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Posts Tagged ‘Stills’

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

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

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

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

Jordan’s EOS R5 experience

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

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

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

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

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

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

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

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

So why is YouTube saying the sky is falling?

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

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

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

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

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

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

EOS R5 suggestions:

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

EOS R6 suggestions:

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

Analysis: Why hadn’t Canon thought about this?

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

Jordan’s EOS R6 experience

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

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

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

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

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

The cumulative heat is constantly counting against you

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

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

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

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

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

Articles: Digital Photography Review (dpreview.com)

 
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Cosina announces ‘Stills Edition’ version of its Nokton 40mm F1.2 lens for Sony E-mount

02 Jun

Cosina has announced the upcoming release of its latest ‘Stills Edition’ (SE) lens, the Voigtlander Nokton 40mm F1.2 SE lens for Sony E-mount camera systems.

The manual 40mm F1.2 SE lens is nearly identical to its non-SE version. It’s constructed of eight elements in six groups, features an aperture range of F1.2 – F22, has a 55-degree field of view and uses a ten-blade aperture diaphragm. The SE version also features the same built-in encoder for metadata and distance, which works alongside Sony’s in-body image stabilization to offer the best results.

As with other lenses in the SE series, the only notable difference compared to the non-SE version is a slightly changed external design, different groves on the rings and the removal of the aperture de-click button. Below are a few sample photos from Cosina, captured with the lens (the images feature borders and aren’t high-res):

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The lens weighs 340g (12oz), has a 58mm front filter thread and comes with a lens hood. Cosina’s website says the lens will be released on June 24 at a suggested retail price of 100,000 yen (~$ 930).

Articles: Digital Photography Review (dpreview.com)

 
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Lume Cube 2.0 review: rugged, portable lights for stills and video

15 Mar

Way back in 2014, Lume Cube Inc. sailed past its fundraising goals when it launched its brand-new, eponymously-named LED lighting system on Kickstarter. Aimed both at still and video shooters, the original Lume Cube offered 1,500-lumen light output and Bluetooth wireless control in a remarkably compact package. And despite measuring just 4 x 4 x 4.5cm (1.6 x 1.6 x 1.75″), it was also both rugged and waterproof.

Enter the Lume Cube 2.0: as portable as ever with some key improvements under the hood. In short, we think it’s an incredibly handy little light with a robust ecosystem of accessories. See our condensed findings below and read on for the full analysis.

Key takeaways:

  • Compact, size, rugged and waterproof construction inspire confidence and use in a variety of situations
  • Excellent quality of light, with daylight white balance and a high CRI value
  • Optical sensor to act as a slave flash for stills shooting
  • Fine control over brightness
  • Impressive battery run-time, but longer charge times
  • Good max brightness for size, but still struggles under sunlight
  • Excellent, if pricey, accessory system

What’s new?

Although it’s exactly the same size as its predecessor and has the same light output as before, the updated Lume Cube 2.0 now runs for three times as long at full power, and is easier to recharge too. And the light it produces has improved noticeably in terms of its color rendition, coverage and evenness.

The new version also offers an added low-light mode with a 1-10% power range in 1% increments, controllable either from the smartphone app or the Lume Cube’s own physical controls. And the product bundle has been expanded, with a modification frame and two filters included as part of the base product bundle.

The standard Lume Cube 2.0 kit (left, $ 90) now includes the modification frame with diffuser and warming filters. The Pro Lighting Kit (right, $ 300) includes a carry case packing two lights with modification frames, a dozen filters, two grids, and a full set of barn doors, snoot and diffusion bulb for each light.

Who is it for?

As before, the Lume Cube 2.0 is aimed both at still and video shooters, regardless of whether they’re using a sizable interchangeable-lens camera rig, GoPro, smartphone or even a drone.

For standalone cameras, most functionality can be used without a smartphone at all, and the Lume Cube works either a continuous light source or an optically-triggered slave flash. Alternatively, multiple lights can be controlled individually or as a group using an Android / iOS app.

Smarter physical controls and a better-placed optical sensor

The Lume Cube 2.0 looks quite similar to predecessor, and its size and weight are unchanged. The biggest difference is that the optical sensor has moved from the front of the light to its top, sharing its location with the status LED. In its new home, it’s now easier to trigger from a wide range of angles.

It sits in between a clearly-labeled pair of opaque black buttons on the top deck which replace the translucent buttons of the original model. These together provide access to power control, brightness adjustment, optical slave flash, and low-light mode.

The non-swiveling hot shoe mount shown in this image is included in the standard bundle. The Pro Lighting Kit doesn’t include any mounts; the ball head mount shown atop this page costs $ 25.

Charging is quicker and easier, but waterproofing suffers

Around back, the charging port is now a modern, reversible USB-C connector, and is covered by a soft rubber flap. While it’s still a bit fiddly to pull open with recently-trimmed nails, it closes securely, stays in place, and it’s really nice not to have to worry about the lights being affected by rain. (And to be able to take them underwater too, if that’s your thing.)

While less bothersome than the screw-in cover of the original Lume Cube, it’s also easier for water to circumvent, though. As a result the new model is waterproof to a maximum depth of 9.1m / 30ft, down from 30.5 / 100ft for its predecessor. That’s still plenty for snorkeling and probably a pretty significant proportion of recreational scuba too, but if you’re planning on deeper dives you may want to stick with the earlier version.

Wider, more even and daylight-balanced light

On the inside, everything is new. The battery, LED and optics have all been replaced, and while it still has a light output of 1,500 lumens (750 lux at 1m), the Lume Cube 2.0 now has a 5600k daylight color temperature, down from the 6000-6500k of its predecessor.

At the same time, the quality of its light has improved, with a Color Rendering Index score of 95. The Lume Cube 2’s new lens is also less prone to hot spots, and has a wider 80-degree coverage, up from its predecessor’s 60-degree beam angle.

Here’s a view from the rear, with the Lume Cube on its optional ball head mount atop my personal Pentax K-3. This mount is much better than the basic one included in some kits, as it lets you aim the light in almost any direction.

Smarter firmware and new features

The Lume Cube 2.0 has also received some smart updates in the firmware department. Perhaps most importantly, it now requires a three-second long press of the power button to switch on. This ensures that unlike its predecessor, it won’t switch itself on in your camera bag and drain its battery right before it’s needed.

The new firmware also allows brightness to be adjusted in either direction using the Lume Cube 2.0’s physical controls, unlike the original version which could only increase brightness to its maximum before looping back around to its minimum brightness setting on the next step.

And a new mode accessed with a long press of both buttons at once allows a much narrower 1-10% brightness range with a more precise 1% step size, rather than the full range in 10% steps as is the default. It’s handy if you’re shooting long exposures but still need just a little illumination.

Same accessories and mounting system, but now it’s in the bundle

A wide selection of filters and accessories can be attached to the Lume Cube 2.0 using the exact same modification frame attachment as before, allowing owners of the original Lume Cube to upgrade their lights or add new ones while keeping the rest of their gear.

A wide variety of optional mounts are available, including this spring-loaded smartphone clip ($ 20) to which I’ve attached the ball head and a Lume Cube 2.0 with bulb diffuser.

The frame itself now ships even in the base product bundle along with a pair of warming and light diffusion filters. Each of these uses name-brand LEE filter materials from the company’s LED-specific Zircon line. The level three warming filter drops the color temperature to 4,500 kelvin, and the diffusion filter is the lowest strength available.

Incredibly portable yet decent battery life too

The Lume Cube 2.0 is very solidly built, with not a hint of creak or flex anywhere. It’s also impressively small. Even with a modification frame attached it’d fit in looser pants pockets, and you could easily bring two or three in a jacket pocket and almost forget they were there until you needed them.

Given the compact size and relatively powerful output, I was really impressed by battery life, which is a huge improvement on the previous iteration’s 25 minutes. At 100% brightness, I could manage anywhere from 62 to 90 minutes on a charge, depending on whether or not Bluetooth was enabled, meeting the manufacturer spec precisely.

Battery life impresses, and you can charge the lights while using them

And by dropping to 50% brightness, I managed an average of three hours, 38 minutes per charge with Bluetooth active. That absolutely demolishes not only the original Lume Cube’s runtime, but also the spec sheet, which promises only 2.5 hours!

I must say it surprised me that controlling the lights via Bluetooth decreased the battery life as much as it did, though. The good news is that the Bluetooth radio does eventually go to sleep if the light is left inactive for a while. Once fully asleep, it needs to be woken back up with a physical button press before it’ll respond via Bluetooth again.

Fast charging requires a fast, modern USB-C charger and cable

The only place I didn’t come near the manufacturer spec was recharging. Lume Cube’s documentation promises around 45-60 minutes for a full charge, but using the supplied USB-C to USB-A cable and a wide variety of different chargers capable of up to a maximum of 18 watts per port, I was never able to recharge in less than two hours, 49 minutes.

I used three Lume Cubes for this shot. One was unfiltered on a mini-tripod near the bottom front of the cage, and another with bulb diffuser was pointed straight down from a bit above and in front of the birds. Finally, a third was just out of frame right and, in turn, was aimed to bounce off a small folding reflector just out of frame left.

To get near the claimed time you’ll likely need a recent, high-powered USB-C charger with Power Delivery support, as intended for charging laptops and the like, plus a Power Delivery-compatible USB-C to C cable. Unfortunately, I haven’t one to test with myself to confirm the claimed charging time.

Recharge and use your lights at the same time

The good news is that you can charge and use the lights at the same time if you’re within reach of a power outlet. This can potentially extend run times a lot, especially if you can switch off entirely or dial the brightness down significantly while setting up and between groups of shots.

I did just that while working to get the shot of my pet parakeets above, avoiding having to stress the birds any more than was necessary.

Note, though, that it’s not recommended to go above brightness level 80 while also charging. This is likely due to heat concerns, as after extended periods at 100% power, the Lume Cubes can get uncomfortably hot to the touch even without charging at the same time. (Not enough to burn instantly, but enough that you couldn’t persuade me to hold my finger on it.)

So long as you’re not in direct sunlight, the Lume Cube 2.0 is sufficiently bright for daytime use at shorter distances. Compared to the unlit shot (left), a Lume Cube at arm’s length (right) not only fills in shadows, but is strong enough to cast its own.

Best for smaller subjects or in lower ambient light

The Lume Cubes’ small size is great in terms of portability, but it comes at the expense of daytime usability. For what they are, these are pretty powerful lights but they’re simply no match for full sunlight, where they struggle to fill in shadows even at full power from just a couple of feet away.

A small reflector would be a better choice here, using the sun’s own power to provide light where it’s needed. In full shade or even indirect sunlight, though, even just a single Lume Cube can make quite a noticeable difference, so long as it can be kept fairly close to the subject.

That makes it quite well-suited to things like head-and-shoulders portraits, selfies and talking head video capture, and so on. And once you take the sun out of the equation, shooting indoors or at night the Lume Cubes really shine, if you’ll pardon the pun.

This image required just a single Lume Cube. I positioned the camera directly above the cash, then put a sheet of glass at a 45-degree angle in between. I bounced the light from a single unfiltered Lume Cube off this, and shielded the subject from direct lighting.

Up next, let’s take a look at the Lume Cube 2.0’s accessory mounting system, and its Android / iOS app experience, before wrapping up with a final conclusion.

Articles: Digital Photography Review (dpreview.com)

 
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FiLMiC launches Firstlight, a stills camera app with Raw capture, live analytics and more

21 Nov

FiLMiC, the company best known for its FiLMiC Pro video camera app with features for professionals, has branched in the still photography market with the launch of Firstlight. With FiLMiC Firstlight, iPhone owners get access to more features than offered on the stock camera app, including support for TIF and DNG Raw formats, anamorphic adapter support, the ability to embed copyright info and more.

FiLMiC announced the availability of Firstlight v1.0 on November 12. The company has included the live analytics feature from FiLMiC Pro in its new still photography app, as well as adaptive film grain, custom film simulations, an RGB Histogram, an Auto Exposure (AE) mode, tap/swipe-based focus and exposure controls, a lens selector and vignette.

FiLMiC boasts a number of ‘professional camera tools,’ including grid overlays, a burst mode, flash and timer, expanded shadow details, the ability to select either HEIC or JPG formats, multiple aspect ratios (4:3, 16:9, 3:2, 1:1, 5:4), HDR controls on the latest iPhone models, and Bluetooth support for ‘most’ camera shutter remote controls.

In addition to the free version of the app, FiLMiC gives users the option of paying for access to premium features, making it possible to configure the burst mode, adjust the vignette, apply film grain, use an anamorphic adapter, use a custom function button, configure the exposure and focus controls, and more.

The app is free to download from the iOS App Store now. The premium features can be unlocked via either a $ 0.99 monthly subscription or a $ 7.99 annual subscription.

Articles: Digital Photography Review (dpreview.com)

 
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Parrot announces the ANAFI FPV drone with 4K HDR video and 21MP stills

03 Sep

French manufacturer Parrot may have recently exited the toy drone market by retiring their Bebop and Mambo models, but its time in the drone market is far from over. Today, Parrot announced the Anafi FPV, a portable, foldable drone, based on its regular ANAFI model.

The ANAFI FPV features Parrot’s unique 180-degree tilting camera, 4K HDR video, a CMOS 1/2.4” 21-megapixel sensor and 3-axis stabilization with standard 3X zoom. The LD-ASPH lens boasts an F2.4 aperture and 26mm (35mm equivalent) focal length. The drone weighs 350 grams (0.77 pounds), has a maximum transmission distance of 2.5 miles, a flight time of 26 minutes, and a top speed of 34 miles per hour.

Parrot has focused its efforts on creating a fully immersive experience with its Cockpit Glasses 3 and the continual development of its FreeFlight 6 app. Pilots can easily toggle between flight modes to fine-tune their imagery. Arcade Mode allows users to capture imagery by simply pointing their camera in their direction of choice. It can be combined with the Cinematic preset to simulate a ‘bird’s eye view.’

Other built-in features include Autonomous Flight mode for cinematic selfies, Smart Return-to-Home and Geofencing for safety, Panorama modes including 360° Sphere, 180° panorama, and Little-planet, plus Slow-motion and Hyperlapse video modes. Parrot aims to make it easy for users to create unique, professional content with a portable set up that takes seconds to launch.

At the beginning of last month, the world’s leading drone manufacturer, DJI, introduced its own FPV system. One main component missing was the drone, itself. Instead of expecting consumers to solder or source their own, Parrot has included everything in its ANAFI FPV All-In-One Pack. Parrot has designed the ANAFI backpack to double as a launching pad for the drone. Included are the Cockpit Glasses 3, Skycontroller 3, a battery, USB-C cable, 16GB memory card, and an additional set of propellers.

The ANAFI FPV All-In-One Pack retails for $ 799 and is currently available to pre-order.

Update (September 3, 2019): Edited the article and headline to clarify that the Anafi FPV is not specifically a racing drone.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm releases 3.0 firmware for X-T3, brings improved AF for both stills and video

18 Apr

Fujifilm has released firmware version 3.00 for its X-T3 camera system, bringing with it improved face/eye detection, improved autofocus (AF) performance and basic bug fixes.

Firmware version 3.00, preceded by version 2.10, has an improved AF algorithm for both video and stills that detects distant faces more accurately than before. Fujifilm says the feature has been ‘enhanced by approximately 30%’ but doesn’t clarify whether that improvement is in accuracy, speed or some combination of the two. AF tracking is also more accurate, especially when objects come between the camera and the subject, and a new Face Select function has been added to provide priority autofocus on particular subjects when there are multiple faces in the frame.

Fujifilm has also added a new Double Tap Setting and Touch Function that can be turned on within the Touch Screen Setting menu. Other improvements include a new focus frame when the eye detection setting is turned on, improvement of AF/AE are tracking when using the EVF, an update to how the Flicker Reduction mode is labelled and multiple bug fixes.

For more information and to download the firmware, head over to Fujifilm’s website.

Articles: Digital Photography Review (dpreview.com)

 
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Review: Google Pixel 2 is the best smartphone for stills photographers

12 Feb

DPReview smartphone reviews are written with the needs of photographers in mind. We focus on camera features, performance, and image quality.

The Pixel 2 and its larger sibling, the Pixel 2 XL represent Google’s latest flagship phones. Both offer a single 12.2MP F1.8 main camera and an 8MP F2.4 ‘selfie’ camera. From a photographer’s perspective that might not sound like anything special – after all, the iPhone X offers dual rear cameras – yet thanks to behind-the-scenes processing, the Pixel 2 is capable of some of the most detailed photos we’ve ever seen from a smartphone.

It also features a background blurring effect (portrait mode), DNG Raw capture (with use of a third party app), 4K/30p video and optical image stabilization. Plus, all Pixel 2 owners get free Google Photo storage for photos and videos shot on the device through the end of 2020. After that point users will still get free storage but files saved will be high-quality compressed versions (full-res storage will still be available for a price).

Priced at $ 650, the Pixel 2 is not cheap, but it is 2/3rds the price of the iPhone X.

The Pixel 2 offers excellent image quality thanks to a combination of hardware and software processing .
ISO 82 | 1/23000 sec| F1.8

As smartphone cameras progress, we’re seeing a cultural split from traditional camera companies, who rely mostly on hardware and optics to achieve good image quality, just as they did with their film cameras. Instead, smartphone manufacturers are relying more on computational photography and artificial intelligence to produce a photo that is detailed and well-toned, right ‘out of camera’. With just one button press – no need to set the exposure or dynamic range compensation or AF mode yourself.

Google’s secret sauce is in what the company calls ‘HDR+’, which judges exposure intelligently and uses multi-imaging techniques for every shot. So has computational photography, à la Pixel 2 come far enough to replace the pocket cam? How about the mirrorless camera or DSLR?

Aside from the excellent camera, the Pixel 2 is a fairly ordinary smartphone.

Key photographic / Video specs

  • 12.2MP rear camera (1/2.55″ | 1.40 ?m pixels)
  • F1.8 max aperture
  • 4K/30p video
  • 1080/120p, 720/240p slow motion video
  • Optical image stablization
  • Dual Pixel AF with phase detect
  • DNG Raw capture and manual control with 3rd party apps
  • 8MP front camera (F2.4 max ap.)

Other specs

  • Android 8.0 operating system (Oreo)
  • 5 in 1920×1080 AMOLED (441ppi) display (95% DCI-P3)
  • Qualcomm Snapdragon 835 processor
  • 4GB Ram
  • 64 or 128GB internal storage
  • Unlimited cloud photo/video storage with Google Photos
  • 2750 mAh battery
  • $ 650

Articles: Digital Photography Review (dpreview.com)

 
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YI’s Horizon VR180 captures stereoscopic 3D stills and videos at 5.7K

10 Jan

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YI Technology, in partnership with Google’s VR team, has announced its Horizon VR180 stereoscopic 3D camera. The VR180 takes advantage of Google’s format of the same name, which allows for viewing of 180° material on popular VR headsets, such as the Daydream, Cardboard and Playstation VR.

The VR180 can capture video and stills at 5.7K/30p with the push of its single record button, with instant stitching and live streaming capability. It has a 2.2″ LCD touchscreen, Type-C USB port, and 4 microphones with noise reduction. The VR180 can be accessed using Google’s VR180 app.

Pricing and availability have not been announced.

Press Release

YI Technology and Google Unveil YI Horizon VR180 Camera at CES 2018

Users and Viewers Can Easily Make and View More Immersive Videos Using 3D Camera for Google’s VR180 Format

CES, LAS VEGAS – January 9th, 2018 – YI Technology (YI), the leading provider of advanced, intelligent imaging technologies, in collaboration with Google’s Virtual Reality (VR) team, announced details of its YI Horizon VR180 Camera. Developed to leverage Google’s new VR180 format, the stereoscopic, 3-D camera gives users an easy way to capture high-resolution, immersive video that lets anyone who views it immediately transport to new and amazing places.

YI Horizon VR180 seamlessly integrates with YouTube and Google Photos so viewers can easily activate a VR experience when viewed with Google Cardboard, Daydream, PSVR, and a number of other certified VR viewers. Viewers can also easily view the content in 2D. With an intuitive and sleek design, the YI Horizon VR180 Camera captures 3D video in 5.7K resolution at 30 frames per second (fps) and video looks great on desktop or mobile. The camera also features instant in-device stitching and supports live streaming so creators and fans can be together in real time.

“We truly believe that it should be easy for everyone to create and share virtual reality experiences,” said Sean Da, CEO of YI Technology. “Whether it is to demonstrate a makeup tutorial or share rich experiences from a recent trip with friends and loved ones, the YI Horizon VR180 Camera provides an easy and deeply engaging way to capture many of life’s most special moments. When the opportunity to work closely with Google’s VR team on this initiative presented itself, it was a no-brainer given the team’s extraordinary commitment to defining the future of VR experiences and extensive investment in the YouTube VR180 format. We believe the YI Horizon VR180 Camera will bring endless amounts of joy to all that use the device.”

“We introduced VR180 as a way to make capturing high quality, immersive photos and video easy for consumers and professional creators” said Clay Bavor, VP of VR at Google. “YI’s camera has amazing image quality, as well as features that we think will be compelling for creators like livestreaming and a preview display. We’re excited to see what consumers and creators are able to capture and bring to virtual reality.”

Key YI Horizon VR180 Camera Features:
? Capture stunning 5.7k resolution photos and video
? One-button live video streaming
? 2.2 inch, 640×360 retina touch screen
? Features Type-C USB port with HD speed data transmission
? Professional-grade 4 microphone design with outdoor noise reduction
? Easily manage photos and videos by using the VR180 app by Google
? Compatible with YouTube and Google Photos

To learn more, please visit www.yitechnology.com/180-vr-camera, and to learn more about YI Technology’s other VR offerings go to yitechnology.com/yi-360-vr-camera and yitechnology.com/yi-halo-vr-camera. To learn more about Daydream’s VR180 program visit vr.google.com/vr180.

Articles: Digital Photography Review (dpreview.com)

 
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Google’s Motion Stills app is now available for Android

21 Jul

Last year Google launched Motion Still for iOS, an app that stabilizes the iPhone’s Live Photos and makes them shareable as looping GIFs and videos. Now the software giant has made the app available for Android devices running version 5.1 and later of its own mobile OS.

The app works a little differently on Android to the iOS version. Instead of using an existing Live Photo, the Android version forces you to record video inside the app. Stabilization is then applied using a, compared to the iOS version, redesigned video processing pipeline that processes each frame of a video as it is being recorded. As consequence the results are instant and no waiting is required to share the created GIFs.

Fast Forward is a new feature and builds on the stabilization algorithm to capture longer clips and create stabilized time-lapses or hyperlapses. Playback speed is adjustable from 1x to 8x and GIF output can be created in three sizes.

Motion Stills for Android is now available on Google Play.

Articles: Digital Photography Review (dpreview.com)

 
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Lee launches new set of high-end ProGlass IRND filters for stills shooters

01 Jul

Two years in the making, Lee Filters has just announced that it is bringing its highly-regarded ProGlass IRND cinematography filters to the world of stills photography. The company calls these ‘a new standard’ in ND filters, claiming they are, “remarkably neutral, with almost no color shift and extremely accurate stop values.”

The high-end filters will be available through the Seven5, 100mm and SW150 systems, and since they block both IR and UV pollution, they should deliver cleaner colors that require far less work in post-production.

This example, available in interactive form on the Lee website, comes from an unedited RAW file:

The new line will come in six different strengths: 2-stop, 3-stop, 4-stop, 6-stop, 10-stop, all the way up to an impressive 15-stop filter. And the 6, 10, and 15-stop models each feature additional foam light insulation to ensure there are no light leaks, no matter how long the exposure.
Shot with a 0.6ND medium grad Shot with a 0.6ND medium grad and the 4.5ND (15-stop) ProGlass IRND

For more information, and to watch a demo video, visit the Lee Filters website. The ProGlass IRND Filter systems are available to stills shooters today in Seven5, 100mm and SW150 versions for £132.00 ($ 172 USD), £150.00 ($ 195 USD), and £346.00 ($ 450 USD), respectively.

Press Release

ProGlass IRND Filters

Two years in the making, the ProGlass IRND range from LEE Filters sets a new standard in neutral-density filters.

ProGlass IRND filters were originally designed for the film industry, to meet the exacting needs of the world’s leading cinematographers, and have already been hailed as the best neutral-density filters on the market. Now, they are available to the stills photographer, in sizes to fit the LEE Filters Seven5, 100mm and SW150 systems.

Advances in coating technology mean that the filters, which are manufactured from 2mm-thick, optically flat glass, are available not only in strengths of two (0.6ND), three (0.9ND), four (1.2ND) and six (1.8ND) stops, but also in ultra-long 10 (3ND) and 15-stop (4.5ND) versions. Not only this, but all filters in the range – whatever their strength – are designed to be free of colour casts, with extremely accurate stop values, ensuring consistency in all shooting conditions and allowing for absolute precision when exposing images. Their neutrality also means less time spent tweaking colour balances in postproduction.

In addition, filters in the ProGlass IRND range are designed to block both infrared and ultraviolet pollution. As a result, blacks are rendered truly black, whites are clean, and results reveal a crispness that is second to none.

The 6, 10 and 15-stop versions of the ProGlass IRND filters come with a foam seal to prevent light leaks during long exposures, and should be placed into the filter slot closest to the lens. While the 2, 3, 4 and 6-stop versions do not feature a foam seal, it is still recommended also to place them into the slot closest to the lens.

All filters in the ProGlass IRND range can be used in conjunction with other filters, including neutral-density grads and the polariser.

Pricing
ProGlass IRND Filter (Seven5 System) – £132.00 each (Excl VAT)
ProGlass IRND Filter (100mm System) – £150.00 each (Excl VAT)
ProGlass IRND Filter (SW150 System) – £346.00 each (Excl VAT)

For further information, contact LEE Filters on +44 (0) 1264 366245; sales@leefilters.com; www.leefilters.com

Articles: Digital Photography Review (dpreview.com)

 
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