The current situation has impacted plenamedia.tv just as severely as many other small and independent businesses. In these circumstances, our decision to invest in the business was not an easy one. Nonetheless, our proprietor decided this was the right thing to do.
This investment paves the way for the future without affecting the prices we charge to our clients – in other words, we can offer higher quality for the same price.
Currently, all of our productions are filmed using either the Blackmagic URSA Mini Pro 12K or the Blackmagic URSA Mini Pro 4.6K G2 – featuring high-performance 4.6K imagers for filming at rates of up to 300 images per second, a super 35mm sensor for 4.6 K with a dynamic range of 15 f-stops, built-in optical ND filters and an EF switch mount.
The 12K Blackmagic is equipped with features including a 12,288 x 6,480 12K Super 35 sensor, a dynamic range of 14 f-stops, 80 megapixels per frame, new-generation colour science, and flexible Blackmagic RAW technology. Thanks to its oversampling in 12K, it produces high-quality 8K and 4K images with excellent skin tones and extraordinary levels of detail at quality levels equivalent to those offered by high-end still cameras. We film at 60 fps in 12K, 120 fps in 8K and up to 240 fps in 4K Super 16. With films made using these cameras in 4K/8K/12K and produced in 4K-8K, we obtain films in formats that can be used again and again into the future.
OUR FIRST PRODUCTIONS FILMED WITH THE NEW CAMERAS AND ZEISS AND SIGMA LENSES
We currently use fixed focal length lenses from the Sigma FF Classic Art Prime Line. The FF High-Speed Prime Line offers the highest resolution levels in its class compatible with 8K shooting using a large-format sensor. The range also stands out for its unusually compact design. Based on this product line, the FF Classic Prime Line incorporates more non-coated optical elements to achieve unrivalled levels of expression. It retains the high resolutions that SIGMA CINE LENSES are well known for, and offers a unique combination of low contrast and artistic flare/ghosting in the image. As with all other lenses from the FF High-Speed Prime Line, it produces beautiful bokeh effects to expand the creative possibilities still further.
The Zeiss Milvus Super Speed Lens bundle was specially developed for modern high-resolution cameras. Thanks to the excellent micro-contrasts achieved and their efficient reduction of stray light, lens flare and ghosting effects, the imaging power of these lenses is impressive.
Sigma High Speed Zoom Line two-piece set 18-35/50-100 T2: the SIGMA 18-35mm T2/SIGMA cine lens 50-100mm T2 (fully luminous version) is part of the High-Speed Zoom Line. The High-Speed Zoom Line offers a constant aperture of T2 throughout the zoom range, and the lenses’ outstanding optical performance makes them ready for high-resolution shooting in 6K-8K.
While offering the highest image quality in their class, these zoom lenses are compact and offer amazing value. The specification, gradation baseline, and lens change indications – as well as all of the scale markings on every ring – are finished in luminous paint. As a result, they offer above-average luminescence and readability in low-light conditions.
Zeiss Cinema Zoom 70 - 200 mm: the ZEISS Cinema Zoom lenses deliver great flexibility thanks to interchangeable mounts, allowing them to be used with a wide range of cameras from multiple manufacturers. The range includes a comprehensive choice of cinema zooms with consistent aperture, good sharpness and contrast, minimal distortion and a look that matches the highest quality cinema primes including ZEISS/ARRI lenses. Affordable, flexible and offering the highest quality, the ZEISS Cinema Zoom lenses are an invaluable addition to any film set.
ZEISS Cinema Zoom lenses are precision engineered within the tightest possible tolerances. This guarantees you excellent image quality with low distortion, high resolution and excellent colour rendition for sharp, punchy pictures. High resolution and contrast; ready for 8K and beyond; excellent colour correction; flare suppression thanks to T* anti-reflex coating and internal light traps; low distortion levels.
Free Ride mode, Recording mode, Playback mode, Video Loop mode.
Can be combined with the ATLAS MODULAR SLIDER as a 3D motion control system for studios or stages. Compatible with all modes including live, time-lapse, VFX recording, stop motion, and so on. Compatible with many control programs such as AION^IQ and the Slideye PRO APP.
Applicable in a number of scenarios, such as vertical tracking, horizontal elevator effect, upside-down and panoramic effect.
DRONE WITH HASSELBLAD CAMERA
The Mavic 2 Pro includes a 1-inch CMOS Sensor. This makes it substantially larger than the 1/2.3-inch sensor of the Mavic 2 Zoom or the original DJI Mavic Pro drone. This significantly improves the photo and video quality, especially in dull weather and poorer lighting conditions. One exceptional feature is the f/2.8-f/11 adjustable aperture. The camera films videos at resolution levels of up to 4K with a data rate of 100 megabits per second (Mbps, H.265 format). The Mavic 2 Pro films in HDR with a colour depth of 10 bits. The quadcopter takes photos with a resolution of 20 megapixels. Hasselblad – known for the Hasselblad H6D-400c MS multi-shot camera – has developed its “Hasselblad Natural Colour Solution” (HNCS) algorithm, which guarantees natural colours. If the pilot photographs in DNG format, a great deal of optimisation is possible at the post-processing stage. The video recordings are crisp and sharp and, thanks to the higher dynamics involved, are better defined, for example in shady areas of the picture and in very bright conditions such as in the sky.
We produce our livestream productions using our own cameras and lenses. With the Newtek Tricaster, livestreams with resolution levels of up to 4K are possible. A total of eight cameras can be used, including two PTZ cameras. By using LiveU with Solo Cloud Bonding – which combines the bandwidths of up to four connections (2x mobile/SIM cards, 1x Wi-Fi, 1x LAN) – the service provides the redundancy needed if one of the connections is dropped or is limited in bandwidth. We are therefore not reliant on the quality of the Internet connection.