Sidste nyt

New H.266/VVC video compression standard will reduce video sizes by up to 50%

Sidste nyt fra dpreview - 8 jul 2020 - 19:57

A new video encoding standard that reduces video file sizes by 50% is set to become usable by the end of the year, allowing high-resolution footage to be saved with smaller file sizes and to be transmitted in less time. H.266/VVC (Versatile Video Coding) follows on from the current H.265 compression standard and was developed by Fraunhofer HHI alongside companies such as Sony, Apple, Intel, Huawei, Microsoft, Qualcomm and Ericsson.

The idea of the new standard is to compress files so that 4K and 8K footage become easier and quicker to move, particularly over slower network connections. The effect should be that all video footage takes up less space on a memory card and can be copied over to a hard disk in less time, all while using less computer power. That footage can also be posted online, to external storage, sent to a third party or streamed more quickly/easily due to the reduced file size.

The new H.266 standard will also allow systems or locations with poor data rates to receive larger files more quickly, so movies, for example, will buffer less and play more smoothly. Mobile devices will also be able to send higher resolution files, or longer clips, without using so much data.

Fraunhofer says that ‘H.266/VVC offers faster video transmission for equal perceptual quality,’ so we shouldn’t see the difference between files compressed by H.266 and those compressed using H.265. H.265 also halved file sizes when it was introduced, as did the H.264 standard that came before that — and which is still in use today.

The new standard requires new chips to make the most of it, and the press release states that they are already in production and that Fraunhofer will release the software to allow the standard to be used in the autumn of this year. For more information see the Fraunhofer website.

Press release:

Fraunhofer HHI is proud to present the new state-of-the-art in global video coding: H.266/VVC brings video transmission to new speed

After devoting several years to its research and standardization, Fraunhofer HHI (together with partners from industry including Apple, Ericsson, Intel, Huawei, Microsoft, Qualcomm, and Sony) is celebrating the release and official adoption of the new global video coding standard H.266/Versatile Video Coding (VVC). This new standard offers improved compression, which reduces data requirements by around 50% of the bit rate relative to the previous standard H.265/High Efficiency Video Coding (HEVC) without compromising visual quality. In other words, H.266/VVC offers faster video transmission for equal perceptual quality. Overall, H.266/VVC provides efficient transmission and storage of all video resolutions from SD to HD up to 4K and 8K, while supporting high dynamic range video and omnidirectional 360° video.

Today, compressed video data make up 80% of global Internet traffic. H.266/VVC represents the pinnacle of (at least) four generations of international standards for video coding. The previous standards H.264/Advanced Video Coding (AVC) and H.265/HEVC, which were produced with substantial contributions from Fraunhofer HHI, remain active in more than 10 billion end devices, processing over 90% of the total global volume of video bits. Both previous standards were also recognized by collectively three Emmy Engineering Awards for contributing substantially to the progress of television technology.

Through a reduction of data requirements, H.266/VVC makes video transmission in mobile networks (where data capacity is limited) more efficient. For instance, the previous standard H.265/HEVC requires ca. 10 gigabytes of data to transmit a 90-min UHD video. With this new technology, only 5 gigabytes of data are required to achieve the same quality. Because H.266/VVC was developed with ultra-high-resolution video content in mind, the new standard is particularly beneficial when streaming 4K or 8K videos on a flat screen TV. Furthermore, H.266/VVC is ideal for all types of moving images: from high-resolution 360° video panoramas to screen sharing contents.

“After dedicating almost three years toward this standard, we are proud to have been instrumental in developing H.266/VVC," says Benjamin Bross, head of the Video Coding Systems group at Fraunhofer HHI and editor of the +500-page standard specification of H.266/VVC. “Because of the quantum leap in coding efficiency offered by H.266/VVC, the use of video will increase further worldwide. Moreover, the increased versatility of H.266/VVC makes its use more attractive for a broader range of applications related to the transmission and storage of video.”

"If you consider that Fraunhofer HHI already played a key role in the development of the previous video coding standards H.264/AVC and H.265/HEVC, then we are happy with the fact that more than 50% of the bits on the Internet are generated by a Fraunhofer HHI technology,” adds Dr. Detlev Marpe, head of the Video Coding and Analytics department at Fraunhofer HHI.

A uniform and transparent licensing model based on the FRAND principle (i.e., fair, reasonable, and non-discriminatory) is planned to be established for the use of standard essential patents related to H.266/VVC. For this purpose, the Media Coding Industry Forum (MC-IF) was founded. In addition to Fraunhofer Society, the MC-IF now includes +30 companies and organizations. The new chips required for the use of H.266/VVC, such as those in mobile devices, are currently being designed. Dr. Thomas Schierl, head of the Video Coding and Analytics department at Fraunhofer HHI, announced “this autumn Fraunhofer HHI will publish the first software (for both encoder and decoder) to support H.266/VVC.”

Kategorier: Sidste nyt

DPReview TV: What we're hoping to see on the new Sony 'a7S III'

Sidste nyt fra dpreview - 8 jul 2020 - 15:00

Sony recently confirmed plans to launch a successor to the video-centric a7S II, expected this summer. We don't even know the name of the camera, but Jordan already has a feature wish list for the new 'a7S III' – and it doesn't include 8K.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Read our recent interview with Sony about its a7 II successor

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Profoto updates B10 series flashes for iPhone camera compatibility

Sidste nyt fra dpreview - 8 jul 2020 - 14:27

There's no shortage of lighting accessories available for smartphones, ranging from small LED lights to more sophisticated Xenon-flash solutions like the Godox A1 or the Profoto C1. However, all those solutions are more or less designed for maximum portability and amateur use. If you needed professional-level studio lighting that is fully compatible with smartphone cameras, you were pretty much out of luck...until now.

Profoto has announced it's made its B10 flash series compatible with Apple's iPhone cameras. The B10 and B10 Plus are compact studio flash heads and have a powerful continuous light source for videographers as well. They come with removable lithium-ion battery and have output control via the company’s AirTTL system. The B10 is a 250Ws unit while the slightly larger and heavier B10 Plus doubles the output.

'This is a revolutionary innovation, said Profoto CEO Anders Hedebark. 'Making professional flash available to smartphones has the potential to be ground-breaking, just like how the transition from analog to digital cameras once changed everything. We believe freedom with connectivity is the next step for professional photography. No matter what kind of photographer you are, it’s all about the light. And we want to offer image creators to work with great light, regardless of what capturing device you chose to use.'

Shot on iPhone with B10 series flash by Andrea Belluso

Profoto says it has been able to make the B10 series units work with the iPhone by using 'a range of advanced technologies.' The company's AirX technology has been key to the project as it allows users to clock synchronize Bluetooth devices. The flash unit has to fire at exactly the right point in time, and for the right length of time. Using Bluetooth-sync iPhone photographers who use the B10 series can capture images at 1/25.000 sec exposure time and still sync the full power.

'One challenge when working with smartphone cameras is that they require much more flexible flash-length on different shutter speeds than for instance DSLR or MILC. This has forced us to refine our methods with PWM (Pulse Width Modulation) flashes into long, or extremely short, pulses with an exact and controlled intensity', explained Göran Marén, Product Manager at Profoto.

Most serious photographers who are happy to lug a portable flash system like the B10 around will almost certainly also carry a DSLR or mirrorless camera. However, this is still very good news from Profoto as it simply gives you the option to shoot with an iPhone on those occasions when you have to work with a flash but absolutely have to or want to minimize the bulk you carry. It also makes the iPhone a potential backup device should your main camera fail on a studio shoot.

Shot on iPhone with B10 series flash by Profoto product manager mobile Marko Pirc

iPhone connectivity for the Profoto B10 flash series is available from today. Profoto B10 users will have to update the flash firmware for the new feature to work which can be done through the Profoto app. The feature requires iOS 11.0 or later and works with the iPhone 7 and newer models.

The Profoto app also allows you to control B10 and B10 Plus strobes from both iPhones and Android devices when shooting with a 'real' camera.

Kategorier: Sidste nyt

Pixii's 12MP display-less M-mount rangefinder is now available to order

Sidste nyt fra dpreview - 8 jul 2020 - 00:15

It’s been almost two years since the French startup Pixii announced its display-less digital M-mount rangefinder that uses your smartphone as both a screen and means of storage. Now, the niche camera is available to purchase, but don’t expect to pick it up for cheap.

To recap, the Pixii camera (Model A1112) is a digital M-mount rangefinder constructed of an aluminum frame that houses the 12MP (4080 x 2732 pixels) APS-C CMOS sensor. It features an electronic global shutter, Raw (DNG) capture and works with Leica M-mount lenses, as well as M39/LTM lenses when used with an adapter.

Similar to the Leica M-D, the Pixii camera eschews a rear LCD display and instead relies on being paired with a smartphone to review images captured through the 0.67x magnification optical viewfinder (53.6-degree FOV). The only display on the camera is a small OLED screen on the top of the camera that shows the basic image settings.

The Pixii camera also forgoes an SD card and instead stores images on 8GB of internal storage (4GB if you pick up the ‘launch edition’ model). Once filled, images can be transferred wirelessly to a paired mobile device via Wi-Fi or Bluetooth. The camera also uses a built-in 1,000mAh Li-ion battery that can be recharged via the onboard USB port.

While we haven’t taken it for a spin ourselves, our friend Hamish Gill of 35mmc fame spent some time with one of the units and wrote up a comprehensive review of his experience with one of the first units.

Pixii has also shared a number of sample photos captured with one of its cameras:

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The Pixii camera is available to purchase on the Pixii website. The 8GB model comes in ‘Space Gray’ and ‘Black Matte’ finishes and retails for €2,900 / ~$3,277, while the special ‘launch edition’ comes in at €2,900 / ~$3,259. There’s no information at this time on shipment timeframes, but we’ve contacted Pixii about the matter and will update accordingly when we receive a response.

Kategorier: Sidste nyt

Sirui announces 35mm F1.8 1.33x anamorphic lens is on the way

Sidste nyt fra dpreview - 7 jul 2020 - 19:49

Sirui is teasing the launch of its next lens, which will be a 35mm 1.33x anamorphic with a maximum aperture of F1.8. Until recently, Surui was best known for making tripods, but it's branched out into lenses, with this being the second released this year.

Like the 50mm 1.33x anamorphic that was launched in February, this new lens is designed for APS-C and MFT sensors. It will be only available in the MFT mount but there are adapters for Sony E, Canon EF-M and Nikon Z mount camera systems, according to a video placed on the company’s U.S. Facebook page. The lens will come with detachable geared rings for the focus and aperture rings, uses a 68mm front filter thread and has a minimum focus distance of 0.85m (2.8ft).

The lens is promoted as the wide-angle answer to the existing 50mm lens, and the company says it provides the viewing angle of a 26.3mm lens when used on an APS-C sensor. Sirui says that once de-squeezed, footage from a 16:9 area of the camera’s sensor will take on a 2.4:1 aspect ratio with characteristic oval bokeh and blue light streaks of flare.

The Sirui 35mm F1.8 1.33x anamorphic lens will be available for an early-bird price of $599 via an Indiegogo campaign page that goes live on August 3rd at 9am EST.
For more information on the company’s 50mm lens see the Sirui website.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Kategorier: Sidste nyt

Sony 12-24mm F2.8 GM arrives in August for $3000

Sidste nyt fra dpreview - 7 jul 2020 - 16:00
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Sony has announced a new member of its high-end 'G Master' full-frame lens series: the 12-24mm F2.8. It's currently the widest F2.8 constant zoom offered for full-frame, with a hefty price tag to match: $3000.

The 12-24mm is dust and moisture-sealed and weighs in close to two pounds (847g / 1.9lb to be precise). It's a bit larger than Sigma's 14-24mm F2.8, measuring 97.6 x 137mm. With such a large front element, the 12-24 provides a rear filter holder for cut-out gel filters. Sony provides a filter template to aid users in cutting gel filters to size.

Optically the lens comprises 17 elements in 14 groups, with three XA Extreme Aspheric elements (including the largest that Sony's ever made), as well as one standard aspherical element. Two Super ED and three ED elements help reduce lateral chromatic aberration, which can be particularly problematic with fast wide-angles, due to the extreme angles at which light rays can enter the lens at peripheries. Sony claims that sagittal flare, or coma, is also well-controlled.

A newly developed Nano AR Coating II is used on the front element to reduce flare and ghosting, necessary due to the fact that the front element has most extreme curvature of any aspheric Sony has developed. A fluorine coating helps repel dust, moisture and fingerprints. The lens uses a nine-blade aperture, and minimum focus distance is 28cm / 11in throughout the zoom range, with a maximum magnification ratio of 0.14x. The zoom mechanism is largely internal, though the front element does move slightly within the petal-shaped hood.

Four XD linear motors move two focus groups independently in a floating focus mechanism, resulting in fast and silent autofocus. Focus groups can respond at 60 times-a-second to keep up with the autofocus speeds the Alpha 9 / II are capable of. For video shooting, Sony claims that focus breathing, focus shift and axial shift while zooming are well-controlled. The manual focus response is linear.

The Sony 12-24mm F2.8 GM is slated to arrive mid-August and will sell for $3000.

Press release

Sony Electronics Grows Lens Line-up with Launch of 12-24mm G Master, the World’s Widest Full-frame Zoom with a Constant F2.8 Aperture

SAN DIEGO – July 7, 2020 – Sony Electronics Inc. today announced an exciting new addition to its full-frame lens line-up with the introduction of the FE 12-24mm F2.8 GM (model SEL1224GM) Large-aperture Ultra-wide Zoom lens. This compact and versatile lens is ideal for shooting landscapes, astrophotography and architecture while providing extra mobility for active sports shooters who want to capture ultra-wide perspectives. As part of Sony’s flagship G Master series lenses, users can be completely confident that it delivers outstanding image quality up to an ultra-wide 12mm angle of view with F2.8 constant aperture and beautiful bokeh effects.

The introduction of the FE 12-24mm F2.8 GM now extends the F2.8 range of Sony’s G Master series zoom lenses all the way from 12mm to 200mm[ii] and at 12mm, offers the world’s widest range of zoom at F2.8. At this focal length, it is possible to emphasize distance and create dynamic perspectives that are beyond the scope of the human eye, opening the door to new avenues of creative expression.

“We are excited to introduce the new FE 12-24mm F2.8 GM as the 57th lens in Sony’s E-mount line-up”, said Neal Manowitz, deputy president of Imaging Products and Solutions Americas, Sony Electronics. “It is important for us to continue to push boundaries in the industry to develop the best tools for our customers. By extending our range of G Master constant F2.8 zoom lenses out to 12mm, we are excited to see how these new innovations will help our customers create like never before.”

The FE 12-24mm F2.8 GM benefits from innovative construction that delivers outstanding corner-to-corner image quality throughout the entire zoom range. It features three precise XA (extreme aspherical) elements including the largest XA element ever made for an α - Alpha brand lens. These XA elements, with an additional aspherical element, effectively suppress astigmatism, coma and field curvature right out to the image edges. Furthermore, three ED (Extra-low Dispersion) glass elements plus two Super ED glass elements, powerfully control chromatic aberration and combine to deliver corner-to-corner clarity while minimizing color fringing.

An extremely effective floating focus mechanism divides the lens’s focus group into two independently controllable groups, ensuring both outstanding close-up performance and maximum sharpness at any distance. The two independently controlled groups help realize a constant 11” (28 cm) minimum focusing distance throughout the zoom range, and because it is an internal focus lens, its length remains constant, so its center of gravity varies very little and is always optimally balanced in the hand.

The signature bokeh effects of Sony’s G Master series lens are achieved through the fine tuning of the lens’s spherical aberration characteristics during both the design and manufacturing process. At the same time, the extremely high surface precision of the lens’s XA elements effectively suppresses spherical aberration and, in combination with a 9-blade circular aperture, further enhances its exquisite bokeh.

The FE 12-24mm F2.8 GM employs four original high-speed, high-thrust XD (extreme dynamic) Linear Motors to ensure that it is compatible with the speed performance of both current and future camera bodies. With two XD Linear Motors for each of the lens’s focus groups, autofocus is fast and precise. New control algorithms maximize the response of the system while achieving flawless synchronization between the two focus groups. Further benefits include extremely quiet operation with minimal vibration and lower power consumption.

A brand-new Nano AR Coating II that can be evenly applied to large lens elements or highly curved element surfaces has been used for the first time on the FE 12-24mm F2.8 GM. It suppresses internal reflections, minimizes flare and ghosting for clear, crisp imagery and despite the lens's wide angle of view, Nano AR Coating II maintains high clarity and contrast throughout the entire image, even in difficult light.

The constant F2.8 maximum aperture at all focal lengths ensures that exposure is stable when zooming. As a result, this means that shutter speed and ISO sensitivity can remain constant while shooting movies. The creative opportunities afforded by shooting movies at a 12mm angle of view with F2.8 constant aperture in full-frame are boundless, and when used on an APS-C or Super 35 camera, the wide end of the zoom range becomes equivalent to 18mm, providing a useful zoom range for moviemaking.

Professional Control
Weighing only 1.87 lbs (847 g), the FE 12-24mm F2.8 GM offers numerous features for full professional control of shots. These include a customizable focus-hold button, focus-mode switch, zooming ring and focusing ring that are positioned for easy operation while shooting. The Linear Response MF ensures that the focus ring responds directly to the most subtle adjustments when focusing manually so control feels immediate and precise. It is dust and moisture resistant[iii] and the front lens element features a fluorine coating that repels water, oil, and other contaminants, making it easier to wipe off any fingerprints from the lens surface. The rear filter holder accommodates standard sheet-type ND, color correction and other filters for expanded expressive capability. A cutting template for sheet filters is supplied.

Pricing and Availability
The FE 12-24mm F2.8 GM is available in in August 2020 for a suggested retail price of $2,999.99 USD and $3,999.99 CAD.

Kategorier: Sidste nyt

Sony 12-24mm F2.8 GM sample gallery

Sidste nyt fra dpreview - 7 jul 2020 - 16:00
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Take a look at the view from Sony's new ultra-wide zoom, paired with the 60MP a7R IV. The 12-24mm F2.8 GM rounds out a series of F2.8 constant zooms, joining the existing 24-70mm and 70-200mm in the high-end 'G Master' lineup. It's a touch wider than Sigma's 14-24mm F2.8 but more than double the cost – check out our samples above and see what that extra-wide view looks like.

Kategorier: Sidste nyt

Canon EOS-1D X Mark III review

Sidste nyt fra dpreview - 7 jul 2020 - 15:50
Introduction $(document).ready(function() { SampleGalleryStripV2({"galleryId":"1586267452","isMobile":false}) }) 92%Overall scoreJump to conclusion

The EOS-1D X Mark III is the latest high-end, ultra-tough, hyper-fast DSLR from Canon. From the outside, it looks about the same as previous EOS-1D bodies dating back two decades. But on the inside, there are radical updates. And even though this is a big, double-grip DSLR, it functions as a highly capable mirrorless camera in Live View mode provided you've got the muscle to hold it out in front of you for extended periods of time.

This is also a camera that can take you beyond 8-bit JPEG shooting as your 'finished image', includes AF subject recognition based on machine learning in both OVF and live view shooting, and has some impressive video capabilities (including internal Raw video).

There's a lot to cover on the EOS-1D X Mark III, so let's get started with a rather lengthy list of key specifications before diving into just what this all means on the following pages.

Key specifications:
  • Updated 20.1MP CMOS sensor with Dual Pixel AF
  • Digic X processor
  • HEIF 10-bit recording (supports HDR display at smaller-than-JPEG sizes)
  • 16fps bursts (viewfinder), 20fps bursts (Live View) with autofocus
  • All-new mirror mechanism to reduce vibration and blackout
  • 191-pt viewfinder AF system with new 'square pixel' design, 155 cross-type points, Face + head detection, sensitivity to -4 EV, all points support F8 shooting
  • Live View AF system is now 90% horiz / 100% vertical coverage with enhanced eye detection, sensitivity down to -6 EV, supports F11 shooting
  • New AF 'Smart Controller' built into the AF-ON buttons
  • 5.5K/60p 12-bit Raw video recording, 4K/60p 4:2:2 10-bit H.265/HEVC recording
  • Dual CFExpress card slots for virtually unlimited buffer in most situations
  • CIPA rated to 2850 shots with the viewfinder, 610 with Live View using LP-E19 battery
  • Shutter rated to 500k shots
  • Weighs 1440g

And those are just the key specifications.

The EOS-1D X Mark III is likely to find its way into the hands of sports, wedding and event photographers, and remain there for years of use and hundreds of thousands of images. Out-of-camera JPEG.
EF 85mm F1.4L IS | ISO 3200 | 1/1000 sec | F1.4

Excepting landscape and studio specialists that need massive amounts of megapixels, the EOS-1D X Mark III is the most well-rounded, well-specced camera currently on the market for both stills and video shooters that have the requisite funds. It's clear that Canon is aiming for the 1D X III to be relevant for professional users for years to come, despite the ever-increasing pace of innovation and ever-decreasing length of product cycles in the industry.

The EOS-1D X Mark III is scheduled to be available in mid-February 2020 for an estimated retail price of $6499 USD, body-only.

What's new and how it compares

Find out what's new under the hood of the EOS-1D X Mark III.

Read more

What's new: Autofocus

There have been so many updates to the 1D X III's autofocus system that they get their own page.

Read more

First impressions

From portraits to pounding white-hot metal, we've taken a look at how our pre-production EOS-1D X Mark III stacks up.

Read more

Body, controls and handling

A mix of the new and the familiar will satisfy existing 1D-series users while offering some significant improvements.

Read more

Image quality

The EOS-1D X Mark III shoots Canon's best-ever JPEGs, and Raw performance is up there with the best.

Read more

Dynamic range

The 1D X III has impressive dynamic range among its class of sports-shooting flagships.

Read more

Autofocus performance

Autofocus has been extensively tweaked on the 1D X III – check out how it performs both in our more controlled testing and with team sports.

Read more


Raw and log recording, detailed footage and reliable autofocus make the 1D X III the best DSLR for video to date.

Read more


The EOS-1D X Mark III gets high marks from us for being reliable, capable, future-proof. It's also a joy to photograph with.

Read more

Sample galleries

The EOS-1D X Mark III is capable of some seriously good image quality – take a look.

Read more

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Report: Nikon rumored to be announcing Z6s, Z7s mirrorless cameras by year's end

Sidste nyt fra dpreview - 6 jul 2020 - 22:26

Nikon Rumors is reporting that Nikon will be announcing two new mirrorless cameras this year, the Z6s and Z7s. As the names suggest, these alleged models will be incremental updates to the current Z6 and Z7 models.

According to Nikon Rumors’ report, the two rumored cameras will use the same sensors as their respective predecessors but feature dual Expeed processors. Other rumored specifications include a new EN-EL15c battery, USB-C powering, dual memory card slots (assumed to be dual CFexpress), 4K60p video and have the option to use an add-on vertical grip, which would be sold as an optional accessory.

Nikon Rumors says it expects the announcement to be made in October 2020, but as with all things this year, there’s the chance it could be pushed back to a further date.

Kategorier: Sidste nyt

Canon confirms 'Reimagine' product launch, Q&A livestream for July 9

Sidste nyt fra dpreview - 6 jul 2020 - 20:23

Canon UK has confirmed it will be hosting a livestream event for what it calls its ‘biggest product launch yet.

According to the microsite on Canon UK’s website, the ‘Reimagine’ event will take place at 14:00 CEST on July 9. In addition to the vague ‘product launch’ teaser, Canon Ambassadors and experts will also be hosting a Q&A during the event to talk about ‘Canon’s latest additions to its product range.’

The sign-up form, which appears as a pop-up dialog box on Canon UK's microsite for the event.

The event will be livestreamed on YouTube, where Canon suggests it will be taking questions from the live comments feed. You can sign up to be notified of the event on Canon UK’s microsite.

Kategorier: Sidste nyt

Video: How to build a custom Raspberry Pi 'Becca Cam' with zero coding experience

Sidste nyt fra dpreview - 6 jul 2020 - 18:37

Becca Farsace, Video Director at The Verge, has shared a video detailing how she built her own Raspberry Pi camera with no coding experience.

The nine-minute video is a fun overview of what it took to turn a Raspberry Pi 4 computer into a fully-functioning interchangeable-lens camera with the help of Raspberry Pi’s new HQ Camera add-on, a three-inch touchscreen, a spare lens or two from Becca’s 16mm Bolex camera and a sacrificial Ninoka nk-700 film camera.

Since Becca isn’t too familiar with Python, the coding language needed to build apps for the Raspberry Pi 4 computer, she had more than a few hurdles to clear before she could get shooting. However, with the help of her Instagram followers, the camera’s manual and plenty of perseverance over the course of a few days, she was able to get a program up and running that allowed her to capture images.

The resulting ‘Becca Cam’ is far from intuitive (particularly when the keyboard is required) and quality of images captured with the camera isn’t going to blow anyone away, but for a 1.0 product built with zero coding knowledge, it’s impressive.

Becca shared links to all of the materials and code used to create the camera (aside from the frame, which was hacked together from an old film camera), so if you’re feeling like making your own camera, follow the video link and pick up the required components.

Kategorier: Sidste nyt

The Canon EOS R5 is coming soon - what are you hoping for?

Sidste nyt fra dpreview - 6 jul 2020 - 15:00

This past February, Canon announced the development of its next full-frame mirrorless camera, the EOS R5. At the time, details were scarce, but a month later Canon followed up with new information confirming the forthcoming camera will offer 8K/30p video as well as ‘advanced animal AF.’

Despite the initial and additional information, plenty remains unknown about exactly what features and specifications the EOS R5 will offer, as well as how the specifications provided by Canon will actually be implemented (i.e. what codec will the 8K/30p video use and what’s the bitrate?).

A Canon EOS R5 under glass at WPPI earlier this year.

As you might expect, the rumor mill has been churning away, with whispers of more detailed specifications and even some suggestions that further hardware might be on the way in addition to the EOS R5. With all of that in mind, what are you hoping to see from Canon when the official launch takes place? Leave a comment and let us know, and we’ll publish a roundup of the most-requested features soon.

Kategorier: Sidste nyt

Canon's CE-SAT-IB satellite camera destroyed during Rocket Lab's Electron rocket launch

Sidste nyt fra dpreview - 6 jul 2020 - 00:23

Two weeks ago, we reported on Canon’s CE-SAT-IB satellite camera, which was set to be launched alongside six other satellites aboard Rocket Labs’ Electron vehicle as part of its ‘Pics or It Didn’t Happen Mission.’ And, well, whoever chose the mission’s name might want to choose something a little less ominous next time, as in keeping with the theme of 2020, it’s been reported all payloads were destroyed during ascent due to a rocket failure.

According to Rocket Lab, its Electron vehicle, which housed Canon’s Earth-imaging camera and six other satellites, failed late in its journey after taking off from Mahia Peninsula on North Island, New Zealand (Te Ika-a-Māui)

The optical imaging system inside the CE-SAT-1B (pictured) is based on Canon's EOS 5D Mark III design. Image via Canon

In a Twitter post shared on July 4, Rocket Lab CEO Peter Beck apologized to Rocket Lab customers, saying ‘I am incredibly sorry that we failed to deliver our customers' satellites today. Rest assured we will find the issue, correct it and be back on the pad soon.’

No specific cause for the issue has been shared at this time, but the launch video, which was live-streamed for the world to see (and embedded below), shows the video feed from the Electron rocket cutting out just shy of six minutes into its flight. Not long after, you can hear a Rocket Lab team member say the less-than-inspiring phrase ‘initiating mishap response plan.’

In a press release, Rocket Lab further elaborated on the incident saying ‘Today’s anomaly is a reminder that space launch can be unforgiving […] The launch team operated with professionalism and expertise to implement systems and procedures that ensured the anomaly was managed safely.’

Rocket Lab is already in the process of getting future missions in place and Canon already has its CE-SAT-IIB satellite ready for a Rocket Lab mission later this year. We have contacted Canon for comment on the incident and will update this article accordingly if we receive a response.

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Tamron 28-200mm F2.8-5.6 sample gallery (DPReview TV)

Sidste nyt fra dpreview - 5 jul 2020 - 15:00
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This sample gallery includes images from our recent review of the Tamron 28-200mm F2.8-5.6 Di III RXD zoom lens. Check out these photos to see how it performs, from wide-angle to telephoto and everything in between.

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DPReview TV: Tamron 28-200mm F2.8-5.6 review

Sidste nyt fra dpreview - 4 jul 2020 - 09:00
The Tamron 28-200mm F2.8-5.6 Di III RXD provides a wide zoom range in compact, weather-sealed design. Find out why it's Chris and Jordan's new favorite travel lens.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

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Film Fridays: Kodak Portra 800 review

Sidste nyt fra dpreview - 3 jul 2020 - 15:00
Photo: Hamish Gill

Kodak Portra 800 is a wonderful and versatile color film. And any rumors of it being discontinued, we're pleased to report, are simply untrue. That's a good thing, because Portra 800 is capable of producing lovely results in all sorts of lighting conditions and even holds up well to being under or overexposed.

Our friends over at 35mmc have a detailed review of this film stock (which is also a DPR staff favorite). It's chock full of sample photos. Have a look!

Read: Kodak Portra 800 review

About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we'll be sharing film-related content on Fridays, including articles from our friends at 35mmc.

Kategorier: Sidste nyt

World Press Photo Managing Director, Lars Boering, steps down suddenly as the foundation pivots due to COVID-19

Sidste nyt fra dpreview - 2 jul 2020 - 21:29

The head of the World Press Photo Foundation has stepped down after five years in the role. Dutchman Lars Boering joined the foundation in 2015 but left without much explanation from either him or the WPP. In an official statement, Boering said ‘It was a tough decision to leave this beautiful organization, especially given the timing’ but doesn’t go on to give his reasons other than to say ‘it is time for me to pursue other opportunities’.

The organization only says ‘Today, the World Press Photo Foundation announces that Managing Director Lars Boering will be leaving the organization’ and goes on to say it is ‘appreciative of Lars’ leadership over the past five years. In this time, major talent programs and grants were developed, digital reach saw substantial growth, and a new format was established to announce contest nominees and winners, to further spotlight the stories that matter.’

Since the announcement, DPReview has spoken with Boering, independently, who said he left the foundation because so much of what he had planned for the future has changed since the coronavirus pandemic:

'Some of the programs and some of the activities are on hold or will never come back in the same way. I believe we will not see many festivals or events return in the near future, and its doubtful whether many of our ideas will get funding to make them happen. COVID has changed everything and so I have brought my departure forward. My strength is in growth and re-imagining things. It is very clear to me and the Supervisory board that World Press Photo foundation will be better off with a Director that can steer it through, in a calm and steady way, the challenging landscape that Covid19 has unveiled.'

The organization says it is heading towards a ‘new phase’ that will help it to ‘future-proof the business model and ways of working’ as it explores ‘new digital avenues and establishing a new International Advisory Board’.

Boering adds a slightly clearer dimension to the part of the statement that mentions future-proofing the foundation, saying:

'Over the next two years World Press Photo will be working carefully and steady to keep going, and we now know 2020 and 2021 will be okay for the foundation. I never intended to stay much longer than 7 or so years, and with the changing times now is the right moment to hand it over. WPP now reaches an audience of 300 million when we announce the winners and our reach on social media is growing ever faster. The challenge now is to monetize this value in the right way, in a way that is fits with the values of WPP and visual journalism. That has a great future and will be a wonderful challenge for my successor.'

Boerings departure leaves the foundation looking for a new head while an interim business director, Arnoud van Dommele, steps in for the time being. The organization will also establish an international advisory board by the end of this year, which will 'provide strategic advice to the Supervisory Board and Executive Board of WPPF.’

Boering tells DPReview that he's enjoyed his time at WPP and is proud of what he has achieved in his five and a half years:

'I have steered the foundation toward becoming an organization devoted to progressive values and ethics, and one with a set of advocacy agendas. Programs like the African Photojournalism Database, the 6x6 talent program and various global workshops, are initiatives by WPP to provide more opportunities to photographers of different backgrounds. I’m taking some time off for a small sabbatical and will choose my new path carefully. Many offers and initiatives are already coming my way, and to continue my work in the creative industries will be a pleasure.'

'The future of visual storytelling is very bright and more money is available than ever before,' he promises.

You can read more about Lars Boering in an article on Australia's Inside Imaging, and the statement on the matter on the World Press Photo website.

Press release:

The World Press Photo Foundation enters new phase

The World Press Photo Foundation enters new phase for connecting the world to the stories that matter

Managing Director Lars Boering leaves the organization after 5 years; establishment of an International Advisory Board announced

Today, the World Press Photo Foundation announces that Managing Director Lars Boering will be leaving the organization. As a result, the Supervisory Board will start the search for a new Executive Director. This coincides with the preparations of a broader approach for “connecting the world to the stories that matter” required for the changed world that has presented itself in recent months.

Guido van Nispen, Chairman of the Supervisory Board: “We see the pandemic having an immense impact on everyone and everything. The collateral damage is huge, and the World Press Photo Foundation has also been impacted, which depends partially on a model that organizes physical exhibitions all over the world.

The organization is appreciative of Lars’ leadership over the past five years. In this time, major talent programs and grants were developed, digital reach saw substantial growth, and a new format was established to announce contest nominees and winners, to further spotlight the stories that matter.

A new phase for World Press Photo begins. A phase that builds on a strong foundation, and also leads to opportunities to future-proof the business model and ways of working. This includes exploring new digital avenues and establishing a new International Advisory Board. Press freedom, freedom of expression and the support of visual journalism are more important than ever, and as a leading organization that plays a crucial role for visual storytellers, the World Press Photo Foundation, with the great support of its people and partners, will keep on innovating to deliver on that promise.”

Lars Boering, Managing Director: “It was a tough decision to leave this beautiful organization, especially given the timing. It has been an amazing time and I am incredibly proud of the organization and the impact it has achieved. In these interesting and challenging times the World Press Photo Foundation, and the work it does, is more relevant now than ever before. The admiration I have for visual storytellers has grown and I hope my efforts have contributed to improving their work and position. Personally, it is time for me to pursue other opportunities, but I am confident about the future path for the organization, and am sure a successor can be identified soon.”

Lars Boering will hand over his work to Arnoud van Dommele, who has served as interim business director since March, while the Supervisory Board starts the search for a new Executive Director.

The International Advisory Board will consist of approximately 12 global experts and will be established before the end of 2020. The International Advisory Board will provide strategic advice to the Supervisory Board and Executive Board of WPPF.

About the World Press Photo Foundation

Connecting the world to the stories that matter.

We are a global platform connecting professionals and audiences through trustworthy visual journalism and storytelling, founded in 1955 when a group of Dutch photographers organized a contest (“World Press Photo”) to expose their work to an international audience. Since then, the contest has grown into the world’s most prestigious photography competition, and through our successful worldwide exhibition program, we present to millions of people the stories that matter.

World Press Photo Foundation is a creative, independent, nonprofit organization, based in Amsterdam, the Netherlands. We appreciate the support of our global partner, the Dutch Postcode Lottery, and our partners, PwC and Aegon.

Kategorier: Sidste nyt

Photography Deck is a camera-themed deck of playing cards to help teach photo basics

Sidste nyt fra dpreview - 2 jul 2020 - 16:11

There are many ways to learn the basics of photography, such as classes, tutorials and simply capturing more images. However, there's a neat new method using playing cards, Photography Deck.

Launched on Kickstarter, the campaign far exceeded its funding goal during its first day. At the time of writing, over 600 backers had contributed more than $20,000 USD, compared to the goal of just $1,122.

The unique and attractive deck of cards are designed to appeal to shutterbugs and photography newcomers alike. Each suit covers a different topic: Clubs cover technical details, diamonds showcase shooting styles, hearts offer composition tips and finally, spades teach camera basics.

The 3 of spades card features the exposure triangle. Image credit: Photography Deck on Kickstarter

The technical details on the clubs cards include manual shooting, white balance, color theory and more. For example, the 6 of clubs teaches the viewer about the histogram. The shooting style-themed diamonds cards illustrate styles of photography including flash photography, macro, portrait photography among others. The hearts cards feature composition topics such as negative space, symmetry, patterns, leading lines, the rule of thirds and more. Adorned with basic camera information, the spades cards illustrate camera topics such as aperture, shutter speed, focal length, depth of field and more. The 3 of spades illustrates the exposure triangle of shutter speed, ISO and aperture.

Via the Kickstarter page, creator Eric Bohring states that each card 'illustrates the most important rules and techniques about photography' while featuring unique camera artwork. 'Think of them as pocket-sized cheat sheets that you can bring wherever you travel,' the campaign continues. The product is designed as a unique gift for photography enthusiasts and as a useful and artistic addition to your own camera bag.

The deck of cards is a standard playing deck with 52 cards and a pair of jokers. Each card features a micro-linen texture and is a standard playing card size: 3.5 x 2.5 inches (89 x 64mm).

If you'd like to make a pledge to the Photography Deck project, it's about $14 USD to receive a standard Photography Deck, with shipping expected in August. For about $17, you can receive a limited edition green deck. If you'd like both decks you can receive a standard and limited edition deck for $29.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

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Will vlogging change your next camera?

Sidste nyt fra dpreview - 2 jul 2020 - 15:00
They may not necessarily be aimed at you (except as demonstrated here), but the recently released vlogging cameras from Panasonic and Sony could yet have an impact on your next camera.

The past two months have seen both Panasonic and Sony introduce cameras explicitly aimed at vloggers. This may seem to have come from nowhere, but if two large companies independently decide there’s a market there, it’s a pretty sure sign that there’s demand for devices tailored to self-videoing. The question now is: what, if anything, does it mean for your next camera?

The answer might be "nothing": we’ve seen niche camera types such as Flip pocket video cameras come and go, and fads such as 3D fizzle when the public’s interest didn’t come close to matching the manufacturers’ enthusiasm.

Vlogging cameras are likely to prove a little more durable though, partly because the demand is consumer-led: Chris and Jordan of DPRTV constantly tell us how often they encountered customers asking for cameras that were good for vlogging, back when they worked in retail. Enough years have now passed since that point for manufacturers to have developed these specific vlogging cameras (rather than simply adding vlogging-friendly features, such as video streaming, to their existing models).

Canon's most recent G7 X model had some features added to make it more vlogging friendly, but it was an adaptation of an existing model, rather than being redesigned primarily with vlogging in mind.

The source of that demand is also likely to be long-lived, since any fall in interest in YouTube is only likely to come from the rise in popularity of other video-based platforms, whether that be TikTok or something we’ve not yet heard of. The big question is probably whether a dedicated camera turns out to be the best tool for the job. Or, perhaps, so much better that it overcomes the immediate convenience of a smartphone.

Only the beginning

In terms of the models we’ve seen so far, they're just the beginning. There’s every chance we’ll see others, if Sony and Panasonic both concluded there’s a need for them, but what we’ve seen of this first generation seems a little cautious.

Both the ZV-1 and G100 are recognizable adaptations of existing technology. Sony appears to have spotted the market need and recognized that its very good face/eye detection technology would be a powerful proposition for those users. It’s a company with a solid history in audio technology, which might explain the three capsule mic setup but beyond this, the ZV-1 is essentially a modified RX100 VII.

The G100 contains some interesting new ideas but it's primarily made from familiar components.

It looks like a similar story with the G100: Panasonic knows how to make very good video cameras and how to make very small cameras, and it presumably saw Nokia’s OZO directional sound technology as an effective way to stand out to vloggers. Again, beyond the flip-out screen and the more sophisticated mic setup, the G100 is broadly made from a series of familiar components. All of which gives the feel of toes being dipped in the water.

Stand out or blend in

At which point, this could go either way: they could evolve into a completely different devices or their features could simply be adopted across to more models.

For instance, there’s no reason a vlogging camera has to even resemble a traditional camera, if it’s primarily (or even regularly) used at arms length, pointing back at the user. Why should hand grips and control points resemble conventional cameras, if they’re awkward to reach, from the bright side of the lens? This could lead to the diverging from the recognizable camera form altogether.

Could we see some sort of strange, convergent evolution, with vlogging cameras coming to resemble early, innovative digital cameras, but with differing motivations?

The alternative is that features such as sophisticated mics and selfie-focused focusing could become so popular that they become standard features across much of the industry.

This second option may sound horrifying if you want a camera whose sensor is the only thing separating it from mechanical SLRs. But for most people, some vlogging features could probably be introduced without detracting too much from the everyday experience. And, once you've become accustomed to the idea, would improved audio capture be a bad thing?

Beyond this, many of the underlying capabilities that would make a good vlogging camera – fast, quiet and reliable face detection, decent battery life and attractive output – are things that are desirable on any type of camera.

Either way, it’s extremely unlikely that the ZV-1 and G100 are the last vlogging cameras we’ll see. And my money would be on there being at least some crossover into your camera bag in the future. Perhaps it's a point I can make more convincingly if I try to show you the things I'm talking about, over on YouTube.

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Olympus releases Windows 10 webcam utility beta for five of its OM-D cameras

Sidste nyt fra dpreview - 2 jul 2020 - 14:54

In addition to its new lens and updated roadmap, Olympus has also released OM-D Webcam Beta, a utility program for Windows 10 computers that turns compatible Olympus OM-D cameras into webcams.

Following in the footsteps of Canon and Fujifilm, this new utility works on Windows 10 computers (both 32 bit and 64 bit) and is compatible with five Olympus OM-D cameras: the E-M1X, E-M1, E-M1 Mark II, E-M1 Mark III and the E-M5 Mark II. As with similar utilities, the process is as simple as downloading the free software, plugging in an OM-D camera via the appropriate USB cable and turning the camera on.

Once all of this is finished, the plugged-in camera should be available as an image input option in video conferencing software such as Skype and Zoom.

This is a beta, so keep that in mind if you come across any bugs or issues. You can find the download link and further instructions on Olympus’ support page.

Kategorier: Sidste nyt