Sirui 24mm f/2.8 1.33x Now Available via B&H Photo


The Indigogo announcement of the Sirui 24mm f/2.8 1.33x was a few months ago and now you can order a lens directly from retailers like B&H Photo

Specifications

  • Model: SIRUI 24mm F2.8 Anamorphic 1.33X
  • Focal Length: 24mm
  • Maximum Aperture: F2.8
  • Minimum Aperture: F16
  • Lens Structure:13 Elements in 10 Groups
  • Aperture Blades: 8
  • Maximum Support Frame: APS-C
  • Shooting Distance: 0.6m(2f) – infinity
  • Focus Method: Manual Focusing
  • Maximum Magnification: 1:21.99(V),1:29.07 (H)
  • Filter Spec: M72 x 0.75
  • Rotation Angle of the Focus Ring: 189.6°
  • Max. Diameter: 74mm/2.91inches
  • The diameter of the Focus Ring: 64.6mm/2.54inches
  • Weight(g/lbs): MFT Mount: 770/1.70; E Mount: 780/1.72; X Mount: 780/1.72; EF-M Mount: 780/1.72; Z Mount: 810/1.79
  • Total Length (Lens Cap Not Included) (mm/inch): MFT Mount: 124.9/4,92; E Mount: 126.1/4.96; X Mount: 126.4/4.98; EF-M Mount: 126.1/4.96; Z Mount: 128.1/5.04

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Fujinon GF80mm F1.7, XF70-300mm, and New XF27mm Photos Leak

Fujinon GF80mm f/1.7 Above

Fujinon XF27mm f/2.8 Above

Fujinon XF70-300mm Above

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Via Nokishita

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Fujifilm GFX100S, GF80mm F1.7, X-E4, XF70-300mm, and New XF27mm All Confirmed As Coming Soon


Nokishita confirmed that the Fujifilm GFX100S, GF80mm F1.7, X-E4, XF70-300mm, and new XF27mm are all coming soon.

The titles “Fujifilm has announced the GFX 100S and GF80mm F1.7” and “Fujifilm has announced the X-E4, XF70-300mm and the new XF27mm” have been added to overseas news sites.

Pictures and specs should be coming soon. The official announcement is expected on the 27th so join us for the live blog.

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via Nokishita

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Initial Apple M1 Testing, Tips, and Musing: Massive GFX100 Lightroom Export Comparison


I finally received my Macbook Pro 13″ with Apple Silicon M1 inside and I am very impressed. Before the M1 I generally had a pretty loaded Macbook Pro 15/16″ in addition to my 2013 Mac Pro, but I always did my photo and video editing on my 2013 Mac Pro because I kept a very clean install of OSX on it that was more responsive than my Macbook Pro workhorse and I have 3 27″ displays for my Mac Pro.

When the Apple M1 was announced I was worried about going through another transition like from PowerPC to x86 and I had my doubts about the power of ARM-based processors even though Apple has a good track record with the iPad and iPhone so I did not order one on day one. When the first reviews started to trickle out I was very impressed with what I was seeing and immediately regretted not ordering one so I decided to consider either an MBP 13″ with M1 inside or Macbook Air with M1 inside.

I decided to go with the Apple M1 Macbook Pro due to the slightly better screen and active cooling that will help if I ever get into video editing. I also decided to upgrade the RAM to 16GB because I just can’t imagine ever owning an 8GB machine again and I want to keep swap file usage to a minimum even though the M1 has an incredibly fast SSD.

Testing
There are a lot of ways to compare computer systems via benchmarking software, but in general, I prefer real-world results so I decided to share some with readers so they can be better informed about what to expect from Apple Silicon. Since SSD speeds have changed a lot since the 2013 Mac Pro was released I decided to use an older Samsung T1 external USB 3.0 SSD for testing that wouldn’t give either computer an advantage to get a good look at the performance of the Apple M1’s processor and memory performance.

2013 Mac Pro
3.5Ghz 6 Core
128GB Ram
Dual D700 video cards

2020 Macbook Pro
Apple M1
16GB Ram
Integrated Graphics

Above are the relevant specs of the computers that will be stressed by my initial testing since I have limited the SSD speed with the Samsung T1, which runs at between 350-370MB/s via USB 3.0 on both systems. I could have used a faster SSD, but Apple has poor USB 3.0 support even on its newer computers (which you can get around by using a thunderbolt hub) so I wanted to remain below any numbers that might be affected by the USB 3.0 implementation.

For my testing, I decided to create a Lightroom catalog with 164 Fujifilm GFX100 files (26.27GB of data) that are edited in a variety of ways and compared exporting it on both systems. If you have ever worked with GFX100 files on an older Mac the editing experience is fine, but imports and exports are painful. I did this testing three times to provide average results and was a bit surprised at the final times. The export took 18m 44.87s on the Mac Pro and 12m 0.86s on the 13″ Mac Book Pro M1.

My initial belief was that the M1 would match the performance of my older high-end system since it had video acceleration and RAM well beyond my Apple M1, but the M1 significantly cut down my export time. If I used faster external storage or the internal storage of the Apple M1 that runs at almost 3k MB/s I have no doubt it would take half as long as the Mac Pro since the Mac Pro only runs at around 1k MB/s internally and I haven’t seen testing get much faster even with Thunderbolt 2 devices running RAID 5.

Future Testing
The above results are even more impressive if you take into consideration Lightroom Classic is still an Intel application so that level of performance was achieved using rosetta 2. It will be interesting to see how these results change when Lightroom Classic becomes a universal binary, but until then this is a pretty representative comparison of what you can expect today. Next, I will do an import comparison, but doing this kind of testing ties my computer up for hours on end since I close everything and try to give both “optimal” conditions to perform since not everyone keeps a lot of work open in the background like tend to.

I am also considering doing some video import/export testing, but this might not be fair for a variety of technical reasons that would make this article even longer. In short hardware, decoding/encoding plays a big part in video performance and the M1’s hardware decoder is blazing fast, but when it first launched there were reports that it produced a softer image than Intel/AMD/Nvidia’s hardware decoders. Apple and others have addressed this “softness” since from what I have read, but I think it will take a while before we truly know what the M1 can do for video.

Thoughts
The 2020 Macbook Pro M1 is the first laptop that I have ever owned that lasts me all day on battery power. Every other system I have used dies in under 3 hours and most barely made it to 2 hours because I am very demanding of my computers. Most of my multitasking depends heavily on RAM which is why I haven’t owned a system with less than 32 gigs of RAM in I can’t recall how long and before that I always ran dual-processor computers with SCSI and later SSD drives running RAID-5 because I hate when my computer feels sluggish.

Laptops have always felt sluggish to me regardless of how much money I throw at them. I used to regularly spend 4-7k on laptops every year just to make them tolerable. Even my last MBP 2019 with a Core i9 felt sluggish to work on and I would have liked to have done a comparison like the above with it, but I sold it the day before my M1 came in and actually made money switching to the Apple M1, which to my surprise hasn’t felt sluggish once yet even with all the windows and tabs I like to keep open in chrome 24/7 that came over to my new MBP via time machine.

I am sure my usage will grow into any headroom Apple is providing me today and I can’t wait for the Apple Silicon-based Mac Pro to be announced. I decided against the new intel Mac Pro because I felt like it was a horrible value, but if Apple Silicon scales well Apple might enjoy a huge performance advantage in the years to come since Intel can’t really keep up and AMD can, but not efficiently yet. My last statement is what really makes Apple Silicon unique because it is putting down these impressive numbers using 20 watts while my old Mac Pro processor uses 130W.

With the M1 you’re getting almost twice the speed for 1/6th of the energy consumption and sometimes the performance advantage and thus efficiency can be significantly larger. The only time I have seen the M1 fall behind other systems is for tasks that fully utilize a modern graphics accelerator. If you have looked around at other benchmarks this is partially why modern intel iMacs dominate some tests. Modern iMacs can utilize hardware-based encoding/decoding on their consumer chips in addition to utilizing GPU based acceleration in a way the M1 can’t, but the M1X and M2 will in the not too distant future.

First Tip Transitioning to Apple Silicon

Rosetta 2 has performed great for me and only a few old apps that I no longer use refuse to work, but none are photography/video related. Even plugins seem to work fine under Rosetta 2, but that is only if the application is also running through Rosetta 2. If you run an ARM app natively with x86 plugins then they most likely will not work correctly. If you run into this problem you can right-click on your universal binary application and click get info and then check open using Rosetta, which you can see Lightroom CC has above. This will allow your apps to run with old plugins until they are updated for the Apple M1.

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Fujifilm Launches FUJINON HP66×15.2-ESM and FUJINON HP12×7.6ERD-S9


Fujifilm launches FUJINON HP66×15.2-ESM and FUJINON HP12×7.6ERD-S9
– Two broadcast zoom lenses designed with cutting-edge optical technology to produce 8K ultrahigh- definition video
– A box type zoom lens with the world’s highest zoom magnification of 66× and a portable type zoom lens with the world’s widest 7.6mm focal length
TOKYO, January 21, 2021 — FUJIFILM Corporation (President: Kenji Sukeno) is pleased to announce the release of two broadcast zoom lenses, “FUJINON HP66×15.2-ESM” (HP66×15.2) and “FUJINON HP12×7.6ERD-S9” (HP12×7.6) in February 2021. The two new lenses use cutting-edge optical technology to produce dynamic 8K ultrahigh-definition video. The HP66×15.2 is a box type zoom lens reaching the world’s longest focal length* of 1000mm and offering the world’s highest zoom magnification* of 66×. The HP12×7.6 is a portable type zoom lens covering the focal length range from the world’s widest* 7.6mm to 91mm in telephoto.

The HP66×15.2 and HP12×7.6 will complete a seven-model lineup of Fujifilm’s broadcast lenses to cater to the industry’s need for 8K video production.

*Among 8K-capable broadcast lenses as of January 21, 2021, according to Fujifilm

Today, the use of high-definition video is spreading rapidly in a diverse range of video production including live sports / concert coverage and documentary programs. As countries such as Japan and China embrace the commercial use of 8K video, which has four times the resolution of 4K video, the market is calling for broadcast lenses equipped with a very high level of optical performance.

Taking the arrival of a new broadcasting age with high-definition video as a mainstream into account, Fujifilm became the world’s first to release 4K-capable lenses, and has since progressed on to develop 8K-capable lenses. The current lineup of five models is driving the trend toward higher video quality in the broadcasting industry.

The HP66×15.2 and HP12×7.6 are broadcast zoom lenses capable of producing dynamic 8K ultrahigh-definition video. They can resolve images edge-to-edge in astonishing sharpness to capture even the atmosphere of the scene, as Fujifilm has applied its high-precision forming technology that can polish the surface of lens elements on the order of nanometers as well as mechanical designing and assembling technologies that accurately place multiple lens groups into a lens barrel. Their vivid color reproduction and strong contrast result in rich tonal gradation in high dynamic range (HDR). These also feature the new Remote Back Focus function, which enables adjusting the back focus remotely from a broadcast van, to streamline video shooting.

The HP66×15.2 is a box type zoom lens covering the focal length range from 15.2mm to the world’s longest focal length of 1000mm. With the world’s highest zoom magnification of 66×, the lens is capable of capturing a decisive moment of athletes far away. The HP12×7.6 is a portable zoom lens covering the focal length range from the world’s widest 7.6mm to 91mm, a perfect choice to capture an entire stadium or concert venue.

FUJINON lenses by Fujifilm are known for advanced descriptive performance, and used in the production of movies, TV commercials, and live sports coverage across the world. Fujifilm will continue to leverage its cutting-edge optical technology to supply high-performance lenses, addressing the diversifying needs of broadcast production.

1. Product name, release date and price

Product name Release date Price
8K-capable broadcast zoom lens
FUJINON HP66×15.2-ESM
February 2021 Open
8K-capable broadcast zoom lens
FUJINON HP12×7.6ERD-S9

2. Main features of the HP66×15.2 and HP12×7.6

(1) Broadcast zoom lenses producing dynamic 8K ultrahigh-definition video

  • The new lenses can produce dynamic 8K ultrahigh-definition video, tapping into Fujifilm’s high-precision forming technology that can polish the surface of lens elements on the order of nanometers as well as mechanical designing and assembling technologies that accurately place multiple lens groups into a lens barrel.
  • Aspherical and fluorite lens elements control image distortion and light fall-off at image corners as much as possible. In addition, the use of the floating focus system, which controls multiple lens groups according to the shooting distance, minimizes fluctuations in optical performance that occur as the shooting distance changes, thus maintaining sharpness across all shooting distances from close-up to infinity.
  • Fujifilm’s proprietary “HT-EBC (High Transmittance Electron Beam Coating)” multi-layer coating technology is applied to lens surfaces to enhance light transmittance for vivid color reproduction and high contrast. This results in rich tonal gradation in HDR.
  • The HP66×15.2 is a box type lens covering focal length from 15.2mm to the world’s longest 1000mm in telephoto. It offers the world’s highest zoom magnification of 66×, capable of capturing a decisive moment of athletes far away and even the facial expression and gestures of an artist on stage during live performance. The HP12×7.6 is a portable type lens with focal length ranging from the world’s widest 7.6mm to 91mm, delivering an exceptionally wide angle of view to capture an entire stadium or live concert venue.

(2) Newly equipped with the Remote Back Focus function for easy 8K video production

  • The lenses are newly equipped with the Remote Back Focus function, which enables adjusting the back focus remotely from a broadcast van, to streamline video shooting.
  • The lenses can be combined with the focus position demand unit “FUJINON EPD-51A-D02/F03” (optional), which facilitates focus adjustments at hand, to achieve precise focusing. The combination makes it easy to shoot 8K video, which demands an advanced level of focusing precision.
  • The lenses feature the high-performance optical image stabilization mechanism, a popular feature of Fujifilm’s high-magnification zooms. It accurately corrects image blurs caused by wind or shaking of the footing without any time lag, providing added stability in video shooting.

(3) Natural bokeh achieved with 9-blade iris design

  • The use of 9-blade iris design achieves an aperture shape closer to a perfect circle, allowing users to incorporate natural bokeh into their video expressions.

(4) 16-bit encoder** equipped as standard

  • The lenses are equipped with 16-bit encoder as standard, enabling high resolution output of lens data including zoom and focus positions. It enables connection with various systems such as a virtual studio for combining computer graphics with live video footage.
  • **It is a sensor that converts position information into digital signals. Information about zoom and focus positions is output as digital signals, split in 16-bit precision.
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X Summit Global 2021 January 27th 2021 8:00AM EST


Fujifilm just announced its Global X Summit which will occur on January 27th, 2021 at 8:00 AM EST. These events are big for announcements and we expect some GFX/X announcements in addition to new and updated X mount lenses. I’m personally looking forward to the Fujinon XF 70-300mm f/4-5.6 and Fujinon GF 80mm f/1.7. Fujifilm has quite a few cameras that are ripe for updating and COVID has made leaks to me almost nonexistent, but I hope we get to see a new X-E4 and GFX100S. So stay tuned and find out next week during our live blog.

Past X Summits
Fujifilm X Summit OMIYA 2020
Fujifilm X-Summit London 2020
Fujifilm X Summit at GPP Photo Week 2019
Fujifilm X Summit: Shibuya 2019

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Fujifilm GFX Owners Group
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Fujifilm X-Pro Owners Group
Fujifilm X-E Owners Group
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