Archive for ‘DCinema’ Category
DEKTEC: DekTec introduced the DTA-2180 low profile PCIe H.264 encoder. The DTA-2180 is a low latency — 150 to 600 ms — H.264 hardware encoder based on the Magnum chipset. It supports MPEG-2 and H.264 and up to 16 channels of audio. Audio can be encoded as AC-3, AAC or MPEG-1 Layer 2. The DTA-2180 offers a 10 bit 4:2:2 option for contribution encoding.The DTA-2180 has a 3G –SDI and HDMI input and an ASI output. The compressed stream output — TS encapsulated H.264 or mpeg-2 — is also available on the PCIe for real time streaming, processing and recording.
NIMBUS: The WiMi6400T and WiMi6400R provides high quality Full HD encoding/decoding function with low latency of 40ms for encoding and decoding, each. It supports wide range of encoding rate from 1Mbps ~ 30Mbps for the high quality video for video broadcasting. WiMi6400T provides RTSP streaming server functionality. WiMi6400T also can be used as an real-time MPEG-2 TS/UDP streaming server with linear PCM audio for IPTV network. It supports one-to-many multicasting function over Ethernet LAN or IP network. So, there is no restriction on the numbers of receiver in Ethernet LAN or IP networks.
VIOLIN MEMORY: Violin Memory’s 6000 Series flash Memory Arrays are all-silicon shared storage systems built from the ground up, harnessing the power of flash memory and delivering industry-leading performance and ultra-low data access latencies. A single 3U array delivers more than 1 million IOPS with consistent, spike-free latencies in microseconds. Violin Memory is uniquely positioned to deliver flash memory systems that can compete with performance disk from a cost for raw capacity perspective, even before taking into account the potential benefits of features like deduplication. This is possible because 6000 Series flash Memory Arrays are purpose built with flash components sourced through Violin Memory’s unique and strategic alliance with industry leader Toshiba. The core of the 6000 is the Flash Memory Fabric. The Flash Memory Fabric is a resilient, highly available deep mesh of thousands of flash dies that work in concert to continuously optimize performance, latency, and longevity. All of the active components of the Flash Memory Fabric are hot-swappable for enterprise grade reliability and serviceability. 6000 Series flash Memory Arrays connect natively to existing 8Gb/s Fibre Channel, 10GE iSCSI, and 40Gb/s Infiniband network infrastructures.
TOSHIBA: ExaEdge™ by Toshiba is a next generation SSD-based edge streaming server with extra low power consumption. It allows you to stream large numbers of concurrent high quality video streaming sessions with low host CPU and memory resource utilization. ExaEdge™ adopts Toshiba’s NPEngine™, the world’s first direct SSD-to-IP embedded hardware technology. ExaEdge™ ExaEdge offers direct storage access from SSD as an embedded hardware solution, in 2RU compact-size server. The resulting performance is capable of sending up to 64,000 simultaneous sessions with the total host CPU usage at less than 12%. Modern video distribution over IP, like OTT streaming, leverage the existing HTTP-based caching functionalities. Unlike the traditional IPTV network which is basically adopting specialized network architectures, in adaptive bitrate scenarios HTTP chunks can be cached by traditional cache server at the edge to be then redistributed with lower latency.
NHK: NHK was at NAB this week, quietly showing off footage shot with a Super Hi-Vision 8K camera, affectionately known as the Cube. The Cube camera is surprisingly compact at 2 kg, since, it records to one of the only 8K HEVC real-time encoders in the world. It’s essentially a housing where the mammoth sensor and lens mount live, along with necessary connections. But even though it’s a simple design, it delivers an amazing resolution of 7680 x 4320 pixels. 8K is a great format that could rival IMAX and be excellent for big events that can be beamed around the world and give spectators who can’t make an event the opportunity to experience it in a way that all other formats before it could only dream to do. And NHK is planning on broadcasting the 2016 Summer Olympics in Rio in 8K.
4EVER: 4Ever showed demos at NAB 2014 of MPEG DASH. The DASH demo featured a way to deliver content that’s adaptive, bit-rate streaming. It has four different HEVC encodes of original 4K content that it encoded at several bit rates, including a 14.5 and 11.5 Mbps for 4K content, 5.8 and 3.7 Mbps for a 1080 version, and a 720 version of that, which can stream at 2.9 or 1.8 megabits per second. The monitor runs a Chrome browser with HTML5 support which can only show a 4K/30 frame image. To show adaptive streaming, they randomly switched from one bit stream to the other, showing this data on the monitor. The changes were seamless, but you do see a change in picture quality.
VISION 3 IMAGING: Vision III Imaging demonstrated 4K 60p parallax scanned imagery and its Real Shot™ parallax induction technology. Parallax scanning is a technique for capturing three-dimensional depth information over time using one camera and one lens. V3 imagery can be displayed on a standard display without 3D glasses or special screens. Real Shot is a parallax induction technique that also embeds three-dimensional parallax information into Internet or mobile digital advertising. Parallax scanning is accomplished using a digital parallax scanner (DPS). The DPS is a moving iris mechanism that is inserted into the optical path of a lens. When the iris is moved off the center of the lens, it records a different point of view at the plane of focus. The DPS iris scans in a circle around the center of the lens, making it possible to capture 360° of parallax information using a single lens.
RENEWED VISION: With its new Multiple Screen functionality, ProVideoPlayer 2 ($999) makes it easier than ever to create multi-screen presentations from a single computer with support for multiple graphics cards and easy mapping within each card and across multiple cards. Users can also add external graphics processors to each one of these graphics card outputs for even more screens, as well as add outputs that are not yet connected to a physical output, allowing shows to be pre-built off-site prior to the event. PVP 2 supports Multiple Layers, which afford the flexibility to create unique looks and allow the user to take full advantage of multiple screens. A layer is merely a video channel, so multiple layers are also great for a single screen environment where layering, textures, or PIPs are desired.
SILICON POWER: Silicon Power Thunder T11 is not only the lightest but also the smallest Thunderbolt™ SSD on the market. Featuring extremely small and featherweight design, Thunder T11 is half the size of ordinary storage devices and only weights 65g. Silicon Power’s Thunder T11, which enhances storage solution with Thunderbolt™ SuperSpeed I/O technology, is three times the speed of USB 3.0 HDD and delivers transfer rates up to Read/Write 380MB/340MB/sec.
360HEROS: 360 degree shooting Hexacopter using 3-D printed Go-Pro3 mounts.
ERICSSON: Showing 100 Mb/s (4x25Mb/s) live UHDTV broadcast using DVB-S2 extensions to broadcast true 4Kp60 over the air.
LACIE: The LaCie 8Big Rack is the company’s first Thunderbolt 2 rackmount storage solution, featuring up to eight 6TB 7200RPM hard drives and delivering speeds of up to 1330 MB/s. The 8big Rack also features easy access to components and tool-free maintenance of the included power supplies units, fans, and disks, all while offering a cooling system with three fans that conducts heat away from vital components. The 8big Rack will be offered in 4-disk (12TB) or 8-disk (24TB and 48TB) configurations.
SKYPE: Skype has been an essential tool in the production of podcasts and newscasts for years, and today Microsoft has announced a professional-grade version of the app designed specifically for the media industry. It’s called Skype TX and is intended to be used in studio environments; you won’t be using this to record a podcast in your bedroom. Skype TX is described as an “easy-to-use hardware and software combination that allows Skype video calls from anywhere in the world to be seamlessly integrated into any production.” It plays nice with industry standards by outputting calls in full-frame HD-SDI formats.
LIVESTREAM: Livestream announced a pair of production switchers: the HD510 and HD1710. The HD510 is a portable version with an integrated touch display, yet it’s still full featured with 5 SDI inputs. The rack mounted HD1710 is at the other end of the spectrum. It features up to 17 inputs and can drive 4 displays. They also announced Livestream Studio Control Surface a modular control surface with 5 assignable tracks, T-Bar and audio mixer and USB connection to Livestream Studio.
AJA: CION™ is the new 4K/UHD and 2K/HD production camera from AJA. Record directly to Apple ProRes 422 and 444 at up to 4K 60fps or output AJA Raw at up to 4K 120fps.
DIGITAL BOLEX: Digital Bolexs’ new monochrome 16mm camera, dubbed the D16M, has the same form factor as the original D16, but there’s a significant change under the hood. D16M sports a native black and white sensor for highest quality monochromatic capture without the need to debayer, retaining a higher sensativity to light and preserving the full dynamic range of the sensor.
Here are the technical specs:
BLACKMAGIC: The new Blackmagic 4K URSA camera is weird, featuring a 4K Super 35mm global shutter sensor, real camera form factor, a built-in 10.1″ 1920 x 1200 fold out display, and two 5” 800 x 480 displays. Not only that, but it has both interchangeable lenses and sensors, meaning you’ll be able to upgrade to a better sensor at home removing a few screws when a better one is available. Here are the specs:
Blackmagic also seeks entry into the broadcast-camera market with its newly announced Studio Camera, available in Full HD and 4K (Ultra HD) models. Designed for live broadcast applications, the Blackmagic Studio Camera sports a unique design with a massive 10″ LCD screen, built-in 4 hour battery, and a set of features you’d expect to see in large studio cameras, such as built-in talkback and tally indicators. Intended to meet the needs of a variety of live broadcast applications, the Blackmagic Studio Camera provides the connections required to fit into those environments. Connections include SDI (3G on the HD version and 12G on the 4K version) and optical fiber video inputs/outputs, XLR audio connections, reference, LANC remote control, and a 4-pin XLR power input. The camera features an active Micro Four Thirds lens mount that is compatible with a wide range of lenses via third-party adapters, opening the door for the use of common DSLR lenses to PL-mount cinema lenses, and even B4 ENG lenses.
SOLOSHOT: The surprisingly affordable soloshot 2 ($399) will follow a tracker that someone can wear or you can slap on something so you don’t have to do a thing. Put on the tracker, set up your camera with SOLOSHOT 2, and catch a wave with the perfect video. It features vertical tracking, automatic zoom, and the kit even includes a tripod for you to get started. It’s got a range up to 2,000 feet and 360 degree horizontal tracking.
BRUSHLESSGIMBALS: Gimbi™ is a lightweight, easy to carry, simple to use, power-and-go, 2 axis handheld brushless gimbal for the GoPro. With Gimbi™, you can shoot videos and photos as smooth as the pros.
JIGABOT: Jigabot’s AIMe is a pill-shaped tripod mount that automatically follows your subject—keeping it in frame—in case you’re shooting video by yourself. It uses infrared markers and swivels and tilts using complex algorithms powered by a quad-core ARM processor.
CEREVO: Crevos’ LiveWedge ($999) provides easy control via smartphone/tablet app. The rotary control unique to the app enables slow transition, which is more difficult with a physical T-Bar. LiveWedge supports PiP and chroma key as well as all the basic transitions such as wipe, fade, cut and etc. Livewedge has a SD card slot and users can record 1080/30p (H.264) Full HD Video on it while switching! You can also use videos and images from the SD card as the video source. Streaming is built into LiveWedge. 720/30p HD Live streaming and 1080p HD video switching are available in one device! Supported streaming platforms include Ustream, Youtube Live and your own servers are all supported.
PESA: PESA showed their brand new Xstream Live Streaming mobile solution, co-developed by Ryerson students. They also received the NewBay Media Best of Show Award at NAB.
COMREX: Comrex LiveShot™ delivers live video over a range of IP networks. LiveShot is used by TV stations and networks to deliver high quality, low latency (200ms) video from anywhere Internet access is available. LiveShot is especially optimized to perform well on challenging IP networks like 3G, 4G and satellite links. For optimal video quality, LiveShot encodes with H.264 HIGH profile. In addition to standard AAC audio coding, LiveShot utilizes HE-AAC and AAC-ELD audio coding, both reducing network bandwidth and lowering delay. LiveShot can encode and decode an audio/video stream with less than 200mS delay. LiveShot delivers full-duplex video and stereo audio between the field portable and studio rackmount systems. In addition, a full-duplex cue channel is available between the portable and studio units. On the portable, the return audio/video channel is delivered via output connectors. The cue channel is accessible on the portable via wired headset or Bluetooth audio to a wireless headset
PANASONIC: The Lumix GH4 camera body and its 16MP CMOS Micro Four Thirds sensor will cost $1700, while the optional YAGH pro audio/video interface unit is available for an extra $2,000. The GH4 can shoot 4K at 30/25/24fps at 100Mbps using ALL-Intra compression. At 1080p that rises way beyond broadcast standard to 200Mbps. There are two 4K formats available too: the standard 3840 x 2160 resolution at 30/25/24p, or the cinema widescreen 4096 x 2160 resolution available at 24p only. When writing to SD card the camera captures 4K video with 8-bit colour and the data rate is limited to 100Mbps. Use an optional accessory – the Panasonic DMW-YAGH, which is about as big as the GH4 body – and its four SDI ports that can be used in tandem to extract uncompressed 4K at 10-bit colour. Power input, independent volume adjustment and twin XLR sockets ensure everything a broadcast pro is here – but only via the DMW-YAGH.
The HX-A500 shoots a resolution of 3840×2160; so ultra HD. Sub 4K resolutions include 1080 up to 50p, and 720 up to 100p. Un surprisingly it shoots to an MPEG-4 AVC/H.264 codec in an .mp4 wrapper.
The camera has a perhaps slightly disappointing variable bit rate, half that of the GoPro Hero 3+. Here’s the breakdown:
The camera has a fixed focal, fixed f/2.8 aperture lens. It has a few different white balance presets including Auto / Indoor1 / Indoor2 / Sunny / Cloudy / White set. The shutter is listed as variable, from 1/25th-1/12000. The HX-A500 has an in-built image stabilizer, with an angle of view currently listed as only 160°.
JVC: JVC has now also entered the large sensor market. And that this intriguing little camera covers super35mm on an MFT mount. In terms of specs the JVC GY-LSX2 has some really intriguing figures to offer. Not only is it very small and looks very ergonomic to handle, but it offers 4K with frame rates up to 30p as well as a slow motion feature at 2K resolution that will go up to 240fps. The footage is being recorded internally with an h.264 kind of codec. The JVC GY-LSX2 is announced with a price point “under $6000″ and to come at the end of 2014.
The bigger brother, called GY-LSX1 will feature a higher framerate (60p) at 4K resolution, offer a shoulder-mount form factor and seems to come in at around twice the price of the small one.
That’s it for now……This years buzz words: 4K, UHDTV, HEVC, H.265, OTT (Over The Top)….see you all next year :-)
Posted on 16:52, August 27th, 2010 by Many Ayromlou
You kinda knew this was going to happen sooner or later. Canon 5D MKII came out a couple of years ago, set the budget DCinema market on it’s head and caught the traditional ENG/Video guys (Sony/Panasonic) totally off-guard. Well I think Panasonic — for now, until Sony comes out with their NEX-VG10 Camera — is sending a couple of grenades into Canon’s camp with the “final” release of their AG-AF100 Memory Card Camera Recorder (MCCR? WTF?). Anyways, this little beastie is neat and can be had for a mere $6000. Not bad for a Pro level camera that can do everything from ENG style shooting to Mid-range DCinema shoots to MFTV movies/series. I think Panasonic might have another hit — like HVX200 — on their hands. Just the sheer fact that using readily available micro 4/3 to m42 mount adapters would give a young cinematographer access to kick-ass glass for cheap (search ebay for m42 lenses and you’ll see) or the fact that they too could start using the newisch Voigtländer 25mm f/0.95 for MicroFourThirds and create their own Barry Lyndon type effects/shots is fantastic news.
Although it all seems rosy for now, there is always the Sony factor as well. They’ve got the bigger, 35mm crop sensor, in their NEX-VG10 (28x22mm for sony vs. 17.1x13mm for pani) which translates into more DOF, smoother bokeh and such….but then again I’d be a happy camper with a f0.95 lens too :-). The AF100 incorporates a 4/3-inch, 16:9 MOS imager. The camcorder records 1080/60i, 50i, 30p, 25p and 24p (native) and 720/60p, 50p, 30p, 25p and 24p (native) in AVCHD’s highest-quality PH mode (maximum 24Mbps). The AF100 maximizes the potential of its high-resolution imager with built-in ND filtering and dramatically reduced video aliasing. Standard professional interfaces include HD-SDI out, HDMI, time code recording, built-in stereo microphone and USB 2.0. The AF100 features two XLR inputs with +48V Phantom Power capability, 48-kHz/16-bit two-channel digital audio recording and supports LPCM/Dolby-AC3. With two SDXC slots, the AF100 can record up to 12 hours on two 64GB SDXC cards in PH mode. Interesting times ahead…..
JVC today announced their upcoming DLA-SH7NL DCinema Projector. A 4K2K D-ILA projector incorporating three 1.27″ 4K2K D-ILA display devices and packing dual mercury lamps for 5000 Lumens of brightness. The new machine — like its predecessor DLA-SH4K — achieves a resolution of roughly 10MP (4096×2400 pixels), plus a stunning 10,000:1 native contrast ratio.
Posted on 12:16, January 19th, 2010 by Many Ayromlou
Well, it’s taken a bit of time, but I think with the announcement of DP1.2 specs last December, the specs (and hopefully soon the vendors) are ready for True Digital Cinema home implementation. The DisplayPort connector supports 1, 2, or 4 data pairs in a main link that also carries clock and optional audio signals, each with a symbol rate of 1.62, 2.7, or 5.4 Gbit/s. The video signal path supports 6 to 16 bits per color channel. This allows the updated DisplayPort 1.2 specification to drive 4K x 2K display (3840×2160) with 30 bits per pixel and 3D over a single 2m cable.
DP 1.2 supports a maximum of 5.4Gbps per lane, with 4 lanes providing a whopping 21.6Gbps throughput, more than enough for 10-bit 4xHD resolution (3840×2160). To achieve the 21.6 Gbps rate, the per-lane data rate is doubled from 2.7 Gbps to 5.4 Gbps max, over the four lanes that exist in the standard cable. For a single display, this enables up to 3840 x 2400 maximum resolution at 60Hz, or a 3D display (120Hz) at 2560 x 1600.
Display Port 1.2’s massive data rate will enable Multiple-Streaming, support for stereoscopic images beyond full HD, a high-speed data channel, and support for mini connectors.
Multi-Streaming — is the ability to transport multiple independent uncompressed display and audio streams over a single cable. This enables the use of multiple monitors connected by cable in a daisy chain or hub configuration. Whereas the current Display v1.1a standard can support one 2560 x 1600 monitor at 60Hz, DisplayPort v1.2 can support two such monitors with one port, or four 1920 x 1200 monitors.
Another new feature is the ability to support high-speed, bi-directional data transfer, allowing USB 2.0 or Ethernet data to be carried within a standard DisplayPort cable. For DisplayPort v1.2, the maximum data rate of this “AUX” channel has been increased from 1 Mbps (Mega-bit-per-second) to 720 Mbps, providing suitable bandwidth for USB 2.0. The DisplayPort cable can therefore support USB data to/from the display to support Display USB functions, in addition to sending the video and audio information. Standard Ethernet can also be transported in the DisplayPort cable.
On the audio front DisplayPort v1.2 adds the following new enhancements:
DisplayPort v1.2 also includes improved support for Full HD 3D Stereoscopic displays:
The only thing on my wish-list that they (VESA) omitted is support for true 4K DCinema (4096×2048) resolution. But I guess you can’t have everything……and there is always DP1.3 :-).
Posted on 22:46, November 11th, 2009 by Many Ayromlou
Well It was only a matter of time as they say…..first Sony, then JVC and now Epson.
With a resolution of nearly 8.85 megapixels, 4K panels offer four times the resolution of full HD (1920 × 1080), making them ideal for the high resolutions required by special applications such as industrial design, architectural design and simulations, as well as for presentations and projecting four full HD images at the same time.
* C2Fine: An original Epson technology for achieving high-quality, vivid images with high contrast by combining an inorganic liquid crystal alignment layer with vertical alignment technology
Yep, those crazy open source hackers over at dvinfo.net have done it again. You thought the RED camera brought about a revolution in dcinema, well, you ain’t seen nothing yet. Apertus is using the Elphel 353, free software and open hardware camera. The Elphel Camera which this entire project is based on is basically an excellent security camera that can do some real magic. The camera uses an Aptina CMOS bayer-pattern sensor with an optical format of 1/2.5″ (5.70mm x 4.28mm) and a native resolution of 2592×1944 (5 Megapixels). It features a 12 bit ADC and supports: region of interest, on-chip binning and decimation. Aptina claims that the chip has 70db of dynamic range at full resolution and 76db when using 2×2 binning. The camera has a standard C-mount but ships with an adapter ring that allows to mount CS-lenses as well.
The recording resolution can be freely adjusted to anything starting from 16×16 to 2592×1944 in 16 pixel steps. This includes Apertus AMAX (2224×1251), Apertus CIMAX (2592×1120), 2K (2048 × 1536), Full HD (1920×1080), HD (1280×720) and of course all lower resolution SD formats like DV PAL, DV NTSC, etc.
The lower the resolution the higher the maximal possible framerate. At the full sensor size (5 million pixels or 5 Megapixels) the maximal frame rate is 10 fps in normal color mode and 15 fps in JP4 RAW mode. JP4 achieves higher framerates in general as some camera internal calculations are skipped and need to be applied later in postproduction (like debayering/demosaicing).
The RAW recording mode in Apertus is called JP4 RAW. Because certain in-camera compression steps can be skipped JP4 RAW allows higher recording speed resulting in more fps. JP4 RAW requires postprocessing (DNG Converter) but in return offers the highest possible image quality.
The following connectors are available on the camera body:
The camera also supports the following recording media:
And if that’s not enough for you there is a extra bonus that comes from the ability of the camera to shoot Full HD in portrait (upright) mode. Upright screens are basically 1080p screens mounted sideways (portrait mode). This type of mounting is becoming increasingly more popular for events, exhibitions and advertising. If you want to spare yourself the hassle of building a right to mount the camera 90 degrees rotated you can whip out your Apertus rig and just start recording. This will give you a 1088×1020 image that’s ready for portrait playback.
Posted on 15:13, July 13th, 2009 by Many Ayromlou
Recently the Far North Living Lab started by the Nothern Research Institute in Norway did a successful transmission test of 2K Digital Cinema material to a Theater using BitTorrent technology. They used the (EU Funded) Tribler BitTorrent client to stream a full blown film at full 2K resolution.
The lab’s launch was held at a local movie theater where the film “Carved” by Jonas Rejman was projected, with consent from the copyright holder of course. This is a digital streaming world premiere for BitTorrent, and one that shows how the technology can actually help digital cinema and independent filmmakers.
At the moment most digital movies are distributed on hard disks costing up to $2000 for each copy. BitTorrent has the power to change this outdated distribution method and get smaller budget films onto the big screen.
The Far North Living Lab’s experiment shows that it’s even possible to stream movies if the connection is good enough, but Dr. Njål Borch, a senior researcher involved in the project added that downloading the film beforehand is probably a better option.
The lab’s next stunt will be to stream a live concert to the city of Beijing as well as a few selected rural areas.
Posted on 15:33, June 10th, 2009 by Many Ayromlou
RED has just announced a realtime 4k/5k debayer PCI-E card for your Mac or PC (OSX/Linux/Windows). You get 30fps at 4k and 25fps at 5k.
Posted on 16:37, January 27th, 2009 by Many Ayromlou
– Front-end machine is a Dell 2950 with 2 x 1 GigE Broadcom ports onboard and one myricom 10GigE card.
This should bring up a sane frontend machine.
– Before doing insert-ethers on the frontend, we have to edit /opt/rocks/lib/python2.4/site-packages/rocks/commands/sync/dns/plugin_dns.py since we have a portion of a larger subnet as our private address space. The Python file assumes a private class C address/mask which is not the case for me. We have to make the small change to make the file look like this (Thanks to Scott Hamilton for his post):
def reverseIP(self, addr, mask):
– This gets insert-ethers going but there is still the problem of being able to tell the program that you don’t want to start at 190 (which is the end of my address space) and count down whenever there is a new compute node online. I want to start at 180 and count down (180-190 space I want to reserve for admin stuff for the Xserve raids). So the command to issue is:
/* UDP Channels for Send and Recv */
This way the listening portion of ganglia can communicate with itself on port 8649 on each of the compute nodes and the collected stats can then be sent to aa.bb.cc.130 which is my frontend machine. Similarly on the frontend machine I modified /etc/gmond.conf to look like:
/* UDP Channels for Send and Recv */
Note the commented multicast address which is not in use anymore. This way all the clients (compute nodes) send their info to the server (frontend), who’s listening on port 8649. The Server itself also sends it’s own information to it’s own IP address (snakke eating it’s own tail kinda thing). Once this is done I do a “/etc/init.d/gmond restart” on all the machines (compute nodes and frontend). Now the website for ganglia should be happy and full of info about the nodes.
Posted on 15:27, October 26th, 2008 by Many Ayromlou
So I’ve been hearing a lot of whining about the new Canon 5D MKII’s being used as 35 mm cinema cameras. Everything from “Where is the fast auto focus?” — and here I thought 35 mm film gear was all about manual focus and adjustments — to “So how do I add filters/mattebox and such?”. Well fear not, Redrock Micro is here to save the day . Their new product “cinematization kit” — specifically designed to 5D MKII — is destined to ship November 1, ahead of the Canon camera.
Redrock accessories for Canon 5D MKII transforms the DSLR into production-ready cinema solutions by providing:
So start saving those pennies, you got two more days before the cage is released online.