Uncategorized « 360Photography

RSS

Archive for the ‘Uncategorized’ Category

Man accused of flying drone over NFL football games charged

02 Jun

On Wednesday, authorities announced that a man had been officially charged on May 14th with violating two separate Temporary Flight Restriction (TFR) areas during NFL football matches. Sacramento resident Tracy Michael Mapes, 56, is accused of flying his drone over a San Francisco 49ers game at Levi’s Stadium and dropping anti-media leaflets into the crowd on November 26, 2017. He is also accused of the same violation during a Raiders game at Oakland Stadium later that day.

Knowingly violating a TFR can result in serious legal and financial consequences. In this case, Mapes could face up to a year in prison and a $ 100,000 fine if convicted. TFRs are used by the Federal Aviation Administration (FAA) to restrict aircraft operations within designated areas. The restrictions help facilitate national security measures. Natural disasters, presidential and other high-ranking official visits, and professional sporting events that are typically congested with people warrant TFRs.

Mapes has not publicly commented on the matter. According to police, his drone released leaflets containing content about free speech and personal views on television being corrupt. Most of the leaflets didn’t make it into the stadium or crowd at the 49ers game, due to high winds and rain. No one was injured.

Surveillance cameras were able to identify the operator and record his license plate number as he drove away from Levi’s Stadium in Santa Clara. Detectives alerted their counterparts in Oakland ahead of the Raiders game. Mapes released leaflets into Oakland Coliseum and, once again, no one was affected. Officers located his vehicle as he was leaving, cited him with misdemeanor charges, and released him.

Checking a service such as SkyVector is highly recommended before embarking on a drone flight. Flying in any TFR can result in severe consequences.

TFRs begin several hours before the start of a professional game or other major event and continue for hours after it concludes. It is important for remote pilots to check Notices to Airmen (NOTAM) or SkyVector before embarking on a flight. Some prefer to use an Unmanned Aircraft Systems (UAS) application such as Kittyhawk, Skyward, or AirMap.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Panasonic S1 firmware update delivers advanced video features

01 Jun

Panasonic has announced an upcoming firmware upgrade for its Lumix DC-S1 full-frame mirrorless camera. Officially referred to as DMW-SFU2, the upgrade adds a number of high-end video features and capabilities, many of which are similar to those found in the company’s GH5 series of cameras, which have often been class-leading when it comes to video.

Most prominent is the addition of Panasonic’s V-Log gamma profile, which promises to deliver 14+ stops of dynamic range. Notably, this is not the truncated V-Log L profile found on the GH-series, which capture a bit less dynamic range due to their smaller sensors. Rather, it’s the same gamma profile used by the company’s VariCam cinema cameras, which should allow the S1 to deliver the same look as VariCam models using the same V-Gamut color space.

Additionally, the upgrade adds 4:2:2 10-bit 4K/30p internal recording, 4:2:2 10-bit 4K/60p recording using an external recorder via HDMI, and 48 kHz/24-bit or 96 kHz/24-bit audio when used with Panasonic’s DMW-XLR1 adapter.

Videographers will be excited to hear that Panasonic is also adding very useful tools like a waveform monitor and in-camera LUTs, which can be used when shooting in V-Log to approximate the look of graded output.

Who should consider this upgrade? If you’re primarily a stills-shooter, or even a video-shooter who mostly shoots casually, it’s possible that none of these new features will be important to you. However, if you’re a serious video shooter who understands the advantages of Log video, or who needs to match footage with other pro video cameras from Panasonic, this is probably an upgrade you’ll want to consider.

The DMW-SFU2 software key will be available in July at a cost of $ 199 in the US, €199 in Europe and £179 in the UK. Panasonic US says the update will be made available free to any existing S1 owners that have registered their camera, and for anyone who buys an S1 before July 31st. In Europe (including the UK) the offer runs until the end of September.

Panasonic to Release the Upgrade Firmware Key DMW-SFU2 for LUMIX S1 in July 2019 to Expand Its Video Performance

Newark, NJ (May 31, 2019) – Panasonic has announced that the company will release an Upgrade Firmware Key DMW-SFU2 for the full-frame mirrorless camera LUMIX S1 in July 2019. This paid software program will further expand the video performance of the LUMIX S1 for advanced video recording. As announced separately, the new LUMIX S1H features 14+ stops of full V-Log, which is equivalent to the V-Log of high-end cinema cameras such as the Cinema VariCam. The user can experience the 14+ stops of V-Log on the LUMIX S1 with the firmware update program provided by the Upgrade Software Key DMW-SFU2, prior to the release of the LUMIX S1H.

Functions available with the upgrade program are as follows.

14+ stops of V-Log recording
World’s first 4:2:2 10-bit 4K MOV 30p/25p*1 internal video recording*2
World’s first 4:2:2 10-bit 4K 60p/50p*1 HDMI output*2
V-Log and V-Gamut compatible with Cinema VariCam Look
In-camera LUT (Look Up Table) application enabling playback of V-Log while or after recording (LUT Display with Custom Function)
A WFM (Waveform Monitor) displays brightness level while recording
High-res 48-kHz/24-bit or 96-kHz/24-bit sound can be recorded in MOV using the XLR Microphone Adaptor DMW-XLR1

The Upgrade Software Key DMW-SFU2 will go on sale in July 2019.

*1 PAL area only

*2 For a full-frame digital still camera as of May 31, 2019.

Design and specifications are subject to change without notice.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Panasonic S1H: What we know so far, and what we think’s likely

01 Jun

What do we know about the Panasonic S1H?

Panasonic has announced the development of the S1H: a full-frame counterpart to its video-focused GH series.

The company has revealed a handful of specs about the forthcoming camera (due in the second half of 2019 for around $ 4000), from which we can draw some interesting conclusions.

Published specs:

6K 3:2 capture at 24p
16:9 5.9K capture at up to 30p
‘Multi aspect’ recording including anamorphic 4:3 capture
10-bit DCI and UHD 4K capture at up to 60p
Unlimited recording times
14+ stop V-Log/V-Gamut capture
Color reproduction to match Cinema VariCam series

It’s essentially a full-frame ‘GH’

In addition to this, Panasonic has said the ‘H’ in the name represents the same qualities as the one in the GH models: a stills/video hybrid with high quality. And, if we look at the specifications, there’s a lot of overlap with the capabilities of the company’s GH5.

Panasonic says it will combine aspects from the GH-series, the full-frame S-series and its pro-level Cinema Varicam series.

It’ll almost certainly be 24MP

The most likely implication of these specs is that the camera has a 24MP sensor. While it’s theoretically possible that the chip has more than 6000 horizontal pixels and these are then downsampled to the quoted ‘6K’ resolution, this would be a challenging both in terms of computation and readout speed. It’s far more likely that it’ll be a 6000 x 4000 pixel sensor achieving the 6K 3:2 figure given.

It probably won’t be ‘multi-aspect’ in the same sense as the GH5S

Panasonic talks about the S1H offering ‘multi-aspect’ shooting, including 4:3 anamorphic shooting. But we’re not taking this as proof that it has an multi-aspect sensor, in the same way the GH2 and GH5S have.

While it’s theoretically possible the camera will have a larger-than-full-frame sensor, with the different aspect ratios cropped out to the edges of the image circle, we think it’s pretty unlikely for three reasons:

1) 24MP full-frame chips already exist and would make sense with all the other details given. 2) it would be expensive to develop or commission a dedicated oversized sensor for a relatively niche product. 3) If the 3:2 region is 6000 pixels wide, then a multi-aspect design would lead you to expect a 16:9 region with nearly 6.3K resolution, not the 5.9K quoted.

It’s not impossible, but we think it’s pretty unlikely.

The 60p video will probably come from a Super35 crop

If the camera can only shoot 5.9K (ie full-sensor width), video at up to 30p, then it must either pixel bin, line skip or crop to achieve a rate faster than this. A roughly 6000 x 4000 pixel sensor would yield a roughly 4000 x 2250 APS-C region, which would make sense (this is what the S1 does).

The S1 video upgrade (SFU2) raises the bar

The DMW-SFU2 upgrade for the S1 raises the expectations of what the S1H will be able to do.

Panasonic had already said that the $ 200 SFU2 upgrade would add 10-bit, 4:2:2 150Mbps full-width 4K capture and full V-Log implementation, but the announced specs go further than this. It not only lifts the 29:59 recording limits and enables 10-bit 4:2:2 output of the camera’s 4K 60p footage, over HDMI.

More than this, it adds GH5-like video features such as waveform display, the ability to upload LUTs for a corrected preview, and the ability to limit the recording to industry-recognized ‘safe’ output (giving a choice of 0-1023, 64-940 or 64-1023, to match different workflows).

These additions are likely to hint at the minimum capabilities of the S1H: with it being safe to assume the inclusion of waveforms. Given the S1H’s anamorphic capture capabilities, it’s also likely that it’ll gain the GH5’s ability to present ‘de-squeezed’ playback of anamorphic footage as well as on-screen indicators of the output dimensions.

The body will resemble, but not be shared with, the S1 and S1R

Panasonic says the S1H will look similar to the S1 and S1R but won’t share the same body Instead the company implied it would be slightly larger. The early imagery shows a camera that’s slightly taller than the existing bodies.

This raises the likelihood that the S1H is essentially an S1 will more processing power and the improved heat dissipation that this would need.

But beyond that, the capabilities look remarkably similar:

	Panasonic S1 (with paid SFU2 upgrade)	Panasonic S1H
Pixel Count	24MP	24MP*
30p capture	Full-width 4K downscaled from 6K	Full-width 6K
60p capture	UHD from Super35 region	DCI or UHD from Super35 region*
Other aspect ratios	–	3:2 6K at up to 24p
In-body stabilization	Yes	Unknown

*logical assumptions, based on information provided.

What will the S1H offer over an upgraded S1?

The limited details we have of the S1H suggest it may be based on similar hardware to the S1, though perhaps with a more powerful processor (or the same processor running faster, with some means to cool it).

What is clear is that Panasonic thinks these differences will be worth at least a $ 1300 premium over the cost of the S1 and SFU2 upgrade. The company says it’ll be a product aimed at pro videographers and cinematographers, rather than the S1, which is described as being a good fit for wedding photographers who are also looking to deliver video.

So, what might the S1H offer to justify this price-hike (and the creation of a whole new model)?

Full resolution output

The Panasonic S1 creates its 4K footage from 5.9K capture, but we’re assuming Panasonic means that the S1H won’t downsample to 4K, when it says the S1H will shoot 5.9K.

The camera’s 6K 3:2 mode is likely to essentially an ‘open gate’ mode, shooting a larger area than the final shot, giving scope for cropping, re-positioning, rotating or stabilizing the footage. To achieve the full benefit of this, the camera would need to output its 6K capture at 6K.

Likewise, we’d expect the camera’s ‘5.9K 16:9’ footage to be retained at full resolution. For a professional workflow, this greater detail would provide some flexibility to crop in post while still maintaining true 4K resolution could be the difference between a primary camera and a secondary ‘B’ camera, and a major selling point over the S1.

Higher bitrates?

Even with the paid video upgrade, the Panasonic S1 can only shoot video at up to 150Mbps: a long way short of the 400Mbps capabilities of the GH5 and GH5S. This seems like the most obvious added extra to include in the camera.

The GH5 and GH5S already show that Panasonic can write 400Mbps (50 MB/s) to the latest V90-rated SD cards, which is not necessarily utilized in the S1.

There’s also the possibility that the S1H will support the Micro P2 standard of cards, used elsewhere in Panasonic’s VariCam range. These look like standard SD cards but use a different write method with greater data integrity. Adding P2 support would boost cross-compatibility with VariCam cameras.

Regardless of memory format, we think higher bitrate capture is a near certainty.

ProRes-compatible Raw output?

Also possible is that Panasonic has been working on a way to deliver the sensor’s Raw output (in a manageable bit-depth) across the HDMI port, to allow the potential for ProRes Raw or CinemaDNG Raw capture using an external recorder.

Nikon has rather stolen a march on the rest of the photo industry by promising Raw video output from the Z6. Raw video hasn’t been universally adopted, as a result of the storage and processing demands that it imposes on the workflow. However, the ProRes Raw format offers clever-enough compression options that it becomes easier to adopt. Panasonic may already looking ahead to Raw becoming format of choice in the industry. We’d rate this as 50/50.

Industry-standard connectors

The hint of a slightly larger body makes SDI, micro XLR or more pro-friendly connectors a possibility. However, historically Panasonic has preferred to offer these through a series of adapter add-ons (such as the XLR-1 adapter) that can be compatible with a number of cameras, so we think this is pretty unlikely.

Fixed sensor?

The company was distinctly tight-lipped when we asked whether the S1H would be image stabilized. At the time of the GH5S launch, the company claimed that a fixed sensor works better with external stabilization system (though it’s equally true that the GH5S’s sensor is so big that there’s limited scope for moving it around within the image circle of Micro Four Thirds lenses).

It’s possible that this greater gimbal and steadicam friendliness, combined with the improved heat management of being able to attach the sensor to a heat sync would push the S1H towards using a fixed sensor. That would also explain its existence as a distinct model, since most photographers would prefer to have in-body IS.

We’d rate this one as 50/50, too.

It’ll be fascinating to find out

At this point we can only speculate but, if Panasonic thinks it can charge an extra $ 1300 for the S1H, then they must be pretty confident about the value proposition it’ll offer.

We’d expect Panasonic to hold onto the precise details of the S1H until nearer its autumn/fall release. We’d also expect them to hold some surprises back, to really catch the industry’s attention.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Panasonic’s versatile Leica DG Vario-Summilux 10-25mm F1.7 lens available in July

01 Jun

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_2239272758″,”galleryId”:”2239272758″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Panasonic has announced that its Leica DG Vario-Summilux 10-25mm F1.7 ASPH lens – first teased at Photokina 2018 – will be available for purchase in July. Panasonic is marketing the 10-25mm, which in full-frame terms is equivalent to 20-50mm on a Micro Four Thirds body, as a single lens that covers five commonly used equivalent focal lengths: 20, 24, 28, 35 and 50mm.

The lens features a total of 17 elements, including aspherical, ED and UHR glass. The lens uses a stepping motor to provide fast, quiet focus. It has a nine-blade aperture and minimum focus distance of 28cm (11″). The lens isn’t as large or as heavy as one would expect, and is very well-built and fully weather-sealed. It’s the first Panasonic Micro Four Thirds lens with a focus clutch and a clickless aperture ring is also provided.

The 10-25mm was very much designed with video in mind, with minimal focus breathing, ‘seamless’ iris control for smooth exposure changes and linear focus response.

The Panasonic Leica DG 10-25mm F1.7 ASPH will be available in July for $ 1799/£1799.

**Panasonic Introduces The World’s First* Standard Zoom Lens Achieving Full-range F1.7**

LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025)

*As a digital interchangeable lens for a mirrorless camera, as of May 31, 2019

Newark, NJ (May 31, 2019) – Panasonic is proud to introduce a new standard zoom digital interchangeable lens, the LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH.

(H-X1025), which boasts a large F1.7 aperture throughout the entire 20-50mm (35mm camera equivalent) zoom range and exceptionally high optical performance, clearing the stringent LEICA standards. The LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. is suitable not only for stills shooting, but also for video recording, to satisfy both professional photographers and videographers.

The full-range F1.7 ASPH. high-speed aperture provides beautiful bokeh and high descriptiveness. Covering a focusing distance from wide angle to standard zoom range, the LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. functions as a multiple fixed focal-length lens, providing the same or higher level of descriptiveness than a fixed focal-length lens can offer. It is suitable for a variety of daily shooting situations, from dynamic landscapes to portraits–even in low-lit scenes– eliminating the need to change lenses between variations in environment.

Comprising 17 elements in 12 groups, the lens system features three aspherical lenses and four ED (Extra-low Dispersion) lenses that effectively suppress the axial chromatic aberration and chromatic aberration of magnification. Spherical aberration and distortion are also corrected by the aspherical lenses for stunningly high resolution. The use of aspherical lenses coupled with the optimum design of the lens system, results in a compact size and light weight, while maintaining its outstanding optical performance.

Compatibility with a maximum 240-fps high-speed sensor drive realizes high-speed and high-precision auto focusing. Notably, the new lens excels in video recording performance. In addition to the silent operation achieved by the inner focus drive system, the stepless aperture ring and micro-step drive system in the aperture control section help the camera smoothly catch up to brightness changes when zooming or panning. The optical design achieves exceptional barycentric stability to minimize image shifts during zooming. Adoption of a focus clutch mechanism enables instant AF/MF switching and accurate manual focusing. The LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. also excels in video recording performance with a mechanism that suppresses focus breathing, which was previously a fatal problem of all interchangeable lenses designed for still image photography.

The rugged dust/splash-resistant* design withstands use under harsh conditions even at -10 degrees Centigrade for high mobility. Nine blades give the aperture a rounded shape that produces an attractively smooth defocus effect in out-of-focus areas when shooting at larger aperture settings. Filter diameter is in 77mm. A highly reliable metal mount endures long time use.

Panasonic is committed to expanding the of Micro Four Thirds lineup through its LUMIX G series of cameras and lenses.

*Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.

Design and specifications are subject to change without notice.

Leica DG Vario-Summilux 10-25mm F1.7 ASPH lens specifications

Principal specifications
Lens type	Zoom lens
Max Format size	FourThirds
Focal length	10–25 mm
Image stabilization	No
Lens mount	Micro Four Thirds
Aperture
Maximum aperture	F1.7
Minimum aperture	F16
Aperture ring	Yes
Number of diaphragm blades	9
Optics
Elements	17
Groups	12
Special elements / coatings	1 UHR, 3 aspherical, 4 ED elements
Focus
Minimum focus	0.28 m (11.02″)
Maximum magnification	0.14×
Autofocus	Yes
Motor type	Stepper motor
Full time manual	Yes
Focus method	Internal
Distance scale	Yes
DoF scale	No
Physical
Weight	690 g (1.52 lb)
Diameter	88 mm (3.46″)
Length	128 mm (5.04″)
Materials	Magnesium alloy
Sealing	Yes
Colour	Black
Zoom method	Rotary (extending)
Power zoom	No
Zoom lock	No
Filter thread	77 mm
Hood supplied	Yes
Tripod collar	No

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Panasonic’s upcoming Lumix DC-S1H cinema camera can capture 6K video

01 Jun

Panasonic has announced the development of its video-focused, full-frame Lumix DC-S1H mirrorless camera, which will be available in the third quarter of 2019 for $ 4000.

The S1H will be able to capture 6K/24p video from the 3:2 region of its sensor and 5.9K from the 16:9 area. The camera will also be capable of 10-bit 4K/60p recording. In addition, it will support multi-aspect recording, such as anamorphic 4:3. Regardless of what video setting you’re using, the S1H will be able to keep recording until the battery dies or your card fills up.

The S1H has been designed to produce video virtually identical to that of Panasonic’s pro-level VariCam cinema camera, through the use of V-Log and V-Gamut. The company claims that the S1H will match the VariCam in terms of both dynamic range (14+ stops) and color reproduction.

Panasonic Lumix S1R, S1H and S1

Panasonic says it plans to have ten L-mount lenses by the end of 2020 and, via EF and PL adapters, S1H users will be have access to more than 50 cinema lenses from its L-mount partners Sigma and Leica.

And that’s all we know about the S1H at this point. A prototype will be shown at the CineGear expo this weekend, and we have no doubt that Panasonic will drip out more information in the months to come.

Press release:

Panasonic Announces the New LUMIX S1H Full-Frame Mirrorless Camera

With Cinema-Quality Video and the World’s First 6K/24p*¹ Recording Capability

Newark, NJ (May 31, 2019) – Panasonic Corporation is proud to announce the newest addition to the LUMIX S series, the LUMIX S1H, a new Digital Single Lens Mirrorless camera equipped with a full-frame image sensor. As the world’s first camera capable of video recording at 6K/24p ^*1 (3:2 aspect ratio), 5.9K/30p (16:9 aspect ratio), and 10-bit 60p 4K/C4K^{.*2 *3}, it combines the video quality of a professional camera and the high mobility of a mirrorless camera. The LUMIX S1H will be released to world markets in fall 2019.

The main features of the new LUMIX S1H are as follows:

High resolution up to 6K for multiple formats.

Maximizing the use of the pixels in the full-frame image sensor, the LUMIX S1H, as a digital camera, has achieved 6K/24p (3:2 aspect ratio) or 5.9K/30p (16:9 aspect ratio) video recording for the first time in the world^.*1 It is also the world’s first full-frame digital interchangeable lens system camera^*1 to enable 10-bit 60p 4K/C4K ^*2*3 video recording. It accommodates a variety of recording formats like 4:3 Anamorphic mode, to meet professional needs. Its high-resolution data can also be used to create 4K videos with higher image quality or to crop images in 4K.

Rich gradation and a wide color space virtually equal to those of cinema cameras.

The LUMIX S1H features V-Log/V-Gamut with a wide dynamic range of 14+ stops, which are virtually the same as those of the Panasonic Cinema VariCam, allowing it to precisely capture everything from dark to bright areas. So much so, that the color and even the texture of human skin are faithfully reproduced. Designed under consistent color management, the S1H’s recorded footage is compatible with V-Log footage recorded by VariCam or the LUMIX GH5/GH5S.

High product reliability that allows unlimited video recording.^*7

In every S1H recording mode, video can be recorded non-stop under the certified operating temperature so the user can concentrate on shooting.

Since the 1990s, Panasonic has been a leader in the development of video recording technologies for digital cinema, and has produced a host of innovative technologies for impressive cinematic imagery, such as 24p video recording, slow motion video using a variable frame rate, and the wide dynamic range and color space of V-Log/V-Gamut. By working with film creators for more than 25 years, Panasonic has successfully designed a number of cinema cameras that exhibit stunningly high video performance. The LUMIX GH1 made its debut in 2009 as the world’s first Digital Single Lens Mirrorless camera capable of full-HD AVCHD video recording. ^*4 The LUMIX GH4 was launched in 2014 as the world’s first Digital Single Lens Mirrorless camera^*5 capable of 4K video recording. Next, the LUMIX GH5 was released in 2017 with the world’s first 4K/60p, 4:2:2 10-bit 4K/30p recording capability.^*6 The LUMIX GH5 is highly acclaimed by film creators for its high performance, excellent mobility, and superb versatility in film production. And now, in 2019, the LUMIX S1H joins as Panasonic’s newest cinema camera.

Panasonic now offers three innovative models in the LUMIX S Series of full-frame Digital Single Lens Mirrorless cameras – the S1R, the S1, and the new S1H. The LUMIX S1R is ideal for capturing high-resolution images, while the LUMIX S1 is an advanced hybrid camera for high-quality photos and videos, and the LUMIX S1H is designed especially for film production. With this lineup, Panasonic is committed to meet the demands of every imaging professional by challenging the constant evolution of the photo/video culture in today’s new digital era.

The LUMIX S1H prototype will be exhibited at the 2019 Cine Gear Expo.^*8?

^*1 As a digital interchangeable lens system camera, as of May 31, 2019 (U.S.). Panasonic research.

^*2 As a full-frame digital interchangeable lens system camera, as of May 31 May, 2019 (U.S.). Panasonic research. In Super 35mm-equivalent size.

^*3 Corresponding to 4K (4096×2160) as defined by Digital Cinema Initiatives (DCI).

^*4 As of March 25, 2009, as a digital interchangeable lens system camera. Panasonic research.

^*5 As of March 25, 2014, as a Digital Single Lens Mirrorless camera. Panasonic research.

*⁶ As of January 25, 2017, as a digital interchangeable lens system camera. Panasonic research.

^*7 Recording time varies depending on the battery capacity and memory card capacity. When the camera’s temperature rises above the specified operation temperature, the camera may automatically stop video recording to protect it from heat damage.

^*8 Cine Gear Expo 2019 is the premier annual event for professionals engaged in the technology, entertainment and media industry to be held at Paramount Studios in Los Angles, U.S., through May 30 to June 2.

?Design and specifications are subject to change without notice.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Hands-on with Panasonic’s 10-25mm F1.7 Micro Four Thirds lens

01 Jun

Panasonic Leica DG Vario-Summilux 10-25mm F1.7 ASPH

The Panasonic Leica DG Vario-Summilux 10-25mm F1.7 ASPH is a fast zoom lens that covers several popular focal lengths. When mounted on a Micro Four Thirds body, where it’s equivalent to 20-50mm, you can hit 20mm, 24mm, 28mm, 35mm or 50mm with a single lens (and a fast one, at that). It will ship in July for $ 1799/£1799.

The lens was originally announced last year at Photokina, and saw a mockup under glass at CP+ back in March.

We were able to get our hands on a preproduction lens, so click through to learn more about this beast of a lens.

Big, but not that big

Make no mistake, the 10-25mm F1.7 is a hefty lens, but it’s not nearly as large or heavy as one would expect given its ambitious spec. The lens is 128mm (5″) long, has a max diameter of 88mm (3.5″) and weighs in at 690g (1.5lb). By comparison, Sigma’s 18-35mm F1.8 Art lens is a bit shorter, but almost 20% heavier, despite covering a narrower range of focal lengths.

The 10-25mm is a pricey lens, and it feels like it in the hand. It’s virtually all metal and is dust and splash-resistant. The lens can function down to -10°C/+14°F.

Seventeen elements

It shouldn’t come as a huge surprise that this ambitious lens requires a lot of glass. The 10-25mm F1.7 has 17 elements in 12 groups and includes aspherical, ED and UHR elements. The lens is threaded for 77mm filters, which serves as an example as how compact (relatively speaking) the 10-25 is.

The lens uses a stepping motor that focuses quickly and quietly.

Grabbing control over focus

The 10-25 is the first Panasonic Micro Four Thirds lens to have a focus clutch, making it easy to quickly switch between auto and manual focus. As you can see from the photo above, the lens can focus down to 28cm (11″).

With the clutch pulled back, the manual focus response is linear. This will be especially useful for video shooters, since it means you can be certain of how much the focus will change in response to you turning the lens. There’s a feedback stop at either end of the focus range but they’re not hard stops: the focus ring will continue to rotate beyond the close and far points, so it’s not great for use with a follow-focus.

Stills shooters are likely to appreciate that it gives an experience much more like an old, mechanically-driven lens,

Put a ring on it

The aperture ring, which travels from F1.7 to F16, is click-less, another feature the video crowd will appreciate. Something we like about the dial, at least on the prototype we used, is that there’s a detent to prevent you from accidentally switching the ring out of Auto mode.

Just as importantly for videographers, the aperture/iris is driven smoothly, without steps. This allows subtle adjustments in exposure (either manually or in auto mode), without the brightness of the video visibly jumping.

No going to great lengths

The lens extends when you adjust the zoom, but not by much: here it’s shown at full-extension.

Its comparably low weight should make it easy for a gimbal to stabilize, and the limited change in length should also mean its center of gravity doesn’t move very much. This should make it possible to get away without having to re-balance for different focal lengths, which is a clear benefit over using a series of prime lenses.

L-mount teleconverters

Panasonic released a pair of teleconverters for its S-series full-frame bodies alongside the 10-25mm F1.7. These 1.4x and 2x converters are compatible with Panasonic’s S Pro 70-200mm lenses: the currently available F4 version as well as the F2.8 model coming later this year.

Both teleconverters feature UHR (ultra-high refractive index lens) elements, and Panasonic claims that there’s virtually no reduction in resolution when using them.

The 1.4x and 2x teleconverters are priced at $ 499/£489 and $ 599/£579, respectively.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

DPReview TV: Panasonic 10-25mm F1.7 preview + Cine Gear announcements

01 Jun

Hot on the heels of Panasonic’s announcements from Cine Gear 2019, Chris and Jordan give us a hands-on preview of the new 10-25mm F1.7 lens, along with details of the new VLog upgrade for the S1 and the announcement of a new video-oriented full frame mirrorless model, the S1H.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

Introduction
Design and handling
Focus breathing
Versus Sigma 18-35mm F1.8 with Metabones Speedbooster
Macro capability
Autofocus
Size and weather sealing
Panasonic S1 firmware update (SFU2)
Panasonic S1H pre-announcement details
Wrap-up

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Kickstarter campaign seeks funding for Alter RFS, a hinged lens filter adapter

01 Jun

Alter has launched a Kickstarter funding campaign for Alter RFS, a Rapid Filter System that attaches lens filters to a camera via a hinged adapter. The Alter RFS friction hinge supports 270 degrees of rotation, enabling photographers to lower a filter over the lens when needed, then quickly lift it out of the way again.

Alter RFS, which is made out of milled anodized aerospace aluminum, features a magnet for sealing the filter over the lens and a light shield for preventing light leaks. The adapter supports existing lens filters with universal threads and can be rotated to move the hinge to the ideal position for the user’s needs (from the top to the side of the lens, for example).

The friction hinge prevents the filter from falling back down over the lens even during rough camera movements. Alter plans to offer the Rapid Filter System in filter sizes 40.5mm to 105mm, as well as an RFS+ adapter model that includes a built-in step-up.

Alter is offering Kickstarter backers various discounts for pledging funds to the campaign, with those discounts starting at $ 67 USD for a single Alter RFS up to $ 59 USD each for three units and $ 55 USD for any additional units beyond that. The company anticipates a retail price of $ 79 USD, assuming the campaign is successful and the product is brought to market. Shipments to backers are estimated to start in September.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

LIT wireless xenon flash Kickstarter campaign cancelled after project reevaluation

31 May

The Kickstarter funding campaign for the LIT wireless xenon flash has been canceled. The team behind the device detailed their decision to end the funding in a post published on the Kickstarter update page, where they state, ‘After doing some additional calculations during the campaign, we realized we won’t be able to make it a reality with just our initially set funding goal and newly uncovered product ambitions.’

As DPReview reported last month, the LIT wireless xenon 40W flash was intended for use with a smartphone, and would have—if everything had gone according to plan—included a built-in rechargeable battery capable of powering 200 full-power flashes. The device was also expected to feature HSS and support for smartphone shutter speeds as fast as 1/10,000s.

Though the Kickstarter campaign exceeded the $ 40,000 funding goal, the LIT team explains in the update post, ‘Based on the current funding rate, we might be able to push the product development and production through, but it would take considerably more funds to make it in a way that would meet our high standards.’

The LIT xenon flash Kickstarter project was canceled at just over $ 65,000 in pledged funding from 367 backers. The LIT team said in its post:

We don’t compromise and that’s why we’ve decided to cancel our campaign and maybe revisit Kickstarter at some later time with a new campaign. It feels so wrong doing the right thing.

Saying goodbye is the hardest solution to any problem. But sometimes it’s the only choice we have. It’s not forever, is not the end. It simply means we’ll miss you until we meet again.

We still believe that the future of image making is in your pocket. It is in our nature to work hard. To listen. To think. To question everything. To fail, stand up and change.

LIT will not collect the Kickstarter funds.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

An introduction to video tripods

31 May

The Benro S8 tandem

So you’re looking to shoot video and you need a tripod. Do you have one that you use for stills or maybe you’re starting out with nothing and looking at purchasing your first one?

Either way there are a few things that you need to consider. If you’re not planning to move the camera during the shot then your existing setup may work for you. As a stepping stone using the same tripod with no extra outlay can work out in the short term. As you develop your skills you will probably find that your existing tripod will cause some frustration through its limitations.

There are things that you don’t need when shooting stills that are key when shooting video and some features that you can live without but once you upgrade you will wonder how you ever managed without them.

Let’s have a look at the constituent parts, the legs and the head, and investigate some of the considerations.

The legs or sticks

One of many options, the Manfrotto twin tube carbon fiber legs and mid level spreader

This is the part that is the easiest to deal with. A good set of stills legs (often referred to as ‘sticks’ in the video world) will actually have more longevity in terms of use with video than a typical stills head. You may find that the legs you have already work fine, however there are some things to consider if you are planning to upgrade.

Bowl or Flat mount

A typical stills tripod with detachable head will often have a flat base; in contrast, a video tripod usually has a bowl mount. These are available in a number of diameters, usually 50mm, 60mm, 75mm, 100mm and 150mm. There are exceptions to this, especially with cinema cameras.

Having a bowl allows much easier adjustment for leveling, no longer do you have to adjust the tripod legs to achieve a level camera. Instead of multiple adjustment points there is only one underneath the head at the top of the legs. (Sometimes you may find that leg adjustments are still necessary.) Some legs are sold with an adapter so that you can easily use a head with a smaller ball with a larger bowl.

Spreaders

Video tripods offer three different ways of adjusting the angle of the legs for better stability at low or high extensions. The choice of these is mainly down to experience and personal preference.

The ground level spreader

This can get dirty very easily and needs frequent maintenance but provides great stability. With a lot of tripods you do need to remove it if you want to use the leg spikes or place it on uneven ground.

The mid level spreader

This doesn’t get as dirty but sometimes can be more awkward to remove and re-attach, although easier when setting up and packing away. It also allows you to use the legs on uneven surfaces without having to remove the spreader.

The no spreader approach

The angle adjustment is achieved through limiting the spread with angle locks at the top of the leg.

This has gained a lot of traction in the video world over the last 15 years, although it doesn’t work well with very heavy payloads. It does offer the unique advantage of not being left behind as can happen with separate ones.

Leg construction

There are two styles of tripod leg, the single tube, which is not very different from stills legs and the twin tube. The twin tube versions tend to offer greater rigidity as they use two connection points at the top of the legs. Video work often involves lots of camera movement, and you don’t want the top of the legs to twist in any way while moving the camera as this can cause the tripod to lift. This can be more noticeable if moving the head quickly with a heavier setup.

As with stills legs you also get two main choices with materials, alloy or carbon fiber. The choice is mainly down to budget although weight saving and sturdiness can also be deciding factors.

Leg locks

Clamps that rotate 90 degrees to lock the legs, the Pozi-Loc system from Vinten.

As with stills legs you have two main options here, a twist lock or a flip lock. For twin leg systems the default is a flip lock. Some manufacturers use a rotating clamp instead, Vinten for example has it’s Pozi-Loc system.

Another option is the flowtech system from Sachtler. This system has only three clamps located at the top of the legs next to the head, very quick and easy to adjust but at a cost.

A single lock at the top of each leg simplifies adjustments

The feet

One option, removable flat feet that attach over spikes

In a similar way to stills legs there are usually two options here: spikes or flat feet. A lot of legs offer screw down rubber feet over spikes. Some video tripods offer completely removable flat feet that attach with clips over the spikes. There are some advantages to this, such as when you need to clean them or if they get damaged and need replacing. However, as they are detachable they can be left behind if you’re not careful. The other common option is feet that are integrated into a ground level spreader.

Center column

Center columns are useful but make sure they’re not over loaded

A single center column extension is normal for stills legs but not for video. There are some video focused tripods that offer this option, but it’s not widely adopted and requires care in use as stability can be an issue due to the higher weight demands of some video set ups. Benro among others do offer a number of tripods that offer this feature.

The Head

A handy way of using a flat head on a set of legs with a bowl

There are two main types of heads – flat or ball – and they interface with their associated leg type, although flat heads can often be adapted to fit most bowl mount tripods. Another option is a leveling head that allows you to add a half ball mount in between a head and a flat base for quick and easy adjustment.

Plates

Heads meant for video often use a longer plate

There are a lot of different plates for different manufacturers and some of them are interchangeable, however don’t rely on that without checking. A video plate is often elongated for use with heavier payloads. These plates also tend to have measurement marks on them so that positions can be easily repeated. A lot of plates are lined up and inserted from the rear of the head and once past the safety lock can’t accidentally fall off. Although that’s not to say that the whole tripod and head can’t fall over if not correctly set up.

Some heads like the Manfrotto N8 have a side loading plate

Something that is becoming more readily adopted and is trickling down from very expensive cinema heads are side loading plates. These are elongated as usual but attach more like a stills plate. They need to be angled slightly so that the left or right lip of the plate engages under the corresponding lip of the head. Then the locking lever is engaged when the plate is placed flat on the head. This can be advantageous when using heavier payloads.

Counterbalance

The need to achieve a good balance should not be underestimated. The counterbalance, or ‘spring’ as it’s often termed, is there to balance the camera on the head. This can take the form of a dial or a knob which increases or decreases the amount of tension in the head in the tilt direction. This is not the same as tilt friction.

Manfrotto’s Nitrotech CBS system uses a nitrogen cartridge for a variable counterbalance

The counterbalance control should be adjusted according to the weight of the payload. The ideal situation is to increase the control in steps until you can tilt the camera to any position then let go of it and it remains stationary. In practice this might not be achievable at first and can take a few minutes to get an acceptable result.

Remember that better results can be obtained by making sure that the weight is correctly centered on the head. This is achieved by moving the camera back or forth on the head via the sliding plate and then locking it into place. Some setups might even require unscrewing the camera from the plate and relocating it fore or aft slightly especially when changing the weight of the rig.

Payload

Making sure that you’re not outside the recommended payload range of a head is important. The counterbalance and brakes are only designed with a certain weight range in mind. Ensuring that you don’t under load your head is also important, this might seem a bit odd but there’s a good reason for this. You won’t get a good result with a head that has a strong counterbalance when using a lighter camera, especially if you can’t turn it off. It will fight you when you try and tilt the camera even with the drag dialed down to minimum. You might get away with overloading the head but smooth movement then becomes difficult. The rating of the legs also come into play, you don’t want them collapsing!

Friction and brakes, or drag and locks

The tilt fluid drag control and lock on the Benro S8

Pan and tilt frictions or drag are usually adjustable independently of each other, commonly with a dial. The more expensive the head, the more positions on the dial. Lower end heads tend to have quite limited adjustment ranges for pan and tilt drag, sometimes only a simple on or off setting.

You will see some heads marketed as fluid heads, and these use a fluid to dampen or smooth out movements. The more professional ones contain the fluid in a cartridge, the very cheap ones don’t and some have been known to leak. Brakes or locks are usually either dials or small levers and shouldn’t be over tightened.

Pan Bar

The lightweight Manfrotto X PRO fluid head, a budget option for lightweight kit especially if you want to use your existing stills tripod

While not exclusive to video heads this bar doesn’t offer the ability to lock the head position as with some stills heads. It’s simply a handle, sometimes extendable, that helps with smooth movement. It’s not exclusively for pans; despite the name it also works well with tilts. It needs to be properly tightened before use or you will get some very sloppy movements. Be aware that it’s very easy to wear down the rosette at the head end of the bar and some manufacturers sell user replaceable rosettes to fix this issue.

Quality vs Cost

If you think that you’re going to move into video work then a decent tripod is important. As a general rule any tripod is better than none, but one that is so big and heavy that you don’t want to take it with you is mostly useless. A good tripod should be an extension of your arm, you should be working with it and not fighting to tame it.

Tripods may not attract the sort of gear envy that cameras and lenses do – they’re not sexy and don’t contain any electronics (apart from maybe a backlight for the bubble). This means they don’t date quite as quickly and can usually last many years or even decades if looked after properly.

It’s not elegant but well balanced set ups mean smooth moves

Good tripods can cost many thousands of dollars but they don’t have to. What’s as important as purchase price is after-sales service. Are you going to be able to get the spare parts or servicing you require a few years down the line?

So how much should you spend? That’s entirely up to you. As a guideline I’d be thinking about something in the $ 250-$ 750 range. For that you can get a decent set of legs and a fluid effect head. You can of course get much cheaper tripods but you will probably end up wanting to upgrade very quickly when you realize the limitations that budget kit brings.

Finally, if you’re new to the world of video tripods and don’t quite know where to begin, I’d recommend starting with one of the tripods listed below:

Manfrotto MVH502AH
Manfrotto MVK500AM
SACHTLER 1001 ACE M MS SYSTEM

Each of these offers great performance at a reasonable price and can be a good starter system depending on your particular preferences and budget.

Do you have a favorite video tripod, or one that has worked really well for you? Let us know in the comments!

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized