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Posts Tagged ‘Game’

Sony announces it’s getting into the drone game with its new ‘Airpeak’ brand

10 Nov

Watch out, DJI. Sony Corporation announced today it is getting into the drone market under the brand name ‘Airpeak.’

I a short press release, accompanied by the above teaser video, Sony says the Airpeak brand will ‘reflect its aspiration to contribute to the further evolvement and the creation of the unprecedented value through its imaging and sensing technology.’

While Sony does hint at industrial purposes for its drones, the company specifically says the Airpeak brand ‘will support the creativity of video creators to the fullest extent possible.’

An illustration from a patent application Sony was granted back in January 2020.

Sony says the project will launch in spring of 2021. In the meantime, it will share information along the way and work on partnerships to test their products and get feedback from drone users. You can keep up with the latest updates on Sony’s new Airpeak website.

Articles: Digital Photography Review (dpreview.com)

 
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Game Boy Camera gets new life as a low-resolution, highly impractical webcam

05 Sep

Hardware modder, retro gaming enthusiast and Everyday Carry co-founder Bernard Capulong has come to the rescue of an anonymous Redditor who recently expressed their desire for pettiness on the social media platform. The result? A video demonstrating the use of an old Game Boy camera as a modern, live webcam.

On Tuesday, September 1, a Redditor known only by the handle ‘/u/eye_for_an_homunculi’ posted a question on the Game Boy subreddit: is it possible to use an old Game Boy camera as a webcam? The reason, Homunculi explained, was to use the camera as a type of petty ‘gotcha’ in protest of ‘a long list of insane rules’ he or she had to follow when taking an online exam.

It didn’t take long before Capulong dropped a comment demonstrating that it is possible; he shared an image of his setup, as well as video captured using the Game Boy camera as a webcam. The process is expensive if you don’t have the right hardware and fairly convoluted, Capulong explained, making it quite impractical but nonetheless fun.

According to the video demonstrating the project, the Game Boy camera is run off a Super Game Boy 2, the adapter cartridge used to play Game Boy games on the Super Nintendo (SNES) for a bigger-screen experience. Things get a bit more complicated from there, however.

According to Capulong, the adapter cartridge is used with the Analog Super NT, an FPGA-based SNES that includes an HDMI for use with modern displays. Using this HDMI-out functionality, Capulong ran the video signal to an Avermedia Live Gamer ULTRA external capture card, which was then connected to a Windows laptop over USB-C.

Naturally, some interested users wanted to know whether it is possible to do this setup with the OEM SNES console, which quite obviously does not have an HDMI port. In response, Capulong said that while it is technically possible, it would require more effort, including an upscaler cable that would be able to deliver an HDMI signal to the capture card, ultimately increasing the cost and effort involved.

The end result is a novelty that isn’t very useful — many modern webcam applications include filters that could simulate the low-resolution appearance without the convoluted setup and extra costs. With that said, going with the more practical option is considerably less fun.

Articles: Digital Photography Review (dpreview.com)

 
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Video: How to capture a 0.1MP portrait with a Game Boy Camera and 70-200mm lens

21 Aug

The Game Boy Camera was never meant to be a serious piece of photographic equipment, so what happens when you pair the Nintendo Game Boy peripheral with a serious piece of glass to take some portraits? Just ask Sam McKenzie, of YouTube channel 3D Printor, who took it upon himself to adapt a Tamron 70–200mm zoom lens to the 0.1MP Game Boy Camera.

Detailed in the above video, McKenzie 3D-printed an adapter he came across on Thingiverse and attached it to the front of the Game Boy Camera. With the adapter and lens in place, he went out for an ultra-low-resolution portrait shoot to see what the Frankenstein’d camera was capable of.

The modded Game Boy Camera mounted to a Manfrotto Pixi tripod next to a print of the 0.1MP portrait.

While capturing the image was simple enough, getting it off the Game Boy and turned into a canvas print was less intuitive. This process wasn’t featured in a video, but in an email sent to DPReview, McKenzie said:

‘The Super Game Boy for SNES allows you to play Game Boy games on your TV […] so I used an old VHS to DVD making software and USB capture card I had from the early days of DVD and thankfully it worked with the SNES.’

Once he had the image, he ordered a small canvas print and within the week it was at his front door.

The canvas print, in all its pixellated glory.

You can find more of McKenzie’s 3D printing projects on his YouTube channel.


Image credits: Photos by Sam McKenzie, used with permission.

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS R5: The long game ends with a big leap

23 Apr
The fruit of Canon’s R&D emerges from the shadows

Canon has been the best selling camera brand for most of the digital era. Different people might ascribe this dominance to different areas of strength, be that lens design, ergonomics, color response or simply very successful marketing that’s resulted in a history of cameras that people want at a price they’re willing to pay. For the past few years though, its once proud reputation for innovation hasn’t seemed so evident.

Canon’s US press releases still proudly boast about how many patents the company has been granted, but its electronics development prowess hasn’t shone especially brightly in recent models. The EOS R5’s disclosed specs reveal a camera capable of generating and processing immense amounts of data. This suggests a leap forward in Canon’s semiconductor design and one that might shed some light on why some of their most recent cameras have seemed somewhat lackluster.

Blimey!

It’s difficult to over-stress how much of a technical challenge it is to capture and record 8K footage. Just four years ago virtually every camera maker we interviewed said that 4K was really difficult because of the heat generated in the process and there are many models that stop recording or become very hot if they shoot for extended periods. Canon is promising a camera that can capture four times as much data, from the full width of its sensor while still being able to run its dual pixel AF system in parallel.

The EOS R5’s disclosed specs suggests a leap forward in Canon’s semiconductor design

If that doesn’t strike you as ground-breaking, consider that the EOS R5 can shoot 4K at up to 120 fps. Then look around the current batch of large sensor cameras and count how many can achieve 4K/60. It’s a short list, and one that gets even shorter if you mark off the ones that can only do so using a cropped region of their sensor. The EOS R5 almost certainly sub-samples to achieve this, but that’s still a lot of data.

We don’t know the camera’s full specs, yet, but this all points to a radical improvement in sensor and processing technologies.

A history of innovation

Canon was the first camera maker to fully embrace CMOS technology for its DSLRs, which gave it industry-leading performance for many years (it was another seven years until we saw a camera with a CMOS chip from Sony Semiconductor). It was also the first company to produce a large sensor camera that could capture Full HD video. Technologies such Dual Pixel AF show that the company has continued to work away at pushing its cameras forwards.

And yet, the last few generations of Canon stills cameras haven’t always sparkled, particularly in terms of video: notably the most processor-intensive feature. The EOS 5D Mark IV had to crop its sensor to deliver 4K and still showed a fair amount of rolling shutter when it did, suggesting there was a major bottleneck either in terms of sensor readout rate or the ability to process this data fast enough.

It’s also interesting to note that Canon cameras tend to achieve much lower shot-count ratings per Watt Hour of battery capacity than other companies manage, which is likely to be indicative of lower processor efficiency.

The EOS R, as the first RF mount camera, had plenty of innovations in it, but its cropped 4K video suggests a similar lack of processing power to that of the EOS 5D VI, which wasn’t especially cutting edge two years earlier. The EOS R5 is a vast leap forward from this.

And this has seen Canon’s specs begin to fall behind. This need to crop to produce 4K video was off the pace in when the 5D IV was launched in 2016 (Sony’s a7R II offered full-width 4K capture a year earlier), so to see that same limitation in 2018’s EOS R looked a little embarrassing compared to the oversampled 4K footage offered by Leica, Nikon, Panasonic, Sigma and Sony in their contemporaneous full frame models. It’s a similar story with the EOS 6D II and EOS RP and, despite the appearance of a novel 32MP sensor in the EOS M6 Mark II, the need to sub-sample the chip to generate its video also hints at a processing bottleneck.

So why had this company with a history of innovation dropped so far behind its rivals?

What’s been going on, then?

While it sources 1-inch and smaller sensors from other companies, Canon makes its own APS-C and full-frame sensors and generally hasn’t made them available to rival camera companies. This means that Canon has to recoup its R&D costs entirely from its own models, whereas most other camera makers buy all of their sensors in from a supplier that can spread out those costs amongst its many customers. That obviously creates an incentive for Canon to keep using the same chips for as long as it can.

The differing challenges of building cinema and consumer cameras make it impossible to say whether know-how has been reserved for the Cinema EOS line or has trickled down from it.

Another possibility is that Canon has been keeping this know-how for its more profitable pro video users, holding the main EOS line back to avoid cannibalizing its Cinema EOS sales. But this isn’t necessarily true: the Cinema EOS cameras work in an environment where large batteries and built-in fans are the norm, meaning there isn’t the same pressure on them to be as super-efficient as the mainline EOS cameras need to be. So I’m not sure that’s what we’ve seen: if anything it’s just as likely that the EOS R5 is benefitting from lessons Canon learned through the process of developing the Cinema EOS line.

Playing the long game

Instead, I wonder whether Canon made the decision to step back from the constant two-year development cycle for sensors and processors that other camera makers build their model ranges around, and instead decided to conduct a longer-term project to reclaim the technological lead it’d previously enjoyed.

There are, perhaps, parallels with the way Canon approached its switch to autofocus, back in the 1980s: seemingly content to let Minolta and Nikon own the AF market, only to leap ahead with its EOS system.

Taking a longer-term approach would explain both why the company had dropped so far behind and how it can now not just to catch up but jump ahead

We may never know for sure, but I can’t think of a time when Canon has so clearly fallen behind what the rest of its rivals are offering. That’s why it looks to me like the apparent lull in Canon’s innovation might have been because it wasn’t content to just keep up with its rivals but instead was willing to cede a little ground in the short term, so that it could take a significant lead in the long run. That would explain both why the company had seemingly dropped so far behind and how it’s now looks able not just to catch up, but to jump ahead.

Of course this is likely to be little comfort for customers who bought Canon cameras from the end of the previous cycle, built on technology that was significantly outdated in comparison to their rivals.

So while the rest of the market has been constantly tussling over small gains, seemingly leaving Canon in the dust, the industry’s biggest player appears to have been patiently working to leapfrog them all, taking a bigger lead than we’ve become used to seeing in the industry.

Articles: Digital Photography Review (dpreview.com)

 
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Student photographer knocked unconscious after vicious collision on the sideline of a football game

17 Nov

During today’s college football game between the Georgia Bulldogs and Auburn Tigers, a photographer on the sideline was knocked unconscious when a Georgia wide receiver knocked her over as he ran out of bounds following a short pass play.

University of Georgia student photographer, Chamberlain Smith, was put in a neck brace and taken off the field on a stretcher following the hard collision.

According to reports, Smith was responsive on the stretcher and was able to move all of her extremities, but was taken to the hospital to be checked for an orbital fracture and a concussion. It’s since been confirmed that Smith was released from the hospital, but there are no details on the extent of her injuries.

Brian Herrien, the receiver who ran into Smith, was extremely concerned about her wellbeing and had to be told by officials to go to his sideline following the incident. After the game he shared the below tweet:

Gary Danielson, one of the college football analysts providing color commentary for the game, has taken heat across social media for chuckling at the photographer on the ground following the collision and subsequently making insensitive comments:

Football photography might not seem dangerous, but when you’re looking through the viewfinder, you never know what can happen. Consider this a reminder to always be vigilant about your surroundings.

We would like to wish Smith the best in her recovery.

Articles: Digital Photography Review (dpreview.com)

 
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RAW or JPEG: A Game Of Formats! [video]

27 Oct

The post RAW or JPEG: A Game Of Formats! appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this great video by Nicolas Doretti, he explains the differences between using RAW and JPEG formats.

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RAW or JPEG?

If you have struggled to understand the need to shoot in RAW format over JPEG, this video goes into great detail exploring and explaining why you can obtain so much detail from RAW files.

Nicholas explains the differences in BIT depth and how pixels are composed of 3 layers.

He also explains how to arrive at 16 million colors in an image.

This is how the bit depth corresponds to the number of colors it holds.

  • 8-bits: 16 million colors
  • 10-bits: 1 billion colors
  • 12-bits: 68 billion colors
  • 16-bits: 281 billion colors

Photos taken by your camera are around 12/16 bits of information. All of these values – that’s the RAW file. It’s not really an image; it’s the raw data taken by the sensor.

When you record your image in jpeg, your camera takes the raw information from the sensor and compresses it into an 8-bit format. As there are not as many spaces, it also applies a treatment to the image. It adjusts the contrast and saturation of colors.

The processing values depend on the selected image profile on your camera.

If you record in RAW, the camera does no editing to your image at all. It retains the 12/16-bits of information (68-281 billion colors). It is then up to you to process your images and get the most from all of that information.

The RAW image you see on your computer screen is simply an interpretation of the raw data that your camera records. Each change you make in your editing software reinterprets this data.

RAW is not an image format, as such. Each brand has it’s own version of RAW. CR2 for Canon, ARW for Sony, NEF for Nikon, RW2 for Panasonic, DNG, and other extensions exist.

Using RAW allows you to search for information, whereas there is no information in the jpeg.

Nicolas uses an image example in both jpeg and RAW formats to show you the possibilities of editing with both formats. You will notice how much more information can be gained in the shadow and highlight areas of the RAW file.

Nicolas also touches on the argument of professional photographers not needing to shoot RAW because they should be good enough to get a perfect exposure in-camera. He has an interesting take on this. He talks about retouching and uses examples of photos dating back to 1861 that were retouched.

Watch and see what your thoughts are here! Share any comments on this information in the comments below!

 

You may also find the following helpful

  • The Basics of RAW files {and what to do with the darn things}
  • RAW Files: Digital Manifestations of the Emperor’s New Clothes
  • Quick Beginner’s Guide to Processing RAW Files in Photoshop Adobe Camera Raw
  • How to do Powerful RAW Conversions with Luminar 2018
  • ACDSee Photo Studio Ultimate: Efficient RAW Workflow for Professionals
  • Is Shooting RAW+JPEG the Best of Both Worlds?

The post RAW or JPEG: A Game Of Formats! appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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New Photographers: You Need Grit and This Game Plan to Make a Living

24 Jul

Photography is not for people who lack grit. DATA USA reports that the average salary for photographers is $ 36,699, which is $ 13,514 less than national average salary in the U.S. It is also a shrinking profession, projected to fall 5.6 percent in the next decade, even as the economy grows. © Witthaya Prasongsin | Dreamstime.com   If photography is your Continue Reading

The post New Photographers: You Need Grit and This Game Plan to Make a Living appeared first on Photodoto.


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Photographer hit with ball during ceremonial pitch at recent White Sox game

30 May

Photographer Darren Georgia was struck with what is being called the ‘worst first pitch ever’ during the Royals and White Sox game that took place on May 28. Georgia was positioned near the mound to capture the ceremonial pitch, but the toss didn’t go as anticipated — instead of travelling to the catcher, the ball ended up bouncing off the photographer’s lens hood.

The ceremonial pitch was thrown by an unnamed White Sox employee, according to White Sox Talk, which shared a brief interview with Georgia. According to the photographer, both he and his camera gear survived the unanticipated contact without injury or damage. As well, Georgia successfully captured an image of the pitch seconds before the ball made contact with his camera.

This isn’t the first time a sports photographer has been hit while photographing a game. Last year, for example, Olympic skier Lara Gut collided with photographer Sean Haffey after one of her skis struck a gate.

Articles: Digital Photography Review (dpreview.com)

 
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Documentary reveals how some Instagram influencers game the system

20 May

Dutch public broadcaster VPRO has published a documentary called ‘#followme’ that details the hidden reality behind fake Instagram accounts and how they become popular. The documentary, which was filmed in a vertical orientation for a primarily mobile audience, is around 49 minutes long and available to stream for free on Instagram and YouTube.

The film ‘#followme’ details the big business fueling faux Instagram success, including the sale of followers to make an account appear more popular than it is, the staging of photos and videos designed to look spontaneous, and how motivated users game the platform’s algorithm to climb in rank.

Instagram has faced increased criticism over its alleged role in fear of missing out (FOMO) and other negative mental health effects, including from some influencers who have shed light on the often fake nature of many Instagram accounts. The social network may be planning big changes that address some of these concerns, however. Earlier this month, the company confirmed that it has been testing hidden like counts and that it may introduce the change across the platform.

Articles: Digital Photography Review (dpreview.com)

 
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Huawei joins the “hole-punch” game with the Nova 4

17 Dec

Huawei has announced the latest model in its range of smartphones, the Nova 4. It’s the brand’s first device with a “hole-punch” front camera, that is mostly hidden behind the display and does away with the display “notch” found on many other high-end phones.

The Nova 4 isn’t the first phone with a “hole-punch” camera – that honor goes to the Samsung A8s – but it looks like its 25Mp front camera is peeking through a smaller-diameter hole than the Samsung’s, minimizing the “display disruption”.

Huawei sub-brand Honor has also already pre-announced its VIew 20 phone which seems to have a lot in common with the Nova 4. For starters, there’s the same “hole-punch” design and the two devices also share the same 48MP primary cameras on the rear.

The Nova 4 comes with a triple-cam setup, however, including a 2MP depth-sensor, while the main camera setup of the View 20 is still unknown. In terms of chipset the phones are going down different paths, though. The Nova 4 is powered by last year’s Kirin 970 processor; the View 20 phone will use the newer Kirin 980.

The Nova 4 display measures 6.4 inches and comes with a 2310 x 1080 resolution. 8GB of RAM are plenty and 128 of built-in storage offer space for a good number of images and video.

For now the Nova 4 has only been released in China where it will cost approximately $ 490 (3,399 yuan) but, like previous Nova models the phone will likely make it to other regions soon. If you don’t want to spend quite as much, there is also a cheaper variant ($ 450) that replaces the 48MP primary shooter with a more modest 20MP unit.

Articles: Digital Photography Review (dpreview.com)

 
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