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Posts Tagged ‘Design’

Moment launches new ultra-wide Fisheye 14mm Lens with ‘bi-aspherical’ lens design

27 Nov

Smartphone lens manufacturer Moment has announced its new Fisheye 14mm Lens, an add-on lens that Moment claims ‘is the widest, crispiest shot you can have on a phone.’

The lens features an all-new optical design made specifically for the latest smartphones from Apple, Google, OnePlus and Samsung. It features a bi-aspheric design that Moment claims uses 15-percent more of the image sensor than its existing Fisheye 15mm lens.

This design results in a 170-degree field of view that’s 30% wider than the 120-degree field-of-view found on most ultra-wide-angle lenses in newer smartphones, such as the iPhone 11 Pro.

The resulting image can be de-warped using a new distortion correction filter in Moment’s Pro Camera app (Android, iOS). The de-warping feature is available in the iOS app today and the feature will make its way to the Android app ‘in the next few weeks.’

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Below is a sample video captured with the new Fisheye 14mm lens:

The Moment Fisheye 14mm lens costs just $ 89.99 for the first 48 hours, after which it will jump up to $ 119.99. It will work with Moment’s line of M-series cases, which include options for a handful of iPhone, Pixel, OnePlus and Galaxy devices. You can order yours now and find out more information on Moment’s website.

Articles: Digital Photography Review (dpreview.com)

 
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Peak Design updates its Everyday line with new and improved bags, slings and totes

25 Nov

Peak Design’s Everyday line of camera bags has received a V2 update that includes new materials and features, inspired directly from customer feedback and improvements in material design.

The list of the overhauled bags includes the Everyday Backpack (20L + 30L), Everyday Messenger (15L), Everyday Sling (5L is now 6L + 10L) and the Everyday Tote 15L. In addition to the redesigned originals, Peak Design has also added a number of new bags: Everyday Totepack (15L), Everyday Backpack Zip (15L + 20L) and the Everyday Sling (3L).

All of the bags feature more robust ‘UltraZips,’ improved fabrics that are 100% recycled and Bluesign approved (except for black), improved MagLatch connections and new cord hook external carry straps. The Everyday lineup is also receiving new colorways: Midnight Navy (navy blue) and Bone (tan).

Everyday Backpack

The Everyday Backpack is Peak Design’s most popular design. Although the V2 update isn’t dramatic, the small improvements that have been made do make for an overall improved experience as our hands-on attests to.

The Everyday Backpack V2 features a slightly refined shape that should help it stand upright on its own when filled with gear and has redesigned straps that should better contour your body. It also receives the new UltraZip design, improved MagLatch connections, new internal zippered pockets and the expansion straps found on most of the other V2 bags.

The Everyday Backpack 20L and 30L are available today for $ 259.95 and $ 289.95, respectively.

Everyday Backpack Zip:

The Everyday Backpack Zip is what would happen if you took Peak Design’s Travel Backpack, shrunk it, and added a number of features found in its Everyday line. It comes in 15L and 20L versions and features dual-access zips on either side of the bag for easy gear access. It also has a dedicated top-zip for laptop and tablet access as well as side and top grab handles.

The Everyday Backpack Zip 15L and 20L are available today for $ 189.95 and $ 219.95, respectively.

Everyday Messenger

Similar to the Everyday Backpack, the Everyday Messenger features an almost identical design as its first-generation design but improves upon a number of key features. In addition to the new 100% recycled 400D weather-resistant fabric, the Everyday Messenger features an improved MagLatch design, the new UltraZips and a few small aesthetic changes throughout the bag’s design to clean up the seams found throughout.

Below is a feature rundown of the new Everyday Messenger V2:

The Everyday Messenger 15L is available today for $ 219.95.

Everyday Sling

The Everyday Sling lineup has a number of changes from its V1 iterations. First, the 5L sling has been redesigned to add an extra liter of internal storage, now making it a 6L bag. Peak Design has also added a smaller 3L model that takes the features of the large slings and packs it down into an even smaller form factor.

The 3L and 6L bags can convert to was it packs, while the 10L bag offers a luggage carry pass-through for times when you don’t want it wrapped around your shoulder in the airport.

The Everyday Sling 3L, 6L and 10L are available today for $ 79.95, $ 99.95 and $ 149.95, respectively.

Everyday Tote

Much like the Everyday Messenger, the Everyday Tote isn’t much of a change from the previous version. Aside from a cleaner external design, the more robust UltraZips, the 100% recycled fabric and the external cinch straps the Everyday Tote remains largely unchanged.

The Everyday Tote 15L is available today for $ 149.95.

Everyday Totepack

The Everyday Totepack is more or less an Everyday Tote that’s been made a little larger (20L instead of 15L) and adds a set of straps so it can be worn as a backpack.

The Everyday Totepack features dual zip access points on either side of the bag as well as internal FlexFold dividers and stretchy pockets for organizing your gear as you see fit. It features the 100% recycled 400D weatherproof shell and also has two storable carry cinch straps for those times when you need a little more gear.

The Everyday Totepack 20L is available today for $ 179.95.

Articles: Digital Photography Review (dpreview.com)

 
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Hands-on with the Peak Design Everyday Backpack V2

25 Nov

Hands-on with the Peak Design Everyday Backpack V2

Peak Design has updated the entire Everyday line of camera bags and we got early access to the new Everyday Backpack V2 (20L). Of all the bags in PD’s Everyday line, we’re told the original Everyday backpack is by far the most popular – it’s a bag we thoroughly enjoyed using when we reviewed it and a pack that several of us on staff own personally.

Version 2 brings about several small, yet meaningful changes including stronger zippers, a new shape (that’s less likely to fall over), more comfortable straps and updated hardware. Keep reading for all the details.

New shape

The Everyday Backpack V2 (right) has a slightly more rounded shape than the original backpack (left). It also leans forward less when placed on the ground making it less likely to fall over, a common annoyance associated with the original model.

Peak Design also redesigned the bag to include fewer noticeable seams. It’s hard to tell in the image above, but less exposed seams means less places water or dirt could penetrate. The bag is also slightly lighter than the original by about 150 grams (5.3 oz).

New zippers

Every exterior zipper on the bag has been redesigned. We’re told zipper failure is the most common ‘end of life’ point for most PD bags, so the brand decided to create a better zipper. To do this, they partnered with company Zoom zippers to develop the proprietary ‘UltraZip’.

According the Peak Design, ‘UltraZips use Ultra-High Molecular-Weight Thermoplastic thread to bind the zipper coil to fabric tape. This increases zipper strength 20x compared to standard, out of the box zippers from YKK.’

Having dealt with blown zippers on first generation Peak Design bags, we really appreciate the effort the brand has put into solving this all-too-common problem. Less blown zippers are good for everyone: the customer (less annoyance), the brand (less repairs) and the environment (less bags that could ultimately end up in the trash).

Redesigned straps

The straps on the new Everyday Backpack have also received a slight redesign. Additional foam has been added and the shape has been adjusted to better contour to the body. These are small changes but they add up to a bag that’s a bit more comfortable to carry.

Another nice update is the addition of magnets in each strap that allow them to attach to the back of the bag when not in use. This is especially handy for keeping them out of the way if you’re using the luggage pass-though.

New interior pockets

First generation Peak Design Everyday backpacks offered one big zipping pocket on either interior flap with organizational pockets inside. The new version instead offers a lower zippered pocket (still with organizational pockets within) and an upper pocket that closes magnetically. Opinions on staff were mixed about whether we’d prefer a single pocket or two separate ones, but everyone agreed the magnetic closure is slick.

Updated magnetic latch

We’ve long been big fans of Peak Design’s ‘Maglatch’ – it allows storage to expand or contract as needed with four points to latch to. On V2 the latch itself has been slightly redesigned to be sleeker and easier to open with one hand. The design also makes it possible to open the bag silently if needed.

Redesigned expansion straps

In general, all of the hardware on the backpack has gone through a redesign including the hooks on the external carrying straps. These straps are tucked inside the bag but can be deployed as needed to attach stuff like a jacket or sleeping bag. The new hooks on these straps are easier to engage with the anchor loops compared to the old ones.

Speaking of anchor loops, they’ve also been redesigned to be more low profile. Additionally, Peak Design has added more of them throughout the bag, further expanding its carrying capability.

Weatherproofed exterior

Weatherproofing is not new to the Everyday line. In fact one of the reasons we love these bags is they can survive rainy Seattle winters without a rain cover. The exterior is made of 100% recycled* 400D nylon that’s double poly-coated to repel water. So rain or shine, your stuff stays dry.

*The black bag is not made of recycled materials, all other colors are.

Flex-fold dividers and laptop storage

Anyone familiar with Peak Design bags is familiar with the company’s unique ‘Flex-Fold’ dividers. These inserts can be bent and contoured in various ways to accommodate a wide variety of gear. Here’s a video to better explain them. The Everyday bag 20L ships with three.

And like the original Everyday backpack, a zippered compartment in the back provides space for a laptop. This compartment offers two sections with varying depths for either a 15-inch or a 13-inch computer, ensuring regardless of your laptop’s size, it’ll be at your fingertips when you unzip (unless of course it’s an 11-inch).

Availability and price

Peak Design’s new Everyday Backpack V2 is available now in Black (shown here), Tan, Ash, Charcoal as well as new color: Midnight Navy. The 20L is $ 259.95 and 30L is $ 289.95. For more info head to PeakDesign.com.

Articles: Digital Photography Review (dpreview.com)

 
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Rode’s redesigned NTG5 microphone features ‘circular acoustic ports’ and lightweight design

26 Oct

Australian-based audio company Rode has announced the latest addition to its lineup of professional broadcasting microphone with the release of the NTG5.

The new microphone features a new ‘groundbreaking’ acoustic port design that replaces the linear slots found on other shotgun microphones with circular acoustic ports. This change, according to Rode, is a ‘revolutionary design’ yields ‘unmatched acoustic transparency, and a natural, uncoloured sound that will sound superb in a wide variety of applications.’

Rode says the frequency response of the NTG5 has been ‘tailored’ for low self-noise of 10dbA and features a ‘highly directional’ supercardioid polar pattern. The redesigned microphone features RF-bias technology and conformal coating to keep it protected against adverse weather conditions. It’s also incredible light and compact thanks to its aluminum construction, weighing just 76g and measuring in at 203mm long.

The NTG5 comes with a complete recording kit, including the new WS10 windshield, a redesigned pistol grip and cables for connecting to cameras and recorders. Rode says the NTG5 is ‘shipping now’ for $ 499, but we’re yet to see it available on any major retailers.

Articles: Digital Photography Review (dpreview.com)

 
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Sony a9 II has a refined design and more pro-oriented features

03 Oct

Sony has introduced the a9 II, which adds a host of features for the working professional, along with a refined design largely borrowed from the a7R IV.

The sports-oriented a9 II uses the same full-frame 24MP sensor as its predecessor, though its faster Bionz X processor improves AF speed and precision, along with EVF display response. It retains the same 693-point on-sensor PDAF system as the a9, but with new algorithms that improve subject tracking. The camera can still shoot at 20 fps with no blackout using the electronic shutter, and the burst speed using the mechanical shutter has risen to 10 fps. There’s also a new anti-flicker system when using the mechanical shutter, making it much more usable under artificial light.

The biggest changes on the a9 II are targeted toward those who make a living taking photographs and need to deliver large numbers of them quickly

The a9 II has a larger grip than its predecessor, with improved weather-sealing around ports and doors similar to that of the a7R IV. The rear control dial now sits on the top plate, the EV comp button has a lock and the AF-On button and joystick are a bit larger. Battery life has gone up – and the camera can be powered over its USB 3.2 Type C port – and both SD card slots now support UHS-II speeds.

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The a9 II has a slightly improved in-body IS system, which can reduce shake by an additional 1/2-stop, while its 3.76M-dot EVF, tilting LCD and oversampled 4K video capture remain unchanged (meaning 8-bit and no Log modes).

The biggest changes on the a9 II are targeted toward those who make a living taking photographs and need to deliver large numbers of them quickly. Some of the new features include Gigabit Ethernet, 5GHz (802.11ac) Wi-Fi, background FTP transfer and voice memos. The camera can store up to ten sets of both FTP and camera settings, which is helpful when sharing the a9 II with multiple photographers.

The a9 II will be available in November for $ 4500. The a9 will continue to be sold as a more accessible model – at least for now.

Press release

Sony Electronics Introduces the Alpha 9 II with Enhanced Connectivity and Workflow for Professional Sports Photographers and Photojournalists

New Alpha 9 II Combines Alpha 9’s Unrivaled Speed with New Functionality to Match the Needs of Professionals

SAN DIEGO — October 3, 2019 — Sony Electronics today announced Alpha 9 II (model ILCE-9M2). The latest model from Sony’s acclaimed line-up of ? (Alpha) full-frame interchangeable lens cameras, the new model has been created to support working professionals in the fields of sports photography and photojournalism.

The new Alpha 9 II builds on the impressive legacy of the original Alpha 9, maintaining groundbreaking speed performance, including blackout-free continuous shooting at up to 20 frames per second with Auto Focus and Auto Exposure tracking at 60 calculations per second.

Updates include significantly enhanced connectivity and file delivery, continuous shooting at up to 10 fps with mechanical shutter, and evolved AF performance with newly optimized algorithms, re-designed build to enhance durability and operability.

“The voice of our customers is absolutely critical to Sony – we are always listening,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “The Alpha 9 II is the direct result of our work with agency, sports and news photographers since the launch of the original Alpha 9. We have added connectivity and network capabilities that drastically improve the professional workflow, while also making enhancements to design, interface and processing power that complete the user experience. Complemented by our extremely versatile E-mount system – with 55 native lenses introduced at this point including super-telephoto 600mm and 400mm G Master™ series lenses – this new camera is a tool unlike any other for professionals, whether in the field or on the field.”

Raising the Bar for Built-in Connectivity in the Professional’s Workflow

The Alpha 9 II includes a built-in 1000BASE-T Ethernet terminal, enabling gigabit communication for high-speed, stable data transfer operations. Additionally, File Transfer over SSL or TLS encryption (FTPS) is supported for increased data security and PC remote (tether) shooting performance is improved, with decreased release time lag and reduced live view screen delay when using the ‘Remote Camera Tool’ desktop application. The speed of the camera’s built-in wireless LAN functionality has also been increased, adding a stable and fast 5 GHz (IEEE 802.11ac) band, in addition to the 2.4 GHz provided in the Alpha 9. IEEE 802.11a/b/g/n/ac standards are all supported.

Designed to improve the speed of news agencies’ workflow, the Alpha 9 II features a new Voice Memo function that allows spoken information to be attached to images in the form of voice memos that can be replayed when the images are reviewed. The voice data can also be included with images sent to an editor, giving them important information needed for effective editing. Alternatively, a field photographer can also use the ‘Transfer & Tagging add-on’ “Imaging Edge™” application to transfer voice tags with the images to their mobile device and have the voice memos automatically converted to text and added to the JPEG images in the form of IPTC metadata. All of this can be done automatically or manually selected by the photographer.

By combining wireless voice/image transfer and automatic voice-to-text conversion with the ability to auto-transfer images with attached voice memos via FTP, it is possible to shoot and transfer the results to an FTP server without ever having to operate a smartphone. FTP settings within the app can also be sent to a camera via Bluetooth®, allowing for a faster workflow.

The Platinum Standard for Speed and Auto Focus Performance

The new Alpha 9 II shares the same acclaimed 35mm full-frame stacked 24.2 MP Exmor RS™ CMOS image sensor with integral memory as the original Alpha 9, giving it the same unmatched speed performance and outstanding image quality. The new model can shoot continuously and completely silently at 20 fps for up to 361 JPEG images or 239 compressed RAW images, with no viewfinder blackout allowing the photographer to follow the subject and action with no interruption to the EVF during picture taking. For times when mechanical shutter is preferred or required, the new Alpha 9 II has been improved to shoot at up to 10 fps, about 2x the speed of the Alpha 9.

The camera is able to function while continuously calculating Auto Focus and Auto Exposure at up to 60 times per second, with newly optimized AF algorithms that provide notably enhanced AF precision and performance, ensuring that even the most erratic subject motion that is associated with sports are captured with high precision. Also useful for sporting events, the camera now offers an anti-flicker shooting mode that automatically detects and adjusts for the presence of fluorescent or artificial lighting to maximize image quality.

The advanced focusing system in the new Alpha 9 II is far beyond the capabilities of any professional camera. Comprised of 693 focal-plane phase-detection AF points covering approximately 93% of the image area, as well as 425 contrast AF points, the Fast Hybrid Auto Focus system achieves extremely fast and accurate performance, ensuring all fast-moving subjects are accurately captured. Additional notable focusing capabilities include Real-time Eye AF with right eye / left eye selection, Real-time Eye AF for animal augmented with a new algorithm, Real-Time Eye AF for movie, Real-time Tracking, selectable focus frame color, Touch Pad focus point control while using the viewfinder and more. AF can also now continuously track even if continuous shooting is greater than F16, providing further accuracy for shots that require slower shutter speeds. ?

Refined Build and Operability

  • Upgraded BIONZ X™ image processing engine gains maximum benefit from the sensor’s fast readout speed; processor works with front-end LSI to enhance speed in AF/AE detection, image processing, face detection and accuracy, and more
  • Upgraded dust and moisture resistant design to meet the needs of professionals in even the most challenging outdoor conditions; stronger sealing provided at all body seams as well as the battery compartment cover and media slot
  • Latest developed image-processing algorithm reduces noise in the medium-to-high sensitivity range while improving subjective resolution and image quality
  • 5-axis optical in-body image stabilization system that provides a shutter speed advantage of 5.5 steps
  • Improved grip configuration for even greater comfort and sure hold; compatible with Sony VG-C4EM Vertical Grip
  • Improved button design and feel; increased diameter and feedback of the ‘AF-ON’ button; a refined multi-selector joystick design; an exposure compensation dial lock button; and a redesigned shape and new position for the rear dial
  • Redesigned shutter mechanism to suppress even the slightest movement that can cause image blur; tested for durability in excess of 500,000 shutter cycles
  • USB Type-C™ connector that supports fast USB 3.2 Gen 1 data transfer
  • Dual media slots that are both compatible with UHS-I and UHS-II SD cards, allowing higher overall capacity and faster read/write speeds
  • Digital audio interface has been added to the camera’s Multi Interface Shoe™ (MI Shoe), enabling the new ECM-B1M Shotgun Microphone or XLR-K3M XLR Adaptor Kit to be connected directly to the MI Shoe for cleaner, clearer audio recordings

Pricing and Availability

The new Alpha 9 II will be available in November 2019 priced at approximately $ 4,500 US and $ 6,000 CA. It will be sold at a variety of Sony’s authorized dealers throughout North America.

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic Design unveils the Pocket Cinema Camera 6K

11 Aug

Blackmagic Design has unveiled the Pocket Cinema Camera 6K (BMPCC6K), an EF-mount cinema camera with a 6K Super 35 (S35) sensor, a step up from the Four Thirds sensor found inside Blackmagic Design’s Pocket Cinema Camera 4K (BMPCC4K).

At the core of the camera is a 23.10 x 12.99mm Super 35 sensor with Dual Native ISO (400 and 3200), 6144 x 3456 pixel resolution and 13 stops of dynamic range. It can shoot in 10-bit ProRes or 12-bit Blackmagic RAW formats.

The S35 sensor will shoot up to 50 fps at 6144 x 3456 16:9 or 60 fps at 6144 x 2560 2.4:1 and 60 fps at 5744 x 3024 1.9:1. There is also a high frame rate option that shoots 120 fps at 2.8K 2868 x 1512 1.9:1 as well as a true anamorphic 6:5 mode that shoots in 3.7K 60 fps (3728 x 3104).

A comparison from the BMPCC6K product page highlighting the difference in the depth of field between the Four Thirds sensor inside the BMPCC4K and the roughly APS-C ‘Super 35’ sensor inside the BMPCC6K.

The EF mount on the BMPCC6K will feature full electronics so Canon’s EF lens lineup can communicate with the camera for focus and aperture control, as well as Image Stabilization support. In addition to using Canon’s EF mount, the BMPCC6K also uses the same Canon-style LP-E6 battery as its predecessor. Blackmagic rates this for 45 minutes of runtime and can be charged via external battery packs through the onboard USB-C connection.

Recordings can be captured as 10-bit Apple ProRes files in all formats up to 4K or 12-bit Blackmagic RAW in all formats up to 6K. The BMPCC6K features both a CFast and SD UHS-II slots, as well as a USB-C port for storing to external media. Blackmagic Design says ‘Customers can use regular SD cards for HD or higher performance UHS-II and CFast cards for native 4K or 6K when using Blackmagic RAW. Imagine capturing over an hour of full resolution 6K images on a single 256GB SD UHS-II card.’

Notably, though, the manual recommends CFast or USB-C-connected SSD storage for the camera’s high res, high frame rate output, as most of the compression options exceed the 90MB/s guaranteed speeds of the latest V90 UHS-II cards.

A full-size HDMI connection is included for monitoring footage and outputting 10-bit video, including HDR. Other connections include a mini XLR connection with 48 volt phantom power, a 3.5mm microphone input, a 3.5mm headphone output and a locking DC power connection.

On the rear of the BMPCC6K is the same five-inch touchscreen found on the BMPCC4K, which displays the Blackmagic OS, a proprietary operating system designed specifically for Blackmagic Design’s cameras.

The BMPCC6K utilizes Blackmagic Design’s Generation 4 Color Science, first introduced on the URSA Mini Pro G2. In Blackmagic Design’s own words, ‘Blackmagic Generation 4 Color Science uses a complex dynamic 12-bit gamma curve designed to capture more color data in the highlights and shadows, so they get better looking images.’

Other features include still frame capture up to 21.2-megapixels, remote camera control via Bluetooth, localization for 11 languages and a built-in timecode generator for synced multi-camera shoots.

The BMPCC6K is available now for $ 2,495 from resellers around the globe.

Press release:

Blackmagic Design Announces New Blackmagic Pocket Cinema Camera 6K

Fremont, CA, USA – Thursday, 8 August 2019 – Blackmagic Design today announced the Blackmagic Pocket Cinema Camera 6K, a new handheld digital film camera with a full Super 35 size 6K HDR image sensor, 13 stops of dynamic range, an EF lens mount and dual native ISO up to 25,600 for incredible low light performance. This new model builds on the popularity of the Blackmagic Pocket Cinema Camera 4K but has a larger Super 35 sensor size with 6K resolution, allowing higher image quality. The EF lens mount model works with a wide range of lenses from companies such as Canon, Zeiss, Sigma and Schneider.

Blackmagic Pocket Cinema Camera 6K is available immediately from Blackmagic Design resellers worldwide for US$ 2,495.

The elegant design of the Blackmagic Pocket Cinema Camera packs an incredible number of high end digital film features into a miniaturized, handheld design. Made from lightweight carbon fiber polycarbonate composite, the camera features a multifunction handgrip with all controls for recording, ISO, WB and shutter angle right at their fingertips. Because it’s an advanced digital film camera, the sensor is designed to reduce thermal noise allowing cleaner shadows and higher ISO. Plus the large 5 inch LCD makes it possible to get perfect focus at 4K and 6K resolutions.

Featuring a larger 6144 x 3456 Super 35 sensor and EF lens mount, the Blackmagic Pocket Cinema Camera 6K lets customers use larger EF photographic lenses to create cinematic images with shallower depth of field, allowing creative defocussed backgrounds and gorgeous bokeh effects. This means that customers can shoot in 6K and then in post production zoom and re-frame to allow wide shots and close ups to be created, all from a single camera and without losing image quality.

Blackmagic Pocket Cinema Camera 4K and 6K both have an incredible 13 stops of dynamic range which means they preserve more detail in the lightest and darkest areas of an image than simple video cameras can. This allows customers to set exposure for an indoor scene such as a cafe and still retain the details of bright outdoor light coming through a window. Customers even get more colors than the standard DCI-P3 colorspace used for feature films.

The Blackmagic Pocket Cinema Camera features dual gain ISO up to 25,600, which means both the 4K and 6K models are optimized to minimize grain or noise in images, while maintaining the full dynamic range of the sensor. The native ISO of 400 is ideal for scenes with on-set lighting. The gain is set automatically as they adjust the ISO setting on the camera, so it’s easy to capture great images when they don’t have time to set up lights.

The new 6K model will shoot up to 50 fps at 6144 x 3456 16:9 or 60 fps at 6144 x 2560 2.4:1 and 60 fps at 5744 x 3024 17:9. For higher frame rates they can window the sensor and shoot up to 120 fps at 2.8K 2868 x 1512 17:9. Customers can even work in true anamorphic 6:5 using anamorphic lenses in 3.7K 60 fps at 3728 x 3104.

Blackmagic Pocket Cinema Camera records using standard open file formats so customers don’t have to waste time transcoding media. Recording works in industry standard 10-bit Apple ProRes files in all formats up to 4K or 12-bit Blackmagic RAW in all formats up to 6K. Best of all media files work on all operating systems plus customers can format media cards and disks in HFS+ for Mac and ExFAT for Windows.

The Blackmagic Pocket Cinema Camera features built in CFast and SD UHS-II card recorders, and a USB-C expansion port for recording direct to an external media disk. Customers can use regular SD cards for HD or higher performance UHS-II and CFast cards for native 4K or 6K when using Blackmagic RAW. Imagine capturing over an hour of full resolution 6K images on a single 256GB SD UHS-II card.

Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from their camera. Video formats such as H.264 are highly compressed, plus add noise and weird artifacts, causing original sensor detail to be lost forever. Blackmagic RAW eliminates this problem and gives them stunning images with incredible detail and color throughout the production pipeline from camera to edit, color and mastering. It also saves camera settings as metadata so customers can set ISO, white balance and exposure in camera or override them later while editing, all without any loss of quality. Blackmagic RAW files are also small and fast to use making them easy to work with.

The rear of the Blackmagic Pocket Cinema Camera features a large, bright 5 inch touchscreen that makes it easy for customers to frame shots and accurately focus. It’s like getting a built in Blackmagic Video Assist with their camera. The touchscreen displays critical information while shooting, as well as menus for setting up the camera and intuitive touch to focus controls. On screen overlays show status, a histogram, focus and peaking indicators, levels, frame guides, playback controls and more.

With the advanced Blackmagic OS, customers get an intuitive and user friendly camera operating system based on the latest technology. The interface uses simple tap and swipe gestures to adjust settings, add metadata and view recording status. Customers also get full control over advanced camera features such as on screen focus and exposure tools, 3D LUTs, HDR, metadata entry, timecode, Blackmagic RAW settings and more.

Featuring the same Generation 4 Color Science as the high end URSA Mini Pro G2, the Pocket Cinema Camera delivers stunning, accurate skin tones and faithful color in every shot. Blackmagic Generation 4 Color Science uses a complex dynamic 12-bit gamma curve designed to capture more color data in the highlights and shadows, so they get better looking images. The color science also handles some of the complex Blackmagic RAW image processing, so color and dynamic range data from the sensor is preserved via metadata which customers can use in post production.

The camera includes a full size HDMI connector for monitoring with support for HDR and clean 10-bit output. There’s also a mini XLR connection with 48 volt phantom power for attaching professional microphones, a 3.5 mm video camera style microphone input, headphone connection and a professional locking DC power connector.

Digital film cameras shoot logarithmic colorspace to preserve the dynamic range, which is great for later post production, however when these files are viewed on a monitor they can look flat and washed out. 3D LUTs solve this problem because they allow customers to apply a “look” to the monitor so customers get an idea of how the finished images will look like when editing. The Pocket Cinema Camera works with industry standard 17 and 33 point 3D LUT files, or customers can work with the built in LUTs such as Extended Video, Film to Video, Film to Rec.2020 and more.

Professional cameras include professional features and customers also get a built in timecode generator, allowing shooting with more than one camera while keeping perfect sync. Simply plug in an external timecode generator such as Tentacle Sync into the 3.5 mm audio jack and the camera will automatically detect timecode and lock the internal generator. Now each camera can start and stop recording and all the shots from all cameras will have the same matched timecode. Imagine shooting a music festival with multiple roving cameras. Best of all the new DaVinci Resolve 16.1 will automatically find and sync the shots from all cameras so they don’t need to waste time sorting through thousands of shots.

The Blackmagic Pocket Cinema Camera uses standard removable LP-E6 type batteries and also features a locking DC power connector so they never have to worry about losing power in the middle of a shoot. The included AC plug pack can power the camera and charge the battery at the same time. The USB-C expansion port can also be used to charge the battery from portable battery packs, mobile phone chargers or a laptop computer. Customers can even add an optional Blackmagic Pocket Battery Grip that lets customers use 2 batteries to dramatically extend the power of the camera.

Blackmagic Pocket Cinema Camera 4K and 6K models include a full version of DaVinci Resolve Studio, which is the same software used in Hollywood for creating high end feature films, episodic television shows, commercials and more. DaVinci Resolve features a revolutionary new cut page with intelligent editing tools and innovative new features designed to help customers quickly find the footage customers want, edit it together and output it fast. In addition to the new cut page, customers also get DaVinci’s legendary professional editing, advanced color correction, audio post and visual effects tools, all in a single software application.

“The Blackmagic Pocket Cinema Camera 6K features incredible new 6K imaging and EF lens support that customers have asked for,” said Grant Petty, Blackmagic Design CEO. “It has all of the great features customers love from the 4K model, but now adds an EF lens, increased 6K resolution for even higher quality images and more. Plus, with the built in Video Assist features, customers don’t have to purchase and carry around extra equipment. DaVinci Resolve Studio is also included, making it an incredible all in one solution that enables anyone to be creative and tell a story.”

Blackmagic Pocket Cinema Camera 6K Features

  • Use for independent films, documentaries, blogs and more.
  • Designed from carbon fiber polycarbonate composite.
  • Multifunction grip allows single hand operation.
  • 2 models with 6K at 6144 x 3456 and 4K at 4096 x 2160.
  • Compatible with MFT or EF lens mounts.
  • Wide 13 stops of dynamic range for film looks.
  • Up to 25600 ISO for incredible low light performance.
  • Records full resolution up to 60 fps or 120 fps windowed.
  • Standard open file formats compatible with popular software.
  • Built in SD, UHS-II and CFast card recorders.
  • Features incredible quality Blackmagic RAW recording.
  • Built in 5″ touchscreen allows accurate focus when shooting 6K.
  • Blackmagic OS as used in URSA Mini and URSA Broadcast cameras.
  • Includes Blackmagic Generation 4 Color Science.
  • Features full size HDMI for monitoring with status overlay.
  • Professional mini XLR input with 48 volt phantom power.
  • 3D LUTs can be applied for both monitoring and recording.
  • USB-C port allows recording directly to external disk.
  • Built in timecode generator for sync muli-camera shoots.
  • Supports still frame capture up to 21.2 megapixel.
  • Localized for 11 popular languages.
  • Supports remote camera control via Bluetooth.
  • Powers via 12V DC input and can recharge via USB-C.
  • Includes full DaVinci Resolve Studio for post production.

Availability and Price

Blackmagic Pocket Cinema Camera 6K is available now for US$ 2,495, excluding duties, from Blackmagic Design resellers worldwide.

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic Design will livestream tomorrow’s camera, post-production event

08 Aug

Blackmagic Design has sent out an email announcing that tomorrow, August 8, at 12PM PDT, it will be holding a livestream related to its post production and camera products.

Blackmagic Design CEO and co-founder Grant Petty will be leading the livestream, which will be available to watch on Blackmagic Design’s website, YouTube channel and Facebook page. Below is a list of when the event will go live in various cities around the globe.

No hints were given as to what will be announced, but if past livestreams are anything to go by, it should be fairly straightforward, with Petty discussing current and upcoming products and updates. Any guesses?

Articles: Digital Photography Review (dpreview.com)

 
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Peak Design Travel Tripod Review

15 Jul

The post Peak Design Travel Tripod Review appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Ever since Peak Design launched their Capture Clip in 2011, they have carved out a unique and important niche for themselves in modern photography. From their systems for securing your gear to their line of bags to store it all, Peak Design has everything a photographer on-the-go could want. However, the one thing missing from their lineup is a portable, compact device for holding your camera steady on a beach, boardwalk, or windswept mountainside. That all changed in May of 2019 when they launched their first-ever Travel Tripod.

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The Peak Design Travel Tripod

I’ve had a few tripods over the years, and the one I use most often is a set of Manfrotto 055XDB legs mated to a Manfrotto 496EC2 ball head. It works great for almost any situation with the main drawback being size and weight.

Traveling with that tripod is a chore, and even simple actions like extending the legs can be cumbersome. My Manfrotto rig supports my full-frame camera with a battery pack and 70-200 f/2.8 lens like a champ, but I wish it were easier to transport and set up.

That’s why I was so intrigued at the Peak Design Travel Tripod. It appeared to be a great solution for someone like me who wants a small, light, yet rugged and durable tripod. It would, in theory, be great for holding everything from my Fuji X100F to my Nikon D750 with a big, heavy lens. If it were as practical, transportable, and durable as Peak Design claimed, it just might be the only tripod I would need.

Since this tripod is designed specifically for travel, I wanted to put it through its paces in an authentic manner. I took it with me when my family flew cross-country to see relatives in Minnesota, and it performed amazingly well. In one week, I shuffled it in and out of airplane carry-on luggage, used it for several group photos at houses, cabins, and parks and photographed the Independence Day fireworks.

Aside from a few nitpicks here and there, I can confidently say that the tripod performed its duties with aplomb.

After our trip, my wife and I discussed how there would have been no way to get so many of our vacation pictures without the Travel Tripod. Our Manfrotto tripod was too big to take, and our GorillaPod was too small to be useful for outdoor group photos.

The Peak Design Travel Tripod made it possible to get shots of friends and family we only see every few years. It allowed us to capture memories we would otherwise have had no way of photographing.

Size

The first thing I noticed when I got my hands on the Peak Design Travel Tripod was how diminutive it was. It’s barely bigger than my GorillaPod. But with the legs fully extended, it’s just as tall as a regular tripod.

When collapsed, the tripod is about the size of a 70-200 f/2.8 lens with camera attached.

Peak Design opted for a six-sided construction for the legs. This design lets them fold up close and minimize the amount of unused space in the middle. They also created a unique ball head that sits extremely low to the legs. This is a stark contrast to other ball heads which often feature a center column protruding upwards and thereby increasing the total height of the tripod.

Upon closer inspection, I found plenty of classic Peak Design touches implemented to make this as small as possible. The housing for each leg hinge has been shaped to hug the center column. Cam levers sit right next to the legs but offer plenty of leverage when extending them. Even the knob that allows the center column to extend is diminutive and unobtrusive – almost a little too much, as my fingers had trouble gripping it from time to time. (But more on that in a bit.)

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After using this Travel Tripod, I don’t think I want to go back to my other tripod even when I’m not necessarily on the go. The convenience of something so small and light is hard to beat, especially when it can still hold my full camera rig.

Build quality

Having owned other Peak Design gear, I thought I had a good idea of what to expect in terms of construction and build quality. Despite that, I found myself pleasantly surprised when I started putting it through its paces. The carbon fiber unit I tested feels solid, sturdy, and very well made

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It’s difficult to tell how well this will hold up over the years. However, all the mechanical pieces on the tripod, from the cam levers that extend the legs to the collar that locks the ball head in place, feel extremely robust. Certainly just as good as any other tripod, and a lot better than some. The ball head has a satisfying chunkiness to it without being overbearing. Also, the overall quality of construction certainly inspires a great deal of confidence.

My wife and I have an Everyday Messenger and an Everyday Backpack – both of which get used daily. Even after years of use, those bags are holding up marvelously, with only a couple signs of wear and tear. As such, I expect the same level of quality and longevity from the Travel Tripod. From what I have seen thus far, I don’t think it’s unreasonable to expect that this device would serve busy photographers for many years.

With the legs and center column fully extended the Travel Tripod is almost the same size as most standard tripods.

Ease of use

Small and lightweight are nice bullet points to have on the side of a box, but if a tripod is clunky and cumbersome, it will end up spending more time in a dark closet than out in the real world. This is an area where the Peak Design Travel Tripod excels, albeit with a few caveats. Setting up the tripod is a breeze, and you can have it ready to shoot within seconds. And that’s not an exaggeration.

Operations such as adjusting the position of the ball head, extending the center column, opening the cams to let the legs out, and attaching and detaching a camera, are all simple and fast. You can perform many of these operations with one hand in a matter of seconds. Moreover, when you combine that with the tripod’s total weight of about 3 pounds (a little more for the aluminum version, a little less for the carbon fiber version), it makes for a highly compelling product.

Ball head

Fitting your camera to the top of the ball head is a breeze. Attach the mounting plate to your camera, and pop it on to the tripod with a satisfying click as the spring-loaded clip latches it in place. You can then turn a collar at the base of the head to adjust the tension of the spring clip to make extra sure your camera won’t fall out.

I must admit, it took me a few tries to get the hang of this particular ball head. It was a little trickier than other ball heads I have used. However, the trade-off is a tripod head that is significantly smaller and more compact. If you’re using this device for travel, then you will be quite happy with the results.

Mounting plate

The tripod ships with a Peak Design mounting plate that requires a hex-screw, which means you need to use a small wrench to attach the plate to your camera. The tripod ships with the wrench, which looks about the same as the small hex-key wrenches you might find with IKEA furniture. It even has a little pocket in the tripod bag for storage.

Attaching and removing a camera from the tripod is easy. Attaching and removing the mounting plate from the camera requires a bit of work – at least in the current version.

The downside to this arrangement becomes apparent every time you want to move your mounting plate to another camera, which could be several times during a given photo shoot. You have to locate the wrench, unscrew the mounting plate, stow the wrench, get your other camera, grab the wrench, and hold everything in place while you attach the plate.

It doesn’t sound like much, but within a few days of using the tripod, I had already misplaced the wrench a couple of times. It mars what is an otherwise quite simple setup. Of course, you could just get another mounting plate too. It is compatible with Arca-Swiss plates, so you might already have some that would work.

Peak Design has heard a great deal of feedback about this issue since the unveiling of this Travel Tripod. They are currently working on a solution to likely involve a custom-designed hex-key that attaches to the tripod itself rather than stowing it in a bag. The final version was not available for testing, but I am quite confident that it will address most of the concerns that exist with the current setup.

I had to quickly reposition my camera to capture this fireworks shot, which was easy thanks to the size and weight of the Peak Design Travel Tripod.

My solution was simple; I just left the mounting plate attached to my camera for the duration of our visit to Minnesota. The only time I removed it, was when I had to change the battery. Otherwise, the plate was unobtrusive. In daily use, I didn’t really notice it on the camera. It allowed me to snap my Fuji X100F on to the tripod at a moment’s notice.

As far as general usage goes, I found the Travel Tripod to be a top performer. It was solid and held my camera gear in place easily. Adjusting the position of the ball head and locking it in place is easy once you get the hang of it, and extending the legs is quick and simple. As a daily driver on demanding photoshoots, there might be better options that can take the constant weight and abuse of full-time photography.

However, as a travel solution, this tripod is outstanding.

Shooting in portrait orientation

Some online reviews have mentioned that the ball head doesn’t allow you to shoot in portrait orientation as easily as others, but I never found this to be the case. Granted, I rarely shoot in portrait orientation when using my tripod, but when I did, I just adjusted the position of the mounting plate or rotated the tripod a bit. It honestly wasn’t an issue for me. Though, I’m not saying it wouldn’t be an issue for everyone. Your mileage may vary, but I don’t see that this is a problem at all.

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The ball head allows you to easily position your camera to the left for portrait orientation….

 

…but if you tilt it to the right, your movement is limited. It’s an inconvenience, but not a deal-breaker.

Features

Peak Design products are known for little flourishes that might not be noticeable at first but can leave you pleasantly surprised over time. Their bags come filled with hidden pockets, magnetic closures, and thoughtfully-placed loops and straps. These things make them eminently practical in ways that I don’t often see in other bags.

This Travel Tripod continues that tradition. It comes with added accouterments like a cell phone holder stowed in the center column – accessible with a quick twist of the ballast hook.

None of these are reason enough to purchase a tripod, but they are nice to have in a pinch. The realization that you can mount a cell phone easily, remove the center column quickly, and attach anchor links securely, added a little more value to an already outstanding device.

Some of these, like the cell phone holder, are tucked away so well you might forget where they are or how to access them. However, once you figure out where everything is and how to use it, you might start to feel a little less like a photographer and a little more like Q from the James Bond movies.

One anecdote that illustrates the Peak Design philosophy has to do with the tension knob, which lets you extend the center column. I found it challenging to grasp at first, and it was a chore to use because of its placement so close to the actual column.

It seemed like such an obvious oversight, and at first, I was disappointed in how Peak Design chose form over function in this regard. That is until I realized that the knob is held close to the column magnetically. Just pop it out, twist it, and pop it back in where it stays out of the way. I don’t see this attention to detail on a lot of other products, and it speaks the thoughtful creation of this tripod.

The knob to extend the center column pops out to make it easier to grip.

Verdict

Deciding whether this tripod is right for you might very well come down to a question of value.

Is it a solid, well-made tripod that can come along with you on your adventures? Definitely.

Is it worth the money? Possibly.

Was it the perfect travel tripod for my trip to Minnesota, along with my daily use at home? Absolutely.

Will it be the ideal solution for you? It’s likely, but that’s a question I can’t answer for you.

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There’s no getting around the fact that this is an expensive tripod. If you opt for the carbon fiber version, you will spend ten times as much as a GorillaPod, which has been a constant companion for traveling photographers for years.

There are other travel tripods on the market which offer similar features for less money, but also plenty that cost a lot more too. Fortunately, if you want all the features of this tripod in a slightly heavier package, the aluminum weighs slightly more but costs 40% less.

Peak Design has built up a reputation for putting out quality products that meet the needs of demanding photographers and, in my experience, stand the test of time. The Travel Tripod continues that tradition admirably, and I am happy to recommend it.

Ratings:

Size: 5/5

Build Quality: 5/5

Ease of Use: 4/5

Features: 4.5/5

Overall: 4.5/5

 

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The post Peak Design Travel Tripod Review appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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Chief Design Officer Jony Ive is leaving Apple to start new design firm

03 Jul
Jony Ive and Tim Cook at the September 2018 launch of iPhone XR | Photo provided by Apple

Apple has announced that Jonathan ‘Jony’ Ive, Apple’s chief design officer, is leaving the company ‘later this year to form an independent design company which will count Apple among its primary clients.’

Ive’s departure is a monumental one considering the impact he’s had on Apple products since he was hired in September 1992. From the original, iconic iMac to Apple’s new Apple Park headquarters in Cupertino, California, which is estimated to have cost upwards of five billion dollars to construct, Ive has played a critical role in the look and—arguably more importantly—feel of Apple products for more than two decades.

No one person will assume the role of chief design officer, a title more or less created for Ive. Instead, as Apple explains below, two other design team leaders within Apple are expected to fill the void Ive is leaving behind1:

‘Design team leaders Evans Hankey, vice president of Industrial Design, and Alan Dye, vice president of Human Interface Design, will report to Jeff Williams, Apple’s chief operating officer.’

It’s unknown how much interaction will occur between Apple and Ive’s new design firm, but John Gruber of Daring Fireball says:

‘This angle that he’s still going to work with Apple as an independent design firm seems like pure spin. You’re either at Apple or you’re not. Ive is out.’

Gruber also points out that despite Ive leaving Apple, there’s little doubt his impact on Apple will remain for years to come, regardless of the role his design firm will have with the design of Apple products:

‘Apple’s hardware and industrial design teams work so far out that, even if I’m right and Ive is now effectively out of Apple, we’ll still be seeing Ive-designed hardware 5 years from now. It is going to take a long time to evaluate his absence.’

Time will tell the impact Ive’s departure will have on Apple and its products.

1AppleInsider has a great run-down of who Evans Hankey and Alan Dye are.

Articles: Digital Photography Review (dpreview.com)

 
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Hands-on with the new Peak Design Travel Tripod

21 May

Peak Design Travel Tripod

Peak Design announced a new Travel Tripod on Kickstarter today and we were lucky enough to get our hands on a prototype prior to launch. But before we dive into some initial impressions, here’s the nitty gritty: the tripod will be available in aluminum for $ 350 and carbon fiber for $ 600 – both prices include a ball head – however you can score the tripod for much less by backing it on Kickstarter now.

The Travel Tripod series sits in a pricing bracket of its own, toward the upper end of the market. It’s more than double the cost of a lot of other popular entry-level travel tripods, like Manfrotto’s Be Free line and MeFOTO’s RoadTrip tripods, but still much less expensive than the upper-echelon of the market in the Gitzo Traveler tripods (when factoring in the cost of both legs and head).

Overall design

The Peak Design Travel Tripod (center) is 2.5″ / 6.35 cm in diameter from top to bottom, making it considerably more streamlined and less bulky than the Manfrotto Be Free (left), MeFOTO RoadTrip (right) and Gitzo Traveler (not shown). Peak Design told us removing unnecessary bulk to save space was the primary goal of developing this tripod. To that regard, they seem to have been successful.

However, just because it’s slimmer doesn’t mean it’s any lighter than the competition. In fact both the aluminum and carbon fiber versions weight about the same as their Manfrotto and MeFOTO counterparts. And Peak Design’s collapsed length of 15.5″ / 39 cm is also about the same as the aforementioned tripods.

The ball head

Like most Peak Design products, the ball head accepts Arca Swiss-compatible plates – the two pins on either side can be removed (using an included tool) if you happen to have an Arca plate that is wider than the standard Peak Design-issued one. And a dual-locking mechanism offers piece of mind that your precious gear won’t take a tumble.

The top of the plate has a small bubble level that I found generally ends up covered when a camera’s attached, but it is useful for leveling prior. Users loosen and tighten down the ball head by turning the lower ring. I was pleased with the throw of this ring, you only need to turn it about 90-degrees to go from fully-locked down, to loose enough to adjust the camera’s framing.

Stability

Historically, I haven’t been terribly impressed by the level of stability most travel-oriented tripods offer, especially when using cameras with front-heavy lenses. For instance, when trying to photograph the moon with a Nikon P1000 mounted on a Manfrotto Be Free, the camera was prone to sagging forward with the lens fully-extended.

But Peak Design assured me their new tripod is up to the challenge of locking down even the heaviest rigs. To test their claims I went to our gear closet and brought out one of the heaviest setups I could find: a Nikon D5 with a 70-200mm F2.8 lens. To my surprise, I had no issue locking it down. Even with the front-heavy lens pointed up toward the sky, I witnessed no sag.

The legs and other features

The Peak Design’s Travel Tripod’s locking levers are easy to open and close thanks to a long throw. This makes it very easy to set up or break down in an instant, something I can definitely appreciate. A hex tool is also included to tighten and loosen the lock joints. This tripod can reach a maximum height of about 60″ / 152 cm with its legs and center column fully extended. It also offers a ‘low mode’ that get you to about 5″ / 13 cm off the ground and an ‘Inverted Mode’ for when you want to shoot straight down.

Peak Design loves including secret little features in their products and the Travel Tripod is no exception. A hook at the bottom of the center column can be used to weigh down the tripod, but turning it also reveals a secret Arca-compatible cellphone mount, tucked away in the column.

Initial impressions

It’s encouraging to see brands jumping into new product categories and genuinely trying to innovate and improve. With the Peak Design Travel Tripod, there’s no doubt the price alone will have people turning up their noses. But innovation and research doesn’t come cheap. And more importantly, even in the little bit of time I used a prototype of this tripod, I found it to be more compact and more stable than what’s offered on the lower end of the travel market.

Ultimately, we’re looking forward to getting a final version in and taking a proper look at how it compares not only to the ManFrotto and MeFOTO travel tripods, but travel tripods with a similar price, likes those from Benro, as well as the higher-end models from Gitzo.

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