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Posts Tagged ‘Recording’

DJI announces the Ronin 4D, the world’s first 4-axis cinema camera with 8K/75p recording, Raw capture, LiDAR AF and more

20 Oct

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.

Articles: Digital Photography Review (dpreview.com)

 
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Sony announces its new FX6 full-frame cinema camera with 10-bit 4:2:2 4K/120p internal recording

22 Nov

Sony has announced the launch of its new FX6 full-frame 4K cinema camera, which merges Sony’s cinema technology and form factor with advanced imaging technologies taken from its Alpha mirrorless camera systems.

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At the core of the camera is a 4K 10.2-megapixel full-frame backside-illuminated CMOS Exmor R sensor powered by a Sony Bionz XR image processing engine — likely the same setup used in the Sony a7S III. Sony notes the sensor offers 15+ stops of dynamic range and has a maximum ISO of 409,600 for ultra-low-light shooting.

The FX6 captures 10-bit 4:2:2 full-frame footage at 120 frames per second (fps) at 4K and 240 fps in 1080. If you use the onboard 12G-SDI port, the FX6 can output 16-bit SDI Raw 4K/60p video. Sony has also added its S-Cinetone look profile, which is inspired by its Venice colorimetry and also found in the company’s FX9 cinema camera.

Footage is stored to one or both of the camera’s dual CFexpress Type A card slots, which are also backwards compatible with SD UHS-II cards. It’s worth noting though that any recording over 100 fps will require the use of the faster CFExpress Type A cards, as even UHS-II SD cards won’t have the bandwidth to get the job done.

Below are still frames pulled from footage captured with the FX6:

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The FX6 uses Sony’s E-mount for attaching lenses, making it compatible with more than 50 native lenses and countless dozens third-party lenses. The FX6 features the same 627-point Fast Hybrid AF system found in the FX9 and Sony’s Alpha mirrorless cameras, including advanced Face Detection and Real-time Eye AF. The FX6 also has internal electronic variable ND filters, which can be manually adjusted ‘in smooth increments from 1/4 to 1/128.’ Below is a video demonstration of the FX6’s electronic ND filter at work:

The FX6 is constructed of a magnesium alloy chassis that measures 11.6cm (4.6”) x 15.3cm (6”) x 11.4cm (4.5”) and weighs 890g (1.96lbs). The included 3.5” LCD viewfinder can be attached to various locations on the body, thanks to its modular design.

Other features include built-in Wi-Fi, four-channel audio recording and compatibility with Sony’s Catalyst Browse/Prepare software as well as Sony’s Content Browser mobile app that can be used to monitor video and control focus, iris and even zoom remotely.

The FX6 full-frame cinema camera from Sony will be available for $ 6,000 in December through Sony and authorized retailers. It will also be available as a kit with Sony’s FE 24–105mm F4 G E-mount lens for $ 7,200. Sony is also releasing a new FE C 16–35mm T3.1 G lens in December that will retail for $ 5,500.

Press release:

Sony Electronics Launches FX6 Full-frame Professional Camera to Expand its Cinema Line

FX6 Combines the Best of Sony’s Industry-leading Digital Cinema Technology with Advanced Imaging Features from Alpha™ Mirrorless Cameras

FX6 Product Highlights:

  • 4K 10.2 megapixel full-frame back-illuminated CMOS Exmor R™ sensor
  • Compact and lightweight body design for on-the-go shooting
  • Ultra-high sensitivity with ISO expandable up to 409,600 for very low light conditions
  • 15+ stops of dynamic range[i]
  • S-CinetoneTM look profile, also used in FX9 and inspired by VENICE colorimetry
  • BIONZ XR™ image processing engine, first used in Alpha 7S III
  • Fast Hybrid Auto Focus, also used in Alpha cameras and FX9
  • Recording up to 4K 120p / HD 240p, 10-bit 4:2:2 color depth in full-frame[ii]
  • Support for up to 12G-SDI and 4K at up to 60p 16-bit SDI RAW output
  • Compatible with more than 50 native E-mount lenses

SAN DIEGO – November 17, 2020 – Sony Electronics Inc. today officially announced the FX6 (model ILME-FX6V) camera, the latest addition to Sony’s Cinema Line, a series of products that brings the company’s expertise in imaging technology to a broad range of filmmakers and content creators.

Sony’s Cinema Line, which also includes the VENICE and FX9 cameras, delivers a coveted filmic look cultivated from extensive experience in digital cinema production, as well as enhanced operability thanks to an innovative body design, extensive durability and intuitive customizability.

As part of the Cinema Line, the all-new FX6 incorporates Sony’s core technologies of image sensor, processing engine, and AF (autofocus) performance. FX6 is also compatible with the wide range of Sony E-mount lenses for creative flexibility.

“The new FX6 is the latest example of Sony’s drive to continuously push the boundaries of imaging technology based on the needs of our customers,” said Neal Manowitz, deputy president of Imaging Products and Solutions Americas, Sony Electronics. “With the advancement of our Cinema Line, we are dedicated to enabling the extraordinary skills and talent of today’s content creators and cinematographers. The FX6 leverages technology from Sony’s industry-leading VENICE cinema camera and marries it with the best of Sony’s innovative Alpha mirrorless camera technology.”

Full-frame Cinematic Image Quality

The new camera features a 10.2 MP[iii] full-frame back-illuminated Exmor R™ CMOS sensor that delivers a 15+ stop wide dynamic range[iv] with high sensitivity and low noise. FX6’s base sensitivity is ISO 800 with an enhanced sensitivity setting of ISO 12,800[v] – expandable up to 409,600[vi] – for shooting in low and very low light conditions. It is capable of recording in XAVC All Intra 4:2:2 10-bit depth with stunning image quality in DCI 4K (4096 x 2160 – up to 60p), QFHD 4K (3840 x 2160 – up to 120p[vii]) and FHD (1920×1080 – up to 240p) for incredibly detailed slow motion. When more convenient file sizes are needed, FX6 can record in XAVC Long GOP 4:2:0 8-bit QFHD 4K (3840 x 2160 – up to 120pvii) and 4:2:2 10-bit FHD (1920×1080 – up to 240p). FX6 also includes a BIONZ XR™ image processing engine, first used in the new Sony Alpha 7S III camera, providing up to four times faster processing performance compared to the FS5 II.

Developed with the same expertise as Sony’s world-leading VENICE cinema camera, FX6 offers advanced cinematic color science including S-CinetoneTM for richer tonal reproduction right out of the box as well as S-Log3, S-Gamut3 and S-Gamut3.Cine for post-production flexibility. FX6’s cinematic color science is optimized for premium applications by capturing the maximum dynamic range from the sensor and providing creative freedom. Leveraging the color science of VENICE, FX6 also allows productions to easily match footage with other cameras in the Cinema Line.

Advanced Video Features

Pulling from Sony Alpha’s impressive AF features, FX6 offers Fast Hybrid AF by combining 627-point[viii] focal plane phase-detection AF with advanced Face Detection and Real-time Eye AF in high frame rates with continuous AF, allowing camera operators to effortlessly and precisely track fast-moving subjects in slow motion without losing focus. Fast Hybrid AF works with over 50 native E-mount lenses. The camera can also capture up to five times slow-motion with 4K (QFHD) 120fps.

The new FX6 also offers internal electronic variable ND filters for easy and seamless control of the camera’s filter density. Users can set variable ND to auto or adjust the filter density manually in smooth increments from 1/4 to 1/128 for perfectly exposed images without affecting the depth of field or shutter angle, even during changing lighting conditions. Combined with the camera’s ultra-high sensitivity, the electronic variable ND filter provides users with outstanding creative control in almost any shooting environment.

Made for Content Creators on the Go

Outstanding Mobility and Operability

Built with a durable magnesium alloy chassis, measuring just 4.6 inches x 6 inches x 4.5 inches (116 millimeters x 153 millimeters x 114 millimeters) and weighing just 1.96 pounds (0.89 kilograms), FX6 has a compact and lightweight design making it easy for users to grab and shoot at any time. The new camera includes a heat dissipating structure to keep the camera’s components within their normal operating ranges to prevent overheating, even during extended recording times. FX6 also features a modular design allowing users to easily pair accessories, such as grips and viewfinders, or attach the camera to other mechanisms, such as gimbals and drones.

FX6’s 3.5-inch LCD Viewfinder can be attached on multiple locations of the camera body for added freedom and easy menu control with touch operation. Using a quick access control menu for commonly accessed features, camera operators can change key settings with a single touch – including Codec, Imager Scan Mode, Picture Size and Frequency, Base ISO and Sensitivity, Shooting Mode and Audio Levels.

Professional-level Reliability

In line with professional workflows, FX6 includes a 12G-SDI output that also supports 16-bit RAW, HDMI output, timecode in/out, built-in Wi-Fi and four channel audio recording (via XLR Interface, Multi-Interface Shoe and built-in Stereo Mic). The new camera also features two media slots compatible with CFexpress Type A cards[ix] for higher overall capacity and faster read and write speeds in addition to SDXC UHS-II/UHS-I cards.

Additionally, Sony’s Catalyst Browse/Prepare[x] software facilitates fast and easy editing. Users can import FX6’s image stabilization metadata into Catalyst Browse/Prepare to transform handheld footage into incredibly smooth and stable visuals. FX6 also has a dedicated Clip Flag button to easily filter and locate preferred takes using Catalyst Browse/Prepare. This software also reflects metadata indicating when FX6 is rotated or in its normal position, eliminating the need to rotate footage beforehand. FX6 is also compatible with Sony’s Content Browser Mobile App to easily monitor and control focus, iris, and zoom remotely[xi].

About Cinema Line

Cinema Line is series of professional cameras that have a filmic look, cultivated from Sony’s long experience in digital cinema production, and enhanced operability and reliability that responds to the wide variety of creator’s high demands.

Cinema Line includes the digital cinema camera VENICE, which is highly acclaimed in the feature and episodic production industry, and the professional camera FX9, which is has been popular for documentary and drama production. With the new FX6, Sony brings versatile creative tools to all types of visual storytellers.

FE C 16-35mm T3.1 G E-mount Cinema Lens

The FE C 16-35mm T3.1 G (model SELC1635G) lens, announced at IBC 2019, will be available in December 2020 to pair with FX6, FX9 and other full-frame Sony cameras. This new lens supports intelligent shooting functions unique to E-mount cameras – such as fast and accurate AF within shallow depth of field – while also offering manual focus options in a form factor familiar to professional cinema creators.

The FE C 16-35mm T3.1 G delivers stunning bokeh and corner-to-corner resolution thanks to two XA (Extreme Aspherical) elements with extreme surface precision of 0.01-micron, circular 11-blade apertures in addition to three aspheric lenses that are positioned in a way that effectively reduces field curvature, astigmatism and, in combination with two ED (Extra-low Dispersion) glass elements, reduces color distortion. Additionally, floating focus provides outstanding resolution at every zoom position. The new lens also features Nano AR (Anti Reflection) coating, to reduce flare.

The focus ring offers a 140-degree large angle of rotation for fine control, with distance scale markers for consistent focus reset during multiple takes. Linear Response MF enables smooth manual focus, allowing users to adjust focus accurately and intuitively. Three independent rings for focus, iris and zoom enable users to get the exact creative results they desire. Each ring has the industry standard 0.8mm pitch gear for use of follow focus accessories, and the 114mm barrel diameter is compatible with industry standard matte box accessories. A two-speed servo provides smooth, accurate control of focal length and can be activated from a switch on the lens or a lever on the FX6 Smart Grip.

Pricing and Availability

The new FX6 full-frame Cinema Line camera will be available in December and will be sold for approximately $ 5,999.99 USD and $ 8,048.99 CAD, at a variety of Sony’s authorized dealers throughout North America.

A new kit featuring the FX6 full-frame Cinema Line camera and FE 24-105mm F4 G E-mount Lens will also be available in December and will be sold for approximately $ 7,199.99 USD and $ 9,658.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

The FE C 16-35mm T3.1 G lens will be available in December and will be sold for approximately $ 5,499.99 USD and $ 7,199.99 CAD, at a variety of Sony’s authorized dealers throughout North America.

Exclusive stories about Cinema Line, FX6, FE C 16-35mm T3.1 G and Sony’s other imaging products can be found at www.sonycine.com and www.alphauniverse.com, resources designed to educate and inspire all fans of Sony’s technology for content creation and photography.

Articles: Digital Photography Review (dpreview.com)

 
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The Sony a7 IV Will Launch in 2021, With a 30+ MP Sensor and 4K/60p Recording

16 Nov

The post The Sony a7 IV Will Launch in 2021, With a 30+ MP Sensor and 4K/60p Recording appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Sony a7 IV rumors
The Sony a7 IV will likely be the next a7 model to launch, around a year after the a7S III (pictured above).

It’s been over two years since the release of the Sony a7 III, but it seems like we’re finally getting close to its successor.

According to Sony Alpha Rumors, the a7 IV will debut midway through 2021. And while the camera won’t offer any truly groundbreaking features, SAR’s “usually very good source” suggests a suite of intriguing specs.

First, the sensor will no longer fit Sony’s 24 MP mold. Instead, we’ll be treated to a megapixel upgrade, something in the “30-32 MP region.” If this is true, the Sony a7 IV resolution will offer a meaningful boost over the 24 MP a7 III and a7C, without reaching the storage-hogging heights of the a7R series. Personally, I’m a big fan of this megapixel “middle ground” – it guarantees some additional pixels without significantly affecting high-ISO noise performance (and you can bet that Sony’s done a good job with the sensor, which means that it’ll offer a noise performance at least comparable to the excellent a7 III).

One of the few areas where the a7 III has lagged behind the competition is with the electronic viewfinder, which comes in at 2.36M-dots, compared to the Canon EOS R’s and the Nikon Z6’s 3.69M-dot resolution. But while the a7 IV won’t compete with its 5.76M-dot sibling, the a7R IV, SAR claims the a7 IV should offer a 3.69M-dot EVF, which puts it in a “professional” range and should improve the overall a7 IV shooting experience.

Sony Alpha Rumors also claims that, despite a “cheap” LCD, the “image quality and AF will be top-notch.” While I wouldn’t expect anything less from an a7 III successor, it’s nice to hear it from a source.

As for video:

The a7 IV will offer (unsurprisingly) 4K/60p recording, which should be enough for most videographers, though it certainly won’t turn heads like the a7S III with its 4K/120p capabilities, or the Canon EOS R5 with its 8K option.

Finally, you can expect a price of around $ 2500 USD, which is expensive without heading into that “niche professional” category.

We’re a long way off from an announcement, but make sure to check back on dPS for any relevant updates!

The post The Sony a7 IV Will Launch in 2021, With a 30+ MP Sensor and 4K/60p Recording appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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

17 Sep

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

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

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

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

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

Press release:

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

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

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

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

Capture perfect shots and unmissable moments

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

Powerful Visual Storytelling Tools, Exquisite Images

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

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

Leading Technology for Film and Video Storytelling

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

Gaming on the Go

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

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

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

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

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

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

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

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

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

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

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

Compact and Powerful

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

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

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

Availability

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

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

  1. Accurate focus may not be achieved with certain subjects in certain situations and this does not work with all types of animals.
  2. Maximum fps will depend on shooting environment and settings. Up to 20fps continuous shooting with AF/AE is available for 24mm camera. 16mm and 70mm camera can shoot up to 10fps AF/AE.
  3. Effective with a versatile 24mm lens. This function can be taken with “Photography Pro”. Effective when shutter speed is 1/60 second or faster. It may vary depending on the shooting environment.
  4. Xperia 5 II main camera feature 4K HDR 120fps slow-motion movie recording. Verified by Strategic Analytics´ SpecTRAX Service against the published camera specifications for over 17,500 smartphones. Correct as of the 17th September 2020. Recording time restrictions apply. 4K HDR 120fps available on Cinematography Pro on the 24mm camera.
  5. Display ratios may vary based on content formatting
  6. The feature may vary by content, game availability and compatibility.
  7. 240Hz Motion blur reduction is a Game enhancer feature. Taking the 120Hz display refresh rate, it inserts a black frame in between each frame to provide the equivalent visual effect of 240Hz refresh rate. The result is blur-free images with marginally decreased brightness. The feature may vary by content, game availability and compatibility.
  8. 5G network depends on market and operator
  9. Recording time restrictions apply.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic firmware brings 5K recording to S1R, updated autofocus to S1, S1R, S1H

05 Sep

Alongside its latest camera, the S5, Panasonic has announced a promised firmware update for its existing S-series of full-frame mirrorless cameras. Of greatest significance to the greatest number of users is likely to be enhanced autofocus performance for the S1, S1R and S1H, whether shooting in stills or video. This means the addition of head-detection, so you’re less likely to lose focus on your subject should they turn away momentarily. There’s also the promise of less overall hunting for a better viewfinder experience for shooting stills, and better footage when shooting video.

Speaking of video, the S1R gets a bespoke update, and will be able to capture 5K video. The press release is light on details, so that’s all we really know, but it’s a welcome update nonetheless.

Panasonic says the firmware update will arrive by the end of 2020, and we have to say, we’re pleased to see significant updates making their way into the company’s existing cameras.

Press release:

Panasonic Releases Firmware Update Programs for the LUMIX S1R, S1H and S1

Newark, NJ – (September 2, 2020) – Panasonic has announced that they will be releasing firmware update programs for the LUMIX Digital Single Lens Mirrorless cameras S1R, S1H and S1 to enhance functions and usability by the end of 2020.

The new firmware enables the S1R to record 5K video, making the most of its high-resolution image sensor. Also, LUMIX’s state-of-the-art AF technology and performance of the new LUMIX S5 will also be available on the S1R, S1H and S1. The upgraded AF notably excels in detection of human and its movement. In addition to the eye, face, body the head is also separately recognized by real-time detection technology to provide even more precise focusing. The camera keeps tracking the subject person even if he/she moves quickly, turns his/her back to the camera, tilts his/her head or moves far away from the camera. On the other hand, improvements to the DFD technology has enhanced AFC, which also enables users to keep tracking small or fast-moving subjects to capture them in crisp focus. Users can take these advantages in both photo shooting and video recording.

Panasonic further addresses technology development and its achievement shall be applied not only to the new products but also to those already released via firmware update.

Articles: Digital Photography Review (dpreview.com)

 
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Canon launches 1/1.8-inch sensor for video recording in extreme low light

27 Aug

Canon has announced a new CMOS image sensor that is designed to perform in extreme low light conditions. The LI7050’s is a sensor of the 1/1.8-inch variant which means it has the same size as many image sensors that can be found in smartphone cameras. However, this is not the new sensor’s intended use.

Instead it’s meant to be used for industrial applications that require extreme low light capabilities. For example, it could record low light video with realistic color and good detail in security cameras that are monitoring public areas, transport infrastructure or manufacturing facilities. Thanks to its compact dimensions it could also help improve image quality in underwater drones or wearable cameras for security personnel that operates in dark environments.

Canon says in its press release: ‘Conventional nighttime monitoring employs infrared cameras and records video in monochrome. However, network cameras equipped with the LI7050 can capture video at night in such locations as public facilities, roads or transport networks, thereby helping to identify details including the color of vehicles or subjects’ clothing.’

Thanks to the ‘architecture’ of its 4.1 µm pixels the sensor is capable of recording Full-HD color video in near darkness – light levels as low as 0.08 lux – and also comes with an HDR mode that dramatically expands the dynamic range. When recording in this mode the sensor can capture scenes with extremely high contrast (light levels between 0.08 lux and 80,000 lux) while avoiding clipping in both highlight and shadow areas of the frame, achieving a dynamic range of 120dB (approximately 20EV).

HDR mode merges a bright and a dark exposure into one frame and is only available at 30 frames per second. If you need faster frame rates of 60 frames per second the sensor can still avoid clipping anywhere between 0.08 and 500 lux and offers a dynamic range of 75dB (approximately 12.5 EV).

Those are impressive numbers and they are backed up by the low light footage in Canon’s sample clips which does not only have very good exposure but also maintains excellent detail in the bright illuminated areas of the frame, something that a lot of cameras struggle with.

Even though the sensor is marketed as a security and surveillance product there could be interesting applications in consumer imaging as well. Modern smartphones come with multi-camera arrays for different focal length already. Why not add a dedicated low light video camera?

Sample shipments of the LI7050 have started in August and official sales will be launched in late October. We’ll probably see sometime next year if the new sensor will be confined to its industry niche or possibly make it out to the wider consumer imaging market.

Articles: Digital Photography Review (dpreview.com)

 
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Atomos releases full Ninja V firmware update for recording 5.9K 12-bit ProRes Raw with Panasonic S1H

08 Aug

Atomos has announced the full firmware update for its Ninja V monitor/recorder that enables 5.9K ProRes Raw video capture from a Panasonic S1H.

It’s been just one week since the pre-release beta firmware was released alongside Panasonic’s S1H 2.1 firmware update, but the full version is up and ready to go. The full firmware update enables Ninja V units to record 12-bit ProRes Raw video over HDMI at up to 5.9K/29.97p in full-frame, or 4K/59.94p in Super35. Also new is a 3.5K Super35 Anamorphic 4:3 RAW mode that makes it easier to record footage shot on anamorphic lenses.

To accompany the new recording options, Panasonic has released a new LUT that can be downloaded for free on its website. The Atomos Ninja V firmware update (AtomOS 10.52) can be downloaded from the Ninja V product page, under the ‘Support’ tab.

AtomOS 10.52 press release:

Atomos releases full free Ninja V update to enable 5.9K Apple ProRes RAW recording for the Panasonic LUMIX S1H

August 7, Melbourne, Australia: Atomos is thrilled to announce the dream of ultra-high resolution RAW video from a full-frame mirrorless camera is now a reality. Last week Atomos launched a Pre-Release Beta for Ninja V users to try out on their Panasonic LUMIX S1H. Today Atomos announces the full firmware update for the Ninja V.

From today Ninja V & Panasonic LUMIX S1H users will be able to record:

Simply stunning 12-bit RAW

The Ninja V captures the unprocessed highly detailed 12-bit RAW signal files directly from the full frame sensor of the S1H over HDMI at up to 5.9K/29.97p in Full-frame, or 4K/59.94p in Super35. These unprocessed files are extremely clean, preserving the maximum dynamic range, color accuracy and every detail from the S1H. The resulting ProRes RAW files allow for greater creativity in post-production with perfect skin tones and easily matched colors, ideal for both HDR and SDR (Rec.709) workflows.

Anamorphic RAW

More and more cinematographers are now choosing to shoot with anamorphic lenses and the Ninja V and S1H combination caters to them with the new 3.5K Super35 Anamorphic 4:3 RAW mode. An even bigger world of cinematic opportunities opens up as the Ninja V and S1H can now be used as an A-camera or smaller B-camera on an anamorphic RAW production.

Improved color pipeline

LUMIX S1H ProRes RAW files recorded to the Ninja V can now benefit from an improved color pipeline in Apple Final Cut Pro X. Panasonic have published a new LUT based workflow that allows the enhanced potential of ProRes RAW files captured from the LUMIX S1H to be realised in the NLE software.

Ninja V advantage

The Ninja V allows users to accurately monitor the RAW signal on its daylight-viewable 5” 1000nit brightness HDR screen. Setup is simple when the camera is attached with perfectly tuned color settings applied automatically. Users can then view the RAW image accurately in HDR in a choice of HLG and PQ (HDR10) formats. The Ninja V offers touchscreen access to tools like waveforms, 1-1 magnification and focus peaking, allowing them to perfect their RAW video. The Ninja V then records the ProRes RAW data onto a removable AtomX SSDmini or other SSD drive. When shooting is complete the drive is removed and connected to a computer via USB for immediate offload and editing.

ProRes RAW the new standard

In addition to their ground-breaking combination of flexibility and performance, Apple ProRes RAW files are smaller than other RAW files – simplifying and accelerating file transfer, media management, and archiving. Even with the new higher 5.9K resolution, ProRes RAW files from the S1H can easily be edited on most modern Macs. ProRes RAW is fully supported in Final Cut Pro X and Adobe Premiere Pro along with a collection of other apps including ASSIMILATE SCRATCH, Colorfront, FilmLight Baselight and Grass Valley Edius.

This is available immediately; Ninja V users can download the free AtomOS update for their monitor-recorder directly from the Atomos website.

Over the past few months Atomos has created a series of content pieces with the Ninja V and Panasonic LUMIX S1H, from test footage, to setting up your Ninja V and S1H with PhotoJoseph, to hearing from creators like Stuart Morgan and Krzysztof Sieniawski and their experiences with the great combo of Ninja V & S1H. Please see recent examples below.

Articles: Digital Photography Review (dpreview.com)

 
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Xiaomi patent hints at future smartphone with pop-up selfie camera and 8K recording

08 Nov

A new patent belonging to Chinese company Xiaomi has surfaced revealing a new camera design that includes a pop-up selfie camera and a rear square zoom lens. The patent was first spotted by Dutch website Let’s Go Digital, which notes that the patent was recently registered by the Hague International Design System.

The Xiaomi patent covers a mobile phone that features a vertical array of cameras on the back of the handset; the top square lens is believed to possibly be a zoom lens, whereas the lower three circles potentially include another camera, an LED flash, and a third sensor of some type.

The pop-up illustration below shows how the company will handle offering a front-facing camera that doesn’t blemish the model’s bezel-less display.

The patent was granted on August 9, about a month before XDA Developers revealed the existence of a new Xiaomi smartphone featuring a camera with 5x optical zoom and 50x digital zoom. The discovery was made in the beta version of a Xiaomi software update, which itself came shortly before the official unveiling of its new Mi Note 10.

The Mi Note 10 features five cameras, including one with 50x digital zoom and one with 5x optical zoom. It’s unclear whether XDA’s discovery was ultimately pointing toward the Mi Note 10 or a future Xiaomi model, which may have been teased in the newly-published mobile phone patent.

The details uncovered in the software update indicated that the related Xiaomi phone would include 8K/30fps video recording capabilities. In that case, the combination of a newly granted patent and the beta software details make the case for there being another major Xiaomi smartphone in the pipeline, one that may be introduced in 2020.

Articles: Digital Photography Review (dpreview.com)

 
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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)

 
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Canon plans to add 24p recording to select EOS, PowerShot cameras via firmware update

09 Oct

The people have spoken and Canon has listened. In an email sent to DPReview Canon says it ‘plans to introduce 24p mode (23.98fps) for movie recording via a series of future firmware updates for select [EOS and PowerShot] models.’

According to the email, the move comes ’In response to feedback from our customers about some of our recently launched EOS and PowerShot models.’ Canon specifically says the first models to receive the firmware update with support for 24p (23.98 fps) shooting modes will be the EOS 90D and the EOS RP at the end of October. ‘The PowerShot G7X Mark III and G5X Mark II will follow at the end of 2019 and the EOS M6 Mark II during the first half of 2020,’ reads the email.

Once the firmware is released for the cameras, each supported model will be able to shoot 24p (23.98 fps) in 4K and Full HD.

Articles: Digital Photography Review (dpreview.com)

 
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