TORRANCE, CA — April, 15, 2016 – Since 1976, the Pelican classic Protector case has been the go-to protective case solution for millions of people worldwide. It has made an impact in industries ranging from military and aerospace to photography and hunting. Today, Pelican is proud to announce the outcome of a relentless quest to offer Pelican users more versatility than ever before: Introducing Pelican Air cases. These new cases have been engineered to maintain the same standard of durability, but reduce the weight of each case by up to 40 percent and offer new size selections not currently available in the Pelican classic or Pelican Storm lines.
Available in six long-form, travel-ready sizes, Pelican Air cases are constructed of lightweight HPX2 resin, the next generation of Pelican’s proprietary formula that rebounds to stress without breaking. With the busy traveler in mind, the 1535 Pelican Air case (Wheeled Carry On) complies with overhead bin standards and the 1615 Pelican Air case (Wheeled Check In) complies with current airline check-in size regulations.
Additional models are currently in development with more than 20 new sizes making their debut over the next 18 months. Each case passes the same performance tests (impact, drop, submersion, high and low temperature) that Pelican users have come to trust and is backed by the company’s legendary lifetime guarantee of excellence.
“The Pelican brand is synonymous with protection and has set the gold-standard in the protective case market for more than 40 years,” said Lyndon Faulkner, President and CEO of Pelican Products. “While using the Pelican classic case design as the basis for the new line, our engineers have spent the past two years reimagining the classic case with a focus on taking out weight while maintaining the same high level of performance customers have come to expect from Pelican. This revolutionary Pelican Air case design underscores Pelican’s continuing commitment to innovation and making a legendary product even better.”
To construct a lighter case, Pelican’s engineering team faced the challenge of building lightness into every facet of the design without compromising Pelican’s renowned durability. By working with a team of materials scientists, Pelican was able to construct cases that are the lightest protective cases on the market today.
Pelican Air cases are available with several configurations:
Pelican Air cases are available through select dealers, distributors and retailers starting May 1, 2016.
Just posted: Tamron 85mm f/1.8 Di VC USD Lens Review
TOKYO, April 18, 2016 — Four Canon cameras and one Canon printer were recognized with “Best Photo and Imaging Product” awards by the Technical Image Press Association (TIPA), representing 30 photo and imaging magazines from 15 countries across five continents. The five award winners are: the EOS 5DS R digital SLR (DSLR) camera, the EOS-1D X Mark II DSLR camera, the PowerShot G5 X digital compact camera, the IXUS 285 HS (PowerShot ELPH 360 HS in the Americas) compact digital camera, and the imagePROGRAF PRO-1000 professional inkjet printer.
Best DLSR Professional / High Res: EOS-5DS R
Named “Best DSLR Professional / High Res,” the Canon EOS-5DS R features an “impressive” approximately 50.6 megapixel full-frame sensor that the TIPA jury noted rivals those of larger medium-format digital cameras. The judges also highlighted the camera’s 5 frame-per-second (fps) continuous shooting of full-resolution still images and Full HD video capture at 30 fps. The EOS-5DS R is equipped with Dual DIGIC 6 image processors, a newly developed mirror vibration control system and time-release lag settings to further suppress camera shake and allow the camera to realize the full potential of its sensor. It has a 100% coverage 3.2-inch 1.04 million dot Intelligent ClearView II LCD viewfinder that can display a variety of shooting information. The jury also pointed out that the camera sports a 150,000 pixel RGB-IR metering sensor that utilizes EOS iTR (Intelligent Tracking and Recognition) AF and that AF performance is enhanced by the 61-point high-density reticular sensor.
Best Photo / Video Professional Camera: Canon EOS-1D X Mark II
Selected for this year’s “Best Photo / Video Professional Camera” award, Canon’s EOS-1D X Mark II flagship-model DSLR offers impressive specifications. The camera is equipped with an approximately 20.2 megapixel 35 mm full-frame Canon CMOS sensor and achieves high-speed continuous shooting of approximately 14 fps, and up to 16 fps in Live View mode. The TIPA judges noted that the Dual DIGIC 6+ image processors enable high-speed writing of up to 170 RAW images and 81 RAW+JPEG images per burst. Thanks to Dual Pixel CMOS AF, in which all of the CMOS sensor’s pixels include both imaging and the phase-difference detection AF functions, the EOS-1D X Mark II is capable of high-speed AF tracking. The camera features an improved 61-point viewfinder AF and an improved AI Servo III+ predictive AF algorithm, and also achieves 4K 60p video shooting, and Full HD 120 fps high frame rate image capture suitable for slow motion video capture. With the optional Wireless File Transmitter WFT-E8B, compatible with the new IEEE802.11ac wireless LAN standard, data can be sent wirelessly at high speeds across the 5 GHz band.
Best Easy Compact Camera: IXUS 285 HS
Crowning the IXUS 285 HS “Best Easy Compact Camera,” the TIPA judges declared, “Canon continues to offer pocketable yet full-featured compacts that offer many more options and higher photo quality than camera phones.” The camera sports a 12x optical zoom lens with built-in image stabilizer, a dedicated Wi-Fi button and NFC for enhanced connectivity, and a 3-inch LCD screen. It boasts an approximately 20.2 megapixel CMOS sensor and DIGIC 4+ image processor that achieves high image quality even in low-light environments. What’s more, it can capture 1080p Full HD video and, using Canon’s proprietary algorithm, can produce a “highlight reel” in camera from selected albums.
Best Expert Compact Camera: Canon PowerShot G5 X
Crowned “Best Expert Compact Camera,” Canon’s PowerShot G5 X features a 1-inch approximately 20.2 megapixel High Sensitivity CMOS sensor and DIGIC 6 processor that achieves an approximately 6 fps continuous shooting speed and Full HD video. The camera features a 24–100 mm (35 mm film equivalent) 4.2x optical zoom lens with a nine-blade iris and an aperture of f/1.8 at the wide-angle end and f/2.8 at the telephoto end that achieves rich tonal gradations and exceptional blur characteristics across the entire zoom range. The G5 X features an EVF (electronic viewfinder) with approximately 2.36 million dots and approximately 100% coverage that employs an organic EL (electroluminescent) panel and has a refresh rate of up to 120 fps. A built-in eye sensor, which has a range of approximately 22 mm, can even detect users wearing glasses and switches display from the EVF to the 3-inch vari-angle LCD touchscreen. Additionally, the camera’s hot shoe is compatible with all Speedlite flashes in the EOS system.
Best Photo Printer: imagePROGRAF PRO-1000
"Combining the ease of desktop use and a 17-inch wide cut sheet printer with many features from Canon’s higher-end pro printer models," the imagePROGRAF PRO-1000 earned the title of TIPA's "Best Photo Printer." It incorporates a new twelve-color LUCIA PRO ink system, with eleven pigment inks, including the newly formulated Photo Black, and Chroma Optimizer. What’s more, Photo and Matte Black have their own nozzles, so no switching is needed between print jobs.
Equipped with the air feeding system found in Canon’s large-format imagePROGRAF inkjet printers, the PRO-1000 virtually eliminates paper skewing, regardless of paper weight and type, while also achieving more accurate ink placement. A new print head expels more ink droplets per second for more stable print performance, and print head-mounted sensors can detect clogs and automatically delegate printing responsibilities to other nozzles to prevent discoloration.
According to the Egami Blog, Canon has filed a patent associated with the EF-M 9-18mm f/3.5-4.5 STM.
SuperStore & Offices
B&H will be closed starting at 7pm EDT on Thurs April 21.
We will reopen at 10am on Sun May 1.
Online ordering will pause during the following holiday observance periods:
7:30pm Fri April 22 through 9pm Sun April 24
7:45pm Thurs April 28 through 9:15pm Sat April 30
Orders placed before 4pm on Thurs April 21 will be processed prior to the holiday closing.
Orders placed after this time will be processed after we reopen on Sun May 1.
Store Pickup orders placed up to 1 hour before store closing time will be available for same-day pickup until store closing time.
Store Pickup orders placed within 1 hour of store closing, or while the store is closed, will be available for pickup 45 minutes after the store reopens.
The balance of the standard test results, including vignetting, flare and distortion, along with specs, measurements and standard product images, are now available on the Tamron 85mm f/1.8 Di VC USD Lens review page.
I expect to have the review of this interetsing lens completed very soon.
I was recently privileged to spend over a week photographing in Middle and North Caicos, Turks and Caicos, British West Indies. Landscape photography was the primary pursuit and I packed an arguably best-available kit for this purpose. Seen in the lead image is my primary pack for this trip, a MindShift Gear BackLight 26L.
This pack is well under the carry-on size limitation of many flights and holds a substantial amount of gear along with clothes, water bottles and other items. Though nicely-sized, this backpack is not heavy. It has proven comfortable to carry on easy hikes (such as through airports) and very long, difficult ones (such as over the pure-evil rocks on the cliffs along the Mudjin Harbor coast) alike.
In this backpack, I took a pair of Canon EOS 5Ds R cameras (sans grips) as shown mounted to an EF 16-35mm f/4L IS USM Lens and a Canon EF 100-400mm f/4.5-5.6L IS II USM Lens, a frequently carried combination for me.
Across the top of this case are the Gitzo GH3382QD Series 3 Center Ball Head (one of the best ball heads I've used), the Zeiss 28mm f/1.4 Otus Lens (this was a great opportunity to use this lens while reviewing it) and the Canon EF 24-70mm f/4L IS USM Lens, a great landscape lens, especially when handholding.
Yes, the Zeiss Otus looks a bit big for this pack, but ... the zippers close, even with a 15" laptop in the lid. I actually carried this lens in my personal item pack, but wanted to feature it among the important gear I took with me.
My "personal item" carried onto the plane was again a Think Tank Photo StreetWalker Pro. While I had a couple of other lenses, a Canon EOS M3 and some other camera gear in this pack, most of the contents were more support-oriented, including power supplies, chargers, external hard drives, etc.
This was a very good trip, featuring some of the most beautiful water and emptiest beaches found anywhere. I hope to share more images from this location soon.
Feel free to ask questions in the comments section.
The Gratical Eye SDI electronic viewfinder is the smallest and lightest of our Micro-OLED EVFs. It fits in the palm of your hand and weighs only 14oz. This is an ideal SDI EVF solution for filmmakers using professional cameras and external batteries. The Gratical Eye has a 2 pin Lemo power jack and a single SDI input. Sleek and small, this EVF will fit in even the smallest of camera bags! Take it with you on the road or add it to your studio rig.
The Gratical Eye SDI EVF features a state-of-the-art Micro-OLED screen. With 5.4 million pixels squeezed onto a screen only 0.61” diagonal, you get a hugely expanded contrast range for the truest image possible. The Micro-OLED screen offers vivid, vibrant colors and true black, as each pixel is lit individually.
An industry standard 2 pin Lemo jack makes powering the Gratical Eye off your existing external batteries a breeze. We offer an optional combined power and video cable 2 Pin Lemo to D-Tap and a BNC cable. Or use any current model Lemo cable you may own – The Gratical Eye’s auto-sensor prevents any compatibility issues with polarity.
Mounting options include both a ¼ 20 screw hole underneath the EVF and ¼ 20 rosettes on both sides so cables can go up or down. Attach your electronic viewfinder with an arm or Zacuto Axis Mini as part of a Zacuto Next Generation Recoil Rig.
Gratical Eye customers can enjoy free firmware updates, including fixes and additions, for life. The Eye SDI EVF has a built in USB port for quick updates. Our software engineers are always working on tweaks and new features to make sure your Gratical stays current and consistent for any future changes in camera or workflow. Have something you’d like to see added? Please contact us to make a suggestions and you could see your idea in our next firmware!
From Canon USA:
Canon to Enable Providing Viewers with Outstanding HDTV Picture Quality and Long-Zoom Image Detail
MELVILLE, N.Y., April 13, 2016 – NBC Olympics, a division of the NBC Sports Group, has selected Canon U.S.A., Inc., a leader in digital imaging solutions, to provide a wide variety of HDTV Field, Portable and Studio lenses for its production of the Games of the XXXI Olympiad, which take place in Rio de Janeiro, Brazil, from August 5 – August 21. The announcement was made today by David Mazza, CTO & SVP, NBC Sports & Olympics, and Yuichi Ishizuka, president and COO of Canon U.S.A., Inc.
Over 70 Canon broadcast lenses will be used during coverage including the DIGISUPER 95 TELE long-zoom field lens featuring a focal length of 1178mm (2356mm with 2x Extender); the DIGISUPER 27 studio lens providing crisp HD imagery in a studio environment; the HJ14ex4.3B wide-angle HD lens capturing a panoramic 96.3 degrees angle-of-view; and the HJ24ex7.5B HDTV field telephoto zoom lens, providing a remarkable 7.5-180mm zoom range in a compact, portable body.
“We are honored to once again be chosen as the lens provider for NBC,” stated Yuichi Ishizuka, president and COO, Canon U.S.A., Inc.
“The lenses that Canon provides are an essential component to the visual system that captures the excitement and the emotion of the Games. Canon lenses are also light and robust, which our camera operators like,” stated Christopher Adams, Vice President Venue Engineering, Olympics Production Engineering, NBC Sports Group.
From the Nikon Europe YouTube Channel:
Follow National Geographic Photographer, Keith Ladzinski, as he takes the Nikon D500 to 'Europe's Grand Canyon', Verdon Gorge, for an epic shoot of big wall climbing.
From the Canon Digital Learning Center:
You probably have seen the option in your editing software or your printer driver to choose 16-bit color processing. In fact, you may have selected the option, although you weren’t quite sure what it meant, because more data should result in better prints, right?See the entire article on the Canon Digital Learning Center.
This short article will unlock the mysteries of 16-bit printing and help you to take full advantage of this feature in your imaging workflow.
When flying with camera gear, I always carry it on the plane with me. At least the most expensive and highest importance gear goes with me. But, just because I want to carry the gear onto the plane does not prevent the airline from forcing a gate check of a typically-large roller case, even if it falls within dimensional compliance. The scariness of this scenario was reinforced to me recently when I watched gate checked bags sliding down a very long tube, landing with significant force at ground level. So, I take precautions against being forced to turn over a camera case at the gate.
The first precaution I often take is using the airline's credit card to buy the flight tickets. This move typically results in priority boarding privileges. United Airlines and American Airlines (my two most-used airlines) charge an annual fee for their cards, but another benefit these cards provide is a certain number of free checked luggage bags on each flight. A flight or two a year generally equalizes the credit card's annual fee.
While there are generally a lot of people flying with priority boarding passes, getting in line early within this boarding group has always insured that I can stow my largest case in the overhead storage, avoiding a gate check requirement caused by lack of storage space.
Another key to avoid gate checking is knowing the size of the planes that you will be flying on. The smallest plane on your trip is going to be the limiting factor. If flying on a small plane such as a regional jet, this can be a problem (especially if it is the first leg of a multiple flight trip). The isle seat on the side of the plane with the most side-by-side seats may have the largest storage option – under the seat in front of you. In this case, know what size case fits here – a full-size hard or rigid case will often not fit.
With large-sized planes booked for all of my commercial airline flights and priority boarding passes in hand, I was comfortable taking a full-size roller bag as my carry-on to Alaska. My choice? The Think Tank Photo Airport Security V 2.0 Rolling Camera Bag. TTP sent me this case a long time ago, and I have used it with great frequency since, leaving many of my other cases to gather dust.
This trip involved a mix of travel (including float planes, various boats and an SUV) and in-the-field use of camera gear. While the Airport Security is not my first choice for backpack-style carry, it provides this option and I carried it full of gear for many miles in the Katmai National Park back country on this trip. The straps work fine. Aside from having a large capacity, including the ability to hold a 600mm f/4 lens with a pro-sized camera body attached (snug fit), this case provides very solid protection for the contents and the build quality was something I had a lot of confidence in.
The lead image for this post shows most of the primary items I carried in this pack while traveling. I removed a 15" sleeved laptop and some other odds and ends (including some spare clothes) prior to taking this picture. The laptop fits in the outside pocket or, to save some dimensional space, inside in the shown load configuration.
In the case, starting at the top, is the Canon EF 600mm f/4L IS II USM Lens mounted to the Canon EOS 5Ds R with a Canon BG-E11 Battery Grip. I talk about my reasoning behind the camera and lens choices here:
From left to right across the bottom of the case are the following:
The Canon EF 11-24mm f/4L USM Lens was along for my ultra-wide angle needs (didn't end up using it much). The Zeiss 15mm f/2.8 Lens earned its ticket to travel from its excellent image quality at a wide aperture. Night sky photography its primary intended purpose. The Canon EOS M3 with a Canon EF-M 18-55mm f/3.5-5.6 IS STM Lens mounted made the trip. With Canon EOS Rebel T6i-like image quality, this tiny camera with the 18-55 gave me a very compact general purpose kit to use when I could not (or did not want to) take a full size camera and also provided a backup under the same circumstances. The EOS M3 proved a convenient choice for photographing from commercial airplanes (you do this, right?), from float planes and for a part-day salmon fishing trip.
In Lowepro Lens Cases under and beside the M3 are Canon EF 1.4x and 2x III Extenders. While I have no regrets from bringing these, I did not use either on this trip. The 600mm lens was enough, but you never know when a unique situation calls for more reach.
An Arca-Swiss Z1 Ball Head is fit into the bottom right divided section of the Airport Security. This head was chosen because ... it is my current favorite – it works great and reliably so. While I don't usually have room for tripods in my carry-on cases, I usually include my primary ball head because of its dense weight. Keeping my checked bag under the 50 lbs. limit is usually a challenge.
My "personal item" carried onto the plane was a Think Tank Photo StreetWalker Pro. This pack is ideal for maximizing the camera gear carried onto the plane and great for lower volume needs on location.
Shown in this pack are a pair of 5Ds R bodies, one mounted to the Canon EF 100-400mm f/4.5-5.6L IS II USM Lens (amazing lens, again, see the lens selection link above) and one mounted to the Canon EF 24-70mm f/4L IS USM Lens, a great handheld landscape lens. The other two lenses shown in this pack are the Canon EF 16-35mm f/4L IS USM Lens and the Canon EF 24-70mm f/2.8L II USM Lens. Both are best-available for landscape and other needs.
Lots of additional accessories were along in the carry-on packs including well over 1TB of memory cards, many batteries, chargers, power supplies and including power supplies, charges, external hard drives. I always carry an empty water bottle through security and fill it from a water fountain before the flight, insuring adequate hydration for a long period of time.
Not seen in the two backpack images are a pair of tripods that were along for this trip. My favorite all-around tripod is the Gitzo GT3542LS. It is an extremely rigid, strong, lightweight, reliable tripod that is easily up to handling the 600mm lens kit. Nested inside the legs of the larger tripod was the Gitzo GT1542T Traveler Tripod with an Acratech GP-s Ball Head mounted (great little head). The second tripod served as backup, permitted use of two simultaneous tripod setups and offered an ultra-lightweight tripod for those times when the full-size option was too much. This little tripod could have handled the 600mm setup if necessary. A pair of empty Lowepro Toploader Pro cases were placed over both ends of the nested tripods with their open lids providing protection for most of the sides of the tripods. Clothing provided the balance of the protection necessary for the tripods.
Large lenses are far easier to use on a gimbal mount and the Wimberley Tripod Head II is my first choice. I packed this head in a padded case inside my checked bag.
The above image shows the Airport Security in action in coastal Katmai National Park. I like to keep my gear clean – The Airport Security can be seen here on The 1 Cheap Accessory that should be in All of Your Camera Bags. I always have these along.
My Alaska trip itinerary, in brief, involved a flight to Anchorage, SUV rental, driving to Seward and then Homer and float plane flight to coastal Katmai National Park where I stayed on boats for 4 nights. After flying back to home, a 1/2-day side trip to fish the Kenai River was in order and then on to Denali National Park for a few days. There is very little I'd change in my packs if I were to do this trip again.
Have any questions? Ask them in the comments section below!
B&H has the newly announced Canon ME200S-SH Multi-Purpose Camera and Canon CN-E 18-80mm T4.4 COMPACT-SERVO Cinema Zoom Lens available for preorder.
Canon ME200S-SH Multi-Purpose Camera Highlights
Canon CN-E 18-80mm T4.4 COMPACT-SERVO Cinema Zoom Lens Highlights
If you've ever wondered how image stabilization works in Canon lenses, you're in luck! The Canon Professional Network has published an Infobank article on Image Stabilization.
From the Canon Professional Network:
Camera shake is the thief of sharpness. If you are hand-holding a camera and lens, they will move as you press the shutter release. Movement during exposure blurs the image.Check out the entire article on the Canon Professional Network.
Much of the time, you will not notice the effects of camera shake. If you are shooting with a fast shutter speed or a wide-angle lens, the blurring may not be significant- but it will still be there, and might appear if you have a big enlargement made from the image.
The only way to overcome camera shake is to eliminate the movement of the camera and lens during the exposure. The obvious way to do this is by taking the camera out of your hands and fixing it to something that will not move, such as a photographic tripod. However a tripod is only effective if it is sturdy, which usually means heavy.
Fortunately, Canon offers another method of reducing, if not eliminating, the effects of camera shake. Image stabilised lenses, first seen in 1995, approach the problem laterally. Rather than trying to stop the movement of a hand-held camera, they seek to introduce an opposing movement within the lens. The aim is to keep the image static on the sensor or film, despite the movement of the camera.
From Canon USA:
Using Canon Cameras and Lenses, Teams Shooting from the International Space Station Capture Breathtaking Images of Our Planet from a Vantage Point Few Get to See
MELVILLE, N.Y., April 14, 2016 – The future of 4K filmmaking is looking up — in fact, all the way to space. A Beautiful Planet, the latest 3D space documentary from acclaimed filmmaker Toni Myers and IMAX Entertainment, made in cooperation with NASA, will premiere in IMAX in New York on April 16 and was shot primarily in space using Canon cameras and lenses. The film will be shown to the public exclusively in IMAX and IMAX 3D theaters beginning April 29.
The Canon EOS C500 4K Digital Cinema Camera and EOS-1D C 4K cameras were transported from Earth to the International Space Station (ISS) in November 2014 via an unmanned supply ship, and were received by NASA astronaut Terry Virts, astronaut Samantha Cristoforetti from the European Space Agency and Cosmonaut Anton Shkaplerov. This was the first time that 4K cameras were brought aboard the space station for a commercial film project. During a six-month mission at the ISS, Virts, Cristoforetti and Shkaplerov worked closely with NASA astronauts Kjell Lindgren, Butch Wilmore, Scott Kelly, and Kimiya Yui of the Japan Aerospace Exploration Agency (JAXA) to take turns using Canon’s advanced digital cameras and lenses to film footage of lightning storms, the continents, volcanoes, coral reefs and bright city lights on Earth for the film. One of the film’s greatest and most dramatic highlights, the striking imagery of the Northern Lights--or the aurora borealis-- was captured by NASA astronaut Kjell Lindgren. These awe-inspiring images were previously unattainable in such stunning resolution.
The Canon EOS C500 4K (4096 x 2160-pixel) Digital Cinema Camera is capable of originating uncompressed RAW output for external recording to meet the demands of premium cinematic productions and other top-quality production markets. It features a Super 35mm, 8.85-megapixel CMOS image sensor, DIGIC DV III Image Processor and an expansive range of recording and output options specifically for 4K and 2K image acquisition. The compact, lightweight Canon EOS-1D C Digital SLR camera delivers outstanding video performance and provides video recording at 4K (4096 x 2160-pixel) or Full HD (1920 x 1080-pixel) resolution to support high-end motion picture, television production and other advanced imaging applications.
‘A Beautiful Planet’ joins Canon at NAB
A gallery of still images taken on the ISS with the Canon EOS-1D C camera and Canon lenses during the shooting of the film will be shown at the Canon booth # C4325 at the National Association of Broadcasters (NAB) trade show, April 18-21, 2016 in Las Vegas, NV. During NAB, the film’s Director of Photography, James Neihouse, ASC, will speak at Canon’s stage on the challenges and benefits of shooting in space. Joining him will be Marsha Ivins, a consultant on the film, former NASA astronaut, and a veteran of five space shuttle missions. Neihouse has worked on more than 30 IMAX films including Space Station 3D and Hubble 3D and trained more than 25 shuttle and space-station crews on the intricacies of large-format filmmaking.
The documentary, A Beautiful Planet was produced, written, and directed by Toni Myers, and is narrated by Academy Award-winning actress Jennifer Lawrence.
About A Beautiful Planet
A Beautiful Planet is a breathtaking portrait of Earth from space, providing a unique perspective and increased understanding of our planet and galaxy as never seen before. Made in cooperation with the National Aeronautics and Space Administration (NASA), the film features stunning footage of our magnificent blue planet — and the effects humanity has had on it over time — captured by the astronauts aboard the International Space Station (ISS). From space, Earth blazes at night with the electric intensity of human expansion — a direct visualization of our changing world. But it is within our power to protect the planet. As we continue to explore and gain knowledge of our galaxy, we also develop a deeper connection to the place we all call home. From IMAX Entertainment and Toni Myers — the acclaimed filmmaker behind celebrated IMAX documentaries Hubble 3D, and Space Station 3D — A Beautiful Planet presents an awe-inspiring glimpse of Earth and a hopeful look into the future of humanity.
Tenba Launches New Cineluxe Collection for Filmmakers
North White Plains, NY – April 13, 2016 – Tenba today announced a sneak peek of the new Cineluxe video camera bag collection at the National Association of Broadcasters (NAB) Show the week of April 18-21, 2016. The first to bring the “doctor bag” style opening to backpacks and rolling cases, Tenba’s new collection gives uncompromising filmmakers the quickest possible access to their gear when shooting.
New Flex-Core dividers are unique in their combination of stiffness and flexibility, providing a secure separation between cameras and lenses. They are both rigid and bendable, allowing for quick, on-the-fly tweaks to the interior layout to fit changing camera systems.
Protective Wraps and Pouches
Cineluxe bags include a selection of protective padded wraps and pouches that allow sensitive equipment to be safely stored alongside larger cameras and rigs, offering more versatility than traditional Velcro dividers.
“Doctor Bag” Opening
The “doctor bag” style opening is crafted from anodized aluminum bars that give unobstructed access to the interior while also increasing the bag’s rigidity and camera protection. To meet the needs of traveling filmmakers, the “doctor bag” functionality has been fitted to a carry-on compatible rolling case and two backpacks.
Cineluxe bags deliver on Tenba’s reputation for durability, with a water-repellent exterior of 840-denier junior ballistic nylon with YKK zippers, a waterproof “Body Armor” bottom panel, and an equipment-friendly interior of ripstop nylon and soft, brushed tricot. Each bag includes a WeatherWrap rain cover and trolley straps to piggyback onto larger rolling cases.
The Cineluxe collection includes two carry-on compatible backpacks with Tenba’s comfortable Pivot-Fit Airflow harness and waist belt, a carry-on compatible rolling case with specially developed shock absorbing wheels, and three shoulder bags that range from 15 to 22 inches in interior length. Cineluxe bags will be available July 2016.
Just posted: Tokina 14-20mm f/2 AT-X Pro DX Lens Review.
Want f/2 at a focal length wider than 18mm? Surprising is that a zoom lens is your only option.
New Updates Include Canon Log3 for the EOS C300 Mark II Camera and Support of ARRI Log C and Metadata for Canon’s DP-V2410 4K Reference Display
MELVILLE, N.Y., April 13, 2016 - Canon U.S.A., Inc., a leader in digital imaging solutions, today announced firmware updates to several products being showcased at NAB 2016. These firmware updates support a number of feature updates for users including improvement of workflow, ease of use, focusing and lens corrections, color space, and creative flexibility for products in the Cinema EOS, HD Video, and 4K Reference Display lines.
Firmware updates are as follows:
To see these products mentioned above at NAB 2016, visit Canon U.S.A., Inc. in the Central Hall, Booth C4325. Follow Canon throughout the show on Instagram at @CanonUSA and Twitter at @CanonUSApro. To learn more about the firmware updates and their availability, please visit www.usa.canon.com/internet/portal/us/home/explore/firmware-updates.
B&H carries the following:
Featuring Canon’s Dual Pixel Autofocus and ISO Ranges up to 204,800, this Modular Affordable Camera is Compatible with Canon’s EF, EF-S and CINE-SERVO lenses
MELVILLE, N.Y., April 13, 2016 – Canon U.S.A. Inc., a leader in digital imaging solutions, today announced the latest addition to the Company’s line of multi-purpose modular cameras, the new ME200S-SH. Compact and versatile, the camera supports a broad range of uses, including cinema, television production, live sports, law enforcement, house of worship and special uses, such as weather monitoring, night shooting, event installs and point of view applications. This 8.2 megapixel Super 35mm compact box camera features both high sensitivity and a cinema look for high-quality image capture. Canon’s Dual Pixel CMOS autofocus (DAF) technology provides ME200S-SH camera users with a range of focusing options when using compatible Canon EF lenses and CINE-SERVO lenses.
“Much like the ME20F-SH multi-purpose camera that Canon launched in 2015, the new ME200S-SH multi-purpose camera is so small and compact it can easily fit into tight spaces,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “As indicated in the name, we anticipate users will implement this camera in an extensive variety of ways, from uniquely angled shots for HD sports broadcasting or traffic and weather reporting, to cinematic production or surveillance of public spaces, even applications we haven’t yet thought of. We are very excited to see how the capabilities of this camera inspire image creators.”
Canon’s new multi-purpose ME200S-SH camera’s compact, modular body design allows for easy custom configurations for diverse usage scenarios such as:
The ME200S-SH camera includes both Canon Log and Wide DR Gamma providing users the high- dynamic range and the ability to choose their post-production strategy. Users can experience high-quality imagery whether they are doing a full post-production grade or making quick onsite corrections.
In addition, the ME200S-SH camera employs Canon’s EF Mount (Cinema Lock Type) providing shooters with the ability to use a diverse array of compatible Canon EF interchangeable lens, CINE-SERVO lenses, newly announced COMPACT-SERVO lens and a select Canon Broadcast HD lenses by utilizing a third party mount converter. The Cine Lock feature allows users to easily mount the lens without having to rotate it into the mount.
The ME200S-SH camera features 3G/HD-SDI and HDMI output terminals that enable users to output video via a single cable to a variety of peripheral equipment, including external recorders and monitors. A 12-pin lens jack is provided to enable communication with the drive unit of select CINE-SERVO and broadcast lenses. Equipped with a f2.5mm stereo mini-jack and a round eight-pin jack for RS-422, the multi-purpose camera is capable of connecting with Canon’s optional RC-V100 Remote Controller. Furthermore, a 3.5mm stereo mini-jack allows the camera to connect to a microphone or other external audio equipment.
Pricing and Availability
The ME200S-SH multi-purpose camera is scheduled to be available in August 2016 for a suggested list price of $5,999. In addition, optional accessories which include the RC-V100 Remote Control, RS-422 eight-pin remote cables and TB-1 Tripod Base are currently available for a suggested list price of $2999, $249 (10m cable) or $999 (100m cable) and $35 respectively.
New Lens Features 4K Optical Performance, Enhanced Servo Drive Unit, Image Stabilization* and Autofocus* Functions- Ideal for ENG, Documentary, and Budding Filmmakers
MELVILLE, N.Y., April 13, 2016 – Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce today the new Compact-Servo 18-80mm Zoom Lens (model name CN-E18-80mm T4.4L IS KAS S), a compact and lightweight 4K-ready lens constructed for optimal mobility. A bridge between traditional Canon EF photography lenses and CN-E cinema lenses, the COMPACT-SERVO 18-80mm can be ideal for filmmakers and documentary shooters who want the control and quality of cinema optics with the lightweight, compact design and features of photography lenses. The first in a new class of Canon lenses, the COMPACT-SERVO 18-80mm Zoom Lens is a cinema-style lens that includes a newly developed servo drive unit as a standard feature. Additionally, the lens incorporates Image Stabilization* and Autofocus* functionality, two extremely useful features not commonly found in cinema lenses, but which are ubiquitous in photography lenses. The lens also provides high image quality that supports 4K image productions and was designed to be able to be utilized in a variety of shooting styles including, hand-held, shoulder mounted, and tripod mounted.
“The new COMPACT-SERVO 18-80mm Zoom Lens ushers in a new class of optics for Canon. Featuring the outstanding build-quality and excellent optical performance professionals have come to expect from Canon, this new lens provides videographers with an affordable and versatile option when stepping up from EF lenses,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “We are excited about the new form factor this lens takes on and can’t wait to see how the imaging community utilizes it.”
Covering the commonly used focal length range of 18mm to 80mm, this new Zoom Lens combines the functionality of Canon EF lenses with the precision and cinematic look of Canon Cinema lenses. The new COMPACT-SERVO 18-80mm Zoom Lens is 4K-ready and features auto focus and optical image stabilization with compatible camera models only, resulting in high-resolution imagery, with the ability to assist filmmakers in capturing the shot they envisioned. Compatible with EF- mount Super 35mm large-format cameras, the lens maintains brightness across the entire focal range at T4.4 (equal to F4.0). For added convenience, videographers can control many of the features of the lens in a variety of ways through the EF-mount communication, including Dual Pixel CMOS AF, push auto iris, record start and stop and remote lens control via the camera with an optional remote control, compensation for chromatic aberration (when paired with the EOS C300 Mark II Cinema Camera), metadata acquisition, and selection of T-number display. The COMPACT-SERVO 18-80mm Zoom Lens features a nine-blade iris aperture diaphragm to help give footage a truly artistic and beautiful look and feel, providing the much desired “bokeh” effect in the out-of-focus areas. For improved operability, focus breathing has been greatly reduced due to the three group inner focusing system.
The lens comes equipped with a newly developed Servo Drive Unit, which provides seamless switching between servo and manual modes, allowing videographers motorized control of focus, zoom, and iris settings. The Servo Drive Unit is compatible with broadcast style industry-standard lens controllers including Canon’s ZSD-300D or FPD-400D. To further enhance ease-of-use for ENG and “run-and-gun” style shooters, Canon has developed an optional grip accessory specifically designed for the new lens, the ZSG-C10. The grip accessory connects to the camera through a 20-pin cable, allowing a variety of lens functions to be controlled from the grip, including zooming via a zoom rocker switch, one-shot AF and the starting and stopping of a recording. When the lens and grip are being used with the EOS C100 Mark II or EOS C300 Mark II Cinema Cameras, users will also have the ability to control the zoom and iris from the camera’s grip unit.
The Canon COMPACT-SERVO 18-80mm Zoom Lens and ZSG-C10 accessory grip are scheduled to be available later in 2016 for an estimated retail price of $5,500 and $499 respectively.**
Virtual Reality, Character Animation, Sound Innovation Comes To Creative Cloud
SAN JOSE, Calif. — April 13, 2016 — The way consumers access and view content has undergone sweeping changes. Media and entertainment companies, along with creative professionals, are under increasing pressure to find new ways to create, deliver and monetize content. They must also adapt to rapidly evolving technology advancements, including high-resolution capture, new delivery formats and virtual reality to name a few. Also, enterprises are dealing with an explosion of content demands from constituencies and need to integrate high-impact content types, like video, into their communications strategies.
Ahead of the National Association of Broadcasters (NAB) Show next week, Adobe (Nasdaq:ADBE) has revealed new features across its Creative Cloud tools for video editing, motion graphics, audio and collaboration. Media and entertainment companies are combining these advanced content creation capabilities with Adobe Primetime to help deliver TV and video content across screens. With Adobe’s digital marketing tools TV networks and pay-TV providers can drive viewer acquisition, engagement and monetization as audiences embrace “over the top” (OTT) content via connected devices such as Apple TV, Sony PlayStation, Roku and Microsoft Xbox. At NAB, Adobe will demonstrate the updated tools and new workflows at booth #SL3910, South Hall (lower) in the Las Vegas Convention Center and at over 120 partner booths from April 18-21.
Adobe Creative Cloud video tools are becoming the go-to source for film editors of both award-winning Hollywood and indie films. The most recent example is Deadpool, the 20th Century FOX blockbuster which shattered box office records. The post-production team from Deadpool will discuss their state-of-the-art workflows and why they chose Adobe Premiere Pro CC in a Creative Master Series panel at NAB on April 19 from 4:15–5 p.m. PT.
Upcoming productions using Premiere Pro CC include Mindhunter, David Fincher’s new series for Netflix, and 6 Below directed by Scott Waugh and starring Josh Hartnett, which is currently shooting in 6K RED and will be edited natively in Premiere Pro.
Creative Cloud video tools are also powering a new generation of content delivered via social channels like YouTube, Facebook and Instagram.
"The videos we make at RocketJump are pure entertainment,” said Freddie Wong, Founder of RocketJump, the hybrid studio/production company behind the popular RocketJump YouTube channel with nearly 8 million subscribers and 1.3 billion views. “We've been users of Adobe's Creative Cloud for years and love the new features coming soon. In addition to editing native footage in Premiere Pro and creating awesome visual effects in After Effects, we use Photoshop for graphics, Audition to sweeten audio, Media Encoder to export content, and now Creative Cloud Libraries to share assets.”
Immerse Yourself In Creativity
Adobe continues to deliver technology that opens unimagined creative opportunities for video and film production, and now, immersive experiences. In the next release of Creative Cloud – available in early summer – Premiere Pro CC will add new virtual reality capabilities, including “field of view” mode for spherical stitched media. In addition, thanks to Adobe Stock integration into CC apps, customers are already experiencing productivity increases of 10 times, when adding stock content into creative projects, including video*. In the upcoming release, Adobe Stock will have enhanced connections with CC apps and new workflows will enable Adobe Bridge and Lightroom users to contribute to the Adobe Stock marketplace directly from within the application.
Other feature highlights coming soon to Creative Cloud include:
“There’s rapid change happening in the digital landscape with video now the fastest growing media type across social media platforms and OTT shaking up broadcast and film,” said Bryan Lamkin, executive vice president and general manager, Digital Media at Adobe. “Adobe is transforming the industry with Creative Cloud and Primetime by helping customers create beautiful content to engage viewers and technologies that monetize content that audiences care about.”
Pricing and Availability
At NAB, Adobe is previewing the next major updates to Creative Cloud. These updates are expected to ship in the coming months. The company is offering Adobe Creative Cloud for U.S. $49.99 a month.
From the B&H YouTube Channel:
Legendary photographer Vincent Laforet sits down with us to share his thoughts on aerial photography, and what he's learned along the way. Through the years, Laforet has been at the forefront of commercial photography, and his daring aerial work is the subject of his new book, AIR.
PORTLAND, OR–(Marketwired – Apr 12, 2016) – Lensbaby, makers of award-winning creative effects lenses, optics and accessories, today announced the availability of the Twist 60 lens. Twist 60 helps creative photographers find their visual voice by seeing the world differently.
This metal-bodied non-tilting 60mm f/2.5 lens with gold anodized accents creates powerful portraits, spotlighting subjects by freeing them from their background and surrounding them with swirly blur and enhanced vignette. The brighter the aperture, the greater the swirl and the greater the vignette.
Twist 60 Lens specs:
Twist 60 lens retails for $279.95 and is available via pre-order beginning April 12, 2016 (shipping May 5th, 2016). Twist 60 Optic will also be sold separately for use with other Lensbaby Optic Swap System-compatible lenses. It retails for $179.95. For best results, when using it in a tilting Lensbaby such as the Composer Pro, photographers should shoot with Twist 60 pointed straight ahead. Lensbaby products are available at B&H, Adorama, and from select specialty photo stores worldwide.
From the National Geographic YouTube Channel:
Go on a journey to the frozen north with wildlife photographer Vincent Munier. Spotlighting foxes, wolves, hares, owls, and even a polar bear, these photographs capture the beauty of the Arctic. Check out Munier's book Arctique to see more of the images.
The Short Film Showcase spotlights exceptional short videos created by filmmakers from around the web and selected by National Geographic editors. We look for work that affirms National Geographic's mission of inspiring people to care about the planet. The filmmakers created the content presented, and the opinions expressed are their own, not those of the National Geographic Society.
Just posted: Canon EF-S 18-135mm f/3.5-5.6 IS USM Lens Review.
I expect that we will see more Nano USM lenses coming to Canon's lineup.