Here are instructions on attaching Matthias Uhlig’s MBF Filmtechnik PL to Canon EOS adapter on an Angenieux Optimo 24-290.
Some people pretending they were on a film training course at The Danish Film Institute rented equipment from Blixt Camera (www.blixt.dk) in Copenhagen, Denmark using ID that had been stolen from the rightful ID owner six months earlier. The following camera equipment was taken from Blixt Camera Rental on December 1, 2009 and never returned. If anyone sees the serial numbers below, please contact Bjorn Blixt. blixt@blixt.dk
The six Zeiss Master Primes (18, 25, 35, 50, 75, 100mm) were packed in Blixt´s blue & yellow flight cases.
Zeiss Master Prime 18mm – serial number 8930511
Zeiss Master Prime 25mm – s/n 8931251
Zeiss Master Prime 35mm – s/n 8931873
Zeiss Master Prime 50mm – s/n 8930435
Zeiss Master Prime 75mm – s/n 8931306
Zeiss Master Prime 100mm – s/n 8931888
Arri WLCS lens control system: WMU 1 Wireless Main Unit s/n 5051; WFU 1 Wireless Focus Iris Unit s/n 5077; UMC 1 Universal Motor Controller s/n 0271; CLM 1 motor for Arri WLCS s/n 1437
Accessories (batteries, charger, focus discs, cables)
Arri Follow Focus 3 s/n 1180, packed in a blue & yellow Blixt flight case.
Arri WLCS was packed in a black Waterproof Pelican style case.
Here’s a slideshow of the PL Mystery Primes that were premiered at Band Pro’s Open House on December 17, 2009. More details behind the mystery will be revealed soon.
more about “Mystery Primes“, posted with vodpod
Left to right: Michael Bravin, Amnon Band, Mystery Primes, Dr. Andreas Kaufmann, Gerhard Baier
At Band Pro’s popular annual Expo and lavishly catered party this afternoon, the big surprise was the unveiling of a totally new set of PL mount prime lenses. They are all T1.4, and the big news is how lightweight and small they are: 95mm front diameter, and about 3.8 lbs each. Called the “Mystery” lenses because of lack of corporate provenance emblazoned on the barrels, we were assured all would be revealed in a few months. Meanwhile, we learned that the lenses have been developed by ACM Project Development Company, whose managing director is Dr. Andreas Kaufmann. That’s Dr. Kaufmann above, with a lovely new Leica M9 dangling from his neck. Dr Kaufmann also happens to be majority owner of Leica Camera and member of its board of directors.
The lenses should be ready around Cine Gear time: June 2010, in focal lengths of: 16, 18, 21, 25, 35, 40, 50, 65, 75, and 100 mm . Additional focal lengths will be available later on, making up a total of 15 different focal lengths, ranging from 12mm to 150mm.
In development for three years by an international team of prominent optical and mechanical lens designers (anonymous sources point to alumni of Panavision, Leitz, Leica Canada, as well as involvement by Otto Nemenz and Band Pro), it was one of the industry’s best kept secrets. Even Film and Digital Times was in the dark. Three focal lengths were shown today as working prototypes. Band Pro is the exclusive worldwide distributor. A service facility will be set up in Hollywood.
The small size and light weight were made possible by use of double aspheric elements and titanium mount. The entire set of “Mystery Primes” have focus scales in the same position relative to the front of the camera, common size and location of focus and iris rings, and a 95mm threaded lens front. A threaded ring in the rear of the PL mount permits quick and clean mounting of nets.
The first 25 sets of lenses will be delivered to Otto Nemenz International.
Click here to see the slideshow.
We tested Matthias Uhlig’s MBF Filmtechnik PL lens to Canon EOS adapter on a Canon EOS 7D and 1D Mark IV. The adapter works with more lenses than we thought–not just the Angenieux 24-290. Angenieux Optimo 15-40mm and 28-70mm zooms are perfect with this mount. No interference with the mirror, so you can pre-focus optically before switching to live view. The mount also works with Clairmont Swing-Shift lenses. Be sure to use lens supports and rods.
The Envelope Please! Matthias Uhlig and MBF Filmtechnik of Hamburg win the Ron Dexter Award for first to market with a PL Mount to Canon EF adapter. We just received one and are testing it in LA this week. Beautifully machined and very well made.
The long awaited PL-Adaptor for the Canon 7 D is now available online:
http://www.filmlicht.de/de/Video/DSLR-Zubehoer/PL-Mount-Adapter-fuer-Canon-EOS-7-D.html
It works with the following lenses: Angenieux Optimo 24-290mm ; Arri Shift & Tilt Set; Canon Century 200/300 mm. No camera modification necessary.
Price: 399,- € + tax and shipping.
Band Pro’s annual Open House and 25th Anniversary Party is Thursday, December 17 in Burbank, from 1pm – 8pm. It’s one of the best events of the year, with a boutique Expo of high-end equipment and a sumptuous buffet with delicious food and drink. Film and Digital Times is saddling up and heading West to attend–this year is Band Pro’s 25th Anniversary, so I’m sure it will be BIG.
Exhibitors include: 16×9, AJA, Anton/Bauer, Astro, Canon, Cineped, Cine-tal, cmotion, Convergent Design, Cooke, Element Technica, Fujinon, IDX, Innovision, JVC, K5600, K-Tek, Leader, Marshall Electronics, Media Distributors, Oconnor, Oppenheimer, OptiTek, Petrol, Sachtler, Silicon Imaging, SLx, Sony, Sony Pro Audio, St-Man, S.two, Telecast, Tiffen, Transvideo, ZEISS.
To attend, be sure to RSVP: 818-841-9655 or email: rsvp@bandpro.com
For more information, go to: www.bandpro.com
Sony Unveils SR 2.0 Roadmap. Article by Seth Emmons.
Sony’s event last night at the Academy of Motion Pictures Arts & Sciences Linwood Dunn Theater opened with Global Language Monitor’s 2008 word of the year, “Change.” As the word hung alone in the air for a few moments, I wondered what new products we were about to see from Sony. But, Rick Harding, Emcee, wanted to convey more than just a change in technology in this presentation called “SR 2.0”. Sort of like Global Language Monitor’s current favorite (or lament–a word and a number), “Web 2.0.”
As the event rolled on and new products were introduced, an underlying shift in Sony’s understanding of the market and the economics seemed to drive many of the developments. Along with highlights of technical specifications came talk about the return on investment that customers could expect. Each new item was either presented as a “future-proof” product or as a recommitment to their existing HDCAM SR format.
After due recognition of HDCAM SR as the industry standard for mastering, post production and, more recently, acquisition, Yasuhiko Mikami began by introducing SR Lite. With a 220 Mbps data transfer rate, Sony hopes that their new HDCAM SR compression will answer the call for a larger variety of video bit rates and faster workflow, as requested earlier by Sam Nicholson, ASC in a Q&A session with Harding.
This MPEG-4 format (in an MXF wrapper) will be available im Sony’s new SRW-5800/2 Recording Deck. The deck will also record and play back 4:4:4 material at twice real time. Not only does this increase the range and appeal of the format, but all of the new features will be available via a hardware upgrade on existing SRW-5800 decks, decreasing the investment needed by current owners to access the new features.
Here’s additional information as a follow-up to Seth’s article on the Sony Roadmap, from Sony:
PARK RIDGE, N.J., Dec. 9, 2009 – Sony Electronics is unveiling the next generation of its HDCAM SR™ production technology, with new products and planned upgrades ranging from acquisition and storage to archive and production efficiency.
The announcements include the new SRW-9000 HDCAM SR camcorder, available this month with a “future-proof” upgrade path to 35mm imaging and file-based production; the planned delivery of new SR memory solid-state media; and more cost-effective BCT-SR series tape pricing.
“HDCAM SR technology now meets the current and future needs of high-end cinematic and TV broadcast production,” said Rob Willox, director of Sony Electronics’ content creation group. “SR is already file-based, and can support data recording in resolutions up to 4K as DPX today. The benefits of non-linear acquisition are now a production requirement. The addition of solid-state media enhances the format’s inherent file-based design and brings SR’s proven quality to an even wider audience.
Carl Zeiss Makro-Planar ZE T* 2/50 and 2/100 for Canon EOS (EF bayonet mount)
The Makro-Planar T* 2/50 begins shipping in December, and the Makro-Planar T* 2/100 ships in January 2010.
These Carl Zeiss continue rounding out the line of ZEISS optics for Canon EOS SLR cameras–with electronic contacts for Canon aperture control and manual focus on the lens.
Both macro lenses shoot objects up to a 1:2 ratio–meaning your closest focus is an object 72mm wide (2x the horizontal width of the 36mm aperture. These lenses use Carl Zeiss’s “floating elements” design for high optical performance across the entire focusing range (from 0.24 m to infinity for the 2/50 ZE lens). The Makro-Planar T* 2/50 and Makro-Planar T* 2/100 are currently available for Nikon F bayonet (ZF) and Pentax K bayonet (ZK) cameras.