360Photography

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  • Tamron 28-75mm F2.8 for E-Mount Sample Gallery

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    The Tamron 28-75mm F2.8 Di III RXD has a lot going for it. It’s sharp, lightweight and at €829 / $ 799, is far cheaper than Sony’s own 24-70mm F2.8 GM. We’ve got our hands on a production model and are putting it through a full review, but in the meantime, we’ve been shooting with it around town to get a feel for its performance.

    Take a look through our gallery to see for yourself how the lens lends itself to everything from landscapes to portraits (of both humans and, of course, cats).

    Articles: Digital Photography Review (dpreview.com)

  • Leica M7 film camera comes to an end

    Leica has discontinued its M7 film camera after 16 years of service. According to the Red Dot Forum, which is run by the Miami Leica store, the last of the M7 standard and ‘a la Carte’ bodies has been built and no more will be made. The Miami store lists the camera as ‘Out of Stock’ but models will remain in circulation elsewhere until they are sold through. The UK Leica stores have stock listed at £3900 and New York at $ 4795 – the same price as the Leica MP and £/$ 100 more than the M-A film bodies.

    The M7 caused a bit of a stir when it arrived with features that required battery power to operate – particularly the electronic shutter. Without power users are restricted to shutter speeds of 1/60sec and 1/125sec, whereas models before the M7 had used an entirely mechanical shutter and could therefore continue working in the event of a flat battery- or no battery.

    The M7 also brought aperture priority to the M range, a feature that has found a place in a number of M bodies, but not all, since, and it was the first M to feature a DX code reader to automatically set the ISO for the internal metering system by ‘reading’ a code printed on the film cassette.

    Ironically, while the slightly modern M7 will descend in to history with its new-fangled electro-wizardry, two perhaps less helpful film models will continue the previous traditions of fully mechanical shutters and all-manual operation. The MP and the M-A remain on the product list, though the MP seems to be widely listed as Out-of-Stock in official Leica stores.

    For more information see the Red Dot Forum and the Leica website.

    Red Dot statement

    Leica M7 Film Camera Discontinued

    Today marks the passing of a legend, the venerable Leica M7. First introduced in 2002 as the follow-up to the M6, the Leica M7 brought a more modern aperture priority mode and electronically-controlled shutter to a classic mechanical M design. The M7 was also the first M camera with a built-in DX code reader for ISO detection. The camera has been well-loved for over 15 years, but all good things must come to an end.

    Effective immediately, Leica will no longer produce any more new M7 cameras, in black or silver. There still might be a handful in stock at various dealers, but once sold out, no more will be coming from Wetzlar. The same goes for the a la Carte program. No M7-based configurations will be accepted or built for customers wanting a custom camera.

    While this is certainly sad news for analog lovers, fear not. The Leica MP and Leica M-A film cameras remain current items in the catalog and will continue to be produced.

    Articles: Digital Photography Review (dpreview.com)

  • NASA photographer Bill Ingalls’ camera melted in fire caused by rocket launch

    Credits: NASA/Bill Ingalls

    Last week, a tweeted image of a melted camera belonging to NASA photographer Bill Ingalls caught the Internet’s attention. In a statement clarifying the matter, the space agency explained the story behind the image, saying, “His creativity and efforts to get unique images are well known within the agency and to those who follow it.”

    Ingalls has worked as a NASA photographer for 30 years. In its statement published Friday, NASA explained that Ingalls knows where to setup his cameras, and that a grass fire caused by the GRACE-FO launch on May 22 was behind the damage. Though Ingalls had placed two cameras outside of the launch pad safety perimeter, the melted camera was one of four placed within the perimeter.

    Speaking with NASA, Ingalls said, “I had six remotes, two outside the launch pad safety perimeter and four inside. Unfortunately, the launch started a grass fire that toasted one of the cameras outside the perimeter.”

    Despite the camera casualty, NASA says the memory card within the camera survived the fire. The space agency published a GIF of the fire as it moved toward the camera, which recorded its own demise. NASA says it’ll “likely” display the melted device at its Washington DC headquarters.

    Via: NASA

    Articles: Digital Photography Review (dpreview.com)

  • Sony reveals faster, higher-res OLED viewfinder display

    Sony has unveiled a faster, higher-resolution OLED panel for use as an electronic viewfinder. The UXGA panel gives a 1600 x 1200 pixel resolution (5.76m dots) for those of you who don’t still think in terms of 1980s PC monitors. This is a 25% increase in each direction, compared with the panel used in the likes of the Panasonic GH5 and Sony a7R III. Despite the resolution increase, Sony says the panel uses the same amount of power.

    The panel can be run either progressively (with one row being shown after another), at 120 fps or in a dual-line progressive mode that we expect to halve the vertical resolution in return for a 240 fps mode to give a more lifelike preview.

    A redesigned structure places the color filter array directly on the light-emitting silicon, maintaining the angle of view, despite the move to smaller pixels. Sony says it has also designed a circuit to mitigate some of the voltage and consistency drawbacks of the move to finer pixels.

    Unusually, Sony specifies a sample price for the panel: ¥ 50,000 (~$ 460). We suspect this price will come down once production ramps up, especially for orders of tens or hundreds of thousands of panels, but it hints at the costs of including a high-res viewfinder in a camera, and why the a7 III misses out on the 3.69m dot display used in the more expensive a7R III.

    Sony Releases 0.5-type OLED Microdisplay with Top-of-Class UXGA Resolution, Featuring the World’s Smallest Pixel Pitch of 6.3µm

    Tokyo, Japan—Sony Corporation today announced the upcoming release of the ECX339A OLED Microdisplay featuring UXGA (1600 x 1200 resolution), the highest in class for a 0.5-type. This product achieves the world’s smallest pixel pitch of 6.3?m by leveraging Sony’s OLED display technology and miniaturization technology, enabling a resolution 1.6x higher than the previous model*1. By employing a new drive circuit design that operates on half the voltage of the previous model*1, the new product achieves the same level of low-power operation as its predecessor but with much higher resolution. When paired with Sony’s original driving system*2, a frame rate up to 240 fps is supported—double that of previous product*1.

    0.5-type OLED Microdisplay ECX339A
    Model name Sample shipment date Mass-production shipment date (planned) Sample price (excluding tax)
    ECX339A 0.5-type OLED Microdisplay January 2018 November 2018 50,000 JPY

    Enhancing the resolution on microdisplays has traditionally presented problems such as deteriorating image quality due to decreased pixel pitch and inferior viewing angle properties. The new product features optimized transistors layout and process to address uneven characteristics and loss of withstand voltage, the issues associated with transistor miniaturization. The Sony original variation compensation circuit also enhances picture quality. Additionally, the color filter is deposited directly on the silicon substrate, reducing its distance from the light emitting layer, and the filter’s color array has been modified. This helps to secure the viewing angle properties while achieving high resolution.

    OLED Microdisplays are widely used in digital camera electronic viewfinders (EVF) for their superior high contrast, high color gamut, and high-speed responsiveness. Sony, having achieved this high resolution and high frame rate, now offers even more realistic image display and accurate capture of subjects for use in high-end cameras that demand extremely high image quality.

    Going forward, Sony expects this high-definition OLED Microdisplay to be employed in a diverse range of fields and applications such as AR (augmented reality) and VR (virtual reality) head-mounted displays.

    Comparison of images on OLED Microdisplays. New product (UXGA, left) and previous product (QVGA, right)

    Main Features

    • 1.High-resolution UXGA in a 0.5-type
      The new product has achieved the world’s smallest pixel pitch of 6.3?m by leveraging Sony’s proprietary OLED display technology and miniaturization technology, and has superior resolution 1.6x higher than the previous model*1. Generally, transistor miniaturization results in characteristic variation and reduced withstand voltage. This product uses a Sony original compensation circuit and optimized layouts and process for each individual transistor to address these adverse effects. Furthermore, the color filter is deposited directly on the silicon substrate, reducing its distance from the light emitting layer, and the filter’s color array has been modified to secure the viewing angle properties while achieving high resolution.
    Measures to secure viewing angle even with smaller pixel pitch
    New product (UXGA, left) and previous product (QVGA, right)
    • 2.High-speed frame rate
      A new drive circuit design supports a high frame rate of up to 240 fps*2, nearly double that of its predecessor*1. This has made it possible to capture fast-moving subjects in the viewfinder with higher accuracy, so users will not miss a photo opportunity, delivering a more comfortable shooting experience. In head-mounted display devices, this will help to improve image delay issue for items superimposed on real-world vision of AR and to avoid motion sickness during usage of these kinds of devices.
    • 3.Low power consumption
      By employing newly-designed peripheral circuits that operate on half the voltage of previous model*1, the new product delivers the same low-power operation as its predecessor when operating at the same frame rate, despite the nearly 1.6x increase in the number of pixels.

    Key Specifications

    Name ECX339A
    Display Size 0.5 type (12.6 mm Diagonal length)
    Resolution UXGA?1600×RGB×1200?
    Pixel pitch 6.3?m
    Max. frame rate 120 fps (progressive) / 240 fps (dual-line progressive)
    Power consumption (200cd/m2) 310 mW @ 60 fps (progressive) / 120 fps (dual-line progressive)
    Video interface LVDS/Sub-LVDS
    Max. luminance 1,000cd/m2
    Contrast 100,000:1 or higher
    Color gamut (u’v’) sRGB ratio: 110%

    Footnotes

    • *1 Compared with the Sony OLED Microdisplay ECX337A (0.5-type QVGA (1280×960)).
    • *2 Driving method of dual vertical line simultaneously (“Dual-line progressive” driving technique)

    Articles: Digital Photography Review (dpreview.com)

  • Wildlife photography in Yellowstone with Jake Davis and the Panasonic Lumix G9

    April in Yellowstone National Park is a unique time. The park, which covers 3500 sq mi / 5600 sq km in the western US, is still quiet before the busy tourist season, and the weather fluctuates wildly from day to day. Wildlife photographer Jake Davis showed us around Yellowstone during this unusual period, capturing the local residents in all kinds of conditions with the weather-sealed Panasonic Lumix G9.

    This is sponsored content, created with the support of Amazon and Panasonic. What does this mean?

    Articles: Digital Photography Review (dpreview.com)

  • Does sensor size still make a difference?

    We’ve seen huge breakthroughs in the computational photography techniques in the latest smartphones, as well as the launch of some excellent small sensors in more traditional cameras. Does that mean that bigger is no longer necessarily better?

    To answer that question, let’s look at why big sensors tend to produce better image quality and what smaller-sensored cameras and smartphones are doing to close the gap.

    Benefits of larger sensors

    The three main benefits that prompt people to move to larger sensors are the ability to blur the background with shallow depth-of-field, exhibit less noise in low light situations and the ability to capture a wider dynamic range between the brightest and darkest areas of the image. Since these all primarily stem from getting more light, it presupposes that you have a lens with a wide-enough aperture to let in enough light, but this is usually possible. Collectively, these three factors mean that large sensor cameras can usually produce better-looking images. They can’t make up for the photographer, of course, but if used by the same person, the bigger sensor usually ‘wins.’

    Computational photography allows small sensors to imitate the effects of a larger sensor, while leaps forwards in sensor performance can help small sensors produce better-looking images. But do these advances mean you no longer need a larger sensor?

    Computational photography

    The most visible example of computational photography in widespread use are the portrait modes in the latest smartphones. These use a variety of techniques but fundamentally they make some attempt to assess the depth in the scene, then apply differing amounts of blur at different depths, to simulate shallow depth-of-field.

    The results aren’t always totally convincing and won’t necessarily satisfy the kind of demanding photographer that looks for particular character to the out-of-focus rendering (bokeh) of their lenses. However, as processing power and machine learning continue to improve, the results will only get better. And for many applications, will quickly exceed the threshold of being considered ‘good enough’ for an increasing number of people.

    This image was taken using Portrait mode on a modern smartphone. As well as simulated shallow depth-of-field, computational photography has added artificial lighting effects to the subject’s face.

    Computational photography can also help with low light and high dynamic range scenes. Again, it’s increasingly common for smartphones to be able to shoot multiple shots, then combine them. The processing is getting sophisticated enough that this can even be done with moving subjects, without the user even necessarily realizing that this is what their phone is doing.

    Because most noise in photography comes from the randomness of light, shooting the same scene again and again helps to average out this randomness, just as rolling a die repeatedly helps you get a clearer picture of whether it’s weighted.

    The results will start to rival the output of
    larger sensors

    The same can be done in good light, sampling the scene several times (sometimes with different exposures), to extend the dynamic range beyond what could be achieved in a single exposure.

    Unlike the shallow depth-of-field effect, which is simulated, these multi-shot techniques directly compete with larger sensors, since they allow the image to be constructed from more light. At which point, the results will start to rival the output of larger sensors, so long as the combination of images and movement cancellation is clever enough.

    More advanced sensors

    We’ve seen some very good small sensors in recent years, whose performance can narrow the gap with those above them. The adoption of technologies such as back-side illumination have allowed sensors to become more efficient (capturing more of the light that’s shone on them). Again, since most of the benefits of larger sensors come from them generally receiving more light during any given exposure, an increase in efficiency can help smaller sensors narrow this gap.

    G1 X Mark III
    ISO 500
    F3.2 (F5.2 equiv)
    1/30th    		 G7 X Mark II
    ISO 160
    F2 (F5.5 equiv)
    1/30th

    The Canon G1 X Mark III offers an APS-C sensor to the G7 X Mark II’s 1″ sensor, but the latter uses a more efficient BSI design.

    This only goes so far. Partly because these technologies are also likely to have some benefit when they ‘trickle up’ to larger sensor sizes. This widens that gap back to the extent you’d expect, just based on the size difference. Also, the gaps between most popular sensor sizes are proportional to at least two-thirds of a stop, which is more of a difference than technology advances tend to compensate for.

    Small sensor advantages

    There are also areas in which small sensors offer an advantage over large ones, with readout speed being the most obvious one. In general it’s quicker to read out the data from small sensors, which brings a series of benefits. The most obvious is that it allows improved video quality, either through being able to read all the pixels, enabling more detailed capture, or simply through a reduction in rolling shutter.

    The RX100 V’s stacked CMOS sensor with DRAM incorporated into the chip allows faster readout, which boosts video and autofocus performance.

    The other advantage, of course, is that it makes it quicker and easier to offer many of the computational photography benefits discussed earlier in the article.

    There are ways to improve the readout speed of large sensors too, such as the stacked CMOS sensor that ‘trickled up’ from Sony’s smartphone and 1″-type sensors to the full frame a9. This incorporates readout circuitry and RAM into the sensor to allow faster readout. But this comes at a considerable cost premium, as these chips are extremely complex and time-consuming to make, making it difficult for large sensors to match some of the capabilities of smaller chips.

    Convenience of small sensors

    The other potential advantage of small sensors is that they allow cameras to be smaller. This tends to means lenses with smaller physical apertures, which is one of the main things that hold the image quality of small sensors back, but the trade-off is cost and convenience. So, although you can buy mirrorless cameras with large sensors, it’ll be the ones with smaller sensors that will provide the smaller overall package, most of the time.

    For all the bluster you sometimes encounter with people claiming to be committed enough that they always carry a full DSLR kit around with them, most people find it’s easier to carry a small camera with you. And you know what they say about the camera you’ve got with you…

    Is bigger still better?

    Overall then, for conventional, single-shot photography, there’s no substitute for making a photograph using more light, and it’s usually easier to give a large sensor more light since it has a larger area to capture light. In that sense, bigger sensors are still better. However, that’s not the same as saying ‘you need a bigger sensor.’

    Even though a larger sensor may be able to produce a better result, smaller sensors are getting better and better all the time

    Improvements in sensor tech, the availability of large sensor compacts with bright lenses (that help get more light to their sensors), and advances in computational photography allow better images than ever before from small sensors.

    At which point, we come back to the question of what’s ‘good enough.’ Which isn’t so much about accepting limitations, but more about being able to attain a quality you’re happy with for what you’re trying to achieve. So even though a larger sensor may be able to produce a better result, smaller sensors are getting better and better all the time, exceeding ever higher ‘good enough’ thresholds such that you may reasonably conclude that you don’t need any further improvement.

    Articles: Digital Photography Review (dpreview.com)

  • DPReview TV: How to get correct exposure when shooting video

    Have you experienced frustration when using your camera to shoot video? Confused about T-stops, ND filters and the right shutter speed to use? This week, Chris and Jordan take a break from gear reviews to discuss the things you should know to get proper exposure when shooting video. Get some practical tips and learn about Chris and Jordan’s exposure square… or is that an exposure trapezoid? Tune in to find out.

    You may also want to read our article, A photographer’s intro to the world of video, for more useful tips.

    A photographer’s intro to the world of video

    Finally, make sure to subscribe to our YouTube channel to get new episodes of DPReview TV every week.

    Subscribe to our YouTube channel

    Articles: Digital Photography Review (dpreview.com)

  • Not your ordinary camera bag: Rhake waterproof pack with Camera Capsule insert review

    The Rhake Weatherproof Bag + Camera Capsule
    $ 365 (bag) + $ 130 (insert) | MissionWorkshop.com

    The Rhake pack has a roll top giving it a decent degree of expansion.

    The Rhake waterproof backpack by Mission Workshops doesn’t look like an ordinary camera bag – instead it looks a lot more like a high quality bike messenger pack or something you might take on a weekend trip when packing light. And that’s the point. The bag’s 22L main compartment is designed to be multi-functional. Once you slide the Capsule Camera insert ($ 130) into the Rhake you have a camera bag with a utilitarian design, albeit with a very high price tag.

    The Capsule Camera insert that slides into the Rhake pack.

    Though this pack is not designed specifically with photographers in mind, I was intrigued to find out just how functional it could be.

    Specifications

    • Exterior: 21 x 13 x 5 in / 53 x 33 x 13cm
    • Interior Volume: 22L
    • Capsule Insert: 9.75 x 17.75 x 4.25in / 25 x 45 x 11cm
    • Laptop Compartment: Dedicated 17in Exterior Pocket
    • Weight: 3.1lbs / 1.4kg

    Design & construction

    The first thing I noticed about the Rhake was the high quality construction – Mission Design guarantees their products for life – which makes me believe that this thing was built to last. The bag is made of weatherproof nylon fabric called HT500 that is apparently exclusive to the company. It gives the pack an understated look and a good degree of water and stain resistance.

    The Rhake pack’s laptop compartment can fit up to a 17″ computer. The pack also has a dedicated tablet compartment.

    The second thing I noticed about this bag was the amount of organizational pockets. There are technically two zippered compartments that are large enough to fit a laptop (a dedicated exterior pocket, shown above left, and a second one within the 22L main compartment). On the back of the bag, opposite the exterior laptop pocket, there is a mesh water bottle pocket that tucks away when not in use.

    There are numerous options for organization within this bag to suit your tastes

    The front of the Rhake features a dedicated 10” tablet pocket and two accessory pouches (one at the top of the bag and one at the bottom) for stashing chargers, spare batteries or other items that need to be accessed quickly.

    There are two zippered front pockets with plenty of room to organize smaller odds and ends. There are also two accessory pouches, one at the top (accessible via the roll top) – and one at the bottom (accessible via zipper).

    There are also two larger zippered front pockets, one of which is filled with three smaller interior zippered mesh pockets. In short, there are numerous options for organization within this bag to suit your tastes.

    The straps are well-padded and a horizontal strap offers added stability.

    The back of the Rhake is made of perforated foam and there is a luggage handle pass-through for use with roller bags. The straps have a nice amount of padding and feature an additional horizontal buckled strap.

    The camera insert can be accessed from the top of the bag. A look inside the Rhake pack once the camera insert has been removed.

    The Camera Capsule insert is accessed from the top of the Rhake pack. The inside can be customized to your taste using the padded partitions. There’s also a back pocket in the insert where you can slide in an 11″ laptop or tablet.

    A close-up look inside the Camera Capsule insert. I was able to fit two bodies, several lenses and a flash.

    In the field

    All of my photographer friends who saw the Rhake in action immediately complimented the style of this bag. It looks good, and it can comfortably hold a large amount of gear. I loved the many organizational pockets and those tiny mesh interiors were a great place for all of my miscellaneous items that I end up with at a shoot.

    Once it’s packed, the front is snapped together and the top rolled shut, the Rhake pack is a surprisingly compact gear bag with the ability to expand to hold a large amount of equipment.

    Its compact silhouette made it a good for riding the subway (even during rush hour) and hauling it around didn’t make me feel like I was in danger of destroying a shoulder.

    There’s no way to access most of the gear stored within the Camera Capsule insert unless you completely remove it from the bag

    Unfortunately, there is one glaring design flaw with the Rhake: there’s no way to access most of the gear stored within the Camera Capsule insert unless you completely remove it from the bag. For some photographers, this might seem like a minor oversight; after all the Rhake is a multi-functional bag, but I found this design element to be really inconvenient. It was easy enough to access my main camera body through the top zipper, but if I wanted to switch lenses I needed to totally unpack the 22L compartment – which is kind of a pain when working in the cramped quarters of a dark music venue.

    When the bag is fully packed it also takes a little bit of elbow grease to remove the Camera Capsule from the main compartment. I imagine that with more use the bag’s structure will become less tight, but on the shoots I took the Rhake to I found myself having to spend a few extra moments safely removing the capsule from the bag. The Camera Capsule essentially fills the 22L compartment, making it difficult to stash anything else in there (a jacket, supplies for an overnight trip, etc.). I’d be curious to see how the Rhake would function with smaller camera inserts like the Topo Camera Cubes.

    What’s the bottom line?

    The Rhake’s construction is high quality, the design is aesthetically pleasing and it can hold a good deal of gear without looking bulky, making it great for everyday use. But the bag is pricey and the multi-functionality aspects make certain elements of the design inconvenient for photographers. Ultimately, if you’re looking for a dedicated camera bag, there are other more cost-friendly and functional options out there. However, if you want a pack that can pull double duty as a bike bag or a weekend travel pack, the Rhake might be for you.

    What We Like:

    • Utilitarian design
    • Durable construction
    • Slim profile
    • Ample organizational pockets
    • Holds a lot of equipment
    • Multi-functional bag, could be used as a camera bag or for something else

    What We Don’t Like:

    • High price tag
    • Inability to access lenses in Camera Capsule without unpacking

    Rating:

    Articles: Digital Photography Review (dpreview.com)

  • RED and Lucid unveil 8K 3D camera that produces 4V holographic video in real time

    Computer vision company Lucid and cinema camera maker RED have partnered to create an 8K 3D camera that can capture 4-view (4V) holographic images and video in real-time. The camera is designed to work with RED’s upcoming holographic Hydrogen One smartphone—both by shooting holographic content that can be viewed on the phone’s 4V screen, and by using the modular phone as a “viewfinder.”

    The camera itself (which has yet to be named) will be made by RED, but it will be powered by Lucid’s “real-time 3D Fusion Technology.” This tech generates 3D/4V footage in real-time, promising to turn a processing-intensive task into “an instantaneous point-and-shoot experience.”

    The camera looks like any other RED cinema camera… sort of. Except instead of one 8K sensor the camera uses two “perfectly hardware-synced” 4K sensors and a beam splitter to capture and output 8K 4-view footage. That footage can be viewed after the fact or even live using the upcoming RED Hydrogen One smartphone, which will be able to integrate directly into the RED 3D/4V and act as a 3D viewfinder.

    It’s important to not that this isn’t just a concept. RED and Lucid had a working prototype shooting scenes at the Hydrogen One launch party on May 19th.

    If you see this as a gimmick—and an expensive one at that—you’re probably not alone. But Lucid CEO and Co-Founder Han Jin has faith the world is ready for, and in fact craving, 3D/4V content you can digest without goggles or glasses.

    “This partnership allows us for the first time to deliver the highest-quality 3D capture to our customers, and now they can view the content immediately in 3D/4V without headsets,” says Jin via press release. “At a time when two of the biggest challenges in the industry have been resolution and easy viewing of 3D content, we believe this is the solution everyone has been waiting for.”

    We don’t have official pricing and release date information just yet. All Lucid and RED will reveal is that the camera—colloquially called the RED 3D/4V but still officially unnamed—will “be rolled out” in Q4 of 2018. To learn more about Lucid’s tech or this strange new camera, read the full press release below or visit the Lucid website.

    Press Release

    Lucid Partners with RED to Build 8K 3D/4V Camera for Hydrogen One

    Collaboration will result in the first camera to convert full 8K 3D/4-View (4V) holographic images and videos in real time and the capability to dynamically adjust lens distances for the best 3D focus and zoom

    Santa Clara, CA – May 22, 2018 — Lucid, the maker of the first VR180 3D camera, LucidCam, announces today it is working with Hollywood camera maker RED to build the next generation prosumer 3D/4-View (4V) camera for 8K video and image capture. The new camera is the first dual camera to give users full 8K video and picture capabilities converting to 4V in real-time while allowing them to shoot like professionals with dynamically adjustable lens distances for the best 3D focus and zoom. By attaching the soon-to-be-released modular holographic phone–RED Hydrogen One–to the camera, users will be able to view 3D/4V content in post and live as if it were the viewfinder.

    The new RED camera is powered by Lucid’s real-time 3D Fusion Technology, transforming the time and processing-intensive 3D/4V workflow into an instantaneous point-and-shoot experience users crave. The look and feel of the new camera sticks to RED’s previous designs, but this time it has two perfectly hardware-synced 4K cameras which leverage a beam splitter to capture and convert the output to 8K 4V (.h4v) files. Once the content is created, all the high resolution 3D/4V videos and images can be distributed on YouTube and Facebook as well as through RED’s curated content universe.

    “Having RED as a partner allows us to combine the best of both worlds – the highest resolution and quality hardware from RED with the most advanced software, our 3D Fusion Technology,” said Han Jin, CEO and co-founder, Lucid.

    The RED and Lucid partnership enables both companies to extend their customer reach. Over the past year, Lucid has shipped and sold thousands of its VR180 3D LucidCams through Amazon and Best Buy as well as direct to consumers online, confirming the market interest and demand for creating and consuming such content. With Lucid’s solid consumer base and RED’s base of independent filmmakers and Hollywood producers, the new camera meets the need of a large, combined audience. The magic of 3D, VR and AR videos and images created by both the LucidCam and the RED 3D/4V camera can be enjoyed on the Hydrogen One without the hassle of wearing headsets.

    The unique functions of the Hydrogen One phone in combination with the new 3D camera were showcased with a live 3D/4V preview at RED’s launch party on May 19th. Many people came to experience the holographic display capabilities, which provide a unique ability to let users look around and behind objects through 4-Views, and allow for viewing 3D, VR and AR content without any glasses or goggles. This phone also attaches easily to RED’s new camera and can act as a 3D viewfinder.

    “This partnership allows us for the first time to deliver the highest-quality 3D capture to our customers, and now they can view the content immediately in 3D/4V without headsets,” said Jin. “At a time when two of the biggest challenges in the industry have been resolution and easy viewing of 3D content, we believe this is the solution everyone has been waiting for.”

    The camera will be rolled out in Q4. Exact pricing is to be announced, as is the name of the camera. It will be sold through RED and its reseller channels.

    For more information about Lucid, visit www.lucidcam.com.

    Articles: Digital Photography Review (dpreview.com)

  • Zeiss launches new lineup of lightweight and compact ‘Supreme Prime’ lenses

    Zeiss has announced a new lineup of 13 ‘Supreme Prime’ lenses for large format cinematographers who want smaller and lighter glass that still produces top-quality results. The kind of lenses that’ll make your salivary glands work… and your wallet groan.

    The Supreme Prime range will comprise focal lengths from 15mm to 200mm, and Zeiss says that most of those lenses will have a maximum aperture of T1.5. In fact, ten of the focal lengths will offer a maximum aperture of T1.5, while the 15mm and 150mm will be T1.8, and the 200mm will be a T2.1.

    Despite their diminutive size, Zeiss stresses that the Supreme Primes are designed for high-end advertising work and movie production; consequently, they will be compatible with large format (full-frame) movie cameras such as the Sony Venice, ARRI Alexa LF, and the RED Monstro. Zeiss says the lenses will be versatile and able to create different looks because of their “gentle sharpness, the aesthetic focus fall-off, and elegant bokeh” which the company claims makes them suitable for a wide range of production styles.

    Communication between the lenses and the camera will be performed via the Zeiss eXtended Data and Cooke’s /i metadata protocols. These record optical characteristics and lens settings to every frame recorded to assist post-production processes, especially when visual effects need to be added to the footage.

    The 25mm, 29mm, 35mm, 50mm, and 85mm lenses will be released in August 2018 and the 100mm will be ready in December. All six can be purchased together as a set for $ 108,000, but you’ll have to wait until 2019 for the 15mm, 18mm, 21mm, 65mm, 135mm and 150mm focal lengths to finish drip-feeding into the range. The 200mm T2.1, meanwhile, will arrive in 2020.

    To see the new Zeiss Supreme Prime lenses in action, check out the sample film below shot with these lenses on the Sony Venice, Phantom 4K, and RED Monstro VV. And if you want to learn more about the lenses, head over to the Zeiss website.

    Press Release

    New High-End Cinema Lens Family ZEISS Supreme Primes

    With its 13 high-speed, full-frame, prime lenses for high-quality film productions, ZEISS is focusing on maximum quality, low weight, and significant versatility when it comes to creating superb visual imagery.

    ZEISS has introduced a new family of high-speed lenses for high-end film production: The ZEISS Supreme Prime family consists of 13 lenses with fixed focal lengths between 15 and 200 millimeters, the majority with a maximum aperture of T1.5. “The lenses are designed for film productions of an extremely high quality,” says Christophe Casenave from ZEISS. “They are perfect for high-budget advertising or feature films, for example.” ZEISS Supreme Primes are designed to cover cinematic large format camera sensors and are compatible with all of the latest camera models, such as the Sony Venice, ARRI Alexa LF, and RED Monstro. According to Casenave, the versatility of the Supreme Prime lenses to create different visual looks is due to the gentle sharpness, the aesthetic focus fall-off and elegant bokeh. The lenses are extremely flexible and can be used equally well for science fiction thrillers as well as for dramas.

    Compact and Lightweight

    “Weighing an average of 1600 grams (3.5 pounds), ZEISS Supreme Primes are significantly lighter and smaller than comparable lenses on the market,” says Casenave. With these compact and lightweight lenses, ZEISS is responding to many camera operators’ desire for compact equipment that still meets the highest standards of quality. “ZEISS Supreme Primes are unbelievably rugged and reliable. Regardless of whether filming in the desert or in the Arctic, the lenses perform flawlessly. And in the event that something should ever break, our worldwide service network provides fast and professional help.”

    ZEISS eXtended Data Metadata Technology

    The ZEISS Supreme Primes are equipped with the ZEISS eXtended Data metadata technology. Introduced in 2017, ZEISS eXtended Data provides frame by frame data on lens vignetting and distortion in addition to the standard lens metadata provided using Cooke’s /i technology1 protocol. This greatly speeds up the entire film production’s workflow. When using visual effects for example, with only a few clicks, the lens properties can be removed so that computer-generated effects imagery can be accurately applied to the captured imagery. The lens properties can then be reapplied with the same click of a button and combined with the film material to create a realistic image. Previously, all of the data had to be measured manually so that it could be corrected in post-production. But ZEISS eXtended Data eliminates this time-consuming job.

    Price and Availability

    The first ZEISS Supreme Primes lenses with focal lengths of 25, 29, 35, 50, and 85 millimeters will be available starting on August 1, 2018. The ZEISS Supreme Prime 100 millimeter will be available in December 2018. The set of six lenses, consisting of the focal lengths mentioned above, is available from ZEISS Cinema lens dealers for 108,000 USD. The remaining focal lengths will be released successively until 2020.

    Articles: Digital Photography Review (dpreview.com)