2/27/2024 0 Comments Sigma cinemaWe sensed the load being borne on the financial side of video production was a pressing issue to address.” In a world where a single lens can cost anywhere between a few thousand dollars to a few ten thousand dollars, performance dictates price where even renting something for only the occasions it was needed would multiply and pile up the costs. Around the same time, we were asked by those in the industry around the world as to why SIGMA did not make interchangeable lenses for cinema (‘CINE LENS’). We felt that with the rapid progress made on the one hand, the lenses were not keeping up with the evolution of cameras. “This technological innovation in cameras designed for cinema would bring a positive influence on both the market and overall artistic expression. With these digital cinema cameras becoming more prevalent, the doors have opened where even with a small scale budget, a movie with high-performance equipment and high-production values can be made. Without an ample budget, there was the problem of not being able to get hold of good quality equipment. In the movie making industry, equipment is judged on the basic premise that “price of equipment equates to performance”. The cameras are also at a much more reasonable price than what is expected from a camera with a seamless balance of data handling and compactness. It was the introduction of innovative cameras, with outstanding high-quality imaging, that has changed the situation. In other words, in a world where it was common knowledge that movie cameras would cost more than $100,000, it could be said that a rather drastic change in price has occurred. The price of one camera in Hollywood was on a par with a high-end imported car. “One of the factors that has lead this change is the evolution of filming functions on SLR cameras, and the rise of small yet high-performing digital cinema cameras. And at the same time, there has been an increase in individual and small-scale productions, that is to say the stage of the so-called independent producers has become bigger”. Content like web promotion and video clips for music and videos have become the norm. It was with the advent of shared video content services like Youtube thriving over the past 10 years that the game has greatly changed. As well as there being a small number of manufacturers and choice available, they were incredibly expensive. “The mere mention of movie-making equipment from the past would bring to mind equipment made according to enormous Hollywood budgets, a very special world beyond our reach. The Turning Point of Digital Video Production CEO of SIGMA Kazuto Yamaki, who took the lead in this project, recalls to us about what prompted bringing SIGMA to “cinema” We had not originally intended for this lens to be used for the purpose of motion pictures and we remember being taken back by this revelation at the time. After investigating as to the reason why, it was the feedback of the people working in motion pictures who told us the lens was “amazing” and had used it regularly for their work. When the 18-35mm F1.8 DC HSM | Art, the world’s first F1.8 zoom lens, was announced in 2013, it was only in the United States that indicated very high sales. Its innovative image quality that SIGMA pioneered shone through in a world of remarkable high-resolution digital photography and performance-centered lenses. We gained a reputation for our ‘motion picture lenses’ from professional users around the world, particularity through the outstanding optical performance of the Art line. We had heard of stories for some time that SIGMA lenses had become a favorite among many users who customized their interchangeable photographic lens (‘still lens’), alternatively using them in film production shoots. SIGMA timed the announcement of its new line of cinema lenses, the ‘SIGMA CINE LENS’, in conjunction with the broadcasting general trade show ‘IBC’ ( International Broadcasting Convention) held in Amsterdam, the Netherlands on the 7th September 2016.
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