360Photography

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  • DaVinci Resolve 16 has new Neural Engine, native Frame.io integration and more

    In addition to the new battery grip for the Pocket Cinema Camera 4K, Blackmagic has announced DaVinci Resolve 16, the latest version of its video editor that brings a massive collection of new and updated features.

    The standout feature of DaVinci Resolve 16 is a new cut page designed specifically ‘for editors that need to work quickly and on tight deadlines.’ The updated cut page is an alternate edit page that features a streamlined interface and a new toolset that makes it easier to ingest, process and export footage.

    In Blackmagic’s own words, ‘The [new] cut page isn’t about simplification, it’s about removing the things customers don’t need and building powerful, professional tools that help customers work more quickly. And, sometimes, it means borrowing the things that were great about the past and bringing them into the future.’

    These new and improved tools include source tape, a new feature that brings all of the clips in a users bin into the viewer as a single long tape so it’s easier to scrub though, select the in/out points and bring the needed footage into the timeline. Another updated tool within the interface is a dual timeline arrangement that makes it possible to see both detailed sections of footage, as well as the whole timeline at once. This makes it easier to get both a macro and micro look at the work, rather than having to zoom in and out constantly.

    DaVinci Resolve 16’s Neural Engine at work picking out faces from various clips.

    Blackmagic Design has also added its new DaVinci Neural Engine, which uses ‘state of the art deep neural networks and learning, along with artificial intelligence to power new features such as speed warp motion estimation for retiming, super scale for up-scaling footage, auto color and color matching, facial recognition and more.’

    The DaVinci Neural Engine is cross-platform and uses the latest GPU technologies to provide improved performance when working on footage and help to streamline the editing process. Blackmagic Design specifically references the DaVinci Neural Engine’s ability to use facial recognition to automatically sort through footage and add individual clips to folders based on who is in the shot.

    ResolveFX has also been updated in DaVinci Resolve 16. You can now add vignettes, drop shadows, analog noise/damage, chromatic aberration, video stylization and even remove objects. Blackmagic Design says there have also been improvements to the scalene, beauty, face refinement, blanking fill, warper, dead pixel fixer and colorspace transformation plugins.

    Additional features added and improved upon in DaVinci Resolve 16 include new adjustment clips to help add effects and grades to clips in the timeline, a new quick export tool for uploading videos to YouTube and Vimeo from anywhere inside the app and GPU-accelerated scopes to help keep an eye on the technical side of things. Blackmagic has also partnered up with remote collaboration tool Frame.io to add native support in DaVinci Resolve 16. Now, Frame.io is baked right into the software, rather than working as an iteration.

    Below is a 25-minute video of Blackmagic Design walking through all of the changes found inside DaVinci Resolve 16:

    DaVinci Resolve 16 public beta is available to download from the Blackmagic Design website, where you will also find additional details.

    Articles: Digital Photography Review (dpreview.com)

  • Review: The Aputure Amaran AL-MW LED light

    Aputure Amaran AL-MW
    $ 209 | aputure.com

    The Aputure Amaran AL-MW is a small, single-color, continuous LED light that runs on battery power and can be set to 10 selectable output levels. It has high TLCI and CRI ratings for color accuracy, as well as a couple other features not usually found on a light at this price, such as special effects modes, while its small size of 117.5 x 43.5 x 32mm (4.6 x 1.7 x 1.25 in.) makes it ultra-portable.

    When I learned about this light I was intrigued to see if it could solve a couple of issues for me. I was in need of a small light for product shots, video and stills. I didn’t need a huge output as it was going to be a fill or back light. I wanted something small, easy to control and battery powered. I also wanted a light that didn’t exhibit a loss of illumination level as the battery life faded, as some lights do. This can be really annoying, so I needed a light that just dies (with a warning beforehand) when the battery reaches a certain level. The Aputure Amaran AL-MW seemed to fit the bill.

    Key features

    • Built in battery with USB-C charging
    • Up to 24 hours continuous operation (according to manufacturer)
    • 10 selectable output levels
    • Five ‘special effects’ lighting modes
    • Included filters and diffusers
    • IP68 rated to 10m (30 ft.)
    • >95 CRI and TLCI ratings

    One thing that’s unusual about this light is that it offers five lighting effects: lightning, fireworks, TV, a (faulty) light bulb and paparazzi. Usually if you need these effects on a shoot you have to employ some additional equipment, or someone waving a flag or reflector in front of the light. On top of that, the light is submersible to 10m (30 ft.), opening the door to some creative uses.

    The light’s 110-element C.O.B (chip on board) structure is semi-random, avoiding the multiple shadows seen with some LED lights.

    Uses

    I’ve been using the AL-MW for shoots in a table top environment, mainly for product shots. It’s ideal for this as I can easily tuck it behind props or just place it on a table and use it as a back light. It doesn’t suffer from the multiple shadows that you can get on some LED lights due to its semi-random pattern and phosphor sheet, and this applies without any diffusion. It’s also equally at home lighting up a small backdrop. The stated CRI and TLCI figures (>95) mean that it’s also a suitable light to use in interviews as skin tones are correctly illuminated.

    The Amaran AL-MW is small and versatile enough to be placed easily. I’ve been using it to help light tabletop product photos. Below, you can see the actual product shot from this simple lighting setup.

    It’s also quite handy in some some light painting situations, thanks to its size and maneuverability, and I’ve also used it to fill in shadows when shooting stills. It’s a light that I gravitate towards using rather than one that I use only when required to do so.

    The resulting image has a subtle tungsten back light effect shot together with an on-camera diffused flash.
    ISO 1600 | 1/20 sec | F22 | Sony FE 24-105mm F4

    Design

    What strikes you on first opening the box is just how small the included carrying case is. When you open it you’re greeted with the light itself, which of course is even smaller.
    Also included are a filter holder, three CTB filers, three CTO filters, two diffusers, a piece of 3M hook and loop tape and a USB-A to USB-C charging cable. Phew, that’s quite a few accessories packed in a small space.

    The light has a very solid build with a single 1/4″ mount on the bottom and a membrane control panel on the top. The front face contains the 110-element C.O.B. (chip on board) emitters arranged in a semi random pattern. One thing the AL-MW is not is a variable color temperature light; any color adjustments have to be achieved with the included CTB and CTO gels together with the gel holder.

    The top panel with membrane controls and status LEDs.

    Variable output

    Located on the top panel are 5 LED indicators showing battery level (green LEDs) and light level (blue). While the charge level indication only offers 20% increments, the light level goes up in 10% steps, with a blinking LED showing the in between percentages of 10, 30, 50, 70 and 90%.

    I’m always slightly skeptical of manufacturers’ stated battery specifications, so I conducted various tests of charging and run times at different output levels and incorporated the results into the table below. Charging is done via the included USB-C cable (no charger is included) and I have found that it charges from flat to full in around 120 minutes.

    Output Level (%)

    		 Run Time (hours)
    10 22:00*
    20 11:48
    30 8:36
    40 6:45
    50 5:09
    60 3:51
    70 2:57
    80 2:15
    90 1:46
    100 1:25

    *The manufacturer’s stated run time at 10% is 24+ hours, though I was never able to achieve this through multiple tests. I contacted Aputure and I was advised that the maximum run time can be dependent on ambient temperature.

    I’ve been using it in a table top environment for product shots. It’s ideal for this as I can easily tuck it behind props or just place it on a table and use it as a back light.

    What I discovered is that the relationship between battery readout and run time is not linear, and the indicators don’t accurately represent the remaining run time at the bottom end of the scale. The last 40% of indicated battery life runs out much more quickly than you might expect. If you see the 20% light illuminated then be prepared for the light to go out within about two minutes. If you get a flashing red light then you have less than one minute remaining, although these timings are dependent on the output level selected.

    A boost button increases the maximum light output by 50%, however this is limited to a run time of 60 seconds, and it can only be used again after 40 seconds has elapsed. Though limited, this can be handy for planned slow motion shots. It’s also possible to use the light at up to 80% brightness while plugged in, although it’s limited to 40% when charging from flat. The ability to operate from internal battery or while charging from an external battery pack is useful as well.

    The rear heat sink.

    At full output this light gets quite hot. The case acts as a heat sink, with the back being full of fins, and it does its job very well. I measured the temperature to be in the region of around 47-52°C (116-125°F) at full output. Part of the reason for the limited run time of the boost function is to protect the battery from overheating.

    This brings up another question: the manual states that the provided 3M hook and loop tape is supposed to be attached to the back of the light, but I saw a potential issue as a result of the heat. How long is it going to remain attached when using it at full output? Will the heat melt the adhesive? With this concern I decided to test things out. I need not have worried, with the light at full output and hung vertically on a smooth surface it remained stuck securely for the entire run time. However, it did peel away from the back of the light as I was removing it.

    Additional features

    The effectiveness of the light’s special effects settings are variable. In my opinion, the ‘faulty bulb’ mode is probably the best while the ‘TV’ mode is least effective. This mostly comes down to an inability to produce RGB colors and the rather digital nature of the effect. There’s only a little subtlety to the fade-in and fade-out of the light when it simulates illumination from a TV screen.

    Placing the light under running cold water is a helpful way to cool it down after it’s been used at full output.

    On the other hand, the cadence of the paparazzi effect is very good. However, due to the duration of the flashes you’ll still see rolling shutter artifacts on your videos. Maybe this is deliberate, but I’d rather have seen a slightly longer activation time to mimic flashes on film or CCD cameras.

    Another string to its bow comes in the form of environmental sealing, waterproof to a claimed depth of 10m, which unfortunately I was unable to test. (Although submersing it in a plastic container to a depth of about 25cm did it no harm.) Placing it under running cold water is also a helpful way of cooling the light down after it’s been used at full output; just make sure you have the USB cover attached.

    Included accessories

    In addition to the light, you get 6 color correction gels in 1/4, 1/2 and full CTO and CTB. These are held in place with the supplied gel holder and can be stacked 2 deep. These aren’t quite true gels as they are in fact hard plastic, but that’s what Aputure call them.

    The included gel set includes three CTOs, a diffuser and three CTBs.

    Along with the color correction gels you also get a diffuser gel, as well as hard diffuser made from silicone rubber. The latter can be slipped over the gel holder or onto the light itself to provide an additional level of diffusion with a loss of 2.5 stops. It’s possible to use both diffusers and one of the color correction gels at the same time, although then there’s an even greater penalty in terms of light output.

    The gel holder, which accommodates up to two gels at a time, employs clips at either end, though magnets might have been better.

    Effectiveness

    So, after all the figures and the impressions how does the AL-MW perform? Actually, really quite well. I’m a bit of a sucker for small things that punch above their weight and this product certainly belongs in that category.

    It’s very convenient thanks to its size, and I find that I’m actually using it in my work quite a lot. It’s also very solidly built and feels able to take more than just the odd knock. However, its size also means that with the supplied accessories you can’t get a very diffuse light. Softness is directly related to the size of the diffuser (and distance from the subject). As a result its use as a soft key light is going to be limited.

    Room for improvement?

    I do have a concern that the gel holder attachment is more fragile than I would have liked, and it doesn’t instill confidence when attaching or removing it. I wish that Aputure had employed a magnetic attachment system rather that the clip-on one provided as failure of the clip is my key concern. Although, I should add that in 6 weeks of using and testing this light it hasn’t proven to be a weakness yet, so maybe I’m worrying unnecessarily.

    I would also like to have some sort of barn door attachment to shape the light as the horizontal angle of the beam is around 160 degrees. Although it’s nice and even without the diffuser, I would like to have seen some way to sculpt the light without having to rely on 3rd party solutions or jury-rigging some black wrap.

    The included silicon diffuser is effective, though its small size means it won’t produce diffuse enough light for some applications, such as using it as a soft key light.

    As part of my wish list I’d love to see a version of this light that could be controlled remotely, which would allow for a couple set to different levels that could be ganged together.

    Is it for you?

    Due to its size this isn’t going to be your key light for full length interviews, although there are lots of situations where you will find yourself using it if it’s in your bag. It doesn’t take up a lot of room, the powering options free you from the wall and it can give you decent run time, especially if you combine it with an external USB battery.

    While not a truly disruptive product, the Aputure AL-MW offers enough advantages in one package to be kept close at hand. It’s powerful for its size, small, rugged and great quality. It has found a place in my camera bag.

    What we like

    • Small size
    • Output level and quality of light
    • USB-C charging
    • Range of included accessories
    • Environmental sealing
    • Case

    What we don’t like

    • Gel Holder doesn’t inspire confidence
    • Effectiveness of special effects modes varies
    • Battery meter could reflect run time more accurately

    Articles: Digital Photography Review (dpreview.com)

  • Sony adds enhanced Real-time Eye AF, Animal Eye AF and interval shooting to the a7R III, A7 III

    Sony has released firmware version 3.0 for its a7R III and a7 III full-frame mirrorless cameras, bringing enhanced real-time Eye AF functionality as well as an Eye AF mode designed specifically for animals.

    Enhanced Real-time Eye AF

    Sony’s enhanced Real-time Eye AF is now available in the AF-C focus mode and works with a half-press of the shutter button, or when pressing the AF-ON button. When set to function with a half press of the shutter or with the AF-ON button, Real-time Eye AF will continue to operate as usual, even if no eye is found in the scene. If you choose to map the Real-time Eye AF function to a custom button, you will lose out on this functionality.

    Firmware version 3.0 seen installed on an a7 III camera.

    Real-time Animal Eye AF

    It’s not just human eyes Sony is focusing on either. Firmware version 3.0 brings — for the first time ever in an interchangeable lens camera — Animal Eye AF, a new autofocus mode that uses AI-trained algorithms to pinpoint and focus on the eyes of wild animals and pets.

    Like Real-time Eye AF, Animal Eye AF works with AF-C focus mode and is activated with the half press of the shutter button or when assigned to the AF-ON button. It’s worth noting however, that you must choose between the ‘Human’ and ‘Animal’ Eye AF mode in the menu before shooting. Sony also notes that due to the large amount of data required to track animal eyes, the Animal Eye AF likely won’t perform as well as the Human Eye AF.

    Interval Shooting mode

    Firmware version 3.0 also brings an interval shooting mode first seen in the Sony a6400. Now, it’s easy to capture between 1 and 9999 photographs in 1 to 60 second intervals. The new feature also includes an auto exposure (AE) sensitivity setting that can be adjusted between High, Mid or Low to account for changing exposures throughout the set capture time.

    The resulting images can also be put together into a full video using Sony’s Imaging Edge app, which will process the Raw photographs and output the final video to YouTube, PlayMemories Online and other online video services. Below is a video shared by Sony showing a video produced with the new Interval Shooting mode.

    Other changes found in firmware version 3.0 for a7R III and a7 III cameras include support for Sony’s wireless remote commander RMT-P1BT, the ability to assign the ‘Menu’ button to a custom key and general stability improvements.

    As for the a9, Sony anticipated firmware version 6.0 will be released Summer 2019 and will include Animal Eye AF and the interval shooting modes now available for the a7R III and a7 III.

    Firmware update 3.0 is available to download now on Sony’s website via the Sony a7R III support page and the Sony a7 III support page. As the firmware was only released at the time of publishing this article, we will be spending time with the firmware update to provide more hands-on insight at a later time.

    Press release:

    New Firmware Update for Sony a7 III and Sony a7R III Boosts Eye AF Capabilities and Adds Interval Shooting for Time Lapse

    Sony’s acclaimed a7 III and a7R III mirrorless cameras have received an exciting firmware update—Software Version 3.0— that enhances Real-time Eye AF performance and adds Real-time Animal Eye AF and interval shooting for time lapse.

    Real-time Eye AF

    Software Version 3.0 brings Real-time Eye-AF to the a7R III and a7 III, an AI-driven, enhanced eye detection system that’s based on the results of machine learning. Through machine learning, Sony has created a system that can detect—and focus on—the human eye even if the subject is looking down, partially blocked in the frame, turning or backlit. This feature is available in AF-C mode with a simple half-press of the shutter button.

    Real-time Animal Eye AF

    As with human eye recognition, Software Version 3.0 brings AI-driven animal eye detection to Sony cameras for the first time. Advanced subject recognition allows the a7 III and a7R III to detect and track animal eyes, and is the first step in a robust animal-tracking AF system.

    The development of Animal Eye AF performance will continue, increasing the range of animals recognized by the system as well the system’s ability to track their movement.

    Interval Shooting

    This new software adds a built-in interval timer that can be set for anywhere between 1 and 60 seconds, with a total number of shots from 1 to 9999. AE tracking sensitivity is available to be adjusted to “High”, “Mid” or “Low” in order to reduce changes in exposure.

    For more information on Software Version 3.0 for the a7R III and a7 III cameras, please visit AlphaUniverse.com.

    Update (April 11, 2019): Text edited to clarify Real-time Eye AF and Animal Eye AF work with AF-C focus mode.

    Articles: Digital Photography Review (dpreview.com)

  • Leaked images: A detailed look at the unreleased Zeiss Otus 100mm F1.4 lens

    It’s not official yet, but it appears Zeiss will soon announce the Otus 100mm F1.4 lens for Canon EF and Nikon F mounts, making it the longest focal length in the Otus lineup. DPReview has obtained leaked images, with permission, from Nokishita showing in detail the impending manual lens and its accompanying specifications from Zeiss.

    According to the leaked technical sheets (that appear to come directly from Zeiss), the lens will feature an Apo Sonnar design with 14 optical elements in 11 groups including one aspherical element placed at the very back of the lens and multiple ‘special glass’ elements throughout. It will feature an aperture range of F1.4 – F16, have a minimum focusing distance of 100cm / 39.37in and weighs in at 1336g / 2.95lbs for the Nikon F version and 1405g / 3.10lbs for the Canon EF version.

    The lens features a nearly identical design to Zeiss’ three other Otus lenses — the 28mm F1.4, 55mm F1.4 and 85mm F1.4 — and features the same 86mm front filter thread as the other three to negate the need of stepping rings for filters and accessories. Below is a full gallery of product shots of the unreleased lens:

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    Being the lens isn’t yet official there’s no detail on availability or pricing, but based on the $ 4,990 price tag for Zeiss’ other Otus lenses, it’s a safe bet the 100mm F1.4 will end up around the $ 5,000 mark.

    Articles: Digital Photography Review (dpreview.com)

  • Afidus ATL-200 camera can capture time-lapses for up to 80 days on battery power

    A company called Afidus andbased out of Taiwan is demonstrating a relatively small cube-shaped camera called the ATL-200 at NAB 2019. Though it resembles an action camera, the ATL-200 is designed specifically to capture time-lapses; it can capture continuously for up to 30 days while on battery power.

    The ATL-200 camera can be powered with four AA batteries or with a 5V micro USB cable charger. When operating off batteries, the camera operates for 45 days at a 1-minute capturing interval or 80 days at a 5-minute capturing interval, assuming it runs for 8 hours per day.

    Operators have a number of capture options, including time-lapse intervals from 1 to 30 seconds, 1 to 10 minutes, and 1/4/24 hours, as well as a custom time option for using any interval duration. Continuous intervals can be set to 5, 10, and 15fps when recording at 1080p and 30fps at 720p.

    ATL-200 supports multiple capture modes, including motion detection, stop motion, time-lapse, time-lapse and motion hybrid, and step video. The camera’s integrated motion sensor can detect moving objects located up to 25ft / 7.6m away. In addition to the camera’s autofocusing capabilities, operators can manually set the focus and zoom using the ATL-200’s companion mobile app.

    Other features include a Sony Exmor Full HD 1080p sensor, IPX 64 weather-resistant construction, and a standard 1/4-20 tripod mount joined by four strap tabs. The camera is shipped with a 16GB SanDisk Ultra microSD card, but users can swap it out with other cards that have capacities up to 128GB. Time-lapses are saved in MP4 format. Below is a video highlighting the stand-out features of the time-lapse camera.

    Afidus lists the ATL-200 on its website, but it only appears to be available for sale through TimeLapseCameras.com at this time, as noted by Newsshooter. The camera is priced at $ 389 USD; the next camera batch is expected to start shipping in late April.

    Articles: Digital Photography Review (dpreview.com)

  • Sony a6400 review in progress

    Introduction

    Sony’s a6400 is a compact 24MP mirrorless interchangeable lens camera with an APS-C sensor that will serve plenty of photographers from family documentarians to pro shooters looking for a lightweight second body. The big news is that it has a new processor based on that used in Sony’s sports-shooting flagship a9 which enables ‘Real-Time Tracking’ autofocus, which is one of the most effective autofocus implementations we’ve yet seen. It’s also among the easiest to use, once you’ve gotten it set up.

    Key specifications:

    • 24MP APS-C sensor
    • 425-pt phase detection AF system with Real-Time Tracking
    • Tilting screen, 180° up, 90° down
    • 2.36M-dot electronic viewfinder
    • New Bionz X processor
    • ISO range from 100-32000
    • 11fps burst shooting (8fps with silent shutter)
    • Interval shooting option added
    • 4K/30p video capture
    • Mic input, no headphone output
    • 410 shots per battery charge (per CIPA)
    • Wi-Fi with NFC and Bluetooth

    The Sony a6400 officially replaces the older a6300: it uses the same sensor but comes with some subtle enhancements aside from the impressive autofocus capabilities. It arrives in an increasingly crowded field, though, with cameras like the X-T30 from Fujifilm and the EOS M50 from Canon being similarly priced and with similar sized sensors. Do the enhancements make the a6400 the standout in this crowd? Find out its strengths – and weaknesses – in the pages to follow.

    The a6400 is available now for $ 899 (€1049) body-only, $ 999 (€1149) with a 16-50mm F3.5-5.6 Power Zoom kit lens and $ 1299 (€1449) with an 18-135mm F3.5-5.6 zoom.

    What’s new and how it compares

    Sony’s a6400 has an awful lot of refinements on the inside – take a look.

    Read more

    Body, handling and controls

    For better or for worse, the a6400 handles just like the a6300 before it. And the a6000 before that.

    Read more

    Image quality

    The a6400 takes some fantastic photographs, and in particular, has some welcome tweaks to its JPEG engine.

    Read more

    Impressions and sample gallery

    Sony’s new Real-Time Tracking is really impressive, but my goodness, can’t we get a front control dial?

    Read more

    Specifications

    Want the full list of specifications for the a6400? We have you covered.

    Read more

    Articles: Digital Photography Review (dpreview.com)

  • This is the first ever photograph of a black hole
    Credit: Event Horizon Telescope Collaboration

    Editor’s note: It appears the National Science Foundation has taken down the link to the full-resolution image, likely due to the ridiculous bandwidth required to load a 183.3MB image. We will leave the original link in its place for the time being until we can find an officially mirrored image to put in its place.

    As promised a week ago, the results of the Event Horizon Telescope (EHT) project have been unveiled to the world, showing the first ever photograph of a supermassive black hole.

    The picture above, which you can find a full-resolution version of on the National Science Foundation’s (NSF) website (183.3MB TIF), shows a black hole at the center of the galaxy Messier 87 (M87). The black hole, located 55 million light years from Earth, is 6 billion times more massive than our Sun and 1,500 times more massive than Sagittarius A* (Sgr A*), the black hole at the center of our own galaxy, the Milky Way.

    The black disk at the center of the image is a shadow of the event horizon. Surrounding it is an orange glow made up of hot gas that’s managed to escape the strong gravitational pull of the black hole. In the words of the NSF, who helped to fund the EHT Project, the image is ‘not simulation or conjecture, but chaotic photons surrounding an unimaginable void.’

    The data used to create the image was captured in a week’s time back in April 2017 with the help of eight different radio telescopes across five continents, but it’s taken until now to gather, process and review that data. As noted by The Verge, Davide Castelvecchi of Nature News wrote back in 2017 that ‘A typical night will yield about as much data as a year’s worth of experiments at the Large Hadron Collider outside Geneva, Switzerland.’

    Below is a video explainer of the EHT project and its mission.

    Once all of the data was captured from the eight telescopes across the globe, the data had to be physically sent to centralized locations where it was parsed through by a supercomputer for months on end to create the image we’ve been shown today.

    In addition to processing the data, the final image and accompanying information was stringently peer-reviewed ahead of today’s release, ‘as a part of the standard process of peer-review required for any scientific publication.’

    Update (April 10, 2019): This article has been updated to clarify that the black center of the image is not the event horizon itself, but a shadow caused by the activity at the event horizon.

    Articles: Digital Photography Review (dpreview.com)

  • Tiffen launches ND/PL filter kits for DJI Osmo Pocket camera

    Tiffen has introduced a pair of filter kits for videographers using the DJI Osmo Pocket that the company says help to create a more cinematic look to the footage recorded with the device. The kits consist of neutral density filters to control the shutter speed of the Osmo and polarisers to assist with color saturation.

    A three-filter kit has ND4, ND8 and ND16 filters, each with a polariser built in, while the six-filter kit offers the same three ND/PL filters minus the polarising element.

    Tiffen says the filters are coated to prevent moisture sticking to the surface and to protect against reflections and scratches. The optical glass has a 10-year warranty, and a metal case is provided to store them in.

    The 3-filter Osmo Pocket Filter Kit costs $ 49.99 while the 6-filter kit is $ 79.99. For more information see the Tiffen website.

    Press release:

    Tiffen Filter Kits Now Available for the New DJI Osmo Pocket

    Tiffen Filters, a division of The Tiffen Company, introduces their exclusive new line of filters for the DJI™ Osmo Pocket. The filter kits will consist of a three-filter kit of neutral density polarizer filters and a six-filter kit of neutral density and neutral density polarizers available for DJI™’s latest 3-axis stabilized handheld camera.

    The filters feature a multilayer and hydrophobic coating, waterproof surface and scratch prevention technology. They guarantee ultra-low reflection rates and have unmatched color fidelity. Its 4K high definition optical glass has a ten-year warranty.

    “We’re excited to announce the launch of these filter kits for the popular DJI™ Osmo Pocket,” said Andrew Tiffen, SVP of Marketing, The Tiffen Company. “Matching our exclusive line of filters with the latest pocket-sized handheld gimble from DJI gives content creators the tools they need to enhance the cinematic footage they create with the device.”

    Each filter kit includes a compact metal carrying case to safely pack and store the filters until ready for use, making it easy to take these filters on any video-worthy adventure with the DJI Osmo Pocket.

    With Tiffen’s exclusive kit of filters for the DJI™ Osmo Pocket, imagemakers can create more professional content by having greater control in camera. When used in conjunction with the award-winning filter technology engineered by Tiffen, the high-quality performance of the DJI™ Osmo Pocket camera system is taken to the next level.

    Articles: Digital Photography Review (dpreview.com)

  • Ultra-compact Canon EOS Rebel SL3 offers eye-detect AF and disappointing 4K capture

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    Canon has introduced the EOS Rebel SL3, its smallest and lightest DSLR ever. It uses the same 24MP APS-C CMOS sensor as its SL2 predecessor but adds a DIGIC 8 processor, eye-detection when using Dual Pixel AF, improved battery life and 4K video capture with a disappointingly huge crop.

    The SL3 manages to shave a little of the SL2’s size and weight, making it a very trim 15.84oz / 450g. The camera’s most notable upgrade is its new DIGIC 8 processor, and it maintains the SL2’s fully articulated 3″ 1.04M-dot touchscreen, 5 fps burst shooting rate and Wi-Fi capability. The SL3 does boast significantly better battery life than its predecessor; a very healthy 1,070 shots per charge compared to the SL2’s 650-shot rating.

    The SL3 seemingly improves on the SL2’s 1080p video spec with 4K/24p recording, but this is unfortunately accompanied by a heavy crop like the one we saw on its M50 mirrorless sibling. Dual Pixel autofocus is also unavailable when shooting 4K video.

    The Canon EOS Rebel SL3 will be available at the end of this month in either black or white color options for $ 600 body-only or $ 750 with 18-55mm F4-5.6 IS STM lens included.

    LIGHT IN WEIGHT, HEAVY IN FEATURES: INTRODUCING THE EOS REBEL SL3 COMPACT DIGITAL SLR CAMERA

    Empowering Users with an Easy Way to Express Themselves, the New Camera Delivers Stunning Photos and 4K Videos in a Lightweight Body

    MELVILLE, N.Y., April 10, 2019 – Combining ease-of-use with high-image quality, Canon U.S.A., Inc., a leader in digital imaging solutions, today unveiled the EOS Rebel SL3 DSLR camera, the smallest and lightest product within the current EOS lineup. Weighing just 15.84 oz1, the EOS Rebel SL3 offers users a compact system delivering high-resolution images – complete with an APS-C imaging sensor, DIGIC 8 Image Processor and 3.0-inch vari-angle LCD touchscreen as well as 4K video, a first for the EOS Rebel lineup. Compatible with Canon’s full line of interchangeable EF and EF-S lenses, along with the ability to instantly send images to compatible smartphones through Auto Image Transfer via Wi-Fi® connectivity2, the EOS Rebel SL3 is the tool needed to empower aspiring photographers to capture gorgeous shots quickly and easily.

    “Since its inception, the EOS Rebel product line has aimed to provide imaging excellence for entry-level visual storytellers,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Therefore, it was imperative that the next step in the EOS Rebel journey include innovative features such as 4K video and DIGIC 8 Image Processor to meet the needs of emerging photographers, while living up to the high-image quality and compact size EOS Rebel DSLRs are known for.”

    The EOS Rebel SL3 carries a powerful 24.1 Megapixel CMOS (APS-C) sensor, enabling users to snap photos and express themselves across a multitude of settings – whether it be a beautiful night scene, stunning family-vacation destination or a picturesque landscape. The camera is equipped with Canon’s DIGIC 8 processor – first introduced in the EOS M50 and later built into the revolutionary EOS R full-frame mirrorless system. DIGIC 8 helps improve autofocus performance and allows for the processing of 4K video and 4K time-lapse movies – helping budding videographers record scenes such as the colorful evening skyline in brilliant detail.

    The EOS Rebel SL3 features autofocus (AF) capabilities, delivering nine AF points across the optical viewfinder. This includes a new Spot AF which allows users to focus on a precise area within the subject. The EOS Rebel SL3 is the first DSLR in the Canon EOS line to feature Dual Pixel CMOS AF3 with Eye Detection AF in Live View shooting mode. With its optical viewfinder and Live View LCD monitor, photographers can enjoy two different ways of shooting and customize their experience based on the scene. The system is also the first Canon EOS SLR to incorporate a Smooth Skin setting, which can help render skin tones as well as Creative Assist – an interface by which users can check and seamlessly change shooting conditions in Live View4– such as white balance or brightness – in real time.

    Additional key features of the EOS Rebel SL3 camera include:

    • Feature Assistant that guides and offers tips for more effective shooting
    • Continuous shooting mode up to 5.0 fps
    • Digital Lens Optimizer that corrects optical shifting automatically, even without a computer5

    The EOS Rebel SL3 will be available toward the end of April for purchase in black and white color options for an estimated retail price of $ 599.99, for the body only and $ 749.99 for the body with a EF-S 18-55 f/4-5.6 IS STM lens*. For more information, please visit usa.canon.com.

    1 Includes battery and SD memory card (confirms with CIPA standards).1 Includes battery and SD memory card (confirms with CIPA standards).

    2 Compatible with select smartphone and tablet devices (Android™ version 5.0 or later and the following iOS® devices: iPhone 4s or later, iPad 3rd gen. or later, iPod Touch 5th gen. or later) equipped with Bluetooth® version 4.0 or later and the Camera Connect app.

    3 Based on results of AF speed tests in accordance with CIPA guidelines. Results may vary depending on shooting conditions and lens in use. Relies on internal measurement method. • Shutter speed: 1/500 or more• Lens used: EF 50 mm f/1.8 STM• Aperture: within three steps of maximum aperture• Using a fully charged battery pack LP-E17, at 23?C

    4 Available AF points may decrease when shooting with AF cropping or in movie mode, or depending on camera settings or lens attached.

    5 Up to three lenses can be registered at once within the camera.

    *Availability, prices and specifications are subject to change without notice. Actual prices are set by individual dealers and may vary.

    Canon EOS Rebel SL3 specifications

    Price
    MSRP $ 599 (body only), $ 749 (w/18-55mm F4-5.6 lens)
    Body type
    Body type Compact SLR
    Body material Composite
    Sensor
    Max resolution 6000 x 4000
    Image ratio w:h 1:1, 4:3, 3:2, 16:9
    Effective pixels 24 megapixels
    Sensor photo detectors 26 megapixels
    Sensor size APS-C (22.3 x 14.9 mm)
    Sensor type CMOS
    Processor DIGIC 8
    Color space sRGB, Adobe RGB
    Color filter array Primary color filter
    Image
    ISO Auto, 100-25600 (expands to 51200)
    Boosted ISO (maximum) 51200
    White balance presets 6
    Custom white balance Yes
    Image stabilization No
    Uncompressed format RAW
    JPEG quality levels Fine, normal
    File format
    • JPEG (Exif v2.3)
    • Raw (14-bit Canon CR2)
    • C-RAW (compressed)
    Optics & Focus
    Autofocus
    • Contrast Detect (sensor)
    • Phase Detect
    • Multi-area
    • Center
    • Selective single-point
    • Tracking
    • Single
    • Continuous
    • Touch
    • Face Detection
    • Live View
    Autofocus assist lamp Yes
    Manual focus Yes
    Number of focus points 3975
    Lens mount Canon EF/EF-S
    Focal length multiplier 1.6×
    Screen / viewfinder
    Articulated LCD Fully articulated
    Screen size 3″
    Screen dots 1,040,000
    Touch screen Yes
    Screen type TFT LCD
    Live view Yes
    Viewfinder type Optical (pentamirror)
    Viewfinder coverage 95%
    Viewfinder magnification 0.87× (0.54× 35mm equiv.)
    Photography features
    Minimum shutter speed 30 sec
    Maximum shutter speed 1/4000 sec
    Exposure modes
    • Program
    • Shutter priority
    • Aperture priority
    • Manual
    Scene modes
    • Portrait
    • Smooth skin
    • Group photo
    • Landscape
    • Sports
    • Kids
    • Close-up
    • Food
    • Candlelight
    • Night portrait
    • Handheld night scene
    • HDR backlight control
    Built-in flash Yes
    External flash Yes (via hot shoe)
    Flash X sync speed 1/200 sec
    Drive modes
    • Single
    • High-speed continuous
    • Silent single
    • Silent continuous
    • Self-timer
    • Continuous shooting after self-timer
    Continuous drive 5.0 fps
    Self-timer Yes (2 or 10 secs)
    Metering modes
    • Multi
    • Center-weighted
    • Spot
    • Partial
    Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps)
    AE Bracketing ±3 (3 frames at 1/3 EV, 1/2 EV steps)
    Videography features
    Format MPEG-4, H.264
    Modes
    • 3840 x 2160 @ 25p / 120 Mbps, MP4, H.264, AAC
    • 3840 x 2160 @ 23.98p / 120 Mbps, MP4, H.264, AAC
    • 1920 x 1080 @ 60p / 60 Mbps, MP4, H.264, AAC
    • 1920 x 1080 @ 50p / 60 Mbps, MP4, H.264, AAC
    • 1920 x 1080 @ 30p / 30 Mbps, MP4, H.264, AAC
    • 1920 x 1080 @ 25p / 30 Mbps, MP4, H.264, AAC
    Microphone Stereo
    Speaker Mono
    Storage
    Storage types SD/SDHC/SDXC (UHS-I compatible)
    Connectivity
    USB USB 2.0 (480 Mbit/sec)
    HDMI Yes (Mini-HDMI)
    Microphone port Yes
    Headphone port No
    Wireless Built-In
    Wireless notes 802.11b/g/n + Bluetooth
    Remote control Yes (via wired or wireless remote or smartphone)
    Physical
    Environmentally sealed No
    Battery Battery Pack
    Battery description LP-E17 lithium-ion battery & charger
    Battery Life (CIPA) 1070
    Weight (inc. batteries) 449 g (0.99 lb / 15.84 oz)
    Dimensions 122 x 93 x 70 mm (4.8 x 3.66 x 2.76″)
    Other features
    Orientation sensor Yes
    Timelapse recording Yes (videos only)
    GPS None

    Articles: Digital Photography Review (dpreview.com)

  • What you need to know about Canon’s EOS Rebel SL3 (250D)

    Introduction

    The Canon EOS SL2 (also known as the 200D and Kiss X9) is one of the company’s most best-selling DSLRs. And it’s not surprising, as the SL2 was a low-priced, competent camera that you could slip into a purse or small bag.

    The new SL3 (250D, Kiss X10) isn’t a dramatic departure from the SL2: it’s still small. inexpensive and mostly up-to-date in terms of features. It borrows many features from Canon’s EOS M50 mirrorless camera, including the DIGIC 8 processor and rather disappointing 4K video capabilities. But more on that later.

    The Rebel SL3 will be available at the end of April for $ 599 body-only or $ 749 bundled with the EF-S 18-55mm F4-5.6mm IS STM lens. We’re featuring the white version in this article, because we think it looks snazzy.

    Just a bit lighter

    The SL3 is the same size and nearly the same weight as the SL2 (above right). Canon managed to shave 4 grams off of the weight (though only 2g off of the black one), so you won’t have to buy a new camera bag.

    As you can see, changes to the design are very subtle. There’s a bit of an indent under the Canon logo on the SL3, and the often-irritating redeye reduction lamp (which also serves as a visual countdown for the self-timer) has been removed. Unlike its predecessor, the SL3 can’t use its flash as an AF-assist lamp, though it can use the infrared target if you buy an external flash.

    The SL3 uses the same 24MP APS-C CMOS sensor and elderly 9-point autofocus system as the SL2 (when shooting through the viewfinder). In live view, the SL3 also has Dual Pixel AF, covering 88% of the frame horizontally and 100% vertically. The SL3 is Canon’s first DSLR to feature Eye AF in live view, as well.

    Up top

    There are a couple of cosmetic and feature differences between the SL3 and its predecessor on its top plate. The main differences are the removal of the Wi-Fi button and a reduction in the number of items on the mode dial.

    Like the EOS M50, the SL3 has a Scene Intelligent Auto mode that will pick a scene mode for you, and provide easy-to-understand visual guides to adjusting things like aperture (‘background blur’), exposure compensation (‘brightness’) and white balance (‘color tone’). A feature guide offers brief description of each and every menu item when it’s selected.

    Rear view

    No need to show the SL3 and SL2 side-by-side here, as they look exactly the same.

    The SL3 has a fully articulating touchscreen display with 1.04 million dots and a well-designed UI. The optical viewfinder is, as you’d expect, quite small, with an unremarkable magnification of 0.54x (in 35mm terms). You can see about 95% of the scene when looking through it, which isn’t ideal for precise composition.

    For those wondering, that’s not a dial around the Q/Set button – it’s just a 4-way directional pad. The SL3 has one control dial and it’s on the top.

    Selfies, of course

    Sure, the SL3’s fully articulating LCD is great for video and waist-level/overhead shooting, but let’s face it: on the SL3, it’s mostly for selfies. If you need further evidence, look no further than the new ‘Smooth Skin’ setting, which gives you five levels of skin smoothness to choose from.

    On the port side…

    First, isn’t that silver kit lens a nice match for the white SL3? It’s worth pointing out that this is the F4-5.6 version of the 18-55mm lens, not the F3.5-5.6, so you’re losing about 1/3-stop of light compared to Canon’s older, larger kit zoom.

    Under the gray plastic cover are sockets for a 3.5mm external mic – a nice touch on a cheaper camera – and the RC-6 wired remote. The SL3 is also compatible with the BR-E1 wireless Bluetooth remote.

    And on your right…

    On the opposite side of the SL3 are the other two ports, for HDMI and USB 2.0. As far as we know, the camera cannot be charged over USB, but we’ll double-check that as soon as we can.

    The gray patch at the bottom is a rubber cover. It conceals a channel through which you feed the cable for the optional DR-E18 DC coupler which, when attached to the required AC adapter, will set you back $ 150. (Much cheaper third-party options exist if you want to operate the camera using wall power.)

    Speaking of batteries, Canon pulled off some tricks to increase the CIPA-rated battery life from 650 shots on the SL2 to 1070 on the SL3. Live view battery life is in the middling 300 shot-per-charge range.

    4K, with a catch

    The good news is that the EOS Rebel SL3 can capture 4K video at 23.98p (or 25p in PAL regions) with a maximum bit rate of 120Mbps.

    The bad news is that, like the EOS M50 with which it shares so much, the SL3 has an enormous 2.64x crop, relative to full frame, so the wide end of your 18-55mm is equivalent to 47mm in full-frame terms. So much for wide-angle shooting! In addition, Dual Pixel AF is not available in movie mode, leaving you with regular contrast detection.

    Both of these limitations are a shame, given that the small body and fully articulating LCD on the SL3 should make a nice camera for vlogging.

    That’s all for our brief tour of the EOS Rebel SL3 / 250D / Kiss X10. We should be getting our hands on one soon, so look for sample photos and impressions in the not-too-distant future.

    Articles: Digital Photography Review (dpreview.com)