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The Leica SL2 is a refined full-frame camera with in-body stabilization, fast burst shooting and capable video features

09 Nov

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The Leica SL2 is a major update of the company’s original full-frame mirrorless camera, the SL, which was introduced four years ago. The SL2’s design isn’t a dramatic departure from the original, though the hard edges have been softened, the grip has been refined and a new three-button rear interface is similar to that of the Q2. Build quality and weather-sealing has improved to the point where the SL2 has earned an IP54 rating.

The real differences between the SL2 and SL can be found on the inside. The SL2 has a 47MP full-frame CMOS sensor – likely similar to what’s in the Q2 and Panasonic’s S1R – and a 5-axis sensor-shift IS system that can also be used to produce 187MP Raw images. Its contrast detection autofocus system has been improved according to Leica, and a ‘Smart AF’ feature can automatically switch between focus and shutter release priority.

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Photos can be composed via a 3.2″ touchscreen display with 2.1 million dots or a large 5.76M-dot electronic viewfinder. As before, a small status display on the top plate shows important shooting information.

The SL2 can shoot bursts at 20 fps with the electronic shutter and 10 fps with the mechanical shutter, both with AF locked. For continuous focus and exposure, you’ll need to drop to 6 fps. The camera has dual SD card slots, both of which are capable of UHS-II speeds. The official battery life rating for the SL2 is 370 shots per charge, but as always, you’ll likely do better.

The SL2 can shoot DCI or UHD 4K at up to 60p from nearly the full width of the sensor. Both 60p and 50p footage are captured as 8-bit 4:2:0, while 30p and below can be recorded or output as 10-bit 4:2:2 streams. There’s also an option to shoot 5K at up to 30p from a 4:3, roughly 1.6x, cropped region of its sensor. The camera will let you shoot using a proprietary L-Log gamma curve for any of its 10-bit modes and the standard, ready-for-use HLG curve in its 10-bit 4:2:2 modes.

The Leica SL2 will be available on November 21st at a list price of $ 5995.

View our SL2 sample gallery

Go hands-on with the SL2

Watch DPReview TV’s first impressions

Press release:

A New Icon: Leica Camera Announces the New Leica SL2, Successor to the Trailblazing Leica SL

November 6, 2019 – Building on the foundation established in 2015 with the visionary Leica SL-System, Leica Camera proudly introduces the Leica SL2, the storied brand’s new icon and next evolutionary step towards building the perfect all-purpose camera. By listening closely to the valued feedback of photographers and existing SL owners, Leica made many efforts to push the envelope of technological innovation and performance while respecting its heritage of design and legacy. In addition to a technical marvel of pure performance and unmatched build quality, the Leica SL2 is also a joyous experience to use with improved ergonomics and more comfortable grip married to the well-established, simplified three-button control layout, further unifying the Leica design language across multiple product lines. While cutting-edge new features such as in-body image stabilization unlocks newfound potential from legendary Leica M-Lenses, it simultaneously augments the growing selection of SL-Lenses which are some of the finest optics Leica has ever produced. The Leica SL2 is the natural evolution of the innovative Leica SL, serving as a groundbreaking embrace of the future of digital photography and videography while paying homage to its respected history and lineage.

CMOS sensor with 47 megapixels for superior image quality

The unprecedented resolution of the SL2’s CMOS image sensor in full-frame format results in an unparalleled level of detail rendition and image quality. Enormous dynamic range, a color depth of 14 bits per RGB channel and a sensitivity of up to ISO 50,000 enable outstanding image quality in all lighting conditions. Even when combined with Leica TL lenses, which are designed for the smaller sensor format of the Leica TL2 and CL, the SL2’s sensor still delivers an excellent image resolution of over 20 megapixels.

Image stabilization through sensor-shift technology

In a major evolution of the SL, the Leica SL2 features a suspended sensor which adjusts its position in order to quickly and efficiently compensate for camera shake. This in-camera method even makes image stabilization available to lenses that are not equipped with their own.

Additionally, in multishot mode, the tripod-mounted camera can record up to eight consecutive frames, whereby the sensor is shifted in half-pixel increments in between every exposure. This key feature results in images with an incredible quadrupled resolution of around 187 megapixels, leading to an extreme increase in detail resolution.

Improved ergonomics for stress-free shooting in any situation

Despite significant technical improvements, the Leica SL2 is neither larger nor heavier than its predecessor and feels particularly compact to handle. This is due to the fully redesigned camera body, whose handgrip and the edges have been subtly refined for easier handling.

Improved body design paired with increased durability make the SL2 the perfect companion for all forms of shooting. The SL2’s IP54 certification ensures an elevated weather sealing for more rugged situations, while a new option to turn off noise reduction during long exposures allows for more hands-free shooting. Less worry about the weather and environmental situations means photographers can focus more on getting the shot.

Overall the design of the SL2 recalls more of the iconic Leica identity and traditional design DNA elements that the brand has become known and loved for.

Streamlined design with new status menus

The Leica SL2 offers an innovative user interface whose efficient design allows photographers to focus their attention on the creative process. The design alignment with the existing M and Q systems makes the adjustment even easier for existing Leica photographers.

The main recording parameters can be viewed on the rear display and adjusted quickly and easily with a simple finger tap. A click wheel, a joystick and three strategically placed, individually configurable buttons also contribute to a straightforward operation. Thanks to two dedicated status menus for stills and video recording, the parameters for either shooting mode can be adjusted entirely separately from each other.

Limitless connections

Featuring an L bayonet lens mount, the Leica SL2 is not only compatible with the ever-growing portfolio of SL-System lenses, but also with lenses of the TL-System and with the legendary lenses of Leica’s M, S and R-Systems via adapter, providing more than 170 Leica lens options, guaranteed to offer the right fit for any photographic scenario. The L-Mount Alliance expands this scope of possibilities even further, by giving SL2 photographers access to L-mount-compatible lenses from Sigma and Panasonic.

Maestro III processor for ultra-fast operation

The new Maestro III processor facilitates a superior operating speed that shines in many aspects of the SL2’s performance. The autofocus is significantly faster and allows for a virtually lag-free shutter release in any shooting situation, which is further complemented by the new Smart AF mode, which autonomously switches between focus priority and shutter release priority. Full-resolution recordings of consecutive images are possible at 10 frames per second with the focal plane shutter, and 20 frames per second with the electronic shutter. Thanks to two UHS-II-compatible SD card slots, raw files can be saved simultaneously in DNG and JPEG format.

Leica EyeRes® viewfinder with even higher resolution

The camera’s electronic viewfinder now boasts a resolution of 5.76 megapixels, allowing for a large, entirely natural-looking viewfinder image. Simultaneously, the experience is further enhanced when using the touchscreen, which has increased in size to a 3.2-inch diagonal, and now offers a significantly higher resolution of 2.1 megapixels.

Perfect tool for cinematographers

In addition to its great appeal for photographers, the Leica SL2 speaks the language of cinematographers, as the camera is able to record up to 60 frames per second in Cine 4K mode, and up to 180 frames per second in Full-HD mode. Activating Cine mode transforms the SL2 into a manually controlled cine camera as ISO becomes ASA, the shutter speed is marked in degrees on the rotary disk shutter, and the f-stops indicating the aperture ratio are replaced by T-stops, which measure the actual amount of light transmitted through the lens. Connecting audio equipment to the Leica SL2 no longer requires the use of adapters, as the camera now features a build in headphones and mic jack, complemented by a fully-fledged HDMI connector for external monitors.

The Leica SL2 is available in Leica Stores and Leica Boutiques beginning November 21, 2019, at a recommended retail price of $ 5,995.

Leica SL2 specifications

Price
MSRP $ 5999
Body type
Body type SLR-style mirrorless
Body material Magnesium alloy
Sensor
Max resolution 8368 x 5584
Image ratio w:h 3:2
Effective pixels 47 megapixels
Sensor size Full frame (36 x 24 mm)
Sensor type CMOS
Processor Maestro III
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 100-50000 (expands to 50-50000)
Boosted ISO (minimum) 50
White balance presets 8
Custom white balance Yes
Image stabilization Sensor-shift
CIPA image stabilization rating 5.5 stop(s)
Uncompressed format RAW
File format
  • JPEG
  • DNG (14-bit)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 225
Lens mount Leica L
Focal length multiplier 1×
Screen / viewfinder
Articulated LCD Fixed
Screen size 3.2
Screen dots 2,100,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.78×
Viewfinder resolution 5,760,000
Photography features
Minimum shutter speed 1800 sec
Maximum shutter speed 1/8000 sec
Maximum shutter speed (electronic) 1/40000 sec
Exposure modes
  • Program
  • Shutter priority
  • Aperture priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe)
Flash X sync speed 1/250 sec
Drive modes
  • Single
  • Continuous
  • Interval
  • Exposure bracketing
  • Multishit
Continuous drive 20.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation -3–5 (at 1/3 EV, 1/2 EV steps)
AE Bracketing ±3 (3, 5 frames at 1/3 EV steps)
Videography features
Format MPEG-4, H.264
Modes
  • 4096 x 2160 @ 60p, MOV, H.264, Linear PCM
  • 4096 x 2160 @ 50p, MOV, H.264, Linear PCM
  • 4096 x 2160 @ 30p, MOV, H.264, Linear PCM
  • 4096 x 2160 @ 25p, MOV, H.264, Linear PCM
  • 4096 x 2160 @ 24p, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 60p, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 50p, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 120p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 100p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage included Dual SD card slots (UHS-II supported)
Connectivity
USB USB 3.1 Gen 1 (5 GBit/sec)
HDMI Yes (10-bit output)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11ac + Bluetooth
Remote control Yes (via smartphone)
Physical
Environmentally sealed Yes
Battery Built-in
Battery description BP-SCL4
Battery Life (CIPA) 370
Weight (inc. batteries) 835 g (1.84 lb / 29.45 oz)
Dimensions 146 x 107 x 42 mm (5.75 x 4.21 x 1.65)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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GoPro Hero8 Black adds improved stabilization, Media Mod, Digital Lenses and more

02 Oct

As promised in its teaser a few weeks back, GoPro has unveiled its latest action camera, the Hero8 Black.

The GoPro Hero8 Black now features Hypersmooth 2.0, GoPro’s second-generation stabilization technology that features a ‘Boost’ mode and an auto horizon leveling mode. TimeWarp (GoPro’s hyperlapse mode) also received a 2.0 update that will automatically adjust the playback of the video to the speed you’re traveling and can slow down to capture prominent moments with a tap of the screen.

Moving onto the hardware side of things, the Hero8 Black features the leaked ‘Media Mod,’ which adds additional ports and makes it possible to add a number of add-on accessories. When secured inside the Media Mod housing, the Hero8 Black gains a shotgun microphone, a 3.5mm microphone port, a Micro HDMI out port, a USB-C Port and two cold-shoe mounts.

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In addition to third-party accessories, GoPro has also released its own line of ‘Mods’ including a 1.9in flip-up LCD ‘Display Mod’ and a waterproof LED ‘Lighting Mod.’

GoPro has also added a new feature called ‘Digital Lenses.’ As its name suggests, this new functionality will effectively crop the image to adjust the framing in four different settings: Narrow, Linear, Wide and SuperView.

Presets have also been added to the Hero8 Black, which makes it easy for users to switch settings on the fly depending on what they anticipate filming. With the ‘Cinematic’ preset the Hero8 Black will shoot 4K/30p video, in ‘Activity’ it will shoot 2.7K/60p video and in ‘Slo-Mo’ it will shoot 1080/240p video. The exact settings can be further adjusted as with past Hero cameras, but these presets should provide a simple starting point for those who don’t care to dive into the settings too much.

GoPro has also updated its SuperPhoto and HDR functionality to deliver more ‘detail you never thought possible.’ Other improvements include the ability to livestream Full HD video, a 2x stronger lens and a dedicated Night Lapse Video mode.

Below is a detailed video of all the new and improved functions of the Hero8 Black:

The GoPro Hero8 Black is available to pre-order starting today for $ 399.99. The first shipments are expected to go out October 15th with in-store availability starting October 20th. The Media Mod and Display Mod will retail for $ 80 and the Light Mod will retail for $ 50 when they become available to pre-order in December.

Articles: Digital Photography Review (dpreview.com)

 
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Sony announces a6600 with image stabilization and Real-time Tracking autofocus

29 Aug

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Sony has just announced the a6600, a camera it’s calling the new ”flagship” of its APS-C lineup. In it, you’ll find a host of enhancements, including in-body image stabilization, the latest implementation of Sony’s Real-time Tracking autofocus, which seamlessly transitions from subject tracking to face and eye-detection, as well as a Z-type battery, which should have around 2.2x the stamina of the older, smaller W-series battery. Weight has gone up as a result of all this, with the camera weighing in at 503g (the a6400 is 100g lighter at 403g).

Sony has also tweaked the design of the grip on the a6600, partly for ergonomic reasons of course, but also partly to make room for the much-bigger battery. You can also shoot full 14-bit Raw files, and Real-time Tracking functionality – including eye detection – is possible while shooting 4K video. Speaking of video, the a6600 makes room for both microphone and headphone ports, and can shoot 4K footage in HLG to help make the most of the camera’s dynamic range.

Other core features remain unchanged from the existing a6400, including a 24MP APS-C sensor, 11fps burst shooting with autofocus and auto exposure, 4K/30p video recording and a 2.36M-dot OLED viewfinder. The a6600 does have a touchscreen for touch focus, touch shutter and touch tracking functionality. We’re told the a6600 officially replaces the a6500.

The Sony a6600 will be available in November, 2019, at a price of $ 1400 US ($ 1900 CAN) body-only, and $ 1800 US ($ 2400 CAN) with an 18-135mm F3.5-5.6 kit lens.

Press release:

Sony Electronics Strengthens APS-C Mirrorless Line-up with Launch of Two New Cameras

Company Introduces Alpha 6600 with in-body Image Stabilization and Enhanced Battery Life, Also Boosts Product Portfolio with Introduction of Alpha 6100

SAN DIEGO — August 28, 2019 — Sony Electronics today announced two new additions to its ? (Alpha) series of mirrorless cameras with the launch of the Alpha 6600 (model ILCE-6600) and Alpha 6100 (model ILCE-6100). These new models bring many of Sony’s most advanced imaging technologies into compact, lightweight APS-C bodies.

The new, extremely versatile Alpha 6600 camera has been designed to address the needs of the most demanding photographers and videographers, while the new Alpha 6100 is targeted at users who are looking to produce high-quality photos and videos with an interchangeable lens camera.

In addition to the new bodies, the Sony APS-C range has been further strengthened by the launch of two new lenses: E 16-55mm F2.8 G and E 70-350mm F4.5-6.3 G OSS. Sony’s “One Mount” solution for both APS-C and Full-frame cameras provides creators an extreme amount of versatility for all of their photography and video needs.

“These new APS-C cameras provide excellent image quality in a compact package, with the ability to take full advantage of Sony’s growing lineup of 54 different E-mount lenses,” said Neal Manowitz, deputy president of Imaging Products and Solutions at Sony Electronics. “We are proud to bring so many of our innovations into our APS-C lineup and to provide creators with several new tools to realize their vision.”

The new Alpha 6600 and Alpha 6100 include a 24.2MP Exmor™ CMOS image sensor, the latest BIONZ X™ image processor, and a front-end LSI implemented in Sony’s full-frame cameras. This powerful trio combine to deliver all-around enhancements in image quality and performance across all areas of photo and video capture.

The Alpha 6600 and Alpha 6100 offer a lightning-fast autofocus acquisition time of 0.02 seconds. With 425 focal-plane phase-detection autofocus (AF) points covering approximately 84 percent of the image area and 425 contrast-detection AF points, the high density and wide coverage of the AF system ensure reliable AF, even in the most challenging light conditions. Both new models benefit from Sony’s ‘Real-time Tracking’ which utilizes Sony’s latest algorithm with Artificial Intelligence-based object recognition to ensure that subjects can be captured with excellent accuracy, even via the touch panel on the rear screen. In addition, the new models offer ‘Real-time Eye AF’, the latest version of Sony’s acclaimed Eye AF technology. Real-time Eye AF employs AI-based object recognition to detect and process eye data in real time, resulting in improved accuracy, speed and tracking performance of Eye AF for both humans and animals, and it allows the photographer to concentrate exclusively on composition. The Alpha 6600 also offers Real Time Eye AF in video. When activated, the eye of a subject is automatically tracked with high precision and reliability, allowing the shooter to focus on the content itself as opposed to what is in focus or not.

Additionally, both cameras can shoot high-quality 4K video, and include a microphone jack and flip screen that allows for easy framing and shooting of vlog-style content. The Alpha 6600 also features a headphone jack to monitor audio.

An Eye for Detail

Based upon feedback from users of existing Sony APS-C camera users, Sony has added features to the Alpha 6600 and Alpha 6100 to fine tune the user experience. These include:

  • Improved color reproduction; algorithms inherited from full-frame models deliver natural color reproduction, particularly in skin tones
  • Hi-resolution internal 4K movie recording with full-pixel readout without pixel binning in Super 35mm format with easy smartphone transfers via the Imaging Edge™ Mobile application
  • Interval shooting for stunning time-lapse videos
  • 180-degree tiltable, 3.0-type 921k-dot (approx.) LCD touch screen
  • Integrated Microphone input for clear and crisp audio on video recordings

Alpha 6600

Across an ISO range of 100-32000 (expandable to ISO 50 – 102400), the new Alpha 6600 offers superb low-noise performance and delivers extremely high-quality images, even in low-light conditions. By applying noise reduction and sharpness processing optimally in each area, Area-specific Noise Reduction and Detail Reproduction Technology greatly reduce noise while preserving high resolution. This contributes to fine reproduction of subject textures and shadow details.

The Alpha 6600 features many of the technology breakthroughs that are attracting praise on Sony’s high-end full-frame cameras. These include:

  • Sony’s innovative 5-axis in-body image stabilization system that results in a 5.0-step shutter speed advantage
  • Implementation of the industry-leading long battery life with Sony Z Battery for the first time on an APS-C camera, enabling extended power performance; approx. 720 still images using viewfinder, approx. 810 images using LCD monitor
  • A tough magnesium alloy design that is dust and moisture resistant
  • Real-time Eye AF for movie shooting; when activated, the eye of a subject is automatically tracked with high precision and reliability, allowing the shooter to focus on the content itself as opposed to what is in focus or not in focus. Touch Tracking functionality will also automatically initiate Eye AF when a human subject is selected
  • Integrated headphone jack which allows the user to connect high-quality headphones for accurate monitoring of recorded sound

4K Recording

The Alpha 6600 and Alpha 6100 boasts internal 4K movie recording in Super 35mm format with full pixel readout without pixel binning, to enable them to capture approximately 2.4x the amount of information required for 4K movies. This oversampling results in stunning footage, delivered in the XAVC S™ format with unparalleled resolution. The Alpha 6600 also equips an HLG (Hybrid Log-Gamma) picture profile that supports an instant HDR workflow. Recorded movies played back on an HDR (HLG) compatible TV will appear true-to-life, with no blocked shadows or blown highlights, and without the need for color grading. For users who want to color grade their footage in post-production, S-Log3 and S-Log2 Gamma profiles are provided.

Pricing and Availability

The new Alpha 6600 will be available in November and will be sold at a variety of Sony authorized dealers throughout North America at below prices:

Camera body – $ 1,400 US / $ 1,900 CA

Camera kit with Sony 18-135mm Lens – $ 1,800 US / $ 2,400 CA

Sony a6600 specifications

Price
MSRP $ 1400 (body only), $ 1800 (w/18-135mm lens)
Body type
Body type Rangefinder-style mirrorless
Body material Magnesium alloy
Sensor
Max resolution 6000 x 4000
Image ratio w:h 3:2, 16:9
Effective pixels 24 megapixels
Sensor photo detectors 25 megapixels
Sensor size APS-C (23.5 x 15.6 mm)
Sensor type CMOS
Processor Bionz X
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 100-32000 (expandable to 102400)
Boosted ISO (maximum) 102400
White balance presets 8
Image stabilization Sensor-shift
Image stabilization notes 5-axis
Uncompressed format RAW
JPEG quality levels Extra fine, fine, standard
File format
  • JPEG (Exif v2.3)
  • Raw (14-bit Sony ARW)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 425
Lens mount Sony E
Focal length multiplier 1.5×
Screen / viewfinder
Articulated LCD Tilting
Screen size 3
Screen dots 921,600
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 1.07× (0.71× 35mm equiv.)
Viewfinder resolution 2,359,296
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/4000 sec
Exposure modes
  • iAuto
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe)
Flash modes Flash off, Autoflash, Fill-flash, Rear Sync., Slow Sync., Red-eye reduction (On/Off selectable), Hi-speed sync, Wireless
Flash X sync speed 1/160 sec
Drive modes
  • Single
  • Continuous (Hi+/Hi/Mid/Lo)
  • Self-timer
  • Bracketing
Continuous drive 11.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Center-weighted
  • Highlight-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps)
AE Bracketing ±5 (3, 5 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps)
WB Bracketing Yes (3 frames, H/L selectable)
Videography features
Format MPEG-4, AVCHD, XAVC S
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC + Memory Stick Pro Duo
Connectivity
USB USB 2.0 (480 Mbit/sec)
USB charging Yes
HDMI Yes (micro-HDMI)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11b/g/n + NFC
Remote control Yes (via smartphone)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description NP-FZ1000
Battery Life (CIPA) 810
Weight (inc. batteries) 503 g (1.11 lb / 17.74 oz)
Dimensions 120 x 67 x 69 mm (4.72 x 2.64 x 2.72)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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The Insta360 Go is a 20 gram wearable cam with FlowState stabilization

29 Aug

Insta360 has just launched the GO, a minuscule wearable camera that can be attached to most things via a clip or its magnetic body. Its small size and low weight (18.3g/0.65oz) means it can fit into places where larger cameras can’t, allowing for unusual angles and new viewpoints.

The camera doesn’t have a screen and operation is simple: Pressing its button once records a clip for up to 30 seconds, pressing a second time stops it. Insta360’s FlowState stabilization should make for steady footage in all situations and the company’s FlashCut auto editing saves you from sorting and editing movie files manually.

The function uses AI to select your best clips and combines them into a longer stylized video. If you are more of a hands-on user, manual editing options are available in the GO app as well. You can modify transitions, color palette and playback speed among other parameters. It also lets you include video footage recorded on your smartphone.

The camera features a F2.1 aperture lens and records video with a 2720 x 2720 resolution at 25fps in its standard mode. The app outputs 1080p/25fps clips. Additionally, the camera comes with a Hyperlapse mode that can record at 6x speed for up to 30 minutes. A 100 fps slow-motion mode is available, too.

The camera body is IPX4 water-resistant, meaning it should withstand splashes, rain, and submersion in water for up to 10 seconds. A full charge allows for approximately 200 clips and when the camera is connected to the charger case at the end of the day, all footage is automatically transferred to your phone.

The Insta360 GO is available now Insta360.com and select retailers for $ 199.99. In the box you’ll find a range of accessories for charging and mounting, including a charge case, magnet pendant, pivot stand, clip and sticky base. More information is available on the Insta360 website.

Articles: Digital Photography Review (dpreview.com)

 
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Canon and Nikon Will Release DSLRs With In-Body Image Stabilization

29 Jul

The post Canon and Nikon Will Release DSLRs With In-Body Image Stabilization appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

canon-nikon-IBIS

In-body image stabilization (IBIS) has long been resisted by the two DSLR giants, Nikon and Canon.

But recent rumors indicate that both Canon and Nikon will be breaking into new territory, with IBIS technology added to upcoming DSLRs for both brands.

Up until now, in-body image stabilization has been confined to Nikon’s mirrorless lineup. And while reports indicate that the followup to the (mirrorless) Canon EOS R will include IBIS, there was no definitive information about DSLR in-body stabilization.

Then, in April, rumors indicated that Nikon would be introducing in-body image stabilization to the D6, Nikon’s future flagship DSLR (with a possible release date in the first half of 2020). This was followed by further reports that the D6 was delayed due to the decision to add in-body image stabilization.

And just last week, Canon Rumors reported that “Canon will ‘definitely’ bring IBIS to ‘select’ DSLRs in the near future.”

Canon Rumors was uncertain “which camera(s) would be getting IBIS,” but explained that “the EOS 90D, which is coming in the next couple of months,” is a strong possibility.

Sources have also discussed the possibility that the Canon 1DX Mark III will have in-body image stabilization, so it can go toe-to-toe with the upcoming Nikon D6. Both the Canon 1DX bodies and the Nikon D6 bodies are direct competitors, catering to professional photographers who require high frame rates and exceptional durability.

Now, Nikon and Canon have always maintained that lens stabilization is superior to in-body image stabilization, due to increased flexibility in the lens as compared to the camera body. This may well be true, but many phenomenal Canon and Nikon lenses don’t include image stabilization. So photographers of all levels will undoubtedly appreciate this move to in-body stabilization.

It will certainly be a boon to those who tend to shoot handheld in low light.

So let me ask you:

Are you excited about the possibility of IBIS in new Canon and Nikon DSLRs?

And would you like to see IBIS in the upcoming Canon 90D?

Let me know in the comments!

The post Canon and Nikon Will Release DSLRs With In-Body Image Stabilization appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Firmware update for Panasonic S1/S1R improves image stabilization and AF performance

01 Jul

Panasonic is releasing a firmware update for its Lumix DC-S1 and S1R full-frame mirrorless cameras, which will be available on July 9th. The new firmware (version 1.1) addresses the following:

Improved image stabilization performance: Panasonic claims that with firmware v1.1, the in-body IS system will reduce shake by an additional 1/2-stop, for a total of 6 stops with non-stabilized lenses and 6.5 stops with Dual IS-compatible glass.

Improved AF performance: Panasonic claims that tracking performance live view display will be improved, and new AF-on options have been added.

  • Tracking performance during video recording has been improved
  • Live view display during autofocusing is now ‘easier to see’
  • A new AF-ON: Near Shift biases toward close subjects, while Far Shift does the opposite

Two smaller changes: An ‘activate’ option has been added to the S1, for entering the key for the optional DMW-SFU2 video feature update. ‘Operational stability’ when using XQD cards should also be improved on both the S1 and S1R.

The firmware will be available for download on Panasonic’s website on the 9th.


On the same day, firmware updates will be made available for six Micro Four Thirds cameras: the Lumix GH5, GH5S, G9, G90/G91/G95, G80/G81/G85 and GX9.

The new firmware addresses various things across those cameras, but the one thing they have in common is adding support for smooth aperture control during video capture when using the Panasonic Leica 10-25mm F1.7 lens. Users can also toggle the aperture ring between ‘smooth’ and 1/3EV. The minor camera-specific changes can be found in the press release below.

Press Release

Panasonic Releases Firmware Update Programs for the LUMIX S1R, S1, GH5, GH5S, G9, G90/G91/G95, G80/G81/G85 and GX9

Newark, NJ (July 1, 2019) – Panasonic has announced that the company will release the firmware update programs for the LUMIX Digital Single Lens Mirrorless cameras to enhance the functions and usability. All programs will be available at LUMIX Global Customer Support website https://av.jpn.support.panasonic.com/support/global/cs/dsc/ at UTC 1:00 on July 9, 2019.

The cameras and the programs to be updated are as follows:

Full-frame Mirrorless Camera

LUMIX S1R Firmware Version 1.1

1. Improved performance of the Body Image Stabilizer

  • The correction performance of the Body Image Stabilizer has been improved from a maximum of 5.5 stops to a maximum of 6.0 stops.*1
  • The correction performance of the Dual I.S.2 has been improved from 6.0 stops to 6.5 stops.*2

*1 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=50mm, when S-X50 is used.]

*2 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=105mm, when S-R24105 is used.]

Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm, when S-R70200 is used.]

2. Improved AF performance

  • [AF-ON: Near Shift] and [AF-ON: Far Shift] functions have been added. [AF-ON: Near Shift] preferably focuses on a subject nearby while [AF-ON: Far Shift] preferably focuses on a subject far away.
  • The tracking performance when using [Tracking] AF mode in video recording has been improved.
  • Live view display during auto focusing is now easier to see.

3. Improved operational stability

  • Operational stability when using an XQD memory card has been improved.

LUMIX S1 Firmware Version 1.1

1. Improved performance of the Body Image Stabilizer

  • The correction performance of the Body Image Stabilizer has been improved from a maximum of 5.5 stops to a maximum of 6.0 stops.*1
  • The correction performance of the Dual I.S.2 has been improved from 6.0 stops to 6.5 stops.*2

*1 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=50mm, when S-X50 is used.]

*2 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=105mm, when S-R24105 is used.]

Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm, when S-R70200 is used.]

2. Improved AF performance

  • [AF-ON: Near Shift] and [AF-ON: Far Shift] functions have been added. [AF-ON: Near Shift] preferably focuses on a subject nearby while [AF-ON: Far Shift] preferably focuses on a subject far away.
  • The tracking performance when using [Tracking] AF mode in video recording has been improved.
  • Live view display during auto focusing is now easier to see.

3. Function Enhancement with Upgrade Software Key DMW-SFU2

An [Activate] function has been added which enables the use of extended functions using the Upgrade Software Key DMW-SFU2. The following functions will be added by activating the Upgrade Software Key.

  • The video recording modes [MOV]

4K

60p/50p*

4:2:0

8bit

LongGOP

150Mbps

LPCM

30p/25p*

4:2:2

10bit

LongGOP

150Mbps

LPCM

24p

4:2:2

10bit

LongGOP

100Mbps

LPCM

FHD

60p/50p*

4:2:2

10bit

LongGOP

100Mbps

LPCM

30p/25p*

4:2:2

10bit

LongGOP

100Mbps

LPCM

* PAL area only.

?HDMI 4K60p/50p* 4:2:2 10bit output

* PAL area only.

?V-Log will be added in Photo Style.

?The [V-Log View Assist] function will be added, which enables viewing the V-Log file with LUT(Look Up Table) when recording video in V-Log.

?The [Read LUT File] function will be added, which allows users to install and apply their favorite LUT.

?A WFM (Waveform Monitor) display function.

?A [Luminance Level] adjustment function that complies with 10-bit.

?An [XLR Mic Adaptor Setting] function that enables high-res sound recording using the XLR Microphone Adapter DMW-XLR1 (sold separately).*

* MOV only

4. Improved operational stability

  • Operational stability when using an XQD memory card has been improved.

Micro Four Thirds Mirrorless Cameras

GH5 Firmware Version 2.5

1. Improved compatibility with the Panasonic LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025) digital interchangeable lens.

  • Smooth aperture control is available during video recording.
  • [Aperture Ring Increment] has been added with which users can choose the control method of the aperture ring from [SMOOTH] or [1/3EV] in photo shooting.

2. Improved compatibility with the Panasonic Remote Shutter DMW-RS2.

  • The video REC switch on the Remote Shutter can be disabled in the camera’s custom menu.

GH5S Firmware Version 1.3

1. Improved compatibility with the Panasonic LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025) digital interchangeable lens.

  • Smooth aperture control is available during video recording.
  • [Aperture Ring Increment] has been added with which users can choose the control method of the aperture ring from [SMOOTH] or [1/3EV] in photo shooting.

2. Improved compatibility with the Panasonic Remote Shutter DMW-RS2.

  • The video REC switch on the Remote Shutter can be disabled in the camera’s custom menu.

G9 Firmware Version 1.3

1. Improved compatibility with the Panasonic LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025) digital interchangeable lens.

  • Smooth aperture control is available during video recording.
  • [Aperture Ring Increment] has been added with which users can choose the control method of the aperture ring from [SMOOTH] or [1/3EV] in photo shooting.

2. Improved compatibility with the Panasonic Remote Shutter DMW-RS2.

  • The video REC switch on the Remote Shutter can be disabled in the camera’s custom menu.

G90/G91/G95 Firmware Version 1.3

1. Improved compatibility with the Panasonic LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025) digital interchangeable lens.

  • Smooth aperture control is available during video recording.
  • [Aperture Ring Increment] has been added with which users can choose the control method of the aperture ring from [SMOOTH] or [1/3EV] in photo shooting.

2. Improved compatibility with the Panasonic Battery Grip DMW-BGG1.

  • The Fn button on the Battery Grip can be customized in the camera’s custom menu.

G80/G81/G85 Firmware Version 1.3

1. Improved compatibility with the Panasonic LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025) digital interchangeable lens.

  • Smooth aperture control is available during video recording.
  • [Aperture Ring Increment] has been added with which users can choose the control method of the aperture ring from [SMOOTH] or [1/3EV] in photo shooting.

2. Improved compatibility with the Panasonic Remote Shutter DMW-RS2.

  • The video REC switch on the Remote Shutter can be disabled in the camera’s custom menu.

GX9 Firmware Version 1.3

Improved compatibility with the Panasonic LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025) digital interchangeable lens.

  • Smooth aperture control is available during video recording.
  • [Aperture Ring Increment] has been added with which users can choose the control method of the aperture ring from [SMOOTH] or [1/3EV] in photo shooting.

Articles: Digital Photography Review (dpreview.com)

 
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Canon patent details triple image stabilization system for low-light video recording

28 Jun
A diagram from the patent that details the process of integrating multiple image stabilization systems together.

Canon has patented a new image stabilization system that utilizes three different technologies to prevent blurry images: lens stabilization, image sensor stabilization and electronic image stabilization. The system would add another layer of movement prevention over Canon’s existing dual image stabilization option that uses both lens and digital stabilization when shooting in video mode.

The patent was first posted on the United States Patent and Trademark Office’s website (USPTO) on June 27. According to the document, Canon’s triple image stabilization system, which uses a combination of lens, sensor and electronic image stabilization technologies, kicks in to prevent slow shutter speed blurs that may otherwise exceed the capabilities of the current Dual IS system.

Canon splits camera shakes into two different categories: low-frequency for slight movements that can be corrected using electronic stabilization and high-frequency for stronger shakes like the vibration from a moving vehicle that can be corrected using optical stabilization.

The patent details a third type of movement Canon called ’accumulated shake’ resulting from low shutter speeds experienced in dim environments. In the case of recording in low-light situations, Canon explains:

…so-called ‘accumulated shake’ may occur, which is a blur occurring in a subject image due to the position at which an optical image is formed being displaced during exposure, and therefore, it may be impossible to acquire a favorable image even if a region that is to be cut out is adjusted.

It appears Canon patented this new system as a potential solution for this problem; the patent explains the system offers ‘favorable shake correction corresponding to the shutter speed.’ Based on the details provided in the patent, Canon may envision future cameras that utilize a detection method for determining when accumulated shake is a problem in order to utilize the triple image stabilization system.

The feature may be used to reduce blurs in videos recorded in low-light settings, but only speculation about Canon’s intentions is possible at this time. As with any patent, Canon may never bring this technology to the consumer market.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Z7 and Sony a7R III offer similar results in our image stabilization test

10 Jan

Battle of the high-res mirrorless IS systems

Both the Nikon Z7 and Sony a7R III feature 5-axis in-body image stabilization. When tested against one another at 24mm, 55mm and 200mm both cameras’ IS systems proved similarly useful. Users can expect around 2 to 3-stops IS advantage when shooting with wide angle lenses, 3 to 4-stops when using normal lenses and 4 to 5-stops when shooting with telephotos (helped by both cameras making use of in-lens IS at 200mm).

Nikon Z7 vs a7R III IS test results:

24mm 55mm 200mm
Nikon Z7 2.3-stops 4-stops 4-stops
Sony a7 R III 2.6-stops 3.3-stops 4.6-stops

These results correlate pretty similarly to our Sony a7 III IS test. That camera is rated as being 0.5EV less well corrected than the a7R III, so it’s not surprising to see that it performed about 1 stop behind its high-res counterpart at 200mm.

How we test and why

Our standard image stabilization test is performed by shooting 10 frames of our test target, starting with a shutter speed of 1/focal length and working our way downward in intervals of 2/3-stops using a neutral density filter (to maintain the same aperture). The test is done at 24mm, 55mm and 200mm, since the challenges of stabilization change with focal length and exposure duration.

We first do this with IS on, and then with IS off. The images for both are then assessed to the following standard:

Excellent Some softness
Noticeable blur Unusable

1) Excellent – the best the camera is capable of
2) Some softness – only distinguishable from Excellent by comparison
3) Noticeable blur – blur can be perceived without reference to another image
4) Unusable – significant motion perceptible

After each frame is assessed, we plot the results in the graphs you see below. We then compare the lowest shutter speed at which the camera was able to maintain a 50% or greater hit rate with IS on and off at a given focal length (images that are acceptably sharp are those rated ‘Excellent’ or ‘Some softness’). This allows us to determine how effective the IS system is in real world shooting.

Our results compared to CIPA

CIPA offers a good baseline to compare cameras, but CIPA tests tend to use focal lengths around 50mm (which are relatively easy to stabilize) and do not include any rolling motion, which can give very high numbers. For instance, the Sony a7R III’s in-body stabilization is quoted as offering a ‘5.5-stop shutter speed advantage,’ according to CIPA testing (the Nikon was rated at 5-stops). That suggests you can get usable shots, consistently, at 0.8 secs (5.3-stops below one over focal length), which we could not reproduce: at 1/2 sec (4.6-stops below) we were only about to get one usable shot in ten with IS on.

Nikon results

24mm Equivalent
55mm Equivalent
200mm Equivalent
Stabilization On Stabilization On Stabilization On
Stabilization Off Stabilization Off Stabilization Off

For 24mm and 55mm we tested the Z7 using the Z 24-70mm F4. At 200mm we used used an adapted Nikon 70-200m F2.8E FL ED VR.

At 24mm with IS on, the Z7 maintains a 60% acceptable hit rate at 1/5 sec and a 40% at 1/3 sec, which indicates 1/4 sec would likely be where it’d hit the 50% acceptable threshold. With IS off, the acceptable rate is 60% at 1/20 sec and plummets to 10% thereafter. The results indicate about a 2.3-stop IS advantage at 24mm.

With IS on, the 50% acceptable hit rate at 55mm should be 1/4 sec – the Z7 maintains an 80% acceptable rate at 1/5 sec and a 40% at 1/3 sec. With IS off, we weren’t able to hit the 50% acceptable threshold at 1 over the focal length (40%), but it’s safe to assume at a third a stop faster (1/60 sec), 50% should be manageable. 1/60 sec off vs 1/4 sec results in a 4-stop IS advantage at 55mm.

At 200mm, the Z7 maintained a 50% or greater hit rate down to 1/8 sec, our lowest speed on the graph. We pushed it an additional 2/3rds stop slower in testing (down to 1/5 sec) and found it dropped to a 30% hit rate. With IS off we were able to get 50% or greater usable down to 1/125 sec. The result is a 4-stop IS advantage at 200mm. This is helped by the use of a VR lens: Nikon says the pitch and yaw corrections are handled by the lens, where possible.

Sony results

24mm Equivalent
55mm Equivalent
200mm Equivalent
Stabilization On Stabilization On Stabilization On
Stabilization Off Stabilization Off Stabilization Off

At 24mm we tested using the Sony 24-70 F4 OSS, at 55mm we used the Sony 55mm F1.8 and at 200mm we used the Sony 70-200mm F2.8 GM OSS.

At 24mm with IS on, the a7R III maintains a 60% hit rate down to 1/5 sec and 40% hit rate at 1/3 sec, meaning 1/4 sec is where it’s likely to hit the 50% threshold. With IS off this threshold is reached around 1/25 sec. This gives the a7R III about a 2.6-stop advantage at 24mm. Note that this result includes the use of a lens with its own stabilization (though sensor shift is usually better-suited to the corrections needed for wide-angle lenses).

At 55mm we opted to de-couple the Sony’s sensor IS from lens IS by using a non-stabilized lens (the same we tested on the a7 III). With stabilization on, the hit rate was 60% at 1/8 sec and 40% at 1/4 sec meaning 1/6 sec is the likely 50% point. We weren’t able to get a 50% hit rate with IS off at one over the focal length, but it’s safe to assume we would have by 1/60 sec (and surely by 1/80 sec). This gives us at least a 3.3-stop advantage at 55mm using sensor IS alone.

Like the Z7, we tested the a7R III at 200mm with IS on down to 1/5 sec. Good thing we did: it’s not until this speed that a7R III’s IS system also drops below the 50% acceptable threshold with 2 images rated ‘some softness.’ This means you can expect a 50% or greater hit rate down to 1/8 sec with IS on vs 1/200 sec with IS off, providing a 4.6-stops advantage at 200mm. Like the Nikon, this is helped by the use of a lens with IS, which is able to provide the large movements needed to correct long focal lengths.

Articles: Digital Photography Review (dpreview.com)

 
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Why we haven’t taken a stance on in-body stabilization vs OIS – and why that has changed

20 Dec

DPReview has never taken sides in the row over whether image stabilization should be provided in-body or in the lens. But we’ll now list the absence of in-body stabilization as a Con in our camera reviews. We’ll explain what’s happened to change our stance.

For at least the last decade, our internal policy has been to have no preference between in-body and in-lens stabilization. It’s an approach that was sometimes seen as fence-sitting but was driven by two logical precepts:

Our primary reasoning was based on our guiding principal that it makes more sense to concentrate on the photographic impact, rather than which technology was used. For many years, a majority of users bought DSLRs that came with a stabilized lens and had essentially the same experience as those users who bought a camera body with stabilization. The in-body advocates talked a good game about ‘every lens being stabilized’ but we didn’t hear reports from thousands of distraught DSLR buyers wondering why their shots were blurry.

There are genuine advantages and disadvantages to both approaches

Secondly, there are genuine advantages and disadvantages to both approaches. As a broad generalization, in-body stabilization does a better job of correcting the translational movements that affect close-up and wide-angle photography, while in-lens designs cope better with the large pitch and yaw corrections needed with long focal lengths. So why would we give credit for one and ignore the benefits of the other?

The result was close enough to a wash that we felt it was inappropriate to have a preference.

So what’s changed?

That’s now changed, again for two main reasons. The first is prevalence: for our review Pros and Cons, we tend to recognize a new feature as a Pro if it’s rare or exceptional but then acknowledge its absence as a shortcoming, once it’s become a common (and hence expected) feature. So, for example, we started off seeing USB charging as a ‘Pro’ (with an associated ‘Con’ if it was used as an excuse to leave an external charger out of the box), when it first appeared. But, now that it’s become commonplace, it’s the absence of USB charging that would be seen as a negative.

Now that Ricoh, Olympus, Panasonic, Sony, Fujifilm and Nikon all offer in-body IS on at least some of their interchangeable lens cameras, its omission starts to look like a factor we should highlight to would-be buyers.

The second factor is the growth in importance of video. There may have been little difference in performance between in-lens and in-body stabilization when it came to stills, but the same can’t be said for video. Watch TV or movies and you’ll see all sorts of camera movements, but what you won’t tend to see is roll: left-and-right rotations that cause the horizon to tilt. In-lens stabilization can correct for pitch and yaw but it can’t correct for roll: which gives in-body stabilization an immediate advantage.

There may have been little difference in performance between in-lens and in-body stabilization when it came to stills, but the same can’t be said for video

We’ll still test each camera to see how well its IS works: our approach of assessing effect, rather than technology means we’ll check whether digital stabilization in concert with in-lens stabilization provides a good degree of correction. But don’t be surprised if you see Cons highlighting the lack of in-body stabilization in our future reviews.

Articles: Digital Photography Review (dpreview.com)

 
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Review: DJI Ronin-S gimbal stabilization system

28 Nov

The Ronin-S is DJI’s newest camera stabilization system, distilling the technology of the more expensive $ 900 Ronin-M, a two-handed stabilization system, into a more efficient single-handed model that retails for $ 750.

There are other, less expensive single-handed gimbals on the market, but the Ronin-S stands apart thanks to a number of features, such as its easy-to-use setup app and its offset roll axis motor, which is lowered down behind the camera so you can more clearly see the back of the camera as you shoot. DJI also says it uses the most powerful motors it’s ever used in a handheld gimbal.

In addition to stabilization, the Ronin-S will connect to a range of popular cameras and allow varying degrees of control, from video start/stop all the way up to remote focus and zoom control.

Key specifications

  • 3-axis motorized gimbal head
  • Auto-tune feature for quick gimbal calibration
  • 3.6kg (7.9 lbs) load capacity
  • Integrated follow focus knob
  • Remote camera control (depends on model)
  • Button to switch between three sets of custom settings
  • Fully configurable using smartphone app
  • 12-hour battery life

Like other gimbals, the Ronin-S provides three-axis stabilization using motors that can counteract the movements of your camera, as well as create automated (or guided) tracking and panning camera movements. DJI recently released nine additional accessories for the Ronin-S, including useful items such as focus motor to facilitate remote follow focus on additional lenses.

Controls on the Ronin-S include a dedicated focus wheel, a joystick, a trigger, and three buttons on the grip: power, start/stop, and the ‘M’ button. The focus wheel system can be attached to either side of the grip using an Allen wrench using either of the two 8-pin ports on the side of the gimbal’s base, and cables are included for follow focus and remote camera control.

Fully assembled Ronin-S including gimbal, handle (which houses the battery) and mini-tripod. The detachable tripod collapses to create an extended handle for two-handed support.

The gimbal is rated to support up to 3.6kg (7.9 lbs), nearly the same as the Ronin-M, and is capable of balancing fairly large zooms as well, including the Canon EF 24-105mm f/4L IS II USM, the Nikon AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR and the Sony E 18–200 mm F3.5–6.3 OSS LE.

In fact, the gimbal’s weight limit is much higher than the one kilo (2.2 lbs) weight of the Panasonic GH5S camera and 12-60mm f/2.8-4 ASPH lens that I used for testing. Balancing the diminutive GH5S and 12-60mm kept each axis so close to center that I wonder if there’s potentially a minimum weight restriction.

In terms of remote camera control, the Ronin-S supports a number of cameras from Canon, Panasonic, Nikon and Sony. Only certain camera and lens combinations will support full camera communications with focus pulling, but DJI continues to add additional support through firmware updates. An evolving list of compatible cameras and lenses can be found on the Ronin-S support page. (Look in the ‘documents and manuals’ section.)

…the Ronin-S stands apart thanks to a number of features, such as its easy-to-use setup app and its offset roll axis motor, which is lowered down behind the camera so you can more clearly see the back of the camera as you shoot.

DJI also provides a sliding attachment plate to mount the camera to the gimbal, which is compatible with the Manfrotto 501PL type quick-release plate, letting you transfer from the gimbal to some tripods without dismounting the camera. However, you can’t use a Manfrotto plate on the gimbal. DJI’s plate is proprietary, no doubt on purpose.

Balancing and setup

Broadly speaking, balancing a camera on the Ronin-S is similar to most other gimbals, though it handles some situations particularly well.

DJI has mitigated some of the pain in the balancing process by including bright white position scales on each of the adjustable bars for recording the perfect balancing positions of favored setups. With proper annotation, this process only needs to be performed once for each camera and lens combination.

Most of the setup and configuration process for the Ronin-S is conducted from a smartphone app. The gimbal connects easily and quickly (faster than most cameras) via Bluetooth. There’s a balance test available through the Ronin App (iOS or Android) to check and score each axis by its center of gravity. This helps you optimize balance, which helps minimize the amount of effort the gimbal has to make to keep the camera steady.

Balance is achieved by balancing each axis of the gimbal, working from the camera outward. Once balanced, the Ronin app can be used to run the Auto Tune function that configures the motor behavior. Each adjustable part includes helpful index lines, making it easy to record precise positions for a particular camera and lens combination.

By my second day of use I had developed a good feel for how the cameras and lenses would balance, and I could switch back and forth between the Panasonic GH5S and a much larger Canon 1D X Mark II within just a few minutes. DJI’s recommended process for balancing is based on a sequential approach by axis working from the camera outward, though I ended up going off-book, slowly centering gravity by weight, locking off each axis from the outside-in.

Once balanced, the Ronin app has an Auto Tune function that configures the motor behavior. It gives you a choice of three levels of ‘aggressiveness,’ depending on how extreme the motion you’re correcting is. This avoids the need to learn how to configure the motor behavior (though you can do so manually if you wish).

As well as making the whole setup process easier, Auto Tune also makes it easy to quickly re-calibrate the gimbal. Instead of using the app, you can also hold the trigger and M button down simultaneously for four seconds. The Ronin then vibrates (rather alarmingly, sometimes) each of its movement axes, to test its setup.

As well as making the whole setup process easier, Auto Tune also makes it easy to quickly re-calibrate the gimbal. Instead of using the app, you can also hold the trigger and M button down simultaneously for four seconds.

DJI says the use of strong motors mean that Ronin-S can cope with slightly mis-balanced setups, which is especially useful when working with zoom lenses. Small changes in weight distribution as you zoom in and out can be corrected-for, without having to re-position and re-calibrate the gimbal.

SmoothTrack

With the camera balanced, it’s worth investigating the ‘SmoothTrack’ settings in the Ronin App. These let you dictate how you want the gimbal to respond to your movements. There are three customizable parameters: ‘Deadband’ sets the threshold for how much user movement it should ignore before interpreting the motion as an intentional input. ‘Speed’ defines how quickly the motors move in response to that input and ‘Sensitivity’ lets you control how much additional acceleration should be applied if you make an extreme movement.

You can set up three SmoothTrack presets, each of which holds separate settings for each axis, so you could set up a slow preset that only responds to big, intentional movements, another that is faster and more responsive and a third that only responds to input in one axis (just panning, for instance).

The Ronin app allows you to adjust the gimbal’s SmoothTrack settings, which let you dictate how you want the gimbal to respond to your movements.

Three sets of these parameters can be defined and then selected from the gimbal. Each parameter sets allows you to configure different responses for each axis, letting you create presets to suit a range of shooting styles.

The presets also let you choose whether an axis will respond to you pushing the camera around, so that you can physically over-ride the motors.

Operating the Ronin-S

Once your camera is balanced, and any cables connected, you’re ready to start shooting. The controls on the Ronin-S provide a simple user interface that makes it possible to perform multiple functions quickly and easily at the tap of a button or nudge of the joystick.

Pressing the M button while you’re using the Ronin will cycle through your three SmoothTrack presets, with numbered LEDs indicating which you’re currently using. Having three presets makes it much easier to react to situations on-the-fly as you’re working, something that would be especially useful to documentary filmmakers.

A fourth setting, the Sport Mode, can also be found by holding down the M button until the indicator LED turns yellow. Sport Mode provides the maximum responsiveness possible from the gimbal in order to accommodate and counteract extremely rapid movements, ideal for tracking subjects that move around quickly or unpredictably.

The ‘M’ button on the grip of the Ronin-S allows you to quickly cycle between three groups of settings; holding the ‘M’ button switches to Sport Mode, which is useful for tracking fast moving subjects. The joystick can be used to independently control camera movement.

The joystick on the handle gives another way to re-direct the camera when you turn it, and again you’ll probably want to play with the settings until it responds to your liking. I found the default parameters to be too sensitive; a little flick of the joystick would move the camera too quickly for a refined camera move.

Finally, the trigger on the front of the handle serves multiple functions. Holding it down will lock the camera in the direction it’s pointing, cancelling all user movement, while a double-press of the trigger will recenter the camera if it drifts. I found this to be a very quick way to reset the camera to its default, centered position when switching from one shot to the next. A triple tap will reverse the camera 180º for a selfie POV shot, useful for the vlogger generation, I’m sure. Finally, four taps and a trigger hold will unlock joystick-drift corrections.

It’s also worth noting that the rubberized grip on the handle is comfortable and easy to hold, and the shape insures that you can tell which way it’s oriented at any time even without glancing at it.

Remote camera control

One of the most useful features on the Ronin-S is remote camera control, using either the MCC (multi camera control) or RSS (remote start/stop) cable, both of which are included with the gimbal. With the Panasonic GH5S that meant I was able to pull focus electronically using the focus wheel, as well as start and stop recording, capture photos, or trigger autofocus with the button on the handle. Support for remote control varies depending on your camera/lens combination, so I recommend reviewing the current list of compatible cameras and lenses found on the Ronin-S support page.

MCC (multi camera control) and RSS (remote start/stop) cables facilitate remote operation of the camera using the Ronin’s controls, though support varies depending on camera model and lens. With the GH5S I was able to use the Ronin’s follow focus knob, which worked smoothly and allowed for very precise adjustments.

Beyond this, the Ronin app contains a series of extra functions, beyond basic stabilization and camera control. Even a cursory dig into the controls unlocks an absolute litany of versatile camera movements, including options like barrel rolls, 360º of spin, head-over-heels, tailspins, and seemingly endless combinations thereof.

In use

At the base of the handle there are two female 1/4″-20 and 3/8″-16 threads for additional supports and tripods. An included mini tripod screws into this base, and it’s very helpful when rigging your camera. The mini tripod can also act as a second handhold when folded.

The folded mini-tripod provides a boom-like extension for overhead shots, low-to-the-ground shots, and generally provides a better handhold than the handle alone.

The folded mini-tripod provides a boom-like extension for overhead shots, low-to-the-ground shots, and generally provides a better handhold than the handle alone. I also found the mini tripod could be used to prevent fatigue by using it as a belt rest. That’s good, because at 1.9kg (4.1lbs), the Ronin-S looks lightweight on paper, but adding any weight at all to a camera setup increases physical stress for even the most experienced gimbal operators. It’s much less of a workout than trying to manhandle the larger Ronin-M for any length of time, though.

The Focus Wheel worked very well when adjusting focus on my GH5S, and when racking focus I found it easy to make very subtle changes with focus peaking enabled. It’s possible to move this wheel to the other side of the handle if that works better for you ergonomically.

The front of the gimbal includes the trigger and USB charging port; the follow focus knob can be mounted on either side or removed completely. The base of the gimbal connects to the battery with a very solid lever.

The 2400 mAh battery promises roughly 12 hours of use on a two hour charge, and I found these estimates to be more or less in line with my experience. One gripe is that you have to charge the battery through the gimbal’s USB-C connection, meaning the battery and gimbal have to remain fully assembled in order to charge. If you want to charge the battery independent of the gimbal you’ll need to purchase DJI’s $ 39 Ronin-S Battery Adapter to do so.

In addition to providing exceptionally smooth camera movements, the Ronin-S has a few other tricks up its sleeve. Features like Panorama, Hyperlapse, Track, and CamAnchor allow time-lapses, panoramas, and programmed tracking shots from the Ronin App. Using the internal intervalometer, moves can be programmed in precise, repeatable patterns, with up to five keyframes that can create a segmented motion path for time-lapses and multi-shot panoramas for later stitching.

My overwhelming sense with the Ronin-S was just how easy it was for a novice to get going with it. With just a little thought given to the kinds of motion you want to make (and which you want the device to correct), it was pretty easy to get to the point where I could just start shooting and learn how to move with it.

The offset roll axis motor on the Ronin-S sits below the camera at an angle rather than being directly behind the camera. This design makes it much easier to monitor the rear screen on a camera when shooting.

Using a gimbal for the first time is something of a challenge to your inherent sense of spatial reasoning: the device over-rides some, but not all of your attempts to move the camera. But after a little time spent looking like you’re inventing your own Tai chi moves, you get a feel for how you need to move your hands and body to communicate your intentions to the gimbal. Using the app to create different SmoothTrack presets makes it easy to experiment and fine-tune the Ronin to perform different types of motion for different circumstances.

The verdict

Due to its small size and impressive performance, the Ronin-S should appeal to a variety of users ranging from filmmakers to wedding videographers.

For those not accustomed to working with a stabilization system, the Ronin-S may initially appear daunting, but it can deliver professional looking camera moves with surprisingly little experience. I think most shooters who need this kind of solution for their work are going to look at it as a no-brainer compared to many other options, and with a bit of practice even beginners will be able to get great results.

I think most shooters who need this kind of solution for their work are going to look at it as a no-brainer compared to many other options, and with a bit of practice even beginners will be able to get great results.

With the plethora of available stabilization kits in the market, DJI has done an exceptional job of setting the Ronin-S apart through clever engineering and, most importantly, heightened toolsets at a similar price point to many other, far simpler stabilization kits. More advanced movements will require a bit of time to master the programming, but can result in great looking shots. For those who are novices to gimbals and stabilization systems, DJI has done a really great job in balancing the complexity of the device with simplified, ready to go, out of the box operations.

What we like:

  • Easy setup and calibration
  • Remote camera operation, including follow focus (depending on camera model)
  • Very effective at creating smooth, steady video

What we would like to see improved:

  • Battery charging adapter included with purchase
  • Support for additional camera models and lenses
  • App-based instructions as to how each axis interacts

Articles: Digital Photography Review (dpreview.com)

 
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