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Posts Tagged ‘TECH’

‘Deep Nostalgia’ AI tech animates old photos and brings them to life

01 Mar

The online genealogy company MyHeritage has launched a new AI-powered service, Deep Nostalgia. This new service animates family photos (or other photos, as we’ll see) to allow users to ‘experience your family history like never before.’

Deep Nostalgia uses AI licensed from D-ID to turn still images into animated photos like the Live Photos feature in iOS portraits in the ‘Harry Potter’ films. Deep Nostalgia relies upon videos of facial animations, which the AI then applies to a still image. For example, an old black and white portrait of a man looking off-camera comes to life, with the subject moving his head, blinking and smiling at the camera.

MyHeritage prepared several drivers for Deep Nostalgia, which are then applied to a face in a still photo. You can animate all the faces in a photo, such as in a family portrait, although a separate animation must be created for each face. The technology automatically selects an animation sequence for a face, but users can select a different sequence as well. The animation sequences are based on genuine human gestures. Different MyHeritage employees are the foundation for many of the animation sequences.

To try Deep Nostalgia for yourself, you must sign up for a free MyHeritage account. Once you sign up, you can begin uploading images, which are animated and turned into a GIF. If you don’t do the full signup process, MyHeritage states that any images you upload will be deleted automatically to protect the user’s privacy. If you are uploading small or blurry images, MyHeritage’s Photo Enhancer will enhance your photos before the animation is applied, as Deep Heritage requires a high-resolution face.

It’s a neat idea to be able to bring old photos back to life. For many, their only connection to family members featured in old photographs is the image itself. They may never have seen them in person. In many cases, including those shared by different users on Twitter, Deep Nostalgia produces pretty impressive results.

As pointed out by The Verge, not everyone is using the service to add life-like qualities to antiquated family photos. Twitter user Flint Dibble opted instead to upload photos of statues from the Acropolis Museum in Athens. If you’ve ever wanted to see a statue of Alexander the Great move and blink, now you can. As Kim Lyons of The Verge asks, ‘I wonder if perhaps there are some photos best left un-animated?’

Jokes aside, Deep Nostalgia is a fascinating technology that can create impressive results. Photographs are the lasting connection we collectively have to our past. When our photos are of lost loved ones, the images take on a much deeper meaning. For some, seeing someone blink and smile again may feel morbid or odd, but it may be a special experience for others.

As MyHeritage writes, ‘Some people love the Deep Nostalgia feature and consider it magical, while others find it creepy and dislike it. Indeed, the results can be controversial, and it’s hard to stay indifferent to this technology.’ To try it for yourself, head over to MyHeritage.

Articles: Digital Photography Review (dpreview.com)

 
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iFixit tears down the iPhone 12 Pro Max, showcasing new camera tech

24 Nov

Customers have gotten their hands on Apple’s latest family of iPhones, including the largest iPhone ever, the iPhone 12 Pro Max. While customers have been enjoying using the new phones, over at iFixit, the team has been busy tearing them apart. They’ve taken apart the iPhone 12 mini and the two medium-sized iPhone 12s, the 12 and 12 Pro. Over this past weekend, the iFixit crew got to work dismantling the iPhone 12 Pro Max.

Image courtesy of iFixit and Creative Electron.

Before diving in, it’s worth recapping the iPhone 12 Pro Max’s features. It is powered by an Apple A14 Bionic system on chip and includes 6GB of RAM. Internal storage options include 128GB, 256GB and 512GB options. The phone features a 6.7″ Super Retina XDR OLED display with a P3 wide color gamut and Apple’s True Tone technology. It is the largest display ever in an iPhone, and according to DisplayMate, it’s a fantastic display.

iPhone 12 Pro Max camera modules. Image courtesy of iFixit.

With respect to photography, the iPhone 12 Pro Max has unique components. It has a 12MP triple camera system like the iPhone 12 Pro, but the Max includes a 47% larger image sensor, a faster F1.6 lens, improved image stabilization, a new 65mm (equivalent) telephoto lens, and improved high ISO performance. If you want to learn more about the performance of the new camera system in the iPhone 12 Pro Max, check out this article: ‘Halide’s deep dive into why the iPhone 12 Pro Max is made for ‘Real Pro Photography’.

X-ray image of the iPhone 12 Pro Max’s rear camera module. The bottom left camera, the standard wide angle camera, has a 47% larger image sensor than the camera found in the iPhone 12 Pro. The four black magnets around the same camera are used for the new sensor-shift image stabilization feature, found exclusively in the iPhone 12 Pro Max and not Apple’s other iPhone 12 models. Image courtesy of Creative Electron and iFixit.

After taking apart the iPhone 12 Pro Max’s new case construction, iFixit was able to investigate the new camera array. As you can see in the x-ray image above captured by Creative Electron, the standard wide camera (shown bottom left) has a noticeably larger image sensor. You can also see magnets around the sensor, which are being used for the new sensor-shift image stabilization tech found exclusively in the iPhone 12 Pro Max. For those lamenting the lack of the larger sensor in the standard iPhone 12 Pro, iFixit states that ‘There’s a decent chance this sensor wouldn’t fit in the cramped corner of the smaller iPhone 12 Pro without compromises.’

Close-up image of the standard wide angle camera module in the iPhone 12 Pro Max. Image courtesy of iFixit.

There’s a lot to see inside the iPhone 12 Pro Max. You can head to iFixit’s teardown for more photos and information about the different internal components and how they relate to the features of the iPhone 12 Pro Max. You can also see a replay of iFixit’s live-streamed teardown of the phone below.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon is the latest camera company sued by DigiMedia Tech over alleged patent infringement

01 Jul

DigiMedia Tech, LLC, has filed a patent infringement lawsuit against yet another camera company, this time going after Nikon over its alleged infringement of three different US patents. This lawsuit follows similar infringement cases brought against Olympus, Fujifilm and JK Imaging, all of them also over the alleged infringement of digital camera technology patents.

DigiMedia Tech is a non-practicing entity (NPE) of IPInvestments Group, which received many US patents from Intellectual Ventures LLC in November 2019. Following the patent acquisition, DigiMedia Tech has filed lawsuits against several companies over their alleged infringement of these patents — in the latest one involving Nikon, the company claims infringement of US patents No. 6,914,635, No. 7,715,476 and No. 6,545,706.

The ‘635 patent was first filed in 2001 by Nokia Mobile Phones; it involves a microminiature zoom system designed for digital cameras. The ‘476 patent was first filed in 1999 and then again in 2005; it covers a ‘system, method and article of manufacture’ related to a digital camera’s ability to track a subject’s head. The third and final patent in the lawsuit, ‘706, was filed in 1999 and likewise covers head-tracking camera technology.

The infringement lawsuit specifically names Nikon’s Coolpix A1000 as a model that allegedly infringes the ‘635 patent and the Nikon P900RM ‘and similar products’ as allegedly infringing the ‘706 and ‘476 patents. Among other things, the DigiMedia Tech lawsuit wants Nikon to pay ‘damages in an amount to be determined at trial for Defendants’ infringement, which amount cannot be less than a reasonable royalty.’

It’s unclear how much this could amount to, financially speaking. Likewise, Nikon hasn’t yet commented on the infringement lawsuit.

DigiMedia Tech’s decision to sue Nikon isn’t surprising in light of its recent activity. On May 29, the NPE filed patent infringement lawsuits against Fujifilm and Olympus, alleging that both have used digital camera technologies in select camera models that infringe on its US patents. Following that, DigiMedia Tech filed the Nikon lawsuit referenced above, then a similar complaint against JK Imaging, the company behind Kodak PIXPRO cameras, on June 24 in California Central District Court.

A full list of DigiMedia Tech’s lawsuits, including related documents, can be found through the Unified Patents portal.

A summary of each of the lawsuits DigiMedia Tech, LLC currently has against a number of camera manufacturers.

The NPE practice of exploiting acquired patents has been heavily criticized for years. These companies oftentimes don’t actually practice the invention detailed by the patent and usually don’t sell processes or products related to them. These non-practicing entities instead enforce the patent rights against companies allegedly infringing them, doing so to obtain licensing payments or some other type of revenue, such as royalties or damages, on the acquired patents.

Though not all NPEs exploit acquired patents, there are those that do. Ones that operate aggressively and file large numbers of lawsuits in order to cast a wide net to see what they catch are colloquially referred to as ‘patent trolls.’

In 2011, the Hastings Science and Technology Law Journal published a large PDF document titled ‘Indirect Exploitation of Intellectual Property Rights by Corporations and Investors’ that details NPEs and the ways they may be used. The discussion is extensive and ideal for understanding the reasoning behind these lawsuits, stating in part that patent infringement lawsuits from NPEs may be, among other things, used by:

…a sponsoring entity against a competitor to achieve a corporate goal of the sponsor. A corporation or investor, by serving as the sponsor for an IP privateering engagement, can employ third-party IPRs as competitive tools. The privateer, a specialized form of non-practicing entity (NPE), asserts the IPRs against target companies selected by the sponsor. The sponsor’s benefits do not typically arise directly from the third party’s case against a target, but arise consequentially from the changed competitive environment brought about by the third party’s IPR assertion.

Of course, DigiMedia Tech’s own reasons for filing suits against these camera companies are unclear and it’s impossible to say whether there would be an indirect benefit for a competing company as a result of these allegations. As these cases are only days and weeks old, the outcome of each lawsuit is yet to be seen.

Articles: Digital Photography Review (dpreview.com)

 
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Canon is sending a satellite with high-resolution camera tech into space

23 Jun

Canon will send its high-resolution CE-SAT-IB satellite camera into space as part of Rocket Lab’s next payload launch, enabling it to showcase its Earth-imaging capabilities. The private aerospace company, which is based out of California, aims to provide ‘frequent and reliable’ launches, something it will demonstrate by holding its upcoming ‘Pics or It Didn’t Happen’ launch only three weeks after its ‘Don’t Stop Me Now’ mission.

The launch will be coordinated by Spaceflight Inc., the company said in a press release last week. Canon’s CE-SAT-1B is a microsatellite at only 67kg (148lbs), not to be confused with the CE-SAT-IIB satellite, which is scheduled to launch via Rocket Lab later on this year.

The optical imaging system inside the CE-SAT-1B (pictured) is based on Canon’s EOS 5D Mark III design. Image via Canon

The launch will take place on Rocket Lab’s Electron rocket from its Launch Complex 1 located on New Zealand’s North Island on July 4 local time. This mission will be called ‘Pics or It Didn’t Happen,’ the fourth Rocket Lab launch in the past year. The team had intended to launch the payloads earlier this year but were delayed by the pandemic.

In a statement, Canon Electronics Satellite Systems Lab group executive Dr. Nobutada Sako told Spaceflight:

This launch is very critical for Canon Electronics as we are launching a satellite where we have remarkably increased the ratio of in-house development of components compared to the previous launch. Partnering with Spaceflight on this mission has been very helpful and we look forward to a successful launch of our satellites.

Canon launched its CE-SAT-I microsatellite in 2017 from India, successfully putting its tiny satellite into orbit. The camera company detailed this effort on its global website, explaining that it already has many of the technologies necessary to build and deploy these small machines.

The CE-SAT-IB microsatellite is the first mass-produced version of the CE-SAT-1 from Canon Electronics. The satellite features solar cells and batteries for power, as well as an optical imaging system that is based on the Cassegrain 40cm telescope with a 3720mm focal length. The satellite’s detector is based on the Canon EOS 5D Mk.3 camera. With this tech, the CE-SAT-IB is able to capture Earth imagery with a resolution of 1m (3.2ft) from an orbit distance of 600km (373mi), according to NASA.

In its own announcement, Rocket Lab said last week that its launch will include a total of seven microsatellites with Canon’s CE-SAT-IB as the primary payload. Assuming everything goes according to plan, Rocket Lab plans to conduct additional launches every month for the rest of the year and into 2021. In addition to launching another Canon satellite in the coming months, Rocket Lab also anticipates its first launch for the U.S. Space Force for Q3 2020.

Articles: Digital Photography Review (dpreview.com)

 
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Samsung’s new ISOCELL GN1 sensor features Tetracell tech, phase detection on all active pixels

20 May

Samsung Electronics has launched a new image sensor that is designed for use in the primary camera of high-end smartphones. Like other sensors from the the ISOCELL family, the ISOCELL GN1 comes with the company’s pixel isolation technology that creates a barrier around each pixel in order to reduce color cross-talk.

At 50MP the sensor´s native resolution is fairly moderate when compared to the 108MP juggernaut used in Samsung’s latest flagship smartphone, the Galaxy S20 Ultra, but has other tricks up its sleeve: it’s Samsung’s first image sensor to combine Dual-Pixel autofocus with the company’s Tetracell technology, allowing for increased light sensitivity in low light as well as precise and fast autofocus performance in all light conditions.

The GN1 comes with 100 million phase detection autofocus (PDAF) sites, meaning all of the sensor’s active pixels double as focus pixels, allowing for fast focusing in all light conditions and at all angles. Dual Pixel technology places two photodiodes side-by-side within a single pixel. When an image is captured the outputs from the two photodiodes are merged into a single pixel. Samsung also offers a software feature that can analyze light information from both photodiodes to compute image output that is comparable to a 100MP file.

Tetracell uses pixel-merging methods to increase light sensitivity in low light conditions. Four adjacent pixels are merged into one doubling the effective pixel size from 1.2?m to 2.4?m and quadrupling the light sensitivity at a 12.5MP output size. In bright light the sensor can operate as a standard Bayer sensor and capture full-sized 50MP images.

In addition the GN1 sensor offers a Smart-ISO function that ‘intelligently sets the optimal ISO value, and a real-time HDR mode. Electronic image stabilization uses data from the device’s built-in gyro to avoid shaky video and blurry images and video shooters can make use of an 8K video mode that can record at 30 frames per second.

Overall the GN1 looks like a very versatile image sensor that can adapt to a multitude of shooting situations. In bright light the 50MP resolution should allow for excellent detail. In dimmer conditions the Tetracell tech can deliver images with low noise and a wide dynamic range. At the same time the all-sensor Dual-Pixel autofocus system is making sure subjects are in focus, even in difficult scenes.

Samsung says mass production of the ISOCELL GN1 sensor has started this month. We’ll find out how it performs in real-life conditions once the first GN1-equipped devices make an appearance in the marketplace.

Articles: Digital Photography Review (dpreview.com)

 
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Sony provides an in-depth look at the Sony Xperia 1 II camera tech

30 Apr

Sony first announced its triple-camera-equipped Xperia 1 Mark II flagship phone in February but users around the world are still waiting for the commercial release of the device. Once available, with its photo-centric design that borrows a number of features from Sony’s Alpha series cameras, the Xperia 1 Mark II should be a compelling option for mobile photographers. Now the company has shared additional information on camera technology and features in Japan.

In its primary camera the new Sony offers the same 12MP resolution as its predecessor. However, those pixels are distributed across a larger sensor surface. The Mark II’s 1/1.7″ primary sensor is quite a bit bigger than the Mark 1’s 1/2.6″ variant, but still falls short of some other flagship phones. The Xiaomi Mi 10 Pro and Huawei P40 Pro for example come with 1/1.33″ and 1/1.28″ sensors respectively.

The Xperia 1 Mark II comes with a larger sensor than its predecessor.

However, Sony is deploying a different strategy to most of its direct rivals. Both rival phones mentioned above use much higher resolution sensors and pixel-binning technology to reduce noise levels and capture images with a wide dynamic range.

Sony bets on ‘traditional’ large 1.8µm pixels, which, according to the company, make the new sensor 50 percent more light sensitive than its predecessor and results in improved low light performance.

The 12MP sensor offers faster read-out than the 108MP Quad-Bayer sensors used in some competitors.

Sony says the conventional design of the sensor offers faster read-out speeds than the pixel-binning Quad-Bayer technology deployed in most current high-end phones. The entire sensor can be read out in 10ms versus 32ms for a 12MP image from a Quad-Bayer sensor.

The sensor features 247 phase detection points.

This speed is necessary to enable the Mark II’s 20fps continuous shooting with autoexposure and autofocus. Dual-Pixel AF is embedded into the sensor and an additional 3D time-of-flight (ToF) sensor supports the system. Overall, the camera can use 247 phase detection points on the image sensor and 43,200 points from the ToF sensor to perform AF calculations.

The AF also uses data from a 3D time-of-flight sensor.

This is done by Sony’s BIONZ X branded image processor which performs 60 AE/AF calculations per second to keep subjects in focus and the image well exposed. The new phone also comes with the Eye AF feature that we already saw on the original Xperia 1. However, now it can lock on to animal eyes in addition to human eyes.

The ultra-wide and tele lenses of the triple-camera setup cannot quite keep up with the primary shooter in terms of read-out speed and processing, though. They both offer continuous shooting at 10fps with AE/AF enabled and AE/AF calculations are performed at a slower rate of 30 per second.

Sony says the triple-camera offers the same flexbility as a camera system with 16-35, 24-70 and 70-200mm lenses.

This said, with equivalent focal lengths of 74mm for the tele and 16mm for the ultra-wide, both cameras make nice additions to the primary camera’s 24mm-equivalent lens, covering a wide range of shooting situations. Sony goes as far as comparing the lenses in the Xperia 1 Mark II triple camera to a full-frame lens set including a 16-35mm wide-angle, a 24-70m standard zoom and a 70-200mm tele-zoom. Those lenses should have you prepared for almost anything, and according to the company the same is true for the phone’s triple-cam.

To make the new device even more attractive to serious photographers it comes with Sony’s new Photography Pro app, which features Shutter and Aperture priority modes in addition to a bunch of other manual controls you would find on the company’s mirrorless cameras. Most camera apps offer some sort of manual controls these days, usually in the shape of a separate ‘Pro mode’, but it looks like Sony is taking things a step further than most.

The Photography Pro app offers a range of manual modes and settings.

The Xperia 1 Mark II is also the first Sony smartphone to feature a ZEISS lens. ZEISS lenses can be found on many of Sony’s Cybershot compact cameras and are also available with an E-mount for Alpha cameras. ZEISS lenses featured on Nokia phones previously but the new Sony is the first to come with the German lens maker’s T* anti-reflective coating to reduce glare and ghosting effects.

It’s good to see Sony, which is the only current smartphone manufacturer that also runs a sizeable camera operation, creating more synergies and technology interchange between its mobile and Alpha divisions. Now we just need to wait for the device to appear in the market and see if the camera can compete with the best. According to rumors that could happen as soon as next week, starting in Taiwan.

Articles: Digital Photography Review (dpreview.com)

 
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JPEG Committee explores using AI and blockchain tech for image compression

25 Feb

On February 17, the JPEG Committee published the results from its 86th Meeting, detailing some of the topics of discussions and potential future plans. Among other things, the committee issued a Call for Evidence on what it refers to as learning-based image coding solutions, something following the JPEG AI activity the committee launched a year ago. As well, the committee has expanded discussions on the use of blockchain technology and distributed ledger technologies (DLT) for JPEG.

During the 85th JPEG meeting last year, an effort dubbed JPEG AI was initiated in order to explore the use of image coding technologies to increase compression efficiency. During the new 86th JPEG meeting, this effort was expanded to a formal Call for Evidence, which is described as the first step in considering the ‘standardization of such approaches in image compression.’

In the JPEG AI Call for Evidence, JPEG Committee states:

‘This activity aims to find evidence for image coding technologies that offer substantially better compression efficiency than available image codecs with models obtained from a large amount of visual data and that can efficiently represent the wide variety of visual content that is available nowadays.’

In addition, the most recent meeting featured an Open Discussion Session on Media Blockchain that involved ‘interactive discussions’ on media blockchain and its various uses, namely its suitability for addressing ‘challenges in transparent and trustable media transactions.’ The committee has shared the presentations and pitch slides from these discussions on its website.

Articles: Digital Photography Review (dpreview.com)

 
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Samsung details the 108MP camera sensor tech packed in the Galaxy S20 Ultra smartphone

15 Feb

Samsung has published technical details on the 108MP ISOCELL Bright HM1 ‘Nonacell’ image sensor found in its newly launched Galaxy S20 Ultra smartphone. The image sensor features 108-million 0.8?m pixels and a 1/1.33in size, as well as Smart-ISO and Nonacell technologies to produce what Samsung claims are ‘crystal-clear’ and ‘vivid’ 8K videos and high-resolution images.

Nonacell builds upon the Tetracell technology Samsung unveiled in 2017; rather than featuring a 2×2 array like the older tech, the Nonacell features a 3×3 arrays of the same color filter. This allows chunks of nine 0.8?m pixels to be merged into what is essentially a single 2.4?m pixel. This results in more than double the light absorption offered by the Tetracell tech, according to the company.

The downside is that there is a larger gap between pixels recording different colors, meaning that the ‘re-mosaic’ algorithm, that tries to reconstruct what a conventional 1×1 Bayer sensor would have captured, faces a more difficult challenge. So you won’t ever get the lever of color resolution that a conventional 108MP sensor would give.

Other ‘advanced pixel technologies’ like Smart-ISO help produce what Samsung calls ‘ultimate results under any lighting condition,’ including particularly challenging mixed-light environments. The camera’s HDR tech involves assigning exposure lengths to each and every pixel for multiple simultaneous exposures, enabling real-time HDR previews.

Rather than using a mobile processor, Samsung says its sensor directly converts pixels via ‘an embedded hardware IP.’ Other features include electronic image stabilization that uses gyroscope hardware, Super-PD phase-detection tech and up to 3x lossless 12MP zoom that doesn’t require upscaling.

The use of ISOCELL Plus tech, meanwhile, deals with the color interference that would otherwise arise from the Nonacell system, according to Samsung:

As the number of adjoined cells increase, so does color interference, making pixel-binning technologies more challenging, While such difficulties had limited Nonacell to a theory, the HM1 was able to realize the method by adopting Samsung’s ISOCELL Plus technology, which dramatically reduces crosstalk and minimizes optical loss as well as light reflection.

In addition to the 108MP sensor, the Galaxy S20 Ultra model features a 12MP wide-angle camera and a 48MP telephoto camera, 10x Hybrid Optic Zoom and ‘Super Resolution Zoom’ that uses AI for up to 100x zoom. The model’s ‘selfie’ camera, meanwhile, features a 40MP sensor with the ability to ‘shift’ to 10MP with larger pixels for higher quality images captured in low-light settings.

The S20 and S20+ models feature lesser specs with 12MP wide-angle and telephoto cameras, as well as a 64MP telephoto camera. A full breakdown of the camera hardware found in these three smartphone models is available on Samsung’s website.

Articles: Digital Photography Review (dpreview.com)

 
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Xiaomi VP says under-display front camera tech is not ready yet

30 Jan

Over the last year or so we have seen some smartphone manufacturers, including Xiaomi and Oppo, experimenting with under-display front cameras. The technology could allow for the design of displays without a ‘notch’ or front camera ‘punch hole’ but also means that incoming light has to first travel through the display before it hits the camera lens.

The latter is a major challenges to overcome and a reason why, according to Xiaomi VP Lu Weibing, we should not expect the technology to arrive any time soon in a production device.

Currently the pixel-dense displays of modern smartphones block too much of the incoming light. Combined with the small image sensors deployed in most front cameras this means the imaging module’s light gathering capabilities are much more limited than on a more conventional camera, resulting in sub-par image quality.

Researchers and engineers are looking to develop technologies that allow for a combination of high pixel density and good light transmittance but are not quite there yet. Until the problem is solved there probably aren’t too many consumers willing to sacrifice front camera image quality for a more streamlined device design which is we’ll likely have to wait a little longer for the technology to make it into mass production.

Articles: Digital Photography Review (dpreview.com)

 
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Canon releases white papers detailing the still and video tech inside the 1D X Mark III

14 Jan

Editor’s note: Links have been updated and are now linking to the proper white papers once again. It appears Canon changed the URLs, causing a permission error.


Canon has released a pair of white papers on its new 1D X Mark III that dive into the details of the still and video technology inside its latest flagship camera system.

The still and video white papers are 59- and 21-pages long, respectively, and cover nearly every piece of tech inside the 1D X Mark III, complete with accompanying charts, graphics, tables and more. From details on the new square pixel AF detectors and their faster readouts to the Canon Log optoelectronic transfer function used in the video, these white papers cover it all and then some.

One of many charts/illustrations in the video white paper showing the Canon Log OETF for video captured with the 1DX Mark III.

You can find the still image white paper and video white paper on Canon’s 1D X Mark III product page. They’re viewable in the browser or available to download as PDFs.

Articles: Digital Photography Review (dpreview.com)

 
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