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Atomos unveils the Ninja V: A 5.2-inch 4K/60p external monitor and recorder

10 Apr

For filmmakers who want an Atomos external monitor/recorder but feel like the 7-inch Atomos Ninja and Shogun recorders are a bit too big, Atomos has released something just for you. The Atomos Ninja V packs many of the same features into a smaller 5.2-inch form factor that the company says is “perfect for mirrorless cameras, DSLRs and gaming.”

We’re not sure about (and not interested in) the gaming bit, but for video shooters who prefer a DSLR or mirrorless system, a smaller external recorder could be exactly what they’ve been waiting for.

The Ninja V sports a 5.2-inch HDR screen with 1000nits brightness and anti-reflection finish for easy daylight recording, and can record up to 4K/60p 10-bit video over HDMI 2 in either Apple ProRes or Avid DNxHR. And since portability is one of its main features, the whole thing is 1-inch (2.5cm) thick and weighs just 11oz (320g).

Feature-wise, you get most of the things you’ve come to expect from an Atomos recorder: histogram, false color, focus peaking, movable 1-1 and 2-1 pixel magnification, waveform, RGB parade, Vector scope, 8 channel audio level meters, and the ability to load creative LUTs, for a start. And the Atom HDR engine promises to show you 10+ stops of dynamic range on the LCD in real time from your camera’s Log/PQ/HLG signals.

Finally, the Atomos Ninja V also features the company’s modular expansion slot, which will allow you to dock “expansion modules” into the battery slot and add advanced features like bi-directional high speed video, audio and continuous power.

The Atomos Ninja V is available now for $ 695. To learn more about the new monitor/recorder, check out the full press release below or head over to the Atomos website.

Press Release

Atomos introduces Ninja V – a stealthy 5.2” 4Kp60 HDR daylight-viewable 1000nit monitor/recorder

Melbourne, Australia – 9 April 2018 – The latest incarnation of the famous Atomos Ninja line is here. Seven years after the world’s most popular portable Apple ProRes recorders burst onto the scene, Atomos is delighted to introduce Ninja V – an all new compact 5.2″ 1000nit high bright HDR monitor/recorder with unrivalled advanced features. It has a sleek modern design and weighs just over 11oz (320g) – perfect for mirrorless cameras, DSLRs and gaming.

The perfect small monitor

The near edge-to-edge high bright 5.2 inch screen has a stunning 1000nits of output coupled with an anti-reflection finish – allowing users to clearly see their images even in daylight. Use the color-accurate display with AtomHDR to see in High Dynamic Range, or load creative LUTs at the touch of a button. Ninja V gives you all the critical monitoring tools you need – histogram, false color, peaking, movable 1-1 and 2-1 pixel magnification, waveform, RGB parade, Vector scope, 8ch audio level meters and more!

Perfect 1″ thin recorder

Record up to 4Kp60 10-bit video over HDMI 2.0 in edit-ready Apple ProRes or Avid DNxHR direct to affordable SSD drives. The Ninja V’s sleek 1″ (2.5cm) deep aluminium body is crafted for maximum portability and durability, stealthily attaching to any camera. A truly beautiful design.

HDR perfection every time

The AtomHDR engine ensures perfect exposures when shooting HDR. It delivers a stunning 10+ stops of dynamic range to the LCD in real time from Log/ PQ/HLG camera signals. Playout Log as PQ or HLG to a larger HDR-compatible screen. The display can be calibrated to maintain perfect color accuracy over time.

Long records on affordable storage

Record direct from your camera’s sensor and bypass the internal compression quality and recording time limits. It runs from a single Sony-type battery for hours. The new compact AtomX Drive SSD offer robust affordable storage. Available from Angelbird, G-Technology and now also Sony Storage Media Solutions, who join as our newest licensed drive partner. Ninja V also works with Master Caddy II.

Designed for your camera!

Atomos HDMI control protocols allow recording to be automatically triggered, timecode matched and HDR metadata set by a wide variety of cameras. Realtime Log-to-HDR profiles allow users to take away the exposure guesswork in HDR production.

Audio inputs

Audio can be input directly from the camera digitally via HDMI, or fed in analogue via a stereo 3.5mm line/mic socket – especially useful for cameras that do not have a mic input.

Endless open expansion!

Enhance the capabilities of the Ninja V through the ingenious modular expansion slot breaking out connectivity for high speed video, audio and power. Expansion modules will dock onto the battery slot of the unit and offer advanced features such as continuous power modules. Atomos and third party accessories will be available in the future.

Atomos CEO Jeromy Young explains: “Ninja V is the result of years of development and expertise. It combines the best of what we do at Atomos and squeezes it into one small box. It sits stealthily on your mirrorless camera, yet it is packed with power. It’s what everyone wants! Small, sleek 5″ and future proofed with AtomOS and the modular expansion slot – at $ 695 it’s a no brainer. Put simply, Ninja V is the most versatile outdoor monitor and portable ProRes recorder ever. We can’t wait to see how it unlocks creativity for our users.”

Come and see Ninja V for yourself at NAB 2018, Atomos booth C9425.

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic releases DaVinci Resolve 15 with all-new VFX and motion graphics module

10 Apr

In addition to the new Pocket Cinema Camera 4K announced earlier today, Blackmagic Design also released a major update to its video production software DaVinci Resolve. According to Blackmagic, DaVinci Resolve 15 comes with “hundreds of new features and improvements” but the major addition is a new Fusion module that fully integrates visual effects and motion graphics tools into the DaVinci Resolve workflow.

If you were wondering if Blackmagic is serious about making this a class-leading application, this update should help answer that. Already an industry favorite for color-correction, DaVinci Resolve 15 now includes four high-end video production applications in one: there’s a module for editing, a module for color correction, a module for audio production, and now, the new Fusion module for VFX and motion graphics as well.

Previously available as a stand-alone application, Fusion—which Blackmagic Design calls the “world’s most advanced visual effects and motion graphics software”—is now built right into DaVinci Resolve 15.

“DaVinci Resolve 15 is a huge and exciting leap forward for post production because it’s the world’s first solution to combine editing, color, audio and now visual effects into a single software application,” said Grant Petty, CEO, Blackmagic Design. “We’ve listened to the incredible feedback we get from customers and have worked really hard to innovate as quickly possible. DaVinci Resolve 15 gives customers unlimited creative power to do things they’ve never been able to do before. It’s finally possible to bring teams of editors, colorists, sound engineers and VFX artists together so they can collaborate on the same project at the same time, all in the same software application!”

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According to Blackmagic, the Fusion module gives visual effects and motion graphics artists a true 3D workspace with over 250 tools for compositing, vector paint, particles, keying, rotoscoping, text animation, tracking, stabilization and more. You’ll still be able to purchase Fusion on its own, but Blackmagic plans to fully integrate the entire application into DaVinci Resolve 15 “within the next 12-18 months.”

Today’s release isn’t the final version, but rather a public beta that is available as a free download to all current DaVinci Resolve and DaVinci Resolve Studio customers. The free version of DaVinci Resolve 15 will remain free, while the Studio version—which adds multi-user collaboration, support for frame rates over 60p, more filters and effects, and more—is available for $ 300 with “no annual subscription fees or ongoing licensing costs.” Take that Adobe…

To learn more, check out the full press release below or visit the Blackmagic Design website.

Press Release

Blackmagic Design Announces DaVinci Resolve 15

New upgrade fully integrates visual effects and motion graphics, adds even more audio tools plus hundreds of new features and improvements that editors and colorists have asked for!

NAB 2018, Las Vegas, USA – April 9, 2018 – Blackmagic Design today announced DaVinci Resolve 15, a massive update that fully integrates visual effects and motion graphics, making it the world’s first solution to combine professional offline and online editing, color correction, audio post production, multi user collaboration and now visual effects together in one software tool. DaVinci Resolve 15 adds an entirely new Fusion page with over 250 tools for compositing, paint, particles, animated titles and more. In addition, DaVinci Resolve 15 includes a major update to Fairlight audio, along with over 100 new features and improvements that professional editors and colorists have asked for.

A public beta of DaVinci Resolve 15 will be available today and for immediate download from the Blackmagic Design website. DaVinci Resolve 15 will also be demonstrated on the Blackmagic Design NAB 2018 booth at #SL216.

DaVinci Resolve 15 continues to revolutionize post production by combining 4 extremely high end applications as different pages in one single piece of software. The edit page has all of the tools professional editors need for both offline and online editing, the color page features the world’s most advanced color correction tools, the Fairlight audio page is designed specifically for audio post production, and the new Fusion page gives visual effects and motion graphics artists everything they need to create feature film quality effects and animations. All it takes is a single click to instantly move between editing, color, effects and audio.

This gives individual users unlimited creative flexibility because they can learn and explore different toolsets. It also enables collaboration so people with different talents can work together on the same project at the same time. The DaVinci Resolve 15 collaborative workflow dramatically speeds up post production because customers no longer need to import, export or translate projects between different software applications, and work no longer needs to be conformed when changes are made. Everything is in the same software application.

The free version of DaVinci Resolve 15 can be used for professional work and has more features than virtually every other paid application for post production. DaVinci Resolve 15 Studio, which adds multi user collaboration, 3D, VR, dozens of additional filters and effects, unlimited network rendering and other advanced features such as temporal and spatial noise reduction, is available to own for only US$ 299. There are no annual subscription fees or ongoing licensing costs. DaVinci Resolve 15 Studio costs less than all other cloud based software subscriptions and it does not require an internet connection once the software has been activated. That means customers don’t have to worry about losing work in the middle of a job if there is no internet connection.

“DaVinci Resolve 15 is a huge and exciting leap forward for post production because it’s the world’s first solution to combine editing, color, audio and now visual effects into a single software application,” said Grant Petty, CEO, Blackmagic Design. “We’ve listened to the incredible feedback we get from customers and have worked really hard to innovate as quickly possible. DaVinci Resolve 15 gives customers unlimited creative power to do things they’ve never been able to do before. It’s finally possible to bring teams of editors, colorists, sound engineers and VFX artists together so they can collaborate on the same project at the same time, all in the same software application!”

DaVinci Resolve 15 Detailed Overview

DaVinci Resolve 15 features an entirely new Fusion page for feature film quality visual effects and motion graphics animation. Fusion was previously only available as a stand alone application and is the world’s most advanced visual effects and motion graphics software. It is now built into DaVinci Resolve 15. The new Fusion page gives customers a true 3D workspace with over 250 tools for compositing, vector paint, particles, keying, rotoscoping, text animation, tracking, stabilization and more. Adding Fusion to DaVinci Resolve has been a massive project that will be completed over the next 12-18 months. Customers can get started using Fusion today to complete nearly all of their visual effects and motion graphics work. The standalone version of Fusion will continue to be available for customers who need it.

In addition to bringing Fusion into DaVinci Resolve 15, Blackmagic Design has also added support for Apple Metal, multiple GPUs and CUDA acceleration, making Fusion in DaVinci Resolve faster than ever. To add visual effects or motion graphics, customers simply select a clip in the timeline on the Edit page and then click on the Fusion page where they can use Fusion’s dedicated node based interface, which is optimized for visual effects and motion graphics. Compositions created in the standalone version of Fusion can also be copied and pasted into DaVinci Resolve 15 projects.

DaVinci Resolve 15 also features a huge update to the Fairlight audio page. The Fairlight page now has a complete ADR toolset, static and variable audio retiming with pitch correction, audio normalization, 3D panners, audio and video scrollers, a fixed playhead with scrolling timeline, shared sound libraries, support for legacy Fairlight projects, and built in cross platform plugins such as reverb, hum removal, vocal channel and de-esser. With DaVinci Resolve 15, customers no longer have to worry about audio plugins when moving between Mac, Windows and Linux because the FairlightFX plugins run natively on all three platforms.

DaVinci Resolve is the fastest growing nonlinear video editor in the industry. It’s also Hollywood’s favorite color corrector. Blackmagic Design has listened carefully to feedback from professional colorists and editors. DaVinci Resolve 15 includes over a hundred new features and improvements that editors and colorists have asked for.

Colorists get an entirely new LUT browser for quickly previewing and applying LUTs, along with new shared nodes that are linked so when one is changed they all change, multiple playheads for quickly referencing different shots in a program, over 5x performance improvement for stabilization, improved noise reduction, and new Super Scale HD to 8K up-rezzing. DaVinci Resolve 15 also expands HDR support with GPU accelerated Dolby Vision metadata analysis and native HDR 10+ grading controls. In addition, new ResolveFX let customers quickly patch blemishes or remove unwanted elements in a shot using smart fill technology. There are also new ResolveFX for dust and scratch removal, lens and aperture diffraction effects, and more.

Professional editors will find new features in DaVinci Resolve 15 specifically designed to make cutting, trimming, organizing and working with large projects even better. DaVinci Resolve 15 has dramatically improved load times so that large projects with hundreds of timelines and thousands of clips now open instantly. New stacked timelines and timeline tabs let editors see multiple timelines at once so they can quickly cut, paste, copy and compare scenes between timelines. There are also new markers with on-screen annotations, subtitle and closed captioning tools, auto save with versioning, greatly improved keyboard customization tools, new 2D and 3D Fusion title templates, image stabilization on the Edit page, a floating timecode window, improved organization and metadata tools, Netflix render presets with IMF support and much more.

For the ultimate high speed workflow, customers can add a DaVinci Resolve Micro Panel, DaVinci Resolve Mini Panel or a DaVinci Resolve Advanced Panel. All controls are logically placed near natural hand positions and are made out of the highest quality materials. Smooth, high resolution weighted trackballs and precision engineered knobs and dials feature the perfect amount of resistance for accurately adjusting any setting. The DaVinci Resolve control panels give colorists and editors fluid, hands on control over multiple parameters at the same time, allowing them to create looks that are simply impossible with a standard mouse.

In addition, Blackmagic Design also introduced new Fairlight audio consoles for audio post production that will be available later this year. The new Fairlight consoles are available in 2, 3 and 5 bay configurations. Prices for the new Fairlight control panels are approximately 80% less than the previously available panels with prices ranging from US$ 21,995 to US$ 48,995.

Availability and Price

The public beta of DaVinci Resolve 15 is available today as a free download from the Blackmagic Design website for all current DaVinci Resolve and DaVinci Resolve Studio customers. DaVinci Resolve Studio is available for US$ 299 from Blackmagic Design resellers worldwide.

The Fairlight consoles will be available later this year and will be priced from US$ 21,995 for the Fairlight 2 Bay console. The Fairlight consoles will be available from Blackmagic Design Resellers worldwide.

Articles: Digital Photography Review (dpreview.com)

 
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LaCie reveals slimmed down Rugged RAID Pro with USB-C and integrated SD card reader

10 Apr

French computer hardware company LaCie has announced the Rugged RAID Pro, the latest addition to its popular lineup of rugged external storage solutions.

Like its predecessors, the Rugged RAID Pro sticks with the iconic orange aesthetic made famous by Scottish product designer Neil Poulton. The signature design remains largely unchanged from its predecessors with the exception a few notable differences.

First, the integrated wrap-around cable is no longer present in the Rugged RAID Pro. While this might be a slight inconvenience, LaCie hopes the new, faster USB-C port and included Thunderbolt 3 cable (backwards compatible with USB-C connections) will make up for it. LaCie claims the max transfer speeds in RAID 0 configuration top out at 240MB/s, although you can configure the two internal hard drives to run in Raid 1 as well.

In addition to the new USB-C port, LaCie took a note out of its own book with the LaCie Copilot and added a UHS-II SD card reader to the Rugged RAID Pro. Now there’s no need to carry around an extra card reader if you’re using an SD card, which should be nice for those times when you don’t want to fuss with more cables than absolutely necessary.

Like all of LaCie’s ruggedized external drives, the Rugged RAID Pro is shock, dust and water resistant. LaCie claims it can handle drops from 1.2m/4ft without skipping a beat. In the event something does happen to it, LaCie includes three-years of Seagate Rescue Data Recovery Services. It also comes with one month of Adobe Creative Cloud All Apps subscription, a $ 50 value.

The Rugged RAID Pro will be hitting shelves with 4TB capacity ‘this quarter’ with an MSRP of $ 350. To learn more, head over to the LaCie website.

Press Release

Seagate Showcases Latest Products, Partnerships And Unveils New Online Community To Industry-Leading Media & Entertainment Organizations At NAB 2018

Providing solutions that effortlessly integrate into a wide range of creative workflows

LAS VEGAS, NV – NAB 2018 – At the NAB 2018 conference Seagate Technology (NASDAQ: STX), a world leader in data storage solutions, today announced the launch of a new product, LaCie Rugged® RAID Pro, and creative professional community, Collective. These announcements mark Seagate’s ongoing commitment to provide innovative solutions and platforms to support the workflows of creative professionals that allow digital content to be created, stored, utilized and shared in the most creative and effective ways.

“Digital content creation is key in the media and entertainment (M&E) industry, comprising of unique moments that are the product of time and money – and often irreplaceable,” said Tim Bucher, senior vice president of Seagate consumer solutions. “We have seen an exponential rise in the amount of data created and as such, it has become central to industries such as M&E. From shooting on set through to post-production, the transferring, storing and accessing of data is a pivotal part of the creative workflow. At Seagate, we’re constantly looking to deliver storage solutions that allow people to unlock their full creative potential, and create truly memorable content.”

Seagate and LaCie solutions are helping the M&E industry protect the value of this high-quality, high-resolution digital video throughout the capturing, editing, distribution and archiving process. From technology geared for small post-production houses to complex systems ideal for multi-editor environments, these solutions provide the ability to manage large amounts of data while ensuring it is secure and accessible anytime, anywhere.

Addressing industry’s increasing demand for high performance storage on set, LaCie is launching the Rugged® RAID Pro 4TB, design by Neil Poulton, the next generation of its popular Rugged RAID solution.

From the plains of Africa, to sub-zero temperatures, to the wasteland of abandoned Chernobyl, the Rugged range has served creative explorers no matter where they are, providing safe and reliable storage for the last 13 years. Encased in the famous orange rubber shell, the Rugged RAID Pro offers up to 240 MB/s in RAID 0 and RAID 1 for peace-of-mind in having a second copy in the field, as well as when transporting content back to the editing studios. With the integrated SD Card Reader, creative professionals can quickly offload content with the quick import toolkit.

The Rugged RAID Pro is designed with the latest USB-C connector and compatible with next-generation Thunderbolt 3 computers but also backward compatible with USB 3.0. While the drive is also shock, dust, crush and water resistant, LaCie includes 3-Year Limited Warranty with Rescue Data Recovery Services and 1-Month Adobe All-Apps Plan (a $ 79.49 value) – featuring Adobe Photoshop CC, Adobe Illustrator CC and much more giving creative professionals peace of mind when exploring and capturing the world. LaCie Rugged RAID Pro will be shipping this quarter with an estimated suggested price of $ 349.

Articles: Digital Photography Review (dpreview.com)

 
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Sony unveils FS5 II Super 35mm camera with 4K HDR and 120fps RAW

10 Apr

Sony has announced the latest member of its professional Super 35mm lineup, the FS5 II. Similar in looks and functionality to its predecessor, the upgrades to the FS5 II are mostly features that were available to its predecessor through paid updates—only now they’re ‘free’.

Inside, the Super 35 Exmor CMOS sensor remains untouched. Likewise, the E-mount body of the camera remains identical aside from the updated nameplate and a different color neutral density dial. Where the camera gets the biggest changes is in its color science, Raw shooting modes, and high frame rate functionality.

The stand-out feature of the FS5 II is the updated color science that’s gone into it. Sony says it’s taken everything it’s learned from developing the 6K Venice camera and brought it into the much more compact (and affordable) FS5 II. The changes are said to yield ‘rich mid-range colours, alluring facial tones, and a softer tonal look’. Also added are nine color profiles, including a few designed specifically for S-Log2 and S-Log3.

Here’s a closer look at the new camcorder:

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Also present in the FS5 II is Sony’s ‘Instant HDR’ workflow. This is one of the features available for the FS5 via a paid update, but it comes standard on the FS5 II. The Instant HDR workflow eliminates the need for color grading footage. This effectively means HDR video can be streamed straight from the camera when shot in HLG/BT.2020 mode.

Finally, the FS5 II features dual SD card slots that can internally record video up to 4K/30p and Full HD video at 1080/120p. For higher-resolution and RAW video, an external recorder is needed; however, if you are using an external recorder, the FS5 II can output 4K/60p video and even RAW 4K/120p, but only in four second bursts. At 2K, the FS5 II can output continuous RAW footage at 240fps.

The FS5 II is expected to launch in June 2018 for $ 4,750 USD body-only. For more details, check out the overview video at the top or head over to the Sony Pro website.

Sony Introduces FS5 II with 4K HDR, 120fps RAW and New Color Science

Sony’s Popular Super 35 mm handheld Camcorder Adds New Functionality Based on User Demand

Sony’s new Large Format Sensor lineup is expanding with the introduction of the FS5 II (Body: PXW-FS5M2, Lens Kit: PXW-FS5M2K). Complete with stunning 4096 x 2160 4K HDR and 120fps performance at 60Hz mode (and 100fps at 50Hz mode), as well as RAW capabilities, the new Super 35 mm camcorder marries outstanding image quality with an ergonomic modular frame, offering content creators ultimate creative flexibility.

In addition to S-Log 2/3, the FS5 II offers Instant HDR Workflow to produce HDR content, when shooting in HLG/BT.2020 mode, for quick post-production without the need for grading.

The FS5 II interchangeable lens, E-mount camcorder offers flexibility for applications including web commercials, music video production, dramas, corporate and event videography and documentaries.

Designed to meet the requirements of today’s content creators, the FS5 II features an all-new look with a refined picture tone to capture natural highlights, subtle, alluring and well rendered facial tones and a softer tonal look, for capturing lifelike portrayals. Using the accumulated expertise of Sony’s digital cinematography camera VENICE, the FS5 II promises a fresh and vivid look while still retaining plenty of creative options in post-production, as a result of its high performance 4K Super 35 Exmor® CMOS sensor.

Takuro Ema, product manager for Sony Professional Solutions Americas explains, “When Sony develops new camera technologies we gather feedback from all ends of the production chain – from DOPs to post production professionals. This camera was no exception. We’ve evolved and developed our hugely popular FS5 with default shooting capabilities and the FS5 II is now a powerful addition to the Large Format Sensor line-up which promises even more flexibility and creative choices.”

The FS5 II builds on Sony’s heritage for image quality, delivering stunning High Frame rate shots supporting four seconds of 120fps in 4K and continuous 240fps at 60Hz mode and 200fps at 50Hz mode in 2K (2048X1080) RAW output when used in conjunction with a compatible external recorder. Continuous 4K 60fps RAW output at 59.94p is fully supported, with 50fps supported at 50Hz mode.

The camcorder also offers High Frame Rate (HFR) recording to an internal SD card at Full HD 10bit 4:2:2 image quality and a frame rate of up to 240 fps of 8-second cache recording, allowing up to 10 x slow motion and capturing 239.76fps at HD or 2K, and playback at 23.98p. Continuous recording of 120fps in Full HD is also supported.

With an Instant HDR Workflow users can now reduce time in post-production and produce high-quality HDR content quickly without the need of grading. For productions of longer lead-times, S-Log 2/3 allows the HDR image to be fine-tuned via color grading.

Lightweight but robust, theFS5 II’s well balanced 0.8kg body, adaptability and creative features make it a perfect fit for movie shooting, while its modular design makes it easy to reconfigure for any application including mounting on a gimbal or drone. Sony’s unique Electronic Variable ND filter with Auto ND function covers a wide range of exposure adjustment, as well as creating a wide range of shallow Depth of Field control.

Now with ten Picture Profile settings, the FS5 II allows users to instantly and easily configure the camera for different shooting styles, such as cinematic and online content creation.

The FS5 II is planned to be available in June, with expected pricing as follows:

  • PXW-FS5M2, body only — $ 4,750 USD and $ 5,940 CAD
  • PXW-FS5M2K, with lens — $ 5,250 USD and $ 6,560 CAD

For further information, please visit www.sony.com/pro.

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic Design announces Pocket Cinema Camera 4K

10 Apr

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Way back in 2013, Blackmagic Design introduced the Pocket Cinema Camera, a compact camera with a Super 16 sensor that promised cinema recording quality in a body about the size of a Sony a6500. While it delivered high quality footage, many users acknowledged that it felt like a version 1 product, including frustrating issues like fussy behavior, short battery life, and inelegant ergonomics and controls.

At NAB in Las Vegas, Blackmagic finally announced the sequel many were waiting for, the Pocket Cinema Camera 4K. Video shooters will be happy to know that it’s a significant upgrade at a very aggressive price point.

The Pocket Cinema Camera 4K is built around a Micro Four Thirds sensor with dual native ISO and a native DCI 4K (4096×2160) resolution. Although we don’t have any technical information on the sensor, this sounds suspiciously similar to the one used in Panasonic’s GH5S. Blackmagic claims the sensor can capture 13 stops of dynamic range.

Blackmagic finally announced the sequel many were waiting for, the Pocket Cinema Camera 4K. Video shooters will be happy to know that it’s a significant upgrade at a very aggressive price point.

The camera will be able to record DCI 4K at 60 fps and windowed HD (a native 1080 crop) at up to 120 fps in either 10-bit ProRes or 12-bit Raw formats. Various internal recording media are supported including standard SD cards, UHS-II cards, and CFast 2.0 cards.

What’s potentially more interesting, however, is the option to record externally using the camera’s USB-C port. Blackmagic claims it’s the first camera that will let users connect media, like an SSD, directly to the camera’s USB-C port for direct external recording. This means it should be possible to go directly from shooting to working on your computer without transferring data from cards. It seems like a brilliant, if not obvious, use for the USB port.

The Blackmagic Pocket Cinema Camera 4K. Image courtesy of Blackmagic Design

In addition to the USB-C port, there’s also a full sized HDMI port that can output clean 10-bit video, a mini XLR input with 48v phantom power for audio, 3.5mm audio input, and a headphone jack. Power comes from a standard Canon LP-E6 type battery, and there’s a locking DC power connector that protects the camera from being accidentally unplugged.

The camera’s body is made from a carbon fiber polycarbonate composite to keep it both sturdy and light. It has a substantial grip and a top button layout similar to what’s found on many mirrorless cameras, which should improve handling over the original.

Blackmagic claims it’s the first camera that will let users connect media, like an SSD, directly to the camera’s USB-C port for direct external recording.

On the rear is a large 5″ touchscreen for composition, viewing exposure parameters, and useful tools such as a histogram and focus peaking. Notably, Blackmagic doesn’t mention support for waveform displays or vectorscopes.

The camera can capture still photos, though Blackmagic hardly mentions it. Since this camera is clearly aimed at videographers we don’t expect a deep feature set for regular photography.

What may be most impressive about the camera is the price. The Pocket Cinema Camera 4K will sell for $ 1295 and be available later this year. We definitely look forward to getting our hands on this camera and testing it out.

Press release:

Blackmagic Design Announces Blackmagic Pocket Cinema Camera 4K

Next generation 4K camera features dual native ISO, full 4/3 HDR sensor, 13 stops of dynamic range, and ProRes or RAW recording to internal SD/UHS-II and CFast cards, or even external USB?C drives!

NAB 2018, Las Vegas, USA – April 9, 2018 – Blackmagic Design today announced the all new Blackmagic Pocket Cinema Camera 4K, a handheld digital film camera with full 4/3 HDR sensor, dual native ISO with up to 25600 ISO for incredible low light performance as well as 13 stops of dynamic range. It also eliminates expensive external recorders, as it features a unique new USB-C Expansion Port, which allows customers to record using the internal SD/UHS-II and CFast recorders or directly to the same external disks they will use for editing and color correction. The Blackmagic Pocket Cinema Camera 4K will be available from Blackmagic Design resellers worldwide later this year for only US$ 1,295.

The Blackmagic Pocket Cinema Camera 4K will be demonstrated on the Blackmagic Design NAB 2018 booth at #SL216.

The revolutionary new Blackmagic Pocket Cinema Camera 4K is the handheld digital film camera that customers have been asking for. It packs incredibly high end imaging and professional features into a portable and affordable design that can be used anywhere. The compact body style is perfect for shooting independent films and documentaries, fashion shows, travel blogs, web videos, weddings, corporate video, sports and much more.

The Blackmagic Pocket Cinema Camera 4K features a full size 4/3 HDR sensor with native 4096 x 2160 resolution and 13 stops of dynamic range for true digital film quality. The full size of the 4/3 sensor is designed to perfectly match MFT lenses so the crop factor is greatly reduced, giving customers a wider field of view. It also features dual native ISO with up to 25600 ISO for incredible low light performance.

The Blackmagic Pocket Cinema Camera 4K is packed with features such as a MFT lens mount, large 5 inch touchscreen monitor, 10-bit ProRes and 12-bit RAW recording, 3D LUTs, 4 built in microphones, mini XLR audio input with phantom power, Bluetooth wireless camera control, HDMI on set monitoring output and more. The latest Blackmagic Design color science lets customers shoot images that are far better than DSLR cameras and even better than professional digital film cameras costing tens of thousands more.

Designed using a space age carbon fiber polycarbonate composite, the body of the Blackmagic Pocket Cinema Camera 4K is extremely strong and light. The carbon composite material consists of a high strength polymer that’s reinforced with carbon fibers. This gives the camera body incredible strength and rigidity to help protect it from accidental knocks and drops which can often result in damage. The handheld design features a multi function grip which has logically placed buttons and dials that allow super fast access to essential shooting functions such as recording start/stop, still photos, ISO, shutter, aperture, white balance, power and more.

Fourth generation Blackmagic Design color science lets customers shoot HDR images in film, video and new extended video modes. The new extended mode combines the latitude of digital film with an optimized video file. This gives customers working on fast turnaround projects an ideal solution for shooting great looking images that don’t need a lot of color correction or post production work.

Images can be recorded onto standard SD cards, faster UHS-II cards or CFast 2.0 cards in either ProRes or RAW formats. The Blackmagic Pocket Cinema Camera 4K can record 4K images at up to 60 frames per second and windowed HD at up to 120 frames per second. It’s also the first camera that lets customers record directly onto the same exact external USB-C media drives they use for editing and color correction. That means customers can turn projects around much more quickly because they don’t have to transfer files. All they need to do is unplug the USB-C drive and then connect it to their computer to start editing.

The Blackmagic Pocket Cinema Camera 4K uses the same MFT (Micro Four Thirds) lens mount as the original Pocket Cinema Camera so customers can use the investment in lenses they already own. The MFT mount is extremely flexible and allows for different lens adapters so customers can also use PL, C, EF and other types of lenses from manufacturers such as Canon, Nikon, Pentax, Leica and even Panavision.

The rear of the camera features a large bright 5 inch touchscreen that makes it easy to frame shots and accurately focus. It also uses the same Blackmagic OS as URSA Mini so customers can use simple tap and swipe gestures to adjust settings, add metadata and view recording status. On screen overlays make it easy to see recording parameters, status, histogram, focus and peaking indicators, and playback controls. In addition, 3D LUTs can be applied for both monitoring and recording.

For audio, the Blackmagic Pocket Cinema Camera 4K features multiple built in microphones with an extremely low noise floor, a mini XLR input with 48 volts of phantom power to connect professional lapel and boom mics, and a 3.5mm stereo audio jack for connecting different types of video camera microphones. The high quality built in audio recording means customers don’t have to carry around a separate recorder.

The Blackmagic Pocket Cinema Camera 4K also includes a full size HDMI connector which can output HDR video as well as a clean 10-bit video feed with optional on screen overlays. There’s also an innovative high speed USB-C Expansion Port for adding external accessories such as flash drives and an SSD for external recording. The camera uses standard LP-E6 batteries and can be charged via USB-C or the locking DC power connector, which protects the camera from being accidentally unplugged during a shoot.

“Customers love the original Blackmagic Pocket Cinema Camera and have been asking us for a 4K version,” said Grant Petty, Blackmagic Design CEO. “We’ve listened and built a camera that combines all of our newest ideas and customer feedback from the previous model! The new Blackmagic Pocket Cinema Camera 4K is exciting because it packs so much technology into an incredibly small design. We feel it will go well beyond what customers expected. It’s perfect for anyone that needs a truly professional ultra compact digital film camera. This is not a consumer camera that’s trying to do high end work, it’s a true high end camera designed for high end work.”

Blackmagic Pocket Cinema Camera 4K Features

  • Full size 4/3 sized sensor with native 4096 x 2160 resolution sized sensor.
  • Compatible with extremely high quality Micro Four Thirds lenses.
  • Super wide 13 stops of dynamic range allows capture for high end feature film look.
  • Up to 25600 ISO for incredible low light performance.
  • Carbon fiber polycarbonate composite body which makes it lightweight, portable and durable.
  • Multi function grip for quick access to recording start/stop, still photos, ISO, shutter, aperture,white balance, power and more.
  • Built in SD, UHS-II and CFast card recorders.
  • USB-C expansion port allows longer duration recording directly to an external SSD or flash disk.
  • Standard open file formats compatible with popular NLE software such as 10-bit ProRes and 12 bit RAW.
  • Features full size HDMI output for monitoring with camera status graphic overlay.
  • Professional mini XLR input with 48 volts of phantom power for connecting to pro microphones.
  • 3.5mm audio jack, headphone jack, and locking DC 12 volt power connection.
  • Built in 5” LCD touchscreen allows accurate focus when shooting 4K.
  • LCD supports on screen overlays including status, histogram, focus peaking, and transport controls.
  • Records 4K images at up to 60 frames per second and windowed HD at up to 120 frames per second.
  • 3D LUTs can be applied for both monitoring and recording.
  • Blackmagic OS as used in URSA Mini and URSA Broadcast cameras.
  • 4th generation Blackmagic color science.
  • Supports remote camera control via Bluetooth.
  • Includes full license for DaVinci Resolve Studio editing, color, visual effects and audio post production.

Availability and Price

Blackmagic Pocket Cinema Camera 4K will be available later this year for US$ 1,295 from Blackmagic Design resellers worldwide.

Articles: Digital Photography Review (dpreview.com)

 
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Eizo unveils ColorEdge CG319X DCI-4K HDR monitor for high-end video and photo editing

10 Apr

High-end monitor maker Eizo has just unveiled the ColorEdge CG319X: a 31.1-inch DCI-4K HDR display with a 4096 x 2160 resolution, built-in calibration sensor, and 98% DCI-P3 coverage. The new ColorEdge model builds upon the previously launched CG318-4K, adding multiple new features including hybrid log-gamma (HLG) support and a perceptual quantization (PQ) curve for HDR video editing.

According to the company, the CG319X’s panel offers images that “appear more true to how the human eye perceives the real world.”

The new ColorEdge model is targeted at pro-tier post-production work, offering a variety of features beyond what is available on typical consumer displays. For one, the CG319X has an integrated calibration sensor that has been upgraded so that it can recalibrate your monitor even while you’re using it. To facilitate this, the user selects a time during which the sensor will swing onto the screen, using up “minimal space” so that work can continue.

The CG319X comes with this built-in calibration sensor, which has been updated so it can recalibrate your display even if the monitor is in use.

This model also offers 98% DCI-P3 color space reproduction, a 1500:1 contrast ratio, and a retardation film that maintains tone depth when viewing the monitor from an angle. Finally, because temperature changes can affect an LCD’s brightness and color, Eizo has built a temperature sensor into the CG319X, which allows the display to adjust as necessary when the ambient temperature of the room changes.

The ColorEdge CG319X also features two HDMI ports, two DisplayPort inputs, DCI-4K/60Hz using HDMI or DisplayPort 1.2, 3D LUT, 10-bit simultaneous display from 24-bit LUT, 4K zoom, aspect ratio markers, luminance warning, an ergonomic stand, light-shield hood, built-in carrying handle, 5-year manufacturer’s warning, and support for the following cinema and broadcast preset modes:

  • EBU
  • Rec. 2020
  • Rec. 709
  • SMPTE-C
  • DCI
  • PQ
  • HLG

Eizo will start shipping the ColorEdge CG319X monitor next month in some regions; US shipments start in June. Price is still TBD.

Press Release

EIZO Releases 31.1″ DCI-4K Monitor with HDR Gamma Support for Media and Entertainment

Hakusan, Japan, April 5, 2018 – EIZO Corporation (TSE: 6737) today announced the new ColorEdge CG319X – a 31.1-inch monitor with DCI-4K resolution (4096 x 2160) and HDR gamma support for the professional post production workflow. It is the successor model to the CG318-4K with several upgraded features.

Distinguishing it from its predecessor, the ColorEdge CG319X comes equipped with HLG (hybrid log-gamma) and the PQ (perceptual quantization) curve for displaying and editing HDR (high dynamic range) video content. The optimized gamma curves render images to appear more true to how the human eye perceives the real world compared to SDR (standard dynamic range). Having a monitor equipped with HDR gamma support ensures professional creators can reliably display HDR content during the editing process so it is ready for color grading at the end of the workflow.

ColorEdge CG319X is equipped with an upgraded built-in calibration sensor, which allows the user to continue to operate the monitor even during recalibration. The sensor swings onto the screen at a time designated by the user and takes up minimal space so work remains uninterrupted.1 A built-in sensor eliminates the need for a third-party calibration device and ensures the screen stays color-accurate.

The monitor’s wide color gamut reproduces 98% of the DCI-P3 color space used in the media and entertainment industry. In compliance with the DCI standard, the ColorEdge CG319X offers a high contrast ratio of 1500:1 for producing true blacks that are otherwise difficult to display on a typical LCD monitor. In addition, it is equipped with a retardation film which allows tones to retain their depth even when viewed from an angle.

The color and brightness of an LCD monitor can be affected by changes in ambient temperature of the monitor itself. The ColorEdge CG319X is equipped with an internal temperature sensor which detects those changes and adjusts the monitor so gradations, color, brightness, and other characteristics continue to be displayed accurately. The algorithm used in the AI (artificial intelligence) 2 of the monitor allows it to perform this temperature detection and adjustment even at high brightness levels for providing a truly accurate viewing environment. In addition, EIZO’s patented digital uniformity equalizer (DUE) technology also counterbalances the influences that a fluctuating temperature may have on color temperature and brightness for stable image display across the entire screen. The monitor also provides noiseless, fanless operation while still maintaining low heat output without impacting performance.

Additional Features

  • 3D LUT for individual color adjustment on an RGB cubic table
  • 10-bit simultaneous display from a 24-bit LUT for smooth color gradations 3
  • DCI-4K resolution at 60 Hz via DisplayPort 1.2 or HDMI input
  • Broadcast and cinema preset modes: EBU, Rec. 2020, Rec. 709, SMPTE-C, DCI, PQ, and HLG
  • Two DisplayPort and two HDMI inputs
  • Ergonomic stand which meets IEC/EN 62368-1
  • Light-shielding hood included
  • 5-year manufacturer’s warranty 4

EIZO will be showing the ColorEdge CG319X for the first time at the NAB Show 2018 in Las Vegas, USA from April 9 – 12. Visit Booth SL15713 to see the product.

Product Information

  • ColorEdge CG319X

Availability

The ColorEdge CG319X will begin shipping in May, 2018. Date of availability varies by country so contact the EIZO group company or distributor in your country for details.

Articles: Digital Photography Review (dpreview.com)

 
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Western Digital debuts new G-Drive and G-Speed professional grade SSDs

09 Apr

Western Digital just revealed its new lineup of G-Technology G-DRIVE and G-SPEED external solid state drives at NAB 2018, and as you might expect, they’re built to handle ultra-high resolution video. In fact, WD claims these Thunderbolt 3 drives enable “real-time 4K and 8K workflows” for professionals who need serious speed, capacity, and reliability.

There are three new drives in all: the G-DRIVE Mobile Pro SSD, the G-DRIVE Pro SSD, and the G-SPEED Shuttle SSD.

G-DRIVE Mobile Pro SSD

The G-Drive Mobile Pro SSD aims to be one of the fastest mobile storage solutions you can bring with you in the field. Available in 500GB and 1TB configurations, this Thunderbolt 3 drive boasts read speeds up to 2800MB/s that should let you “edit multi-stream 8K footage at full frame rate, quickly render projects and experience them at full resolution, and transfer as much as a terabyte of media in seven minutes.”

The most portable of today’s announcements, the drive has also been built to be rugged. The derive uses “specially engineered components” for its shock-resistant design, and the aluminum core is meant to prevent overheating.

To learn more about the G-DRIVE Mobile Pro SSD, head over to the G-Technology website. Both 500GB and 1TB capacity drives will be available in the US starting this summer for $ 660 and $ 1,050, respectively.

G-DRIVE Pro SSD

The G-DRIVE Pro SSD, as the name suggests, is the Mobile Pro’s big brother. Like its younger sibling, it features a Thunderbolt 3 connection (actually two of them) and can transfer data at up to 2800MB/s. Thanks to the dual-connection, however, you can daisy chain up to 6 of these bad-boys together and stack them on your desk like Jenga pieces.

Since this is a desktop solution, it’s not built with the same shock-proof design as the Mobile Pro, but the G-DRIVE Pro SSDs do boast enterprise-class solid state drives with an endurance rating of one drive write per day.

These drives will be available to US consumers starting in May, and will come in capacities of 960GB, 1.92TB, 3.84TB, and 7.68TB for $ 1,400, $ 2,100, $ 4,100, and $ 7,600, respectively. Just for fun we did the math: if you daisy chain six of the 7.68TB drives together, you will have spent $ 45,600 for 46.08TB of solid state storage.

You can learn more about the G-DRIVE Pro SSD on the G-Technology website.

G-SPEED Shuttle SSD

Finally, the biggest and baddest of the drives released today (if you can call this a “drive”) is the G-SPEED Shuttle SSD: an enclosure that comes with eight removable SSDs pre-loaded and configured in RAID 5. This is meant for “ultra-demanding” workflows like multi-stream HD, 4K, 8K, VR and VFX backup and editing.

The G-SPEED Shuttle SSD comes with up to 16TB of storage (eight, 2TB drives pre-loaded) and can be configured to run hardware RAID 0, 1, 5, 10, and 50. And, like the G-DRIVE Pro SSD, the G-SPEED features two Thunderbolt 3 connection that max out at 2800MB/s and can be daisy chained with up to five additional devices.

The G-SPEED Shuttle SSD will arrive on store shelves in the US this month, and can be purchased in either 8TB or 16TB configurations for $ 5,100 and $ 7,600, respectively. That means the same $ 45,600 mentioned above will buy you 96TB of solid state storage if you go with the G-SPEED Shuttle.

To learn more or order yours, visit the G-Technology website.

Press Release

Access, Edit and Share Massive 4K and 8K RAW Video from Multi Camera Shoots in Real Time with the Fast and Reliable Western Digital Thunderbolt 3 SSD Solutions

Award-Winning G-Technology® G-DRIVE® and G-SPEED® Families Enable Creative Professionals to Access and Work With Data Quickly

Las Vegas, 2018 NAB SHOW, Apr. 9, 2018 – Western Digital Corporation (NASDAQ: WDC) is meeting the escalating fast-transfer and high-capacity demands of professional content creators by enabling real-time 4K and 8K workflows with three new professional-grade ultra-fast solutions in its powerful G-Technology® G-DRIVE® and G-SPEED® Shuttle product families.

Working with large 4K and 8K RAW video means massive file sizes and is undoubtedly one of the largest pain points for content editors. With new cameras capable of capturing over 400 MB/s of RAW data, there is an opportunity for content professionals to create incredibly high-resolution footage and ever-more immersive viewer experiences. It is not uncommon for a production crew to be on-location for two or three months recording three to four terabytes per day of footage from multiple cameras. With this expansion of data capture, comes a potential bottleneck in maintaining a real-time workflow on location – until now.

“Saving time means getting more done, which means booking more jobs over the course of a year,” said Scott Vouri, Vice President of Strategy and Business Development, Western Digital. “Creative professionals need to know that their drives will keep up with the growing demands of their workflows. To capitalize on these opportunities, the right tools are crucial. When working in the field, production teams need a fast solution that can handle demanding workflows of 4K and 8K content with the ability to quickly collect that valuable footage and be able to edit on the spot. With the power of Thunderbolt 3*, and transfer rates up to 2800MB/s**, the the new G-Technology Pro SSDs offer an ultra-fast, super-reliable solution for any creative project team.”

G-DRIVE Mobile Pro SSD

With storage running at 2800MB/s, the G-DRIVE mobile Pro SSD (Up to 1TB of capacity) lets you edit multi-stream 8K footage at full frame rate, quickly render projects and experience them at full resolution, and transfer as much as a terabyte of media in seven minutes or less (for capacities 1TB or larger) wherever you are. A durable, shock-resistant design uses specially engineered components to endure traveling, while a single Thunderbolt™ 3 port lets you instantly edit footage on the go with incredible speed without the need for wall power. An aluminum core prevents overheating and maintains a consistent high performance, and with a trusted 5-year limited warranty, you get durable, fast solutions. The G-DRIVE mobile Pro SSD solution with Thunderbolt 3 is available in the U.S. Summer of 2018 in capacities of 500GB ($ 659.95) and 1TB ($ 1,049.95) USD.

G-DRIVE Pro SSD

Equipped with scorching fast transfer rates of up to 2800MB/s, the G-DRIVE Pro SSD solution (up to 7.68TB of capacity) with Thunderbolt 3 technology enables a filmmaker to edit multi-stream 8K footage at full frame rate, quickly render projects and experience them at full resolution, and transfer as much as a terabyte of content in seven minutes or less (for capacities 1TB or larger). Dual Thunderbolt 3 ports are ready to daisy-chain up to five additional devices, while a stackable, rugged aluminum enclosure offers a durable way to help keep your workplace tidy. Combined with Enterprise-class solid state drives, an endurance rating of one drive write per day (DW/D) endurance rating, and a trusted 5-year limited warranty, the G-DRIVE Pro SSD delivers reliable, high-performance desktop storage you can rely on. The G-DRIVE Pro SSD solution with Thunderbolt 3 is available in the U.S. May of 2018 in capacities of 960GB1 ($ 1,399.95), 1.92TB ($ 2,099.95), 3.84TB ($ 4,099.95) and 7.68TB ($ 7,599.95) USD.

G-SPEED Shuttle SSD

With up to 16TB of SSD capacity, the G-SPEED Shuttle SSD with Thunderbolt 3 is optimized to support multi-stream HD, 4K, 8K, VR and VFX workflows. Equipped with transfer rates up to 2800MB/s, hardware RAID 0, 1, 5, 10, 50, and eight removable SSDs pre-loaded and configured in RAID 5, it is built for ultra-demanding production workflows. The G-SPEED Shuttle SSD is available in the U.S. this month in capacities of 8TB ($ 5,099.95) and 16TB ($ 7,599.95).

*Backward compatible with Thunderbolt 2 using Thunderbolt 3 to Thunderbolt 2 adapter

**Based on read speed. As used for transfer rate, megabyte per second (MB/s) = one million bytes per second. Performance will vary depending on your hardware and software components and configurations.

1As used for storage capacity, one terabyte (TB) = one trillion bytes. Total accessible capacity varies depending on operating environment.

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2018 interviews: The reign of the DSLR is almost over…

08 Apr
Canon executives (L-R) Yoshiyuki Mizoguchi, Go Tokura, and Naoya Kaneda. Will Canon announce a full-frame mirrorless camera this year? The signs are looking increasingly positive. Read the full interview

At DPReview, we’re in touch with the companies that make your favorite cameras and lenses all year-round. Our best opportunity to really tap into how the leaders of those companies are thinking though comes once a year, at the CP+ show in Yokohama Japan.

Senior executives from all of the major camera and lens manufacturers are present at CP+ and we try our best to speak to as many of them as possible. This year we sat down with leaders from (in alphabetical order) Canon, Fujifilm, Olympus, Panasonic, Ricoh, Sigma, Sony and Tamron to learn more about how they see the market, and to get an indication of what might be coming down the road.

Full-frame mirrorless will become the norm, and it will happen pretty soon

This year, almost all the executives we spoke to seemed to agree on one thing: full-frame mirrorless will become the norm, and it will happen pretty soon. Kenji Tanaka of Sony even put a date on it, saying that in his opinion, Canon and Nikon would join Sony in the full-frame mirrorless space within a year. Executives from Sigma and Tamron were similarly confident, and even Go Tokura of Canon dropped a couple of fairly heavy hints that the move to mirrorless is imminent.

Kenji Tanaka of Sony thinks that it won’t be long before Sony has some company in the full-frame mirrorless market, but must be hoping that products like the A7 III will increase his company’s share of the full-frame market in the meantime. Read the full interview

It certainly makes sense, and honestly, I’m surprised that it’s even taken this long. For quite a while now, I’ve had the feeling that DPReview has been reporting on two camera markets. One is the mirrorless market: new, energetic, and increasingly packed with advanced autofocus systems and high-end video features. And the other is the DSLR market, dominated by increasingly non-essential iterative updates at the low-end, solid money-makers in the middle, and tough but conventional flagships at the top. There are some exciting and innovative DSLRs still being released, no doubt, but they’re starting to look less and less like products of the technology’s continuing evolution and more like its ultimate expression.

At a certain point, the mirror and prism will become barriers to further innovation

It’s hard to imagine, for example, how much more advanced Nikon’s DSLR platform can get, following the release of the D5 and D850. At a certain point, the mirror and prism will become barriers to further innovation, and if we haven’t already reached that point already, surely we must be getting close?

We spent some time at CP+ talking with senior executives from Fujifilm about the runaway success of the GFX system, and how the company is moving into video.

Read the full interview

Canon already has a mirrorless lineup, albeit one that up to now has been primarily aimed at entry-level customers. They’ve been quietly laying the groundwork for high-end mirrorless for a while now though, with key technologies like Dual Pixel CMOS autofocus and a small system of compact EF-M lenses that are optimized for the short flange-back of the M-mount. As Mr. Tokura and his fellow executives told us when we spoke to them in Japan, ‘we have the technology’ – they just need to put it all together. Nikon’s 1 System (it’s not dead, it’s just sleeping…) likewise introduced some important technologies that Nikon could presumably incorporate into a larger-format system when it feels the time is right.

When we spoke to the head of Olympus’s imaging business unit, Shigemi Sugimoto, he told us that he hopes to grow his company’s market share after “a painful period”.

Read the full interview

I think that the time is close at hand. It’s hard to argue with Mr. Tanaka of Sony that “if cameras are going to develop […] manufacturers have to develop mirrorless technologies”. Consider features like face / eye-detection AF, full-frame autofocus coverage and 4K video. All work best with the mirror up, even when it might not technically be a prerequisite.

With a lens like its new 28-75mm, Tamron is not just betting on Sony, but on full-frame mirrorless in general

Sigma and Tamron both announced full-frame Sony E-mount lenses at CP+, and appear committed to further development in the future. Takashi Sawao of Tamron confirmed something that we already suspected – lenses like its upcoming 28-75mm F2.8 for Sony have the potential to be adapted relatively easily for future – new – mirrorless mounts. The not-so-subtle message here is that with a lens like the 28-75mm, his company is betting not just on Sony, but on full-frame mirrorless in general. Sigma isn’t quite there yet (although Sigma has several native FE lenses on the market, they’re based on existing DSLR designs) but CEO Mr. Yamaki told us that his company’s announcement of E-mount versions of some Art-series lenses is ‘just the beginning’.

Among the topics covered in our conversation with Sigma CEO Kazuto Yamaki were his determination to make more native Sony E-Mount lenses for mirrorless cameras. Read the full interview

Technically speaking, there are plenty of advantages to making lenses for full-frame mirrorless systems from scratch. Mr. Yamaki explained that for wideangle optics especially, the lenses can be made substantially smaller. They can also take advantage of in-camera optical corrections. If and when Canon and Nikon fully commit to full-frame mirrorless, I predict a flood of new lenses, as well as cameras. Nobody is expecting a return to the salad days of the early and mid-2000s, but wouldn’t it be nice to have a little more competition in a market with a few more new products in it? I’m asking for a friend…

Our conversation with Tamron executives covered various topics, including the move to new native mirrorless designs and the decline in DSLR lens sales.

Read the full interview

Sony and Fujifilm both told us that they would welcome Canon and Nikon’s eventual contributions to the high-end mirrorless marketplace, and I believe them – although Sony’s rapid release cycle of full-frame a7 and a9 bodies in the past 18 months certainly looks like an attempt to grab as much market share as possible in the meantime.

Olympus’ Shigemi Sugimoto seems to be looking forward to some growth, after “a painful period” which saw his company’s imaging products lineup shrink. He’s new to his job, but appears confident that his company’s high-performance Micro Four Thirds cameras can compete thanks to their attractive combination of small size and market-leading image stabilization.

Meanwhile, Panasonic also hinted at further development of its stills-focused ILCs, after a period when the company has seemed more focused on meeting the needs of professional and enthusiast videographers. For its part, Fujifilm has made a bold move in the other direction with its new flagship X-H1, explicitly courting video creators for the first time.

Panasonic executives told us that the company is hoping to ‘re-brand’ its stills photography offerings, after a period of investment in video users. Read the full interview

The only manufacturer we spoke to in Japan that appeared uninterested in talking about mirrorless development was Ricoh. I suspect that this is partly strategic and partly also driven by necessity. The R&D resources required to tool up and launch a new system into (presumably, before too long) a crowded market may simply be prohibitive – especially given that the company has only recently started to dip its toes into full-frame digital.

At least for now, it looks as if we can expect little more from Ricoh than consolidation of the existing K-series DSLR lineup and probably a GR II successor of some kind, at some point in the future. A proportion of die-hard Pentax fans will be disappointed by this, but I expect that many simply won’t care. The K-1 II and the imminent arrival of a new 50mm F1.4 represent (at least) a continued investment in the company’s core user-base, and that’s probably enough to keep the loyalists happy for now.

Takashi Arai of Ricoh told us that we can expect new K-series products and possibly also a GR II successor soon, but it seems unlikely that we’ll see any Pentax-branded mirrorless cameras in the near future.

Read the full interview

So what’s coming around the corner? If you’ll indulge some informed guesswork, I’m expecting the announcement of 4K-capable full-frame mirrorless cameras from at least one if not both of the major DSLR manufacturers by late summer, ahead of Photokina in September. That would fit the historical pattern of major product launches from both manufacturers. I don’t think that either Canon or Nikon will attack the professional market straight out of the gate – instead, it’s probably more likely they’ll kick things off with EOS 6D / D600-type products.

I expect flagship professional mirrorless ILCs to be launched ahead of Tokyo 2020 from Canon, Nikon and Sony

A slow build-up of core native-mirrorless lenses (alongside the necessary mount adapters for legacy EF and F lenses) will naturally follow, and development will ramp up as we get close to the Olympic Games in 2020. We know from speaking to executives at CP+ that Tokyo 2020 is going to be a big deal for Canon, and I’d expect it also to be used as a showcase for flagship professional mirrorless ILCs from the other two manufacturers in the ‘big three’ – Nikon and Sony.

By then, it would make sense for both Canon and Nikon to have replicated their most important tele primes and wide-aperture zoom lenses in their new native mirrorless mounts, and for Sigma and Tamron to be offering their own lower-cost alternatives. I don’t want to guess at exactly what those alternatives will look like, but it’s a safe bet that Sigma’s will be larger.

What do you think? Will Fujifilm or Panasonic be competing with the big three in the photographers stands at Tokyo 2020? Will Ricoh ever make another mirrorless ILC? Will Canon’s concept cameras transform how we think about capturing images?

Have your say in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Report: Apple won’t release the next Mac Pro until 2019

07 Apr
Credit: Apple

Apple delivered some slightly disappointing news to professional users in an interview with TechCrunch this week. Speaking with the tech publication, Senior director of Mac Hardware Product Marketing Tom Boger revealed that the next version of the Mac Pro is not coming in 2018. It will be a 2019 product.

The current Mac Pro—colloquially referred to as the trash can Mac Pro because of its form factor—was released all the way back in 2013, and even Apple admitted that the design was a mistake. In April of 2017, Apple executive Craig Federighi told BuzzFeed News that the company had “designed ourselves into a bit of a corner” with the circular form-factor, and Phil Schiller promised users that Apple was “completely rethinking the Mac Pro” for the next generation.

Since then, we haven’t heard much, and professional users not content with the all-in-one form-factor of the powerful new iMac Pro were holding out purchasing it in the hopes that the next Mac Pro was right around the corner. It sounds like Apple knows this, and decided to be un-characteristically candid with the professional community through this TechCrunch interview:

“We want to be transparent and communicate openly with our pro community, so we want them to know that the Mac Pro is a 2019 product,” says Boger. “We know that there’s a lot of customers today that are making purchase decisions on the iMac Pro and whether or not they should wait for the Mac Pro.”

Professional creatives who are married to the Apple ecosystem—particularly high-end video producers—still have a choice to make: purchase an iMac Pro now, or wait a year (or more) for the next generation Mac Pro? But at least now they won’t have to worry that a new Mac Pro will come out a few days or weeks after they pull the trigger on their iMac purchase.

To find out more about Apple’s Mac Pro plans—including some interesting tidbits about the company’s secretive “Pro Workflow Team”—head over to TechCrunch to read the full interview.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix ZS200 sample gallery updated

07 Apr

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With spring rolling around, the Panasonic ZS200 / TZ200 is likely catching the eyes of photography-minded travelers planning for upcoming trips. Our testing is underway, and in the meantime we’ve added another batch of sample images to our gallery along with some Raw files and conversions.

See our Panasonic Lumix ZS200
Sample Gallery

Articles: Digital Photography Review (dpreview.com)

 
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