RSS
 

Archive for the ‘Uncategorized’ Category

The NiSi Prosories P1 Kit lets you attach square filters to your smartphone

30 Mar

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_2893553642″,”galleryId”:”2893553642″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Chinese accessory company NiSi has started taking preorders for its new Prosories P1 Smartphone Filter Kit, a camera filter system for smartphones. The P1 Kit includes a phone clip, medium graduated neutral density filter, polarizer, pouch, and holder. As demonstrated in the video below, the system involves attaching a mount over the phone’s camera, then sliding a square filter into that mount.

The P1 Kit’s filters are made from optical glass with a nano-coating, according to NiSi, which says its clip is compatible with most smartphone models. Users can rotate the filter within the mount to adjust its angle, and also use a polarizer with the filter when necessary.

The company doesn’t provide the P1 Kit’s filter size, making it unclear whether any of its other filter products are compatible with the mount.

The NiSi Prosories P1 Kit is available now for $ 40 USD. To learn more or order yours, head over to the NiSi website.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on The NiSi Prosories P1 Kit lets you attach square filters to your smartphone

Posted in Uncategorized

 

DJI launches Zenmuse XT2 4K visual and thermal camera for enterprise drones

30 Mar

DJI has teamed up with FLIR Systems to launch the Zenmuse XT2, its newest thermal camera for drones. As with the original XT model launched in 2015, the XT2 captures heat signatures to reveal things otherwise invisible to the naked eye. On-board FLIR MSX tech combines both the heat data and visual data from the camera into a single image for easier object identification.

The model features a 12MP 4K visual camera with a 1/1.7″ CMOS sensor (up to 8x digital zoom) and two different thermal resolutions: 336 x 256 (up to 4x digital zoom) and 640 x 512 (up to 8x digital zoom). It also sports 9mm, 13mm, 19mm, and 25mm lenses, and an IP44 rating for flights in fog, rain, snow, and smoke.

DJI’s Spotlight Pro tech utilizes both HeatTrack and QuickTrack flight modes to automatically track objects while the operator concentrates on incoming data and flight operations.

The Zenmuse XT2 thermal camera is designed for use in search and rescue operations, to perform industrial inspections, and more. The camera is compatible with the DJI Matrice 600 Pro and Matrice 200 Series enterprise drones; support will arrive first in the Android app followed later on by the iOS app.

Authorized DJI Enterprise dealers around the globe are now offering the Zenmuse XT2 thermal camera, but DJI hasn’t revealed the price. FLIR is accepting quote requests from potential customers, though.

Press Release

DJI Gives Drones More Power For Commercial Use

Zenmuse XT2 Thermal Camera And Payload SDK Transform DJI’s Drones Into Specialized Platforms For Any Industrial Purpose Including Inspections, Public Safety And Saving Lives

DJI, the world’s leader in civilian drones and aerial imaging technology, unveiled new technology and tools to customize its enterprise drone platforms for specialized tasks such as infrastructure inspection, precision agriculture, firefighting and search and rescue.

The new Zenmuse XT2 thermal imaging camera, created in partnership with FLIR Systems, is a critical tool for drone operators to capture heat signatures invisible to the naked eye. Its side-by-side visual and thermal imaging sensors provide unparalleled data capture and situational awareness during emergency services, disaster recovery and industrial inspection uses. DJI’s powerful new Payload Software Development Kit (SDK) allows innovative drone startups, developers, and sensor and device manufacturers to easily integrate custom cameras, sensors and other types of payloads onto DJI drones, unlocking the true potential of drone technology for businesses, governments and researchers around the world.

“The Zenmuse XT2 continues our longstanding partnership with FLIR to create the most powerful thermal imaging solution available on a drone today. This is a significant advancement for public safety professionals who are using drones to save lives and creating new industrial applications across different verticals,” said Jan Gasparic, Head of Enterprise Partnerships at DJI. “Our new Payload SDK makes it possible for any manufacturer to create a payload specific to their customers’ needs that will work seamlessly with DJI’s aircraft. We believe these two advances will not only strengthen DJI’s leadership in the commercial drone industry, but will also provide a powerful, flexible and standardized platform which customers from different industries can build upon.”

Intelligent Thermal Data for Critical Missions

The Zenmuse XT2 is a powerful thermal imaging camera that transforms data into actionable insights. Its gimbal-stabilized, dual-sensor design combines an advanced FLIR® radiometric thermal imager and a 4K visual camera to allow drone operators to view thermal and visual data while in flight, delivering an unmatched level of versatility and image detail for high-performance uses from industrial inspections to public safety operations.

Professional drone operators can use on-board intelligent features like FLIR MSX® technology to combine visual and temperature data into one image, allowing operators to easily identify objects of concern. DJI’s unique Spotlight Pro features let operators focus on safe flight operations and data interpretation while the camera automatically tracks an object through two intelligent flight modes: QuickTrack centers the camera on the selected area while HeatTrack automatically tracks the hottest object in view. The Temp Alarm feature interprets thermal data in real-time and alerts drone operators when an object’s temperature exceeds critical thresholds.

“We are excited to continue our collaboration with DJI to develop sensors for their industry leading drone platforms,” said Frank Pennisi, President of the Industrial Business Unit at FLIR Systems. “The Zenmuse XT2 uses a radiometric thermal imaging camera core to capture accurate temperature data for every pixel, ensuring that drone operators have access to as much information as possible during critical and often lifesaving missions.”

The Zenmuse XT2 is compatible with DJI’s Matrice 200 Series and Matrice 600 Pro enterprise drones. It will be first available for the DJI Pilot mobile app for Android and later for the DJI XT Pro mobile app for iOS devices. Its rugged design and IP44 ingress protection rating gives it versatility to be flown in a wide variety of conditions including rain, snow, smoke and fog[1]. With a 12-megapixel visual camera, it is available in two thermal sensor resolutions of 640 x 512 or 336 x 256, with 9mm, 13mm, 19mm, and 25mm lenses.

For more information on the Zenmuse XT2, please visit: dji.com/zenmuse-xt2.

The Future of Commercial Drone Customization

DJI’s new Payload SDK enables non-DJI cameras, sensors, and payloads like air-to-ground communications tools and devices to be mounted and integrated directly into DJI’s Matrice 200 Series drones. By opening this layer of DJI’s core technology to the commercial drone ecosystem, any manufacturer, developer or researcher can create a drone that is customized for a specific purpose or industry.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on DJI launches Zenmuse XT2 4K visual and thermal camera for enterprise drones

Posted in Uncategorized

 

GoPro unveils entry-level GoPro HERO action cam that costs just $199

29 Mar
Photo: GoPro

It seems the rumors and leaks from earlier this week were spot on, and right on schedule (a day early, actually) GoPro has revealed its new, entry-level action camera: the $ 200 GoPro HERO.

The HERO is the cheapest action camera GoPro has ever announced, coming in at the same price tag as the HERO5 Session while boasting several features that are reserved for the company’s regular line (read: not the Session lineup) of action cams. If you’re keeping track, the HERO lineup of action cams now goes: GoPro HERO ($ 200), GoPro HERO5 ($ 300), and GoPro HERO6 ($ 400).

As GoPro SVP of Product, Meghan Laffey, explains, GoPro is hoping that the lower price-of-admission into the GoPro action cam family will entice first-time users who would otherwise pick up a third-party option or just keep using their phone. “HERO is a great first GoPro for people looking to share experiences beyond what a phone can capture,” says Laffey. “HERO makes it easy to share ‘wow’ moments at a price that’s perfect for first-time users.”

Photo: GoPro

There’s not much to say about the GoPro HERO that wasn’t already revealed in Monday’s leak, but here goes. The main features are exactly what we expected.

The camera captures 1440/60p and 1080/60p video and 10MP stills, features a 2-inch display, voice control, electronic video stabilization, waterproof to 10M (30-feet) out of the box, and compatibility with all of the current GoPro HERO mounting accessories on the market (30+ from GoPro itself).

Finally, the camera also features compatibility with the GoPro and Quik Stories mobile apps, the latter of which can automatically edit your captured footage into ready-to-share highlight videos.

Photo: GoPro

The entry-level GoPro HERO action camera is available starting now from the GoPro store and online retailers alike for $ 200. To learn more about the GoPro HERO or pick one up for yourself, click here.

Press Release

GoPro Launches Entry-Level HERO Camera 2018

$ 199 HERO Joins $ 299 HERO5 and $ 399 HERO6, Making GoPro Accessible to All

GoPro, Inc. has added a new HERO camera to the family. On sale now, HERO is a $ 199, go-anywhere, capture-anything camera that makes it easy to share experiences that would be difficult to capture with a phone.

HERO features a 2-inch touch display, is waterproof to 30 feet and is extremely durable, making it the perfect GoPro for kids, adventurous social sharers and travelers.

“HERO is a great first GoPro for people looking to share experiences beyond what a phone can capture,” says Meghan Laffey, GoPro’s SVP of Product. “HERO makes it easy to share ‘wow’ moments at a price that’s perfect for first-time users.”

Sharing cool experiences with HERO is simple. It offloads your photos and videos to the GoPro app which creates fun, shareable videos for you, automatically. No more fumbling with your SD card or plugging your camera into a computer. HERO makes it simple.

Those looking for the ultimate GoPro-experience can subscribe to GoPro’s PLUS subscription service. Cloud backup, damaged camera replacement, 20-percent off accessory discounts and more are included with a PLUS subscription for just $ 4.99 a month, cancellable anytime.

HERO is available today at retailers around the world and on GoPro.com. Key features include:

  • Award-Winning Image Quality: HD Video (1440p60 and 1080p60) and 10MP photo performance
  • 2-Inch Touch Display: Using HERO is as easy as using your phone thanks to its touch display
  • Voice Control: Tell HERO to start and stop recording, take a photo, turn off and more
  • Waterproof + Extremely Durable: Waterproof up to 30’ (10M) and designed go everywhere your smartphone can’t
  • Video Stabilization: HERO features video stabilization that helps smooth out the shakes
  • Smartphone Compatible: HERO offloads your photos and videos to the GoPro app which creates fun, shareable videos for you, automatically
  • Body and Gear Mountable: compatible with 30+ GoPro mounting accessories

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on GoPro unveils entry-level GoPro HERO action cam that costs just $199

Posted in Uncategorized

 

Red gives deep-space sensor dual ISO and puts it on general release

29 Mar

A sensor designed to be used in space has gone on general release from cinema camera manufacturer Red. The Gemini 5K S35 was originally created especially to work in very low light conditions, but has been adapted to offer dual native ISO settings so it can also shoot in normal conditions. The sensor uses particularly large pixels and features a resolution of 15.4MP on 30.72 x 18mm dimensions.

Red claims the Gemini has a dynamic range of 16.5 stops when used in Standard mode, which makes it good at recording very bright highlights and deep shadow detail in the same frame. When switched to Low Light mode some dynamic range is sacrificed, but in return users get exceptional noise performance that produces footage at ISO 3200 in LL (Low Light) mode that looks the same as movie recorded at ISO 800 in Standard mode, according to the company.

It seems the sensor uses different hardware behind the pixels to deal with each of the sensitivity modes, in a similar fashion to the Panasonic Lumix DC-GH5s and the EVA1 cameras. The LL and Normal modes are selected in the menu and become active immediately. To maximize the resolution of anamorphic work Red has made the Gemini 5K S35 slightly taller than the standard sensors it uses by adding 300 pixels to the vertical recording area to make a 5120×3000-pixel area.

The Gemini sensor can be bought in the Epic-W body with prices starting at $ 24,000. For more information see the Red website.

Key features of the EPIC-W with GEMINI 5K S35 sensor:

  • New 5K S35 sensor that delivers optimized low-light performance
  • 15.4 Megapixel Dual Sensitivity CMOS Sensor
  • 30.72 mm x 18 mm (Diagonal: 35.61 mm)
  • Dual sensitivity sensor provides greater flexibility for a variety of shooting environments
  • Seamless switching between Standard and Low Light modes ( no reboot needed )
  • 5K up to 96 fps Full Format
  • 16.5 stops of DR
  • 4K upto 30fps and 2K upto 120fps using ProRes or Avid
  • Simultaneously record REDCODE plus ProRes or Avid
  • Up to 275 MB/s write speeds
  • Interchangeable lens mount

Press release

Introducing The New GEMINI 5K S35 Sensor

Today, RED introduced the new GEMINI™ 5K S35 sensor for the RED EPIC-W camera. GEMINI 5K S35 leverages dual sensitivity modes to provide creators with greater flexibility for a variety of shooting environments. Whether capturing with GEMINI’s Standard Mode for well-lit conditions or its Low Light Mode for darker environments, RED EPIC-W 5K S35 delivers incredible dynamic range and produces cinema-quality images.

The GEMINI 5K S35 sensor provides exceptional low-light performance, allowing for cleaner imagery with less noise and better shadow detail. Operators can easily switch between modes through the camera’s on-screen menu with no down time and experience an increased field of view at 2K and 4K resolutions compared to the higher resolution HELIUM sensor. In addition, the sensor’s 30.72 mm x 18 mm dimensions allow for greater anamorphic lens coverage than with the HELIUM or RED DRAGON sensor.

Built on the compact DSMC2 form factor, the RED EPIC-W 5K camera and sensor combination captures 5K full format motion at up to 96 fps, boasts incredibly fast data speeds of up to 275 MB/s, and provides in-camera support of RED’s enhanced image processing pipeline, IPP2. Like all cameras in the DSMC2 line up, EPIC-W 5K is able to shoot simultaneous REDCODE RAW and Apple ProRes or Avid DNxHD/HR recording and adheres to RED’s dedication to OBSOLESCENCE OBSOLETE—a core operating principle that allows current RED owners to upgrade their technology as innovations are unveiled without having to purchase all new gear.

“While the GEMINI sensor was developed for low-light conditions in outer space, we quickly saw there was so much more to this sensor,” says Jarred Land, President of RED Digital Cinema. “In fact, we loved the potential of this sensor so much, we wanted to evolve it to make it have a broader appeal. As a result, the EPIC-W GEMINI now sports dual-sensitivity modes. It still has the low-light performance mode, but also has a default, standard mode that allows you to shoot in brighter conditions.”

Beginning at $ 24,500, the new RED EPIC-W with GEMINI 5K S35 sensor is available for purchase online and through select worldwide RED Authorized Dealers. Alternatively, WEAPON Carbon Fiber and RED EPIC-W 8K customers will have the option to upgrade to the GEMINI sensor at a later date.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Red gives deep-space sensor dual ISO and puts it on general release

Posted in Uncategorized

 

Apple’s 2018 iPad 9.7″ is the first entry-level model with Pencil support

29 Mar

During its event on March 27, Apple introduced its new sixth-generation iPad, a 9.7″ model with a starting price of $ 329. The new iPad is the first non-Pro model to support Apple Pencil, the maker’s own stylus. Despite its low price, the new iPad features a Retina display A10 Fusion chip, and support for augmented reality experiences.

This is the first entry-level iPad to support the $ 99 Apple Pencil, a stylus that makes it possible to write, draw and edit images. Key to its high usability is palm rejection technology, which prevents the iPad from registering touches from the user’s hand while they’re using Pencil. The stylus offers low latency with both pressure and tilt support.

Pencil aside, the 6th-gen iPad 9.7 is powered by an A10 Fusion chip with desktop-class 64-bit architecture, offering 50% faster graphics and 40% fast CPU performance over the previous model. Apple explains that the new hardware is capable of handling “graphics-intensive apps,” including photo editors.

The iPad runs iOS 11, the latest version of iOS that brings major updates to Apple’s mobile operating system. As with the iPad Pro devices, the new iPad features iOS 11’s Dock, which is similar to the dock found on macOS. Other 6th-gen iPad 9.7 features include an aluminum unibody construction, support for Apple SIM, advanced sensors array for motion tracking and AR apps and both front- and rear-facing cameras.

Apple is offering its new iPad in Silver, Space Grey and Gold color options with 32GB (starting at $ 329) and 128GB (starting at $ 429) of storage. Apple Pencil is sold separately. Apple provides a comparison chart helping potential buyers contrast the new iPad’s features with existing iPad models.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Apple’s 2018 iPad 9.7″ is the first entry-level model with Pencil support

Posted in Uncategorized

 

Canon EOS M50 sample gallery

29 Mar

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_2200691465″,”galleryId”:”2200691465″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The Canon EOS M50 is an approachable, mid-range mirrorless camera. It made its debut just before CP+ and while there’s plenty that looks familiar about the M50, there are significant differences in the details compared to its predecessor. The combination of a built-in EVF, fully articulated touch screen, Dual Pixel autofocus and a more robust Digic 8 processor make a compelling case for the camera. We’ve just started our testing with the M50; take a look at some of our first sample images.

See our Canon EOS M50 sample gallery

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Canon EOS M50 sample gallery

Posted in Uncategorized

 

Canon announces C700 FF cinema camera: now with full frame

28 Mar

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_3397567171″,”galleryId”:”3397567171″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Canon has announced the newest member of its Cinema EOS camera family, the EOS C700 FF. As the name implies, it’s an updated version of Canon’s C700 cinema camera that includes a full frame sensor in place of a Super 35 sensor.

On most cameras we generally think of ‘full frame’ as representing a 24x36mm frame with a 3:2 aspect ratio, but the C700 FF defines this a bit differently. The Canon-developed sensor used in the camera has a native resolution of 5952 x 3140 pixels, providing a 17:9 cinema-friendly aspect ratio, and has an imaging area of 38.1×20.1mm in size.

While that’s a bit wider and shorter than a standard full frame sensor, it requires the same image circle size as a full frame DSLR,* meaning the C700 FF can use Canon’s entire line of EF-mount lenses at their standard focal lengths. For maximum flexibility, the C700 FF can be ordered with either EF or PL-mount.

Canon claims the new sensor exceeds 15 stops of dynamic range when shooting with either the Canon Log2 gamma curve or in Raw

With 5.9K resolution, the camera is able to record oversampled 4K video internally, which should provide superior results to a native 4K sensor. Users can choose between two codecs to capture footage internally: Canon’s own XF-AVC or Apple ProRes. Additionally, the C700 FF can record Raw video when using an optional Codex recorder mounted to the back of the camera, recording at up to 5.9K/60p in Raw.

In addition to impressive video resolution, Canon claims the new sensor exceeds 15 stops of dynamic range when shooting with either the Canon Log2 gamma curve or in Raw, which should make it an effective tool for producing HDR video content.

The EOS C700 FF has an estimated retail price of $ 33,000, and will be available in both EF and PL mount versions. It’s expected to be available in July. Existing C700 owners will have the option of upgrading their camera from a Super 35 sensor to the new full frame sensor, though upgrade pricing has not been announced.

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_9136022742″,”galleryId”:”9136022742″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

In addition to a new camera, Canon announced a couple other useful tools for filmmakers. The new CN-E20 mm T1.5 L F is a fully manual, 20mm cinema prime lens, filling a hole between Canon’s existing 14mm and 24mm cinema primes. The lens includes 300 degrees of focus rotation, minimized focus breathing, and an 11-blade diaphragm for high quality bokeh even when stopping down. It will be available in fall 2018. Pricing was not announced.

Canon also announced a couple professional 4K HDR reference displays: the 24-inch DP-V2421 and 17-inch DP-V1711. With features like 12G-SDI terminals supporting 4K 60p footage, support for Canon’s Log gamma curves, built-in waveform monitor, and built-in HDR metering, these displays should deliver impressive results – but it will cost you. The 24-inch model will sell for $ 39,000 and the 17-inch model for $ 18,000, and both will be available at the end of April.

* The image diagonal of a 3:2 ratio full frame camera is 43.2mm while the image diagonal of the C700 FF’s 17:9 sensor is 43mm.

Press release:

?INTRODUCING CANON’S FIRST FULL-FRAME CINEMA CAMERA, ?THE EOS C700 FF

MELVILLE, N.Y., March 28, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to announce the EOS C700 FF, the Company’s first full-frame cinema camera. The beauty and majesty of full-frame digital cinema is now becoming a new creative reality. Since the introduction of the EOS 5D Mark II DSLR camera in 2008, Canon has been a part of the full-frame video movement, and the introduction of the C700 FF has reinforced Canon’s commitment to this market. At the heart of the camera is a novel Canon-developed CMOS image sensor having a total of 5952 (H) x 3140 (V) photosites with a digital cinema 17:9 aspect ratio, which gives it the same image circle size as the full frame EOS 5D camera series. This supports a wide range of shooting options.

Available in both PL and EF Mount, the EOS C700 FF provides users with the same outstanding performance, operation and modular design as the EOS C700 (released in December 2016). The camera is being shown publicly for the first time at the Canon booth (C4325) at the NAB Show 2018 in Las Vegas from April 9-12.

“Since the launch of Canon’s Cinema EOS line of products in November 2011, the goal was to one day develop a cinema camera worthy of being the ‘A’ camera on major Hollywood productions, and Canon met that goal with the introduction of the EOS C700,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “After listening to our customers and closely monitoring market trends, Canon set forth a new goal: to launch a full-frame cinema camera. With this introduction, we are very excited to see the C700 FF in the hands of industry professionals as they shoot their latest projects.”

Existing owners of Canon’s original EOS C700 cinema camera will be pleased to know they can have their Super 35mm sensor upgraded to the new Full-Frame sensor for a fee*. Authorized Canon facilities such as Canon Burbank are ready to process C700 upgrades as well as lens mount swaps, and offer equipment drop off, on-site repairs and upgrades, as well as equipment testing and demonstration.

The Sensor

The newly developed sensor featured in the EOS C700 FF has an active image area of 38.1 x 20.1mm and supports readout at full size, as well as Super 35mm, Super 16mm and anamorphic modes. In addition to full-frame lenses, it can be used with conventional Super 35mm lenses to originate 4K / UHD standardized production formats and Super 16mm lenses (with an adapter) to originate 2K / HD production formats in crop modes. The sensor captures wide tonality exceeding 15 stops of dynamic range and a wide color gamut meeting ITU-R BT.2020 standards. This offers broad latitude when grading, providing outstanding effectiveness in HDR video production.

Recording

The EOS C700 FF embodies a choice of two high-performance codecs for on-board recording –Canon XF-AVC or Apple ProRes. Like other cameras in the 4K Cinema EOS family, the EOS C700 FF uses CFast cards to capture 4K / UHD or 2K / HD. A striking feature of the C700 FF is the Oversampling 4K Processing that processes a 5.9K image capture to produce 4K (DCI or UHD) having enhanced image sharpness, curtailed moire, and a lowered visibility of noise at the higher ISO settings. This is especially advantageous for on-board anamorphic image capture. Low-rate 2K/HD proxy data including metadata, can be recorded to SD cards, ideal for offline editing. The camera also allows high-frame-rate recording of up to 168fps in 2K crop and relay or simultaneous recording onto both CFast cards. In addition, the C700 FF can shoot at a Full HD high-frame-rate recording at a maximum of 168 fps. Additional formats are planned with future firmware updates.

To further complement the features of the EOS C700 FF, Canon has turned to its trusted partner Codex to provide a fully integrated (no cables) recording and workflow option. The combination of the optional Codex CDX-36150 recorder docked onto the back of the EOS C700 FF enables 5.9K 60 fps RAW recording, 4K RAW up to 72 fps (in 24p mode), 4K ProRes up to 60 fps and 2K ProRes up to 168 fps (in Super 16mm mode).

The C700 FF also supports the latest version (1.0) of the ACESproxy, the ACES (Academy Color Encoding System) color management transmission standard.

HDR

For users looking to create High Dynamic Range (HDR) imagery, the EOS C700 FF is an excellent solution, providing 15 stops of latitude (with Canon Log2 only), along with Canon’s proprietary Log Gammas (Canon Log3, Canon Log2 and Canon Log) and renowned color science. Canon Log2 is recommended when originating HDR imagery containing both highlight details and deep shadowed details. In comparison with Canon Log, Canon Log3 offers a wider dynamic range while retaining performance in darker regions.

Additionally, these cameras seamlessly integrate with Canon’s latest professional 4K UHD Reference Displays for on-set review and color management that conforms to SMPTE ST 2084 standards of HDR display.

The look of a cinematic production begins with the lens, and the EOS C700 FF offers both PL and EF lens mount options which are interchangeable at a Canon authorized service center. For full frame imaging, the EF lens mount version of the new EOS C700 FF is compatible with Canon’s family of seven Cinema Prime lenses, including the newly announced CN-E20mm T1.5 L F lens, as well as the diverse lineup of over 70 interchangeable EF lenses. The EF mount supports Canon’s Dual Pixel CMOS AF technology and Dual Pixel Focus Guide. The Focus Guide assists operators with a precision visual indicator in the viewfinder when pulling focus. Alternatively, for certain demanding shooting situations the reliable capabilities of Dual Pixel CMOS AF can be deployed. The EOS C700 FF PL mount version is also compatible with Cooke’s /i metadata communication technology.

The EOS C700 FF EF and EOS C700 FF PL are scheduled to be available in July 2018 for an estimated retail price of $ 33,000.00. For more information on the EOS C700 FF please visit, usa.canon.com/provideo.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Canon announces C700 FF cinema camera: now with full frame

Posted in Uncategorized

 

Tamron interview: “Our strength is high quality lenses in a compact size”

28 Mar
L-R: Koji Satoh, Manager of the Product Planning Department of Tamron’s Imaging Products Business Unit, Minoru Ando, General Manager of Tamron’s Optical Design and Engineering Research and Development Unit, Kumiko Saito, General Manager of Tamron’s Marketing Communications Department, and Takashi Sawao, General Manager of Tamron’s Imaging Products Business Unit.

At last month’s CP+ show in Yokohama, Japan we sat down with senior executives from several major camera and lens manufacturers, including Tamron. Our conversation covered various topics, including the move to new native mirrorless designs, and the decline in DSLR lens sales.

The following interview was conducted through an interpreter, and has been edited for clarity and flow. Answers from the four interviewees have been combined.


Is the new 28-75mm a completely new design?

It is, yes.

How long has it been in development?

Typically a lens like this takes around one year to develop.

Tamron’s upcoming 28-75mm F2.8 is the first third-party zoom lens designed natively for full-frame mirrorless cameras.

What was your goal when designing this lens?

When we are planning new products, we’re always thinking about the voice of our customers, and customer benefit. The market is moving towards mirrorless, so we wanted to launch new FE lenses. Sony has the biggest market share of the mirrorless market.

With the Sony Alpha 7 series, the bodies are compact, but the lenses are relatively big

We’re also aiming for high quality, and good performance. And specifically for FE lenses, we wanted a small and lightweight option. With the Sony Alpha 7 series, the bodies are compact, but the lenses are relatively big. So when we were planning a fast lens for FE lens it was important to us that it would be compact, but still high quality.

This is the first third-party [zoom] lens for the Sony full-frame E-mount, and we’re expecting it to do well in the market.

Are you planning to create Sony E-mount versions of your existing SP primes and zooms, or will you make entirely new designs?

We’re not planning on making Sony E-mount versions of our existing lenses, no. Our concept is a little different to Sigma’s. We’re trying to customize lenses specifically for FE, otherwise they’d be too big. When it comes to autofocus, mirrorless has different requirements too. Mirrorless cameras are good for movies as well as stills, and existing AF motors aren’t very good for video. This lens [the new 28-75mm F2.8] has a stepping motor for autofocus, which is better for video.

The new 70-200mm F4 promises high quality, without the size and weight that we generally associate with faster F2.8 telezooms.

How important is the Sony customer base to you now?

Very important. Everybody is going to mirrorless. Canon and Nikon will launch full-frame mirrorless cameras, probably in the near future. When this happens, we can easily make Canon and Nikon versions of our [native] E-mount lenses. The same design could work for [multiple mirrorless mounts].

So with this new lens, you’re thinking ahead.

Yes, to the near future.

Optical performance of the new 28-75mm F2.8 will be equivalent to our SP lenses

This new lens is not in the ‘SP’ range. What does this signify?

Within Tamron, we have an internal definition of SP, where we usually utilize metal for the body material, and certain other features. Optical performance of the new 28-75mm F2.8 will be equivalent to our SP lenses, but for this model we prioritized smaller size and lower weight, so we used polycarbonate instead of metal.

Is this new lens weather-sealed?

Yes, it is. We describe it as ‘moisture-resistant construction’.

Despite not belonging to the ‘SP’ range of lenses, the new 28-75mm is moisture-resistant, featuring a rubber gasket around the lens mount to protect against dust and water incursion.

Is making this change to mirrorless lens designs an urgent priority for Tamron?

I can’t give you any detailed information about our future roadmap, but we’re watching the market closely. And Sony has the biggest share of the mirrorless market, so of course E-mount lenses are a priority.

How do you want the Tamron brand to be viewed by your customers?

We’re always thinking about our customers, and we’re not going to sacrifice performance and quality. We want to be recognized as a high-quality brand, and we stand by our customers, always. Each brand has a strategy, and our approach is a little different to [some competitors]. We try to very open with our customers.

Our strength is making compact, light and high quality lenses.

We’ve seen some manufacturers create entry-level cine lenses for videographers. Is that something that Tamron is interested in?

Maybe in the future, but at this point I can’t say whether we’ll enter that market.

Balancing performance and size is a Tamron strength

If you had a choice between making a lens that was very large, but very high quality, or one that was smaller and optically less impressive, which would you choose?

We try to pursue both small size, and high performance. Balancing performance and size is a Tamron strength. For this new zoom, if we had started at 24mm for example, the lens would be much bigger and heavier. By starting the zoom range at 28mm, it became much smaller and lighter, and easier to handle. We think that’s what our customers want.

Tamron’s ‘Tap-in Console’ allows the performance of some of its SP lenses to be tweaked and customized on an individual basis.

Increasingly when we visit factories, we’re seeing more and more automation. How much automation does Tamron use in your factories?

Automation is being gradually increased, but we don’t emphasize it. In some cases, manual processes are better for product quality. If automation would be good for the quality of the final product, we might utilize it. It all depends.

Are your lenses mostly assembled by hand, at present?

Some processes are automated, but others are manual so it’s difficult to say.

We’re always thinking about what we can provide in the market that’s innovative

Where do you think the biggest opportunities lie for Tamron in the future?

We’re always thinking about what we can provide in the market that’s innovative. Our strength is high quality lenses in a compact size. So going forward we want to be able to provide good products in each market segment.

The requirement for video must change how you develop lenses, beyond just the kind of AF motor you use?

Yes, it does. We have also developed other technologies to support video. At this point we’re not finished, but we’re always developing ways of manufacturing new lenses.

Optical designs need to change, and also autofocus technology

When we look at conventional DSLR lenses and mirrorless lenses, the technologies necessary to make them are a little bit different. The optical designs need to change, and also the autofocus technology. We’re always thinking about what kind of technologies would be good for mirrorless compared to DSLR, and what works for what focal length, and things like that.

You mentioned that the audience for mirrorless lenses will increase – will the audience for DSLR lenses decrease?

Yes, it already is. We’re watching the market and the data already shows us that the market is declining.


Editor’s note:

Perhaps the most interesting insight from our interview with Tamron this year was confirmation that the market for DSLR lenses is declining. It makes complete sense that Tamron (and Sigma) would be focusing on developing lenses for full-frame Sony E-mount cameras now, since by common agreement, Canon and Nikon will launch their own large-sensor mirrorless cameras pretty soon.

Tamron’s executives see their company’s mission as slightly different to Sigma’s

In the same way as one basic optical design can be adapted for multiple SLR mounts, Tamron’s new FE 28-75mm F2.8, which is optimized for the short flange-back distance of modern mirrorless systems, could be adapted for future mirrorless platforms as and when they emerge.

It is clear that Tamron’s executives see their company’s mission as slightly different to Sigma’s. Whereas Sigma is committed to a ‘no compromise’ approach in its Art-series which sometimes results in large, heavy products, Tamron sees its value in small, lightweight but still high-performing lenses. Maybe the primes will open up to F1.8 rather than F1.4, and the zooms might start at 28mm rather than 24mm, but clearly the company believes that some users will be happy with those compromises for the sake of smaller, lighter (and potentially cheaper) lenses.

Tamron sees its value in small, lightweight but still high-performing lenses

I think they’re right about that, and the new 28-75mm F2.8 looks like a good start. Obviously we don’t yet know how it will perform optically, but if it compares well to Sony’s own 24-70mm F2.8 GM at equivalent focal lengths, it might well become a benchmark standard zoom for mirrorless. That, in turn, would put Tamron in a very good position to get in on the ground floor of development for the wide range of full-frame mirrorless cameras we’re expecting from various manufacturers in the future.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Tamron interview: “Our strength is high quality lenses in a compact size”

Posted in Uncategorized

 

Xiaomi Mi MIX 2S comes with 12MP dual-cam, OIS and 2x optical zoom

28 Mar

Earlier today, Chinese manufacturer Xiaomi unveiled its latest flagship smartphone: the Mi MIX 2S. Like with the original Mi MIX, one the new model’s most striking features is the large, almost bezel-less, display. However, the Mi MIX 2S has a lot to offer in the camera department as well.

The phone’s dual camera setup combines a main camera with 1/2.6-inch 12MP Sony sensor, F1.8 aperture and wide-angle 26mm equivalent lens with a secondary tele module, featuring a smaller 1/3.4-inch 12MP sensor, F2.4 aperture and equivalent 46mm lens for enhanced zooming and bokeh simulation. The main camera also boasts optical image stabilization, while the longer lens remains unstabilized.

Other imaging features include gyroscope-based Electronic Stabilization (EIS) in video mode, phase-detection autofocus and a dual-tone LED flash. And, of course, there’s a front-facing camera as well: a 5MP sensor behind an F2.0 lens.

The Mi MIX 2S is also one of the first devices to deploy Qualcomm’s latest Snapdragon 845 high-end chipset. In combination with 6 or 8GB of RAM, it should provide plenty of power to run the Android 8.0 operating system and apps. Between 64 and 256GB of internal storage mean there is plenty of space for image and video files, but unfortunately, an expansion slot isn’t on board.

A 5.99-inch IPS LCD display with 2160 x 1080 pixel resolution is available for general operation, as well as framing and editing of images. The 3,400 mAh battery should hopefully get you through a day of normal use.

The Xiaomi Mi MIX 2S will start at CNY3,299 (approximately $ 530 USD) for the 6GB+64GB version, and goes all the way up to CNY3,999 (approximately $ 640 USD) for the top model with 8GB RAM and 256GB storage, making the new model look like a good value proposition when compared to competing devices from more established manufacturers.

The phone is set to launch in China starting this April, followed by international markets sometime later. Unfortunately, chances we’ll see the Mi MIX 2S in the United States are slim judging from the push-back Huawei has faced while trying to break into the US market.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Xiaomi Mi MIX 2S comes with 12MP dual-cam, OIS and 2x optical zoom

Posted in Uncategorized

 

Dubblefilm launches two new pre-exposed 35mm effects films

28 Mar

Analogue photography brand Dubblefilm has introduced a pair of new effects films with partner Kono!. Named Bubblegum and Monsoon, the latest in a line of pre-colored emulsions work at opposite ends of the spectrum—with Bubblegum injecting lots of orange warmth and Monsoon creating a cool cyan/blue effect.

Dubblefilm describes Monsoon as having “added tone producing deep colours inspired by the freshness of a post-monsoon rain,” while Bubblegum produces “sweet colour too [sic] spark your visual taste buds.” Monsoon seems to be very popular, as it has already sold out on the Dubblefim site, though it is still available on Kono! as of this writing.

An example shot with Bubblegum Monsoon produces a much cooler result

The films are created from existing film stock made by Kono!, some of it unusual, which is then passed through a machine named The Reanimator. This machine pre-exposes the film to deliver the characteristic effects of each stock. The films are all C-41 process color negative emulsions and can be handled by a standard mini-lab. Dubblefilm says “Results will vary depending on shooting conditions,” but that you should “expect something truly surprising every time.”

The films are priced at £11/€12/$ 16 for a 35mm roll of 24 exposures. For more information, visit the Kono! and Dubblefilm websites.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Dubblefilm launches two new pre-exposed 35mm effects films

Posted in Uncategorized