DJI has kicked off its string of announcements with the Ronin 4D, a new—and arguably revolutionary—cinema camera system that combines a cinema camera with four-axis image stabilization, LiDAR focusing and wireless transmission to create the ultimate all-in-one shooting experience.
The DJI Ronin 4D attempts to create an ‘integrated cinematography solution,’ in DJI’s own words. At the heart of the Ronin 4D is CineCore 3.0, a proprietary chipset DJI is calling ‘its most powerful cinematic imaging platform to date.’ According to DJI, this system can capture internal 8K Raw video ‘with precise color reproduction, advanced assistive functions with a high-performance AI engine, and multi-link monitoring and control with low-latency image processing.’
To pair with the new chipset is a pair of new full-frame (36mm × 24mm) Zenmuse X9 gimbal camera systems, available in 8K and 6K versions. Both the X9–8K and X9–6K will be able to record Apple ProRes 422 HQ and ProRes RAW, as well as your standard H.264 codec. The Zenmuse X9–8K tops out at 8K/75fps while the X9–6K tops out at 6K/60fps with the option to get 120 fps footage at 4K resolution.
Zenmuse X9 cameras feature interchangeable lens mounts, but will be available at launch with options for its proprietary DL mount and Leica M mount lens systems. DJI says it should also work, at least in theory, with ‘other mounts with short-flange focal distances,’ but doesn’t elaborate on whether or not it will be offering any other interchangeable mounts at this time.
The sensor inside the X9–8K and X9–6K offers dual-native gain and can capture ‘over 14 stops of dynamic range.’ There are also nine built-in physical ND filters that can be adjusted from ND2 to ND512 for times when you need to reduce the amount of light hitting the sensor. Footage captured with the new Zenmuse X9 camera systems will be processed by DJI’s Cinema Color System, which it says ‘delivers natural skin tones and enables effortless tonal consistency across a project when using different cinema cameras.’
A comprehensive list of recording specs for the Zenmuse X9-8K camera system.
Moving onto the four-axis gimbal, DJI says the Ronin 4D ‘has been designed with an innovative industry-first active Z-axis to eliminate vertical camera shake effectively.’ DJI has also taken inspiration from its drone lineup to add a set of downward-facing ToF sensors, as well as forward and downward dual-visual sensors, a built-in IMU and a barometer to achieve the best stabilization possible.
The Ronin 4D will feature three different autofocus modes: manual focus, autofocus and a new Automated Manual Focus (AMF) mode. The latter two modes use the onboard LiDAR Range Finder, which casts over 43,200 points as far as 10M (33ft) to locate and track subjects in situations where traditional AF might not work due to the lack of light. The unique AMF mode will track subjects and turn the focus wheel during recording, with the option for the camera operator to jump in and manually pull focus when needed. To help in manual focus and AMF modes, there will be LiDAR Waveform available on the monitor to help cinematographers ‘locate focus points and pull focus with extreme precision.’
Once again taking inspiration from its line of drones, DJI has developed an all-new O3 Pro transmission technology that can output 1080p/60fpsd video to remote monitors via the 4D Video Transmitter. DJI says the transmission range is roughly 20,000 feet and notes the video feed is AES 256-bit encrypted for end-to-end privacy. The system uses 2.4GHz and 5.8GHz bands, as well as the DFS frequency band, which DJI says ‘significantly improv[es] stability and anti-interference performance, even in crowded signal environments and locations that feature complex architectural structures.’
While third-party monitors can be used, DJI is also offering a new 7” wireless monitor with 1,500 nits of brightness and a built-in gyro that effectively turns the monitor into a motion controller for the Ronin 4D camera system. The High-Bright Remote Monitor includes an integrated microSD card slot for 1080p/60fps proxy recording and connects with a slew of accessories, including the Ronin 4D Hand Grips, DJI Master Wheels, DJI Force Pro and the new DJI Three-Channel Follow Focus. Multiple monitors can be used at once and customized independently to fit the production’s needs.
Video can be recorded to media three different ways: to SSD over USB-C, to CFexpress Type-B cards via the internal card slot and directly to DJI’s proprietary PROSSD 1TB SSD, which DJI claims ‘delivers the best performance and highest stability for internal recording at maximum resolution and frame rate.’ The Ronin 4D has built-in microphones capable of recording two-channel 24-bit audio, but also has two 3.5mm ports on the body as well as the option to add two XLR ports via the Expansion Plate for further input options.
The Ronin 4D uses the same TB50 Intelligent Battery used by DJI’s Ronin 2 and Inspire 2, which offers up to 2.5 hours of shooting time. Below is the full launch event video:
The 6K version of the DJI Ronin 4D will be available for $ 7,199 in December 2021. It will includes the main body, a Zenmuse X9–6K gimbal camera, a LiDAR Range Finder, a High-Bright Main Monitor, Hand Grips, a Top Handle, TB50 Intelligent Battery and a carrying case. The 8K version of the DJI Ronin 4D will be available for $ 11,499 ‘at a later date’ and will include the Zenmuse X9–8K Gimbal Camera as well as a PROSSD 1TB. The 4D Video Transmitter, High-Bright Remote Monitor and DJI PROSSD 1TB will also be available to purchase separately.
You can find out more about the DJI Ronin 4D on DJI’s website and download sample footage on DJi’s dedicated download page.
Chinese smartphone manufacturer Xiaomi has announced the 11T and 11T Pro, the first two devices in a new lineup from the company that sits just below its Mi 11 and Mi 11 Pro devices in both price and features.
Xiaomi 11T Pro
The new Xiaomi 11T Pro is powered by a Snapdragon 888 5G chipset, compared to the 888+ used in the Mi 11 Pro. The front features 6.67” flat 120Hz AMOLED display (1080 x 2400 pixels) that’s capable of 1,000 nits peak brightness and can display HDR10+ content. The device runs on MIUI 12.5, which is based on Android 11.
On the rear of the camera is a triple camera array, headlined by a 1/1.52″ 108MP sensor (0.7µm, 9–1 pixel binning) that’s likely Samsung’s ISOCELL HM2, based on the specifications. In front of that sensor is a 26mm (equiv) F1.8 lens. The other two cameras onboard are an 8MP ultrawide module with a 120-degree field of view and a 5MP telephoto/macro lens with a 50mm (equiv.) focal length. None of the cameras have optical image stabilization, unfortunately, which the more expensive Mi 11 lineup features.
Video capabilities include 8K30p recording as well as 4K60p and 1080p recording at up to 960 fps. HDR10+ recording is possible and a gyro-based electronic image stabilization (EIS) should keep footage at least somewhat stable at 4K resolution and below (no EIS on 8K recording). The ‘punch hole’ selfie camera on the front of the device uses a 16MP 1/3.06″ sensor with 1.0µm pixels. In addition to 16MP stills, it also offers 1080p recording at 30fps.
In addition to 5G connectivity, the device features Wi-Fi (802.11 a/b/g/n/ac/6), Bluetooth 5.2, GPS and NFC support. A single USB-C port on the bottom of the device supports 120W charging, which can power the device’s 5000mAh Li-Po battery to 72% in 10 minutes and 100% in 17 minutes, according to Oppo. A side-mounted fingerprint sensor can be used to unlock the device in addition to the usual passcode locks.
The Xiaomi 11T Pro is expected to ship later this month in black, blue and white colorways and start at €650 (~$ 770) for the 128GB/8GB RAM model while the 256GB/12GB RAM model retails for €750 (885).
Xiaomi 11T
The Xiaomi 11T is practically identical to the more powerful 11T Pro, with the only noticeable specification difference being the chipset inside. Instead of the Snapdragon 888 5G used in the 11T Pro, the 11T uses a custom Dimensity 1200-Ultra chipset. This less powerful chipset means you won’t be getting 8K video capabilities with the 11T, as it tops out with 4K60p recording. All other camera-related specifications remain the same.
The only other difference we noted is that the fast charging on the 11T is limited to 67W instead of 120W, which means you’ll be able to get to 100% battery in 36 minutes instead of the 17 minutes on the 11T Pro. It’s worth noting though that fast charging will wear down the battery’s life span faster, so the slower charging speeds might actually be more beneficial in the end.
The Xiaomi 11T Pro is available in black, blue and white colorways and starts at €650 (~$ 770) for the 128GB/8GB RAM model while the 256GB/12GB RAM model retails for €750 (885). The 11T will start at €500 (~$ 590) for the 128GB/8GB RAM model. Both models are expected to ship to much of Europe by the end of the month and are avialable to purchase through authorized Ziaomi retailers, including AliExpress, Amazon, Goboo and Mi.com.
Samsung has announced a pair of new foldable smartphones, the Samsung Galaxy Z Flip 3 and the Galaxy Fold 3. The Flip 3 is a clamshell design, harkening back to a classic flip phone design. The Flip 3 is compact when not in use and gets taller when you flip it open. The Fold 3, on the other hand, has a more typical smartphone footprint, and then it unfolds like a book to offer a massive display. Let’s look at each of Samsung’s new folding phones in turn.
Samsung Z Galaxy Flip 3
When folded, the Flip 3 is 106.7mm (4.2″) diagonally. It’s nearly square and has rounded corners. It’s sleek. It’s also more usable than the prior iteration, thanks to a much larger cover screen. The cover screen is just under 50mm (1.9″) diagonally, although the viewable area is slightly less due to its rounded corners. The Super AMOLED display has a 260 x 512 resolution. It’s not a large display, but it’s large enough to allow users to see and interact with notifications and preview images taken with the dual rear camera.
Samsung Galaxy Flip 3
Speaking of selfies, due to the phone’s flip design, you can use what Samsung calls ‘flex mode’ to set up the phone, partially folded, to capture hands-free selfies. The dual rear cameras are both 12MP. The standard main camera has an F1.8 lens, includes optical image stabilization and can record HDR10+ video. The front camera is 10MP.
The main screen, which is usable when you flip the phone open, is a 6.7″ dynamic AMOLED 2X display with 2640 x 1080 resolution. The display has a 120 Hz refresh rate.
Samsung Galaxy Flip 3
The phone is powered by a Qualcomm Snapdragon 888 Octa-core processor paired with 8GB of memory. The phone is available with 128GB or 256GB of storage. Unlike the Fold 3, the Flip 3 is not compatible with Samsung’s S Pen.
Samsung promises that durability issues that have plagued earlier Samsung foldables have been rectified. The Flip 3 features more durable materials. Samsung writes that its new Galaxy Z Flip 3 is built using its strongest aluminum frame yet and that the phone’s front and back covers feature Samsung’s toughest Galaxy Z glass. The Flip 3 is also the world’s first water-resistant foldable smartphone and includes an IPX8 rating, meaning it can survive in 1.5m of freshwater for up to 30 minutes.
Samsung Galaxy Flip 3
The Galaxy Flip 3 is Samsung’s first foldable phone to start at under $ 1,000, with a $ 999.99 list price. The phone Z Flip 3 is available in phantom black, green, lavender, cream, gray, white and pink colorways and will begin shipping on August 27.
Samsung Z Galaxy Fold 3
The Galaxy Fold 3 has a more typical smartphone form factor…and then you open it up. When opened, the Fold 3 has a 7.6″ Dynamic AMOLED 2X display with 2208 x 1768 resolution. The display has a 120 Hz refresh rate. The cover screen is large, too, at 6.2″ with a resolution of 862 x 2268. By the way, unlike prior models, the cover screen is also 120 Hz.
Samsung Galaxy Fold 3
While the display is the star of the show, there’s quite a lot going on inside. The Fold 3 has the same Qualcomm Snapdragon 888 Octa-core processor as the Flip 3, although paired with 12GB of memory instead of 8GB. The Fold 3 also has a larger 512GB storage option in addition to the standard 256GB. Further, the Fold 3 is compatible with the Samsung S Pen.
Samsung Galaxy Fold 3
The Fold 3 is compatible with the S Pen due to Samsung using an 80% stronger protective film on the folding display. The cover screen is stronger, too, using Gorilla Glass Victus now for improved drop protection. Speaking of durability, the Fold 3 has IPX8 water resistance, like the Flip 3, and like Samsung’s other new folding phone, the Fold 3 includes better aluminum materials.
Samsung Galaxy Fold 3
Looking at cameras, both of Samsung’s new folding phones include a pair of 12MP wide (the main camera) and ultra wide cameras. The Fold 3 also adds a 12MP telephoto camera with an F2.4 lens. This is the same basic camera setup as in the Fold 2, but the new phone’s tele lens has optical image stabilization. There’s also a camera under the display. It’s only 4MP, but it should work well for video calls and meetings. In their hands-on, The Verge says the pixels on top of the camera are noticeable.
The Samsung Galaxy Z Fold 3 is available for preorder now in three colors, black, green and silver. The device starts at $ 1,800 and will ship on August 27.
JPEG, the lossy compression standard for images used on the Internet and digital cameras, might receive a much-needed upgrade by year’s end. The creators of JPEG XL claim their free open-source format offers up improvements that will result in a significant reduction in global bandwidth and storage costs.
The JPEG image format was first developed by researchers at the International Organization for Standardization (ISO) in the 1980s. Over the years, due to its many advantages over other formats of the time, it became the go-to format for photos on digital cameras and the World Wide Web. At the time, it was revolutionary, cutting down on the time it took for images to load (think 5 seconds compared to minutes) and could store up to 50 images, rather than 1, on a memory card.
For almost 30 years, this standard, which uses data compression to keep files small, has remained largely unchanged and unchallenged, even after several unsuccessful attempts. That, however, could change. Several formats introduced in the past to replace JPEG, including JPEG 2000, JPEG XR, Google’s WebP, and even HEIC have fallen short of widespread adoption. JPEG XL is hoping to rewrite that script.
JPEG XL can take existing JPEG files and transcode them, losslessly, to reduce their size without compromising their quality. A single JPEG XL file can be stored on a server and serve both JPEG and JPEG XL clients. A JPEG XL file can also be restored to the initial JPEG through backwards compatibility without compromising the file.
The format will benefit photographers by including a wide color gamut, HDR (high dynamic range), and high bit depth images.
The format will benefit photographers by including a wide color gamut, HDR (high dynamic range), and high bit depth images. Support for printing, large panoramas, 360-degree imagery, and image bursts is also available. Optimized for responsive web environments, it’s also addressing current Internet user needs on a wide range of devices such as tablets and smartphones.
‘JPEG XL further includes features such as animation, alpha channels, layers, thumbnails, lossless and progressive coding to support a wide range of use cases including but not limited to photo galleries, e-commerce, social media, user interfaces and cloud storage,’ reads the official overview. What the creators promise is superior image quality, a codec ratio smaller than the typical 20:1 to 50:1, and encoding plus decoding without hardware acceleration on mobile devices.
The standard has four specifications which will be combined to make JPEG XL the standard, going forward, by the end of 2021, so long as the project doesn’t encounter any setbacks. Even if it gets set in stone before the end of the year, it may take time for it to be compatible on all the applications and platforms available. To find out if your browser supports JPEG XL, you can check here. Those interested in the coding system can check out the white paper.
If you have an iPad or are thinking of purchasing an iPad, the camera app will be your best friend. Most people, even if they have an iPad, don’t use the camera app to its full potential. The iPad camera, just like an iPhone camera, can do a variety of things, many of which you might have not known about. Continue Reading Photodoto
Comments Off on iPad Camera Guide – Where, How, Tips, and More
Lux, the team behind the popular iOS camera apps Halide and Spectre, has announced a major update to Halide that adds support for Apple’s iPad tablets.
The Halide experience on the iPad will be familiar to those who have used the iPhone version thanks to a similar design language, but the interface has been redesigned from the ground up to make to a more streamlined shooting experience on the larger display.
As a whole, the interface is more spread out across the edges of the display and Lux’s custom typeface is now bolder for easier viewing. Lux even took into account the radius of the iPad screen’s corners so they could match the radius of the buttons to neatly nest into the interface for minimal distraction. To minimize the need to reach across the screen when changing settings, Lux has included what it calls an ‘expandable honeycomb’ next to the shutter button that brings up the most commonly needed settings and tools
Since iPads tend to be more two-handed devices, Lux has also added a feature that will ‘flip’ the interface so it’s left-hand oriented for the southpaws out there.
Lux has also addressed the issue of the iPad’s unusual aspect ratio that can sometimes make for a confusing experience when shooting. It’s called ‘Pro View,’ and what it does is shrink the liveview display into the center of the screen so it’s easier to see the entire scene and compose a shot. Doing this also adds extra space on the display to more prominently display the histogram, waveform, manual focus and other pro features, ensuring nothing overlaps with the liveview. Pro View can be toggled on and off in the bottom left-hand corner of the interface (bottom right-hand if you’ve flipped the interface).
The iPhone version of Halide has also been updated with bug fixes and other improvements, including a few UI changes inspired by the iPad update.
You can download Halide for free in the iOS App Store. An in-app purchase will unlock additional features for $ 1.99 per month or $ 9.99 per year.
The post Canon EOS R3: Eye-Control AF, 30 FPS, a BSI Sensor, and More appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Canon has introduced the EOS R3, a full-frame, mirrorless “high-performance professional camera,” designed for sports and action photographers.
As Canon explains, “The camera will put great emphasis on superb AF performance and speed,” and will lie “squarely between the EOS R5 and EOS-1D X Mark III cameras.”
In other words, while the EOS R3 will be Canon’s most powerful mirrorless model to date, don’t expect it to outcompete the EOS 1D X Mark III in every way. The EOS R3 won’t be a mirrorless 1D X replacement, and it likely isn’t a high-resolution action camera, either.
That said, the EOS R3 sounds pretty darn impressive. Here’s everything we know about this upcoming mirrorless powerhouse:
Canon EOS R3 specs
The EOS R3 will feature Canon’s own back-illuminated sensor. BSI technology packs key circuitry behind the sensor – rather than in front – to further expose photodiodes to light. This makes for enhanced high-ISO performance, and it also delivers superior dynamic range, a feature appreciated by photographers of all stripes.
The EOS R3 boasts a whopping 30 frames-per-second continuous shooting speed (using the electronic shutter, that is; Canon hasn’t released any information on continuous shooting via the mechanical shutter). And while many action photographers have resisted mirrorless technology, in part due to slow electronic shutter read-out speeds, Canon has made significant strides toward eliminating the problem; the company claims the R3 “provid[es] substantially faster read-out speeds during still-imaging recording,” and that the camera “is designed to produce less ‘rolling shutter’ distortion during electronic shutter operation.”
As for the AF system itself, brace yourself. The EOS R3 packs technology from the Canon EOS R5 and R6, both of which deliver lightning-fast AF performance. And the EOS R3 offers “even better performance during portrait and action-type shooting” thanks to Canon’s Deep Learning technology. If you’re a sports photographer, wildlife photographer, or photojournalist, the EOS R3 may soon be the camera to beat – even if Canon officially ranks it below the 1D X Mark III.
Build quality is on par with the 1D X Mark III series, and like the 1D X cameras, the EOS R3’s design sports an integrated vertical grip:
Last but certainly not least, the Canon EOS R3 will debut a never-before-seen mirrorless feature: Eye-Control AF, which promises to set focus basedon where your eye is looking.
Canon writes:
The electronic viewfinder of the EOS R3 will offer photographers the ability to select the initial area for AF tracking by simply looking directly at the viewfinder location where they want to begin AF. With Eye-Control AF and Servo AF activated, the camera will focus on and track moving subjects at that location in the frame.
Of course, we don’t yet know how well Eye-Control AF will work. Canon has implemented a similar feature in the past, with mixed results. But given Canon’s recent autofocus successes, I’m cautiously optimistic that Canon can offer a pro-level Eye-Control AF this time around.
Canon EOS R3 release date and price
The EOS R3 is still under development and has no official release date. The R3’s sports-focused marketing does hint at a pre-Olympics (i.e., June or early July) introduction, however.
The EOS R3’s price is also a mystery, though the camera’s position between the $ 3900 USD EOS R5 and the $ 6500 USD 1D X Mark III suggests a $ 4500 to $ 5500 price tag.
Final words
While we’re still missing plenty of information on the EOS R3, new tidbits will likely leak in the coming weeks and months.
So make sure to keep an eye out for the latest R3 news.
Now over to you:
What do you think of the Canon EOS R3? Are you impressed? Excited? Disappointed? How much do you think the camera will cost? Share your thoughts in the comments below!
The post Canon EOS R3: Eye-Control AF, 30 FPS, a BSI Sensor, and More appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post Capture One 21 Review: Dehaze, Speed Edit, and More appeared first on Digital Photography School. It was authored by Carl Spring.
In this comprehensive Capture One 21 review, I’m going to take you through everything you need to know about Capture One’s latest editing software.
In fact, as a beta tester for the newest release, I’ve spent plenty of time working with Capture One 21 behind the scenes (and I have used Capture One as my main editing software going all the way back to version 12!).
So let’s take a closer look at this software program – and determine whether it’s the perfect editor for you.
Starting with…
What’s new in Capture One 21?
The list of new features is a little lighter than in other major upgrades.
It includes:
A new import design
Dehaze
Speed Edit
ProStandard profiles
General speed upgrades and bug fixes
New tooltips and hints
The familiar Capture One layout with a few new additions. Are these enough to make it worth the upgrade?
Dehaze
Capture One’s new Dehaze tool is a welcome addition for landscape photographers. Dehaze has been in Lightroom for some time now, and it’s nice to finally see it in Capture One.
Basically, the Dehaze tool is there to reduce the amount of atmospheric haze in images and improve the saturation in low-contrast photos.
Dehaze is most commonly associated with removing fog or smog from an image, but you can also increase the haze – an effect that can add atmosphere. The tool can also be applied selectively via layers. To my eye, it seems to work quite well, but I’m a non-landscape shooter and have little to compare it to.
Now, I have seen this tool used to dodge and burn portraits, and it can subtly enhance faces if used sparingly.
However, while the Dehaze tool is good (and many claim it’s better than Lightroom’s), it’s not really the tool that landscape photographers desperately wanted. And for those of you who are not landscape photographers (like me), it’s a tool you will rarely use.
As a non-landscape photographer, I will rarely use the Dehaze tool. I had to search through my archive for a landscape shot.
Speed Edit
Wow! Just wow! Capture One 21’s new Speed Edit feature is really good. I am a huge Loupedeck fan, but I may be moving away from it for editing in Capture One. The Speed Edit tool really is the next best thing.
In basic terms, Speed Edit is a set of keyboard shortcuts you use with your mouse to edit images. Simply hold down the key associated with the edit, then drag the mouse to make the adjustment.
The process works incredibly well in practice and, within a few minutes, becomes second nature. The ability to edit images in a full-screen layout with no distractions is amazing. The only thing you will see is an unobtrusive slider at the bottom of the screen showing which edit you are carrying out.
Capture One 21 comes with the most common Speed Edit keys mapped for you, but these can be customized to suit your preferences. You can also adjust the sensitivity of your mouse. This can be changed easily, so if you are looking to get a set of rough edits done, you may want to leave the sensitivity quite low. Then, when you go back to complete final edits, you can fine-tune the sensitivity for precise control of the sliders.
The main editing tools come with corresponding keys, but you can easily change these and add other shortcuts.
The adjustments you can make to an image with Speed Edit are:
Exposure
High Dynamic Range
White Balance
Dehaze
Clarity
Levels
Vignetting
Sharpening
Lens Correction
You can also use these shortcuts to quickly and easily alter the size, opacity, and hardness of brushes. I’ve heard some people comparing Speed Edit to PC gaming, and while I’m not a gamer, it feels natural to use the keyboard and mouse in harmony like this while editing.
Speed Edit is a serious timesaver and brilliantly implemented. It will save a lot of people a lot of time when editing – especially if you edit hundreds of files at once. Also, the ability to edit without toolbars allows you to focus solely on the image.
The Speed Edit tool allows you to edit your images with no visual distractions, and it works perfectly in practice.
ProStandard profiles
This feature is currently only available for a selection of the most popular cameras, but Capture One is working on profiles for more cameras, and ProStandard looks like it will be the default profile for new cameras going forward.
Capture One states that these “ProStandard” profiles have been completely reworked to give much greater color accuracy while protecting hues and color shifts. For people doing work such as product photography or reproduction of artworks, this is a massive improvement.
But for those who are not in need of such accuracy, do the ProStandard profiles really make a difference?
The answer is yes – but it is subtle.
When I compared some files shot on a Canon 5D Mark IV, the unedited photo simply looked better with the ProStandard profile applied. Colors seemed a little richer and more lifelike, and it felt like a better starting point.
However, the difference is not night and day. So while ProStandard profiles are nice, they’re not an essential feature for most photographers.
One of these is the standard profile, and one is ProStandard. Can you tell which is which?
Import and speed improvements
The Capture One import process had a facelift.
It is now easier to pick and unpick selects before you import images into the system, and while I haven’t run tests, the actual import feels much faster.
Improvements continue under the hood. Capture One feels snappier. It’s hard to quantify this, but it’s something I noticed, and no doubt a lot of long-term Capture One users will, too.
The import is improved in Capture One 21. It’s faster overall, though many will not notice or need this.
Enhanced tooltips
When a software company lists new and improved tooltips and tutorials as a key feature, it really does make you question how significant the new version is.
Yes, the tooltips are improved, but they aren’t really needed past the first few weeks of using the software.
Then again, I am a long-term Capture One user. So I spent some time thinking about those who are coming across from Lightroom or other software, and here’s what I concluded:
The tooltips and tutorials will be useful while you get accustomed to the software. The tutorials are short, meaning you don’t have to wait too long before you can dive back into your edit. And the tutorials are well done. The tooltips, while annoying for longer-term users (you can switch them off!), will help you get to grips with Capture One 21 – so that mastering the software will not take you that long.
As a seasoned user, I forget that tips like this can be really useful when learning software.
Is Capture One 21 worth it?
Capture One marketed their software release with an approach of buy now, discover later. They ran a series of online events showcasing new features, each time promising there was much more to come.
However, there wasn’t much more to come, and many customers who either purchased or upgraded came out en masse to make their voices heard. Feedback was decidedly mixed, and many were not very happy with the new feature set.
And I’ll be honest:
It really doesn’t feel like a full-blown release to me.
A saving grace for the Capture One team is that they have upgraded Capture One 20 to run on the latest Mac OS X. This is a welcome gesture, one that will make the decision of whether to upgrade easier for many.
Capture One is working on an Apple silicon adaption, but this is not yet ready (though I’m sure it will be here sooner rather than later). Again, this is only useful for some users but worth pointing out, especially if you are tempted by one of the new Macs that Apple has already released or is bringing out in 2021.
I hope there is a large update within a few months that adds ProStandard profiles for many more cameras, and maybe even some more tools that make this version more of a must-have.
The fact that cameras like the Nikon Z7 II will only be supported in version 21 means that some users will have no choice but to upgrade, although I feel some may be headed back to Lightroom.
There was also a price increase that doesn’t sit well with me. At the time of launch, Capture One for Sony, Nikon, and Fujifilm cost $ 129, but the price was quickly boosted to $ 199 (and the price to upgrade increased, as well). Photographers (especially professionals) have had an awful 12 months, business-wise. While this price increase may bring in some extra cash in the short term, it feels like the Capture One team failing to read the room. The way this release has been so aggressively marketed will, in my opinion, see many moving back to Lightroom.
However, Capture One is still my choice of editing software, so would I recommend you upgrade?
I love how Capture One makes my images look. For new users, there is an obvious conclusion; for those upgrading, it’s a little different.
For new users
I always tell those who use Lightroom to try Capture One. And when doing a Capture One 21 review, it’s easy to get caught up thinking about upgrades for existing users.
However, Capture One 21 is the best version of this software yet. So for those who are exploring software alternatives, I would strongly suggest taking a look. Especially those of you who have cameras compatible with the ProStandard profiles.
If you shoot with one camera brand, you can even get a brand-specific version of Capture One 21, which will save you money.
Here’s the bottom line:
RAW processing is where Capture One excels, and this release proves no different. Capture One images simply look better compared to Lightroom. I still feel Capture One is the best RAW editor out there.
For existing users
The new tools in Capture One 21 feel aimed at a specific niche of photographers. The Dehaze tool has no real appeal to someone like me who rarely shoots landscapes. Yes, it is fun to experiment with Dehaze on portraits, but I will use this tool infrequently at best. And I’m sure this is true for any non-landscape photographer.
The ProStandard profiles are nice, but not yet available for many cameras. And the need for incredibly accurate colors caters to a select group of photographers.
The new tool I love is Speed Edit. It’s beautifully executed and removes the need for a workflow tool such as a Loupedeck for many users. The ability to edit images in full screen without distraction is simply amazing. For those (like myself) who shoot weddings or events, this tool will be a huge timesaver.
Lastly, there is the new importer. It’s nice, but honestly, most won’t notice the difference. And those who need the speed will continue to use Photo Mechanic.
So my Capture One 21 review boils down to this:
Which new tools will you use? And do they justify the price increase? Personally, I am not able to justify the upgrade price just for the Speed Edit tool. Like many other photographers, my work has been drastically affected in the past 12 months, and I cannot justify the price of the upgrade right now. I am sure many other working professionals are in the same boat.
That said, for a small section of photographers, the upgrade is a no-brainer. Capture One 21 is the fastest version of the program, and it has features some will welcome with open arms. If you are yet to try Capture One, you really should test it out and see what all the fuss is about.
However, I will wait for Capture One 22.
You can download a 30-day trial of Capture One 21 on the Capture One website.
The post Capture One 21 Review: Dehaze, Speed Edit, and More appeared first on Digital Photography School. It was authored by Carl Spring.
Today, Qualcomm revealed details of the Snapdragon 888, its next-generation flagship mobile chipset, showing what kind of features, functionality and performance we can expect to see in flagship Android mobile devices in the coming year.
The Snapdragon 888 is a System on a Chip (SoC) that consists of multiple processors atop a single substrate. These include multiple CPU and GPU cores, as well as additional mobile and AI components for powering all of the features we’ve come to expect from flagship mobile devices.
At the heart of the Snapdragon 888 is Qualcomm’s Kryo 680 CPU, which is the first to use ARM’s new Cortex-X1 architecture for its 2.84GHz core, alongside three Cortex A78 performance cores (2.4GHz) and four A55 efficiency cores (1.8GHz). Qualcomm claims the Snapdragon 888 performs 25% better while using 25% less power, compared to its predecessor, the Snapdragon 865.
For the GPU, Qualcomm is using its new Adreno 660 GPU, which it says offers 35% faster graphics rendering performance while using 20% less power. This new chip is said to be the best increase in year-over-year performance and should pave the way for better display technology, including better support for 120Hz screens and improved OLED display uniformity.
On the photography front, Qualcommm has made drastic improvements to the image signal processors (ISPs) seen onboard previous Snapdragon chips. The Snapdragon 888 will feature three separate Spectra 580 ISPs. Now, with these three individual ISPs, Android smartphones that offer three cameras — most often a standard, ultra-wide and telephoto — will be able to capture full-resolution photos and video (up to 28MP per camera for stills and 4K HDR video per camera for video), with a maximum bandwidth of 2.7 Gigapixels per second.
Beyond using up to three cameras at the same time, this triple-ISP array also allows for a number of firsts in Android smartphones. If not limited by onboard storage and caching, the Snapdragon 888 technically enables 12MP photo capture at up to 120 fps, as well as a maximum single-image capture of up to 200MP.
The chip can also be able to capture 10-bit HEIF stills, capture 4K HDR10 video (while simultaneously capturing 64MP stills), support 8K video capture and feature no-limit slow-mo video capture at up to 960 fps. 4K video will also be able to be captured and played back at 120 fps on the same device.
Moving onto connectivity, the Snapdragon 888 will feature Wi-Fi 6 speeds up to 3.6Gbps, Bluetooth 5.2 (dual antennas), and Qualcomm’s new X60 5G MOdem-RF system. This new 5G modem supports both sub-6Ghz 5G with carrier aggregation as well as mmWave 5G with speeds up to 7.5Gbps. Battery performance while using its 5G capabilities should also be improved thanks to its new integrated design.
Other features include a new Hexagon 780 processor for AI and computational performance, as well an on-device Qualcomm Secure Processing unit. In addition to improved security within the operating system, this new Secure Processing unit also creates cryptographically sealed photos making it the first Content Authenticity Initiative (CAI) compliant smartphone camera for ensuring image integrity in a world of increasing misinformation and deepfakes. If this sounds familiar, it’s because Qualcomm is working with Truepic, who is a CAI partner alongside Adobe, Twitter The New York Times and others.
You can watch the full Snapdragon 888 unveil on Qualcomm’s Day 2 Keynote from its Snapdragon Tech Summit, below:
Qualcomm hasn’t set a specific date for when the Snapdragon 888 will be available, but it expects the first devices with it at their core to be released in Q1 2021, with commitments from Oppo, Motorola and others having already been made.
As we’ve seen with past Snapdragon SoCs and the smartphones that use them, it’s possible not all of these features will be seen in a single device. Some flagship smartphones that use the new Snapdragon 888 might choose to make the most of certain photo and video features, based on the accompanying hardware they put inside their device. While Snapdragon is offering plenty of computational functionality, it’s ultimately up to the smartphone manufacturers to extract the most from it with equally-capable storage, camera systems and more.
LumaFusion, one of the most powerful video editing apps for iOS and iPadOS devices, has received a major 2.4 update that adds support for editing and exporting 10-bit HDR video, including footage captured with Apple’s new iPhone 12 Pro devices.
The version 2.4 update for LumaFusion, which is free for existing customers, now makes it possible to create projects for HLG, PQ P3 and Rec-709 10-bit color spaces. In addition to creating an end-to-end workflow for Apple’s new HDR-capable iPhone 12 Pro devices, this also opens the door for editing and exporting HDR footage captured on cameras such as Canon’s R5, Panasonic’s Lumix GH5, Sony’s a7S III and others.
The new color space options reside in the project settings menu and can be turned on by default so future projects start in whatever color space you tend to use. Exporting 10-bit footage is as simple as selecting it as the color space while going through the export dialog box.
LumaFusion has also added the option to export H.265 video with transparency if you’re making custom title cards or animations and a new automated project settings feature that will define the frame rate, aspect ratio and color space of the project based on the first clip imported into the timeline. Other features include an improved color picker, a new Chroma Keyer with automated key color detection and a new Luma Keyer the offers adjustments for luma range, roll-off, erosion distance and edge blur radius for fine-tuned edits.
LumaFusion version 2.4 is available to download in the iOS App Store for $ 30.
You must be logged in to post a comment.