SharpAFMedia.com

Author: Nikita Miroshnikov

  • Profoto Launches New Cinema Lights: L600D, L600C, and LP2000C

    Profoto Launches New Cinema Lights: L600D, L600C, and LP2000C

    Profoto is pushing deeper into the motion‑picture world with three new fixtures launched today: the L600D (daylight), L600C (full‑color RGBWW) mono‑LEDs, and the LP2000C soft panel. All three lights ditch external ballasts, share Profoto’s “HydroCTech” liquid‑cooling, and slot in beneath last year’s flagship L1600D, giving crews lighter, faster, and more affordable options

    L600C & L600D — 600 W in a 13‑lb Package

    • Output & color
      • L600D: 5,600 K daylight, 97 CRI / 99 TLCI
      • L600C: RGBWWW engine with 2,000 – 15,000 K CCT, ± G/M shift, five color modes (CCT, HSI, Gel, Effects, Manual) and > 96 CRI / 99 TLCI.
    • Design – Single‑body “mono‑LED” build means no bulky ballast or head cables. Both weigh ~13 lb (≈ 6 kg) including yoke, making them gimbal‑ or car‑rig‑friendly.
    • Control & connectivity – Onboard menu plus 5‑pin DMX/RDM, CRMX, Bluetooth, Profoto Air/AirX, and the Profoto Control app. Dimming from 0.1 – 100 % with linear, log, expo, and S‑curve response.
    • Mount – Profoto’s 100 mm accessory mount supports 50+ light‑shaping tools (no Bowens), and the fixed yoke carries a junior pin.

    LP2000C — “World’s Brightest Soft Panel”

    • Power & photometrics – 2,000 W draw (1,600 W on 120 V) pumps out a claimed 63,900 lx @ 1 m / 3.3 ft at 3,200 K through its 66° native beam.
    • Build – 59 lb (27 kg) all‑in‑one chassis with an IP65 rating, integrated 360° rail for rigging, and a new SpeedClamp that lets one gaffer snap on DOPchoice Snapbags or grids in seconds.
    • Color engine – RGBWW with 2,000 – 15,000 K CCT, adjustable G/M, SSI 74 (D56) / 86 (3200 K), and the same 0.1 – 100 % flicker‑free dimming curves as the L600 series.
    • Control – Onboard, DMX/RDM, CRMX, Bluetooth, and Profoto Air/AirX; firmware updates via the Profoto app or USB‑C.

    Pricing & Availability

    • L600D: $2,995 USD
    • L600C: $3,995 USD
    • LP2000C: $12,995 USD
      All three fixtures are open for preorder now and are slated to ship in Q3 2025. They’re on the floor this week at Cine Gear Expo, Los Angeles if you want a hands‑on demo.

    Why It Matters

    Profoto’s first cinema light, the L1600D, wowed DPs with ballast‑free punch but came with heft and price. The new L600 twins deliver 600 W speed‑light style convenience for one‑person crews, while the LP2000C panel brings true soft‑source muscle (and weather‑sealing) to large‑format sets—yet weighs roughly half of competing 2 kW panels. Together they signal Profoto’s intent to become a full‑line lighting player, not just a still‑photo flash legend.

  • Introducing Sigma’s T1.3 Aperture Aizu Prime Cinema Lenses

    Introducing Sigma’s T1.3 Aperture Aizu Prime Cinema Lenses

    Sigma has officially introduced the Aizu Prime Line, a family of 12 full‑frame/large‑format cinema primes featuring a constant T1.3 aperture across every focal length—a first for any cine lens lineup.

    Covering a 46.3 mm image circle, the range will eventually span 18 mm to 125 mm, but Sigma is rolling the glass out in two waves. The initial eight lenses (25 mm – 75 mm) are slated to ship first, with the ultra‑wide and telephoto options following later this year. All lenses come in PL and Sony E mounts and keep weights in the 1.6 – 1.7 kg bracket—light enough for gimbal or handheld work despite their speed.

    Optically, the Aizu Primes are new designs rather than rehoused photo lenses. Sigma says they combine “modern sharpness” with an “organic, naturally soft look,” while controlling distortion and focus breathing to suit demanding cinema workflows. The company also hints that lessons learned here may influence future ultra‑fast still‑photo glass.

    Price & Availability
    Each Aizu Prime is expected to retail at $8,299 USD, with shipments beginning in August 2025 for the first eight focal lengths; the remaining four should follow before year’s end.

    With a unified T1.3 aperture, matched mechanics, and full‑frame coverage, Sigma’s Aizu Prime Line positions itself as a versatile, cost‑competitive alternative to established high‑speed cinema sets—one that’s likely to attract indie productions and studio shooters alike.

  • Sony FX2 Unveiled: Full‑Frame Cinema Camera

    Sony FX2 Unveiled: Full‑Frame Cinema Camera

    Sony has officially pulled the wraps off the FX2, the newest—and most affordable—member of its Cinema Line. Sitting squarely between the FX30 and FX3, the FX2 pairs a 33‑megapixel back‑illuminated Exmor R sensor with Sony’s latest dual BIONZ XR processors and an on‑chip AI engine, promising pro‑level video chops in a travel‑friendly body.

    Key specs at a glance

    • Oversampled 7K ➜ 4K 30 p plus 4K 60 p (Super 35 crop) and 1080 p 120 fps for buttery slow‑motion
    • Dual‑base ISO 800 / 4 000 delivering 15+ stops of dynamic range in S‑Log3
    • New 3.68 M‑dot tilting OLED EVF—a first for Sony’s compact cine line—alongside the familiar vari‑angle LCD
    • 4:2:2 10‑bit XAVC S‑I internal recording, 16‑bit RAW output via HDMI, and support for user‑imported LUTs
    • Real‑time Recognition AF with AI subject tracking for people, animals, birds and vehicles
    • Active & Dynamic Active IS modes plus metadata‑based post‑stabilization for gimbal‑free shooting

    Why it matters

    For solo shooters, run‑and‑gun documentarians and content creators chasing both cinematic video and high‑resolution stills, the FX2 is designed to be a one‑body solution. Three built‑in ¼‑20 mounts eliminate the need for a cage, while the optional XLR‑H1 handle unlocks pro audio and extra controls. Sony even brought over the VENICE‑inspired “BIG6” quick‑menu UI and accessibility features like a screen reader and menu magnification.

    Creator‑friendly workflow

    The camera records 4K 4:2:2 10‑bit internally in All‑Intra or Long‑GOP, offers S‑Cinetone as the default for ready‑to‑deliver color, and lets you bake or monitor up to 16 custom LUTs. A new Movie/Still switch flips the UI and color pipeline for quick hybrid shooting, while built‑in Wi‑Fi, USB‑C streaming, and a cooling fan rated for 13‑hour takes keep production rolling.

    Price & availability

    Pre‑orders for the Sony FX2 open today at major retailers for $2,698 (body‑only) or $3,098 with the XLR handle. Shipments are slated to begin in July 2025, with regional pricing at £2,699 / €2,999 (body).

  • Voigtländer Portrait Heliar 75 mm f/1.8 Arrives: Classic Fast Portrait Prime with Adjustable Bokeh for Sony E‑Mount

    Voigtländer Portrait Heliar 75 mm f/1.8 Arrives: Classic Fast Portrait Prime with Adjustable Bokeh for Sony E‑Mount

    Cosina Voigtländer has just lifted the curtain on the Portrait Heliar 75 mm f/1.8, a manual‑focus medium‑telephoto that blends vintage optical design with a brand‑new spherical‑aberration control ring. It’s the first Voigtländer lens that lets photographers dial a scene from dreamy glow to razor‑sharp contrast simply by twisting a front‑barrel ring—no filters, no firmware hacks, just pure glass magic. PetaPixelImaging Resource

    Key specs at a glance

    • Full‑frame coverage, Sony E‑mount (electronic contacts transmit EXIF and distance data) OpticalLimits
    • Unique “under ↔ over” spherical‑aberration ring for on‑lens bokeh tuning PetaPixelPhoto Rumors
    • Classic 6‑element / 3‑group Heliar formula with 9‑blade diaphragm for smooth round highlights PetaPixelOpticalLimits
    • Fast f/1.8 aperture, 0.7 m minimum focus, 1:7.4 max magnification—ideal for portraits and tight product shots OpticalLimits
    • All‑metal housing, 62 mm front filter thread, and weighs 515 g; barrel‑style hood included OpticalLimits

    Why it matters

    Portrait shooters chasing that elusive “character” now get a native‑mount option that behaves a bit like Nikon’s legendary 135 mm f/2 DC—only smaller, faster and mirrorless‑ready. Twist toward “under” and edges bloom for a soft‑focus, vintage feel; roll to “over” and micro‑contrast snaps into clinical sharpness, with every tweak nudging effective T‑stop and focus plane for creative control on the fly. PetaPixelImaging Resource

    Price & availability

    The Voigtländer Portrait Heliar 75 mm f/1.8 ships in June 2025. Cosina lists a suggested price of ¥165,000 in Japan (≈ US $1,100), while UK preorder listings hover around £750 before VAT; official U.S. MSRP is expected to land just under the thousand‑dollar mark once retailers open their carts. Photo RumorsPetaPixel

    SEO boost: Voigtländer Portrait Heliar 75 mm f/1.8 lens, adjustable bokeh lens, spherical aberration control, Sony E‑mount portrait lens, manual focus prime, vintage Heliar design, fast f/1.8 medium telephoto, 62 mm filter thread, 9‑blade aperture, price and availability.

  • Hollyland LARK MAX 2 Officially Launched – 32-bit Float, On-board TC & Four-TX SupportHollyland LARK A1 wireless microphone

    Hollyland LARK MAX 2 Officially Launched – 32-bit Float, On-board TC & Four-TX SupportHollyland LARK A1 wireless microphone

    Kits, pricing & availability

    Combo 4-Person – four transmitters, one camera-mount receiver, and one USB-C receiver for $319
    Ultimate Combo – two transmitters, camera-mount receiver, USB-C receiver, and the OWS wireless ear-monitor for $279
    Combo – two transmitters plus both the camera-mount and USB-C receivers for $249
    Solo – single transmitter with the camera-mount receiver for $169
    Individual transmitter – spare / add-on TX available separately for $61.90

  • Hollyland LARK A1 Announced – Affordable, Wireless Microphone for USB-C & Lightning Devices

    Hollyland LARK A1 Announced – Affordable, Wireless Microphone for USB-C & Lightning Devices

    Hollyland LARK A1 wireless microphone

    The LARK A1 wireless microphone system is a very lightweight and compact set designed for creators to use with a mobile phone. It features 48 kHz, 24-bit audio quality, and a high sound pressure level of 120dB SPL. Thanks to these specs, the microphone can handle sudden loud noises and minimize distortion, according to Hollyland.

    The system provides stable audio transmission over distances of up to 200 meters (650 ft, unobstructed line of sight). Each transmitter (TX) weighs 8 grams and is 9mm thick. It can only be attached magnetically; there is no clip built into the TX unit. There is also no 3.5mm jack input on the transmitter.