Film & Digital Times Issues 36-38 - Imago

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Angénieux Optimo Zoom Lenses 50 Dec 2010 Optimo 15-40 mm T2.6 Minimum Object Distance: 0.6m / 2' Weight (approx): 1.92 kg / 4.2 lbs Length: 186 mm Front diameter: 114 mm 320° focus rotation; over 50 focus marks 2.7x zoom ratio Covers Super 35mm: 31.1 mm image diagonal Mounts: PL, Panavision, Canon, Nikon Optimo DP (Rouge) 16-42 mm T2.8 Minimum Object Distance: 0.6m / 2' Weight (approx): 1.9 kg / 4.2 lbs Length: 190 mm Front diameter: 114 mm 320° focus rotation; over 20 focus marks 2.6x zoom ratio Covers Super 35mm Red 5K aperture: 32 mm image diagonal Mount: PL. For digital cameras. Cannot be used on mirror-shutter camera— rear element protrudes 27 mm beyond lens flange. Optimo 28-76 mm T2.6 Minimum Object Distance: 0.6m / 2' Weight (approx): 1.95 kg / 4.4 lbs Length: 205 mm Front diameter: 114 mm 320° focus rotation; over 50 focus marks 2.7x zoom ratio Covers Super 35mm: 31.1 mm image diagonal Mounts: PL, Panavision, Canon, Nikon Optimo DP (Rouge) 30-80 mm T2.8 Minimum Object Distance: 0.6m / 2' Weight (approx): 1.9 kg / 4.2 lbs Length: 186 mm Front diameter: 114 mm 320° focus rotation; over 20 focus marks 2.7x zoom ratio Covers Super 35mm, Red 5K aperture: 32 mm image diagonal Mount: PL. For digital cameras. Cannot be used on mirror-shutter camera— rear element protrudes 31 mm beyond lens flange. Optimo 17-80 mm T2.2 Minimum Object Distance: 0.6m / 2' Weight (approx): 5 kg / 11 lbs Length: 326 mm Front diameter: 1<strong>36</strong> mm 329° focus rotation; over 50 focus marks 4.7x zoom ratio Covers 35 mm Academy format: 28 mm diagonal Note: slight vignetting at wide end with 35mm silent aperture Mounts: PL, Panavision, Canon on request Optimo 24-290 mm T2.8 Minimum object distance: 1.22m / 4' Weight (approx): 11 kg / 24 lbs Length: 440 mm Front diameter: 162 mm 327° focus rotation; over 50 focus marks 12x zoom ratio Covers 35 mm Academy format: 30 mm diagonal Mounts: PL, Panavision, Canon, Nikon
Image Stabilization by Larry Thorpe Larry Thorpe, National Marketing Executive for Broadcast & Communications, Canon USA Inc. wrote this article in response to requests for more insight into how image stabilization works. Image stabilized lenses allow shooting stills at slower speeds. They are standard on ENG and prosumer video cameras. I would expect to see this technology on high-end cine lenses in the near future. Lens and camera shake is a significant cause of blurred images. These disturbances can come as jolts when a camera is handheld or shoulder mounted, from vibrations when tripod-mounted on an unstable platform or in windblown environments, or when operating from vehicles, boats, and aircraft. A variety of technologies have been applied in the quest for real-time compensation of image unsteadiness. 1. Mechanical: the lens-camera system is mounted in a gyrostabilized housing. Helicopter mounts, remote heads, etc. 2. Electronic: the unwanted movements of the image are sensed electronically and corrected by counter shifts in the readout of the image sensors, or by digital memory reading corrections. 3. Optical: a third method intercepts the unwanted image movements and applies a compensating optical correction that cancels out the inadvertent optical image shifts. 2 Different Approaches to In-Lens Optical Stabilization In the mid 1980s, Canon embarked on two separate approaches to in-lens optical stabilization. They differ in the way the optical elements are controlled: 1. A flexible prism intercepts the light rays entering the lens. This is known as the Vari-Angle Prism Image Stabilization (VAP-IS). 2. A moveable lens group within the lens. This is called Shift Lens Image Stabilization (Shift-IS). Both share the same associated principles. They detect lens motion, create control signals proportional to that motion, and in turn, drive actuators that manipulate the optical elements. 1. Variable-Angle Prism Image Stabilization (VAP-IS) The variable angle prism technology was originally developed by Juan de la Cierva, founder of the Dynasciences Corporation in Philadelphia, and inventor of the Dynalens. The Variable-Angle Prism is a truly ingenious innovation. It consists of two precision glass plates mounted in a hermetically sealed arrangement that contains a special highrefractive index liquid. The housing has a flexible bellows made of a multi-plastic material. The bellows, the liquid, the technique of filling and hermetically sealing the assembly—all constituted a design challenge spanning some years. Ensuring the integrity of the prism’s operation over a wide temperature range of -27 degrees F to +176 degrees F, and tens of millions of reliable operations, led to high sophistication in materials developments and related manufacturing processes. These continued over the decade that led to the HDTV lens. 2. Shift Image Stabilization A second technological approach to optical image stabilization was undertaken by Canon R&D a few years following initiation of the Variable Angle Prism-IS project. The challenge of long focal length lenses spurred development of this alternative Shift- IS technology. For digital SLR cameras, many of the associated lenses have progressively increased in focal length to accommodate the extremely wide range of shooting environments in sports, documentaries, news, etc. Separately, in broadcast television field cameras, the global demands for exterior broadcast coverage—especially sports coverage—has steadily extended zoom ratios to three digits. The Shift-IS technology lends itself very well to correcting modest amplitude disturbances and vibrations in those long focal range lenses. In this technology, a lens group is placed near the rear of the lens system and the correcting action entails a horizontal or vertical (or both) physical shifting of that lens group to implement the requisite change in the path of the light rays. The correction principle is explained in the figure above, outlining the correcting action of the Shift-Lens when the lenscamera system is subjected to a sudden physical disturbance. Download the entire article at: www.fdtimes.com/articles Dec 2010 51
Page 1 and 2: Jon Fauer’s www.fdtimes.com Dec 2
Page 3 and 4: 2010: Gear this Year exposure adjus
Page 5 and 6: Martin Hartweg: Cinec Top Chef A sp
Page 7 and 8: Sensor Sensibility “Check the Gat
Page 9 and 10: Alexa Tour One hundred cameras...an
Page 11 and 12: Flange Focal Depth Image Testing Th
Page 13 and 14: A Brief Illustrated History of Alex
Page 15 and 16: Interview with Franz Kraus This ide
Page 17 and 18: ARRI at IBC and Cinec ARRI Alexa Si
Page 19 and 20: Sony SRW-9000PL Camera Views Existi
Page 21 and 22: Sony PMW-F3 This is not a tape meas
Page 23 and 24: Sony PMW-F3 The right side of the c
Page 25 and 26: Aaton Penelope Delta Aaton Penelope
Page 27 and 28: P+S Technik P+S Technik’s Alfred
Page 29 and 30: Camera: Work in Progress A big surp
Page 31 and 32: Phantom Flex Why do we call digital
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Page 37 and 38: Canon Expo: 4K The 4K race accelera
Page 39 and 40: NHK 8K with Fujinon Lens Plan ahead
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Page 43 and 44: Storage: Marvin Cinedeck Alan Hoff,
Page 45 and 46: 3D P+S Technik Freestyle Rig for St
Page 47 and 48: Lenses Dec 2010 47
Page 49: Angénieux Optimo Zooms The Optimo
Page 53 and 54: ARRI/Fujinon Alura PL Zooms ARRI/ZE
Page 55 and 56: ARRI/ZEISS Ultra Prime Lenses Ultra
Page 57 and 58: ZEISS Lightweight Zoom LWZ.2 Focal
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Page 63 and 64: Leica Factory Tour The Summilux-C C
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Page 67 and 68: ARRI Lighting LoCaster LED. Ryan Fl
Page 69 and 70: Litepanels Ianiro Ianiled Rudy Pohl
Page 71 and 72: Dedolight PanAura PanAura dedicated
Page 73 and 74: Lighttools Soft Egg Crates Airstar
Page 75 and 76: Moviecam EasyFocus Fritz Gabriel Ba
Page 77 and 78: Transvideo HDMI Serial receptacles
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Film & Digital Times Issues 36-38 - Imago

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