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Atomos shares info on S1H ProRes Raw update, to offer 16-bit Raw capture with Sony FX9

14 Sep

Atomos has made two announcements that will bring improved video recording capabilities to two recently-released cameras: the Panasonic Lumix S1H and the Sony FX9.

First up, Atomos has shared more information regarding a previous announcement that it was working alongside Panasonic to co-develop a means to capture Raw video for the Lumix S1H. Atomos has now provided both a timeframe (albeit a rough one) and official specifications for the impending firmware update.

Atomos says the S1H firmware update will make it possible to record 5.9K/29.97p Raw and C4K/59.94p video on the Atomos Ninja V monitor-recorder over HDMI. Currently, the Lumix S1H can record 6K/24p (3:2 aspect ratio), 5.9K/29.97p (16:9 aspect ratio) and 59.94p 4K/C4K, so this update will be a substantial bump in recording capabilities.

In its announcement, Panasonic also revealed that ProRes Raw would be the codec supported for Raw recording. The firmware is scheduled to be launched in early 2020.

Atomos has also announced that it’s Neon 8K MCU (Adorama, B&H) will support 4K 16-bit Raw recording from Sony’s recently-unveiled FX9 camera. Details are scarce, but Atomos’ press release, embedded below, implies the functionality will be available when the FX9 ships later this year in December 2019.

It seems Atomos is adamant on working alongside camera manufacturers to get the most from the sensors inside the manufacturers’ latest cameras. In January 2019, Atomos said it was working with Nikon to bring 4K Raw video capture over HDMI to its Ninja V external recorder.

We’ve since learned this update won’t be free and will require cameras to be sent into Nikon service centers to perform an ‘internal upgrade’ to the camera, but the promise still remains. According to the latest information, the 4K Raw video update is still scheduled to be released before the end of the year.

LUMIX S1H Firmware Development Underway for 5.9K/29.97p and C4K/59.94p RAW Video Data Output to Atomos Ninja V

Newark, NJ (September 13, 2019) – Panasonic is proud to announce the development of firmware for the LUMIX S1H full-frame mirrorless camera which enables the output of 5.9K/29.97p RAW and C4K/59.94p video data to the Atomos Ninja V monitor-recorder. The firmware is scheduled to be launched in early 2020.

The LUMIX S1H is the world’s first camera to combine professional-level video quality, the high mobility of a mirrorless camera and a Full-Frame sensor. It is currently capable of video recording at 6K/24p*1 (3:2 aspect ratio), 5.9K/29.97p (16:9 aspect ratio), and 59.94p 4K/C4K.*2 *3 The LUMIX S1H will be introduced in late September 2019.

Panasonic has a long history of collaboration with Atomos. This relationship will deliver new RAW video functionality for the S1H. 5.9K up to 29.97p and C4K*3 up to 59.94p in RAW delivered over HDMI is in development. With this firmware Apple ProRes RAW can be recorded on the Atomos Ninja V.

A LUMIX S1H prototype with this firmware will be exhibited along with the Atomos Ninja V in the Panasonic booth (Booth No. C45, Hall 11) at the IBC2019 (International Broadcasting Convention) to be held in Amsterdam, the Netherlands, from September 13-17, 2019.

Atomos Announce 16bit RAW Support on New FX9 From Sony

PORT MELBOURNE, Australia, Sept. 13, 2019 /PRNewswire/ — Off the back of Sony Imaging Products & Solutions Inc. (“Sony”) unveiling their groundbreaking new FX9 today at IBC, Atomos is excited to announce 16bit RAW support from this new camera to the Atomos Neon 8K MCU.

We have a long and proud history of collaborating with revolutionary companies like Sony, we are working closely with the FX9 camera team to deliver 4K 16bit RAW from the FX9 to our Neon cinema monitor-recorders.” Said Jeromy Young, Atomos Co-founder and CEO.

The FX9, which will go to market towards to end of 2019, features an advanced 6K full-frame sensor and has been designed to give professional shooters greater flexibility and capture capability, making it an ideal match for the Atomos Neon range. The FX9 has the same DNA as the popular VENICE cinema camera making it the ideal music, documentary, drama and event shooting.

When paired with an Atomos Neon, the FX9 will be one of the most advanced production tools available today. We’re excited to empower content creators and filmmakers at the highest level through our ongoing work with Sony.” Added Young.

Articles: Digital Photography Review (dpreview.com)

 
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STC expands Clip Filter series with new Panasonic Lumix M43 ND and IR filters

14 Sep

STC Optics has expanded its Clip Filter Series to include new filters for Panasonic Lumix M43 camera systems, as well as the Z Cam E2 4K Cinema Camera and Blackmagic Pocket Cinema Camera 4K. As with the existing Clip Filters, the new series is designed to be sandwiched between the camera body and lens, positioning the filter over the sensor instead of on the front of the lens.

STC explains that its Panasonic M43 Clip Filter is designed to fit in front of the shutter mechanism to avoid interfering with the camera’s anti-shake function. All of the filters are made with Schott B2790 optical glass with double-sided NANO anti-smudge coatings and A2 stainless steel.

The new Clip Filter lineup includes a sensor protector filter, neutral density filters offered in N8, N16, ND64, ND400 and ND1000, as well as 590nm, 720nm and 850nm IR filters, a 625nm UV-IR cut filter and Astro filters in the following options:

– Multispectra Multi-Band Interferometric Filter
– Duo-Narrowband
– Bimodal Narrowband Filter? ?
– Nightscape Starscape Filter

The STC Clip filters are available on Amazon UK for £81.99 to £91.99, depending on the model, with more options available on the STC website at prices ranging from $ 80 to $ 430.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Watch 72 high-speed cameras capture bullet time slow-mo footage

13 Sep

Popular YouTube account Hydraulic Press Channel has introduced a major filming setup upgrade involving 72 high-speed Chronos 1.4 cameras mounted on a large rig suspended above the hydraulic press machine. The cameras are able to capture nearly 3,000,000 frames per second, according to the channel’s host, resulting in high-resolution 360-degree bullet-time videos.

The camera rig is used to show packs of playing cards exploding outwards under the pressure of the hydraulic press. It’s unclear how often this rig will be used for hydraulic press videos, but a comment published by the account indicates the team plans to introduce a new ‘Bullet Time Show’ on the Beyond The Press channel.

The Chronos 1.4 high-speed camera is offered by Kron Technologies with color and monochrome sensor options starting at $ 2,999.

Articles: Digital Photography Review (dpreview.com)

 
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Google Photos adds Instagram Stories-style Memories feature, now offers canvas prints

13 Sep

Google Photos is expanding its feature set and has launched Memories, a slideshow feature that works in a similar way as Instagram stories. Memories is designed to highlight special events, such as birthdays, trips and holidays, and let you remember those special moments without having to sift through stacks of duplicate images.

Photos and videos from previous years will be pinned to the top of your gallery for you to browse. Google uses machine learning to curate your Memories and pick the best shots out of many similar ones. Certain people or time periods can be blocked in case you´d rather not be reminded of them, and you can also deactivate the feature completely.

Memories can also be shared with people who appear in them and others. Google says that in the coming months it will make this process even easier. Shared photos will be added to an ongoing, private conversation which should make it easier to keep count of the images you have shared with each other.

In addition, you can now search for text that appears in photographs or screenshots via the standard search function. This could be useful for those who store recipes or other text documents in image format in Google Photos.

U.S. users can now also order both standard photo prints and canvas prints directly from the app. Individual photo prints can be ordered directly through Google Photos and are available to pick up from your local CVS Pharmacy or Walmart that same day at over 11,000 locations. Canvas prints are available in 8x8in, 12x14in, and 16x20in formats and prices start at $ 19.99. The app suggests the best photos to print and the canvas prints will be delivered straight to your home.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe shows off its new Sensei-powered Auto Reframe tool for Premiere Pro

13 Sep

Adobe has announced Auto Reframe, a new Adobe Sensei-powered framing tool coming to Premiere Pro.

Auto Reframe uses Adobe’s AI and machine learning technology to automatically recompose footage for different formats so a single video can easily be created for multiple aspect ratios without having to manually keyframe each clip. Auto Reframe analyzes the video it’s applied to, crops it according to the aspect ratio of your choosing, and will pan the video to keep track of the subject matter.

If the automated result isn’t quite where it should be, editing the resulting composition is as easy as changing a few of the keyframes that are automatically created with the tool.

Adobe doesn’t give a specific timeframe for the arrival of Auto Reframe, but says it will launch in an update to Premiere Pro ‘later this year.’

{pressrelease}

Coming soon to Premiere Pro: Auto Reframe

Today, we’re excited to announce a new feature coming to Premiere Pro that will be a must-have in the age of content and platform proliferation. Powered by Adobe Sensei, Auto Reframe intelligently reframes and reformats video content for different aspect ratios, from square to vertical to cinematic 16:9 versions. Like Content-Aware Fill for After Effects (introduced this spring), Auto Reframe is an Adobe Sensei technology that uses AI and machine learning to accelerate manual production tasks, without sacrificing creative control. Through Adobe Sensei, we’re leveraging over a decade of AI and machine learning capabilities built into Adobe’s flagship products.

For broadcasters or anyone else who needs to optimize content for different platforms, Auto Reframe will help you get there faster. If you’re on the ground at IBC, we’d be happy to show you how Auto

Reframe analyzes, crops, and pans footage to prioritize the most compelling parts of your video at our IBC Stand (Hall 7-7.B35). {/pressrelease}

Articles: Digital Photography Review (dpreview.com)

 
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Canon RF 85mm F1.2L USM sample gallery updated

13 Sep

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The Canon RF 85mm F1.2L USM is one of the most impressive lenses released for the nascent RF system. Sharp at all apertures and capable of excellent rendering – especially for portraiture – it’s quickly becoming one of our favorite lenses for any system. We’ve taken the opportunity this summer to update our original sample gallery with new images, converted from Raw. Take a look.

See our Canon RF 85mm F1.2L USM
sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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RawTherapee 5.7 update brings new Film Negative tool, improved star ratings

13 Sep

Free, Raw image developing app RawTherapee has been updated to version 5.7, gaining a Film Negative tool for processing raw images from film negatives, as well as support for viewing XMP/EXIF rating tags in RawTherapee’s own star rating system. New features aside, RawTherappe 5.7 also brings hundreds of bug fixes, according to the software’s changelog.

RawTherapee is free and open-source for users on Windows, macOS and Linux. The software is non-destructive, offering a variety of advanced editing tools for adjusting lighting, colors and details, including Film Simulation, Haze Removal, Color Toning, Defringe and more.

Articles: Digital Photography Review (dpreview.com)

 
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The X-A7 is Fujifilm’s first good entry-level mirrorless ILC

13 Sep

Back when Fujifilm announced the X-A5 in early 2018, it sounded like a really appealing entry-level ILC; in terms of spec, at least. It had an time-tested 24MP APS-C sensor, on-sensor PDAF, a flip-up touchscreen display, 4K video capture, a mic socket and great battery life.

Unfortunately, aside from image quality, the X-A5 turned out to be a pretty lousy camera. It was very sluggish and the autofocus system was unreliable. While it could indeed capture 4K video, it was at 15 frames per second, which is essentially an 8MP burst mode (or silent-era movie simulator). Everyone knows that Fujifilm is capable of making excellent cameras (like the X-T3), which made the X-A5 that much more disappointing.

The new X-A7 gives me hope. It’s way faster, has a more robust AF system, a fully articulating touchscreen, AF joystick, a USB-C port and oversampled 4K capture, all for under $ 700 with a lens. And it comes in mint green!

Aside from the color of the camera Fujifilm sent us, what grabbed my attention first was that 3.5″, 2.76 million-dot display, which is the best I’ve seen on a low-priced camera – by a large margin. The screen has a 16:9 aspect ratio, which means that you’ll get black margins when shooting stills. But if you’re into vlogging, that aspect ratio, paired with the built-in 2.5mm mic socket (a 3.5mm adapter is included) and oversampled, uncropped 4K/30p make the X-A7 an appealing option, unless its 15 minute recording limit is an issue.

In order to incorporate the large LCD, Fujifilm has had to redesign the back of the camera. The four-way controller has been replaced by an 8-way joystick which, while on the small side, works well.

Since the four-way controller is gone, getting at some settings is a bit harder. Accessing the touch-enabled Q.Menu requires two taps on the display, while the self-timer needs to be assigned to a custom button (Strangely, there’s no way to assign the Q.Menu to a custom button – at least, not yet.)

The rear dial moved to a more traditional position on the top plate, as opposed to the one that was upward-facing dial on the back of earlier models. The power switch has been transformed from a switch to a button that sits in-between all of the dials. As someone who was constantly turning the X-A5 (and X-T100) on and off accidentally due to the switch’s placement, I appreciate this change.

The X-A7 has a refined, touch-enabled menu system

While I was drooling over the display, my colleague Carey was scrolling through the menus, noting how much more responsive they were than on the X-A5 and X-T100. While we can’t put a number to it, it’s clear that the X-A7 got a processor bump of some sort. I wondered if that translated to faster burst shooting or a larger buffer, but it did not: it’s still 6 fps, for up to 4-5 shots.

Pressing the menu button brings up this new on-screen UI

After stealing the camera back from Carey, I toyed with the new touchscreen interface, which has simple on-screen buttons for adjusting focus mode, brightness, skin softening and a few other things, depending on the shooting mode. A button for accessing the touch-enabled Q.Menu is also here.

One very cool thing that Fujifilm snuck in appears when you change the Film Simulation mode: a side-by-side view showing comparing your current mode versus the other options. You can even move a slider (shown in the video above) back and forth. This isn’t a feature I’ve been dreaming about, but now that I’ve seen it, I’m hoping that it appears on more cameras.

It’s nice to see that Fujifilm has released a camera that actually surpasses our expectations for an entry-level product

Seeing how I’ve only used the camera for a day, it’s too early to make any judgments about image quality or autofocus performance. Fujifilm says that the 24MP sensor is newly developed, with copper wiring and fast readout speeds (something it also said back when the X-T2 was introduced). The autofocus system has phase-detect points across the whole frame and offers both face and eye detection. Fujifilm has hinted that new AF algorithms will allow the X-A7 to perform as well or better than the X-T30/X-T3. We’ll see how it does when we put it in front of a weaving bicycle when a production model appears.

After putting out a bunch of really disappointing X-A series cameras, it’s nice to see that Fujifilm has listened to their customers (and perhaps some camera review websites) and released a camera that actually surpasses our expectations for an entry-level product, assuming that the autofocus really is better than the X-A5. How it holds up against competitive products from Canon, Olympus, Panasonic and Sony remains to be seen, but based on my initial tinkering with the camera, I’m definitely impressed.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm updates X-T3 firmware to fix an issue that can occur when shooting in ‘S’ drive mode

13 Sep

Fujifilm has released a small firmware update for its X-T3 mirrorless camera that fixes a specific ‘phenomenon’ that can require you to turn your camera off and back on again.

Firmware version 3.01 (previously version 3.00) addresses an issue wherein a message reading ‘turn off the camera and turn on again’ can appear when shooting in the ’S’ drive mode while repeatedly taking photos within a short timeframe.

Aside from that, Fujifilm doesn’t mention any other fixes in this update, even basic bug fixes.

You can find information on how to install the firmware and download the update on Fujifilm’s website.

Articles: Digital Photography Review (dpreview.com)

 
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Samyang’s new XEEN CF Cine Prime full-frame lenses detailed ahead of Q3 launch

13 Sep

Samyang has launched its new line of XEEN CF Cine Prime full-frame lenses made from lightweight carbon fiber. The XEEN CF will be offered in 16mm, 24mm, 35mm, 50mm, and 85mm options for Canon EF, Sony E and PL mounts. The model features a T1.5 aperture, 11-blade diaphragm and luminous numbers on the lens rings for making adjustments in dark conditions.

The XEEN CF lenses feature the company’s proprietary X-Coating for minimized reflections paired with controlled ghosting and flares for halation, producing a ‘dramatic effect.’ Users are promised ‘beautiful bokeh’ thanks to the 11-blade diaphragm and excellent low-light performance from the bright aperture.

The lenses are designed for large format and 8K sensors, offering the durability and light weight of carbon fiber at 0.9kg (2lbs) to 1.1kg (2.4lbs), depending on the model. Due to the low weight, the new XEEN CF lenses can be used with gimbals and drones in addition to movie cameras.

The company will initially launch its 24mm, 50mm and 85mm lenses in Q3 2019; the 16mm and 35mm options won’t be released until early next year. Prices are unclear at this time, but ePhotozine claims the lenses will be showcased at the 2019 IBC Exhibition in Amsterdam from September 13 to 17.

Articles: Digital Photography Review (dpreview.com)

 
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