RSS
 

Posts Tagged ‘promised’

Canon R5 / R6 overheat claims tested: Stills shooting, setup quickly cut into promised capture times [UPDATED]

07 Aug
Testing conducted in Seattle by our Technical Editor Richard Butler. Real-world production experiences by Jordan Drake: the director and editor of many of our ‘DPRTV’ videos.

Originally published Aug 3, updated Aug 6: conclusions and analysis revised based on additional experience with the camera

If you have any interest in cameras, you may have witnessed the heated discussions lately around the new Canon EOS R5 and R6’s tendency to overheat when capturing video internally. The Internet tends to amplify the most extreme version of any story or phenomenon, which might have lead to you getting the impression that the cameras are unusable.

Jordan’s EOS R5 experience

We shot for 10 hours at a variety of locations, which I thought would give the camera ample opportunity to cool down. I planned to shoot the episode in the 4K HQ mode, with occasional 4K/120P and 8K shots peppered throughout. Quickly I realized that setting up a shot and menu-diving would reduce the amount of record time I had for HQ, so I found myself spending far less time previewing the shot before rolling, adding a layer of stress.

Eventually, I realized couldn’t record all the talking points in 4K HQ, and settled on using 4K HQ for wide shots and standard, line-skipped 4K for closeups. This made shooting sustainable, though I found myself avoiding trying to capture any spontaneous establishing shots or cutaways, lest I drop the dreaded overheating clock a bit lower. While our host Chris took it in his stride, I can only imagine how frustrating it would be for the talent to not know if the camera will last until the end of a take.

I also found myself heavily rationing the 4K/120P as it really chews up your remaining shooting minutes. I spent two minutes capturing the seagull footage in the episode: beforehand I the camera said it would shoot 15 minutes of 4K HQ, when I returned I had only five minutes remaining!

If the quality difference between 4K HQ and standard 4K capture were not so dramatic, this would bother me less. However, once you start viewing and editing the gorgeous 4K HQ footage, it makes it that much harder to go back to inferior line skipped 4K, and that’s a type of disappointment I don’t want to be dealing with on a shoot.

After extensive testing of both cameras, our conclusions with regards internal recording are:

  • From a cold start, the Canon EOS R5 and R6 perform in line with the company’s video performance claims.
  • Non-video use cuts into available shooting time, adding significant uncertainty for video shooters

We tested a pair of R5s and an R6 in a variety of warm conditions and found they consistently performed in line with the limitations that Canon acknowledged at the point of launch. However, the practical implications are that the cameras are prone to overheating if you shoot for extended periods and if you have crew or talent waiting to re-start shooting, they may take too long to recover.

It should be noted that Canon did not design either the EOS R5 or R6 to be professional video tools, nor does it primarily market them as such. But based on our testing and real-world usage we would caution against using them as a substitute.

So why is YouTube saying the sky is falling?

Our testing suggests that the cameras perform in exactly the way that Canon said they would. However, there is an important caveat that Canon’s figures don’t address: although the cameras can repeatedly deliver the amount of video promised, they may not always do so in real-world usage.

Even set to the mode designed to limit pre-recording temperature build-up, the clock is essentially running from the moment you turn the camera on. Video recording is the most processor-intensive (and hence most heat generating) thing you can do, but any use of the camera will start to warm it up, and start chipping away at your recording times. Consequently, any time spent setting up a shot, setting white balance, setting focus or waiting for your talent to get ready (or shooting still images) will all cut into your available recording time, and you won’t reliably get the full amount Canon advises.

Not only does this make R5 a poor fit for many professional video shoots, it also means that you can’t depend on the cameras when shooting video alongside stills at, say, a wedding, which is a situation that the EOS R5 clearly is intended for.

Even when left in direct sunshine, the cameras continued to record for the duration Canon promised. However, this is only true when you’re not using the camera for anything else.

The one piece of good news is that the camera’s estimates appear to be on the conservative side: every time the camera said it would deliver X minutes of footage, it delivered what it’d promised. You can also record 4K footage for much longer if you can use an external recorder but again, this probably isn’t going to suit photographers or video crews looking for a self-contained, do-everything device.

Click here if you want to see our test methods and results.

EOS R5 suggestions:

  • Expect to shoot line-skipped 30p for the bulk of your footage
  • Only use 8K or oversampled HQ 4K for occasional B-Roll
  • 4K/120 and 8K will cut into your shooting time quickest of all
  • Be aware of your setup time and cumulative usage (including stills shooting)

EOS R6 suggestions:

  • Don’t expect to be able to shoot for extended periods
  • Be aware of the need for extensive cooling periods between bursts of shooting

Analysis: Why hadn’t Canon thought about this?

It’s easy to fall into the trap of thinking this means Canon didn’t put enough thought into thermal management for these cameras. Our testing suggests this isn’t the case, but that the cameras’ specs are rather over-ambitious.

Jordan’s EOS R6 experience

I had done some testing prior to my shoot, and was comfortable that overheating wouldn’t be a problem if I stuck to 4K/24p. Unfortunately, my experience on a warm day was quite different to that room-temperature test. There’s no line-skipped 4K mode on the R6, so if the camera overheats, you’re back to 1080P, which will be a jarring transition for viewers watching on larger screens.

While I was able to record much longer with the R6 before encountering the overheat warning, once it appears the camera takes far longer to cool down again than the R5. Our regular drives in an air conditioned car allowed Chris and Levi’s R5 to function throughout the day, but at one point I was left sitting in the car, babysitting a hot R6 while they went out to shoot. During a one hour lunch, the R5 had returned back to normal, but the R6 had a twenty minute warning still on.

This was hugely disappointing as, rolling shutter aside, the R6 video quality is excellent, and I’d be perfectly happy using it over the R5. However, the longer cool down times would probably lead me to use the R5, dropping to line-skipped 4K from time to time.

While I enjoyed most aspects of using these two cameras, I have no intention of using either of them as a primary video camera. They would be great for grabbing occasional, very high quality video clips, but I’d never want to rely on them for paid work.

With the exception of specialist video models, most cameras that shoot 4K are prone to overheating, regardless of the brand. Some companies let you extend the recording time by ignoring overheat warnings (and risk ‘low-temperature burns’ if you handhold the camera), while others simply stop when they get too hot. This should make it clear that shooting 4K for an extended period is difficult. For instance, Sony says the a7 III will shoot around 29 minutes of 4K video with the temperature warnings set to ‘Std,’ while the Fujifilm X-T4 promises 30 minutes of 4K/30 and 20 minutes of 4K/60.

The cumulative heat is constantly counting against you

8K is four times as much data as natively-sampled 4K and seventeen times more than the 1080 footage that older cameras used to capture so effortlessly. Perfect 2:1 oversampled 4K (downsampled 8K) requires this same amount of data, which is still 1.7x more data than is used to create 4K oversampled video from a 24MP sensor. Data means processing, which means heat.

What’s interesting is that the exterior of the cameras don’t get especially hot when shooting for extended periods. We’re only speculating, but this could indicate that Canon has tried to isolate the camera’s internals from external temperature fluctuations, with the down-side that they can’t then dissipate internally produced heat.

This would be consistent with us getting the full recording period out of the camera, even when tested well above the 23°C (73°F) conditions specified by Canon. And with the fact that leaving the camera’s doors closed and battery in place didn’t change the recovery time. However, while this appears to be workable for the line-skipping 4K mode, the added workload of the higher quality settings seems to present a problem. Dealing with 1.7x more data than the a7 III and X-T4 is a step too far: the R5 will match them for promised recording duration but only from cold. This leaves it much more sensitive to any other use beyond video recording.

The EOS R6 is a slightly different matter. It can shoot 40 minutes of 4K taken from 5.1K capture, which is a pretty good performance and may be enough that you won’t often hit its temperature limits. However even after a 30 minute cooling period, it has only recovered enough to deliver around half of its maximum record time, whereas the EOS R5 recovered nearly its full capability. The more extensive use of metal in the construction of the R5 seems to help it manage heat better than the R6 can.

And, as both Jordan’s and Richard’s experiences show: if you don’t have time to let the cameras cool, that cumulative heat is constantly counting against you.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Canon R5 / R6 overheat claims tested: Stills shooting, setup quickly cut into promised capture times [UPDATED]

Posted in Uncategorized

 

Canon EOS R5 and R6 overheating claims tested: cameras work as promised – but that’s not enough

04 Aug
Testing conducted in Seattle by our Technical Editor Richard Butler. Real-world production experiences by Jordan Drake: the director and editor of many of our ‘DPRTV’ videos.

If you have any interest in cameras, you may have witnessed the heated discussions lately around the new Canon EOS R5 and R6’s tendency to overheat when capturing video internally. The Internet tends to amplify the most extreme version of any story or phenomenon, which might have lead to you getting the impression that the cameras are unusable.

Jordan’s EOS R5 experience

We shot for 10 hours at a variety of locations, which I thought would give the camera ample opportunity to cool down. I planned to shoot the episode in the 4K HQ mode, with occasional 4K/120P and 8K shots peppered throughout. Quickly I realized that setting up a shot and menu-diving would reduce the amount of record time I had for HQ, so I found myself spending far less time previewing the shot before rolling, adding a layer of stress.

Eventually, I realized couldn’t record all the talking points in 4K HQ, and settled on using 4K HQ for wide shots and standard, line-skipped 4K for closeups. This made shooting sustainable, though I found myself avoiding trying to capture any spontaneous establishing shots or cutaways, lest I drop the dreaded overheating clock a bit lower. While our host Chris took it in his stride, I can only imagine how frustrating it would be for the talent to not know if the camera will last until the end of a take.

I also found myself heavily rationing the 4K/120P as it really chews up your remaining shooting minutes. I spent two minutes capturing the seagull footage in the episode: beforehand I the camera said it would shoot 15 minutes of 4K HQ, when I returned I had only five minutes remaining!

If the quality difference between 4K HQ and standard 4K capture were not so dramatic, this would bother me less. However, once you start viewing and editing the gorgeous 4K HQ footage, it makes it that much harder to go back to inferior line skipped 4K, and that’s a type of disappointment I don’t want to be dealing with on a shoot.

After extensive testing of both cameras, our conclusions with regards internal recording are:

  • Both the EOS R5 and R6 appear capable of working as promised
  • Lack of dependability makes them a poor choice for much professional video work

We tested a pair of R5s and an R6 in a variety of warm conditions and found they consistently performed in line with the limitations that Canon acknowledged at the point of launch. However, the practical implications are that the cameras are prone to overheating if you shoot for extended periods and if you have crew or talent waiting to re-start shooting, they may take too long to recover.

It should be noted that Canon did not design either the EOS R5 or R6 to be professional video tools, nor does it primarily market them as such. But based on our testing and real-world usage we would caution against using them as a substitute.

So why is YouTube saying the sky is falling?

Our testing suggests that the cameras perform in exactly the way that Canon said they would. However, there is an important caveat that Canon’s figures don’t address: although the cameras can repeatedly deliver the amount of video promised, they may not always do so in real-world usage.

Even set to the mode designed to limit pre-recording temperature build-up, the clock is essentially running from the moment you turn the camera on. Video recording is the most processor-intensive (and hence most heat generating) thing you can do, but any use of the camera will start to warm it up, and start chipping away at your recording times. Consequently, any time spent setting up a shot, setting white balance, setting focus or waiting for your talent to get ready (or shooting still images) will all cut into your available recording time, and you won’t reliably get the full amount Canon advises.

Not only does this make R5 a poor fit for many professional video shoots, it also means that you can’t depend on the cameras when shooting video alongside stills at, say, a wedding, which is a situation that the EOS R5 clearly is intended for.

Even when left in direct sunshine, the cameras continued to record for the duration Canon promised. However, this is only true when you’re not using the camera for anything else.

The one piece of good news is that the camera’s estimates appear to be on the conservative side: every time the camera said it would deliver X minutes of footage, it delivered what it’d promised. You can also record for much longer if you can use an external recorder but again, this probably isn’t going to suit photographers or video crews looking for a self-contained, do-everything device.

Click here if you want to see our test methods and results.

EOS R5 suggestions:

  • Expect to shoot line-skipped 30p for the bulk of your footage
  • Only use 8K or oversampled HQ 4K for occasional B-Roll
  • 4K/120 and 8K will cut into your shooting time quickest of all
  • Be aware of your setup time and cumulative usage (including stills shooting)

EOS R6 suggestions:

  • Don’t expect to be able to shoot for extended periods
  • Be aware of the need for extensive cooling periods between bursts of shooting

Analysis: Why hadn’t Canon thought about this?

It’s easy to fall into the trap of thinking this means Canon didn’t put enough thought into thermal management for these cameras. Our testing suggests this isn’t the case, but that the cameras’ specs are rather over-ambitious.

Jordan’s EOS R6 experience

I had done some testing prior to my shoot, and was comfortable that overheating wouldn’t be a problem if I stuck to 4K/24p. Unfortunately, my experience on a warm day was quite different to that room-temperature test. There’s no line-skipped 4K mode on the R6, so if the camera overheats, you’re back to 1080P, which will be a jarring transition for viewers watching on larger screens.

While I was able to record much longer with the R6 before encountering the overheat warning, once it appears the camera takes far longer to cool down again than the R5. Our regular drives in an air conditioned car allowed Chris and Levi’s R5 to function throughout the day, but at one point I was left sitting in the car, babysitting a hot R6 while they went out to shoot. During a one hour lunch, the R5 had returned back to normal, but the R6 had a twenty minute warning still on.

This was hugely disappointing as, rolling shutter aside, the R6 video quality is excellent, and I’d be perfectly happy using it over the R5. However, the longer cool down times would probably lead me to use the R5, dropping to line-skipped 4K from time to time.

While I enjoyed most aspects of using these two cameras, I have no intention of using either of them as a primary video camera. They would be great for grabbing occasional, very high quality video clips, but I’d never want to rely on them for paid work.

With the exception of specialist video models, most cameras that shoot 4K are prone to overheating, regardless of the brand. Some companies let you extend the recording time by ignoring overheat warnings (and risk ‘low-temperature burns’ if you handhold the camera), while others simply stop when they get too hot. This should make it clear that shooting 4K for an extended period is difficult. For instance, Sony says the a7 III will shoot around 29 minutes of 4K video with the temperature warnings set to ‘Std,’ while the Fujifilm X-T4 promises 30 minutes of 4K/30 and 20 minutes of 4K/60.

The cumulative heat is constantly counting against you

8K is four times as much data as natively-sampled 4K and seventeen times more than the 1080 footage that older cameras used to capture so effortlessly. Perfect 2:1 oversampled 4K (downsampled 8K) requires this same amount of data, which is still 1.7x more data than is used to create 4K oversampled video from a 24MP sensor. Data means processing, which means heat.

The fact that the EOS R5 can shoot two hours of 4K/30p footage (in line-skipping mode) when sitting in direct sunshine suggests it’s pretty good at dissipating heat. But it seems trying to do so with 1.7x more data than the a7 III and X-T4 is a step too far: it’ll match them for promised recording duration but only just. This leaves it much more sensitive to any other use when not recording.

The EOS R6 is a slightly different matter. It can shoot 40 minutes of 4K taken from 5.1K capture, which is a pretty good performance and may be enough that you won’t often hit its temperature limits. However even after a 30 minute cooling period, it has only recovered enough to deliver around half of its maximum record time, whereas the EOS R5 recovered nearly its full capability. The metal rear plate of the R5 clearly allows it to manage heat better than the R6 can.

And, as Jordan’s experiences show: if you don’t have time to let the cameras cool, that cumulative heat is constantly counting against you.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Canon EOS R5 and R6 overheating claims tested: cameras work as promised – but that’s not enough

Posted in Uncategorized

 

As promised, Canon updates EOS RP firmware to add 24fps recording, additional lens support

01 Nov

As promised earlier this month, Canon has published the latest firmware update for its EOS RP camera that adds support for 24fps video recording.

Firmware version 1.4.0 isn’t a major update, but it fulfills the promise Canon made to add Full HD 23.98p recording to the entry-level full-frame mirrorless camera. The update also adds support for the Canon RF 85mm F1.2L USM DS lens, which is said to arrive before the end of the year.

You can download firmware version 1.4.0 for the Canon EOS RP on Canon’s website for macOS and Windows computers.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on As promised, Canon updates EOS RP firmware to add 24fps recording, additional lens support

Posted in Uncategorized

 

GoPro Q2 2018 results show improvement: new products promised for late 2018

04 Aug

GoPro has revealed its Q2 2018 financial results, boasting a massive 40% quarter-over-quarter revenue increase to $ 283 million and net loss of $ 32 million, which the company says is a 51% sequential improvement. This marks two consecutive positive quarters for GoPro, which has historically struggled and taken various actions, including multiple layoffs, in an effort to survive.

GoPro saw its inventory drop $ 47 million from its first to second 2018 quarters, reaching the company’s lowest inventory level since early 2014. Year-over-year, GoPro also reduced its operating expenses by $ 16 million and increased its paying Plus subscriber numbers by 9% quarter-over-quarter.

GoPro says it took 97% dollar share of the action camera market in the US, with its Fusion model taking 48% of the nation’s spherical camera category

GoPro claims its 18th straight quarter of having the #1 selling camera in North America, also citing a strong presence in the spherical camera, European, and Asian markets. Based on data from NPD Group, GoPro says it took 97% dollar share of the action camera market in the US, with its Fusion model taking 48% of the nation’s spherical camera category.

During the company’s earnings call with investors yesterday, GoPro CEO Nicholas Woodman revealed that the company will release three new products later this year. Details on those three products were not provided, but it’s likely one will be the company’s upcoming flagship Hero 7, an update to the Hero 6 action camera released late last year.

Catch up on GoPro’s Q2 investors’ call

Via: GoPro

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on GoPro Q2 2018 results show improvement: new products promised for late 2018

Posted in Uncategorized

 

Panasonic issues promised GH5 firmware update with a host of unexpected extras

30 Aug

Panasonic has revealed the full extent of its planned feature-boosting firmware update. In addition to the enhancements announced at the camera’s launch, it will also add a range of extra features and performance improvements not previously expected. The update is free and will be available at ‘the end of September.’

The firmware update gives access to the full range of features set out at the camera’s launch as well as making some changes in response to user feedback.

As originally promised, the update adds the following features:

  • 400Mbps All-I compression options in 4K (200Mbps in 1080)*
  • Higher resolution 4:3 video capture for shooting with anamorphic lenses
  • Hybrid Log Gamma shooting mode (HDR TV-ready Log shooting)

Further to these, the company has also added these features:

  • More responsive autofocus, especially in 24p video shooting
  • USB-based tethered shooting option with free Mac/Win software
  • Additional Stabilization mode steadier hand-held video
  • Improvements to 6K and 4K Photo modes*
  • Additional wireless function
  • Bug fixes and minor feature tweaks

The features marked * are the first time a manufacturer has recommended the use of V60 and V90 speed class cards, as their testing suggests even the fastest U3 cards can result in pauses and dropped recording.

We got our hands on an early version of the firmware, and we’ve updated our full GH5 review with an in-depth look at all of the changes.

For more details about these changes, see our breakdown of the f/w V2.0 features

Press Release

GH5 Firmware Update Version 2.0

Exceptional New Enhancements, Performance and Functionality

Newark, NJ (August 30, 2017) Panasonic today announced the new firmware update Verion.2.0 for DC-GH5 to further enhance its performance. Many enhancements were previously planned but additional modifications were suggested by end users that specialize in both photography and cinematography. This updates is an exceptional upgrade in camera performance to satisfy professional GH5 users.

The new firmware includes following upgrades:

1. Compatibility with “LUMIX Tether” PC software

This new firmware enables GH5 tethered shooting via USB, using “LUMIX Tether” PC software. Users can control the camera by connecting it to a PC via USB. It lets you view the image on a large PC screen while shooting, which is helpful in commercial photoshoots of portraits, products and so on, where continuous confirmation is required. You can use [6K PHOTO] [4K PHOTO] and start and stop video recording with the tethered shooting. It is also possible to choose the folder to save the image files in the PC.

2. Improved auto focus performance

-Auto focus performance for subjects with low contrast in photo shooting is improved.

-Tracking auto focus performance in video recording is improved.

-The customized AF area can be continuously displayed in [Multi AF] and [Custom Multi AF] during live-view.

-The AF area in [Multi AF] can be moved to the other edge (side, top or bottom) when it reaches one edge.

-The start point of AF lock can be set on the live view screen in advance in [AF Tracking].

-The AF area can be moved while the shutter button is half-pressed or while recording in [Burst Mode], [6K PHOTO] and [4K PHOTO].

3. Improved performance in [6K PHOTO] and [4K PHOTO]

-The waiting time to start the next burst shooting sequence after [6K Burst] and [4K Burst] is shortened to less than half the time.

-[Loop Rec] is available in [6K PHOTO]

•Use of Panasonic SD Memory Card with Video Speed Class 90 is recommended for [Loop Rec] of [6K PHOTO].

4. An additional ALL-Intra Video Recording mode

-4:2:2,10-bit ALL-Intra video recording mode is added to 4K/FHD video recording.

•Use of SD Memory Card with Video Speed Class 60 or higher is recommended for 4K ALL-Intra video recording. Operation is confirmed with Panasonic SD Memory Card with Video Speed Class 90.??

New 4:2:2,10-bit ALL-Intra Recording Mode

Item

System Frequency

Size

Frame Rate

Bit Rate

YUV/bit

Image Compression

C4K/ALL-I/400M/24p

59.94Hz

(NTSC)

4096×2160

23.98p

400 Mbps

4:2:2/10 bit

ALL-Intra

4K/ALL-I/400M/30p

3840×2160

29.97p

400 Mbps

4:2:2/10 bit

ALL-Intra

4K/ALL-I/400M/24p

3840×2160

23.98p

400 Mbps

4:2:2/10 bit

ALL-Intra

FHD/ALL-I/200M/60p

1920×1080

59.94p

200 Mbps

4:2:2/10 bit

ALL-Intra

FHD/ALL-I/200M/30p

1920×1080

29.97p

200 Mbps

4:2:2/10 bit

ALL-Intra

FHD/ALL-I/200M/24p

1920×1080

23.98p

200 Mbps

4:2:2/10 bit

ALL-Intra

4K/ALL-I/400M/25p

50.00Hz

(PAL)

3840×2160

25.00p

400 Mbps

4:2:2/10 bit

ALL-Intra

FHD/ALL-I/200M/50p

1920×1080

50.00p

200 Mbps

4:2:2/10 bit

ALL-Intra

FHD/ALL-I/200M/25p

1920×1080

25.00p

200 Mbps

4:2:2/10 bit

ALL-Intra

C4K/ALL-I/400M/24p

24.00Hz

(CINEMA)

4096×2160

24.00p

400 Mbps

4:2:2/10 bit

ALL-Intra

4K/ALL-I/400M/24p

3840×2160

24.00p

400 Mbps

4:2:2/10 bit

ALL-Intra

FHD/ALL-I/200M/24p

1920×1080

24.00p

200 Mbps

4:2:2/10 bit

ALL-Intra

5. 4K HDR video recording

-[HLG] (Hybrid Log Gamma) is added to [Photo Style]. HDR (High Dynamic Range) is a mode to reproduce both the brightest and darkest part in an image, making it look just as human eyes see. The camera records video with a designated gamma curve compatible with ITU-R BT.2100, and you can now choose Hybrid Log Gamma (HLG) in [Photo Style].

-A low-bit-rate recording mode 4K HEVC for HLG was added. This enables playback on AV equipment compatible with the HEVC compression format, such as Panasonic 4K HDR TVs.

6.Enhancement of the Anamorphic video recording mode

-High-Resolution Anamorphic mode, which enables video recording in 18-mega effective pixels, is added. *Recorded in HEVC

New High-Resolution Anamorphic Mode

*1 “High Resolution Anamorphic Mode” records motion picture with an aspect ratio suited for an anamorphic lens,4:3. The effective picture size for this mode is equivalent to the number of pixels produced by 6K (approx. 6,000 (horizontal) x 3,000 (vertical)) images (approx. 18 megapixels).

Item

System Frequency

Size

Frame Rate

Bit Rate

YUV/bit

Image Compression

6K/A/200M/30p*2

59.94Hz

(NTSC)

4992×3744

29.97p

200 Mbps

4:2:0/10 bit

Long GOP

6K/A/200M/24p*2

4992×3744

23.98p

200 Mbps

4:2:0/10 bit

Long GOP

4K/A/400M/30p

3328×2496

23.98p

400 Mbps

4:2:2/10 bit

ALL-Intra

4K/A/400M/24p

3328×2496

23.98p

400 Mbps

4:2:2/10 bit

ALL-Intra

6K/A/200M/25p*2

50.00Hz

(PAL)

4992×3744

25.00p

200 Mbps

4:2:0/10 bit

Long GOP

4K/A/400M/25p

3328×2496

25.00p

400 Mbps

4:2:2/10 bit

ALL-Intra

6K/A/200M/24p*2

24.00Hz

(CINEMA)

4992×3744

24.00p

200 Mbps

4:2:0/10 bit

Long GOP

4K/A/400M/24p

3328×2496

24.00p

400 Mbps

4:2:2/10 bit

All-Intra

*2 High resolution Anamorphic mode

-[Anamorphic Desqueeze Display] was added, which lets you view an enlarged image in Cinescope size while recording with 2.0x and 1.33x Anamorphic lens.

-[Video Guide Line] is added to display the image in a variety of aspects, such as 2.39:1, 2.35:1, 16:9, and 1:1 while recording video. This can be used not only in Anamorphic mode but also in other video recording modes.

7.Enhancement of Body I.S. (Image Stabilizer)

-[I.S. Lock(video)] is added. This powerfully compensates for handshake when the viewing angle is fixed.

-A new handshake correction mode is added, which provides optimum correction when using 2.0x and 1.33x Anamorphic lens.

8.Correction of white balance setting

-When the K (Kelvin) value was changed after adjusting the color temperature with 2-axis white balance compensation, the setting was reset. This bug has been fixed.

9.Improved usability of Time Lapse Shot

-The time to finish shooting and the number of recordable pictures are displayed on the stand-by screen.

10.Improved usability of Power Save LVF

-Power Save LVF can now be used during all stand-by display options.

11.Wireless functions

-The Bluetooth Remote Control function can be used with Image App, which will also be updated at the same timing with the GH5 firmware release.

-If the camera has not completed image transmission when it is turned off, it restarts transmission when it is turned on with the [Auto Transfer] function.

12.Other improvements

-A rating function using a Fn button is available in Playback Zoom and Multi Playback.

-The following functions can be assigned to Fn buttons – [Constant Preview] [6K/4K PHOTO Bulk Saving] [Min. Shtr Speed] [RAW Processing] [Rec/Playback Switch] [Destination Slot] and [Mic Level Adj.].

-The DISP.Button can be locked.

-In Relay Rec, there were cases where the video file number was not able to be reset. This bug has been fixed.

-In Relay Rec, there were cases where the video file number was reset after formatting the SD Memory Card. This bug has been fixed.

-In Backup Rec, there were cases where the file number was not reset even after applying resetting. This bug has been fixed.

-The image quality when applying the following settings is improved: Extended low ISO, [i.Dynamic] (Intelligent D-range Control) and Highlight Shadow.

The new DC-GH5 firmware Version 2.0 is scheduled to be released at the end of September 2017 at the following LUMIX Customer Support website.

LUMIX DC-GH5 Firmware Ver.2.0

http://panasonic.jp/support/global/cs/dsc/

  • “6K PHOTO” is a high-speed burst shooting function that cuts a still image out of a 4:3 or 3:2 video footage with 18-megapixel (approx. 6000 x 3000 effective pixel count) that the 6K image manages.
  • Specifications are subject to change without notice.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Panasonic issues promised GH5 firmware update with a host of unexpected extras

Posted in Uncategorized

 

Panasonic AU-EVA1 offers EF-mount Super 35 5.7K capture to SD with Raw promised

03 Jun

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_3267204641″,”galleryId”:”3267204641″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

Panasonic has announced a 5.7K Super 35 format cinema camera that sits between the GH5 and the VariCam LT 4K. The camera is built around a Canon EF mount and can capture 4K video at up to 10-bit 4:2:2 quality to SD cards.

Panasonic hasn’t discussed revealed detailed specs yet but says the camera will have ‘dual native ISOs,’ which is usually videographer speak for sensors with a dual gain design.

The camera has XLR audio inputs and both HDMI and SDI video outputs. Initially it will output 4K over these connectors but Panasonic promises 5.7K Raw output to external recorders with a firmware update. The camera will ship in ‘the autumn’ at a cost of around €8000.

Press Release:

Panasonic has previewed the AU-EVA1, at Cine Gear Expo 2017 in Los Angeles, USA, a new 5.7K cinema camera positioned between the Panasonic Lumix GH5 4K mirrorless camera and the VariCam LT 4K cinema camera. Compact and lightweight, the AU-EVA1 is tailor-made for handheld shooting, but also well suited for documentaries, commercials, and music videos.

“For cinema-style acquisition, we realised there was a space between the GH5 and the VariCam LT,” said EMEA Marketing Manager Nela Pertl. “With its compact size and new 5.7K sensor, the EVA1 fills that gap for a variety of filmmaking applications.”

The EVA1 contains a newly designed 5.7K Super 35mm-sized sensor for capturing true cinematic images. By starting at a higher native resolution, the 5.7K sensor yields a higher resolving image when down sampled to 4K, UHD, 2K, and even 720p. The increased colour information results in a finer, more accurate finished image.

One of the key features of the VariCam 35, VariCam LT, and VariCam Pure is dual native ISO. Utilising a process that allows the sensor to be read in a fundamentally different way, dual native ISO extracts more information from the sensor without degrading the image. This results in a camera that can switch from a standard sensitivity to a high sensitivity without an increase in noise, or other artifacts.

“On the VariCams, dual native ISO has allowed cinematographers to use less light on set, saving time and money, as well as allowing for a great variety of artistic choices. The EVA1 will include dual native ISO, but the camera is currently being tested to determine final ISO specifications,” added Nela Pertl.

The ability to capture accurate colours and rich skin tones is a must for any filmmaker. Like the VariCam lineup of cinema cameras, the EVA1 contains V-Log/V-Gamut capture to deliver high dynamic range and broad colours. V-Log has log curve characteristics that are somewhat reminiscent of negative film and V-Gamut delivers a colour space even larger than film. The EVA1 will also import the celebrated colourimetry of the VariCam line.

Weighing only 1.2Kg (body-only) with a compact form factor (17cm x 13.5cm x 13.3cm) and a removable handgrip, EVA1 can be used for efficient handheld shooting applications and can also be mounted on a drone, gimbal rig, or jib arm for complex yet smooth camera moves. There will also be numerous mounting points and Panasonic is currently working with top accessory makers to allow further customisation with the EVA1.

Ideal for indie filmmakers, the EVA1 records to readily-available, lower-cost SD cards. The camera can record in several formats and compression rates, and offers up to 10-bit 422, even in 4K. A complete breakdown of recording formats will be available at the time of the EVA1’s release.

The camera utilises a native EF-mount, giving shooters access to the broad EF lens ecosystem, including dozens of cinema-style prime and zoom lenses from numerous manufacturers. Electronic Image Stabilisation (EIS) is employed to compensate for camera shake and blurring, which will help smooth out handheld or shoulder-mount shots on documentary or run-and-gun projects. Behind the lens mount, an integrated ND filter wheel in 2, 4, and 6 stops allows for precise exposure control. The EVA1 also allows the IR Cut filter to be swung out of the path to the sensor at the push of a button. Unique photographic effects and night vision imagery are possible with this control over infrared.

As a professional video production tool, the EVA1 offers dual balanced XLR audio inputs and 4K-capable video outputs in both HDMI and SDI. In a future firmware upgrade, EVA1 will offer 5.7K RAW output to 3rd party recorders.

The EVA1 will ship this autumn for under €8,000 (body only).

For more information on Panasonic Broadcast & ProAV, please visit http://business.panasonic.eu/broadcast-and-proav

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Panasonic AU-EVA1 offers EF-mount Super 35 5.7K capture to SD with Raw promised

Posted in Uncategorized

 

Panasonic GH5 gets 10-bit 4:2:2 1080 video in first of promised firmware updates

19 Apr

When Panasonic introduced the Lumix DC-GH5, it made the bold promise that it would release not one, but two firmware updates that would significantly increase the performance of the camera. The first was to arrive in April and the second a bit later in ‘Summer 2017.’

True to its word, Panasonic has announced firmware v1.1 for the GH5, bringing 4:2:2 10-bit Full HD video capture and a series of enhanced capture options for anamorphic shooters.

The firmware brings 4:2:2 10-bit IPB capture at 100Mbps to 1080/59.97p resolution. Anamorphic shooters also get 10-bit 4:2:2 IPB capture but with the larger, 3328 x 2496 shooting region encoded at 150Mbps. The update also includes two minor bug-fixes.

Higher resolution anamorphic video capture, along with 400Mbps All-I capture for 4K and 200Mbps All-I capture for Full HD will follow in the summer release.

Press Release

DC-GH5 Firmware Update Service Ver.1.1 for Expansion of 4:2:2 10-bit Video Recording Mode

Panasonic is announcing the new firmware update program Ver.1.1 for DC-GH5 to further enhance its performance. The new firmware Ver.1.1 enables 4:2:2 10-bit video recording in either FHD [MP4(LPCM)] / [MOV] and Anamorphic (4:3) mode, in addition to the existing 4K video recording mode.

4:2:2 10-bit FHD [MP4(LPCM)] / [MOV]

Item

System frequency

Size

Frame rate

Bit rate

YUV/bit

Image compression

[FHD/10bit/100M/60p]

59.94Hz

(NTSC)

1920 x 1080

59.94p

100 Mbps

4:2:2/10 bit

Long GOP

[FHD/10bit/100M/30p]

1920 x 1080

29.97p

100 Mbps

4:2:2/10 bit

Long GOP

[FHD/10bit/100M/24p]

1920 x 1080

23.98p

100 Mbps

4:2:2/10 bit

Long GOP

[FHD/10bit/100M/50p]

50.00Hz

(PAL)

1920 x 1080

50.00p

100 Mbps

4:2:2/10 bit

Long GOP

[FHD/10bit/100M/25p]

1920 x 1080

25.00p

100 Mbps

4:2:2/10 bit

Long GOP

[FHD/10bit/100M/24p]

24.00Hz

(CINEMA)

1920 x 1080

24.00p

100 Mbps

4:2:2/10 bit

Long GOP

?When [Miniature Effect] is selected for Creative Control Mode, you cannot select the items used for 4:2:2/10 bit motion pictures.

4:2:2 10-bit Anamorphic (4:3) mode

Item

System frequency

Size

Frame rate

Bit rate

YUV/bit

Image compression

[4K/A/150M/30p]

59.94Hz

(NTSC)

3328 x 2496

29.97p

150 Mbps

4:2:2/10 bit

Long GOP

[4K/A/150M/24p]

3328 x 2496

23.98p

150 Mbps

4:2:2/10 bit

Long GOP

[4K/A/150M/25p]

50.00Hz

(PAL)

3328 x 2496

25.00p

150 Mbps

4:2:2/10 bit

Long GOP

[4K/A/150M/24p]

24.00Hz

(CINEMA)

3328 x 2496

24.00p

150 Mbps

4:2:2/10 bit

Long GOP

?[Anamorphic(4:3)] is available only when the camera is set to Creative Video Mode.

The firmware version 1.1 also includes following firmware fixes that reflect customer feedback:

  • A problem in which the exposure adjustment did not operate properly during live view standby under specific conditions using [Variable Frame Rate].
  • A problem in which afterimages appeared when recording video under high ISO sensitivity settings in using [V-LogL]

The new DC-GH5 firmware Ver 1.1 is scheduled to be released on 24 April, 2017 at the following LUMIX Customer Support website: http://panasonic.jp/support/global/cs/dsc/

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Panasonic GH5 gets 10-bit 4:2:2 1080 video in first of promised firmware updates

Posted in Uncategorized