Well, don't let the proximity to NAB keep you from the latest info.
It seems that my friends at Fujinon have finally taken the wraps off their latest endeavor with the release of the ZK4.7x19 19-90mm T2.9 Cabrio Compact Cinema Zoom.
This PL mount with a 19-90 zoom range brings ENG style handling to PL mount cameras, with full coverage of the S35 sensor size, this lens will cover everthing up to and including Epic in 5K, Alexa in 4:3 anamorphic and even the Phantom Flex Sensor up to 2560 px and it include the motor and the ability to pass LDS/iData Lens Metadata to the camera system.
This is the First PL mount ENG style lens meant for everyone, shipping in July at an estimated $38K USD this will be a hot seller for those people in sports, eng and doc style camera setups to give shooters a wider range of control and zoom in a single affordable package.
Mitch Gross at AbelCine has one of the first looks http://blog.abelcine.com/2012/04/09/fujinons-new-19-90-t2-9-cabrio-35pl-zoo...
I was lucky enough to be one of the invitees to the Alexa Launch event in Hollywood last night and Arri Auditorium has shown that they are not about to concede the digital high ground any time soon.'
In the Directors Guild auditorium last night, the Hollywood luminati from the Tech side of cinematography including more than a couple of dozen ASC members, in addition to top people from Apple, Panavision, FotoKem, Technicolor and about every high end tech guy in the industry
Alexa is the next generation of digital cinema cameras from the world leader in FILM cameras Arri. This camera is geared for both mainstream production and digital cinema and designed with the elegant hybridization of form and function coupled with excellent look and feel that one expects from a quality german made hardware.
There will be a lot said about this camera but 2 things are a big deal for the Cow and her users. Alexa records internally as Apple ProRes HQ or as ProRes 4444. If ProRes is good enough for Arri, a name that is synonymous with QUALITY, has decided that ProRes was the best available to handle their 13+ stops of tonal range. As part of the DTE (direct to edit) systems, Arri showed content shot just an our earlier live on screen via Final Cut Pro (and a small tech glitch)
So for all of those nay -sayers whining about ProRes not being good enough, wake up.
Also shown were a new partnership with Arri / Fujinon PL mount zoom lenses, good for both PL mount film and Digital cameras in 18-80 and 45-250 MM focal lengths. With pricing of the lenses at 16,000 Euro and 21,000 Euros respectively.
This is the week before NAB 2010 this is going to be some show this year, so join us in the desert for what will be Cinema Tech Heaven for some of us.