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Olympus PEN E-PL9 headed to the US and Canada

06 Apr

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The Olympus PEN E-PL9, the company’s entry-level mirrorless camera, is coming to North America two months after launching everywhere else. The E-PL9 features a 16MP Four Thirds sensor, 3-axis image stabilization, a tilting LCD, 4K/30p video capture and Bluetooth support.

The camera is available immediately for $ 599 USD / $ 699 CAD body only and $ 699 USD / $ 899 CAD with a 14-42mm F3.5-5.6 EZ lens, custom bag and strap and a 16GB memory card. It will initially ship in three colors: Pearl White, Onyx Black and Honey Brown. A limited edition blue model is expected in early summer.

View our E-PL9 sample gallery

Press Release

IMAGING MADE SIMPLE: THE EYE-CATCHING OLYMPUS PEN E-PL9

New PEN Is a Compact, Lightweight Interchangeable Lens Camera That Delivers Outstanding Image Quality and Creativity for the Trendy Shooter

CENTER VALLEY, Pa., April 5, 2018 — Olympus introduces the Olympus PEN® E-PL9, a compact, lightweight interchangeable lens camera packed with features to enhance your photography with stunning image quality and sophisticated design. The PEN E-PL9 is the newest model in the award-winning PEN lineup and combines Olympus’ latest touchscreen controls with an array of interchangeable lens options to go beyond smartphone photography, perfect for those looking to capture and share their lifestyle in attention-grabbing detail with friends and followers.

The Olympus PEN E-PL9’s sophisticated design is bolstered by aluminum accents, metal dials, and leather grain that perfectly complements each color option to match your personal style — Pearl White, Onyx Black, and Honey Brown. The 180-degree flip-touch LCD monitor simplifies selfie stills and videos with an easy-to-use interface that automatically switches the camera to Selfie Mode when the monitor is flipped downward to its front-facing position.

In-body image stabilization delivers sharp images and smooth 4K video even in low light environments or when using a telephoto lens. The latest Olympus TruePicTM VIII Image Processor, the same processor included on the Olympus flagship OM-D™ E-M1 Mark II, improves image quality and responsiveness. Built-in Bluetooth® and Wi-Fi™ allow you to easily connect your PEN E-PL9 to your smartphone to wirelessly transfer images and upload to social channels.

With the PEN E-PL9’s Auto Mode, the camera instantly detects a scene and chooses the best settings. Scene Modes let you choose from preset scenarios like People, Motion, Indoors, Nightscapes, Scenery, or Close-ups for easy setting customization. Advanced Photo Modes are readily available using the touch LCD monitor and facilitate high-end photo techniques such as nighttime Live Composite and multi-exposure shooting, so anyone can capture stunning images without worrying about difficult settings.

U.S. Pricing and Availability
The Olympus PEN E-PL9 will be available in Pearl White, Onyx Black, and Honey Brown beginning on April 5, 2018 for a street price of $ 599.99 USD / $ 699.99 CAD for the camera body and $ 699.99 USD / $ 899.99 CAD for the one lens kit. The one lens kit includes the PEN E-PL9 camera body, M.Zuiko 14-42mm F3.5-5.6 EZ lens, custom camera bag, custom camera strap, 16GB memory card, Quick Tip Card, and Quick Start Guide.

For a complete list of specifications, visit the Olympus website: http://www.getolympus.com/digitalcameras/pen/e-pl9.html

Olympus PEN E-PL9 specifications

Price
MSRP £579/€549 (body only), £679/€699 (with 14-42mm EZ lens)
Body type
Body type Rangefinder-style mirrorless
Body material Composite
Sensor
Max resolution 4608 x 3456
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 16 megapixels
Sensor photo detectors 17 megapixels
Sensor size Four Thirds (17.3 x 13 mm)
Sensor type CMOS
Processor TruePic VIII
Color space sRGB
Color filter array Primary color filter
Image
ISO Auto, 200-6400 (expandable to 100-25600)
Boosted ISO (minimum) 100
Boosted ISO (maximum) 25600
White balance presets 6
Custom white balance Yes (4 slots)
Image stabilization Sensor-shift
Image stabilization notes 3-axis
CIPA image stabilization rating 3.5 stop(s)
Uncompressed format RAW
JPEG quality levels Super fine, fine, normal
File format
  • JPEG (Exif v2.3)
  • Raw (Olympus 12-bit ORF)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 121
Lens mount Micro Four Thirds
Focal length multiplier 2×
Screen / viewfinder
Articulated LCD Tilting
Screen size 3
Screen dots 1,040,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type None
Photography features
Minimum shutter speed 60 sec
Maximum shutter speed 1/4000 sec
Maximum shutter speed (electronic) 1/16000 sec
Exposure modes
  • Auto
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Scene modes
  • Portrait
  • e-Portrait
  • Landscape with Portrait
  • Night Scene with portrait
  • Children
  • Hand-held Starlight
  • Night Scene
  • Fireworks
  • Light trails
  • Sports
  • Panning
  • Landscape
  • Sunset
  • Beach and Snow
  • Backlight HDR
  • Panorama
  • Candle
  • Silent mode
  • Macro
  • Nature Macro
  • Documents
  • Multi Focus
Built-in flash Yes
Flash range 7.60 m (at ISO 200)
External flash Yes
Flash modes Auto, manual, redeye reduction, slow sync w/redeye reduction, slow sync , slow sync 2nd-curtain, fill-in, off
Flash X sync speed 1/250 sec
Drive modes
  • Single
  • Sequential
  • Self-timer
  • Bracketing
Continuous drive 8.6 fps
Self-timer Yes (2 or 12 secs, custom)
Metering modes
  • Multi
  • Center-weighted
  • Highlight-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV, 1/2 EV, 1 EV steps)
AE Bracketing ±5 (3, 5 frames at 2/3 EV, 1 EV steps)
WB Bracketing No
Videography features
Format MPEG-4, H.264
Modes
  • 3840 x 2160 @ 30p / 102 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 102 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 102 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 52 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 52 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 52 Mbps, MOV, H.264, Linear PCM
  • 1280 x 720 @ 120p, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC card (UHS-I supported)
Connectivity
USB USB 2.0 (480 Mbit/sec)
USB charging No
HDMI Yes (micro HDMI)
Microphone port No
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n + Bluetooth 4.0 LE
Remote control Yes (via smartphone)
Physical
Environmentally sealed No
Battery Battery Pack
Battery description BLS-50 lithium-ion battery & charger
Battery Life (CIPA) 350
Weight (inc. batteries) 380 g (0.84 lb / 13.40 oz)
Dimensions 117 x 68 x 39 mm (4.61 x 2.68 x 1.54)
Other features
Orientation sensor Yes
Timelapse recording Yes (Video up to 4K)
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Apple introduces new ProRes RAW video format with Final Cut Pro X update

06 Apr
Credit: Apple

In a surprise update ahead of NAB, Apple has introduced a brand new video format called ProRes RAW. The format was introduced alongside an update to Final Cut Pro X, which also added advanced closed captioning tools for professional filmmakers.

The captioning tools are neat—they allow video editors to more easily create, view, edit, and deliver captions, with support for both the CEA-608 and iTT formats—but this feature will no doubt be overshadowed by the much bigger news: the introduction of ProRes RAW.

As the name suggests, ProRes RAW is an evolution of the Apple ProRes video codec. Apple claims that ProRes RAW “combines the visual and workflow benefits of RAW video with the stunning performance of ProRes.” By pulling RAW data from the sensor, video editors will have a lot more dynamic range flexibility—important as more and more displays, including Apple’s own iPhone X, become capable of displaying true HDR—all while taking advantage of the space and performance benefits of a compressed ProRes file.

In fact, Apple claims that ProRes RAW files take up less space than ProRes 4444. And since it’s Apple’s format, it has been performance optimized for macOS so that you can play full-quality 4K ProRes RAW files on your current MacBook Pro or iMac in real time without rendering.

Credit: Apple

The format drops today, and already Apple has made inroads into the professional community with Atomos and DJI. ProRes RAW compatibility will be made available as a free update for Atomos Shogun Inferno and Sumo19 users, and as “a free update for users with the RAW activation package” for the DJI Inspire 2 Drone and Zenmuse X7 camera.

Once updated, Final Cut Pro users will be able to work natively with ProRes RAW and the ProRes RAW HQ files created by the two Atomos external recorders mentioned above.

To learn more, check out the full press release below; or, if you’re feeling exceptionally brave and nerdy, you can read Apple’s full white paper on the new format here. Final Cut Pro X version 10.4.1 will be available as a free update to current users ($ 300 USD for new users) starting April 9th.

Press Release

Final Cut Pro X update introduces ProRes RAW and advanced closed captioning

Apple is introducing a new update to Final Cut Pro X, the most popular version of its professional video editing software, with more than 2.5 million seats. Final Cut Pro 10.4.1 introduces a groundbreaking format from Apple, ProRes RAW, which combines the visual and workflow benefits of RAW video with the performance of ProRes. The update also adds advanced closed captioning tools that allow video editors to easily view, edit and deliver captions from right within the app. Apple is also adding complementary new features to Final Cut Pro companion apps, Motion and Compressor.

ProRes RAW

ProRes RAW is a new format from Apple that offers the quality and workflow advantages of RAW with the stunning performance of ProRes. With ProRes RAW, editors can import, edit and grade pristine footage with RAW data from the camera sensor, providing ultimate flexibility when adjusting highlights and shadows — ideal for HDR workflows. And with performance optimized for macOS, editors can play full-quality 4K ProRes RAW files on MacBook Pro and iMac systems in real time without rendering. ProRes RAW files are even smaller than ProRes 4444 files, allowing editors to make better use of storage while providing an excellent format for archiving.

Final Cut Pro editors can work natively with ProRes RAW and ProRes RAW HQ files created by Atomos recorders. The format will be available as a free update for owners of Atomos Sumo 19 and Shogun Inferno devices. The format will also be available as part of a forthcoming upgrade package to users of the DJI Inspire 2 drone and Zenmuse X7 Super 35mm camera system designed for aerial cinematography.

Closed Captioning Tools

As closed captioning becomes increasingly important around the world, Final Cut Pro now includes powerful closed captioning tools for professional filmmakers, YouTubers and students looking to add captions to their projects without the need for expensive third-party software or services. Users can import closed caption files directly into their project or create them from scratch. Captions appear in the viewer during playback and can be attached to video or audio clips in the timeline, so they automatically move with the clips to which they’re connected. An all-new captions inspector makes it simple to adjust caption text, color, alignment, location and more. Users can even create captions in multiple languages within the same timeline and easily share captioned videos to YouTube and Vimeo. And in the share window, a new Roles tab displays titles, video and audio roles in a single consolidated interface, making it easy to configure roles and closed captions when sharing.

Motion 5.4.1 and ProRes RAW enable motion graphics artists to take full advantage of RAW image quality with superb performance and flexibility when designing graphics and effects. Compressor 4.4.1 gains support for closed captioning with comprehensive controls to view, adjust and deliver captions as part of a batch or iTunes Store package.

Pricing and Availability

Final Cut Pro 10.4.1 will be available on April 9 as a free update for existing users, and for $ 299.99 (US) for new users on the Mac App Store. Motion 5.4.1 and Compressor 4.4.1 will also be available on April 9 as free updates for existing users, and for $ 49.99 (US) each for new users on the Mac App Store. Education customers can purchase the Pro Apps Bundle for Education for $ 199.99 (US). For more information, please visit: apple.com/final-cut-pro.

Articles: Digital Photography Review (dpreview.com)

 
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Samsung explains the sensor tech behind the Galaxy S9’s super-slow-motion mode

05 Apr

Samsung published a couple of technical blog posts today, providing some detail on the stacked sensor technology used in the new Galaxy S9 and S9 Plus smartphones, and specifically how this tech is used to power the devices’ super-slow-motion mode.

This mode can record 960 frames per second at HD resolution for a duration of 0.2 seconds, which translates into 6 seconds playback time at 30 fps—32 times slower than standard video. The resulting videos can be reversed, exported as GIFs and edited in other ways.

To achieve the blistering fast frame rates, Samsung has adopted similar imaging technology to what we’ve previously seen on some Sony devices. The S9 sensor offers faster sensor readout-times, bandwidth and video processing of the application sensor than on previous Galaxy generations by using a three-layer stacked sensor design that consists of the CMOS image sensor itself, a 4x faster readout circuit, and a dedicated DRAM memory chip for buffering:

In addition to slow-motion, the stacked sensor helps reduce rolling shutter effects in video mode, and counter camera shake through frame-stacking methodologies.

“We were able to achieve a readout speed that is four times faster than conventional cameras thanks to a three-layer stacked image sensor that includes the CMOS image sensor itself, a fast readout circuit, and a dedicated dynamic random-access (DRAM) memory chip, which previously was not added to image sensors,” explained Dongsoo Kim. “Integrating DRAM allowed us to overcome obstacles such as speed limits between the sensor and application processor (AP) in a high-speed camera with 960fps features.”

You can see some of the Samsung super-slow-motion video results in the video below. Samsung’s article on the technology is available on its blog, where you’ll also find an interview with the team behind the new sensor.

Articles: Digital Photography Review (dpreview.com)

 
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Snapchat’s first TV commercial calls the app ‘a new kind of camera’

05 Apr

If you’re over the age of 30 (and I’m being generous here) Snapchat probably isn’t one of your go-to apps. In fact, you might not even know what it is. Is it a social network? Is it like Instagram? Isn’t it that app that Instagram copied a bunch of features from after the company refused to sell to Facebook for billions of dollars?

In this order: sort of, sort of, and yes.

But if you asked Snap, Inc. CEO Evan Spiegel what Snapchat is, he’d probably point you to the video above. It’s the company’s very first TV commercial and an attempt to re-brand the app as “a new kind of camera.”

The commercial is the latest in a series of attempts by Snapchat to fight off Facebook—who has been shamelessly copying the app’s features into Instagram—and position itself as something better than a social network: a camera. Better yet, a camera “where how you feel matters more than how you look.”

In a way, it feels like Snapchat is trying to become the digital photography version of Lomography: where capturing snapshots is more important that proper photography—don’t think, just shoot. It’s point & shoot photography reborn, except as point & shoot & share… but maybe add a puppy dog mask or flower crown first because why not.

Maybe Snapchat—with its app and its wearable Spectacles—will become the digital Lomo LC-A or Diana: an imperfect outlet for imperfect pictures that takes some of the pressure out of photography. Not what I would call “a new kind of camera” exactly, but not a terrible idea either.

Articles: Digital Photography Review (dpreview.com)

 
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Behind the scenes with some incredible camera robots

05 Apr

Tech YouTuber Marques Brownlee of MKBHD recently took a trip to Portland, OR to meet up with the team behind Motorized Precision and show off some of the incredible camera robots they’ve built. The resulting behind the scenes videos show you why these robots exist, and the kinds of shots they’re able to get that are just plain impossible for a human to recreate with the tools we currently have available.

Forget stabilizers and dollies and tracks and sliders, a human would have a very hard time capturing a shot like this:

Which was done like this:

You might recognize this robot and its CGI-like moves from the commercial that introduced Microsoft’s Surface Studio to the world. Anything that wasn’t CGI or visual effects in that commercial was shot using the KIRA robot:

Brownlee and the team at Motorized Precision set up several example shots using both the KIRA—MP’s most powerful and capable robot—and the smaller MIA. Both of these are controlled by a piece of software called MP Studio, which also allows you to manipulate the robot using an XBox controller, something Brownlee also demos.

Check out the full ‘Dope Tech’ video at the top to see more interesting behind-the-scenes shots.

Articles: Digital Photography Review (dpreview.com)

 
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Bellus3D uses the iPhone X’s TrueDepth camera to 3D scan your face

05 Apr

Bellus3D, a Silicon Valley startup that last year launched a 3D face scanning accessory camera for Android smartphones, today unveiled its FaceApp iPhone X application. The app does pretty much the same thing as the accessory camera but does not require any additional hardware as it is making use of the iPhone X’s front-facing TrueDepth camera, which Apple uses for Face ID.

FaceApp captures more than 250,000 3D data points on a face in 10 seconds while the user slowly turns their head in front of the camera. The app then reconstructs a virtual high-resolution version of the face that can be rotated, zoomed and viewed in three dimensions. Additionally, the face model can be viewed with interactive lighting, using the device’s gyro to control viewing angles.

The resulting 3D selfie videos can be saved, shared or posted on Facebook.

The app is not all about 3D selfies though. Bellus3D imagines the technology being used in a range of consumer applications, including: mobile gaming, custom eyeglass design, virtual make-up sessions, medical applications and custom dolls.

“We are thrilled to be introducing this exciting breakthrough to Apple iPhone X users,” said Eric Chen, co-founder and CEO of Bellus3D. “Our FaceApp takes full advantage of the TrueDepth camera to bring easy-to-use and professional quality face scanning capability to millions of users and will inject an entirely new level of personal presence into our daily use of digital media.”

Bellus3D is launching a public beta program today, and version 1.0 of FaceApp will be available at no charge. Future releases will allow file export in industry standard 3D formats and the company will also release a Face SDK for iOS to enable third party developers to use the technology.

If you are interested in the beta trial, you can sign up on the Bellus3D Facebook page, and developers can register to receive notifications about the SDK on the Bellus3D website. Check out the video above to see the system in action, and then head over to Facebook for some 3D sample scans.

Press Release

Bellus3D Announces High-Resolution 3D Face Scanning App for Apple iPhone X Utilizing Built-In TrueDepth Camera.

Bellus3D FaceApp for iPhone X is first to utilize the Apple TrueDepth Face ID Camera to capture and reproduce high-resolution lifelike 3D selfies.

Los Gatos, Ca. April 4, 2018 – Bellus3D, Inc. a Silicon Valley startup formed by leading computer vision experts, announced today the Bellus3D FaceApp iPhone X application, a remarkable advancement in face scanning technology. The company is the first to utilize the built-in TrueDepth camera incorporated in the Apple iPhone X smartphone to scan 3D faces in high resolution with a lifelike quality that was only previously available with expensive professional 3D scanners.

Bellus3D FaceApp for iPhone X is an easy-to-use, high-resolution, 3D face scanning application that captures over 250,000 3D data points on a user’s face in 10 seconds while the user turns their head in front of the smartphone camera. Immediately after the scanning, the user’s face is virtually reconstructed in 3D with lifelike detail and can be rotated, zoomed and viewed in three dimensions on the screen of the iPhone X.

The app allows: the 3D face to be viewed with interactive lighting; the use of the smartphone’s built-in gyro to control viewing and; the ability to save a 3D selfie video to their camera roll photo album to share with others. Users will also have the ability to immediately post their 3D selfie as a 3D post on Facebook.

Bellus3D is the first to use the iPhone X TrueDepth camera for high-resolution 3D face scanning and the company is already seeing many new uses that will impact millions of people. Consumer applications incorporating 3D faces include mobile gaming, custom eyeglass design, virtual 3D make-up sessions, medical applications, 3D selfies, custom dolls, and emerging 3D augmented and virtual reality experiences.

Bellus3D is starting a public beta program in April to enable early adopters and third-party developers to test the application as the company finalizes its formal release. Version 1.0 of Bellus3D FaceApp will be free and will include posting of 3D selfies to Facebook. A subsequent release of the app will allow users to export their 3D faces in industry standard 3D file formats to other applications and AR/VR digital environments. Bellus3D will also release a Face SDK for iOS to enable third party developers to add high-resolution 3D face-scanning capabilities to their own iPhone X apps.

“We are thrilled to be introducing this exciting breakthrough to Apple iPhone X users,” said Eric Chen, co-founder and CEO of Bellus3D. “Our FaceApp takes full advantage of the TrueDepth camera to bring easy-to-use and professional quality face scanning capability to millions of users and will inject an entirely new level of personal presence into our daily use of digital media.”

In addition to FaceApp for iPhone X, Bellus3D currently ships the Face Camera Pro USB accessory camera for Android & Windows platforms. The accessory camera captures up to 500,000 3D data points and is targeted for professional markets such as orthodontics and custom eyewear design. The Face Camera Pro is currently available and will continue to be offered for Android and Windows platforms.

Interested users can participate in the beta trial of the Bellus3D FaceApp for iPhone X by signing up at: www.Bellus3D.com/FaceApp.

Third party software and hardware developers can register to be notified of the availability of Face SDK for iOS by filling out an inquiry form at: www.Bellus3D.com/FaceSDKiOS.
To see examples of 3D Face Posts on the Bellus3D Facebook page, visit: https://www.Facebook.com/bellus3d/

Articles: Digital Photography Review (dpreview.com)

 
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Leica will increase its prices in the US starting May 1st

05 Apr

According to a report from Red Dot Forum by Leica Store Miami, Leica will increase the price of most of its products in the US starting May 1st. The site has published a list of the 66 products that will become more expensive next month, which includes most Leica M cameras and nearly all M lenses—for example, the Leica M10 with chrome finish will increase in price by $ 400, from $ 6,895 to $ 7,295.

You can check out the full list here, but according to the report you’ll pay:

  • $ 200 to $ 500 more for Leica M cameras
  • $ 100 to $ 600 more for Leica M lenses
  • $ 100 to $ 200 more for Leica S lenses
  • $ 45 to $ 245 more for Leica APS-C gear
  • $ 245 more for the Leica Q (Typ 116) black anodized model
  • $ 200 more for the Leica X-U (Typ 113)
  • and a whopping $ 1,045 more for the Leica S (Typ 007), which will now cost $ 19,995.

You’ll notice the SL system, new Thambar 90mm and Noctilux 75mm lenses, and Leica CL camera are not affected by this price increase.

Per Red Dot Forum’s report, orders placed by April 30th will honor the current, lower prices—that includes items that won’t be in stock until May 1st or later. If you’re in the US and are interesting in purchasing a Leica product, you can browse the full list of affected products here.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe Premiere Pro CC just got some really useful AI-powered features

05 Apr

Yesterday, Adobe announced a ‘massive update’ to Adobe Camera Raw, Lightroom CC, and Lightroom Classic CC, adding new Adobe RAW and Custom profiles that showed the company was taking color and tonality more seriously. But that wasn’t the only update to come out of Adobe this week.

In preparation for NAB 2018, Adobe has also updated its video editing applications with useful new features for both After Effects and Premiere Pro users, and some really cool Adobe Sensei AI integration specifically for Premiere Pro.

The video above gives you a good overview, or you can can keep reading to dive a bit deeper.

Adobe After Effects

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After Effects received a few interesting new features, including a new Advanced Puppet tool for creating complex motions, and Master Properties that allow you to apply changes to individual effects across multiple versions of a composition. Or, to let Adobe explain it:

With Master Properties, you can create compositions that allow you to control layer properties in a parent composition’s timeline. You can push individual values to all versions of your composition or pull selected changes back to the master.

Adobe has also added Immersive Environment into After Effects, providing 360-degree and VR content creators with a more efficient workflow.

Adobe Premiere Pro

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Master Properties and the Advanced Puppet tool are pretty neat, but to see the most useful and impressive new features you’ll have to open Premiere Pro.

First and foremost, the new Color Match feature leverages the Adobe Sensei AI to automatically apply the color grade of one shot to another. This feature comes complete with Face Detection so Premiere can match skin tones where necessary, and a new split-view allows you to see the results of your color grade as you go, either as an interactive slider or as a side-by-side comparison.

You can see the feature demoed in the video below:

In addition to Color Match and Split View, Adobe has used the Sensei AI to make some audio improvements as well. Autoducking will automatically turn down your music when dialog or sound effects are present, generating key frames right on the audio track so you can easily override the automatic ducking or adjust individual key frames as needed.

Finally, Adobe has also added Adobe Stock integration into the apps for purchasing and pulling in stock video footage or motion graphics, and a new Learn panel in Premiere Pro gives new users “a place to start with targeted tutorials that guide them through the foundational steps of video editing.”

To learn more about all of these updates, head over to the Adobe Blog where there’s a good breakdown of all of the most important new features in both Adobe After Effects CC and Premiere Pro CC. Or, since these updates are live right now, update your Creative Cloud apps and give the new features a try for yourself.

Press Release

Adobe Creative Cloud Empowers Creatives to Thrive in the Video Age

New Release Accelerates Workflows for Color, Graphics, Animation and Audio with Adobe Sensei

SAN JOSE, Calif. — April 3, 2018 Ahead of the 2018 NAB Show, Adobe today announced a major update in Adobe Creative Cloud, giving video professionals new tools to automate and expedite time-consuming production tasks without sacrificing creative control. Available today, the updates include powerful new capabilities for refining color, creating graphics and crafting audio, along with enhanced VR tools, improved collaboration, integration with Adobe Stock and advanced artificial intelligence powered by Adobe Sensei.

With the growing demand for video, the opportunity for content creators has never been greater, but video professionals are faced with new pressure to deliver more work in less time while ensuring content stands out and meets high audience expectations. In addition, creators must optimize for different platforms, ensure accessibility, meet required broadcast standards and deliver numerous versions of content across languages and regions. This tremendous shift in the way video professionals work requires more refined and streamlined workflows to reduce time to production, giving video creators more time to focus on their craft.

“The demands and pace of video content creation are reaching levels we’ve never seen before. The time pressure on video professionals means the need for powerful and efficient creative tools has never been greater,” said Steven Warner, vice president of digital video and audio at Adobe. “Adobe video apps like Premiere Pro and After Effects give them that power which, combined with the services available in Creative Cloud, provides broadcasters, media companies, filmmakers and YouTubers a complete ecosystem to bring their stories to screen faster than ever.”

Ranging from Hollywood to Sundance, feature films to premium television channels, a growing number of industry-leading professional editors are using Adobe Premiere Pro CC to bring their creative visions to life. Projects that premiered this year include The Florida Project, The Square, Only the Brave and 6 Below; indie hits RBG, Clara’s Ghost and Search; and award-winning series MINDHUNTER and Atlanta.

Attendees at this year’s NAB Show can get a closer look at the newly available features and hear from industry experts at the Adobe booth (#SL4010, South Hall in the Las Vegas Convention Center) and at over 140 partner booths from April 9–12.

Video and Audio Workflows: Streamlined and Fine-Tuned

New feature highlights include:

  • Edit more powerfully with color and light in Premiere Pro CC – Powered by Adobe Sensei, Color Match two shots with one click, applying editable Lumetri adjustments from one clip to another to achieve visual consistency in scenes and across whole projects. Compare shots using the new split-view.
  • Create animation and graphics more quickly in After Effects CC – Stacked behaviors and effects in combination with timeline-based animation now make the creative process more visual and intuitive. Apply changes to individual effects across multiple versions of a composition with a single adjustment using new Master Properties. Also, complex motions can be made to any surface mesh with the new Advanced Puppet tool.
  • Sound even better with Sensei-powered audio workflows – Automatically adjust soundtrack audio around dialog, whether for a single clip or an entire project, with Sensei-enabled autoducking, now available in Adobe Premiere Pro.
  • Bring art to life faster with Character Animator – Animate personas more quickly and efficiently with a library of behaviors and custom triggers. Drag layers from the Puppet panel into the Triggers panel to apply and refine existing behaviors or create new ones with intuitive new drop targets.
  • Add 360 degrees of creativity with improved tools for immersive content – Adobe Immersive Environment is now available in After Effects CC, simplifying the immersive workflow to move more efficiently through clean-up and effects tasks. New support for the Microsoft Windows Mixed Reality platform offers a wider range of headsets to choose the best tools for the job.
  • Collaborate more easily in Team Projects – For the ultimate in project collaboration, real-time presence shows when teammates are online and new badges indicate when a project has been updated.
  • Get content you need with Adobe Stock – With direct access to millions of curated HD and 4K videos, select clips for establishing shots, fill in the final gaps in projects or enrich storytelling with visual variety. Add sophistication and polish to video content with professionally designed Motion Graphics templates, including animated titling and lower thirds graphics with editable effects and text.
  • Learn panel for new users – Premiere Pro beginners now have a place to start with targeted tutorials that guide them through the foundational steps of video editing. The new Learn panel is just a click away whenever it’s needed.

Pricing and Availability

The new features for Adobe Creative Cloud announced at NAB are now available with the latest version of Creative Cloud.

For more information on pricing, visit https://www.adobe.com/creativecloud/plans.html.

Multiple subscription plans for Adobe Stock are available at https://stock.adobe.com/plans.

Articles: Digital Photography Review (dpreview.com)

 
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Huawei P20 Pro hands-on: 3x zoom lens leaves the competition behind

04 Apr

The P20 Pro is Huawei’s latest flagship smartphone and, at least in the camera department, arguably the most innovative mobile device we have seen in quite some time. The camera module was developed in cooperation with Leica and is the first to combine three sensor/lens modules:

  • A large 1/1.7-inch RGB sensor with Quad-Bayer structure in the main camera is designed to capture as much light as possible and keep noise levels low.
  • A secondary high-resolution monochrome sensor provides depth estimation for the simulated bokeh effect, helps with digital zooming at low magnifications and improves detail and noise levels.
  • A dedicated tele-camera with an equivalent focal range of 80mm springs into action at 3x or higher zoom factors.
The Huawei P20 Pro camera combines three cameras: The main module is at the center, the monochrome camera at the bottom (left in this image) and the tele at the top (right).

So the spec sheet looks impressive but is the Huawei P20 Pro the best camera smartphone money can currently buy? We had the opportunity to shoot with a Huawei P20 Pro for a few days. Here are our first impressions.

Please note that the camera software on our test unit is not final, so some improvements can be expected for the production version.

Key specifications:

  • Triple-camera, 10MP output size
  • Main camera: 1/1.7-inch 40MP Quad-Bayer sensor, F1.8 aperture and 27mm equivalent focal length
  • Secondary camera: 20MP 1/2.78-inch monochrome sensor, F1.6-aperture and 27mm equivalent focal length
  • Tele-camera: 8MP, 1/4.4-inch RGB sensor, F2.4-aperture, 80mm equivalent focal length and optical image stabilization
  • Kirin 970 chipset
  • 6.1-inch Full View display
  • 6GB RAM
  • 128GB internal storage
  • 4,000 mAh battery

Wide-angle

In bright light the P20 Pro’s main camera captures images with good detail and very low noise levels. As you can see in the sample below, there is no noticeable grain in the blue sky, which is unusual for a smartphone, and fine detail is rendered nicely, though almost a touch oversharpened. Dynamic range is excellent as well, with very little highlight clipping for a smartphone camera.

Colors and contrast are definitely on the vibrant end of the scale but if you like things a little more natural you can can set colors to ‘smooth’ in the settings. There is a touch of corner-softness in our sample but overall the P20 Pro performs very well in good light.

ISO 50

The picture below was taken in a dim bar. In these conditions the camera does a very good job at keeping noise levels down. Some fine grain is noticeable in the shadows, but overall the image is very clean.

Some detail is lost on very fine textures but you have to zoom in to full-size view to notice. Edge detail is still very sharp and colors are maintained nicely. This is very good image quality from a smartphone in these light conditions.

ISO 1250

The very dim street lighting in the scene below pushes the P20 Pro camera to its limits. The image is exposed very well and colors are rendered nicely. However, detail clearly suffers and some fine textures are very soft. In these conditions the lack of optical image stabilization also becomes obvious, with some images showing signs of camera shake.

ISO 4000

Zoom

Thanks to the triple-camera with dedicated tele module, zoom is one of the P20 Pro’s highlight features. The series below shows the same scene as the first image in this article, with the camera zoomed onto the stork that is nesting on the church tower.

3x zoom

As you can see when clicking through to the full version of these images, detail is still decent at a 3x zoom factor and a good step ahead of any other current smartphone. Noise is very well controlled as well. At 5x a loss of detail and texture becomes more obvious but the images are still usable at smaller output sizes, for example in social media.

5x zoom

The 10x zoom image shows the typical softness and pixelation we are used to from digital zoom images and is best reserved for emergency situations. That said, while the P20 Pro’s zoom can’t compare to the optical zoom of a compact camera, it’s outstanding for a smartphone camera. Kudos to Huawei for squeezing the technology into the thin body of a mobile device.

10x zoom

The zoom is still usable in indoor light conditions and produces results that, in terms of detail and noise, aren’t far off from images captured in bright outdoor light.

Wide angle 3x zoom
5x zoom 10x zoom

The Huawei’s zoom is not only handy for magnifying elements of the scene, just like the optical zoom on a “real” camera it also helps compress the planes of a scene. In the wide-angle image below the mountain range in the background is so small, it’s hardly noticeable.

In the 3x zoom image the mountains have become a much more important element of the composition, thanks to compression. However, in the zoom image the color response is much less vibrant and the camera tends to be a little more prone to highlight clipping. Hopefully that is something that can be fine-tuned for the final software version.

Wide-angle
3x zoom

While zoom performance is generally pretty amazing for a smartphone camera, we found exposure to be very unstable when zoomed in. Once zoom is activated you can get very noticeable exposure jumps between two images in a series, as you can see in the 3x zoom samples below.

We would expect this bug to be fixed with a software update, hopefully for the final release of the production software.

Underexposure Slight overexposure

Portrait/Aperture modes

Like most current high-end phones, the P20 Pro offers a background-blurring Portrait mode. The feature works very well with head-and-shoulder type portraits. The default blur strength is pleasant and the masking of the subject is quite accurate. Only some minor segmentation artifacts are visible in the hair of the subject below.

Portrait mode

Things don’t look as good with full-body portraits, however. Like in the shot below, on most occasions Portrait mode does not trigger for this type of scene.

Portrait mode

Portrait mode applies a degree of skin tone smoothing to your subject’s face. If you don’t want that, or take an image of an object rather than a person, you can switch to Aperture mode which artificially blurs the background in the same way as Portrait mode.

As you’d expect, the mode delivers similar results as Portrait mode but more complex objects, such as the bicycle in the image below, can cause some trouble, especially when shooting zoomed in. Foreground/background separation in this shot is pretty bad, with a lot of blur applied to areas that should be sharp and vice versa.

Aperture mode, 3x zoom

Video

Video, and particularly video image stabilization, are strong points of the Huawei P20 Pro camera. The clip below was shot hand-held and is very stable and smooth, almost steady-cam-like. No judder, over-compensation or similar kind of artifacts are visible. Other than that, detail is in line with the competition and the color response is similar to still image mode.

Conclusion

We’ve only had a few days with the Huawei P20 Pro but that has been long enough to say it is the most advanced smartphone camera to date. General image quality is very good, with good detail, very low noise levels across all light levels and excellent dynamic range. In terms of those parameters the differences to other flagship smartphones, for example the Google Pixel 2 or Samsung Galaxy S9 Plus aren’t massive, however.

Where the P20 Pro really leaves the competition behind is zoom. The dedicated 3x tele-lens provides a real advantage in the zoom department and makes this device the best current smartphone for zooming. The triple camera is also capable of creating a natural looking bokeh simulation, and in video mode the image stabilization is up with the very best, creating an almost steady-cam like effect.

There are still a few niggles in the camera software but hopefully those will be ironed out for the final release and our full review. It’s still early in 2018, but it’ll be interesting to see what the competition will come up with later in the year in order to counter Huawei’s impressive move.

Articles: Digital Photography Review (dpreview.com)

 
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Japan’s NHK will demo an 8K camera that can shoot 240fps slow motion at NAB 2018

04 Apr
NHK Fukuoka Broadcasting Bureau. Credit: Soramimi

Japan’s national public broadcasting organization NHK is developing an 8K slow-motion camera capable of recording ultra-high-definition content at 240fps. The technology was announced in a press release (partially translated here), and will be showcased at NAB 2018 in Las Vegas next week. Though 8K monitors and televisions are still in their infancy, the broadcaster is pioneering 8K technologies in anticipation of future demand.

To that end, NHK also plans to showcase a new 8K VR display during NAB 2018. The display is designed to eliminate the pixelated look common to current VR headsets.

NHK’s 8K 240fps camera

Finally, future 8K broadcasts may benefit from the NHK’s new transmitter technology, which reduces an 8K broadcast from a huge 40Gbps to a more manageable (but still huge) 8Gbps. The transmitter then converts the content into an IP-based signal for live broadcasting, a process that allegedly happens in “tens of microseconds.”

According to AV Watch, NHK anticipates using its new 8K technology for sports broadcasts (think Tokyo 2020 Olympics) and other content featuring fast-moving objects starting later this year. Unlike existing solutions, the NHK system is said to offer better compression and transmission for a very low delay while maintaining 8K quality for live shows.

Articles: Digital Photography Review (dpreview.com)

 
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