Sidste nyt

Video: Cinema5D goes hands-on with Sony's new full-frame cinema camera, the FX9

Sidste nyt fra dpreview - 16 sep 2019 - 16:01

Last week, Sony unveiled the FX9. While we were able to get a brief look at the camera in the product shots, our friends over at Cinema5D have gone hands-on with the full-frame E-mount camera.

Throughout the 14-minute video, Nino Leitner of Cinema5D covers nearly every component of the camera. He starts by explaining where exactly the FX9 fits into Sony’s lineup and then dives into all of the new features, including the various sensor modes, the new S-Cinetone Picture Profile, the new dual-base ISO and much more.

Leitner also interviewed Yasuo Ueda-san, head camera designer at Sony, if you want even more insight the FX9 and its development process.

Kategorier: Sidste nyt

Google Camera app 7.0 leak reveals new Pixel 4 camera features

Sidste nyt fra dpreview - 15 sep 2019 - 21:13

A leaked version of the Google Camera app 7.0, which will likely be installed on the upcoming Google Pixel 4 device, has made its way into the hands of the people at XDA Developers who have analyzed the code and found a bunch of new camera features to look forward to.

The new camera will likely come with a motion blur mode that lets you capture moving subjects in the foreground and blur the background to emphasize the impression of motion and speed. The feature, which should come in handy at racing or sports events, will likely be called Motion Mode.

A section of code inside the Google Camera 7.0 app that hints at the upcoming Motion Mode.

The app source code also suggests that the computational photography feature Night Sight will be improved on the Google Pixel 4, likely with the previously leaked astrophotography mode. The Night Sight feature will also be sped up by making use of zero shutter lag technology and for astrophotography Google will be using the chipset's integrated GPU to accelerate segmentation of the sky as well as identifying and brightening stars.

References to Live HDR and HDRNet in the code hint at HDR rendering in the preview image and it also looks like the the Pixel 4 will come with an audio zoom feature, similar to what Apple has implemented on the iPhone 11 and what LG and HTC have been using for some time now. The feature allows the phone to focus its microphones on a major audio source when zooming the camera.

Code from within the Google Camera 7.0 app that references Live HDR settings, as well as mesh warp settings, presumably used in conjunction with depth data.

Other sections in the source code indicate that the Pixel 4 and other compatible Pixel devices will support saving depth data as a Dynamic Depth Format (DDF) file which should allow for re-focusing and other depth modifications in any app that supports the format.

Further improvements could include an updated version of the Photobooth feature which was introduced with the Pixel 3 and automatically takes photos when it detects smiles or funny faces in the frame, integration of an augmented reality measurement app into the Camera app, and a 'rewind' feature, the exact function of which is as yet unknown.

Google Pixel have traditionally been at the forefront of mobile imaging and it looks like the Pixel 4 will be no different. We'll know more in October when the new device is expected to launch.

Image credits: Screenshots used with permission from XDA Developers

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Landscape photography with a drone - part 1: What is a drone?

Sidste nyt fra dpreview - 15 sep 2019 - 15:00

Ever since I started shooting landscapes, I've been fascinated with aerials. There's little doubt that aerial photography offers a very different perspective on a landscape, not to mention the excitement one experiences when witnessing nature from a bird's eye viewpoint.

I have written extensively about the good and the bad, as well as the reasons for shooting aerials in the first article of my series about aerial photography. But drone photography is VERY different to being up there in an aircraft and shooting with a hand-held camera.

Drones have utterly changed the world of landscape photography, and are the best thing to happen to it in the last two decades

There are substantial advantages and disadvantages when comparing the two, and one could even claim they are two different disciplines altogether. After all, apart from the fact that in both the photographer is shooting from the air, there is much more difference than similarity. This provides justification for an additional series that deals with drone photography.

In this series, I will try to elaborate about shooting (natural) landscapes using a drone. I will claim that drones have utterly changed the world of landscape photography, and are the best thing to happen to it in the last two decades. I will show examples from my shoots around the world and discuss how the drone enabled me to get images otherwise impossible.

I'll try my best to survey the different options available today, and try to cover the legal and moral aspects, as well as etiquette. Finally, I will tell about some interesting personal experiences I've had while droning.

It's important to say that I'm a nature still-photographer, so I will concentrate on that most of the time. That said, there is no reason why the series shouldn't be relevant for other styles and fields of photography such as urban landscapes or even wildlife photography.

So, what is a drone anyway?

"Drone" is the common name for a remotely-operated or autonomous unmanned aerial vehicle (UAV). There are many different drone sizes and designs - some are fixed-wing and some rotor-based. Fixed-wing drones are often used for scientific or military purposes. Since they require short runways to take off, and since they lack the maneuverability of rotor-based craft (specifically the ability to hover in one place and to move very slowly), they aren't commonly used for photography purposes, and so I will not be discussing them here.

The Mavic Air - a quad-copter drone manufactured by the Chinese company DJI

The drones we are interested in – camera drones – are rotor-based. The vast majority of those are quad-copters (i.e. mini-helicopters with 4 propellers), but not all. There are hexa-copters (6-prop) and octo-copters (8-prop) out there as well. They are sometimes known as VTOL drones, for "Vertical Take-Off and Landing". As we will see, the VTOL property offers a critical advantage for nature photography, or any field-based photography for that matter.

Design

Drones are typically made from composite materials to reduce weight and to absorb vibrations, which in turn reduces noise and motion blur in images. They have several motors and propellers, most commonly one propeller on top of each motor (but some drones have dual propellers for each motor). On a quad-copter, two of the propellers rotate clockwise and the other two counter-clockwise.

The motors are controlled by the drone's flight controller, which uses, among other things, gyro stabilization technology and accelerometers to maintain control of the drone in real time, and to keep it flying smoothly and steadily. All this is powered by a battery, which is usually inserted to a cavity in the body of the drone.

Controlling a drone with the remote's 2 joysticks

The drone carries a camera, usually on the front or bottom of the drone's body. The vast majority of modern drones have an integrated (native) cameras, whereas in the past more drones were designed to carry a separate camera system, be it a small camera like a GoPro or a large DSLR (or even larger systems). A native camera, naturally, allows for much more user control in real time.

The camera, native or otherwise, is mostly mounted on a 3-axis stabilizing gimbal, which disconnects it from any vibration or sudden movements coming from the drone's main body and allows the camera to move independently from it.

The small camera mounted on a 3-axis gimbal in the first generation of the DJI Mavic Control

Virtually all camera drones have a ground controller unit (commonly known as a remote controller), which allows the user to control the movement of the aircraft and of the gimbal, and enables live first-person-view (FPV), i.e. video streaming from the drone's camera and shown on a screen, either integrated into the controller or of a mobile device (such as a smart phone or a tablet), typically connected to the controller via wire.

The video stream doesn't only show the drone camera's view, but it also includes important flight information such as a map, flight altitude, speed, distance from the control unit, battery status and more. Using the information sent from the drone, the controller can also warn the user in case of strong winds or nearby obstacles.

The video feed received on a smart phone through cable connection to the remote. Note how height (relative to point of origin), distance from origin and velocity are displayed at he bottom, and photographic parameters at the top.

Everything here serves the purpose of being able to control the drone as delicately and as accurately as possible, and to not rely on seeing the aircraft from the operator's ground position. As we will see in future articles, FPV is a large part of what gives a drone its overwhelming advantages compared to other kinds of photography.

A Short Survey: Types of Camera Drones

Camera drones are plentiful, with the Chinese company DJI dominating the market without a doubt. It is, however, possible to divide the drone world into several tiers, which differ in the technology featured in the drone, specifically it's camera and sensor, gimbal, battery, controls, weight and size, among others. Let's shortly survey the different tiers, and see what differentiates them.

Fun and Toy Drones

  • DJI Tello (about $100)
  • Parrot Mambo (about $50).

These drones have a simple built-in camera with very low resolution. There is no stabilizer (gimbal). The devices are very sensitive in the wind and usually have no GPS function, making it very difficult to get good flight precision and decent pictures. They are, however, very affordable and fun to use.

Entry-level Drones

  • DJI Spark (discontinued, to be replaced soon)
  • Parrot Anafi (about $650)
The tiny DJI Spark can fit in the palm of your hand.

These drones feature better control and stability than toy drones, but don't expect any miracles in terms of image quality and stabilization. The mechanical two-axis gimbal requires shorter exposure times to prevent camera shake. Range and duration of flight are below average.

Semi-professional Drones

  • DJI Mavic Air (about $750, $930 for a combo including extra batteries, props, carrying case and more)
  • DJI Mavic Pro (about $930 for a combo)
  • DJI Mavic 2 Zoom ($1240, $1590 for a combo)
  • DJI Mavic 2 Pro ($1500, $1800 for a combo)

Drones in this category feature an electric three-axis gimbal, at least 12 megapixel photo resolution, long exposure abilities (and the stability to make them practical) and 4K videos. The Mavic Air may be limited in range, as WiFi in city centers may be more susceptible to interference than the "Pro" Series transmission technologies.

The DJI Phantom series is much larger than the Mavic Air, and packs a better camera.

The equally affordable Mavic Pro has a long flight time, but only a 1/2.3-inch sensor, while the top model Mavic 2 Pro with a 1-inch sensor expects. Not only does it deliver a higher resolution (20 megapixels instead of 12), it also exhibits significantly improved noise performance in the low light range.

Rather an exotic animal in the line-up is the Mavic 2 Zoom. Also equipped with only a 1/2.3-inch sensor, it has a 2x optical zoom, which enables it to get different perspectives for a given framing (perspective depends on subject distance), and even a very cool aerial mode called Dolly Zoom. With the exception of Spark, all these models are compact and easy to transport. The Mavic 2 Pro offers the maximum picture quality among these and is very portable, making it the current go-to drone for many photographers, your truly included.

Professional Drones

  • DJI Inspire 2 Pro (theoretically starting from $2800 but with a better sensor and exchangeable lenses it's more like $6400 and upward)
  • DJI Matrice (from $6340 with a gimbal, not including a camera)
  • FreeFly Alta 8 (from $18500)

Drones in this category have different camera options with interchangeable optics. From the integrated gimbal with Super 35-millimeter sensor (Zenmuse X7 to Inspire 2) to the digital film camera (Arri Alexa Mini to FreeFly Alta), almost everything is possible here for money. The take-off weights of these devices start at approx. 4 kilograms, which considerably increases the administrative effort. The design allows the camera to move independently under the drone at a 360 degree angle. These drones are often controlled by at least two-person teams and are suitable for professional film productions.

What's Next?

Now we know, more or less, how a camera drone is built and how its parts are connected. We know that today's camera drones are mostly quad-copters, with native stabilized cameras mounted on a gimbal. But what can these aircraft do? Why choose a drone over a helicopter or a plane? How has the drone changed the world of landscape photography? I will cover all this next.

Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates.

If you'd like to experience and shoot some of the most fascinating landscapes on earth with Erez as your guide, take a look at his unique photography workshops in The Lofoten Islands, Greenland, Namibia, the Argentinean Puna, the Faroe Islands and Ethiopia.

Erez offers video tutorials discussing his images and explaining how he achieved them.

Selected Articles by Erez Marom:
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Blackmagic RAW 1.5 adds Adobe and Avid support, two new Blackmagic Video Assist 12G units also announced

Sidste nyt fra dpreview - 14 sep 2019 - 20:59

Blackmagic has announced a number of new products and updates at IBC 2019, but two particular announcements stand out: the introduction of Blackmagic RAW 1.5 and the Blackmagic Video Assist 12G.

Blackmagic RAW 1.5 is a new software update that adds support, via plug-ins, for working with Blackmagic RAW video files directly inside Adobe Premiere Pro and Avid Media Composer, negating the need to transcode files and rely on proxies to edit footage. The update also includes a new version of Blackmagic RAW Speed test that’s compatible with Linux and Windows computer; until now, it was only available for macOS.

The Blackmagic RAW 1.5 update is currently available to download from Blackmagic’s website (under the ‘Latest Downloads’ section halfway down on the page)

Blackmagic also announced the Blackmagic Video Assist 12G, an update to its Video Assist 4K monitor-recorder that includes a brighter HDR screen, built-in scopes, 12G-SDI connectivity and support for recording to external disks over USB-C.

The Blackmagic Video Assist 12G is offered in 5in and 7in models, both of which feature 2500 nit touchscreen LCD displays with wide color gamuts to show Rec. 2020 and Rec 709 colorspaces. Both models include 12G-SDI connections, analog inputs for audio, USB-C external disk recording, dual battery slots for Sony L-Series batteries and headphone output for monitoring audio. Other features include four built-in scopes, tally indicators, enhanced focus assist features and 3D LUTS.

The key differences between the units, aside from size, is that the 7in model features dual UHS-II SD card slots (compared to the single SD card slot on the 5in model), XLR audio input, an Lanc port and uses full SDI inputs (compared to the Micro BNC SDI inputs on the 5in model). These SD card slots are hot-swappable, meaning you can remove and add storage even while recording, making it possible to shoot longer videos without the need to stop and start.

Connections on the device include two S12G-SDI ports, two HDMI ports, two Mini XLR inputs, a USB-C port on the base and a locking 12V DC power connection.

The 5in and 7in Blackmagic Video Assist 12G units will be available in September 2019 for $795 and $995, respectively, from authorized resellers.

Press releases:

Blackmagic Design Announces Blackmagic RAW 1.5

IBC 2019, Amsterdam, Netherlands - September 13, 2019 - Blackmagic Design today announced Blackmagic RAW 1.5 a new software update with support for Adobe Premiere Pro and Avid Media Composer, plus Blackmagic RAW Speed test for Mac, PC and Linux, so customers can work on a wider range of platforms and editing software with their Blackmagic RAW files. Blackmagic RAW 1.5 is available for download now from the Blackmagic Design web site.

Blackmagic RAW 1.5 will be demonstrated on the Blackmagic Design IBC 2019 booth #7.B45.

The new Blackmagic RAW 1.5 update includes Blackmagic RAW Speed Test which is now available on Windows and Linux for the first time. Blackmagic RAW Speed Test is a CPU and GPU benchmarking tool for testing the speed of decoding full resolution Blackmagic RAW frames on their system. Multiple CPU cores and GPUs are automatically detected and used during the test so that customers get accurate and realistic results. Simply select Blackmagic RAW constant bitrate 3:1, 5:1, 8:1 or 12:1 and the desired resolution to perform the test. Results are displayed in an easy to read table that shows how many frames per second the computer can decode for all supported resolutions.

Editors working in Adobe Premiere Pro and Avid Media Composer can now work with Blackmagic RAW files using the free plug-ins found in Blackmagic RAW 1.5. These new plug-ins enable editors to work with Blackmagic RAW directly, so they no longer have to transcode files. That means camera original Blackmagic RAW files can be used throughout the entire workflow. There is no longer a need to create proxy files and conform edits for finishing. These plug-ins bring the quality of RAW in small, modern, GPU and CPU accelerated files that are faster and easier to work with than any other video format.

Best of all, when projects are moved from Premiere Pro or Media Composer into DaVinci Resolve for color correction and finishing, all of the camera RAW metadata and image quality is still there.

"Blackmagic RAW is now available for editors working on all major professional NLEs," said Grant Petty, Blackmagic Design CEO. "It’s exciting because you can now edit native Blackmagic RAW files in Premiere Pro and Media Composer and then finish them in DaVinci Resolve without needing to create proxy files, all without ever losing quality!"

Blackmagic RAW 1.5 Features
  • Includes Blackmagic RAW Speed Test for Mac, Windows and Linux.
  • Adds support for Adobe Premiere Pro and Avid Media Composer.
  • Performance improvements and minor bug fixes.
Availability and Price

Blackmagic RAW 1.5 is available now for download from the Blackmagic Design web site.

Blackmagic Design Announces New Blackmagic Video Assist 12G

IBC 2019, Amsterdam, Netherlands - Friday, 13 September 2019 - Blackmagic Design today announced Blackmagic Video Assist 12G which are new models of the company's popular combined monitoring and recording solutions. These new models feature brighter HDR screens, built-in scopes, upgraded batteries, 12G-SDI and much more. Blackmagic Video Assist 12G will be available in September 2019 from Blackmagic Design resellers worldwide from US$795.

The new Blackmagic Video Assist 12G HDR adds professional monitoring and recording to any SDI or HDMI camera in all HD, Ultra HD, 2K and 4K DCI formats. The new improved design includes innovations such as brighter screens for HDR work, tally indicator, 4 built-in scopes, enhanced focus assist features, 3D LUTs and native Blackmagic RAW recording from supported cameras. With 12G-SDI and HDMI 2.0 on both 5" and 7" models, customers get support for recording from virtually any device in all formats up to 2160p60. A brighter touch screen ensures a better view of their recording when shooting HDR digital film, or when shooting outdoors in sunlight. The new design also features upgraded batteries and supports two standard Sony L-Series batteries. This means Blackmagic Video Assist 12G is incredibly versatile and is the perfect solution for the next generation of digital cinema shoots, live production mastering, broadcast testing and measurement.

There are two models of Blackmagic Video Assist 12G, with each model including an innovative touch screen user interface with deck controls, as well as a large screen to view recordings. The Blackmagic Video Assist 7" 12G model also includes 2 media slots, while both the 5" and 7" models include 12G-SDI for high frame rate Ultra HD, analog inputs for audio, USB-C external disk recording, plus a front panel speaker and side-mounted headphone jack. Customers also get 2 rear battery slots for mounting Sony L-Series batteries, so customers have enough power for the brighter HDR screens and higher speed Ultra HD electronics. A 12v universal power supply is included for studio or on-location use.

Blackmagic Video Assist 12G HDR is an ideal upgrade for cameras, as it’s super bright 2500nit display is bigger than the tiny displays found on consumer cameras, plus users are also adding professional focus assist features and better quality file formats. Video Assist is also a great solution for professional cameras because customers can use it to upgrade older broadcast cameras to modern file formats used on the latest editing software. No matter what editing software customers use, Video Assist lets customers support them all, as customers can record in Apple ProRes, Avid DNx and Blackmagic RAW. With both HDMI and 12G-SDI inputs customers can connect it to any consumer camera, broadcast camera or even DSLR cameras. Then, on supported cameras, customers can even upgrade to RAW style workflows with Blackmagic RAW.

The innovative touchscreen LCD user interface provides incredible control. On-screen, there are dedicated buttons for play, stop and record, plus a mini timeline for scrolling through their recordings. Customers can even image swipe to jog. The LCD includes a heads up display of timecode, video standard, media status as well as audio meters. Scopes can be enabled via the touch screen as well as focus and exposure assist. Plus customers can load and save 3D LUTs.

Video Assist uses commonly available SD card media, so customers can record to flash memory cards that are easy to obtain. The files are small enough to allow long recordings on standard SD cards or the faster UHS-II cards. The larger Video Assist 12G 7" model even includes 2 SD card slots so customers can swap out any full cards even during recording, allowing infinite length recording. Standard SD cards or the faster UHS-II cards are perfect for broadcast because they are small, high speed and affordable.

If recording to other media types is required, then the USB-C Expansion port lets customers plug in an external flash disk for recording. Imagine adding a Blackmagic MultiDock 10G for easy SSD compatibility with other recorders such as Blackmagic HyperDeck models. Customers even get on-screen menus for managing external disks using the touch screen.

Video Assist features a wide range of video and audio connections such as multi-rate 12G-SDI for SD, HD, and Ultra HD SDI devices. HDMI is included for HDMI cameras and monitoring to consumer televisions and video projectors. The 7-inch model features Mini XLR inputs which are provided for audio input from microphones and external audio mixers. Video Assist even includes a 12V DC power connection with locking power connector.

Customers will be ready for the latest HDR workflows with support for the latest HDR standards and an extremely bright screen with a wide color gamut. Plus the high brightness screen makes outdoor shooting in bright sunlight possible. The built-in scopes even change to HDR scopes when working in HDR formats. Files are tagged with the correct HDR information then SDI and HDMI inputs will also automatically detect HDR video standards. Static metadata PQ and HLG formats are handled according to the ST2084 standard. The bright LCD has a wider color gamut so it can handle both Rec. 2020 and Rec. 709 colorspaces. The built-in Video Assist LCD color gamut can even handle 100% of the DCI-P3 format.

Video Assist features full internal waveform monitoring so customers can ensure compliance to broadcast standards and it also works great as a portable waveform monitoring solution. The waveform display provides a traditional luminance (brightness) levels view of the video inputs or the playback signal. The vectorscope display allows customers to see the intensity of color at 100% SDI reference levels. Customers also get an RGB parade display which is ideal for color correction and checking for illegal levels. Histogram shows the distribution of white to black detail in their images and highlights or shadows clipping. The built in scopes can even be overlaid on live video, or as a small picture in picture view at the top right of the scope.

The SDI and HDMI connections are multi-rate, so handle SD, HD, and Ultra HD. SD formats include NTSC and PAL. 720p HD standards include 720p50 and 59.94p. 1080i HD interlaced formats include 1080i50 and 59.94. 1080p HD formats include 1080p23.98, 24, 25, 29.97, 30, 50, 59.94 and 60p. Customers can even do 1080 PsF formats. Ultra HD is supported up to 2160p59.94. Customers can even record 2K and 4K DCI rates up to 25p for digital film work.

Video Assist works with industry-standard 17 and 33 point 3D LUT files, or customers can work with the built-in LUTs such as Extended Video, Film to Video, Film to Rec.2020 and more.

Video Assist records using standard open file formats so customers don’t have to waste time transcoding media. Recording works in industry-standard 10-bit ProRes or DNx files in all formats and from all HDMI or SDI cameras, as well as 12-bit Blackmagic RAW when connected to supported cameras. Best of all media files work on all operating systems.

Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from cameras. Video Assist supports Blackmagic RAW recording from popular cameras such as Panasonic EVA1 and Canon C300 MK II. This eliminates the problems with popular camera formats such as H.264, which are highly compressed resulting in noise and processing artifacts. It also saves camera settings as metadata so customers can set ISO, white balance and exposure, then override them later while editing, all without any loss of quality. Blackmagic RAW files are also small and fast to use making them easy to work with.

Blackmagic Video Assist 12G includes a built-in professional audio recorder that’s much better quality than the audio quality found in most cameras, eliminating the need to carry around extra audio equipment. When working in SDI formats, customers can record 2, 4, 8 or 16 channels of audio in real-time. For connecting microphones the Video Assist 7" model has two XLR analog audio inputs with phantom power that support the high definition audio sample rate of 192 kHz at uncompressed 16 and 24 bit per sample. Customers can monitor using on-screen audio meters with user-selectable VU or PPM ballistics.

Multiple languages are fully supported so customers don't need to learn another language to use it. Support is included for English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese and Turkish.

The files from Blackmagic Video Assist 12G are common and are compatible with all operating systems or in most video software. Media can be formatted using ExFAT or HFS+ so customers can easily access the media on computers and access the files like regular disks. DaVinci Resolve is perfect for use with Video Assist because it features editing, color correction, audio post-production and visual effects all in one software application.

"The original Blackmagic Video Assist monitors and recorders were very popular and a fantastic way to upgrade older cameras, as well as for use in general broadcast areas of the television industry," said Grant Petty, Blackmagic Design CEO. "These new models are an incredible improvement and incorporate all the lessons we have learnt from our customers in Hollywood. They have brighter LCD screens, 12G-SDI, Blackmagic RAW, better focus assist tools, presets, 3D LUTS and much more! They are so nice and it’s very exciting!"

Blackmagic Video Assist 12G Features
  • Supports live production, digital signage and archive use.
  • Modern design with fast to use touch screen controls.
  • Upgrades cameras to better monitoring and better record codecs.
  • Large LCD screen for digital film style focus assist tools.
  • SD/USH-II card support for commonly available media.
  • Records direct to external USB-C media disks.
  • 12G-SDI and HDMI for recording in SD, HD and Ultra HD.
  • Advanced HDR support with bright 2500nits wide gamut LCD.
  • Built in scopes include waveform, vector, parade and histogram.
  • Latest Multi Rate 12G-SDI technology for SD, HD and Ultra HD.
  • 3D LUTs can be applied for both monitoring and recording.
  • Standard open file formats compatible with popular software.
  • Records Blackmagic RAW from supported third party cameras.
  • Professional multi channel digital and analog audio.
  • Localized for 11 popular international languages.
  • Works with popular NLE software such as DaVinci Resolve.
Availability and Price

Blackmagic Video Assist 12G will be available in September 2019 from US$795, excluding duties, from Blackmagic Design resellers worldwide.

Kategorier: Sidste nyt

DPReview TV: Canon EOS M6 Mark II review

Sidste nyt fra dpreview - 14 sep 2019 - 09:00

This week Chris and Jordan review the new Canon EOS M6 II mirrorless camera. Even if you're not interested in the camera, you should probably watch just to see Jordan sing a Dire Straits cover.

Also, subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Sample gallery from this week's episode $(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_2004444276","galleryId":"2004444276","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });
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Canon EOS M6 Mark II sample gallery (DPReview TV)

Sidste nyt fra dpreview - 14 sep 2019 - 09:00
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A new gallery from the Canon EOS M6 II, shot by Chris and Jordan while filming this week's episode of DPReview TV. As usual, it comes complete with reflected images in puddles.

Kategorier: Sidste nyt

STC expands Clip Filter series with new Panasonic Lumix M43 ND and IR filters

Sidste nyt fra dpreview - 14 sep 2019 - 00:42

STC Optics has expanded its Clip Filter Series to include new filters for Panasonic Lumix M43 camera systems, as well as the Z Cam E2 4K Cinema Camera and Blackmagic Pocket Cinema Camera 4K. As with the existing Clip Filters, the new series is designed to be sandwiched between the camera body and lens, positioning the filter over the sensor instead of on the front of the lens.

STC explains that its Panasonic M43 Clip Filter is designed to fit in front of the shutter mechanism to avoid interfering with the camera's anti-shake function. All of the filters are made with Schott B2790 optical glass with double-sided NANO anti-smudge coatings and A2 stainless steel.

The new Clip Filter lineup includes a sensor protector filter, neutral density filters offered in N8, N16, ND64, ND400 and ND1000, as well as 590nm, 720nm and 850nm IR filters, a 625nm UV-IR cut filter and Astro filters in the following options:

- Multispectra Multi-Band Interferometric Filter
- Duo-Narrowband
- Bimodal Narrowband Filter​ ​
- Nightscape Starscape Filter

The STC Clip filters are available on Amazon UK for £81.99 to £91.99, depending on the model, with more options available on the STC website at prices ranging from $80 to $430.

Kategorier: Sidste nyt

Atomos shares info on S1H ProRes Raw update, to offer 16-bit Raw capture with Sony FX9

Sidste nyt fra dpreview - 13 sep 2019 - 22:41

Atomos has made two announcements that will bring improved video recording capabilities to two recently-released cameras: the Panasonic Lumix S1H and the Sony FX9.

First up, Atomos has shared more information regarding a previous announcement that it was working alongside Panasonic to co-develop a means to capture Raw video for the Lumix S1H. Atomos has now provided both a timeframe (albeit a rough one) and official specifications for the impending firmware update.

Atomos says the S1H firmware update will make it possible to record 5.9K/29.97p Raw and C4K/59.94p video on the Atomos Ninja V monitor-recorder over HDMI. Currently, the Lumix S1H can record 6K/24p (3:2 aspect ratio), 5.9K/29.97p (16:9 aspect ratio) and 59.94p 4K/C4K, so this update will be a substantial bump in recording capabilities.

In its announcement, Panasonic also revealed that ProRes Raw would be the codec supported for Raw recording. The firmware is scheduled to be launched in early 2020.

Atomos has also announced that it's Neon 8K MCU (Adorama, B&H) will support 4K 16-bit Raw recording from Sony’s recently-unveiled FX9 camera. Details are scarce, but Atomos’ press release, embedded below, implies the functionality will be available when the FX9 ships later this year in December 2019.

It seems Atomos is adamant on working alongside camera manufacturers to get the most from the sensors inside the manufacturers’ latest cameras. In January 2019, Atomos said it was working with Nikon to bring 4K Raw video capture over HDMI to its Ninja V external recorder.

We’ve since learned this update won’t be free and will require cameras to be sent into Nikon service centers to perform an ‘internal upgrade’ to the camera, but the promise still remains. According to the latest information, the 4K Raw video update is still scheduled to be released before the end of the year.

LUMIX S1H Firmware Development Underway for 5.9K/29.97p and C4K/59.94p RAW Video Data Output to Atomos Ninja V

Newark, NJ (September 13, 2019) – Panasonic is proud to announce the development of firmware for the LUMIX S1H full-frame mirrorless camera which enables the output of 5.9K/29.97p RAW and C4K/59.94p video data to the Atomos Ninja V monitor-recorder. The firmware is scheduled to be launched in early 2020.

The LUMIX S1H is the world’s first camera to combine professional-level video quality, the high mobility of a mirrorless camera and a Full-Frame sensor. It is currently capable of video recording at 6K/24p*1 (3:2 aspect ratio), 5.9K/29.97p (16:9 aspect ratio), and 59.94p 4K/C4K.*2 *3 The LUMIX S1H will be introduced in late September 2019.

Panasonic has a long history of collaboration with Atomos. This relationship will deliver new RAW video functionality for the S1H. 5.9K up to 29.97p and C4K*3 up to 59.94p in RAW delivered over HDMI is in development. With this firmware Apple ProRes RAW can be recorded on the Atomos Ninja V.

A LUMIX S1H prototype with this firmware will be exhibited along with the Atomos Ninja V in the Panasonic booth (Booth No. C45, Hall 11) at the IBC2019 (International Broadcasting Convention) to be held in Amsterdam, the Netherlands, from September 13-17, 2019.

Atomos Announce 16bit RAW Support on New FX9 From Sony

PORT MELBOURNE, Australia, Sept. 13, 2019 /PRNewswire/ -- Off the back of Sony Imaging Products & Solutions Inc. ("Sony") unveiling their groundbreaking new FX9 today at IBC, Atomos is excited to announce 16bit RAW support from this new camera to the Atomos Neon 8K MCU.

"We have a long and proud history of collaborating with revolutionary companies like Sony, we are working closely with the FX9 camera team to deliver 4K 16bit RAW from the FX9 to our Neon cinema monitor-recorders." Said Jeromy Young, Atomos Co-founder and CEO.

The FX9, which will go to market towards to end of 2019, features an advanced 6K full-frame sensor and has been designed to give professional shooters greater flexibility and capture capability, making it an ideal match for the Atomos Neon range. The FX9 has the same DNA as the popular VENICE cinema camera making it the ideal music, documentary, drama and event shooting.

"When paired with an Atomos Neon, the FX9 will be one of the most advanced production tools available today. We're excited to empower content creators and filmmakers at the highest level through our ongoing work with Sony." Added Young.

Kategorier: Sidste nyt

Sony's FX9 will offer oversampled 4K 4:2:2 10-bit internal recording, Dual Base ISO and more

Sidste nyt fra dpreview - 13 sep 2019 - 22:01

Sony has unveiled the FX9, a new XDCAM camera that features a 6K full-frame sensor, a hybrid autofocus system and, most interestingly, an E-mount for attaching lenses.

The camera is based around a newly-developed 6K Exmor R sensor that features over 15 stops of dynamic range, Dual Base ISO (ISO 800 and 4000 in S-Log 3) taken from Sony’s Venice cameras and internal oversampled 4K 4:2:2 10-bit recording. Sony does note though that the FX9 will only support 3840x2160 recording at launch with full 4096x2160 recording following in a future update. The FX9 is also capable of capturing Full HD at 120 frames per second.

The Fast Hybrid AF system features a 561-point phase-detection AF sensor that covers roughly 94 percent the width and 96 percent the height of the imaging area. Sony has also taken inspiration from its FS7 series and included a continuously variable electronic variable neutral density (ND) filter.

An illustration comparing Sony's Exmor CMOS sensor to its new Exmor R CMOS sensor.

The FX9 is also capable of recording image stabilization metadata that will be able to be imported into Sony’s Catalyst Browse/Prepare software to precisely stabilize footage in post-production via an update expected to be out in December 2019. Sony says other post-production software developers are being encouraged to adding this functionality as well.

A list of selectable framerates on the FX9 in both full-frame and Super 35 modes.

Sony has also made the FX9 compatible with existing and new accessories, including Sony’s UWP-D wireless microphones, the XDCA-FX9 extender kit that enables 10-bit Super35 4K video at 120 fps (as well as 16-bit Raw output in an upcoming update) and additional accessories.

To pair with the FX9, Sony has announced the FE C 16-35mm T3.1 G, an E-mount lens designed to work hand-in-hand with the new E-mount camera system. The lens features two Extreme Aspherical (XA) elements, an 11-blade aperture diaphragm and floating focus groups to offer improved focusing across the entire zoom range.

The FX9 will be available ‘towards the end of 2019’ while the FE C 16-35mm T3.1 G lens is set for a spring 2020 release. Pricing information hasn’t yet been confirmed for either units.

Sony Launches FX9 4K Camera with Newly-Developed Full-frame Sensor, Dual Base ISO and Fast Hybrid Auto Focus System

Next generation camera offers greater flexibility to bring artistic vision to life

SAN DIEGO, CA — SEPTEMBER 13, 2019 — At IBC 2019 in Amsterdam, Sony today unveiled the PXW-FX9, its first XDCAM camera featuring an advanced 6K² full-frame sensor and Fast Hybrid Auto Focus (AF) system. The new camera offers content creators greater creative freedom and flexibility to capture stunning images that truly resonate with audiences.

Building on the success of the PXW-FS7 and PXW-FS7M2, the FX9 uniquely combines high mobility with an advanced AF system, impressive bokeh and slow-motion capabilities thanks to its newly-developed sensor. The FX9 also inherits its color science and a Dual Base ISO from the VENICE digital motion picture camera, creating the ultimate tool of choice for documentaries, music videos, drama productions and event shooting.

The FX9 was designed in close collaboration with the creative community and is an example of Sony continuously evolving cameras to innovate for the customer and market needs. The FX9 benefits from the versatility, portability and performance expected of an FS7 series "Run & Gun" style camera, while also offering High Dynamic Range and full-frame shooting features.

“We are always listening to our customer’s voice, pushing to deliver innovation that allows them to realize their full artistic intention,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “With the new FX9, we are striking an attractive balance between agility and creative performance. We’ve combined the cinematic appeal of full-frame with advanced professional filmmaking capabilities in a package that’s extremely portable and backed by the extraordinary versatility of Sony E-mount.”

Powerful features

The newly-developed Exmor RTM sensor offers wide dynamic range with high sensitivity, low noise and over 15 stops of latitude that can be recorded internally in 4K³ 4:2:2 10bit. Oversampling of the full-frame 6K sensor’s readout allows professionals to create high-quality 4K footage with impressive bokeh effects through shallow depth of field, while wide-angle shooting opens new possibilities for content creators to express their creativity.

A dual base ISO of 800 and 4000 enables the image sensor’s characteristics to best capture scenes from broad daylight to the middle of the night. With S-CinetoneTM color science, the new sensor can also create soft and alluring facial tones. The camera can also capture content up to five times slow-motion with Full HD 120fps shooting played back at 24p.

The shallow depth of field available with a full-frame image sensor requires precise focus control, and the enhanced Fast Hybrid AF system, with customizable transition speeds and sensitivity settings, combines phase detection AF for fast, accurate subject tracking with contrast AF for exceptional focus accuracy. The dedicated 561-point phase-detection AF sensor covers approximately 94% in width and 96% in height of the imaging area, allowing consistently accurate, responsive tracking – even with fast-moving subjects while maintaining shallow depth of field.

Creative freedom

Inspired by the high mobility "Run & Gun" style approach from the FS7 series of cameras, the FX9 offers content creators shooting flexibility thanks to a continuously variable Electronic Variable ND Filter. This enables instant exposure level changes depending on the filming environment, such as moving from an inside space to outdoors or while filming in changing natural light conditions.

Additionally, the FX9’s image stabilization metadata can be imported to Sony’s Catalyst Browse/Prepare⁴ software, to create incredibly stable visuals even in handheld mode. Sony is also working to encourage third-party non-linear editing tools to adopt this functionality.

The FX9 comes with a wide range of customizations and expansion features. These include compatibility with the new UWP-D series of wireless microphones via Multi Interface Shoe™ (MI Shoe) with digital audio interface, the XDCA-FX9 extender kit enabling 10bit Super35 4K 120fps and 16bit RAW output in a future update, compatibility with Sony BP-GL and BP-FL series batteries, D-Tap, RJ-45 interface and stable “Dual Link” streaming by using two carrier lines, as well as DWX slot-in type digital wireless receiver commonly used in broadcasting settings⁵. The FX9 will also be compatible with the newly launched E-mount lens FE C 16-35mm T3.1 G, which uniquely balances full manual operability for professional cinema shooting and auto-control functions.

“What narrative cinematographers, documentary filmmakers, music video directors and broadcasters have in common is a need for a flexible camera that allows them to tell unique stories, no matter the environment in which they operate. As a next-generation professional camera, the FX9 captures stunning visuals with the lifelike image quality available from a full-frame sensor, while adding the benefits of advanced auto focus features and customization. This makes it the ultimate creative tool for modern storytellers,” concludes Neal Manowitz.

The FX9 will be available towards the end of 2019 and on display at the Sony stand (A10, Hall 13) at IBC 2019 September 13th- 17th. For more information, please visit www.pro.sony/ibc.

A variety of additional content related to Sony’s cinema imaging products, including articles, videos and events, can be found at www.sonycine.com.

¹Initially supported recoding aspect is 16:9; 17:9 (active about 19M pixels) will be supported by future update.

²6K Oversampling; not capable of 6K recording.

³3840x2160 recording is initially supported; 4096x2160 recording will be supported by future update.

⁴Planned to be supported by Ver.2019.2 in December 2019.

A future update will be scheduled sequentially for summer 2020. Further details will be announced.

Sony Unveils Full-frame E-Mount Cinema Lens FE C 16-35mm T3.1 G, Designed for High Optical Performance and Reliable Operability

Lens offers greater flexibility for video content creation, with servo zoom and autofocus/autoexposure system

SAN DIEGO, CA — SEPTEMBER 13, 2019 — At IBC 2019 in Amsterdam, Sony today introduced a new full-frame E-mount, 16-35mm lens (FE C 16-35mm T3.1 G) to accompany the newly announced FX9 full-frame camera. The lens offers high optical performance, reliable operability and intelligent shooting functions for cinematographers. It is compatible with the full range of Sony’s E-mount cameras - from Alpha™ interchangeable lens cameras to the VENICE digital cinema camera - bringing unprecedented creative flexibility for all content creators. Sony also announced their intention to expand the FE C Cinema Lens line-up going forward.

"The performance of our new E-mount Cinema Lens series offers filmmakers greater creative freedom and helps them concentrate on their artistic vision. Encompassing the full range of Sony E-mount cameras, our “One Mount” solution is the most powerful system designed for today and for the future," comments Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics.

Lens for a new age of full-frame video shooting

The new lens is compatible with the intelligent shooting functions of E-mount. Paired with the new full-frame FX9 camera, it supports fast and accurate auto focus, making it possible to track quick-moving subjects while maintaining a shallow depth of field.

Stunning bokeh and corner-to-corner resolution

The two XA (Extreme Aspherical) elements with extreme surface precision of 0.01-micron, together with circular 11-blade apertures, deliver beautifully smooth bokeh in every frame. The two XA elements and three aspheric lenses are positioned in a way that effectively reduces field curvature, astigmatism and, in combination with two ED (Extra-low Dispersion) glasses, reduces color distortion. Additionally, floating focus employs two focusing groups, providing outstanding resolution at every zoom position. Nano AR (Anti Reflection) coating drastically reduces flare and ghost phenomenon.

Excellent operability with three independent rings, remote control from the camera, and a detachable servo zoom

The new E-mount lens further offers accurate and precise operability thanks to three independent rings for focus, zoom and iris that content creators can manipulate to get the exact results they desire. The linear response Manual Focus (MF) feature provides direct adjustment for precise and repeatable manual focusing. The focus ring with a large rotation angle also includes a distance scale, which makes it possible to quickly and easily set the same focus position during scenes that need to be shot repeatedly.

The new range also supports a number of lens accessories to facilitate a variety of different shooting styles. The industry standard 0.8mm pitch gear on each lens ring provides the option to use follow focus and remote actuators. Equally, the widely-available 115mm diameter matte box and lens support can be used to aid accurate, responsive and precise operability. Additional functions include a de-clickable iris ring that prevents unintended iris change during shooting, the option to reverse the rotation direction of the zoom ring to be fitted with user’s preference and detachable servo zoom that provides smooth zooming expression.

The new 16-35mm (FE C 16-35mm T3.1 G) will be available in Spring 2020.

To learn more about the new cinema lens, visit Sony stand (A10, Hall 13) at IBC 2019 September 13th-17th. For more information please visit www.pro.sony/ibc.

A variety of additional content related to Sony’s cinema imaging products, including articles, videos and events, can be found at www.sonycine.com.

Kategorier: Sidste nyt

Video: Watch 72 high-speed cameras capture bullet time slow-mo footage

Sidste nyt fra dpreview - 13 sep 2019 - 19:36

Popular YouTube account Hydraulic Press Channel has introduced a major filming setup upgrade involving 72 high-speed Chronos 1.4 cameras mounted on a large rig suspended above the hydraulic press machine. The cameras are able to capture nearly 3,000,000 frames per second, according to the channel's host, resulting in high-resolution 360-degree bullet-time videos.

The camera rig is used to show packs of playing cards exploding outwards under the pressure of the hydraulic press. It's unclear how often this rig will be used for hydraulic press videos, but a comment published by the account indicates the team plans to introduce a new 'Bullet Time Show' on the Beyond The Press channel.

The Chronos 1.4 high-speed camera is offered by Kron Technologies with color and monochrome sensor options starting at $2,999.

Kategorier: Sidste nyt

Google Photos adds Instagram Stories-style Memories feature, now offers canvas prints

Sidste nyt fra dpreview - 13 sep 2019 - 18:17

Google Photos is expanding its feature set and has launched Memories, a slideshow feature that works in a similar way as Instagram stories. Memories is designed to highlight special events, such as birthdays, trips and holidays, and let you remember those special moments without having to sift through stacks of duplicate images.

Photos and videos from previous years will be pinned to the top of your gallery for you to browse. Google uses machine learning to curate your Memories and pick the best shots out of many similar ones. Certain people or time periods can be blocked in case you´d rather not be reminded of them, and you can also deactivate the feature completely.

Memories can also be shared with people who appear in them and others. Google says that in the coming months it will make this process even easier. Shared photos will be added to an ongoing, private conversation which should make it easier to keep count of the images you have shared with each other.

In addition, you can now search for text that appears in photographs or screenshots via the standard search function. This could be useful for those who store recipes or other text documents in image format in Google Photos.

U.S. users can now also order both standard photo prints and canvas prints directly from the app. Individual photo prints can be ordered directly through Google Photos and are available to pick up from your local CVS Pharmacy or Walmart that same day at over 11,000 locations. Canvas prints are available in 8x8in, 12x14in, and 16x20in formats and prices start at $19.99. The app suggests the best photos to print and the canvas prints will be delivered straight to your home.

Kategorier: Sidste nyt

Adobe shows off its new Sensei-powered Auto Reframe tool for Premiere Pro

Sidste nyt fra dpreview - 13 sep 2019 - 15:39

Adobe has announced Auto Reframe, a new Adobe Sensei-powered framing tool coming to Premiere Pro.

Auto Reframe uses Adobe’s AI and machine learning technology to automatically recompose footage for different formats so a single video can easily be created for multiple aspect ratios without having to manually keyframe each clip. Auto Reframe analyzes the video it’s applied to, crops it according to the aspect ratio of your choosing, and will pan the video to keep track of the subject matter.

If the automated result isn't quite where it should be, editing the resulting composition is as easy as changing a few of the keyframes that are automatically created with the tool.

Adobe doesn’t give a specific timeframe for the arrival of Auto Reframe, but says it will launch in an update to Premiere Pro ‘later this year.’

Coming soon to Premiere Pro: Auto Reframe

Today, we’re excited to announce a new feature coming to Premiere Pro that will be a must-have in the age of content and platform proliferation. Powered by Adobe Sensei, Auto Reframe intelligently reframes and reformats video content for different aspect ratios, from square to vertical to cinematic 16:9 versions. Like Content-Aware Fill for After Effects (introduced this spring), Auto Reframe is an Adobe Sensei technology that uses AI and machine learning to accelerate manual production tasks, without sacrificing creative control. Through Adobe Sensei, we’re leveraging over a decade of AI and machine learning capabilities built into Adobe’s flagship products.

For broadcasters or anyone else who needs to optimize content for different platforms, Auto Reframe will help you get there faster. If you’re on the ground at IBC, we’d be happy to show you how Auto Reframe analyzes, crops, and pans footage to prioritize the most compelling parts of your video at our IBC Stand (Hall 7-7.B35).

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Canon RF 85mm F1.2L USM sample gallery updated

Sidste nyt fra dpreview - 13 sep 2019 - 15:00
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The Canon RF 85mm F1.2L USM is one of the most impressive lenses released for the nascent RF system. Sharp at all apertures and capable of excellent rendering – especially for portraiture – it's quickly becoming one of our favorite lenses for any system. We've taken the opportunity this summer to update our original sample gallery with new images, converted from Raw. Take a look.

See our Canon RF 85mm F1.2L USM
sample gallery

Kategorier: Sidste nyt

X-Rite releases i1Display Studio and Pro Plus color calibration systems for professionals

Sidste nyt fra dpreview - 12 sep 2019 - 21:18

Color management company X-Rite has introduced i1Display Studio and i1Display Pro Plus, two new display color calibration products for photographers and other imaging professionals. The products offer advanced display calibration, the Pro Plus building upon the Studio's features to include capabilities for professionals who use 'super-bright, HD, and HDR' displays.

The i1Display Studio features the i1 colorimeter for use with the i1Studio software, offering display calibration to ensure a consistent color profile over time. The product features Flare Correct, Intelligent Iterative Profiling, and X-Rite Ambient Light Measurement.

In addition to support for NTSC, PAL, DCI-P3, SECAM, Rec. 709, and Rec. 2020 video standards support, i1Display Studio allows users to control the color adjustment, color match up to four displays, validate results, and get reminders when it is time to re-profile a display.

i1Display Pro Plus builds upon these features, offering the i1Display Pro Plus colorimeter and i1Profiler software. This product adds support for accurately measuring brightness and luminance levels up to 2,000 nits, BT.1886 default gamma curve, and a new Black Current Subtraction tech that X-Rite says is particularly useful for displays offering close to zero black point, including OLED. The company includes a USB-C to USB-A adapter for USB-C compatibility.

Both products can be used to calibrate monitors, projectors, and mobile devices like tablets. The i1Display Studio is available now for $179 USD and the https://xritephoto.com/ph_product_overview.aspx?id=2640&catid=156&utm_source=Adestra&utm_medium=email&utm_content=i1Display%20Pro%20Plus%2C&utm_campaign=xrite_i1DisplayPro_pressrelease is available now for $299 USD.

Kategorier: Sidste nyt

Samyang's new XEEN CF Cine Prime full-frame lenses detailed ahead of Q3 launch

Sidste nyt fra dpreview - 12 sep 2019 - 19:48

Samyang has launched its new line of XEEN CF Cine Prime full-frame lenses made from lightweight carbon fiber. The XEEN CF will be offered in 16mm, 24mm, 35mm, 50mm, and 85mm options for Canon EF, Sony E and PL mounts. The model features a T1.5 aperture, 11-blade diaphragm and luminous numbers on the lens rings for making adjustments in dark conditions.

The XEEN CF lenses feature the company's proprietary X-Coating for minimized reflections paired with controlled ghosting and flares for halation, producing a 'dramatic effect.' Users are promised 'beautiful bokeh' thanks to the 11-blade diaphragm and excellent low-light performance from the bright aperture.

The lenses are designed for large format and 8K sensors, offering the durability and light weight of carbon fiber at 0.9kg (2lbs) to 1.1kg (2.4lbs), depending on the model. Due to the low weight, the new XEEN CF lenses can be used with gimbals and drones in addition to movie cameras.

The company will initially launch its 24mm, 50mm and 85mm lenses in Q3 2019; the 16mm and 35mm options won't be released until early next year. Prices are unclear at this time, but ePhotozine claims the lenses will be showcased at the 2019 IBC Exhibition in Amsterdam from September 13 to 17.

Kategorier: Sidste nyt

Canon PowerShot G5 X Mark II review

Sidste nyt fra dpreview - 12 sep 2019 - 17:00
Introduction $(document).ready(function() { SampleGalleryStripV2({"galleryId":"1147209775","isMobile":false}) }) 82%Overall scoreJump to conclusion

Canon's PowerShot G5 X Mark II is a high-end compact camera with a versatile lens, great controls and a modern 1"-type sensor. For a small camera, we find the grip to be generous and secure, and the updated processor combines with the new sensor for some seriously responsive performance. The pop-up electronic viewfinder is a nice touch and the camera also comes with fast burst shooting as well as good-quality 4K video.

In creating the G5 X Mark II, Canon has clearly taken more design inspiration from the G7 X lineup than the original G5 X. Gone from the old camera is the centrally mounted viewfinder and fully articulating screen, but the new camera is more svelte and pocketable as a result. Plus, Canon has extended the lens' zoom reach while maintaining a fast aperture range, which is a nice bonus. On the not-so-good side of things, for some reason Canon has decided that 24p video recording is unnecessary, there's no microphone jack, some customization options are limited, and the small battery means you'll likely want to carry a spare if you're a heavy shooter.

Key specifications:
  • 20MP 1"-type stacked CMOS sensor
  • 24-120mm equiv. F1.8-2.8 lens
  • Pop-up electronic viewfinder and flash
  • Touchscreen tilts up 180° and down 90°
  • 8fps burst shooting with autofocus, 30fps Raw burst mode
  • 4K/30p, 1080/60p video recording with IS (no 24p options)
  • 1080/120p slow motion video with no audio or autofocus
  • Wi-Fi + Bluetooth wireless connectivity
  • USB 3.1 (with USB-C connector) for data transfer and charging
  • 230-shot battery life (180 using the EVF) per CIPA standard
Out-of-camera JPEG
ISO 125 | 1/1000 sec | F4
Photo by Jeff Keller

The G5 X Mark II looks, in many ways, to be a near-ideal travel or family camera for enthusiast photographers that like having a dedicated camera with them at all times - does it live up to this promise? Time to dig in and find out in our full review.

What's new and how it compares

The G5 X II looks a lot like a cross between Canon's own G7 X III and Sony's RX100-series - here's how it compares inside and out.

Read more

Body, controls and handling

On the G5 X II, Canon's fitted one of the nicest grips we've ever used on such a small camera - but there's more to it.

Read more

Image quality

Take a deep-dive into the G5 X II's image quality, including how its lens performs.

Read more

Autofocus, Raw burst and video performance

Autofocus and video performance from the G5 X II are pretty good - but are they enough to stand out among strong competition?

Read more

Conclusion

Canon's PowerShot G5 X Mark II earns a solid silver award - here's the full story.

Read more

Sample gallery

From camping to cats and the occasional dog, we've got a full sample gallery from the G5 X II for your perusal.

See the gallery

Kategorier: Sidste nyt

Fujifilm updates X-T3 firmware to fix an issue that can occur when shooting in ‘S’ drive mode

Sidste nyt fra dpreview - 12 sep 2019 - 16:16

Fujifilm has released a small firmware update for its X-T3 mirrorless camera that fixes a specific ‘phenomenon’ that can require you to turn your camera off and back on again.

Firmware version 3.01 (previously version 3.00) addresses an issue wherein a message reading ‘turn off the camera and turn on again’ can appear when shooting in the ’S’ drive mode while repeatedly taking photos within a short timeframe.

Aside from that, Fujifilm doesn’t mention any other fixes in this update, even basic bug fixes.

You can find information on how to install the firmware and download the update on Fujifilm’s website.

Kategorier: Sidste nyt

The X-A7 is Fujifilm's first good entry-level mirrorless ILC

Sidste nyt fra dpreview - 12 sep 2019 - 13:00

Back when Fujifilm announced the X-A5 in early 2018, it sounded like a really appealing entry-level ILC; in terms of spec, at least. It had an time-tested 24MP APS-C sensor, on-sensor PDAF, a flip-up touchscreen display, 4K video capture, a mic socket and great battery life.

Unfortunately, aside from image quality, the X-A5 turned out to be a pretty lousy camera. It was very sluggish and the autofocus system was unreliable. While it could indeed capture 4K video, it was at 15 frames per second, which is essentially an 8MP burst mode (or silent-era movie simulator). Everyone knows that Fujifilm is capable of making excellent cameras (like the X-T3), which made the X-A5 that much more disappointing.

The new X-A7 gives me hope. It's way faster, has a more robust AF system, a fully articulating touchscreen, AF joystick, a USB-C port and oversampled 4K capture, all for under $700 with a lens. And it comes in mint green!

Aside from the color of the camera Fujifilm sent us, what grabbed my attention first was that 3.5", 2.76 million-dot display, which is the best I've seen on a low-priced camera – by a large margin. The screen has a 16:9 aspect ratio, which means that you'll get black margins when shooting stills. But if you're into vlogging, that aspect ratio, paired with the built-in 2.5mm mic socket (a 3.5mm adapter is included) and oversampled 4K/30p make the X-A7 an appealing option, unless its 10 minute recording limit is an issue.

In order to incorporate the large LCD, Fujifilm has had to redesign the back of the camera. The four-way controller has been replaced by an 8-way joystick which, while on the small side, works well.

Since the four-way controller is gone, getting at some settings is a bit harder. Accessing the touch-enabled Q.Menu requires two taps on the display, while the self-timer needs to be assigned to a custom button (Strangely, there's no way to assign the Q.Menu to a custom button - at least, not yet.)

The rear dial moved to a more traditional position on the top plate, as opposed to the one that was upward-facing dial on the back of earlier models. The power switch has been transformed from a switch to a button that sits in-between all of the dials. As someone who was constantly turning the X-A5 (and X-T100) on and off accidentally due to the switch's placement, I appreciate this change.

The X-A7 has a refined, touch-enabled menu system

While I was drooling over the display, my colleague Carey was scrolling through the menus, noting how much more responsive they were than on the X-A5 and X-T100. While we can't put a number to it, it's clear that the X-A7 got a processor bump of some sort. I wondered if that translated to faster burst shooting or a larger buffer, but it did not: it's still 6 fps, for up to 4-5 shots.

Pressing the menu button brings up this new on-screen UI

After stealing the camera back from Carey, I toyed with the new touchscreen interface, which has simple on-screen buttons for adjusting focus mode, brightness, skin softening and a few other things, depending on the shooting mode. A button for accessing the touch-enabled Q.Menu is also here.

One very cool thing that Fujifilm snuck in appears when you change the Film Simulation mode: a side-by-side view showing comparing your current mode versus the other options. You can even move a slider (shown in the video above) back and forth. This isn't a feature I've been dreaming about, but now that I've seen it, I'm hoping that it appears on more cameras.

It's nice to see that Fujifilm has released a camera that actually surpasses our expectations for an entry-level product

Seeing how I've only used the camera for a day, it's too early to make any judgments about image quality or autofocus performance. Fujifilm says that the 24MP sensor is newly developed, with copper wiring and fast readout speeds (something it also said back when the X-T2 was introduced). The autofocus system has phase-detect points across the whole frame and offers both face and eye detection. Fujifilm has hinted that new AF algorithms will allow the X-A7 to perform as well or better than the X-T30/X-T3. We'll see how it does when we put it in front of a weaving bicycle when a production model appears.

After putting out a bunch of really disappointing X-A series cameras, it's nice to see that Fujifilm has listened to their customers (and perhaps some camera review websites) and released a camera that actually surpasses our expectations for an entry-level product, assuming that the autofocus really is better than the X-A5. How it holds up against competitive products from Canon, Olympus, Panasonic and Sony remains to be seen, but based on my initial tinkering with the camera, I'm definitely impressed.

Kategorier: Sidste nyt

Hands-on with the Fujifilm X-A7

Sidste nyt fra dpreview - 12 sep 2019 - 07:00
Introduction

Feast your eyes on the Fujifilm X-A7, in all its mint green glory. Though this is an entry-level camera, it's significant because it's the first major redesign of Fujifilm's X-A series...well, since Fujifilm started making the X-A series. Just like previous models though, it's got a Bayer color filter array, foregoing Fujifilm's usual X-Trans array used in most of its other APS-C mirrorless cameras.

We've been lucky enough to get our hands on a pre-production model to give you a tour of all of the design updates on Fujifilm's new budget ILC.

A new sensor

Although the Fujifilm X-A7's sensor is still an APS-C unit and still offers 24MP, it's an all-new design. According to Fujifilm, this sensor and 'industry-leading copper wiring' help contribute to the camera's speed, and we suspect, to its adoption of 'real' 4K video at 30 frames per second. (The previous X-A5 could shoot 4K 'video' at 15 frames per second.)

The sensor also comes with 8.5X more phase detection pixels than its predecessor, giving you a total of 425 autofocus points. Burst shooting is a bit less impressive, coming in at 6fps with a very small buffer. We'll be testing out this new autofocus system as soon as we get our hands on a final review unit.

The huge rear screen

Just take a look at that rear screen. It's a healthy 3.5" unit, with a 16:9 aspect ratio and a very impressive 2.76 million dots: higher than most other cameras this side of a Nikon D850. It also reaches an impressive brightness, so it should be fairly usable outdoors - an important consideration, as the X-A7 has no viewfinder.

Clearly visible here is also the new 8-way joystick, which you'll use to navigate the menus and move your AF point around. However, you can also use the huge rear screen for the very same functions, should you desire. One more thing to note about the screen, before we move on...

The huge, fully-articulating rear screen

...yes, this is the first Fujifilm camera with a 'conventional' fully articulating screen mechanism, meaning the screen swings out to the side and rotates around. Video shooters often prefer this sort of implementation, though I honestly have no idea if selfie enthusiasts prefer one type of tilty screen to another. Anyway, as with other cameras that use this type of mechanism, you can flip and stow the LCD side of the screen against the rear of the camera for protection while traveling.

One thing worth noting is that if you're shooting traditional stills, the 16:9 aspect ratio of the screen means you're going to have black bars on each side of your composition, since the camera takes photographs with a 3:2 aspect ratio. But for video shooters looking to take advantage of the camera's 4K/30p capture, it should be lovely.

And speaking of video capture, there's also...

A microphone socket

Yes, the X-A7 comes with a microphone input so you can easily capture better audio than the internal microphones could. Of course, it's directly in the way of the screen mechanism if it's swung out, but hey, a mic jack is a mic jack.

You may have noticed it's of the 2.5mm variety, meaning you'll likely need to use the included adapter to step up to the 3.5mm jack that most consumer microphones use. Just above the microphone port, you'll see the release for the pop-up flash, which can be pulled back with your finger and 'bounced' to the ceiling for a softer effect indoors.

But we're not done with ports just yet.

USB-C and HDMI ports

On the other side of the camera, behind a mint-green door, are traditional micro-HDMI and USB-C connectors. The USB-C port can be used not only for charging the camera up on the go, but also for file transfer to either PC's or smart devices with adapters. Disappointingly (though not unlike other recent camera models we've seen), the X-A7 will transfer images at slower USB 2.0 speeds through the USB-C port.

Top-plate controls

Now let's take a look at the top of the camera, which has also been redesigned. Gone is the old power switch, which used to surround the shutter button - in its place is a front control dial, and there's a recessed On/Off button to get you off and snapping away. There's also a rear control dial, and within it, a customizable function button to which you can assign many things. We'll let you know which things once we've gotten cracking on our full review, with a final review unit.

The mode dial is familiar, with SR+ denoting the camera's fully automatic setting, the standard PASM modes, a range of scene modes, filters, and a dedicated panorama mode. We're also pleased to see a fully-fledged hotshoe for mounting an external flash, trigger, or a shotgun microphone if you're going to be shooting video on-the-go and using the microphone port on the left side of the camera.

Battery and card slot

Last but not least, the battery. The X-A7 uses the same NP-W126S battery that is now in basically all of Fujifilm's APS-C interchangeable lens cameras, meaning it should be easy to pick up a spare or two should you need - though a battery life of 440 shots is pretty respectable, even if that number is for the camera's 'economy' mode. The X-A7 uses standard SD cards, and the slot is below the battery in this image (not visible).

The wrap

And there you have it - Fujifilm's new budget interchangeable lens camera, the X-A7. Our initial impressions are positive, especially compared to previous X-A models in terms of responsiveness and autofocus. And let's be honest: I never thought I would ever want a mint green camera (several other colors are available, don't worry) but here I am, thinking about how I kind of like it and how I'd probably need to buy all new shirts to make sure I'm not clashing with the it while I'm out taking pictures.

In any case, what do you think of the new X-A7? Let us know your thoughts in the comments, and ask us any questions you have - we'll do our best to answer them.

Kategorier: Sidste nyt

Fujifilm reveals X-A7 with improved AF, 4K/30p video and $700 price tag

Sidste nyt fra dpreview - 12 sep 2019 - 07:00
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Fujifilm has announced the X-A7, an entry-level mirrorless camera with some key improvements over its X-A5 predecessor. A new 24MP sensor offers 8.5 times more phase detection autofocus points than the previous model, and includes 4K/30p video recording – a welcome upgrade over the X-A5's 4K/15p. Burst shooting remains at 6 fps.

The X-A7 offers a fully articulated, ultra-high-res 3.5" touch screen LCD, which is the primary means of interacting with camera controls, as the camera offers only a few physical controls on the back panel. The camera with kit lens attached weighs just 455g (1lb) altogether.

Other new offerings include an update to Fujifilm's auto scene recognition mode called Bright Mode, which utilizes HDR and other camera settings to create brighter, more vivid images with little user input.

The Fujifilm X-A7 will be available October 24th kitted with a Fujinon XC 15-45mm F3.5-5.6 OIS PZ lens for $700. Shaking things up a bit, Fujifilm will offer the camera body in dark silver, 'camel', mint green and silver color options. A 'navy' color will also be available in some regions.

FUJIFILM INTRODUCES THE X-A7 MIRRORLESS CAMERA WITH LENS KIT – COMPACT SIZE, BIG FEATURES

Valhalla, N.Y., September 12, 2019 – The Electronic Imaging Division of FUJIFILM North America Corporation is pleased to announce the launch of its X-A7 mirrorless digital camera, available in a kit that includes a popular XC15-45mmF3.5-5.6 OIS PZ lens. The X-A7’s compact, lightweight form factor, outstanding image quality, and multitude of new and enhanced features position it as an ideal and timely entry into Fujifilm’s popular family of X Series mirrorless cameras.

Weighing in at only 11.3 ounces (320 grams)*1 and boasting a new 24.2MP imaging sensor, the X-A7’s fast auto-focus, quick face detection, and enough power to create stills at 6 FPS, the X-A7 is the ideal camera for content creators of all skill levels and disciplines. Its intuitive LCD articulating touch screen enables users to capture the perfect image on-the-go. The vari-angle touchscreen allows the monitor to be rotated in various angles freely. Moreover, the newly-designed “Smart Menu” facilitates intuitive touchscreen operation, so that even beginners can produce high-quality images easily.

Touch Your Way to the Perfect Image
Create great images with X-A7’s intuitive 3.5 inch, 16:9 touchscreen LCD flip-out articulating screen. With a quick touch, tap or swipe, users can adjust the brightness, film simulation, bokeh and even skin softening effects.

Incredible Image Quality for Any Situation
The newly developed 24.2MP imaging sensor features sensor features 8.5 times more phase detection pixels across its surface than the previously available sensor*2. The X- A7 has been engineered with industry-leading copper wiring to reduce digital noise, to ensure images and video are processed quickly and to ensure the best possible image quality. The X-A7 offers enhanced data readout speed which enables a smooth frame rate of 30fps when recording 4K video, minimizing the rolling shutter effect which typically occurs when recording fast -moving subjects or when panning the camera quickly.

Focus on the Moment; Let the Camera Focus on the Image
Enhanced face-detection and autofocus algorithms make it easy to focus on capturing the perfect moment in all kinds of situations, including low-light and with moving subjects.

Capture Life in Stunning 4K
Record stunning video in 4K30P to get a beautiful cinematic look with beautiful bokeh and colors that only a FUJIFILM X Series camera can provide. Record, upload, and share on-the-go with unique features such as “Countdown Video” mode, which allows videos to be filmed at a pre-selected duration: 15, 30 or 60 seconds, for a quick upload to social media channels.

Compact and lightweight design weighing only 11.3 ounces (320 grams)*
Despite featuring a large 3.5” touchscreen LCD, the X-A7 weighs approximately 1 pound (455 grams) with the kit lens (XC15-45mmF3.5-5.6 OIS PZ) attached. Perfect for the active photographer, the X-A7 can shoot approximately 440 pictures per charge*3 facilitating long-term use.

Diverse shooting modes that help produce photography with a creative flair
A new Bright Mode feature has been added to the Advanced SR Auto function, letting the camera configure ideal settings to produce HDR and other options that create bright, vivid images in a single, one-touch operation. The Light Trail mode, added to the Scene Position selection, can be used to capture light trails of car headlights, for example, while checking the effect on the LCD in real time.

Enhanced connectivity for easy link to smartphones and tablets
The use of FUJIFILM Camera Remote (a free app for smartphones and tablet devices) and the unique features of the X-A7 are designed to ensure dependable connectivity and stability in wireless communications. The X-A7 also supports wired communications with smartphones and tablet devices*4, useful when transferring large data, e.g. video, to such devices.

Availability and Pricing
The new FUJIFILM X-A7 with FUJINON XC15-45mmF3.5- 5.6 OIS PZ lens kit will be available in most markets in camel, dark silver, mint green and silver. It will be available for purchase starting October 24, 2019 in the U.S. and Canada at a MSRP of USD $699.95 and CAD $899.00.

*1 including the weight of a battery and a memory card, but excluding the Kit-included FUJINON lens
*2 Compared to the image sensor used in the Fujifilm X-A5 mirrorless digital camera
*3 When Economy mode is selected
*4 With a Type C jack: USB to C cable or USB C to A (included in package) +A to C Adapter
With a Micro B jack: USB C to A (Included in package) +A to Micro B Adapter
With a Lightning jack: USB C to A (Included in package) +A to Lightning Adapter

Fujifilm X-A7 specifications PriceMSRP$699 (w/15-45mm lens)Body typeBody typeRangefinder-style mirrorlessBody materialCompositeSensorMax resolution6000 x 4000Image ratio w:h1:1, 4:3, 3:2, 16:9Effective pixels24 megapixelsSensor sizeAPS-C (23.5 x 15.7 mm)Sensor typeCMOSColor spacesRGB, Adobe RGBColor filter arrayPrimary color filterImageISOAuto, 100-12800 (expands to 25600)Boosted ISO (minimum)25600White balance presets7Custom white balanceYesImage stabilizationNoUncompressed formatRAWJPEG quality levelsFine, normalFile format
  • JPEG (Exif 2.3)
  • Raw (Fujifilm RAF format)
Optics & FocusAutofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lampYesManual focusYesNumber of focus points425Lens mountFujifilm XFocal length multiplier1.5×Screen / viewfinderArticulated LCDFully articulatedScreen size3.5″Screen dots2,760,000Touch screenYesScreen typeTFT LCDLive viewYesViewfinder typeNonePhotography featuresMinimum shutter speed30 secMaximum shutter speed1/4000 secMaximum shutter speed (electronic)1/32000 secExposure modes
  • Program
  • Shutter priority
  • Aperture priority
  • Manual
Scene modes
  • Portrait
  • Night (tripod)
  • Fireworks
  • Sunset
  • Snow
  • Beach
  • Underwater
  • Party
  • Flower
  • Text
  • Multiple exposure
  • Light trail
Built-in flashYesFlash range4.00 m (at ISO 100)External flashYes (via hot shoe)Flash modesAuto, forced, slow synchro, 2nd curtain, commander, suppressed)Flash X sync speed1/180 secDrive modes
  • Single
  • Continuous
  • AE bracketing
  • ISO bracketing
  • Film Simulation bracketing
  • WB bracketing
  • Dynamic range bracketing
  • HDR
  • Movie
Continuous drive6.0 fpsSelf-timerYesMetering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation±5 (at 1/3 EV steps)AE Bracketing±5 (3, 5, 7 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps)WB BracketingYesVideography featuresFormatMPEG-4, H.264Modes
  • 3840 x 2160 @ 30p, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p, MOV, H.264, Linear PCM
MicrophoneStereoSpeakerMonoStorageStorage typesSD/SDHC/SDXC (UHS-I supported)ConnectivityUSB USB 2.0 (480 Mbit/sec)USB chargingYesHDMIYes (mini HDMI)Microphone portYesHeadphone portNoWirelessBuilt-InWireless notes802.11b/g/n + Bluetooth 4.2Remote controlYes (via smartphone)PhysicalEnvironmentally sealedNoBatteryBattery PackBattery descriptionNP-W126S lithium-ion battery & chargerBattery Life (CIPA)440Weight (inc. batteries)320 g (0.71 lb / 11.29 oz)Dimensions119 x 38 x 41 mm (4.69 x 1.5 x 1.61″)Other featuresOrientation sensorYesTimelapse recordingYesGPSNone
Kategorier: Sidste nyt

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