Canon

Aquatica announces the A5D Mk III Housing for the Canon 5D Mk III

Press Release. Montreal, Canada, June 7, 2012

The Aquatica Team is proud to introduce you to the Aquatica A5D Mk III housing for the acclaimed Canon 5D Mk III. Our Design team has upped the game with this recently released camera. New features have been added to this housing to improve operation and compatibility, but importantly, this precision housing is the product of a very time proven lineage of underwater camera housing. 30 years of knowledge in this field has made sure that every aspect of the housing ergonomics and access to all controls were carefully implemented. The final result of this camera housing mirrors the constant evolution of technology and the input of highly respected professionals image makers from around the world.

Aquatica A5DIII
The Aquatica A5D Mk III housing still benefits from the finest material available in the industry. Carefully crafted from a selected alloy of aircraft grade aluminum and premium grade of stainless steel, the housing is machined on the latest 5 axis computer assisted machines. It is then protected by anodizing to North American military specification for further protection, Aquatica provides corrosion inhibiting zinc anodes as standard equipment and coats their housing with a baked on, tough as nail, powder coating. This extra level of protection does make a huge difference as can be seen on some Aquatica housings that even with over 1,500 dive on them, still look as fresh as the day they came out of the box. This housing is made for the hard working professional in mind, one who truly understands reliability in the field.

Aquatica A5D MkIII

We introduced on this housing a newly designed camera tray; it smoothly and precisely positions the camera in the housing and is easily disengaged by a simple push on a tab. The zoom actuating pinion gear and the lens release lever pull out to allow the user to remove the camera from the back while keeping a lens and zoom gear attached.

Additional bulkheads pass through access holes have been added (bringing the total to three) to allow uses of potential accessories such as an external monitor, triggering device and/or sound recording accessories. Given the immense impact of its predecessor, the Aquatica 5D Mk II, had on the underwater video industry, it was deemed absolutely important that this new housing be optimized even more for this task, all video controls where redesigned for easier reach and smoother operation, without sacrificing nothing to the still image side of the housing operation.

Aquatica A5D MkIII

The AF-ON & star button access is now provided with a rotating collar that prevents ambient pressure from pushing it back toward the housing. Menus buttons have been angled to provide better access from your left hand. A new gear system with a smaller housing pinion gear and larger lens gear results in smoother action while zooming in a video sequence.

Aquatica A5D Mk III AF-ON

The A5D Mk III housing was made as small as a it could be, nevertheless its lightness in weight should not be taken for a weakness. This housing still has the same standard 90m/300ft depth rating and can still be upgraded to 130m/425ft. Its knurled knobs and oversized controls mean easy operation no matter what the situation is. Being built in Canada means that every Aquatica housing is born and bred in one of the world most rugged diving environment. Bottom line, if it works in our local conditions, it will work everywhere else!

Aquatica A5D MkIII

Handling is still via molded grips, they have been the reference in comfort for the last 25 years. Theses lightweight yet sturdy grip handles are made of one piece and cannot come unglued, fall apart or corrode. Both grips are provided with mounting holes ready to accept the most current strobes and their supporting arms. The housing has an extra mounting point for a focus/video light or other accessories on top and 3 additional mounting points are provided under for various brackets, support or tripods.
Bulkhead strobe connectors have also evolved, with six active pins bulkhead giving access to TTL flash exposure via currently available third party TTL converters. They are now user serviceable and replacing them is done quickly without requiring the need for any special tool, in a matter of minutes. Again, these improvements were implemented with the working professional in mind, reliability and user’s friendly field maintenance being the key word here.

On the right is a view of the office end on the new Aquatica A5D Mk III, clearly showing the serious nature of this housing. On the left hand, the buttons and mode selector control are angled and positioned for quicker access to the various functions. On the right hand the record button has been relocated closer to your thumb and not only has it been oversized but is now clearly identified with a bright red coating. The Live View toggle remains within easy reach and the SET button has also been oversized. The multi controller pad found on the Canon 5D Mk III is now made accessible. All push buttons are of high quality Type 304 stainless steel, the same used in the aerospace industry; these will not break or rust. Their smooth operation and position gives the photographer a very intuitive and normal feel to the housing.

Aquatica A5D MkIII Back

The Aquatica A5D Mk III is supplied with our Galileo type eye piece. This high quality and coated optical finder gives a bright and full view of the view finder. For those seeking the ultimate in viewing for still image, the optional Aqua View Finder, available in straight and 45 degrees version, are among the best of the industry, they can easily be installed in a matter of a few minutes by the user. The enlarged and enhanced image provided by the Aqua View Finder is second to none in clarity, It provides the photographer with tack sharp corner to corner viewing of the camera view finder for composing and critical focusing

Aquatica A5D MkIII

Shown on this photo and ready to go to work, is the Aquatica A5D Mk III with the 9.25” Megadome, state-of-the- art BK-7 coated glass dome, it is attached to our unique extension ring with manual focus capability, this extension is available for both the Canon EF 16-35mm f/2.8L USM Type II and the EF 17-40mm f/4L USM, Two serious candidates for the video shooter and for which manual focus access is vital, manual focusing with prime lens focusing can be done using the controls knob on the upper left side of the housing.

The A5D Mk III is supported by one of the most established and comprehensive port and accessories system of the industry. The Canon 5D Mk III is destined, much like its predecessor, the 5D Mk II, for a life of multi tasking role. This previous A5D Mk II is still being used by many of the major television underwater documentary production; it has been embraced by scores of top image makers in the world whose work can be seen weekly on network television, advertising work and movie productions.
This philosophy that made the Canon 5D Mk II and its Aquatica housing so popular has not been lost on this newer version! Every effort was made to give you an underwater imaging system that can be tailored to your needs.

The Aquatica A5D Mk III is a very compact and lightweight housing tipping the scale at just:

Dimension: (with grip attached) W 35cm x H 19.5cm x D14.5cm / W 13.78” x H 7.65” x D 5.72” Dimension (without grip) 23cm x H 19.5cm x D14.5cm / W 9.06” x H 7.65” x D 5.72”

Priced at just 3,199.00 USD, it is the most economical and best designed of its category.

For more information, please contact Aquatica at info@aquatica.ca

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CANON announces the EOS-1D C DSLR 4K Camera

LAKE SUCCESS, N.Y., April 12, 2012 – Continually advancing the frontiers of digital high-resolution motion-image capture for film, television, and other industries, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the EOS-1D C digital single-lens reflex (SLR) camera.* Delivering outstanding video performance, the compact, lightweight EOS-1D C provides video recording at 4K (4096 x 2160-pixel) or Full HD (1920 x 1080-pixel) resolution to support high-end motion picture, television production and other advanced imaging applications.

Canon EOS 1DC Front

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New Canon EOS 60Da DSLR Camera For Astronomy Enthusiasts

LAKE SUCCESS, N.Y., April 3, 2012 – Canon U.S.A., Inc., a leader in digital imaging solutions, today introduced the EOS 60Da Digital SLR Camera, a long-awaited successor to the EOS 20Da that is optimized for astrophotography. This DSLR caters to astronomers and hobbyists who enjoy capturing the beauty of the night sky by offering a modified infrared filter and a low-noise sensor with heightened hydrogen-alpha sensitivity. These modifications allow the camera to capture magnificent photographs of “red hydrogen emission” nebulae and other cosmic phenomena.

Canon 60Da

“The EOS 60Da is a testament to the constant desire to meet the needs of every customer, including those in specialized fields,” said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A., “This new camera enables an accurate depiction of a part of our solar system which is hard to achieve with conventional cameras but should be enjoyed and celebrated.”

Canon 60Da Orion Nebula

The Canon EOS 60Da camera packs a powerful 18-megapixel CMOS sensor (APS-C) that produces sharp and high-contrast images of astronomical objects, a major enhancement over the EOS 20Da model’s 8.2-megapixel sensor. The improved infrared-blocking filter is a modification suited specifically toward astronomy enthusiasts to achieve a hydrogen-alpha light sensitivity that is approximately three times higher than that of a normal Canon DSLR camera. This produces a 20-percent higher transmittance of Hydrogen Alpha line, or H α wavelength, allowing astronomers to capture crisp, clear images of reddish, diffuse nebulae.

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Canon announces the highly anticipated EOS 5D Mark III DSLR Camera

LAKE SUCCESS, N.Y., March 2, 2012 – On the 25th anniversary of its world-renowned EOS System, Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce its latest model, the new EOS 5D Mark III Digital SLR Camera. Positioned between the extremely popular EOS 5D Mark II and Canon’s top-of-the-line professional EOS-1D X model, the EOS 5D Mark III delivers superb image quality, thanks to a new 22.3-megapixel full-frame Canon CMOS sensor, a high-performance DIGIC 5+ Imaging Processor, a 61-point High Density Reticular Autofocus (AF) System and six frames-per-second (fps) continuous shooting speed. Building upon the trailblazing success of the EOS 5D Mark II, the EOS 5D Mark III also incorporates enhanced video features for professionals in the fields of cinematography, television production and documentary filmmaking, including better noise reduction, longer recording times and a built-in headphone jack for audio monitoring. The EOS 5D Mark III is Canon’s answer to hundreds of thousands of advanced amateurs and emerging professionals looking for a compact, high-quality camera system to help them achieve their artistic vision, whether it be through still or video imagery. The EOS 5D Mark III introduction coincides with Canon’s 25th anniversary celebration of the EOS camera system. Canon’s award-winning EOS system first debuted in March of 1987 with the introduction of the EOS 650 SLR camera and three EF lenses.

Canon EOS Mark III 24-105

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The New Canon EOS C300 Digital Cinema Camera

A Star Is Born: Canon Launches New Digital Cinema Camera For High-Resolution Motion Picture Production

HOLLYWOOD, California, November 3, 2011/TOKYO, November 4, 2011 – Canon Inc. and Canon U.S.A., Inc. today raised the curtain on an all-new interchangeable-lens digital cinema camera that combines exceptional imaging performance with outstanding mobility and expandability to meet the demanding production needs of today’s motion picture industry. The camera, which features a newly developed Super 35 mm-equivalent approximately 8.29-megapixel CMOS sensor, will be available in two models: the EOS C300 Digital Cinema Camera*, equipped with an EF lens mount for compatibility with Canon’s current diverse lineup of interchangeable EF lenses for EOS single-lens reflex (SLR) cameras and new EF Cinema Lens lineup; and the EOS C300 PL Digital Cinema Camera*, with a PL lens mount for use with industry-standard PL lenses.

Canon EOS C300 Digital Cinema Camera

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The New Canon EOS-1D X Digital SLR Camera

LAKE SUCCESS, N.Y., October 18, 2011 – Canon U.S.A., Inc., a leader in digital imaging, is proud to introduce a completely revolutionized EOS-1D series camera, the Canon EOS-1D X Digital SLR camera.* As the new leader in Canon’s arsenal of professional DSLRs, the EOS-1D X will be a high-speed multimedia juggernaut replacing both the EOS-1Ds Mark III and EOS-1D Mark IV models in Canon’s lineup. Enhancing the revolutionary image quality of the EOS-1Ds and speed capabilities of the EOS-1D series, the EOS-1D X DSLR features an 18-megapixel full-frame Canon CMOS sensor, Dual DIGIC 5+ Imaging Processors, 14-bit A/D data conversion and capable of shooting an incredible 12 frames-per-second (fps). Canon’s EOS DSLR cameras and accessories have a long-standing legacy of providing high-quality results to professionals in a wide range of markets, including sports, nature, cinematography, wedding and commercial studios. The addition of this new model will help take this tradition to a whole new level.

The EOS-1D X announcement comes on the heels of Canon’s recent manufacturing milestone with the production of the Company’s 50-millionth EOS-series SLR camera in September of 2011. Furthermore, Canon will achieve yet another milestone at the end of this month producing the 70-millionth EF lens.

EOS1Dx Side

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Interview with underwater cameraman Marcelo Rodrigues

Continuing with the Underwater Cameraman Series, this time I’m presenting Marcelo Rodrigues, a biologist that started with scuba diving during his biology thesis and became a passion since then. Marcelo works as a videographer and travels around the world whenever he can, filming the underwater world. Thank you Marcelo for the interview, I’m looking forward to your next diving video in Maldives.


 

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Beware The Pain Fairy Commercial – Behind the Scenes

This is a Behind the Scenes made by Dave Dugdale from LearningDSLRVideo.com. Sterling-Rice Group (an ad agency in Boulder CO) was kind enough to let me film BTS footage of their “Pain Fairy” ad spots. Dave used a Canon T2i/550D to film this about 3 months ago. I also used Luke Neumann’s color presets on most of these shots.


 

You can watch two of the commercials below – they were shot on the Canon 5D Mark II.



 


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The Making of Carla Kosak’s “Don’t Want Your Man” Video Clip

Director Kevin Otterness takes us behind the scenes of Carla Kosak’s “Don’t Want Your Man” music video.


Title: MAKING OF “Don’t Want Your Man” Music Video
Director: Kevin Otterness
Producer: Brian Tedeschi
Camera: Kim St. Aubin
Production Assistants: Joe Petrick & Jeremy Hawkins
Editor & Colorist: Kevin Otterness
Production Company: posthousepictures.com

You can check out Carla Kosak’s “Don’t Want Your Man” Official Video Clip here.

About Kevin Otterness

Kevin Otterness got his start in the film business at age 7 when his father took him to see “Star Wars” in 1977. Walking out of the theatre, Otterness knew what he wanted to do for the rest of his life.

Today, Otterness owns and operates CINEARTISTS and POSTHOUSE PICTURES, two independent production companies. He produces and directs independent films, music video’s and behind-the-scenes documentaries, and his clients have benefited from his artistic camera work and editing talents since 2000.

Prior to branching off on his own, Otterness worked for a local public access station, where he created and produced one of the most successful cable access television shows in the country, “Technical Difficulties Television.” TDTV was a weekly entertainment program known for its high-energy, edgy, MTV-style approach to entertainment news in and around the Chicago area. The show ran for seven years and won several local and national awards.

Throughout his career, Otterness built an impressive resume that earned him recognition for his work as a Director of Photography, his fast paced editing style, and his ability to make small-budget projects look like million-dollar productions.

Director Kevin Otterness sets up the next shot

Director Kevin Otterness sets up the next shot

In December 2010 Kevin Otterness released his music video directorial debut, “Life Without Love,” performed by Dave Sills and produced by Brian Tedeschi. One week later the behind the scenes of “Life Without Love” was released.

Otterness also worked with one of his inspiring directors this year, Michael Bay. Otterness was cast as an FBI agent in the upcoming film TRANSFORMERS 3 “Dark of the Moon,” part of which was filmed in Chicago. He also was cast in Steven Soderbergh’s new film “Contagion” also shot in Chicago.

Though he’s never seen himself as an actor, Otterness believes it helps him as a director understand where his actors are coming from when on set.

In 2011, Otterness released his second music video, “Don’t Want Your Man” performed by Carla Kosak.

Making of Carla Kosak Video Clip

Making of Carla Kosak Video Clip

Otterness also plans on involving other Chicago area filmmakers in some other projects he has coming up this year.

You can follow Kevin Otterness on Twitter: Twitter.com/KevinOtterness

Facebook fan page: Facebook.com/pages/Kevin-Otterness/139381506121411

Kevin Otterness’s Blog: Kevinotterness.wordpress.com

 

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Carla Kosak’s “Don’t Want Your Man” Official Music Video

Presenting Carla Kosaks’ “Don’t Want Your Man” music video. The clip was shot entirely on the Canon 7D and produced by POSTHOUSE PICTURES.


Title: Don’t Want Your Man
Artist: Carla Kosak
Writer: Sound Master T
Directed by Kevin Otterness
Producer: Brian Tedeschi
DOP: Kevin Otterness
Editor & Colorist: Kevin Otterness
Production Design: Kim St. Aubin
Production Assistants: Jeremy Hawkins & Joe Petrick
Production Company: posthousepictures.com/

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