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AJA Cion 4k Cinema Camera

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. CION features an ergonomic design and open connectivity to give complete flexibility in the field or studio. More details on their website.Screen Shot 2014-04-13 at 7.58.22 am

New cameras from Blackmagic

Blackmagic URSA

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URSA camera body with the PL lens mount and large 4K Super 35 image sensor with global shutter and the film industry PL lens mount installed. URSA PL is ideal when you need to use feature film industry PL mount lenses for the most cinematic optics available! A dynamic range of 12 stops, frame rate supported unto 60fps and storage specs as: Approx 880 Mbps using Apple ProRes 422 (HQ) at 3840 x 2160. Approx 220 Mbps using Apple ProRes 422 (HQ) at 1920 x 1080.

The URSA is available in 4 versions (PL Mount, EF Mount, Broadcast and HDMI). More details on their website.


Vantage Films announces T1 Cinema Lenses

Vantage Films, famous for their Hawk series of Anamorphic lenses, have recently announced their breakthrough series of spherical cinema lenses, all at T1: Vantage One.

The focal lengths are 17.5,  21, 25, 32, 40, 50, 65, 90, 120.

All T1. These should satisfy the demand for most narrative features, of course, along with the mandatory 25-250 zoom.

Vantage has also released a set with a ‘red stripe’, that has an uncoated element to enhance flare and reduce contrast.


Convergent Design Gemini 4:4:4 Recorder

The Gemini 4:4:4 is a professional, high-definition video recorder that fits in the palm of your hand. Gemini 4:4:4 functions as a high-quality monitor, a recorder, and a playback device.

As a recorder, Gemini 4:4:4 records in the ultimate highest quality possible—uncompressed, which can easily be incorporated into virtually any workflow using your favorite CODEC. Gemini 4:4:4 is also capable of recording, combining, and playing back 3D video (with paid upgrade).

Gemini 4:4:4 records to specially certified and tested 1.8” solid-state hard drives that can be purchased from Convergent Design through your local dealer.


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Data Rates


Format Data Rate(MB/Sec) 512 GB(Minutes) 2x 512 GB(Minutes)  Required SSD’s

ARRIRAW (16:9) @ 24fps





ARRIRAW (16:9) @ 30fps





ARRIRAW (16:9) @ 50fps




2x 512 GB

ARRIRAW (16:9) @ 60fps




2 x 512 GB
ARRIRAW (4:3) @ 24fps 221 37 75 2
ARRIRAW (4:3) @ 30fps 280 30 61 2
ARRIRAW (4:3) @ 48fps 447 34 2x 512 GB

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Codex Recorder for ArriRAW OnBoard Recording

With all the reliability you expect from a Codex recorder, only in a smaller package, the Codex Onboard S Plus Recorder can record ARRIRAW, Canon Cinema RAW, uncompressed HD or wavelet encoded HD material – plus audio and metadata – onto a removable, solid-state Capture Drive. It is weather-resistant and weighs only 2.4lbs/1.1kgs.

With a Codex Media Station or Vault, shots can be delivered from the Codex Capture Drive in multiple industry-standard formats.

More product details here. Workflow for various cameras like Arri Alexa, Red, Canon, Sony are explained here.

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The Samurai Atmos

The Samurai is a portable touchscreen-operated HD recorder, monitor and playback device for video professionals. It captures pristine 10-bit 4:2:2 video and audio direct from any camera with HD/SD-SDI output. The Samurai consumes very little power, ensures long recording times (up to 16.5 hours on a 750GB disk) and the efficient use of batteries.



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Arri announced Amira


AMIRA features the same sensor and exceptional image quality as the ARRI ALEXA, recording superior HD 1080 or 2K pictures that are suitable for any distribution format. With a dynamic range of more than 14 stops, low noise levels, subtle highlight handling, natural color rendering, breathtaking skin tones and speeds of up to 200 fps, AMIRA will deliver beautiful, life-like images in any situation.

AMIRA records Rec 709 or Log C images using ProRes LT, 422, 422HQ or 444 codecs. By recording to in-camera CFast 2.0 flash memory cards with super-quick data rates, the route into postproduction is made as simple as possible. CFast 2.0 is an open format, easily accessible to anyone and delivering a fantastic price-performance ratio through incredible transfer speeds, long recording times and compatibility with standard IT tools. Costs per GB are brought right down and higher-than-broadcast-quality image pipelines are made available even to low budget productions.


More here..


Zeiss & Arri launch Master Anamorphic Lenses

The Master Anamorphic lenses have been jointly developed by ARRI and Carl Zeiss. The anamorphic lenses offer a unique optical performance, with optimized flare and bokeh as well as state-of-the-art lens barrels featuring improved dust and water protection.

Revolutionary new optical technology in anamorphic lenses:
– Virtually no image breathing
– No anamorphic mumps (fat face effect)
Optimized anamorphic bokeh:
– Evenly illuminated oval out of focus highlights
– New developed iris with 15 aperture blades
Pleasant out of focus areas with traditional anamorphic look and a unique image language
Anamorphic blue streak lines in a very unique new style and optimized flares and reflections for additional artistic look
Same reliable mechanics as the market knows from ARRI/ZEISS Master Prime lenses

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Aaton Penelope Delta : Perhaps the best digital cinematography camera around

An absolutely stunning camera from Aaton, shoots 3.5 and 7k (with pixel shift), has an optical viewfinder and controls ISO through an innovative multi-slit mechanical shutter! Amazing. Aaton claims a very high dynamic range as well. The sensor is CCD, with a claimed 90% pixel fill.

In addition to allowing you full mechanical control over shutter-angle, the Penelope Delta allows you to switch from a traditional half-moon spinning mirror to another set of blades which transmit exposure through many tiny slits. This reduces the ISO 650/800 sensitivity of the shutter down to about ISO 80/100, all mechanically/optically, and without affecting the shutter angle itself. A render of this design, courtesy of Aaton, is pictured to the right. This method also circumvents the loss of dynamic range that occurs with the attenuation employed by DSLRs at sub-base ISOs.

The Aaton filmmaking experience brought to digital imaging

  • The first optical viewfinder digital camera with an internal SSD recorder (DeltaPack*) for full rez CineDNG ucompressed RAW (the Adobe archival format based on open standards), and editorial-ready proxies.
    * DeltaPack is compatible with the codex® backstage and post station workflow.
  • Lightweight: 7.5 kilos with internal recorder and two onboard 14V Li-Ion batteries. Two to five hours‘ autonomy; power dovetailing during changes.
  • Designed for earthlings, Delta respects Aaton‘s first commandment : Cat on the Shoulder profile, plus wide flat base for tripod. No eye-strain bright viewfinder with large peripheral coverage. . Rotating mirror shutter; no rolling shutter artifacts.
  • Main selector eliminates complex menu navigation and gives direct access to operating functions from both the operator and assistant sides.
  • Location sound-mixer friendly, Delta is noiseless in both record and pause ( <19dB ) and offers AES42 input for digi-mics as well as RF transmitted mixdown from audio recorders.
  • Unlimited number of cascadable preset 3D LUTs for RAW metadata on one hand, and for on-set control screens on the other.
  • 14 stop dynamic range Super35 Dalsa® CCD sensor, 800 and 100 ISO sensitivities (patent pending) eliminate the need for special anti-IR neutral density filters. 90% pixel-fill allows for wide angle lenses with short exit-pupil distance.

Sony unveils PMW F5 and F55 Cameras with 2k & 4k S35 size sensors

While both cameras are PL mount, shoot HD and record on Sony SXS Pro memory Cards, the F5 has a 2k and F55, a 4k sensor. These CineAlto 4k camcorders support recording in XAVC MPEG-4 AVC/H.264 format, MPEG-4 SStP, and industry standard XDCAM 50mbps 4:2:2. Both camcorders can be used with the AXS-R5 RAW recorder, with the F5 recording up to 120fps and the F55 recording up to 240fps as 4k RAW data. More details soon.


More details on Sony’s pages.

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