Live footage of the inaugural event of the World Surfing League (WSL), the Volcom Pipe Pro 2018, was captured on the Red Weapon with the Monstro 8KVV sensor equipped with Fujinon Premier PL 25-300mm and 19-90mm Cabrio zoom lenses for Red Bull TV, in addition to Hawaii and Australian cable channels.
For years, I have written about the problems associated with trying to be a one-man band television reporter. Now, shooting alone has become the reality for many journalists. How does one balance so many disciplines at once and still do a good job? Here are our thoughts.
Fujifilm has announced two new Fujinon lenses hot on the heels of the release of the X-H1 camera. The X-H1 adds to the X series of mirrorless system cameras based around APS-sized sensors, but the X-H1 added features for movie shooting as well as stills. The MKX18-55mmT2.9 and MKX50-135mmT2.9 cinema zoom lenses for the Fujifilm X Mount add to the X Series of interchangeable lenses. With three-ring geared controls, click-fre aperture and controlled lens breathing, these lenses are designed specifically for the movie-maker.
Although it was played in a domed stadium, perhaps the biggest challenge for the 400-person strong NBC Sports Group crew in covering Super Bowl LII on February 4 was Minneapolis’ single-digit weather and record snowfall outside. To counter this, NBC Sports built a heated giant tent covering the entire NEP Broadcast truck compound outside the stadium.
Fletcher Sports is using Sony HDC-4800 4K ultra-high frame rate cameras with Fujinon PL 20-120mm Cabrio lenses for goal-line close ups on ESPN’s Monday Night Football broadcast.
Canon’s new Cine-Servo 17-120 T2.95-39 compact lenses are parfocal lenses. Once focus is achieved, focus will be held at all focal lengths. However, when you need auto-focus, the parfocal design is a perfect match to the Canon’s Dual Pixel focus system.