D3s did do very well in low light). All this might be about to change with the launch of the D4. Nikon have finally given DSLR video users some of their most requested features.
In terms of video the D4 can shoot full 1080p or 720p at 29.97, 25 and 24.98 frames a second (fps). It can also shoot standard def 640×480 at 30 or 25 fps. Interestingly, according to Dpreview, it crops the output of the video in FX full frame mode to 91% of its sensor width (I’m not sure why Nikon have done this and I’m trying to find out). Rolling shutter and skew is said to be improved over previous Nikons.
Capture time is limited to a strangely arbitrary 20 minutes in 1080P Highest quality – I have no idea why this might be. I assume this has something to do with file size. Hopefully you can restart recording immediately but this too needs to be tested. In other modes is can record for 29 minutes 59 seconds.
Audio is the main leap forward in the D4. Along with a regular 3.5mm mic input jack there is also a headphone jack – a first for a DSLR and a feature I have been wanting to see since the Canon 5D mkII first landed in my hands. The level of the headphone output can be adjusted. There are also on-screen audio level meters and the recording level can be adjusted manually in 20 steps. The quality of the mic input also needs to be tested out.
As well as manual focus you can autofocus in video mode. Again details are scarce but Nikon claim it is faster than the D3s and you can use face detection if you feel the need to. Before recording you can magnify the image to confirm focus but not during recording – similar to other DSLRs.
The D4 records to either CF or the new XQD memory card using H.264 encoding at 24Mb/s with B-frame compression. How good this will look compared to the much higher bitrates from Canon’s 1D X using I-frame compression will be interesting to see. For web video – as well as news photographers just grabbing a quick video clip – it will easily be good enough. For higher quality, Nikon has another trick up its sleeve – uncompressed HDMI output from the camera for higher bitrates and better quality. Better still, you can have the camera’s rear LCD active whilst still sending video out of the HDMI port. At this stage all I know is that the signal is a 1080i one that supposedly outputs at 8 bit at 4:2:2. I do know that Nikon have demonstrated this working with an Atomos Ninja external HDMI recorder. It is also unclear if Nikon have any log type tone curves that are applicable to this output. Audio is passed out on the HDMI. It will be interesting to see just how good the image from the D4 really is when fed to an external recorder.
Nikon have also introduced crop sensor shooting which allows different fields of view with the same lens. Utilising the fact that the sensor has over 16 millions pixels this feature is similar to the ETC mode on a Panasonic GH2 and effectively gives you a digital telephoto effect without much too loss in quality. There are both DX (approx 1.5x crop) and 2.7x (actual 1 to 1 pixel) crop modes. The DX crop mode in particular will be of use allowing lenses like the Nikon 17-55 f2.8 and 12-24mm f4 which are designed for that sensor size to be used. The 2.7x crop will be useful in news situations where even your longest lens isn’t long enough to fill the frame.
Video can be triggered using the shutter button, the dedicated video button or – importantly – an electronic cable release. This is similar to the Canon 1D X and makes for much easier triggering on rigs and when you install the camera in remote places. If you add the new WT-5 wireless transmitter there will be even more remote control options with the possibility of iPad/iPhone control, you can set most functions but again controls can’t be adjusted when recording starts.
Exposure has seen improvements for video too. You can adjust the aperture, shutter speed and ISO manually as with other cameras. Aperture can now be controlled using the new ‘Power aperture’ feature in 1/8 stop increments using buttons on the camera before shooting. Strangely this is disabled once recording starts and you are back to using 1/3 stop increments on the camera’s control dial.
With fully featured large sensor video cameras like the Canon C300, Sony F3 and FS100 gaining popularity I don’t think there are too many purely video shooters who will be looking to buy a Pro DSLR costing $6000 (although I may be proved wrong). If on the other hand you are a photographer first and foremost, but also shoot video, then cameras like the D4 are welcome option. News agencies like Agence France Press who already use the D3s for video reporting should benefit a lot from the D4.
Choosing between Canon’s 1D X and the D4 will be interesting. The D4 clearly has more video oriented features but the 1D X is no slacker either. I wait to see image comparisons and field tests of the two cameras side by side.
Below is a preview video from What Digital camera.
Here’s the full press release from Nikon:
The Nikon D4 – Built to push limits
RRP: ££4,799.99 / €5,658
Sales start date: 16th February 2012 (tbc)
London, UK, 6th January 2012: Nikon today announces the launch of the D4, its new flagship D-SLR for photographers who are looking for the ultimate digital SLR camera to revolutionize photography.
Designed to push the limits and realize every shooting opportunity, this new professional FX-format camera brings new levels of image quality, speed and precision to both still photography and video.
Equipped with a 16.2-megapixel FX-format sensor, phenomenally high ISO and Nikon’s powerful EXPEED3 image processing engine, the new model offers uncompromised performance and unrivalled versatility in extreme lighting and environmental conditions.
“The introduction of the Nikon D4 sets a new benchmark for photography,” says Kentaro Kusakari, Product Planning Manager, Nikon UK. “We’re proud to be launching a new flagship model that exceeds the capabilities of its world renowned predecessor, the Nikon D3. This new camera has been designed for class leading professionals looking to push the limits of photography and improve their workflow. We’re confident that the Nikon D4 will help take them to the next level.”
Uncompromised Image quality—Exceptional speed
Engineered to deliver remarkable image integrity in the most diverse lighting conditions, the D4 offers blisteringly fast fps performance and sets a new benchmark in low-noise performance. The 16.2 megapixel FX-format (full-frame) CMOS sensor with fast channel readout delivers up to 11 fps—faster than any other Nikon DSLR camera.
Images of remarkable quality with low noise and wide dynamic range can be realized even at high ISO sensitivities thanks to the optimized noise reduction design and 14-bit A/D signal processing built into the sensor. The phenomenal ISO range sets a new benchmark of ISO12800 and extends the range one EV further to make ISO 100 a standard. For more challenging conditions, equivalent ISO 50 and ISO 204,800 sensitivities make the D4 the camera of choice for photographers who typically face extreme lighting challenges.
Super-charged EXPEED3 image processing engine
Thanks to Nikon’s next-generation EXPEED 3 image-processing engine, the D4 makes light work of multiple data-rich tasks without sacrificing the speed and quality that pros are accustomed to. High-speed 16-bit image processing follows the 14-bit A/D conversion to deliver submission-ready JPEGs straight out of the camera. Performance is never compromised, even when undertaking the most data-intensive tasks. Images boast faithful, well-saturated colour and natural depth. Even when shooting in dim lighting at high ISO sensitivities, the camera’s intelligent, performance-proven noise reduction lowers noise without degrading image sharpness.
Broadcast quality video
For professionals whose workflow demands video, the D4 offers all the flexibility required for a wide variety of movie applications. It’s large format movie shooting at its best, with a comprehensive variety of frame rates.
Frame rates: Full HD (1080p) movies can be recorded in 30p, 25p and 24p, with 60p, 50p, 30p and 25p options at 720p. Movie clips can be close to 30 minutes long (approx. 29.59 min).
Multi-area mode: Full HD (1080p) recording is possible in both FX and DX based formats as well as in native Full HD (1920×1080) crop.
High-fidelity audio control: responding to feedback from the industry, the D4 introduces new possibilities for D-SLR audio recording that enable your movies to sound as good as they look. Aside from the external stereo microphone input, an audio out for external headphones lets you fine tune audio in isolation.
Uncompressed HDMI output: for those who need the purest video output for professional quality editing, the D4 offers the possibility to output the uncompressed live view to external recorders and monitors. The first time this has been possible in an SLR camera, data is output at 1080i (Full HD) at the designated image size and frame rate. Data output can be scaled down if necessary and is clean of the information overlay that can be simultaneously displayed on the camera’s TFT monitor.
Convenient custom controls: live view operation is enhanced thanks to convenient custom controls. Instead of rotating the command dial, power aperture enables smoother aperture control via assigned buttons on the front of the camera. Index marking enables important frames to be tagged in the timeline during movie recording, which makes for easy location during editing.
New levels of speed and accuracy
When it comes to nailing decisive moments, the D4’s enhanced auto operation gives photographers a clear advantage.
Advanced scene recognition with 91K-pixel RGB sensor: Nikon’s revolutionary Advanced Scene Recognition System now incorporates the newly designed 91,000-pixel RGB sensor that meticulously analyses each scene for outstanding accuracy.
3D-subject tracking is particularly improved when shooting and tracking smaller subjects. Human faces are detected with startling exactness even when working in real time through the optical viewfinder. This level of detailed scene analysis is also utilised to support more accurate autofocus and auto exposure, even under the most challenging lighting conditions.
Advanced Multi-CAM3500FX AF Sensor Module: Nikon’s highly acclaimed Multi-CAM 3500FX AF system —with individually selectable or configurable 9-, 21- and 51-point coverage settings — has been re-engineered for faster subject detection.
The autofocus sensor module and algorithms significantly improve low light acquisition sensitivity capabilities down to -2 EV (ISO 100, 20°C/68°F). All 51 focus type sensors are fully responsive with any AF NIKKOR lens f/5.6 and—for the first time—this superb performance does not end at f/5.6 apertures.
Powerful AF sensors compatible up to f/8: the D4 maintains the power of the eleven central AF sensors, including one cross-type even if the combined open aperture value is f/8. A big plus for shooting sports and wildlife, this delivers a new level of detection potential when combining, for example, a 600mm f/4 AF-NIKKOR lens with a NIKKOR 2.0x teleconverter. If the combined aperture value is between f/5.6 and f/8, you even have the power of fifteen central AF sensors available, of which nine are cross type sensors.
Faster total workflow speed
The D4’s speed runs across its entire workflow.
Newly developed Kevlar/carbon fiber-composite shutter unit: the new, highly durable shutter unit offers a standard life cycle rating of 400,000 releases, with a maximum shutter speed of 1/8000 to 30s and flash synchronization at up to 1/250 sec. An intelligent self-diagnostic shutter monitor and a drive unit reduce the demand on power when the shutter is raised for extended periods during movie shooting.
Fast response: start-up is approx. 0.12 seconds[1], release time lag is minimised to approx. 0.042 seconds[2] (equivalent to that of the D3S), with approx. up to 11 fps capability in FX-format and all crop modes.
Storage media: the D4 offers two card slots. One for high-speed CF (UDMA 7) cards and one for high-speed, high-capacity XQD card slot.
Connectivity: a powerful data communication and control system makes both wired and wireless LAN file transfer faster and easier than ever. Wireless LAN support is available via the compact, newly designed WT-5 Wireless Transmitter, which features HTTP and FTP connection modes and also allows for the simultaneous release of several cameras equipped with WT-5. HTTP mode has also been designed to work with iPhone screen resolutions. For the first time in a Nikon camera, a wired LAN connection is integrated into the camera body.
Always up to the job
Every millisecond can count, and the D4’s improved operability helps photographers respond quickly to changing situations.
Intuitive horizontal and vertical control: each orientation has identically laid-out controls, conveniently placed so that the camera may quickly become an extension of your hand whether you shoot in landscape or portrait.
Simplified AF and AF-area mode selection: now possible without taking your eye away from the viewfinder.
Precision 8-cm (3.2-in.), approx. 921k-dot, wide-viewing-angle LCD monitor with automatic brightness control. The monitor delivers bright, crisp image playback with a much wider colour reproduction capacity. LCD brightness is automatically adjusted according to the viewing environment and images can be magnified up to 46x during playback, which can be a big help for spot focus confirmation.
Glass prism optical viewfinder: offers approximately 100% frame coverage and 0.7x magnification (50mm f/1.4 lens at infinity, -1.0m-1). The high eyepoint design of Nikon’s viewfinders is renowned for minimizing visual fatigue when using the camera for extended periods of time.
Dual-axis electronic virtual horizon: offers accurate confirmation of level shooting by letting you check the LCD monitor, or the viewfinder, for both the camera’s position in relation to the horizontal plane and its pitch (forward or rear rotation).
Direct access to Picture Controls: via a dedicated button, rather than the menu. Picture Controls let you customize the look of your stills and videos by fine-tuning parameters such as sharpness, saturation, and hue.
Complete control over workflow
The D4 is built for speed, but not for speed alone. Readiness and versatility go hand in hand with control options that can deliver a real advantage when time is of the essence.
Time-lapse movies: the D4 extends the popular time-lapse photography function by saving images as a movie file in the camera. With playback rates from 24 to 36,000 times faster than normal.
HDR (High Dynamic Range): shoots one overexposed and one underexposed frame in a single shutter release. The range can be widened by up to 3 EV for different looks, full of saturation and tonal gradation. The smoothness of the edge where the two exposures meet can be adjusted for a more natural look.
Refined colour temperature control: enables minute control over white balance. The monitor hue of live view and the resulting image’s white balance can be adjusted so that the two are aligned. Colour temperature can be manually set in 10-Kelvin increments, or in mired units.
Four image area options: you can choose from a variety of image crop modes, all visually masked in the viewfinder. 5:4 (30.0 x 24.0 mm), 1.2x (30.0 x 19.9 mm), and DX-format (23.4 x 15.6 mm).
In-camera editing: captured images and movies can be altered and edited in camera and on the fly if required. Retouch menus include an array of useful features such as NEF (RAW) processing, resize, distortion and perspective control just to name some of them. On top of that it has the ability to designate the start and end point of movie clips all at once, in order to save them more efficiently.
Accessories
Compact WT-5 Wireless Transmitter (optional): attaches to the camera’s designated interface connector and is powered by the camera body. It features HTTP and FTP connection modes and allows for the simultaneous release of several cameras equipped with WT-5.
GP-1 GPS unit (optional): records location information such as latitude, longitude, altitude and time (UTC) as ‘geotags’ in the image data (Exif) and allows simultaneous operation together with the WT-5.
Compact Stereo Microphone ME-1 (optional): records clear sound while significantly reducing mechanical noise.
Nikon SB-910 (optional)—Unparalleled lighting performance: offers versatile i-TTL for on-camera or wireless flash control, refined operability and a powerful guide number of 34/112 (ISO 100, m/ft, STD, FX format, zoom 35mm). Menus and controls have been improved for more operational ease. Hard-type incandescent and fluorescent colour filters are included, which can adjust your D4’s white balance instantly.
Capture NX 2 (optional)—Fast, powerful and creative image processing: to accommodate the imaging power of the D4, Capture NX 2 is faster than before and boasts full 64-bit compatibility.
Camera Control Pro 2 (optional)—Versatile remote camera controls: aside from controlling exposure mode, shutter speed, and aperture, this software now offers numerous improvements to make the D4’s live view operation exceptionally smooth. New creative controls include remote start and stop for movie shooting and the option to switch quickly between stills and movies in live view.
ViewNX 2 (supplied)—Browse, edit, share and more: bundled, all-in-one software implements an easy-to-use interface and an array of editing functions, including basic editing of RAW files and D-Movies. Seamlessly integrates with my Picturetown, Nikon’s photo sharing and storage service
I’ve been using Mike Tapa’s adapters for 35mm lenses for several years now. I first came across them when trying to mount Nikon long lenses onto my Sony EX3 – a long time before the advent of HDSLRs. Since then his company MTF Services has expanded its range of products to include lens adapters for many popular large sensor cameras such as the Panasonic AF100, Sony F3 and FS100. I took the opportunity of meeting Mike and visiting his London workshop over Christmas.
A Canon B4 mount broadcast lens fitted on the Canon EOS60D using a MTF adapter
His latest two adapters are a B4 broadcast lens to EOS / Sony F3 / FS100 adapter and an electronic EOS to Sony F3 / FS100 / Micro 4/3 lens adapter which offers full aperture control and image stabilising with appropriately equipped lenses.
The B4 lens adapter has been the dream of many DSLR and large sensor camcorder users who might occasionally want the flexibility of a long all-in-one zoom and ENG style lens operation – without the expense or bulk of a proper 2/3 ENG camera. Developed by Mike with cameraman Alistair Chapman (of XDCAM user fame) it physically adapts a 2/3 inch broadcast lens to a Canon EOS mount. At the same time it optically expands the image so that it is large enough to cover a Super35mm sensor size. To do this requires the user to engage the 2x range extender built into many broadcast lenses, which is then combined with extra magnification from the MTF adapter.
This does result in approximately 2.5 stops of light loss, but given the high sensitivity of new cameras this is less of a problem. The depth of field characteristics will remain the same as if you were using the lens on a regular 2/3 inch camcorder – don’t expect super shallow depth of field when using it. The adapter does not power the electric functions of an ENG lens so there is no servo zoom or VTR trigger sadly. If you do want to enable the zoom servo motor there is a possible solution to power it using an adapter cable from Ebay.
Please note that it does not cover the full frame sensor of the Canon 5D mkII or 1D X, but does work with the 7D, 60D, 600D/T3i, 550D/T2i (and should work with the C300 too). The adapter can also be used in combination with a EOS to Sony F3 or Sony NEX adapter to allow the B4 lenses to be used on these cameras. Price is not yet confirmed but should be in the £800 – £900 + tax range.
As you can see from the video above I’ve been testing the B4 adapter on a Sony F3 and also a Canon 60D and so far the results are pretty good, even though I only have access to older standard definition 2/3 lenses at the moment. My old Fujinon A15x8 broadcast lens does show some chromatic aberration and softness at the edges of the image but this is to be expected on a lens that can be bought for less than £500 these days. I would expect much better performance from a newer HD lens. Hopefully I’ll get to try one of those with the adapter soon. The only competing adapter I have seen so far is the HDx35 B4/PL Optical Adapter from Abelcine and costs $5800 US. I have not been able to compare the two.
The MTF EOS electronic lens adapter is the first to actually be available to order for the Sony F3 and NEX. It also works with Micro 4/3 cameras like the Panasonic AF100 where it joins the already available Redrockmicro livelens adapter in offering aperture control, but adds the benefit of image stabilisation. American company Birger Engineering have also been working on a similar adapter for some time now and have even shown it working at the NAB show, but it is still not available to buy.
The MTF adapter consists of two parts – a control box and an interchangeable lens mount in either Sony F3, Sony NEX or Micro 4/3 fit. If you change or add cameras you can simply add another mount part and use the same controller box.
A Canon 17-55 f2.8 IS lens with the MTF EOS adapter on a Sony F3
The control box is metal and powered by 4 AA batteries. It has an illuminated LCD that shows aperture value, focal length and whether stabilisation is on or off. Aperture can be adjusted in 1/8th stop increments using the control dial.
I’ve been testing a pre-production unit and found the aperture control to be quite reliable. A word of warning though – don’t spin the aperture dial too fast or the lens will have trouble keeping up, although the lens will eventually correct itself.
Mike tells me that pretty much all EF lenses work, apart from those few that use fly-by-wire manual focussing. The main lens of this type that doesn’t currently work is the 85mm f1.2L USM lens. Mike says he’s trying to fix this.
In use the adapter does pretty much what it is supposed to and I’m rather happy with it. The only downside is that the control box is a bit on the large side and adds bulk to the camera. The production version of the box has 1/4 20 mounting holes to allow positioning of the adapter on a rig or camera. That said I would rather have a smaller control box without AA batteries inside, running instead from a power tap cable. Maybe we’ll get this in a future version?
The image stabilisation seems to work well on a Sony F3, although I need to do more testing.
The control box is priced at £645 + tax and the matching lens adapters are £350 + tax each. More details soon on the MTF website.
It’s an all-out battle in the DSLR world: 2011 saw a plethora of new camera gear and announcements. The major manufacturers are now engaged in a real fight, which can only be a good thing for the end user. That said…while all this new gear is great, I feel we are becoming overly obsessed with new technology and buying the latest product.
But let’s start by reviewing those additions. Super 35mm sensor cameras, 4K and 5K cameras and external recorders were the big movers this year. For the majority of DSLR news shooters there wasn’t that much change. Only a handful of new cameras and no new Canon 5D Mark III in sight. Towards the end of the year Canon did announce the 1Dx and a 4k concept camera – there is also a strong rumor of a 7D mkII release early in 2012. The video features of the 1D X are probably a strong indication of what’s to come in the 5D mkIII (or whatever it’s officially called). I’m expecting the 5D mkIII will probably only have minor changes in video mode over the current model and probably have similar video functions to the 1D X. The release of the C300 and a 4K concept camera has pretty much assured that as Canon are unlikely to want to compete with their own products.
Canon's C300 and 4K concept DSLR
How much will the 4K concept camera be? Well given the 1D X is going to be between $6-7K US I can’t see it being any less. How the 4K camera will record and to what media remains to be seen. Regardless of price and features I’m sure the 5D mkIII will be a big seller for Canon. The 5D mkII still remains one of the best bang-for-your-buck cameras around. In my view DSLR cameras with HD video will continue to flourish. The quality of the image and the price point ensures they will remain relevant for years to come.
My Sony F3 rig
Earlier in the year we saw the Sony F3, FS100 and the Panasonic AF100 come to the market. All these cameras were revolutionary and have proved to be very popular in the market place. The biggest announcements of the year were the much publicized Canon C300 and the RED Scarlet. Both cameras had been in the works for quite some time. They are both great cameras but very different. For me there is no such thing as a clear winner when it comes to cameras – all have their strengths and weaknesses. I recommend you buy the one that has the most strengths in the areas that you require the most – always use the appropriate camera for the job. The other key message is don’t buy a camera just because someone recommends it. Do your own research, watch as much actual footage as you can and go and try the camera for yourself. Reading reviews and blogs can help but make sure you don’t just take one person’s opinion and base your purchase on that.
I added a Sound Devices Pix recorder to my kit
Another big equipment mover in 2011 has been external recorders. The Nanoflash from Convergent Designs and the Ki Pro Mini from AJA were pretty much the only low cost external recorders available at the start of 2011. We now have the Atomos Ninja and Samurai, the Sound Devices PIX 220 and 240, the Blackmagic Design Hyperdeck Shuttle as well as the Convergent Designs Gemini. External recorders can extend the life of older cameras as well as give you higher codec recording options for newer cameras like the Sony F3 and Panasonic AF100. A word of warning though – don’t expect external recorders to suddenly turn your vision into something spectacular and don’t expect them to work well with a Canon DSLR (even a hacked one). Your camera does the important work – the external recorder just lends a helping hand. I have both the Sound Devices PIX 240 and a Blackmagic Design Hyperdeck Shuttle. To be honest if I show a normal person vision recorded at 35Mb/s on my Sony F3 compared to material recorded at 220Mb/s they can’t tell the difference. Uncompressed 4:2:2 is a different story – the image quality is so clean but so it should be. At over 1200Mb/s it produces ridiculous file sizes and even a 250GB SSD drive will only give you 25 minutes of record time.
Uncompressed is great but like 4K recording it’s not suitable for a lot of the work I do. I will post a review of both the Sound Devices PIX 240 and Blackmagic Design Hyperdeck Shuttle at a later stage.
Filming the aftermath of the Tsunami in Japan last year
All that said, as I mentioned earlier, I feel we are becoming obsessed with wanting the latest product. I have been guilty of this too: I own a lot of equipment I wish I had never purchased or simply never use. Buying the latest and greatest of everything doesn’t make you a better cameraman or film maker. A great camera definitely helps – but it isn’t the most important thing. Pretty pictures are great but without your film/news story/personal project having good characters and an interesting story it will lack depth. As human beings we relate and identify with other people. A good film makes you feel something. Whether that emotion is fear, laughter, suspense or happiness is not important. What is important is whether the viewer feels one or more of these emotions when they are watching your film. You want to identify with the characters. To be sad for them, laugh with them or root for them in a tough situation. People go to see most films because of who is in it and what the story is about, not because it was shot at 4K or on a RED or Arri Alexa. We in the camera world get too caught up with cameras and equipment rather than the story and characters.
To get a great final product everything – the story, characters and pictures – have to blend together in harmony. But please, never forget that the story and characters are King. I cannot stress this enough.
Also don’t forget that you can never know or learn enough about film making. I’m still learning new things every day after 22 years in the industry. To quote the famous New York Yankees baseball player Mickey Mantle “It’s unbelievable how much you don’t know about the game you have played your whole life”. Keep learning and asking questions: it’s the only way to get better.
I’d like to finish on this note. I’m lucky enough to travel the world with my job and see the best and the worst of humanity. Why do we whinge and complain about a camera not having this feature or that? or why I can’t afford that particular camera? Let’s put things in perspective. A great deal of people in the world have almost nothing and struggle to survive day to day. As 2012 begins let’s stop complaining and create the best content we can with what we have. Anyone who gets to make films for a living or just does it as a hobby is extremely fortunate. Sometimes we forget how lucky we are.
Not everyone is as fortunate
About Matthew Allard, Aljazeera Senior Field Cameraman, Kuala Lumpur: Matt has been a Camera/Editor in TV news for more 20 years, previously working for both Channel 9 and Channel 10 in Australia. Twice Network Ten Australia’s cameraman of the year as well as being a Walkley Finalist for outstanding camerawork in 2006 (for coverage of the Cronulla Race Riots) and a Logie Finalist for outstanding news coverage 2006 (Bali 9). He is a multiple ACS (Australian Cinematographers Society) award winner. His Sword Maker story that was shot on a 7D won the prestigious Neil Davis International News Golden Tripod at the 2011 ACS Awards. He has covered news events in more than 35 countries, from major sporting events to terrorist bombings. Based out of the Kuala Lumpur broadcast centre in Malaysia he is an avid user and follower of new technology, shooting stories on HD broadcast cameras, the Sony F3 as well as new Canon DSLRs.
