Neues aus der 3. Dimension

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Willkommen in der neuen Dimension

Venice Carnival 2015 in 4K UHD - Enjoy!

Please select fullscreen and the desired resolution (available up to 2160p) in the player's button bar for best viewing experience.
You can find the original UHD file (5GB) for download at https://vimeo.com/124041563 (Vimeo account required).

Some technical information:
This video shows the potential of recording in UHD 4K with Atomos Shogun and Sony A7S but it shows also the lack of stabilization when you use the camera with the Zeiss FE 1.8/55. Most of the footage could only be recorded handheld and neither the Sony A7S nor the Zeiss FE 1.8/55 used for the portrait shots is stabilized so there was quite a lot of shake that had to be reduced by digital stabilization in post processing. Depending on shake, the resulting resolution varys somewhere between 2.5K and 4K. So here you should focus more on mask art and scenery than on technical perfection. Scenes that were taken from a tripod provide almost full resolution. Picture profile used on the camera was cine gamma 4 with cinema gamut.
Equipment: Sony A7S, Atomos Shogun, Zeiss FE Sonnar 1.8/55, Zeiss FE 16-35mm f/4 OSS and a Tiffen variable ND.

This a slideshow with still frames taken from the video. If you click on it, you can navigate to the full resolution images:


Atomos Shogun Rolling Review! (UPDATE 8)

Finally - the Atomos Shogun Monitor-Recorder for 4K and HD video production is shipping! The Atomos CEO kept his word that the first batch of devices will ship before X-mas - almost finished...



3-Dimensional Light Setup Example by Dedo Weigert

Dedo Weigert, a passionate cinematographer and inventor of the Dedolight system demonstrated some examples of easy installable light setups in a light workshop in Hamburg.


SLR Magic Apo-HyperPrime CINE 50mm T2.1 - Ready for 6K!

After the triumphal procession of new full frame mirrorless system cameras, Photokina 2014 was dedicated to the strong demand for lenses catching up with requirements of today's digital sensors. Beside Sony, Zeiss and some others, also the SLR Magic manufactory located in Hong Kong showed up with their latest cine lens, the Apo-HyperPrime CINE 50mm T2.1 (see the press release here).

Already the short video review opening this article gives you an impression about the potential of this lens. It is purely manual, solid like a tank, equipped with a PL-mount and armed for rough work in ambitous as well as professional video business. The focus ring with a rotation angle of 300° and a scale calibrated in feet as well as a clickless aperture calibrated in T-stops give you precise control. The geometrical aperture is about f/1.8, so it suggests itself to be compared to the stellar Zeiss FE 1.8/55 (the "Otus light" reviewed here).


Otus 1.4/85 - ZEISS's new Flagship sailing from Imaginary to the Real World

About one year ago, ZEISS set a new standard for SLR lenses with its first peer of the Otus family (see my review here). Now the line-up is expanded with an even more impressive member, the Otus Apo Planar T* 1.4/85. As pictures speak louder than words,- I decided to start right into a first impression with a few samples of people taking the center stage before we come to a more in-depth analysis and a little comparison to some other portrait lenses.

The following examples were all shot at F1.4, they are available in higher (some in full) resolution, when you click on the images:

Some factual statements
The Otus line was designed with full-frame DSLRs in mind and so you can get them in two versions: ZE model for Canon EF-mount and ZF.2 model for Nikon F-mount. Thinking of all the features supporting precise and comfortable manual focusing on Sony’s mirror less A7R with its exceptional 36 MP sensor, great EVF magnification, focus peaking etc., for me this combination makes even more sense. This is, how the 1.2 kg masterpiece appears adapted to the Sony A7R (with a highly recommended vertical battery grip attached as well):


STAMP Festival Night Parade (350 Jahre Altona)

Altona celebrating its 350th birthday with a color- and joyful parade!

In order to see a full frame slideshow please click here.


The 0.95 Shootout - Mitakon / Zhongyi Speedmaster 50/0.95 vs. SLR Magic HyperPrime CINE 50mm T0.95

You may have seen other comparisons of F0.95 or T0.95 lenses on my website already, e.g. the recent "Most adorable 50s, the "Adorable 35s", the "Adorable 25s" and an early "HyperPrime / Noctilux Comparison". Now, as new special lens - the Mitakon / Zhongyi Speedmaster 50mm f/0.95 - entered the arena, it's time for another shootout.

First, what's so magic on these lenses? Is it their weight and bulkiness? Of course, not for most of us. Is it their decreasing sharpness or their increasing aberrations when used wide open? May be, a little. In my opinion, what counts are emotions, character and bokeh! It's about seperation, drawing the viewer's attraction to the important things, making them pop out the image, some kind of medium format look. As pictures can better express what I mean, let me give you some examples (you can click on the images to view them in other sizes):

(Mitakon / Zhongyi Speedmaster 50/0.95 @ f/0.95, Photographer: Merlin Ulrich)

Blue Port / Cruise Days Hamburg 2014

What a party!


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