Posts Tagged ‘arrive’

Rumor: DJI Mavic Pro II will sport 1-inch sensor, may arrive in March

06 Feb

When the DJI Mavic Air came out, we pretty much knew right away that it wasn’t the sequel to the Mavic Pro (or Pro Platium) that many had been hoping for. Following in Apple’s nomenclature footsteps, DJI’s Mavic Air is kind of like the MacBook Air—still powerful, but mostly built for extreme portability, not as a followup to the MacBook Pro.

Fortunately for those people who are still waiting for a true Mavic Pro successor, it sounds like you won’t have to wait very long.

According to a new report from DRN, the upcoming DJI Mavic Pro II is already in production, and may see its official announcement as early as March, 2018. What’s more, DRN got its hands on some rumored specs, claiming the Mavic Pro II will have:

  • A 1-inch CMOS sensor with 28mm lens
  • A 4820 mAh battery that will give it 35 minutes of flight time
  • Binocular rear sensors

They’re also expecting it to take design cues from the sleeker Mavic Air, only in a larger package that can carry the bigger sensor and battery.

As with all rumors, nothing is confirmed until DJI says so, but the drone rumor mill should really heat up ahead of any official announcement in March. In the meantime, the folks at Autel might need to get a head start developing their next drone; that Autel EVO that out-specs DJI’s Mavic Pro Platinum… it might not be superior for long.

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Ten Nikon D5 DSLRs will arrive at the International Space Station tomorrow

14 Nov

Back in August, NASA’s love affair with Nikon cameras made the news when the space agency ordered 53 unmodified Nikon D5 DSLRs that it would use on the International Space Station and for ‘training purposes’ here on Earth. Ten of those D5 cameras are scheduled to make it to the ISS this week.

Packed aboard the Orbital ATK OA-8 Space Station Cargo Resupply Mission that took off this Sunday at 7:19am Eastern time, and are scheduled to arrive at the ISS tomorrow morning around 4:50am (you can actually watch live coverage of the rendezvous on NASA TV starting at 3:15am).

Nikon tells us that NASA is “reusing Nikon lenses and accessories previously launch with the Nikon D4 and D2Xs cameras,” and are planning to keep the D5 cameras in circulation for 12-18 months. With any luck, the astronauts aboard the space station will use them to capture more images like these:

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NASA’s relationship with Nikon began in 1971, when the Nikon Photomic FTN (a modified Nikon F) went to the moon with the astronauts of Apollo 15. Fast forward to 2008, and NASA ordered its first digital cameras for use in space, a set of six Nikon D2XS DSLRs, followed by an order for 11 Nikon D3S cameras in 2009, 38 Nikon D4 DSLRs in 2013, and another 10 D4s in 2016.

The only question now, I suppose, is when is the Space Agency going to replace its glass? NASA’s latest order of Nikon glass was placed in 2010, when 64 NIKKOR lenses were delivered to the space agency. If astronaut photographers are anything like us Earth-bound folk, that means they’ve been drooling over ‘better’ lenses than they currently have since about… three days after they got those lenses.

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Instagram Stories arrive on desktop, will soon support mobile web uploads

03 Sep
Instagram Stories on Mobile Web… coming soon.

Instagram has revealed that it will soon support uploading Stories via mobile web browsers. With the new functionality, Instagram users will have the option of uploading videos and images to their Instagram Stories using a tablet or smartphone’s web browser, such as Safari or Chrome, in lieu of the Instagram app itself.

Mobile web uploading for Stories will arrive at some point in the next handful of months, but ahead of that Instagram has launched its Stories product on desktop and mobile web browsers. Anyone can now view Instagram Stories using either browser type, whereas previously the feature was limited to the Instagram app.

However, if you’re hoping Stories in their full glory will be coming to the desktop, we’re sorry to say they will not. The company confirmed to The Verge that it has no plans to bring Stories uploading to desktop browsers.

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Fujifilm’s MK 50-135mm cine lens will arrive in July for $4000

03 Jun

Fujifilm has officially launched the MK 50-135mm T2.9 cinema lens aimed at emerging filmmakers, giving it a mid-July release and $ 4000/£3300 price tag. It will be available initially in the Sony E-mount, but the company says it is working on a version for its own X-mount cameras that will go on sale before the end of the year. It was first announced back in February alongside an 18-55mm T2.9.

The DSLR and CSC stills lenses that many videographers use suffer from shifting focus and centring during zooming, according to Fujifilm, and ‘breathing’ often alters the magnification of the view as focus distances change. If the background changes size in the frame as focus is being pulled, or the subject goes out of focus during a zoom, the fluidity of the sequence can be destroyed. This new lens is intended to replace these still lenses, with their unsuitable characteristics, so that photographers using small cameras can make professional-looking films.

The Fujinon 18-55mm T2.9

The new lens matches the three-ring layout and 82mm filter thread size of the existing Fujinon 18-55mm T2.9 so it should be easy to switch between the two, and with both lenses videographers will have most popular focal lengths covered. The lenses are designed to work with APS-C and Super 35mm sized sensors, so will provide similar angles of view to a 75-200mm on a full frame system.

For more information see the Fujifilm website.

Sample footage

Press release

Fujifilm launches the FUJINON MK50-135mm T2.9 telephoto zoom cinema lens with advanced optical performance, ultra-compact and lightweight design, and excellent affordability

FUJIFILM Corporation (President: Kenji Sukeno) will release the FUJINON MK50-135mm T2.9 (MK50-135mm) telephoto zoom cinema lens in July 2017. The MK50-135mm has a focal length of 50-135mm and can be combined with the FUJINON MK18-55mm T2.9 (MK18-55mm) standard zoom lens, that was released in March 2017, to form a kit that covers the most frequently-used focal lengths of 18mm to 135mm, accommodating a broader variety of conditions.

The rapid growth in popularity of movies made by emerging cinematographers in recent years, including corporate and commercial movies on the internet and other venues, has increased the opportunities for shooting movies using cinema and regular digital cameras, and it boosts demand for high-performance cinema lenses that deliver high resolution and advanced scene-depicting capability. For filming such materials, interchangeable lenses for digital cameras are often used instead of cinema camera lenses as they are more affordable and mobile. However, these lenses are designed primarily for shooting still images, and therefore prone to problems such as focus shift and optical axis shift while zooming, and so on.

In response, Fujifilm has developed the MK series of cinema lenses that resolve these issues while still offering advanced optical performance and an ultra-compact and lightweight design – all at an affordable price. The MK18-55mm that was launched in March this year has been popular among emerging cinematographers who praise it for its edge-to-edge sharpness and ease of handling thanks to its compact and lightweight design.

The new MK50-135mm is a telephoto zoom lens that covers the focal length from 50mm to 135mm. It has the maximum T-stop value of 2.9*1 across the entire zoom range, enabling to shoot with a shallow depth-of-field with beautiful bokeh. The lens is compatible with E-mount*2 cameras with the Super 35mm*3 / APS-C sensor. It incorporates the benefits of short flange focal distance*4 into optical design to the maximum extent to achieve advanced optical performance while maintaining a compact and lightweight design. The lens design is optimized for shooting movies, minimizing focal and optical axis shift while zooming and lens breathing (change of angle of view during focusing) – negative traits that are typically observed in still lenses for digital cameras. The lens also features three rings to enable manual and independent adjustment of focus, zoom and iris (aperture), all with the gear pitch*5 of 0.8M (module). The focus ring can rotate fully up to 200 degrees to facilitate precise one-handed focusing. These features make the lenses comfortable to operate.

The MK50-135mm can be combined with the MK18-55mm to form a compact and light weight kit that covers the most frequently-used focal lengths between 18mm and 135mm, accommodating a variety of subject matters including landscape, architecture and portraiture. They share the common front element diameter, filter thread and three-ring gear positions, allowing users to share the use of the same accessories such as matte box and filters. This eliminates the need to re-adjust accessory positions when changing between lenses, streamlining operations in frontline video production.

The X Mount versions of MK lenses (with the focal lengths of 18-55mm and 50-135mm) for Fujifilm’s X Series of digital cameras (APS-C sensor) are currently under development, and due to be released by the end of this year.

FUJINON lenses offered by Fujifilm have been used at movie / CM / TV production sites around the world for their advanced scene-depicting capability. Tapping into its optical design, high-precision processing and assembly technologies that have been nurtured over the years in the cutting-edge field of video production, Fujifilm will continue to expand its lens line-up to meet the diverse needs at the video production industry.

*1 T-stop value is an index that indicates brightness of a lens based on its F-stop value and transmission rate. The smaller the value, the greater amount of light the lens transmits.
*2 Lens mount format developed by SONY Corporation
*3 Super 35mm is a standard format for motion film cameras using 35mm film stock, and refers to a sensor size used in many cinema cameras.
*4 Distance from lens mounting reference plane to sensor
*5 Distance between gear teeth

1. Product name, release date, pricing
Product name: FUJINON MK50-135mm T2.9
Release date: Mid July 2017
Expected user price: GBP £3,300* (ex VAT)
*At today’s GBP/EURO exchange rate

2. Main product features
Advanced optical performance, packed into a compact and lightweight lens barrel
The MK50-135mm covers the focal length of 50mm to 135mm and when combined with the MK18-55mm standard zoom lens, they form a kit that covers 18mm to 135mm, the most frequently-used focal length in video production.

The MK50-135mm supports E-mount cameras with Super 35mm / APS-C sensor. It achieves advanced optical performance despite its compact and lightweight body, weighing just 980g, by incorporating the benefits of short flange focal distance into optical design.

The MK50-135mm has T2.9 speed across the entire zoom range which allows shooting with a shallow depth-of-field and eliminates the need to re-adjust lighting.

The MK50-135mm offers advanced edge-to-edge optical performance and low distortion*6 and is designed to match the color temperature of FUJINON HK Premier, ZK Cabrio and XK Cabrio lenses to simplify color grading*7 when using a combination of lenses.

*6 Distortion refers to a phenomenon in which an image formed through a lens becomes partially contracted or extended at the edges.
*7 Processes of correcting colors during video editing

Resolving issues associated with using interchangeable lenses for still digital cameras in video production

The front focusing group of lens elements and the zooming group of lens elements are driven independently from one another to suppress focus shift while zooming, eliminating the need to re-focus after zooming in or out. The optical and mechanical approach means there is no time lag as seen in an electrical control system.

The use of the front inner-focusing system controls lens breathing (change of angle of view during focusing) to achieve smooth focusing.

By using design and manufacturing technologies developed for FUJINON HK, ZK and XK Cine lenses, optical axis shift is minimized while zooming, eliminating the need to re-compose the shot when the angle of view is changed.

Comfortable operation as expected of a dedicated video lens
The focus ring features a rotation of a full 200 degrees to allow precise focusing even when shooting with a shallow depth-of-field.

The lens features three rings to enable independent adjustment of focus, zoom and iris. The fully manual mechanism of all three rings enable intuitive operation that often cannot be attained with electrical mechanism which typically causes time lag.

All the operation rings have a gear pitch of 0.8M, the same as all other FUJINON cine lenses, which allows the use of any standard third party accessories for video production such as Follow Focus.

The iris operation ring has a click-free seamless adjustment which enables smooth, precise exposure adjustment while also preventing noise and camera shake caused by clicking.

Standardized MK series design

The MK50-135mm shares the same front diameter of 85mm and filter thread of 82mm with the MK18-55mm,allowing users to use the same matte boxes and filters on both lenses.

The two lenses also share the same dimensions and three-ring gear positions, eliminating the need to re-adjust accessory positions when changing between them.

The MK50-135mm offers a macro mechanism with the minimum object distance*8 of 0.85m (wide angle-end), broadening the types of scenes that can be covered with a single lens.

The MK50-135mm features a Flange Focal Distance adjustment function*9 to achieve optimum camera and lens matching, bringing out the full optical performance of the lens.

*8 Distance from the image-forming plane to a subject
*9 The position of lens’s image-forming plane can be adjusted according to each camera’s flange focal distance (distance from lens mounting reference plane to sensor).

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Sigma announces 135mm F1.8 DG will cost $1400, arrive in May

18 Mar

Sigma has revealed pricing and availability for the 135mm F1.8 DG HSM Art lens it unveiled just prior to CP+: it will ship to customers in May at a cost of $ 1400. 

Sigma says the lens is designed to meet the needs of high-resolution sensors of 50MP or higher. Offering a dust and splash-proof construction, it uses 9 aperture blades and a hypersonic (ring-type ultrasonic) focus motor. 

Take a look at our hands on with the 135mm F1.8 Art and Sigma’s other new lenses from CP+ last month.

Press release

Sigma Announces 135mm F1.8 DG HSM Art Lens Pricing and Availability

Sigma’s highly-anticipated telephoto prime lens, designed for shooting events and studio/location portraiture, begins shipping in May 2017 for a retail price of $ 1399.00USD

New York, NY – March 17, 2017 – Sigma Corporation of America, a leading DSLR lens, camera, flash and accessory manufacturer, announced today that its 135mm F1.8 DG HSM Art lens will begin shipping in May 2017 for a retail price of $ 1399.00 USD. Making its public debut at the 2017 CP+ Camera + Photo Imaging Show in Yokohama, Japan in February 2017, the 135mm F1.8 Art lens enters the market as Sigma’s new premiere mid-range telephoto prime lens, touting outstanding sharpness and great IQ from edge to edge. Ideal for events such as concerts, weddings, indoor sports, conferences and press events, the 1.8 F-stop delivers greater “shallow depth of field” and isolation of subjects. The outstanding compression effect makes it equally as powerful for up-close and full-length portraits. Its new large Hyper Sonic Motor (HSM) delivers ample torque to the focusing group for outstanding speed, ensuring exceptionally stable performance even at lower speeds and allowing for fast autofocus photography.

The all-new Sigma 135mm F1.8 DG HSM Art lens supports Canon, Nikon and Sigma mounts and works with Sigma’s MC-11 Sony E-mount converter. The Nikon mounts feature the brand new electromagnetic diaphragm for enhanced high-speed shooting.

Sigma 135mm F1.8 DG HSM Art lens Features and Benefits:

> Superior optical performance

Optimal image quality for ultra-high-megapixel DSLRs: This lens offers top performance from the center to the edges of the image thanks to the signature floating system of the lens focus mechanism. By minimizing distortion, the lens delivers impeccable image quality without the need for digital adjustment during image processing.
Ideal for portraits requiring a dramatic bokeh effect: Delivering a stunning compression effect, even when positioned fairly close to the subject, the telephoto ring allows photographers to achieve a variety of dramatic perspectives. This effect truly shines in both close-up and full-length portraits, making composition easy. The large F1.8 diameter allows for more creative control over light and paired with the nine-blade rounded diaphragm produce a desired creamy bokeh effect.

> Fast and nimble autofocus photography

The large HSM (Hyper-Sonic Motor) delivers ample torque to the focusing group for outstanding speed, ensuring exceptionally stable performance even at lower speeds. Along with the optimized AF algorithm, this feature delivers fast autofocus photography. In addition, the focus limiter makes AF highly responsive to distance from the subject for even more nimble performance.

> Fast AF with full-time manual override (the operation of full-time MF may vary based on mount type)

> Compatible with Sigma Mount Converter MC-11

> Mount with dust- and splash-proof construction

> Nikon electromagnetic diaphragm mechanism included

> Available Sigma USB Dock makes updating firmware and customization possible

> Available Mount Conversion Service allows use with another camera body

> Rounded diaphragm for desired bokeh look

> Designed to minimize flare and ghosting

> High-precision, durable brass bayonet mount

> Crafted in Aizu, Japan with each lens individually tested with Sigma’s own MTF measuring system “A1”

> Lens barrel is engraved with the year of release

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