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Sony Xperia 5 II is a smaller, slightly cheaper Xperia 1 II with 4K/120p recording

17 Sep

Sony has unveiled the Xperia 5 II, successor to the Xperia 5 and a notch below the flagship Xperia 1 II in the lineup. It includes many camera features of the Xperia 1 II, but in a smaller form-factor and at a slightly lower price point. Headline features include 4K/120p recording for high resolution slow motion video, 20 fps continuous shooting with autofocus and auto exposure and a 6.1″ OLED screen with 120Hz refresh rate. The Xperia 5 II will cost $ 950 when it ships in December – less pricey than the $ 1200 Xperia 1 II, but a notable increase over the Xperia 5’s $ 800 introductory MSRP.

The Xperia 5 mark II’s triple-camera array is borrowed from the Xperia 1 II (minus the time-of-flight camera), comprising 16mm, 24mm and 70mm cameras. The main 24mm module features a 1/1.7″ sensor and is capable of 4K/120p 10-bit recording for 5x slow-motion video at 24p. Like the flagship, it shoots up to 20 fps bursts with AE/AF, offers Eye AF for both humans and animals, and offers Raw + JPEG shooting.

Sony is also introducing support for USB tethering of the Xperia 5 and a7-series cameras, starting with the a7S III. The Xperia 5 can be tethered to the camera to transfer photos and videos to the user’s intended FTP, a feature designed to make life easier for sports shooters and photojournalists who need to transmit images quickly from the field.

The 6.1″ FHD+ HDR OLED maintains its unconventional 21:9 wide aspect ratio, and in addition to its 120Hz refresh rate, boasts a 240Hz touch scanning rate. The device offers IP65/68 dust and moisture protection, is powered by a 4000 mAh battery and includes a 3.5mm headphone jack.

The Xperia 5 II will be available for pre-sale on September 29th for $ 950; it is scheduled to ship on December 4th. The phone will not support 5G for customers in the U.S., but 5G will be supported in certain other regions.

Press release:

Introducing Xperia® 5 II – a Powerful, Compact Smartphone that Takes Gaming, Entertainment and Cinematography to the Next Level

Award-winning camera technologies from Alpha brand series cameras, including Real-time Eye AF1 and up to 20 fps2 burst shooting with continuous autofocus that performs AF / AE calculations at 60 times per second3.
World’s first 4K HDR 120fps slow-motion movie recording in a smartphone4 can capture and play back up to 5x slow-motion when recorded at 24fps, further expanding the possibilities of cinematic expression.
Immersive 21:9 CinemaWide™ 6.1” FHD+ HDR OLED display5 delivers unprecedented color accuracy with Creator mode “powered by CineAlta” technology.
Built for gaming with a 120Hz Refresh rate6 display and 240Hz Motion blur reduction7 for smooth action, plus 240Hz touch scanning rate5 and touch response improvements by 356 percent when compared to previous model for quick and accurate gaming control.
Next-Generation processing8 power with Qualcomm® Snapdragon™ 865, and high capacity 4,000mAh battery with fast charging for optimal speed and performance.
The perfect size and packed with the latest innovative Sony technology in a compact ergonomic design (W 2.68 in x D 0.31 in) that fits comfortably in a hand or pocket.

San Diego, CA – September 17, 2020 — Sony Electronics today announced the Xperia 5 II (mark two), the newest addition to the Xperia smartphone family, offering users a compact design with speed, innovation and industry-leading performance.

Xperia 5 II leverages many of the leading features from the Xperia 1 II, including a triple lens camera with ZEISS optics, calibrated specifically for the Xperia 5 II. Also included are the Photography Pro feature (with technology from Alpha brand series cameras), the Cinematography Pro feature (”powered by CineAlta” enabling parameters and color settings used by professional filmmakers), and a 21:9 CinemaWide display. Xperia 5 II boasts the World’s first 4K HDR 120fps slow-motion movie recording in a smartphone4 and can capture and playback up to 5x slow-motion when recorded at 24fps. Powerful audio features include High-Resolution14 Audio, a 3.5mm audio jack, and front-facing stereo speakers. All of these features are driven by the Qualcomm® Snapdragon™ 865 processor, in a slim, compact and beautiful design that easily fits in a pocket. The Xperia 5 II also adds a 120Hz refresh display rate and 240Hz touch scanning rate to give the smoothest and most accurate gaming experience.

Capture perfect shots and unmissable moments

Taking a page from of its sibling (Xperia 1 II)’s book, the Xperia 5 II is designed with technology from the award-winning Alpha brand series cameras, including Real-time Eye AF1, continuous Autofocus that performs AF / AE calculations at 60 times per second and up to 20fps shooting.

Powerful Visual Storytelling Tools, Exquisite Images

The versatile triple lens camera with three focal lengths: 16mm/24mm/70mm, lets you capture beautiful landscapes and portraits, and also zoom in on distant subjects. The ZEISS optics are specifically calibrated for the Xperia 5 II and feature the renowned ZEISS T* coating for reduced reflection, resulting in exquisite contrast and image rendering.

Like the Xperia 1 II, the Xperia 5 II offers Photography Pro, a user interface developed in collaboration with professional photographers to mirror many of the manual controls available in Alpha brand series cameras, including ISO, Shutter Speed and EV Indicator, while also providing RAW image capture and noise reduction support.

Leading Technology for Film and Video Storytelling

Cinematography Pro “powered by CineAlta” now enables more choice for story-telling with dramatic slow-motion cinematography creation, making it the world’s first 4K HDR 120fps slow-motion movie recording in a smartphone which can capture and playback up to 5x slow-motion when set at 24fps. It also records in 21:9 ratio at 24/25/30/60fps9, enhancing cinematic expression. Eight different Look color management pre-sets allow you to change the mood of your scenes to different cinema styles. In addition, Sony’s unique Intelligent wind filter technology uses award-winning audio separation technology to reduce wind interference for clearer audio recording.

Gaming on the Go

The combination of Xperia 5 II’s premium entertainment features allow it to transform into a mobile gaming powerhouse. Get deeper into the action with an immersive 21:9 display, Game enhancer-powered ultra-fast performance, 120Hz refresh rate display, and precise 240Hz touch scanning rate, meaning that the Xperia 5 II sets you up with a strong advantage to win whichever game you are playing. All features have been developed through close work with professional e-sports gamers to ensure the best features and gaming experience.

The 21:9 display is wider than conventional displays, revealing more of the action so you can see your opponents before they see you and take the advantage, especially in first-person shooter games. Not only do you get an unrestricted view of the gaming action on the native 120Hz refresh rate display, with even fast-moving objects rendered clearly and smoothly, but the Xperia 5 II also delivers 240Hz Motion blur reduction, meaning the display updates the image an incredible 240 times per second for blur-free action.

For games that require fast fingers, the Xperia 5 II gives you the edge. The device supports 240Hz touch scanning rate, a rate which is up to 4x higher than the previous model10 – meaning the action happens exactly as intended, with high-precision control. Touch response has been improved by 35 percent compared to the previous model, with the system recognizing your touch at the precise moment intended.

Game enhancer also offers a range of features and settings to help you improve your gameplay and secure more wins within your competitive set. You can also share your best moments, in the form of screenshots, and audio or video clips. Power management through HS Power Control also allows you to play longer while avoiding overheating.

To take your gaming to the next level, connect a PlayStation®4 DUALSHOCK®411 Wireless Controller and play Android games with an authentic gaming experience.

Xperia is the official smartphone of the Call of Duty®: Mobile World Championship Tournament 2020, and the Xperia 5 II is ready to answer the call. Whether you’re playing for fun or serious about winning the title, the Xperia 5 II provides an optimized, high-quality experience with its unique tuning in collaboration with Qualcomm® Snapdragon Elite Gaming™.

A Powerful “Pocket Perfect” Device for All Video and Music

Xperia 5 II is perfect for movie lovers, with its 21:9 CinemaWide 6.1” FHD+ HDR OLED notchless display, it puts the widescreen experience in the palm of your hand. The color reproduction of movies is unmatched, powered by Sony’s professional expertise and technology from leading Hollywood studio productions. The Creator mode “powered by CineAlta” brings content to life exactly as it was envisioned. The X1™ for mobile engine brings BRAVIA® HDR remastering technology to everything you watch, enhancing the contrast, color and clarity of any content, including streaming services. The 120Hz refresh rate also ensures smooth scrolling and internet browsing.

Xperia is known and loved for delivering great audio, and the Xperia 5 II delivers with a truly immersive entertainment experience. Watch a movie with Dolby Atmos® sound, tuned in collaboration with Sony Pictures Entertainment, for a multi-dimensional surround sound experience. Music also sounds better, with audio tuned in collaboration with Sony Music Entertainment, delivering a truly authentic listening experience. 360 Reality Audio hardware decoding optimizes sound quality when listening to music on the global music and entertainment platform such as TIDAL12. And new TIDAL subscribers will get 3 months of TIDAL Hi-Fi free when they buy an Xperia 5 II13, which includes the 360 Reality Audio experience.

High-quality music can be enjoyed through the front stereo speakers or when using headphones either wirelessly or with the 3.5mm audio jack. The jack provides clearer left and right audio separation to reduce signal noise to an imperceptible 20dB – over 90 percent lower than standard USB-C headphone connections.

Whatever the format, Xperia 5 II ensures you get the best experience out of music. With High-Resolution and High-Resolution Wireless Audio14, Xperia 5 II offers DSEE Ultimate, which enhances the quality of digital music using AI, including audio and video content on streaming services. It also automatically improves audio frequency and dynamic range in real-time, taking each track close to high-resolution audio.

Compact and Powerful

At just 2.68 inches wide and 0.31 inches in depth, the Xperia 5 II is tailor-made for one-handed use—It has even been designed with a less-pronounced corner shape compared to its predecessor, for a more comfortable feel, and a perfect fit for your hand or pocket.

Compact and powerful, Xperia 5 II is powered by a high-capacity 4,000mAh battery with a fast charge feature that charges up to 50 percent in just 30 minutes15. With a considerable heritage in developing cutting-edge battery technologies to extend battery lifespan, Sony is confident that the Xperia 5 II will have a healthy battery, even after two years of average usage16.

The Xperia 5 II includes the processing power of the Qualcomm® Snapdragon™ 865, Corning® Gorilla® Glass 6 on both sides and has an IP65/68 rating for water resistance17.

Availability

In the U.S., the Xperia 5 II will be available unlocked in black and comes equipped with Android™ 10. The Xperia 5 II will be available for pre-order for about $ 950 on September 29, 2020 and ships to customers on December 4, 2020.

Preorder Xperia 5 II by November 29, 2020 and receive a gaming bundle worth over $ 400 including a gaming headset, a 10,000mAh power bank and 21,600 Call of Duty Mobile Points at direct.sony.com/xperia or other participating Sony authorized retailers. Xperia 5 II will be compatible with Verizon, AT&T, T-Mobile, Cricket networks.

Accurate focus may not be achieved with certain subjects in certain situations and this does not work with all types of animals.
Maximum fps will depend on shooting environment and settings. Up to 20fps continuous shooting with AF/AE is available for 24mm camera. 16mm and 70mm camera can shoot up to 10fps AF/AE.
Effective with a versatile 24mm lens. This function can be taken with “Photography Pro”. Effective when shutter speed is 1/60 second or faster. It may vary depending on the shooting environment.
Xperia 5 II main camera feature 4K HDR 120fps slow-motion movie recording. Verified by Strategic Analytics´ SpecTRAX Service against the published camera specifications for over 17,500 smartphones. Correct as of the 17th September 2020. Recording time restrictions apply. 4K HDR 120fps available on Cinematography Pro on the 24mm camera.
Display ratios may vary based on content formatting
The feature may vary by content, game availability and compatibility.
240Hz Motion blur reduction is a Game enhancer feature. Taking the 120Hz display refresh rate, it inserts a black frame in between each frame to provide the equivalent visual effect of 240Hz refresh rate. The result is blur-free images with marginally decreased brightness. The feature may vary by content, game availability and compatibility.
5G network depends on market and operator
Recording time restrictions apply.

Articles: Digital Photography Review (dpreview.com)

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Disney Research Studios demonstrates automatic face swapping with faster, cheaper AI

21 Jul

Disney Research Studios and ETH Zurich have published a study detailing a new algorithm that is able to swap faces from one subject to another in high-resolution photos and videos. Of note, this system is able to fully automate the face-swapping process, presenting the first instance of megapixel-resolution machine-generated imagery that is ‘temporally coherent’ and photo-realistic.

The new algorithm involves taking the face of a subject and modifying it using the face of another person, blending the two so that the face from one person is presented with the expressions and movements of another.

The system involves a multi-way comb network trained with images of multiple people, as well as a blending method that preserves contrast and lighting. ‘We also show that while progressive training enables generation of high-resolution images,’ the researchers say, ‘extending the architecture and training data beyond two people allows us to achieve higher fidelity in generated expressions.’

Key to the high level of quality is the ‘landmark stabilization algorithm,’ which Disney researchers describe as a ‘crucial’ aspect of dealing with high-resolution content. Though this isn’t the first instance of face-swapping in footage, the study points out that existing methods used to generate characters like the young Carrie Fisher in Rogue One are both time-intensive and quite expensive.

Artificial intelligence has the potential to change this, ultimately enabling creators to rapidly generate computer characters using live-action footage and input images of the target. Generating realistic faces remains a big problem, however, producing what is referred to as the ‘uncanny valley’ look that limits the use of this tech.

This makes Disney’s new technology particularly exciting, teasing a future in which creators will be able to generate photo-realistic, high-resolution, temporally-stable face swaps between two people. The researchers explain:

As our system is also capable of multi-way swaps — allowing any pair of performances and appearances in our data to be swapped — the possible benefits to visual effects are extensive, all at a fraction of the time and expense required using more traditional methods.

The study compares the face-swapping results from this new method to the results from existing algorithms, including DeepFaceLab and DeepFakes. Though the other algorithms were able to produce casually convincing results, they were unable to pass scrutiny and, in some cases, were either excessively blended or outright bizarre and uncanny.

This batch represents instances of failed face swapping

In comparison, the face swaps generated using the new method were realistic and maintained a high level of sharpness and detail at a 1024 x 1024 resolution, bypassing the soft, blurry results often seen when using DeepFakes. As well, the researchers note that DeepFakes has such heavy processing requirements that it was only able to generate a resolution of 128 x 128 pixels using an 11GB GPU.

When using morphable models, the researchers were able to increase the resolution to 500 x 500 pixels, but the results were typically unrealistic. Beyond that, the researchers were forced to train the conventional models for each pair of face swaps whereas the new algorithm could be simultaneously trained for all of the people used for the various face swaps.

However, the study points out that the new algorithm presents one big limitation also experienced by other, more conventional methods: the original head shape is maintained. Though the face swap may be very realistic, the face itself may not match the head shape properly, resulting in a generated character that looks a bit ‘off’ from what is expected.

Future research may result in a method for transferring the subject’s head shape in addition to their face, producing not only photo-realistic results, but also the correct overall appearance for a digitally-recreated actor. The biggest obvious use for this technology is in film and television, enabling studios to quickly and cheaply (relatively speaking) create 3D models of aging or deceased actors.

This technology joins a growing body of research on face-swapping and model-generating algorithms that focus on still images rather than videos. NVIDIA, for example, published a study in late 2018 that demonstrated the generation of photo-realistic portraits of AI models that involved source and target images of real people.

Around a year later, the same company published new research that performed a similar face swap, but one involving dogs instead of humans. We’ve already seen the use of these various AI technologies reach the consumer level — Let’s Enhance 2.0, for example, recently introduced a new feature that utilizes machine learning to reconstruct the faces of subjects in low-resolution images.

As for the new study from Disney Research Studios and ETH Zurich, the full paper (PDF) can be found on Disney’s website here.

Articles: Digital Photography Review (dpreview.com)

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DJI announces cheaper, more compact Osmo Mobile 3 smartphone gimbal

14 Aug

Chinese drone, camera and gimbal manufacturer DJI has announced the Osmo Mobile 3, a third-generation gimbal designed to be more capable and compact than ever.

Available today for $ 119, the Osmo Mobile 3 features a similar design to its predecessors, but folds down into a much smaller package, making it easier to pack away in bags, backpacks and purses. Specifically, the device measures 285 × 125 × 103 mm (11.2 x 4.92 x 4.06in) when unfolded, 157 × 130 × 46 mm (6.18 x 5.12 x 1.81in) when folded down and weighs 405g (14.29oz).

It also features a more streamlined interface so one-handed operation is easier, including the ability to flip the phone’s orientation from portrait to landscape (or vice versa) with three taps of the ‘mode’ button, a much requested feature not found on its predecessors.

On the user-facing side of the Osmo Mobile 3, there is a joystick, a record button (also serves as the shutter button), the mode button (also serves as the power button) and a battery life indicator. On the left and right sides are a T/W zoom toggle and a USB-C port, respectively. DJI has also brought back the popular trigger option found on the original Osmo Mobile and DJI’s higher-end gimbals.

In addition to being used to charge the 2450 man Li-ion battery that’s rated for 15 hours of use, the USB-C port also serves as a means of connecting attachments, such as a 3.5mm audio jack for recording audio via an external microphone.

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As is to be expected, DJI has brought some of its AI-powered drone technology and other shooting modes to the Osmo Mobile 3 via the DJI Mimo app. This includes DJI’s Active Track feature, ‘story mode’ which automatically edits footage together and other shooting options such as gesture controlled shooting, panorama, timelapse and hyperlapse.

The DJI Osmo Mobile 3 is currently available to purchase for $ 119 at authorized retailers, including Adorama and B&H. DJI is also selling a combo pack with the Osmo Carrying Case and Osmo Grip Tripod for $ 139.

Articles: Digital Photography Review (dpreview.com)

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Nikon D3500 gets smaller and cheaper, battery life gets a boost

30 Aug

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Nikon has replaced its entry-level D3400 DSLR with the aptly named D3500. The main change is that the body is similar to that of the even-smaller D5600, minus the articulating touchscreen display. The D3500 is also cheaper than its predecessor, with a list price of just $ 499 with an AF-P 18-55mm F3.5-5.6 VR lens, compared to $ 649 for a D3400 kit.

Nikon has also managed to increase battery life by 30% to 1550 shots per charge, despite using the same processor and battery as the D3400.

The D3500 has the same 24MP DX-format CMOS sensor, 11-point AF system, easy-to-use Guide Mode, 1080/60p video and Bluetooth-only connectivity as the D3400.

As mentioned above, the D3500 will sell for $ 499 with an 18-55mm kit lens. A two-lens kit which includes the 18-55 as well as a non-VR AF-P 70-300 F4.5-6.3G ED lens will be priced at $ 849. Both kits will ship in September.

Press Release

THE NEW NIKON D3500: CAPTURE AND SHARE YOUR TREASURED MOMENTS WITH THE LIGHTEST, FRIENDLIEST NIKON DSLR YET

The Redesigned Nikon D3500 is the Most Portable Entry-Level Nikon DSLR Ever, and the Easiest Way to Capture the Moments that Matter Most

MELVILLE, NY (AUGUST 30, 2018 at 12:01 A.M. EDT) – Today, Nikon unveiled the new Nikon D3500, a compact, entry-level DSLR that makes capturing the world easier and more convenient than ever. The 24.2-megapixel D3500 features an updated CMOS image sensor and Nikon EXPEED image processor to capture sharp details and vivid colors, and is packed with easy-to-use features that help first-time DSLR users start capturing better photos and video right away.

With its ergonomic and lightweight body, approximately 1,550 shots on a single charge and convenient features like Nikon SnapBridge¹ and helpful Guide Mode, the Nikon D3500 is a great option for parents, travelers and photo enthusiasts who are eager to take their photography to the next level.

“The Nikon D3500 is ideal for consumers who are looking to easily capture the kinds of images that their smartphone simply cannot match, and share them seamlessly with family and friends,” said Jay Vannatter, Executive Vice President, Nikon Inc. “The D3500 reaffirms our commitment to releasing convenient DX-format DSLR options for those just discovering photography.”

Capture Stunning Images and Video with Ease

The Nikon D3500 is bursting with high-performance features that help first-time DSLR users capture amazing images in a variety of situations. The camera’s broad ISO range of 100-25,600 makes it easy to capture sharp, clear images in low-light shooting situations with very little noise, while the 11-point autofocus (AF) System locks onto subjects, even fast-moving pets or children to help ensure that fleeting moments aren’t missed. The D3500 also features built-in Effect Modes to help entry-level users discover and express their personal creative vision.

Additionally, the Nikon D3500 is capable of continuous shooting up to five frames-per-second (fps), helping to capture candid moments with ease. The Nikon D3500 is also equipped with Full HD 1080/60p video capability. Users can switch from shooting photos to video at the press of a button, allowing them to capture spur-of-the-moment memories that will last a lifetime with stunning sharpness and clarity.

To further expand creativity, the in-camera Guide Mode gives new DSLR users the tools they need to learn about their new camera’s capabilities and become better, more knowledgeable photographers.

All these amazing features have been incorporated into a new ergonomic and lightweight design featuring a more comfortable, deeper grip and the slim monocoque body design similar to the Nikon D5600. The new design also features a more beginner-friendly and intuitive control layout, with a larger playback button and the most frequently-used controls all relocated to the right side of the camera’s LCD where they are easiest to access.

The redesigned Nikon D3500 is ideal for a fast-paced on-the-go lifestyle, making it the perfect companion for any family event or travel adventure.

Always Connected for Easy Sharing

Sharing photos with the ones you love is easier than ever with the Nikon D3500 and Nikon SnapBridge app. The D3500 uses Bluetooth²to create an always-on³ connection between the camera and a compatible smart device, making it possible to seamlessly share 2MP images to social media as they are captured. Additionally, D3500 users will now be able to trigger their camera remotely via Bluetooth using SnapBridge. Nikon SnapBridge users can also access Nikon Image Space⁴, a free online image sharing and storage service that preserves memories in the cloud.

Pricing and Availability

The Nikon D3500 will be available in a two-lens kit option, including the AF-P DX NIKKOR 18-55mm f/3.5-5.6G VR and AF-P DX NIKKOR 70-300mm f/4.5-6.3G ED, for a suggested retail price (SRP) of $ 849.95* in September 2018. A Nikon D3500 single-lens kit with the AF-P DX NIKKOR 18-55mm f/3.5-5.6G VR will also be available for (SRP) of $ 499.95* in September 2018. For more information on the new Nikon D3500, please visit www.nikonusa.com.

Nikon D3500 specifications

Price
MSRP	Body w/AF-P 18-55mm VR lens ($ 499), body w/AF-P 18-55mm VR and 70-300 F4.5-6.3 non-VR lenses ($ 849)
Body type
Body type	Compact SLR
Body material	Composite
Sensor
Max resolution	6000 x 4000
Other resolutions	4496 x 3000, 2992 x 2000
Image ratio w:h	3:2
Effective pixels	24 megapixels
Sensor photo detectors	25 megapixels
Sensor size	APS-C (23.5 x 15.6 mm)
Sensor type	CMOS
Processor	Expeed 4
Color space	sRGB, Adobe RGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-25600
White balance presets	12
Custom white balance	Yes
Image stabilization	No
Uncompressed format	RAW
JPEG quality levels	Fine, Normal, Basic
File format	JPEG (Exif v2.3) NEF (RAW, 12-bit)
Optics & Focus
Autofocus	Contrast Detect (sensor) Phase Detect Multi-area Center Selective single-point Tracking Single Continuous Face Detection Live View
Autofocus assist lamp	Yes
Digital zoom	No
Manual focus	Yes
Number of focus points	11
Lens mount	Nikon F
Focal length multiplier	1.5×
Screen / viewfinder
Articulated LCD	Fixed
Screen size	3″
Screen dots	921,000
Touch screen	No
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Optical (pentamirror)
Viewfinder coverage	95%
Viewfinder magnification	0.85× (0.57× 35mm equiv.)
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/4000 sec
Exposure modes	Program Shutter priority Aperture priority Manual
Scene modes	Auto Auto [Flash Off] Child Close-up Landscape Night Portrait Portrait Sports Special effects
Built-in flash	Yes (Pop-up)
Flash range	7.00 m (at ISO 100)
External flash	Yes (via hot shoe or wireless)
Flash modes	Auto, Auto slow sync, Auto slow sync with red-eye reduction, Auto with red-eye reduction, Fill-flash, Off, Rear-curtain sync, Rear-curtain with slow sync, Red-eye reduction, Red-eye reduction with slow sync, Slow sync
Flash X sync speed	1/200 sec
Drive modes	Single-frame Self-timer Quiet shutter-release Quick response remote Delayed remote Continuous
Continuous drive	5.0 fps
Self-timer	Yes (2, 5, 10, 20 secs (1-9 exposures))
Metering modes	Multi Center-weighted Spot AF-area
Exposure compensation	±5 (at 1/3 EV steps)
WB Bracketing	No
Videography features
Resolutions	1920 x 1080 (60, 50, 30, 25, 24 fps), 1280 x 720 (60, 50 fps), 640 x 424 (30, 25 fps)
Format	MPEG-4, H.264
Modes	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 @ 25p, MOV, H.264, Linear PCM 1920 x 1080 @ 24p, MOV, H.264, Linear PCM 1280 x 720 @ 60p, MOV, H.264, Linear PCM 1280 x 720 @ 30p, MOV, H.264, Linear PCM
Microphone	Mono
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC
Connectivity
USB	USB 2.0 (480 Mbit/sec)
USB charging	No
HDMI	Yes (mini-HDMI)
Microphone port	No
Headphone port	No
Wireless	Built-In
Wireless notes	SnapBridge (Bluetooth only)
Remote control	Yes (via smartphone)
Physical
Environmentally sealed	No
Battery	Battery Pack
Battery description	EN-EL14a lithium-ion battery and charger
Battery Life (CIPA)	1550
Weight (inc. batteries)	365 g (0.80 lb / 12.87 oz)
Dimensions	124 x 97 x 70 mm (4.88 x 3.82 x 2.76″)
Other features
Orientation sensor	Yes
Timelapse recording	No
GPS	None

Articles: Digital Photography Review (dpreview.com)

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MRMC unveil a smaller, lighter and cheaper version of its Bolt camera robot

02 Mar

Nikon-owned Mark Roberts Motion Control has announced that it will release a new smaller version of its Bolt camera robot in April this year. The original Bolt is claimed to be ‘most advanced high-speed camera robot in the world’, and the so-called Bolt Junior aims to continue that legacy in a package that weighs less than half as much, is more capable of working in confined spaces, and costs less as well.

Offering 6-axis movements, the Bolt JR will have an arm’s reach of 1.2m/3.94ft and will be able to travel at up to 3m/9.8ft per second when running on tracks… all while carrying 12kg of camera equipment. Using the company’s Flair software to control the robot, users will be able to program a series of movements that can be repeated exactly, again and again.

The robot arm can control lens settings as well as camera position, and can be used to create sophisticated timelapse sequences or follow camera movements created in animation software Maya. Finally, the company says the Bolt Jr takes only an hour to set up, and because it weighs only 110kg/242.5lbs, it is easy to transport as well.

The robot will go on show for the first time at the NAB exhibition in Las Vegas. For more information, visit the Bolt JR landing page.

Press Release

MRMC Launch Bolt Junior

Mark Roberts Motion Control Develops High-Speed Smaller Compact Version of Famous Bolt Cinebot

With a 50-year legacy developing highly effective camera robotics, Mark Roberts Motion Control (MRMC) have developed Bolt Junior (Bolt JR)

The MRMC Bolt JR has been developed in response to customer need for a smaller, compact, more cost-effective version of the highly regarded high-speed MRMC Bolt Cinebot – the fastest and most advanced motion control rig in the world.

This high-speed, compact 6-axes camera robot arm has been specially developed for film studios, photographic studios and for table-top work where studio space and budget are a key criterion. Being small and lightweight, Bolt JR is also easily maneuverable and transportable.

But make no mistake… Bolt JR may be short on size and stature but packs a mighty punch enabling impressive camera robotic capability. Available in pedestal and on-track versions, the Bolt JR cinebot has an arm reach of 1.2 metres and can move high-speed on-track at over 3m per second with a camera payload up to 12kg.

Camera robots can empower the cameraman, motion control operator and photography director to get the camera exactly where it needs to be for unique tight camera angles, special effects and to capture all the action and drama.

Controlling and programming Bolt JR is quick and straight- forward using the MRMC Flair system. Bolt JR with Flair offers a wide variety of automated functions and precision repeat functions. For complete flexibility, Bolt JR can also automate lighting, trigger synchronised SFX timecodes, rig movement or model movement.

Bolt JR is set to make its appearance this April at the NAB exhibition in Las Vegas where it will be demonstrated to over 100,000 show visitors alongside its big brother Bolt Cinebot. With the launch of Bolt JR, MRMC has launched a new dedicated Bolt JR website providing information, specification, video and product sheet for download. The Bolt JR website can be found at www.mrmoco.com/boltjr

Articles: Digital Photography Review (dpreview.com)

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Can you build a cheaper X100 with a mirrorless body and pancake lens?

15 May

One of the ones to beat: the Fujifilm X100F offers excellent image quality in a relatively compact and, dare I suggest, quite attractive package.

As a bunch of (perhaps above-averagely tech devoted) photographers, one of the unifying factors in the office is our love of larger sensor, fixed prime lens cameras. Obviously there are still arguments about whether they should be 28mm or 35mm equivalent and whether the compactness and lower price of APS-C outweighs the image quality benefits of full-frame, but that’s because we’re an awkward, opinionated bunch. We’re broadly agreed that they’re a great concept.

But is there another way of getting the same result? Of putting together a small mirrorless camera and one of the newly prevalent pancake primes, and ending up with a cheaper and more flexible combination?

There’s always something enticing about the prospect of doing something your own way, of cleaving from the path prescribed by the marketeers, and coming up with a better solution.

So what are your options? Let’s looks at the lenses available and then see if there’s an appropriate body to match.

The lenses

First it helps to decide what focal length you want. I’ve mapped the most common pancake lenses on a graph, showing equivalent focal length and equivalent aperture. This lets us compare field of view, depth of field and, to a reasonable approximation: low light image quality. I’m not going to argue about this, it just does.

As this chart shows, you broadly speaking get to choose from roughly 24, 28, 35 or 40mm equivalent lenses. I’ve included a couple of our favorite fixed-lens prime cameras on for reference.

Looking at the chart, you might think: ‘great, I’ve got lots of choices.’ But please let me ‘manage your expectations,’ if you don’t mind me using one of the most loathsome phrases I’ve ever encountered.

Why don’t I want you to get your hopes up too much? Well, mainly because some of these lenses just aren’t very good. The precise reasons for my skepticism vary but a recurrent concern is that far too many of these lenses use ‘unit focus’ or ‘group focus’ design, where a most, if not all of the lens groups have to be moved around to focus the lens. This is probably the worst way to design a lens that’s going to be used with contrast detection AF: accelerating lenses in one direction and then the other rewards the lightest of focusing elements. By contrast, trying to heft multiple groups around takes rather longer. On the other hand, this design can give good optical results. Eventually.

Then you’ve got the lenses that are optically iffy. The Sony 16mm F2.8 E may stand out because it’s the only 24mm equivalent option here, but there’s the slight downside that it’s legendarily indifferent. In fairness, there may be examples that don’t have corners or whole sides of the lens that are a bit mushy, I’ve just never encountered one.

28mm equiv.

28mm equivalent lenses allow you to shoot slightly wider-angle scenes. Or this picture of a train.

There are two stand-out choices here: the tiny but seeming end-of-life Panasonic Lumix G 14mm F2.5 II Aspherical II and the not-really-a-pancake at all Sigma 19mm F2.8 DN for Sony E-mount. Both are fast-focusing and, at around $ 280 and $ 200 respectively, are rather keenly priced. And, to add to the appeal, the main camera they’re likely to have to face down is the Ricoh GR II, which has only a moderately fast F2.8 maximum aperture (and unit focus, would you believe), so either of these lenses should be able to offer a credible alternative.

35mm equiv.

At 35mm equiv, again there are two obvious choices. Personally I’d prefer the Olympus 17mm F1.8 over the Canon 22mm F2, just on the basis that it uses a single, internal focus element. This means it’s much faster than the Canon, whose group focus design holds it back a little, even on the latest EOS M bodies with their clever Dual Pixel AF.

That said, the Canon is a jolly reasonable $ 250, rather than the $ 400 that the Oly will set you back. Also, the Olympus is again a little stout to really class as a pancake lens. But, given it can be paired with some very small bodies and because I like its snap-back manual focus ring, I’m keeping it in the running.

40mm equiv.

The GX85 isn’t as small as the GX850 (which makes us mourn the end of the GM line all the more), but it still pairs rather well with the 28mm equiv 14/2.5 or the 40mm equiv 20/1.7.

40mm equiv used to be a fairly standard lens for fixed prime lens cameras. It doesn’t really have the hint-of-wide-angle charm of a 35mm equiv, but some people like it. It’s Panasonic’s 20mm F1.7 that’s the obvious choice here. It’s the same old story: ‘first pancake design? let’s use unit focus,’ but it’s a pretty reasonable $ 270 and it’s fast enough so long as you don’t have ambitions of using it in AF-C mode all the time.

Fujifilm’s 27mm F2.8 is a little slower, in equivalent terms, but it’s really the combination of this and a $ 450-odd price tag that puts me off.

The cameras

So, what are the best cameras to pair these little lenses with? Personally, I’d argue that the perfect pancake-shooting camera will carefully balance three key properties: size, price and a degree of external control. I don’t expect all three to be optimal, but those are the things I need, if I want to get anywhere close to the experience of something like a Ricoh GR or a Fujifilm X100 series.

I’m not going to insist on a viewfinder, since Ricoh, Fujifilm, Leica and Sony have sold prime lens cameras without them and presumably they’ve done some sort of market research before committing hundred of thousands of dollars to that decision. But it’s a nice thing to have.

There’s more to this than lens depth. A 60mm equiv camera with a full-depth SLR mount and single control dial isn’t quite what I’m talking about.

Sony E-mount

This one’s easy, I reckon. The Sony a6000 is small, it offers a degree of external control plus a little bit of customization, has a viewfinder and is available for $ 500. Even though I have mixed feelings about the small, convenient and frequently slightly wonky 16-50mm power zoom, you can pick it up as part of a kit for just one hundred extra dollars. And, in doing so, take some advantage of the extra flexibility that comes from going down the ILC route.

The a5100 is also worth a look. It’s essentially the same hardware but with fewer controls and less scope for customization so would seems to fall foul of my rules almost immediately, but the flip-up touchscreen is going to appeal to some people.

I wouldn’t, personally, try to save money by picking up an NEX-6, at this point. On paper it doesn’t look that different from an a6000 (it was slightly higher spec in a couple of respects), but having got used the to improved menus and customizable function menu of the a6000, I couldn’t go back. Especially not for a camera I actually want to enjoy.

Canon EF-M

Canon has bounced around all over the shop in terms of who it’s targeting with its EOS M cameras. Whether this is an attempt to protect its DSLR sales or a sincere belief that only entry-level users want mirrorless cameras, it’s meant there aren’t many options if you want an enthusiast level of direct control.

The Canon 22mm F2 isn’t the fastest focusing lens but it’s better on the company’s more recent cameras and makes a great ‘world as I see it’ documentary lens.

The EOS M3 was the first model to include both a command dial and a dedicated exposure comp dial, so is one of the few I’d consider for this task. You can pick one up for around $ 430 at the moment, so it’s pretty well priced, too.

Like the Sony a5100, the EOS M10 is a simplified, primarily touchscreen-controlled model, which isn’t really my thing, but might be yours.

Sadly, both of these models are built around the company’s last generation Hybrid AF CMOS sensors. It works reasonably well but it’s not a patch on the Dual Pixel AF that arrived with the M6. The M6 would be a much better fit for this role than either of the bodies I’ve mentioned, but sadly it’s currently around $ 900, which significantly undermines the aim of putting together a cheap kit. If the price drops, though…

Micro Four Thirds

The Micro Four Thirds system has two great advantages, here: as the world’s first Mirrorless Interchangeable Lens Camera system, both Olympus and Panasonic have had enough time to develop some inexpensive bodies with a good level of control. Then, of course, its slightly smaller sensor allows the camera bodies and lenses to be that bit smaller, too.

The Panasonic 20mm F1.7 pairs well with a small camera body, meaning it’s with you when a stranger unexpectedly throws straw at you.

This leaves you with a good choice of bodies. On the Panasonic side of things, there’s the GX850/GX800, which is currently the company’s smallest body. Sadly it’s not quite as small as the ‘GM’ series it replaces. The GM5 would be perfect for this application, but it’s only going to get harder to find one at a decent price, now. The slightly larger GX85/GX80, which gives more direct control. If you’ve spotted anything of a trend so far, you won’t be surprised that this is the one I’d go for.

The Olympus rival here would be the E-PL8 (or the PL7 if you can find one). With a little bit of button reassignment and customization, the PL8 makes a pretty good hands-on shooter and also offers a flip-up touchscreen. The JPEG color is lovely, too, which is a bonus if that was one of the factors pushing you towards the X100F.

Recommendations:

28mm equiv:

Sony a6000 + Sigma 19mm F2.8
~ $ 700 ($ 800 with kit zoom)

As I say, this one’s easy. It’s a capable camera at a fiercely competitive price. The Panasonic GX85 + 14mm lens will be a bit smaller, feels a bit better in the hand and offers 4K video, but it ends up being around $ 900 and you don’t even get the kit lens for that, so I’d go with the Sony/Sigma combination.

35mm equiv:

Olympus E-PL8 + 17mm F1.8
~ $ 950 ($ 1050 with 12-32mm kit zoom)
Fujifilm X-A3 + 23mm F2
~$ 1050 (including 16-50mm kit zoom)
Canon EOS M6 + 22mm F2
~$ 1020 ($ 1150 with 15-45mm kit zoom)

As you can see, you get plenty of choices if you prefer the 35mm equiv focal length (which, as right-thinking people, you should). The Olympus is both pretty and pretty small, the Canon is the most expensive but fits more honestly into the Mirrorless+Pancake definition and requires much less reconfiguration to adapt it to the task.

But, since this is an opinion piece, not a review, I’m going to cheat and choose something that I’ve not even mentioned yet: the Fujifilm X-A3 and 23mm F2. Sorry to spring it on you like that.

He just came out of nowhere! Grabbed shot with the Fujifilm X100F

Clearly I’m not sorry, though. The X-A3 isn’t as well built as the Canon, and the Fujifilm 23mm F2 doesn’t fit any sensible definition of a pancake, but it’s the closest you’ll get to the capabilities of the X100 series. On top of this, the X-A3 has twin control dials, a 24MP sensor and a sensible price tag, so it’s in. And, just to add to the appeal, it is part of a system with the best range of circa-$ 500 prime lenses I can think of. So there.

Fixed lens or ILC?

Swings and roundabouts: there are advantages and disadvantages to each solution, but both these 35mm equivalents have a lot going for them, whether as main or secondary camera.

Ultimately, going down this route, whichever brand and combination you choose doesn’t buy you such an photographer-focused camera as the likes of the Ricoh GR II or the Fujifilm X100F. You usually have to settle for a darker lens and significantly less control. Worse still, you don’t even necessarily save that much money.

However, the clear benefit of slapping a pancake (or something vaguely like it) on a little mirrorless camera is flexibility. Because, as soon as you want to expand your horizons beyond the pancake’s field of view, you can can put on another lens and do just that. So please think carefully about which other lenses are available and, whatever you decide, I hope you enjoy the prime lens shooting experience.

Articles: Digital Photography Review (dpreview.com)

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News: Digital Photography Review (dpreview.com)

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News: Digital Photography Review (dpreview.com)

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Can you build a cheaper X100 with a mirrorless body and pancake lens?

The lenses

28mm equiv.

35mm equiv.

40mm equiv.

The cameras

Sony E-mount

Canon EF-M

Micro Four Thirds

Recommendations:

28mm equiv:

35mm equiv:

Fixed lens or ILC?

Apple releases cheaper 8GB version of iPhone 5c

Cardboard printers? Samsung concepts look to cheaper, sustainable future

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