Latest news with #KazutoYamaki
Yahoo
6 days ago
- Business
- Yahoo
Development Announcement of Sigma AF Cine Line
Ronkonkoma, New York--(Newsfile Corp. - June 3, 2025) - SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is announcing the development of the Sigma 28-45mm T2 FF and the Sigma 28-105mm T3 FF from the new lens line, the AF Cine Line, as part of Sigma's Cine Lens series. Both Sigma AF Cine lenses. The appearance and specifications of these products are subject to change. To view an enhanced version of this graphic, please visit: Launch dates: Sigma 28-45mm T2 FF / November 2025, Sigma 28-105mm T3 FF / Spring 2026Available mounts: L-Mount, Sony E-mount * The appearance and specifications of the product are subject to change.* L-Mount is a registered trademark of Leica Camera AG.* This product is developed, manufactured and sold based on the specifications of E-mount, which was disclosed by Sony Corporation under the license agreement with Sony Corporation. #Sigma #Sigma2845mmT2FF #Sigma28105mmT3FF #SigmaAFCineLine #SigmaCineLens As the first AF-compatible Cine Lens series from Sigma, the Sigma AF Cine Line brings innovation to the film production scene. Building on the optical system of Sigma's Art lenses, the AF Cine Line offers exceptional rendering performance, along with high-precision autofocus with excellent tracking capability, combined with the ergonomics required for professional cinema production. This allows it to handle multiple shooting styles and on-set environments that were previously challenging with traditional still lenses or cine lenses. The AF Cine Line, which embodies Sigma's latest technology, expands the possibilities of visual expression and brings new possibilities to future film production. KEY FEATURES Advanced optical design and outstanding rendering performance The optical systems of the Sigma 28-45mm T2 FF and Sigma 28-105mm T3 FF incorporate the designs of the highly acclaimed still lenses: the Sigma 28-45mm F1.8 DG DN | Art and the Sigma 28-105mm F2.8 DG DN | Art. Combining the experience gained through years of lens design, the latest development technology, and the advanced manufacturing techniques of Sigma's sole production base, the Aizu factory, these lenses deliver exceptional resolution and beautiful bokeh regardless of focal length or focus position, along with a sharp, clean look with minimal flare and ghosting. Professional-grade mechanical design and operability Inheriting the rendering performance and reliability of Sigma Art lenses, the AF Cine Line integrates cinema-style mechanics and operability, optimized for professional cinema production. It features a limited-rotation focus ring, industry-standard 0.8M pitch gears, and a clickless aperture ring to meet industry demands. AF system with excellent tracking capability and near-silent operation Equipped with a linear motor HLA (High-response Linear Actuator), the Sigma AF Cine Line captures intense movements in action scenes, rapid focus shifts in gimbal or handheld shooting, and unpredictable moments in documentaries without missing a split second, providing reliable support for filmmakers in various shooting situations. KEY SPECIFICATIONS [Common Specifications] Available mounts: L-Mount, Sony E-mount Front Filter: M 82 x 0.75 mm Product Name Close Focus Front Diameter Length* Weight* 28-45mm T2 FF 0.3 m / 1'0 95 mm / 3.7" 151.3 mm / 6" TBD 28-105mm T3 FF 0.4 m / 1'4 95 mm / 3.7" 157.9 mm / 6.3" *The figures are for L-Mount Accessories (Supplied) Front Cap LCF-82 IVRear Cap LCR III L-MountSony E-mount Lens Support Foot SF-91 Accessories (Optional) USB Dock UD-11 L-Mount Clamp-on Ring COR-21 Dedicated 28-45mm T2 FF WR Ceramic Protector 82mmWR Protector 82mmProtector 82mmWR UV Filter 82mmWR Circular PL Filter 82mm Contact US Inquiries contact: Michael Dioguardi mdioguardi@ Christine Moossmann cmoossmann@ Information Sigma Corporation: To view the source version of this press release, please visit Sign in to access your portfolio
Yahoo
7 days ago
- Business
- Yahoo
Sigma Corporation Announces Aizu Prime Line, the World's First Cinema Lens Line to Feature T1.3 Across All Focal Lengths
Brilliant at T1.3: Forging new begins a new benchmark for filmmaking. Ronkonkoma, New York--(Newsfile Corp. - June 3, 2025) - SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is introducing the Aizu Prime Line―the world's first lineup1 of large-format cinema lenses to achieve an aperture value of T1.3 across all focal lengths. The lineup combines modern sharpness with an organic and naturally soft look, bringing rich texture and depth to visuals. Boasting unparalleled brightness, refined expression, and reliable performance, the Aizu Prime Line embodies the proven technology and quality of "Made in Aizu, Japan" establishing the new standard. The lineup of 12 lenses features a consistent T1.3 aperture across the full range from 18mm to 125mm. The initial release includes 8 lenses with focal lengths from 25mm to 75mm, covering core cinematic production needs. 1. As of June 2025, by Sigma. The first eight Aizu Prime lenses that will be available at launch. To view an enhanced version of this graphic, please visit: Available mounts: PL Mount, Sony E-mountSupplied accessories: Cover Cine Lens Cap LCC-95 II, Rear Cap LCR III, Lens Support Foot SF-61 Launch date: August 2025Retail price: $8,299 USD * Product appearance and specifications are subject to change.* This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation. #Sigma #SigmaCinelens #SigmaAizuPrime KEY FEATURES Expressive power for profound beauty A consistent T1.3 across all focal lengthsThe T1.3 aperture enables exceptionally shallow depth of field and graceful bokeh, seamlessly separating the subject while preserving a natural sense of depth and dimensionality. This refined visual language draws the viewer into the frame with a subtle yet powerful presence. Optical design for the demands of cinemaAll lenses in the Aizu Prime lineup feature an optical system developed exclusively for cinema applications. While maintaining modern sharpness, they avoid rigid or harsh depictions-delivering a natural, organic look. They provide quiet elegance and depth to the image, with distortion and focus breathing carefully minimized to ensure visual consistency, even in dynamic scenes. Huge perspective range coverageThe Aizu Prime Line is designed as a system to cover a wide range of focal lengths from 18mm to 125mm. Initially, 8 core lenses ranging from 25mm to 75mm are being released, followed by 18mm and 21mm wide-angle lenses, and 100mm and 125mm telephoto lenses. This comprehensive system, covering from ultra-wide-angle to telephoto, is adaptable to diverse scenes and compositions. Completely consistent lookConsistency of color balance, contrast, and flare characteristics ensures seamless integration between scenes, bringing a high level of harmony to the entire visual narrative across the lineup from 18mm to 125mm. ⌀46.3mm image circleThe large ⌀46.3mm image circle ensures full coverage not only for full-frame and Super 35 formats, but also for the latest large-format cameras such as the ARRI ALEXA LF Open Gate and VistaVision. This capability enables uncompromised filmmaking across a diverse range of projects. High-impact close-up expressionThe short minimum focusing distance enables striking close-up shots. By getting closer to the subject, the Aizu Prime lenses create visual tension and dramatic effects, adding impactful depth to the imagery. Compact. Precise. Reliable. A compact design that unleashes creativityDespite being built for large-format coverage and featuring an ultra-fast T1.3 aperture, the Aizu Prime lenses remain remarkably lightweight. This rare balance of exceptional speed and mobility offers the flexibility and creative freedom demanded by modern productions-from dolly and Steadicam to gimbal and handheld operation. Precise operation and durabilityThe Aizu Prime lenses offer precise control, exceptional durability, and ease of maintenance. Despite its compact housing, it delivers unwavering reliability in demanding shooting environments. Every mechanical detail-from the wide focus rotation angle to the equal-pitch aperture ring-embodies the engineering expertise cultivated through the Sigma High Speed Prime series. Supports ZEISS eXtended DataThe Aizu Prime lenses support ZEISS eXtended Data, offering real-time lens metadata during shooting. It also enables the export of distortion and shading correction data, streamlining workflows for VFX productions. KEY SPECIFICATIONS [Common Specifications] Available mounts: PL Mount, Sony E-mount Image circle: 46.3mm Product Name Close Focus Front Diameter Length* Weight* 18mm T1.3 LF TBD 21mm T1.3 LF TBD 25mm T1.3 LF 0.31 m / 1'0 95 mm / 3.7" 125 mm / 5" 1.7 kg / 3.6 lb 27mm T1.3 LF 0.33 m / 1'1 95 mm / 3.7" 125.4 mm / 5" 1.7 kg / 3.6 lb 32mm T1.3 LF 0.34 m / 1'2 95 mm / 3.7" 128.5 mm / 5.1" 1.7 kg / 3.7 lb 35mm T1.3 LF 0.35 m / 1'2 95 mm / 3.7" 128.6 mm / 5.1" 1.6 kg / 3.6 lb 40mm T1.3 LF 0.38 m / 1'3 95 mm / 3.7" 128.8 mm / 5.1" 1.6 kg / 3.5 lb 50mm T1.3 LF 0.48 m / 1'7 95 mm / 3.7" 126.3 mm / 5" 1.7 kg / 3.7 lb 65mm T1.3 LF 0.61 m / 2'0 95 mm / 3.7" 125 mm / 5" 1.6 kg / 3.6 lb 75mm T1.3 LF 0.73 m / 2'5 95 mm / 3.7" 128.1 mm / 5.1" 1.7 kg / 3.8 lb 100mm T1.3 LF TBD 125mm T1.3 LF TBD *The figures are for PL Mount Product Codes Feet Metric 25mm T1.3 LF PL Mount 0085126 942502 0085126 942519Sony E-mount 0085126 942526 0085126 942533 27mm T1.3 LF PL Mount 0085126 942540 0085126 942557Sony E-mount 0085126 942564 0085126 942571 32mm T1.3 LF PL Mount 0085126 942588 0085126 942595Sony E-mount 0085126 942601 0085126 942618 35mm T1.3 LF PL Mount 0085126 942625 0085126 942632Sony E-mount 0085126 942649 0085126 942656 40mm T1.3 LF PL Mount 0085126 942663 0085126 942670Sony E-mount 0085126 942687 0085126 942694 50mm T1.3 LF PL Mount 0085126 942700 0085126 942717Sony E-mount 0085126 942724 0085126 942731 65mm T1.3 LF PL Mount 0085126 942748 0085126 942755Sony E-mount 0085126 942762 0085126 942779 75mm T1.3 LF PL Mount 0085126 942786 0085126 942793Sony E-mount 0085126 942809 0085126 942816 Accessories (Supplied: Common to 25-75mm) Cover Cine Lens Cap LCC-95 II0085126 942823 Rear Cap LCR III PL Mount 0085126 941673Sony E-mount 0085126 941635 Lens Support Foot SF-610085126 942830 Accessory (Optional) Mount Converter MC-310085126 938192 CONTACT US Inquiries contact: Michael Dioguardi mdioguardi@ Christine Moossmann cmoossmann@ INFORMATION Sigma Corporation: Cine Lens: To view the source version of this press release, please visit Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
Yahoo
7 days ago
- Business
- Yahoo
Development Announcement of Sigma AF Cine Line
Ronkonkoma, New York--(Newsfile Corp. - June 3, 2025) - SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is announcing the development of the Sigma 28-45mm T2 FF and the Sigma 28-105mm T3 FF from the new lens line, the AF Cine Line, as part of Sigma's Cine Lens series. Both Sigma AF Cine lenses. The appearance and specifications of these products are subject to change. To view an enhanced version of this graphic, please visit: Launch dates: Sigma 28-45mm T2 FF / November 2025, Sigma 28-105mm T3 FF / Spring 2026Available mounts: L-Mount, Sony E-mount * The appearance and specifications of the product are subject to change.* L-Mount is a registered trademark of Leica Camera AG.* This product is developed, manufactured and sold based on the specifications of E-mount, which was disclosed by Sony Corporation under the license agreement with Sony Corporation. #Sigma #Sigma2845mmT2FF #Sigma28105mmT3FF #SigmaAFCineLine #SigmaCineLens As the first AF-compatible Cine Lens series from Sigma, the Sigma AF Cine Line brings innovation to the film production scene. Building on the optical system of Sigma's Art lenses, the AF Cine Line offers exceptional rendering performance, along with high-precision autofocus with excellent tracking capability, combined with the ergonomics required for professional cinema production. This allows it to handle multiple shooting styles and on-set environments that were previously challenging with traditional still lenses or cine lenses. The AF Cine Line, which embodies Sigma's latest technology, expands the possibilities of visual expression and brings new possibilities to future film production. KEY FEATURES Advanced optical design and outstanding rendering performance The optical systems of the Sigma 28-45mm T2 FF and Sigma 28-105mm T3 FF incorporate the designs of the highly acclaimed still lenses: the Sigma 28-45mm F1.8 DG DN | Art and the Sigma 28-105mm F2.8 DG DN | Art. Combining the experience gained through years of lens design, the latest development technology, and the advanced manufacturing techniques of Sigma's sole production base, the Aizu factory, these lenses deliver exceptional resolution and beautiful bokeh regardless of focal length or focus position, along with a sharp, clean look with minimal flare and ghosting. Professional-grade mechanical design and operability Inheriting the rendering performance and reliability of Sigma Art lenses, the AF Cine Line integrates cinema-style mechanics and operability, optimized for professional cinema production. It features a limited-rotation focus ring, industry-standard 0.8M pitch gears, and a clickless aperture ring to meet industry demands. AF system with excellent tracking capability and near-silent operation Equipped with a linear motor HLA (High-response Linear Actuator), the Sigma AF Cine Line captures intense movements in action scenes, rapid focus shifts in gimbal or handheld shooting, and unpredictable moments in documentaries without missing a split second, providing reliable support for filmmakers in various shooting situations. KEY SPECIFICATIONS [Common Specifications] Available mounts: L-Mount, Sony E-mount Front Filter: M 82 x 0.75 mm Product Name Close Focus Front Diameter Length* Weight* 28-45mm T2 FF 0.3 m / 1'0 95 mm / 3.7" 151.3 mm / 6" TBD 28-105mm T3 FF 0.4 m / 1'4 95 mm / 3.7" 157.9 mm / 6.3" *The figures are for L-Mount Accessories (Supplied) Front Cap LCF-82 IVRear Cap LCR III L-MountSony E-mount Lens Support Foot SF-91 Accessories (Optional) USB Dock UD-11 L-Mount Clamp-on Ring COR-21 Dedicated 28-45mm T2 FF WR Ceramic Protector 82mmWR Protector 82mmProtector 82mmWR UV Filter 82mmWR Circular PL Filter 82mm Contact US Inquiries contact: Michael Dioguardi mdioguardi@ Christine Moossmann cmoossmann@ Information Sigma Corporation: To view the source version of this press release, please visit Sign in to access your portfolio
Yahoo
15-04-2025
- Entertainment
- Yahoo
Sigma CEO Kazuto Yamaki reveals the connection between the Sigma BF and Chanel No. 5 perfume
When you use DPReview links to buy products, the site may earn a commission. Forget about technical specs. The most intriguing aspect of Sigma's newest camera, the BF, might be the philosophy baked into its name, which CEO Kazuto Yamaki says stands for "beautiful foolishness," reflecting a deliberate design philosophy rooted in Japanese culture and aesthetics. Where did this concept originate? And how did a bottle of Chanel No. 5 perfume influence the camera's design? We explored these questions and more in a conversation with Mr. Yamaki in Japan shortly after the camera's launch. "BF stands for beautiful foolishness, Mr. Yamaki explains. "This phrase was taken from the The Book of Tea, and the original phrase was 'a beautiful foolishness of things.'" He elaborates: "There are numerous things in the world, beautiful and ugly, useful and useless. In this context, the original implication of this book was to find beauty in seemingly worthless things, even though this world is judged good or bad based on a utilitarian value. That's the spirit of the tea ceremony. The author wanted to explain that it's a part of Japanese culture." The philosophy, Mr. Yamaki suggests, extends beyond appreciating the world to the very act of creating and using the camera. He sees the camera as embodying this principle in multiple ways. "I took the phrase as having multiple meanings. First, I took it because I liked this phrase. Second, using the camera in daily life can be beautiful foolishness because everyone has phone cameras in their pocket. Third, this is somewhat self-mocking, but I thought that, in order to achieve the best feel, spending seven hours to machine an aluminum ingot to make a part is quite beautiful foolishness." "Spending seven hours to machine an aluminum ingot to make a part is quite beautiful foolishness." Essentially, the camera itself is slightly irrational. It's a product where meticulous, perhaps even excessive, craftsmanship contributes to its unique appeal. But that's not necessarily a bad approach when everyone else is off doing the sensible thing. After all, being different is what sometimes allows you to create something iconic. Hold the BF, and you immediately sense that the camera is something special, even if its design doesn't fit the way you personally use a camera. That's not an accident. "When we started the project, there was an exhibition of Gabrielle Chanel in Tokyo," Mr. Yamaki explains. "In other words, Coco Chanel, she's the founder of Chanel. And, of course, the dresses from a long time ago were quite fascinating." "But the most fascinating item for me was a bottle of the Chanel No. 5 perfume. It was from 1921. Very simple and minimal, but very elegant, although it's a hundred years old. At that time, I thought I really wanted to make a camera that has a timeless value like the Chanel No. 5 bottle." While in pursuit of this "timeless value," Mr. Yamaki didn't involve himself directly in the design process. "I did not [suggest] any of my ideas into the design because I trusted the designer. So I did not say anything about the design. I like product design in general, but I don't believe it's good for the CEO of the company to say something about the design. Sometimes, it confuses the designer." The resulting design is a camera that isn't just unique. It's memorable. Just as Mr. Yamaki envisioned. Mr. Yamaki acknowledges the Sigma BF isn't intended for every photographer. It's about embracing the joy of photography and capturing everyday life in a way that brings you happiness. Beautiful foolishness, if you will. "It's about embracing the joy of photography and capturing everyday life in a way that brings you happiness. Beautiful foolishness, if you will." "It doesn't have to be BF, but once you have the camera, you try to find some beautiful scenes in your daily life. Maybe if you see the sunlight coming in, you see some contrast, and you want to take a picture with some kind of subject," he says. "So if you have the camera in your hand, try to take pictures, and it makes our life more meaningful. Right?" he posits. "So I think of the BF as a simple minimum camera, which you want to bring anytime. It's a nice camera to be on the table at a restaurant or bar, and then you can take pictures with a nice thing. That's the BF." Mr. Yamaki proudly notes that Sigma builds all of its products in its hometown of Aizu, Japan, a fact Sigma has started to incorporate into its marketing message. Between his philosophy of beautiful foolishness and simple but elegant design, we're curious if he sees the BF as a way of sharing Japanese culture with users. "I hope so," he tells us. "I would be happy if we could make a product that users can feel a 'Japanese touch' through, not only the design of the camera but also the quality of all of our products. We paid careful attention to every detail, which I believe is very Japanese culture." That meticulous attention extends beyond camera bodies and lenses to details like packaging. While many companies in the industry have moved to functional but rather pedestrian-looking recyclable cardboard, Sigma has infused its newest product boxes with subtle elegance and style, balancing sustainability with aesthetics. It's a nuance, but the type of detail that matters at Sigma. Mr. Yamaki's enthusiasm for his philosophy is both contagious and thought-provoking. Next time you go out to shoot, consider just capturing the beautiful foolishness of the world and life. Sometimes, it's best to metaphorically sit back, enjoy your cup of tea, and embrace whatever comes your way to find beauty, even in seemingly worthless things. Buy now: Buy at B&H Photo
Yahoo
04-03-2025
- Business
- Yahoo
Will Foveon sensors ever return, and does anyone outside Sigma still care?
When you buy through links on our articles, Future and its syndication partners may earn a commission. In a recent PetaPixel interview with Sigma's CEO, President Kazuto Yamaki, it was revealed that Sigma remains committed to the development of the Foveon sensor. This is both predictable news given Sigma's unwavering loyalty to the technology, but it's also surprising. Sigma's last camera with a Foveon sensor was the sd Quattro, equipped with a 29MP APS-C Foveon X3 sensor. This was launched in 2016, and though it was in production for the remainder of the decade alongside older Sigma cameras also using the Foveon X3, we've seen no new Foveon-equipped camera launched since. Rumors have circulated during the intervening years that a full-frame Foveon was in development, but this has never materialized. In 2023 it was said that a production sensor might be ready in 2024, though development was difficult. Subsequently in early 2024 Yamaki also stated that "not much progress has been made". Reasons for this include the Foveon sensor being fundamentally different to conventional Bayer sensors, thereby requiring a dedicated manufacturing process. In order to minimize the production complexity, Yamaki stated that "currently, we are trying to realize a three-layer structure using as many standard processes as possible at the design stage". Fast-forward 12 months to this latest PetaPixel interview and it seems the mythical full-frame Foveon is just as elusive as ever. Sigma is still apparently working on it, and Yamaki says "we will do our best" (regarding its development). However, he is also honest in stating that development is taking much more time than expected, and that technical issues have been encountered with prototypes (Skip to 42:53 in the YouTube interview for the Foveon details). So after this many years of trying, why is Sigma still chasing its Foveon dream? The core reason is likely that a Foveon sensor promises, in theory, superior image quality versus a conventional Bayer sensor, due to its unique design. Where the surface area of a Bayer sensor is split into pixels that capture red, blue and green light, (25%, 25% and 50% of the sensor area, respectively), a Foveon sensor has a separate layer for each of these three color wavelengths, stacked on top of each other. Consequently, by stacking the red, green and blue pixel layers, the sensor can (theoretically) capture around 3x more light than a Bayer sensor of equivalent dimensions. This then potentially translates to significantly improved color fidelity, dynamic range, and reduced image noise. Sounds great, but in practice Foveon sensors have proven to be more of a mixed bag. The sd Quattro was praised for its ability to resolve fine detail, with its 29MP sensor said to more comparable to 39MP Bayer sensor in this metric. However, this advantage came at the cost of image noise, which was reportedly higher than that from contemporary cameras with conventional sensors. The theoretical benefits of Foveon are compelling, and it's easy to see why Sigma, a small player in the camera market, would want to stand out from the likes of Canon, Nikon and Sony by producing a full-frame camera with a fundamentally different (and hopefully superior) image sensor. But could such huge development costs ever be recouped by sales of a camera that would surely only ever appeal to a niche market? Given that Sigma has abandoned Foveon for its fp cameras and the new BF, it seems even less likely that we'll ever see a Foveon return. If development really is continuing, we have to assume it's on a small scale. There's surely no logical business case for ploughing significant financial investment and technical expertise into a sensor that, when judged on past performance, doesn't offer a convincing advantage over Bayer technology.
