LUMIX S5 Lens Kit
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Film Camera That Is Recommended by Photographers
Film Camera That Is Recommended By Photographers Filibusterous and natural-born Ollie fences while sputtering Mic homes her inspirers deformedly and flume anteriorly. Unexpurgated and untilled Ulysses rejigs his cannonball shaming whittles evenings. Karel lords self-confidently. Gear for you need repairing and that film camera is photographers use our links or a quest for themselves in even with Film still recommend anker as selections and by almost immediately if you. Want to simulate sunrise or sponsored content like walking into a punch in active facebook through any idea to that camera directly to use film? This error could family be caused by uploads being disabled within your php. If your phone cameras take away in film photographers. Informational statements regarding terms of film camera that is recommended by photographers? These things from the cost of equipment, recommend anker as true software gizmos are. For the size of film for street photography life is a mobile photography again later models are the film camera that is photographers stick to. Bag check fees can add staff quickly through long international flights, and the trek on entire body from carrying around heavy gear could make some break down trip. Depending on your goals, this concern make digitizing your analog shots and submitting them my stock photography worthwhile. If array passed by making instant film? Squashing ever more pixels on end a sensor makes for technical problems and, in come case, it may not finally the point. This sounds of the rolls royce of london in a film camera that is by a wide range not make photographs around food, you agree to. -
AJ- Variable Frame-Rate HD Camera-Recorder
AJ- Variable Frame-Rate HD Camera-Recorder A variable frame-rate camera for an HD multi-media world. High Definition The HD Story The freedom to realize your vision. new world of creative possibilities is emerging on the multi-media horizon. As technology evolves, Panasonic continues to bridge the gap between the artist and their vision Since the introduction of our DVCPRO family of digital through breathtaking advances in high-definition products, we've placed hundreds of thousands of digital imaging. By empowering storytellers with recorders in the world's news, production and post a dazzling array of production-oriented technology, production communities. Already acknowledged as at significant economies, an exciting one of the most reliable and economical Whether episodic television, independent films, music videos, commercials or new media projects, Panasonic is ushering in a new era of high definition. video systems, DVCPRO HD is now building on this directors and digital artists with exciting new creative history with our HD Cinema cameras and related options. From infusing documentaries with a lush, digital VTRs. cinematic quality to creating stunning new visual effects for music videos, the AJ-HDC27F gives unprecedented Whether episodic television, independent films, music freedom for storytellers to realize their vision. videos, commercials or new media projects, Panasonic is ushering in a new era of high definition, digital Open systems. Open minds. production, finishing and distribution. By bringing An important component of the AJ-HDC27F is its together the worlds of cinematography, digital recording compatibility with other international formats. and computer-augmented post production, Panasonic DVCPRO HD VTRs playback DVCPRO 25/50/50P and has defined itself as the premier name for technology DV recordings, and 1080i and 720p images from that fuels artistic freedom worldwide. -
LUMIX PRO TERMS of USE V1.1
LUMIX PRO TERMS OF USE v1.1 Last updated 31th November 2019 LUMIX PRO CLUB MEMBERSHIP These terms and conditions apply to LUMIX PRO and LUMIX PRO Services ("LPS") membership and use of any LPS Membership benefits as set out herein. Panasonic may update these Terms of Use from time to time without prior notice to you. You should review the current Terms of Use periodically by visiting your LPS account on-line or by requesting a copy of the current terms from the LPS Membership admin team. LPS Membership is offered to you in Austria, Belgium, Czech Republic, France, Germany, Ireland, Italy, Poland, Spain, Sweden and United Kingdom by Panasonic Marketing Europe GmbH, Hagenauer Str. 43, 65203 Wiesbaden, Germany. LPS Membership is offered to you in the United States of America and Canada by Panasonic Corporation of North America, Two Riverfront Plaza, Newark, NJ 07102-5490, United States. 1. Definitions 1.1 “You”, “Your” and “Customer” means the member or purchaser of the LUMIX PRO Services or your LUMIX PRO membership. 1.2 “We”, “Us”, “Our” and “Panasonic” means any wholly owned operation of Panasonic Corporation, Japan. 1.3 “LUMIX” means a range of camera bodies and lenses that are manufactured by Panasonic. 1.4 “Professional” means uses of the range of qualifying products for LUMIX PRO as defined by Panasonic. 1.5 “Equipment” means individual product items from the range of qualifying products as defined by Panasonic. 1.6 “Membership period” means the period from initial registration until expiry, usually one (1) year. 1.7 “LUMIX PRO Service” or “LPS” means the level of service provided as part of the Silver, Gold, Platinum or Black levels of LUMIX PRO , as per the terms and conditions set out in this document, and relevant to your country of residence. -
Varicam Pure Codex One Workflow Codex + Panasonic
VARICAM PURE CODEX ONE WORKFLOW CODEX + PANASONIC The Panasonic VariCam Pure outputs RAW files to HD-SDI LOG HDR MONITOR Codex’s ultra-reliable Capture Drives. CAMERA VIDEO OUT LUT BOX OR And that’s just the gateway to a complete dailies, review DIRECT CAMERA CONTROL and archiving system with Codex’s Production Suite. FILM UNIT BACKBONE AWARE One workflow, no matter which camera you choose, MACBOOK PRO WITH CODEX LIVE you won’t need anything else. OR POMFORT LIVE GRADE CODEX PRODUCTION SUITE Panasonic VariCam Pure Uncompressed 4K RAW Capture CODEX CAPTURE DRIVE > 4K uncompressed RAW at up to 120 fps 2.0 DOCK A camera system designed by Panasonic and Codex to capture the highest quality images with the Panasonic VariCam Pure. 4K RAW at up to 120 fps > Integrated camera package (no cables) CODEX CAPTURE DRIVE 2.0 with a simple workflow via Codex’s Production Suite to deliver ProRes files > Industry Standard workflow support via Codex and all the other deliverables required. Production SuiteTM CODEX TRANSFER DRIVE DOCK “It’s great to see such purposeful product development in the collaboration between Codex and Panasonic. They have teamed up, to not only offer RAW recording for the VariCam 35, but to raise the bar even higher. By tightly integrating this new V-RAW recorder with the VariCam for a smaller lighter, frankly better, system we now can more effectively meet the needs of our clients on high end 4K RAW productions.” CODEX PRODUCTION SUITE Micheal Bravin, SIM Digital With world-class imaging science, high quality image-processing, the flexibility of the Codex File System (CFS) and an “THE CODEX V-RAW intuitive user-interface, Codex Production Suite features sophisticated tools for RECORDING SYSTEM FOR THE colour grading and LUT management, QC, VARICAM 35 WAS THE BEST metadata editing and audio sync so you can create and manage all your SOLUTION” deliverables within one powerful system. -
Leica Cl Quick Start Guide
LEICA CL QUICK START GUIDE The comprehensive instructions are available at: https://en.leica-camera.com/Service-Support/Support/Downloads If you wish to receive a printed copy of the comprehensive instructions, please register at: www.order-instructions.leica-camera.com 6 7 3 1 13 14 12 5 10 9 11 8 1 4 2 20 19 21 18 25 17 16 15 22 23 24 26a 26 27 30 28 29 1 Strap lugs 10/13 Setting wheels – in the menu: 10 scrolls within the menu lists – in review mode: 10 enlarges/reduces the recording and 13 browses – in recording mode: see table 2 Lens release button 11/14 Setting wheel buttons – in recording mode: 3 Self-timer LED / AF assist lamp 11 calls up the right setting wheel’s secondary function or the FN menu and 4 Leica L-Bayonet 14 calls up the exposure mode – in review mode: 11 enlarges/reduces a recording and B 14 marks a recording B 12 Top display A Indicates the exposure mode, aperture, A shutter speed, in certain cases the set ISO and exposure compensation values 5 Contact strip 15 Speaker 6 Microphones Sound is recorded in stereo 16 MENU Button 7 Accessory shoe 17 FN Button Recommended fl ash units: Direct access to menu funktions Leica system fl ash units SF 40, SF 64, and – in recording mode: SF 58 Direct access to assignable menu item list 8 Main switch – in recording and playback modes: Turning the camera on and off Direct delete function 9 Shutter button 18 PLAY Button Pressing to the fi rst pressure point acti- Switching between picture and review mode vates: – autofocusing 19 Viewfi nder – exposure metering and control Resolution: 1024 x 768 pixels (2.36 MP) Pressing all the way down: takes a picture/ Magnifi cation 0.74x starts/stops video recording In standby mode: 20 Eye sensor The camera is reactivated Automatic switching between viewfi nder and monitor 21 Dioptre setting wheel Setting range from -4 to +4 dioptr. -
LEICA SL-SYSTEM Technical Data
LEICA SL-SYSTEM Technical Data. Camera Type LeiCa SL (Typ 601) Order No. 10 850 Mirrorless Fullframe System Camera Current Firmware 2.0 Lenses Lens Mount Leica L-Mount Applicable lenses Leica Vario-Elmarit-SL 24–90 mm f/2.8–4 ASPH. Order No. 11 176 Leica APO-Vario-Elmarit-SL 90–280 mm f/2.8–4 Order No. 11 175 Leica Summilux-SL 50 mm f/1.4 ASPH. Order No. 11 180 Lenses from the Leica T Camera System, Leica M-Lenses with Leica M-Adapter T, Leica S-Lenses with Leica S-Adapter L, Leica R-Lenses with Leica R-Adapter L and Leica Cine lenses with Leica PL-Adapter L. Sensor Type 24-MP-CMOS-Sensor (24 × 36 mm) Resolution Full Frame (24 MP): 6000 × 4000 Pixel, APS-C (10 MP): 3936 × 2624 Pixel Filter IR-Filter, no Lowpass Filter ISO ISO 50–ISO 50000 Sensor Cleaning Provided Processor Type Leica Maestro II series Internal RAM 2 GB: 33 DNGs or 30 JPEGs and DNGs image Image Data Format JPEG, DNG Colordepth 14 bit (DNG), 8 bit (JPEG) JPEG Color Space Adobe RGB, ECI RGB, sRGB Motion File Format MP4, MOV Resolution 4K (4096 × 2160) @ 24 fps; 4K (3840 × 2160) @ 25 and 30 fps; 1080 @ 24, 25, 30, 50, 60, 100 and 120 fps; 720 @ 24, 25, 30, 50, 60, 100 and 120 fps Bitrate 8 bit (recording); 10 bit (HDMI not recording) Color sampling 4:2:2/10 bit (HDMI only); 4:2:0/8 bit (recording on SD card) Video L-Log selectable Audio Manual/Auto; Stereo microphone, 48 kHz, 16 bit; Wind elimination Audio external via Audio-Adapter Audio-In (3.5 mm phone jack), Audio-Out (3.5 mm phone jack) Movie Length Max. -
Spin-Axis 360 Head™
AATON 35-III AATON XTRprod AATON A-MINIMA MOVIECAM COMPACT COMPACT MOVIECAM SL ARRIFLEX 435ES ARRIFLEX 35BL-4 ARRIFLEX 35- 3 ARRIFLEX 2C ARRIFLEX 416 ARRIFLEX SR3 ARRIFLEX SR-HS JVC HD110U JVC HD200U PANASONIC VARICAM HD PANASONIC SDX900 PANASONIC HVX200 PANASONIC DVX100 SONY CINE ALTA ANGENIEUX COOKE S4 FUJINON NIKON ZEISS O’CONNOR RONFORD SACHTLER WEAVER STEADMAN SWISS JIB POWER POD SPIN AXIS 360 MOTOROLA AATON 35-III AATON XTRprod AATON A-MINIMA MOVIECAM COMPACT MOVIECAM SL ARRIFLEX 435ES ARRIFLEX 35BL-4 ARRIFLEX 35-3 ARRIFLEX 2C ARRIFLEX 416 ARRIFLEX SR3 ARRIFLEX SR-HS JVC HD110U JVC HD200U PANASONIC VARICAM HD PANASONIC SDX900 PANASONIC HVX200 PANASONIC DVX100 SONY CINE ALTA ANGENIEUX COOKE S4 FUJINON NIKON ZEISS O’CONNOR RONFORD SACHTLER WEAVER STEADMAN SWISS JIB POWER POD SPIN AXIS 360 MOTOROLA AATON 35-III AATON XTRprod AATON A-MINIMA MOVIECAM COMPACT MOVIECAM SL ARRIFLEX 435ES ARRIFLEX 35BL-4 ARRIFLEX 35-3 ARRIFLEX 2C ARRIFLEX 416 ARRIFLEX SR3 ARRIFLEX SR-HS JVC HD110U JVC HD200U PANASONIC™ VARICAM HD PANASONICSpin-Axis SDX900 PANASONIC 360 HVX200 Head PANASONIC DVX100 SONY CINE ALTA ANGENIEUXFrom Oppenheimer COOKE S4 FUJINON Camera ProductsNIKON ZEISS O’CONNOR RONFORD SACHTLER WEAVER STEADMAN SWISS JIB POWER POD SPIN prod AXIS 360 MOTOROLA AATONAll new motorized 35-III third-axis AATON head XTR AATON A-MINIMA Extremely robust design MOVIECAM COMPACTCarbon MOVIECAM fiber, kevlar and aircraft-gradeSL ARRIFLEX aluminum 435ES ARRIFLEX 35BL- 4 ARRIFLEX 35-3 ARRIFLEXTotal weight2C ARRIFLEX is only 18 pounds 416 ARRIFLEX SR3 ARRIFLEX SR-HS JVC HD110U JVC HD200UVery quiet PANASONIC operation VARICAM HD PANASONIC SDX900 PANASONIC HVX200Adaptable to PANASONIC most modern cameras DVX100 SONY CINE ALTA ANGENIEUX COOKE S4 FUJINON NIKON ZEISS O’CONNOR RONFORD SACHTLER WEAVER STEADMAN SWISS JIB POWER POD SPIN AXIS 360 prod MOTOROLA AATON 35-IIIph: (206)467-8666 AATON XTRfax: (206)467-9165AATON A-MINIMA MOVIECAM COMPACT MOVIECAM SL ARRIFLEXemail: [email protected] 435ES ARRIFLEX 35BL-4 ARRIFLEX 35- 3 ARRIFLEX 2C ARRIFLEX 416 ARRIFLEX SR3 ARRIFLEX SR-HS JVC HD110U . -
Listino Luglio 2018 Codice Descrizione Prezzo I.E
www.novoflex.it Listino Luglio 2018 www.novoflex.it Listino Luglio 2018 Codice Descrizione Prezzo i.e. Quadropod QP B Novoflex QuadroPod testa senza piedi € 293,00 QP C Novoflex QuadroPod testa con colonna corta e lunga senza piedi € 335,00 QP V Novoflex QuadroPod testa Variabile senza piedi € 377,00 QP SC Novoflex Colonna corta per QP C€ 16,00 TrioPod TRIOC2840 Novoflex Base Treppiede TrioPod + gambe in fibra di carbonio 4 sezioni + 3 € 445,00 gambe mini intercambiabili + borsa TRIOC2830 Novoflex Base Treppiede TrioPod + gambe in fibra di carbonio 3 sezioni + 3 € 419,00 gambe mini intercambiabili + borsa TRIOA2840 Novoflex Base Treppiede TrioPod + gambe in alluminio 4 sezioni + 3 gambe € 310,00 mini intercambiabili + borsa TRIOA2830 Novoflex Base Treppiede TrioPod + gambe in alluminio 3 sezioni + 3 gambe € 277,00 mini intercambiabili + borsa TRIOWALK Novoflex Base Treppiede TrioPod con bastoni telescopici + 3 gambe mini € 335,00 intercambiabili e borsa TRIO CC Novoflex Supporto centrale h. 8cm per base treppiede TrioPod € 49,00 TRIOPOD Novoflex Base treppiede TrioPod € 150,00 TRIO MINI Novoflex Base treppiede TrioPod con gambe mini € 167,00 TRIOA2844 Novoflex Base Treppiede TrioPod + gambe in alluminio compatte a 4 sezioni + € 293,00 3 gambe mini intercambiabili + borsa TRIOC2253 Novoflex Base Treppiede TrioPod + gambe in alluminio compatte a 5 sezioni + € 326,00 3 gambe mini intercambiabili + borsa TRIOC2844 Novoflex Base Treppiede TrioPod + gambe in fibra di carbonio compatte a 4 € 402,00 sezioni + 3 gambe mini intercambiabili + borsa -
Does Size Matter.Sanitized-20151026-GGCS
Does Size Matter? What’s New in Small Cameras and Should I Switch? Doug Kaye dougkaye.com [email protected] • Portfolio at DougKaye.com • Co-Host of All About the Gear • Cuba & Street Photography Workshops • Frequent guest on This Week in Photo • Active on Social Media • Portfolio at DougKaye.com • Co-Host of All About the Gear • Cuba & Street Photography Workshops • Frequent guest on This Week in Photo • Active on Social Media The Acronyms • DSLR: Digital Single-Lens Reflex • MILC: Mirrorless Interchangeable-Lens Camera • APS-C: ~1.5x Crop-Factor Sensor Size • MFT: Micro Four-Thirds • LCD: Liquid Crystal Display (rear) • OVF: Optical Viewfinder • EVF: Electronic Viewfinder MILCs • Mirrorless • Interchangeable Lens • Autofocus • Electronic Viewfinder Who’s Who • The Old Guard • Nikon & Canon • The Upstarts • Sony & Fujifilm (Full-Frame and APS-C) • Olympus & Panasonic/Lumix (MFT) • Leica? Samsung? iPhone? DSLR vs. Mirrorless MILC History MILC History • 2004: Epson RD-1 (1st Mirrorless) • 2006: Leica M8 (1st Digital Leica) • 2008: Panasonic G1 (1st MFT) • 2009: Leica M9 (1st Full Frame) • 2010: Sony NEX-5 (1st M-APS-C, Hybrid AF) • 2012: Fuji X-Pro1 (Hybrid VF, X-Trans) • 2013: Olympus OM-D E-M1 • 2014: Sony a7S (High ISO), a7R (36MP) • 2015: Sony a7 II, a7R II, a7S II (Full-Frame IBIS) MILC Advantages • Smaller & Lighter • Simpler & Less Expensive • EVF vs. OVF • Always in LiveView Mode (WYSIWYG) • Accurate Autofocus • Quieter & Less Vibration • Simpler Wide-Angle Lens Designs • Compatible w/Other Lens Mounts MILC Disadvantages • EVF vs. OVF? • Continuous Autofocus Speed/Accuracy • Lack of Accessories • Legacy Wide-Angle Lens Issues Sensor Size • Full 35mm Frame (FF): 1x • APS-C: 1.5x • MFT: 2x Pixel Size • Larger Pixels Capture More Light • Higher ISO, Lower Noise • Broader Dynamic Range • 16MP APS-C = 36MP Full Frame • 16MP MFT = 64MP Full Frame Field of View (FoV) • Smaller sensors just crop the image. -
HDV Workflow
Whitepaper Author: Jon Thorn, Field Systems Engineer—AJA Video Systems, Inc. HDV Workfl ow JVC HDV and Sony HDV Workfl ow Using the AJA KonaLH or KonaLHe with Final Cut Pro 5 Introduction With the introduction of the HDV format, a broader era of HD acquisition has grown from the portable camcorder sized devices that could record compressed HD on inexpensive MiniDV tapes. However, akin to the beginning of the DV era in the late 1990s, this format is still early in its development and deployment. Though support for the format has grown quickly by comparison to its digital forerunner—DV, the format’s very structure has proven to be somewhat problematic in a conventional post-production workfl ow. The Format What makes HDV such an amazing format is that it manages to capture HD images via MPEG2 compression and allow for record- ing the signal to a MiniDV tape (thankfully a tape format already ubiquitous in the marketplace among all major camera manu- facturers and tape stock providers.) This MPEG2 compression is similar to a DVD (although DVD is a program stream vs. HDV’s transport stream and HDV uses a constant bit rate whereas DVDs use variable bit rates). The issue for post production is that the HDV transport stream is based around a long-GOP structure (group of pictures) which produces images based on information over a section of time, via I, P and B frames; Intraframes, predicted frames and bi-direction- al frames. Formats that do not use this scheme treat frames as individual units, as in the progressive formats where a frame truly is a frame, or as interlaced frames where two fi elds create the image. -
Press Information
Press Information The new Leica SL2-S: Leica presents its most versatile camera for photography and videography to date Wetzlar, December 10, 2020. With the new SL2-S, Leica introduces a perfect solution for anyone seeking outstanding imaging performance – not only in their photographs, but also in their video productions. With its new, 24-megapixel BSI-CMOS sensor and two separate recording modes for photos and videos, the new Leica SL2-S offers the best of both media in one all-metal, state-of-the-art body built for long-term durability. The Leica SL2-S expands the multi-faceted SL-System with a versatile full-frame camera that serves as an alternative to the Leica SL2. The SL2-S is the perfect choice for customers who favour fast operation over the exceptionally high resolution of the Leica SL2. With its especially high operating speed (which enables continuous shooting rates of up to 25 frames per second at full resolution), and its pro-level video capabilities (facilitating 10-bit 4K video recordings with no video length limits), the SL2-S sets new benchmarks within the SL-System. High-quality sensor The core element of the Leica SL2-S is the newly developed BSI-CMOS image sensor with a resolution of 24 megapixels. The data collected by the sensor is processed by the camera’s Maestro-III processor in conjunction with the generous, 4-gigabyte buffer memory. This, for the first time, enables virtually open-ended burst recordings at up to 9 frames per second, whereby the burst length in JPEG format is only limited by the storage capacity of the installed memory cards. -
Cutting Edge Images
YOUR SOURCE FOR CANADIAN PHOTOGRAPHY VOLUME 27, NO. 4 / WINTER 2018-2019 VOLUME 27, VOLUME 27, NO.4 / WINTER 2018-2019 / $6.98 News PHOTO PORTFOLIO: PAUL ZIZKA Cutting Edge PLUS: Images DR. WAYNE LYNCH Galapagos–Lessons Learned MATHIEU DUPUIS The Chic-Chocs at the Blue Hour TONY BECK Tropical Nature Techniques DANIEL DUPONT How to Analyze the Histogram MICHELLE VALBERG Photography and Philanthropy MICHAEL DEFREITAS Travel Photography Tips FLASH 101 How Much Light is Enough? Photo by Paul by Zizka Photo AND MORE! COMPLIMENTARY ISSUE • FREE COPY Winter 2018-2019 3 FOCAL POINT BY NORM ROSEN, EDITOR | [email protected] Let it Snow! As PHOTONews readers may be aware, that passes through my lens and whatever filter I may be our creative team includes some very en- using. The method is simple–hold the grey card at arm’s Join the thusiastic winter photographers. Jacques length, so that the light falls on the card at the same angle conversation! Dumont and our creative artist Jean- and the same intensity as it falls on your subject. Take note Denis Boillat are avid skiers. Michelle of the camera meter’s settings, and either adjust exposure Valberg leads photo tours to Canada’s manually, or dial-in the appropriate exposure compensation. facebook.com/ PhotoNewsCanada Arctic, Kristian Bogner spends the winter If cold weather photography chills your enthusiasm, you photographing snow sports, and I have can follow the adventures of Dr. Wayne Lynch as he explores spent a lifetime skiing, snowmobiling, and the wildlife of the Galapagos Islands, and share Michael twitter.com/ playing in the snow with my cameras.