360Photography

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  • Kodak launches KODAKCoin ‘photo-centric cryptocurrency’ and KODAKOne platform

    Amidst all of the CES 2018 news big and small, Kodak managed to drop what might be the most shocking announcement of the week: together with WENN Digital, Kodak will be launching its own “photo-centric cryptocurrency” called KODAKCoin alongside a blockchain-powered image rights platform called KODAKOne.

    The cryptocurrency and platform are meant to “empower photographers and agencies to take greater control in image rights management.”

    The KODAKOne platform does this the same way Binded (formerly Blokai) does: by using blockchain technology to create an “encrypted, digital ledger of rights ownership” where photographers can simply and securely register their new and old work. The difference being, of course, that Kodak is setting up its OWN blockchain and cryptocurrency rather than piggybacking upon an existing one.

    Once registered, photographers can license their work through the KODAKOne platform, and the platform will continually crawl the web and monitor for infringement of registered images.

    The KODAKCoin cryptocurrency, meanwhile, is meant to create a “new economy for photography.” Images licensed through KODAKOne will be paid for in KODAKCoin, which Wenn and Kodak both promise is “subject to the highest standards of compliance.” A cryptocurrency for photographers, with digital rights management built right in.

    For now, if you visit the KODAKCoin website, you’ll be greeted by the splash screen below, but that should be gone with the day:

    “For many in the tech industry, ‘blockchain’ and ‘cryptocurrency’ are hot buzzwords, but for photographers who’ve long struggled to assert control over their work and how it’s used, these buzzwords are the keys to solving what felt like an unsolvable problem,” says Kodak CEO Jeff Clarke. “Kodak has always sought to democratize photography and make licensing fair to artists. These technologies give the photography community an innovative and easy way to do just that.”

    Of course, all of this is predicated on the idea that the KODAKCoin launch actually goes well. The SEC Regulated Initial Coin Offering for KODAKCoin is scheduled for January 31st, and open to “accredited investors” from the US, UK, Canada and a few other unnamed “select countries.”

    To learn more about KODAKOne and KODAKCoin, visit the main Kodak website for now, or check out the official KODAKCoin website when it launches in 24 hours’ time.

    Press Release

    KODAK and WENN Digital Partner to Launch Major Blockchain Initiative and Cryptocurrency

    KODAKOne platform and KODAKCoin cryptocurrency give photographers a new revenue stream and a secure platform for protecting their work

    ROCHESTER, N.Y. – Today Kodak and WENN Digital, in a licensing partnership, announced the launch of the KODAKOne image rights management platform and KODAKCoin, a photo-centric cryptocurrency to empower photographers and agencies to take greater control in image rights management.

    Utilizing blockchain technology, the KODAKOne platform will create an encrypted, digital ledger of rights ownership for photographers to register both new and archive work that they can then license within the platform. With KODAKCoin, participating photographers are invited to take part in a new economy for photography, receive payment for licensing their work immediately upon sale, and for both professional and amateur photographers, sell their work confidently on a secure blockchain platform. KODAKOne platform provides continual web crawling in order to monitor and protect the IP of the images registered in the KODAKOne system. Where unlicensed usage of images is detected, the KODAKOne platform can efficiently manage the post-licensing process in order to reward photographers.

    “For many in the tech industry, ‘blockchain’ and ‘cryptocurrency’ are hot buzzwords, but for photographers who’ve long struggled to assert control over their work and how it’s used, these buzzwords are the keys to solving what felt like an unsolvable problem,” said Kodak CEO Jeff Clarke. “Kodak has always sought to democratize photography and make licensing fair to artists. These technologies give the photography community an innovative and easy way to do just that.”

    “Engaging with a new platform, it is critical photographers know their work and their income is handled securely and with trust, which is exactly what we did with KODAKCoin,” said WENN Digital CEO Jan Denecke. “Subject to the highest standards of compliance, KODAKCoin is all about paying photographers fairly and giving them an opportunity to get in on the ground floor of a new economy tailored for them, with secure asset rights management built right in.”

    The initial coin offering will open on January 31, 2018 and is open to accredited investors from the U.S., UK, Canada and other select countries. For more information visit www.kodakcoin.com. This initial Coin Offering is issued under SEC guidelines as a security token under Regulation 506 (c) as an exempt offering.

    For more information and to sign up for product updates, please visit www.kodak.com/go/kodakone.

    Articles: Digital Photography Review (dpreview.com)

  • ‘Water Torture Test’ compares Canon, Nikon, Sony and Olympus weather sealing

    As part of their Camera of the Year comparison between the Nikon D850 and the Sony a7R III, Imaging Resource decided to test the cameras’ weather sealing with their very own “water torture test.” And just to spice things up a bit, they threw in the Canon 5D Mark IV and Olympus OM-D E-M1 Mark II for good measure.

    All four cameras were subjected to a “brief, moderately heavy rain shower and misty conditions,” and despite what you may think about all top-tier cameras being more alike than different on the weather sealing front, not all four bodies coped well. You can watch the test above or visit Imaging Resource for an in-depth report on their weather sealing tests, but if you want the TL;DR (or DW), it goes something like this:

    • The Canon 5D Mark IV and Olympus OM-D E-M1 Mark II both passed without so much as a stutter. No water getting anywhere it shouldn’t have.
    • The Nikon D850 sprung a small leak into the viewfinder unless the Nikon BS-3 hot shoe cover was used. Everything else stayed dry.
    • The Sony a7R III performed the worst by far, leaking a significant amount of water into the battery compartment (seemingly from above), and malfunctioning entirely during IR’s 15-minute ‘heavy mist’ test.

    Of course, one should be careful making sweeping generalizations based on testing one copy of each camera, but if this test is indicative of all Sony a7R III’s weather sealing, Sony might want to take note of IR’s results as they go about designing the Mark IV.

    Check out the in-depth review for more details on how each of the four models performed.

    Articles: Digital Photography Review (dpreview.com)

  • Panasonic announces Lumix DC-GH5S, an even more video-focused GH5

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    Panasonic has unveiled the Lumix DC-GH5S, an even more video-centric variant of the company’s GH5 hybrid stills/video camera. Aside from some minor cosmetic differences the two cameras are identical, however the GH5S has been designed to maximize low-light sensitivity and provides a deep feature set tailored to video shooters’ needs.

    The GH5S uses a slightly larger, but lower resolution 12.5MP sensor whose ‘multi-aspect’ design offers a series of ~10.2MP crops with the same angle of view. It gains the ability to shoot the wider-angle DCI 4K format at up to 60p, whereas the GH5 tops out at 24p. Both cameras can shoot UHD 4K at up to 60p.

    The sensor features a “dual gain” design that Panasonic calls “Dual Native ISO.” This uses two separate sensor read-out circuits – one that maximizes dynamic range at lower sensitivities, and one that prioritizes noise reduction at a dynamic range cost. Unusually, Panasonic lets you limit its camera to one of these modes.

    Despite the outward similarities, the GH5S’ list of changes compared to the GH5 is a long one. Image stabilization has been removed to avoid unwanted interactions between a floating sensor and the dollies and gimbals pro shooters tend to favor. VLog-L, offered as an paid upgrade on the GH5, is included as standard. Autofocus is rated down to –5 EV compared to –4EV in the GH5.

    The list of differences also includes up to 240fps framerate in 1080p “Variable Frame Rate” mode, a 120fps refresh rate in the electronic viewfinder, 14-bit Raw stills shooting, time code in/out functionality, and LUT-corrected display in playback as well as capture. For a detailed look at the GH5S’ additional capabilities, head to our first impressions review.

    The Panasonic Lumix DC-GH5S will be available February 2nd for $ 2499 body-only.

    Panasonic Announces the Ultimate Hybrid DSLM with a newly developed 10.2MP High Sensitivity MOS sensor

    Introducing the LUMIX GH5S: Exceptional Mirrorless Videography and Photography, designed and developed for professional filmmakers

    • Introducing a newly developed 10.2MP High Sensitivity MOS sensor for enhanced image quality in low light: Allowing up to 51,200 ISO recording without extended ISO.
    • Time Code IN/OUT for easy synchronization of multiple cameras and Dual Native ISO, providing low range (400) and high range (2,500) ISO environments.
    • True “Multi-Aspect Ratio” Function in Both Photo and Video

    Las Vegas, NV (January 8, 2018) – Panasonic is proud to introduce the new hybrid Digital Single Lens Mirrorless Camera LUMIX GH5S with expanded video recording capability and enhanced image quality. Designed and developed for professional filmmakers, the LUMIX GH5S achieves highest-ever image sensitivity and video image quality in the history of LUMIX cameras, especially in low-light situations.

    Packed with big features to satisfy demanding photographers and videographers alike
    The new 10.2-megapixel Digital MOS Sensor with Dual Native ISO Technology and Venus Engine 10 faithfully reproduce even dark parts of the image, allowing high ISO capture when the use of supplemental lighting may not be possible. This sensor is a multi-aspect type with a sufficient margin for realizing the same angle of view in 4:3,17:9,16:9 and 3:2 aspect ratios. The sensor also enables photo shooting in 14-bit RAW format, providing higher flexibility for professional RAW stills development workflows. When shooting in dark environments, videographers can now focus on filming that perfect shot as they no longer need to worry about noise which often results from having to use higher ISOs. The Dual Native ISO Technology suppresses noise to produce cleaner footage when taken in all light. Both videographers and photographers can now enjoy the same diagonal field of view across all aspect ratios with the True “Multi-Aspect Ratio” Function. This feature means you can easily swap between difference aspect ratios giving you the accuracy you want from your lenses, and making the process easier while producing and editing in post-production. The LUMIX GH5S is compatible with Time Code IN and OUT, like the professional camcorders, which is easy to set using the flash sync terminal and bundled conversion cable for a standard BNC terminal. This is especially important for “lip synchronization” when using multiple cameras. The LUMIX GH5S can be used as Time Code generator for other GH5S cameras and professional camcorders. The Time Code IN/OUT functionality makes a production teams job pain-free as it provides synchronization for both video and audio devices used on multi-cam productions.

    The LUMIX GH5 achieved 4KUHD 60p video recording for the first time as a digital mirrorless camera in 2017.2 The new LUMIX GH5S establishes a new milestone by realizing the world’s first 4K 60p video recording in Cinema 4K (4096×2160), 3 capable of internal 4:2:2 10-bit video recording up to Cinema 4K30p and internal 4:2:0 8-bit Cinema 4K60p. subsampling commonly used for film production, for even more faithful color reproduction.4 The LUMIX GH5S also records 4:2:2 10-bit 400-Mbps All-Intra in 4K 30p/25p/24p and 200- Mbps All-Intra in Full-HD.

    Continuing the LUMIX GH tradition, there is no time limit for both Full-HD and 4K video recording. The LUMIX GH5S complies with 4K HDR video with Hybrid Log Gamma (HLG) mode in Photo Style. A low-bit-rate recording mode, 4K HEVC for HLG, is available. This enables playback on AV equipment compatible with the HLG Display format, such as Panasonic 4K HDR TVs.

    The VFR (Variable Frame Rate) function lets users record overcranked (time-lapse) and undercranked (slo-mo) video in C4K/4K (60 fps, maximum 2.5x slower) and FHD (240 fps, maximum 10x slower). A V-LogL and Rec.709 LUT (Look Up Table) are pre-installed in the camera, so users can play videos recorded in V-LogL without having to separately purchase a Software Upgrade Key. Four additional LUTs can be installed using the Panasonic Varicam (.VLT) file format.

    DFD (Depth From Defocus) technology and ultra-high-speed digital signal processing achieve fast auto focusing of approximately 0.07 sec 6 with 12 fps (AFS) / 8 fps (AFC) in 12- bit RAW and 10 (AFS) / 7 (AFC) fps in 14-bit RAW high-speed burst shooting. In addition to a total of 225 focus areas, The options for Face/Eye Recognition, Tracking AF, 1-area AF and Pinpoint AF are available for precise focusing. The 4K PHOTO enables 60 fps high-speed capture in approximately 8-megapixel equivalent resolution.

    Achieve outstanding footage in any environment, especially in low light
    As a camera that excels in shooting in low light, the LUMIX GH5S boasts -5EV luminance detection performance with Low Light AF thanks to the higher sensitivity and optimized tuning of the sensor. Live Boost is another practical feature that makes it possible to check the composition even in total darkness, by boosting the sensitivity just for Live View. The magnification ratio in MF assist is increased from conventional 10x to 20x, which is convenient especially for astronomical photography. An AF Point Scope function, first introduced in the Lumix G9 and Night mode are also integrated.

    In order to make the GH5S tough enough to withstand even heavy field use, it is composed of a magnesium alloy full die-cast front, rear and top frame that is not only splashproof7 and dustproof but also freezeproof down to -10 degrees Celsius. The GH5S is equipped with a double SD Memory Card slot, compatible with the high-speed, high-capacity UHS-II and Video Speed Class 90. Users can flexibly choose the recording method from Relay Recording, Backup Recording or Allocation Recording. The HDMI Type A terminal is provided, along with the USB-C Gen1 interface.

    Exceptional image capture without concern
    The GH5S has a large LVF (Live View Finder) with a stunningly high magnification ratio of approximately 1.52x/0.76x (35mm camera equivalent) providing smooth display at 120 fps. A high-precision, high-speed OLED (Organic Light-Emitting Diode) display features 3,680K-dot resolution and 100% field of view. In addition to dual dials, an omni-directional joystick enables more intuitive and flexible operation.

    The GH5S includes Bluetooth and Wi-Fi® connectivity to offer a more flexible shooting experience and instant image sharing with easy operation. Compatibility with Bluetooth 4.2 (called BLE: Bluetooth Low Energy) enables constant connection with a smartphone/tablet with minimum power consumption. For Wi-Fi, 5 GHz (IEEE802.11ac)8 can be selected in addition to the conventional 2.4 GHz (IEEE 802.11b/g/n) for an even more secure and stable connection.

    For extended battery life and a more stable hold, the new Battery Grip DMW-BGGH5 (sold separately) is available. The XLR Microphone Adaptor DMW-XLR1 (sold separately) allows high-res sound recording with an external XLR microphone.9

    The Panasonic LUMIX GH5s will be available from end of February 2 and will retail for $ 2499 (body only).

    *1 RAW files are in 14-bit even when 12-bit is selected.
    *2 4K 60p/50p(for a Digital Single Lens Mirrorless Camera), 4:2:2 10-bit (for a digital interchangeable lens camera) as of 4 January, 2017
    *3 As of January 8, 2018 as a Digital Single Lens Mirrorless camera that complies with 4K (4096×2160) resolution defined by Digital Cinema Initiatives(DCI). According to a Panasonic study.
    *4 4:2:0 8-bit in C4K 60p and 4K 60p recording on an SD Memory Card.
    *5 Contrast AF with DFD Technology works only with Panasonic Micro Four Thirds lenses. *6 In AFS, at wide-end with H-ES12060 (CIPA) when LVF display speed is set to 120fps.
    *7 Splash Proof is a term used to describe an extra level of protection this camera offers against exposure to a minimal amount of moisture, water or dust. Splash Proof does not guarantee that damage will not occur if this camera is subjected to direct contact with water.
    *8 5GHz Wi-Fi is not available in some countries.
    *9 In MOV only

    Panasonic Lumix DC-GH5S specifications

    Price
    MSRP $ 2499
    Body type
    Body type SLR-style mirrorless
    Body material Magnesium alloy
    Sensor
    Max resolution 3680 x 2760
    Other resolutions 3:2 (3840 x 2560), 16:9 (4016 x 2256), 1:1 (2752 x 2752)
    Image ratio w:h 1:1, 4:3, 3:2, 16:9
    Effective pixels 10 megapixels
    Sensor photo detectors 12 megapixels
    Sensor size Four Thirds (17.3 x 13 mm)
    Sensor type CMOS
    Processor Venus Engine 10
    Color space sRGB, Adobe RGB
    Color filter array Primary color filter
    Image
    ISO Auto, 160-51200 (expands to 80-204800)
    Boosted ISO (minimum) 80
    Boosted ISO (maximum) 204800
    White balance presets 5
    Custom white balance Yes (4 slots)
    Image stabilization No
    Uncompressed format RAW
    JPEG quality levels Fine, standard
    File format
    • JPEG (Exif v2.31)
    • Raw (Panasonic ARW, 12/14-bit)
    Optics & Focus
    Autofocus
    • Contrast Detect (sensor)
    • Multi-area
    • Center
    • Selective single-point
    • Tracking
    • Single
    • Continuous
    • Touch
    • Face Detection
    • Live View
    Autofocus assist lamp Yes
    Digital zoom Yes (2x-4x)
    Manual focus Yes
    Number of focus points 225
    Lens mount Micro Four Thirds
    Focal length multiplier 2×
    Screen / viewfinder
    Articulated LCD Fully articulated
    Screen size 3.2″
    Screen dots 1,620,000
    Touch screen Yes
    Screen type TFT LCD
    Live view Yes
    Viewfinder type Electronic
    Viewfinder coverage 100%
    Viewfinder magnification 1.52× (0.76× 35mm equiv.)
    Viewfinder resolution 3,680,000
    Photography features
    Minimum shutter speed 60 sec
    Maximum shutter speed 1/8000 sec
    Maximum shutter speed (electronic) 1/16000 sec
    Exposure modes
    • Program
    • Aperture priority
    • Shutter priority
    • Manual
    Built-in flash No
    External flash Yes (via hot shoe or flash sync port)
    Flash modes Auto, Auto/Red-eye Reduction, Forced On, Forced On/Red-eye Reduction, Slow Sync., Slow Sync./Red-eye Reduction, Forced Off
    Flash X sync speed 1/250 sec
    Drive modes
    • Single
    • Continuous
    • 4K Photo
    • Focus Stacking
    • Self-timer
    Continuous drive 12.0 fps
    Self-timer Yes (2 or 10 secs, 10 secs w/3 images)
    Metering modes
    • Multi
    • Center-weighted
    • Spot
    Exposure compensation ±5 (at 1/3 EV steps)
    AE Bracketing ±3 (3, 5, 7 frames at 1/3 EV, 2/3 EV, 1 EV steps)
    WB Bracketing Yes
    Videography features
    Format MPEG-4, H.264, H.265
    Modes
    • 4096 x 2060 @ 60p / 150 Mbps, MOV, H.264, Linear PCM
    • 4096 x 2060 @ 50p / 150 Mbps, MOV, H.264, Linear PCM
    • 4096 x 2060 @ 30p / 150 Mbps, MOV, H.264, Linear PCM
    • 4096 x 2060 @ 30p / 100 Mbps, MOV, H.264, Linear PCM
    • 4096 x 2060 @ 25p / 150 Mbps, MOV, H.264, Linear PCM
    • 4096 x 2060 @ 24p / 400 Mbps, MOV, H.264, Linear PCM
    • 4096 x 2060 @ 24p / 150 Mbps, MOV, H.264, Linear PCM
    • 4096 x 2060 @ 24p / 100 Mbps, MOV, H.264, Linear PCM
    • 4096 x 2060 @ 23.98p / 400 Mbps, MOV, H.264, Linear PCM
    • 4096 x 2060 @ 23.98p / 150 Mbps, MOV, H.264, Linear PCM
    • 4096 x 2060 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 60p / 150 Mbps, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 50p / 150 Mbps, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 30p / 150 Mbps, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 30p / 100 Mbps, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 25p / 400 Mbps, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 25p / 150 Mbps, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 25p / 100 Mbps, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 24p / 400 Mbps, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 24p / 150 Mbps, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 24p / 100 Mbps, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 23.98p / 150 Mbps, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 60p / 200 Mbps, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 60p / 100 Mbps, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 50p / 200 Mbps, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 50p / 100 Mbps, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 30p / 200 Mbps, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 30p / 200 Mbps, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 25p / 200 Mbps, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 25p / 100 Mbps, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 24p / 200 Mbps, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 24p / 100 Mbps, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 23.98p / 200 Mbps, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM
    • 4096 x 2060 @ 60p / 150 Mbps, MP4, H.264, Linear PCM
    • 4096 x 2060 @ 50p / 150 Mbps, MP4, H.264, Linear PCM
    • 4096 x 2060 @ 30p / 150 Mbps, MP4, H.264, Linear PCM
    • 4096 x 2060 @ 30p / 100 Mbps, MP4, H.264, Linear PCM
    • 4096 x 2060 @ 25p / 150 Mbps, MP4, H.264, Linear PCM
    • 4096 x 2060 @ 25p / 100 Mbps, MP4, H.264, Linear PCM
    • 4096 x 2060 @ 24p / 400 Mbps, MP4, H.264, Linear PCM
    • 4096 x 2060 @ 24p / 150 Mbps, MP4, H.264, Linear PCM
    • 4096 x 2060 @ 24p / 100 Mbps, MP4, H.264, Linear PCM
    • 4096 x 2060 @ 23.98p / 400 Mbps, MP4, H.264, Linear PCM
    • 4096 x 2060 @ 23.98p / 150 Mbps, MP4, H.264, Linear PCM
    • 4096 x 2060 @ 23.98p / 100 Mbps, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 60p / 150 Mbps, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 50p / 150 Mbps, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 30p / 400 Mbps, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 30p / 150 Mbps, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 30p / 100 Mbps, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 30p / 72 Mbps, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 25p / 400 Mbps, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 25p / 150 Mbps, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 25p / 100 Mbps, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 25p / 72 Mbps, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 24p / 400 Mbps, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 24p / 150 Mbps, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 24p / 100 Mbps, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 23.98p / 400 Mbps, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 23.98p / 150 Mbps, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 23.98p / 100 Mbps, MP4, H.264, Linear PCM
    • 3840 x 2160 @ 23.98p / 72 Mbps, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 60p / 200 Mbps, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 60p / 100 Mbps, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC
    • 1920 x 1080 @ 50p / 200 Mbps, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 50p / 100 Mbps, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 50p / 28 Mbps, MP4, H.264, AAC
    • 1920 x 1080 @ 30p / 200 Mbps, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 30p / 100 Mbps, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 30p / 20 Mbps, MP4, H.264, AAC
    • 1920 x 1080 @ 25p / 200 Mbps, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 25p / 100 Mbps, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 25p / 20 Mbps, MP4, H.264, AAC
    • 1920 x 1080 @ 24p / 200 Mbps, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 24p / 100 Mbps, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 24p / 24 Mbps, MP4, H.264, AAC
    • 1920 x 1080 @ 23.98p / 200 Mbps, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 23.98p / 100 Mbps, MP4, H.264, Linear PCM
    • 1920 x 1080 @ 23.98p / 24 Mbps, MP4, H.264, AAC
    • 1920 x 1080 @ 60p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital
    • 1920 x 1080 @ 60i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
    • 1920 x 1080 @ 60i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital
    • 1920 x 1080 @ 50p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital
    • 1920 x 1080 @ 50i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
    • 1920 x 1080 @ 50i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital
    • 1920 x 1080 @ 23.98p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
    Microphone Stereo
    Speaker Mono
    Storage
    Storage types Dual SD/SDHC/SDXC cards (UHS-II V60 cards supported)
    Connectivity
    USB USB 3.1 Gen 1(5 GBit/sec)
    USB charging No
    HDMI Yes (Up to 4:2:2 10-bit output)
    Microphone port Yes
    Headphone port Yes
    Wireless Built-In
    Wireless notes 802.11b/g/n + Bluetooth 4.2 LE
    Remote control Yes (wired or smartphone)
    Physical
    Environmentally sealed Yes
    Battery Battery Pack
    Battery description DMW-BLF19 lithium-ion battery & charger
    Battery Life (CIPA) 440
    Weight (inc. batteries) 660 g (1.46 lb / 23.28 oz)
    Dimensions 139 x 98 x 87 mm (5.47 x 3.86 x 3.43″)
    Other features
    Orientation sensor Yes
    Timelapse recording No
    GPS None

    Articles: Digital Photography Review (dpreview.com)

  • Panasonic Lumix DC-GH5S First Impressions Review

    The Panasonic GH5S is a video-focused Micro Four Thirds camera built around what the company markets as a 10.2MP sensor. It’s best understood as an even more video-centric variant of the GH5: it can shoot either DCI or UHD 4K footage natively (one capture pixel = one output pixel) at up to 60p.

    Panasonic wasn’t the first company to introduce high quality video to what was otherwise a still camera, but with its GH series it has been constantly expanding the range of professional video features appearing in consumer stills/video cameras. The GH5S takes this logic one step further, by lowering the sensor resolution and omitting image stabilization to make a more single-minded video tool, rather than an hybrid intended to be similarly capable at both disciplines.

    The ability to shoot DCI 4K at up to 60p with no crop is the most obvious distinction between this and the standard GH5, but the differences run deeper:

    Key specifications

    • Oversized ‘Multi Aspect’ sensor with dual gain design
    • 10.2MP maximum usable area from at around 12.5MP total
    • DCI or UHD 4K at up to 60p
    • 10-bit 4:2:2 internal capture at up to 30p
    • 8-bit 4:2:0 internal 60p or 10-bit 4:2:2 output over HDMI
    • 1080 footage at up to 240p (with additional crop above 200p)
    • Hybrid Log Gamma mode
    • ISO 160 – 51,200 (80 – 204,800 extended)
    • AF rated down to –5EV (with F2 lens)
    • 3.68M-dot (1280 x 960 pixel) OLED viewfinder with 0.76x magnification
    • 1.62M-dot (900 x 600 pixel) fully articulated LCD
    • 14-bit Raw stills
    • 11 fps (7 with AFC) or 1 fps faster in 12-bit mode
    • USB 3.1 with Type C connector

    As well as the ability to shoot DCI 4K at higher frame rates, Panasonic also claims the GH5S’s larger pixels and ‘Dual Native ISO’ sensor will mean it shoots significantly better footage in low light.

    Differences vs GH5

    • “10.2” megapixel oversized sensor (vs 20.2MP Four Thirds sized sensor)
    • Dual-gain sensor design with two read-out circuits
    • Fixed sensor (no internal stabilization) for use with pro stabilization systems
    • DCI 4K available in 59.94, 50, 29.97 and 25p (GH5 is 23.98 / 24p only)
    • 1080 mode
    • AF rated to work in lower light (–5EV vs –4EV)
    • 14-bit Raw available
    • VLog-L enabled out-of-the-box
    • Time code in/out
    • ‘Like709’ and ‘V-LogL’ color profiles available in stills shooting
    • Mic socket offers Phantom Power and Line-level In options
    • LUT-corrected display available in playback as well as capture
    • 120fps viewfinder mode

    Beyond these changes, the GH5S keeps the rest of the GH5’s capabilities, with matching codec options and the same support tools, such as vectorscopes, wave forms and preview modes for anamorphic, Log and Hybrid Log Gamma shooting, for instance.

    As on the GH5, Panasonic recommends the use of V60 rated cards or faster for shooting 400Mbps video. However, the V60 standard itself seems to be vague enough that even some nominally V60-compliant cards are still not fast enough. The company says to use either its own brand V60 or V90 cards or to stick to well-known manufacturers with a proven history of producing fast cards (and, ideally, to buy from a source with a good return policy).

    Multi-aspect sensor

    The GH5S uses a chip that natively shoots DCI or UHD 4K, meaning one pixel on the sensor is used to produce each pixel in the final footage. The sensor, like that on the GH1 and GH2, is oversized. This means it can shoot different aspect ratios using the full extent of the imaging circle projected by the lens, rather than simply cropping down from the 4:3 region.

    4:3

    3:2

    16:9

    ~17:9 (DCI)

    1:1

    As well as using the maximum amount of pixels and silicon for each aspect ratio (with consequent image quality benefits), this also means that the diagonal angle of view is preserved, whether you shoot 4:3, 3:2, 16:9 or in DCI 4K’s roughly 17:9 aspect ratio.

    It also means that the GH5S should offer a fractionally wider angle-of-view than the GH5 when shooting video, especially when capturing DCI footage.

    Dual Gain

    Panasonic describes the GH5S as having ‘Dual Native ISO,’ which is standard video terminology for a dual gain sensor design. Such chips have two read-out circuits, one that maximises dynamic range at low sensitivity settings and a second designed to minimize noise but at the cost of dynamic range, at higher settings. It’s something we first encountered in Nikon’s 1 Series cameras but that’s become increasingly common over the past few years, resulting in visible improvements at high ISO settings.

    The only difference we can see between the approach taken by Panasonic is that it lets you limit the camera to either one of the sensor’s modes, whereas other brands just change mode in the background, without the user ever knowing.

    One of the only concepts fuzzier than ‘ISO’ sensitivity itself is the videography term
    ‘Native ISO’

    From a stills point of view, the two circuits are used from ISO 160 – 640 and from ISO 800 and upwards, respectively. You’ll see talk of the camera having ‘Native ISO’s of 400 and 2500’ but this is perhaps best completely ignored.

    One of the only concepts fuzzier than ‘ISO’ sensitivity itself is the videography term ‘Native ISO,’ which essentially appears to mean ‘setting at which the quality is good but that gives room to move either up or down from.’ This should not be confused with the idea of base ISO, which is the setting with the minimal amount of amplification, which usually results in the widest dynamic range.

    Lower pixel count

    The other thing Panasonic says contributes to giving the GH5S a performance boost in low light is the adoption of fewer and therefore larger pixels.

    In general terms, there’s no significant advantage to large pixels over small ones: individually they have access to more light (which usually means less noise when viewed 1:1) but once you scale things to a common size, the noise and dynamic range levels tend to be similar. Instead, using more but smaller pixels can have a resolution benefit, even if you then downsize. This is because pixelated systems can only capture a certain percentage of their nominal resolution, but sampling at a higher resolution then downsizing (oversampling) can preserve some of the higher frequency detail it initially captures.

    By concentrating on video capture, Panasonic is able to pick sides in this struggle

    However, readout speed and processing/heat constraints mean very few cameras currently offer oversampled video, instead sub-sampling their sensors to find the ~8.5MP needed to capture 4K footage. This creates a tension between the needs of high-res stills photographer and lower-resolution of video capture. By concentrating on video capture, Panasonic is able to pick sides in this struggle.

    The most obvious benefit is that it’s quicker to read out fewer pixels. So, while the latest processors are fast enough to generate oversampled footage from high pixel counts, the sensor read-out rate risks creating significant rolling shutter. Having fewer pixels means the GH5S should have less rolling shutter than the GH5.

    Having a lower pixel count also means the GH5S is also able to include an anti-aliasing filter that reduces the risk of video moiré, without having to worry about limiting the stills resolution.

    Just as we expect to see better pixel-level noise from larger pixels, logic would also lead you to expect greater pixel-level dynamic range (even though again, this advantage tends to disappear when you compare images at the same size). This additional pixel-level dynamic range is the reason the GH5S needs to offer 14-bit Raw files: because you need the extra bit-depth to provide room for that additional dynamic range.

    No stabilization

    From a photographic perspective it may seem odd to remove image stabilization from the camera but for high-end video shooting, it makes sense. Sensor-shift IS systems operate by ‘floating’ the sensor using a series of electromagnets. Even when they’re ‘off’ they’re not locked in place, they’re simply set so that the electromagnets aren’t attempting to correct for movement. This has the side-effect that, which mounted on a professional stabilization rig, there’s a risk of the sensor being shaken around.

    For high-end video work, Panasonic says its users would prefer to use dedicated gimbals and dollies, rather than internal stabilization, and that means physically locking the sensor in place to avoid unwanted interactions between these systems and a floating sensor.

    Articles: Digital Photography Review (dpreview.com)

  • Report: GoPro is looking for a buyer

    Photo by Fabrizio Verrecchia

    Just hours after GoPro’s disappointing Q4 2017 report—in which the company outlined a cost-cutting plan and announced that it would no longer be making drones—CNBC is reporting that the action cam giant has “put itself up for sale.”

    The report cites “people familiar with the matter” who asked not to be named, but who told the network that GoPro hired J.P. Morgan Chase “some months ago” to find a buyer. The sources claim no buyer has come forward as of yet, but GoPro CEO Nick Woodman himself confirmed that the company would be open to a partnership or buyout.

    Speaking to CNBC earlier today, Woodman said:

    If there are opportunities for us to unite with a bigger parent company to scale GoPro even bigger, that is something that we would look at.

    GoPro has suffered setback after setback since it went public in 2014, with lackluster action cam sales due at least in part to increased competition from smaller manufacturers, a disastrous launch (and recall) of the Karma drone, multiple rounds of layoffs, and its unceremonious exit from the drone market today. The stock price chart is… not pretty:

    Chart via Google Finance

    Interestingly enough, after taking a dive on the Q4 report, GoPro’s stock actually recovered a bit on news that the company was seeking a sale.

    Still, despite a market cap of a little over $ 1 billion, you can bet that any potential buyer will be eyeing a price well below that mark unless the company’s plan to “[turn] the business around in 2018” starts to show some results.

    Articles: Digital Photography Review (dpreview.com)

  • Sony announces Camera Control Box CCB-WD1 for wired RX0 control

    The wired control accessory that Sony promised for the RX0 has arrived, as well as PlayMemories Mobile app update to enable more wireless control options. The CCB-WD1 Camera Control Box allows for more precise synchronization of multi-camera setups ideal for VR capture, and can be used to create effects like ‘bullet time.’

    The Camera Control Box offers Video Sync for frame-by-frame synchronization between cameras, as well as Time Code sync. Computers running Windows 7/8.1/10 and Macs running OS X 10.11/10.12-10.13 can connect to the Control Box via a web browser where cameras can be named and monitored, and settings can be adjusted. Filenames can be modified to include the camera name which should help streamline post-processing workflow and avoid overwritten files. Multiple pairs of RX0 cameras and Camera Control Boxes allow for up to 100 units in total.

    The PlayMemories Mobile v6.2 update allows ‘up to 50’ RX0 units to be controlled wirelessly by way of a router. The new app version also provides a list view of all connected cameras, the ability to simultaneously turn all cameras on and off via Bluetooth, and the ability to control cameras by group.

    PlayMemories Mobile 6.2 will be released on January 30th. Camera Control Box pre-sales start January 9th at 11am PT, and it will sell for $ 700.

    Press Release

    Sony Announces New Expanded Multi-View Shooting Capabilities for the Compact RX0 Camera

    New Wired and Wireless Multi-Camera Solutions Enable More Flexibility and Creativity

    LAS VEGAS, Jan 8, 2018 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today announced new wired and wireless multi-camera solutions for the versatile RX0 that enable more flexibility, creativity and operability for today’s creators.

    The RX0, introduced late this past fall, brings the advanced imaging quality of Sony’s acclaimed RX camera lineup to a robust, waterproof1, ultra-compact body measuring approximately 2 3/8 in. x 1.5/8 in x 1 3/16 in (WxHxD) 2 and weighing just 3.9 oz3. The miniature dimensions and all-around versatility of the new camera make it a powerful tool when used either as a single unit or when combined together with additional RX0 cameras in multi-angle, multi-view shooting situations. For flexible mounting options in tight spaces, the camera features a complete symmetrical lens position and an image flip function, adding to its wide range of creative potential.

    The compact RX0 camera offers two different types of solutions for multiple camera shooting and control, including a wired solution for precisely accurate camera synchronization and control, and a wireless solution for added convenience and flexibility.

    New RX0 Wired Multi-View Shooting with Camera Control Box

    Sony has announced a new accessory Camera Control Box (model CCB-WD1) that connects to the RX04 and enables PC control with web browser5 via wired IP (internet protocol) connection. By converting control signal to IP, camera settings can be reliably controlled6 from a single PC from any location. A wired connection also allows for much seamless control and synchronization of multiple pairs of RX0 cameras and Camera Control Boxes – up to 100 units7 in total – enabling creators to produce high quality movie effects like “bullet-time” or virtual reality, or to shoot high profile events from unique angles.

    When using multiple pairs of RX0 cameras and camera control boxes, settings of all connected cameras can be changed simultaneously, and can be triggered to all start/stop recording at the same time. Additionally, a video sync function is also available, allowing frame timing to be synchronized between all connected cameras. This reduces any time gaps between cameras and supports the process of stitching multiple images together to create special effects.

    Files can also be transferred directly to the connected PC8, with the ability to assign and change file names to avoid any confusion when dealing with multiple cameras. In total, up to 1007 separate RX0 cameras and CCB-WD1 Camera Control Boxes can be linked together for a live-view multi-camera feed. Additionally, via Camera Control Box, shooting settings and modes for all connected cameras can be easily programmed by the user.

    The new CCB-WD1 Camera Control Box will ship next month for about $ 700 US or $ 900 CA.

    Improved Wireless Multi-View Shooting with New PlayMemories™ Mobile Application

    Sony’s latest version 6.2 of its PlayMemories Mobile application expands the multi-camera control capabilities when paired with the RX04. With the new version of the mobile application, users will be able to link their smartphone or tablet to up to 50 RX0 cameras via an access point9 to control them simultaneously10. In addition to the current ability to change key camera settings, all connected cameras can be turned ON/OFF together11, and users have the ability to control and shoot by separately assigned camera ‘groups’.

    The new PlayMemories Mobile application version 6.2 will be available this month.

    1. Compliant with JIS/IEC protection levels (based on Sony tests). Shooting in depths of up to 10 meters (33 ft) is possible for up to 60 minutes (JIS: Japan Industrial Standards; IEC: International Electrotechnical Commission). Depending on usage conditions and circumstances, no guarantee is made regarding damage to, malfunction of, or waterproof performance of this camera

    2. Approximate dimensions

    3. Approximate weight with battery and media included

    4. System software update for RX0 (scheduled in January 2018) is required

    5. Recommended computer environment
    OS: Windows 7/Windows 8.1/Windows 10, Mac OS X 10.11/macOS 10.12-10.13
    Web browser: Google Chrome, Internet Explorer, Safari

    6. Use only in a network environment with security measures

    7. Depending on the specifications of the equipment to be used, the number of devices that can be connected will change. Up to 100 units connection have been tested (based on Sony tests)

    8. Up to 4 GB per file can be transferred

    9. Depending on the specifications of the access point, smartphone, tablet to be used, the radio wave environment of the installation location, the number of devices that can be connected will change. Up to 50 units connection have been tested (based on Sony tests)

    10. Use only on Wi-Fi connection with security measures

    11. Bluetooth connection required. Depending on the specifications of smartphone, tablet to be used, the number of devices that can be controlled will change.

    Articles: Digital Photography Review (dpreview.com)

  • Nikon’s 180-400mm F4E TC1.4 FL ED VR lens features built-in teleconverter

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    Nikon has announced a new full-frame lens with one of the longest names we’ve ever seen: the AF-S Nikkor 180-400mm F4E TC1.4 FL ED VR.

    Besides its impressive range, the highlight of this hulking lens is its built-in 1.4x teleconverter. Taking a leaf out of Canon’s book, the built-in converter boosts the focal range to 252-560mm with a corresponding 1-stop reduction in maximum aperture. If you’re using this $ 12,000+ lens on an APS-C body, the equivalent focal range becomes 270-600mm without the TC and 378-840mm with it.

    The lens features 1 fluorite and 8 extra-low-dispersion elements plus fluorine, Nano Crystal and Super Integrated coatings. It has 9 rounded aperture blades, a Vibration Reduction system that reduces shake by up to 4 stops and a minimum focus distance of 2 meters. As you’d expect, this magnesium alloy lens (that weighs almost 8 pounds / 3500 grams) is weather-sealed. Drop-in 40.5mm filters are supported.

    As an added bonus, if you’re using a camera with a 153-point AF system (D5, D500, D850) the outer row of AF points become cross-type sensors for improved coverage. A firmware update will be required in order for cameras to take advantage of this feature.

    The AF-S Nikkor 180-400mm F4E TC1.4 FL ED VR will be available in March for a whopping (but unsurprising) MSRP of $ 12,399.

    Press Release

    NIKON ANNOUNCES NEW AF-S NIKKOR 180-400mm F/4E TC1.4 FL ED VR SUPER TELEPHOTO ZOOM LENS AT CES 2018

    LAS VEGAS — CES BOOTH #14018 (January 8, 2018) – Today at the Consumer Electronics Show (CES), Nikon Inc. announced the new AF-S NIKKOR 180-400mm f/4E TC1.4 FL ED VR super-telephoto zoom lens, which is ideally suited for photographing sports and wildlife with astounding speed and clarity. This professional level FX-format lens is more versatile than ever, and has been updated with the newest NIKKOR lens technologies including Nikon’s first ever built-in teleconverter and an advanced optical formula to enhance performance and minimize weight.

    “This lens is a great example of how Nikon continues to push the boundaries of innovation and what’s possible with pro-level optics and high-end imaging equipment,” said Kosuke Kawaura, Director of Marketing and Planning, Nikon Inc.

    Popular Pro-Level Lens Gets Even More Versatile

    This new NIKKOR lens is a professional super-telephoto zoom lens, which is even more versatile with an extended wide range of 180-400mm, and a constant f/4 aperture to easily isolate a subject from the sidelines, even in challenging light. This is also the first NIKKOR lens to include a built-in 1.4X teleconverter, allowing photographers to seamlessly swap to a 252-560mm1 (FX-format) focal range. The teleconverter is engaged at the flick of a switch, and is easily operated with a single finger while looking through the viewfinder. When used on the Nikon D500 and other DX-format DSLRs, the focal length is the equivalent of 270-600mm (378-840mm with teleconverter engaged).

    Whether capturing fast-moving winter sports on the slopes or elusive wildlife at a distance, photographers can shoot with confidence from this high performance NIKKOR lens. The new 180-400mm f/4 is optimized for high-speed capture, and features an electromagnetic diaphragm, helping to create smooth and consistent exposures while shooting high-speed bursts of images. What’s more, the AF tracking algorithm controlling the motor drive has been enhanced to increase tracking performance of fast moving subjects. When using cameras equipped with Nikon’s advanced 153-point AF system (D5, D500, D850), the outer row of AF points are activated as cross-type sensors to significantly enhance the AF coverage throughout the frame.2

    Enhanced Performance with the Addition of New Technology

    The lens now uses a fluorite element, which contributes to improved balance while minimizing weight. To further enhance handling and agility, the lens has adopted a new ball-bearing tripod collar ring to create a seamless transition from shooting horizontal to vertical composition. The VR mechanism offers a normal and sports mode, with up to four stops3 of compensation to help create sharp images, even when handheld.

    The lens construction includes the use of durable magnesium alloy for weight reduction, while the lens is also sealed against dust and moisture. A fluorine coating is also used to help repel water droplets and dirt.

    The optical formula of the lens uses eight Extra Low Dispersion (ED) elements, doubling the amount of ED elements used by its predecessor, the NIKKOR 200-400mm. These help to provide extremely sharp and detailed images and 4K UHD / 1080p video, and is ideally mated to high resolution Nikon DSLR cameras. Nikon’s exclusive Nano Crystal Coat is used to effectively suppress instances of ghosting and flare.

    Price and Availability

    The AF-S NIKKOR 180-400mm f/4E TC1.4 FL ED VR lens will be available in March 2018 for a suggested retail price of $ 12,399.954. For more information on this NIKKOR lens and other Nikon products, please visit www.nikonusa.com.

    1. When the built-in or an external teleconverter is used, the focal length may not be displayed correctly in shooting information / Image data.
    2. This feature will be available with a firmware upgrade for the D5, D850 and D500 as of March 2018
    3. Based on CIPA Standard. This value is achieved when FX-format compatible lenses are attached to a FX-format digital SLR camera and zoom lenses are set at the maximum telephoto position.

    Nikon AF-S Nikkor 180-400mm F4E TC1.4 FL ED VR specifications

    Principal specifications
    Lens type Zoom lens
    Max Format size 35mm FF
    Focal length 180–400 mm
    Image stabilization Yes
    CIPA Image stabilization rating 4 stop(s)
    Lens mount Nikon F (FX)
    Aperture
    Maximum aperture F4
    Minimum aperture F32
    Aperture ring No
    Number of diaphragm blades 9
    Optics
    Elements 27
    Groups 19
    Special elements / coatings 1 fluorite + 8 ED elements and Nano Crystal + Super Intergrated + fluorine coatings
    Focus
    Minimum focus 2.00 m (78.74″)
    Maximum magnification 0.25×
    Autofocus Yes
    Motor type Ring-type ultrasonic
    Full time manual Yes
    Focus method Internal
    Distance scale Yes
    DoF scale No
    Focus distance limiter Yes
    Physical
    Weight 3500 g (7.72 lb)
    Diameter 128 mm (5.04″)
    Length 363 mm (14.29″)
    Materials Magnesium alloy
    Sealing Yes
    Colour Black
    Zoom method Rotary (extending)
    Power zoom No
    Zoom lock Yes
    Filter thread 40.5 mm
    Filter notes Uses drop-in filters
    Hood supplied Yes
    Tripod collar Yes
    Other
    Notes Has a built-in 1.4x teleconverter

    Articles: Digital Photography Review (dpreview.com)

  • Insta360 unveils new, 4K capable Nano S 360-degree camera for iPhone

    Insta360 is a company known for its affordable, consumer 360-degree camera dongles. The Insta360 One and Air are its current models for iPhone and Android, respectively, but the camera started out with the iPhone-only Nano in 2016. For CES, Insta360 has now launched an upgraded Nano S that keeps the original model’s form factor, so accessories can still be used, but comes with upgraded interior components.

    Compared to the original Nano, video capture has been bumped from 3K to 4K resolution and stills are now captured at a whopping 20MP, a nice step up from the previous 4.6MP stills. In addition, you can now choose between a matte black and silver version.

    The Nano S doesn’t just provide higher resolution recording, though, it also comes with a couple of new features. MultiView Shooting allows you to output conventional video footage with two or three camera angles, and 360-degree Video Chat gives any recipient a live 360-degree spherical view of the caller’s location, even without using the Insta360 app, the caller simply needs to share a link.

    A foldable stand for easy video calls or 360-degree selfies comes included in the package.

    The Insta 360 Nano S is available order now for $ 240. To learn more, head over to the Insta360 website or check out the intro video above.

    Articles: Digital Photography Review (dpreview.com)

  • LG’s 34-inch 5K UltraWide Nano IPS HDR600 monitor is a 4K video editor’s dream

    LG has just released a couple of impressive new monitors, both of which take advantage of LG’s so-called Nano IPS technology and boast VESA’s DisplayHDR-600 badge, meaning they support the HDR10 standard and max out at at least 600 nits brightness for small patches or bright flashes (but only 350 nits full screen, long duration). That is a seriously impressive feat for a liquid crystal panel.

    Unfortunately, LG has stayed pretty tight-lipped about these monitors, which will be debuted officially at CES in January, but here’s what we do know about them.

    34-inch 5K UltraWide Nano IPS HDR600 Monitor (34WK95U)

    The 34-inch 5K UltraWide is the real eye catcher, a monitor that takes aim at video editors who want to edit 4K footage at native resolution and still have room for editing panels on either side of the screen. Boasting a 21:9 aspect ratio and resolution of 5120 x 2160, the monitor could ostensibly replace a 2-screen setup with a single panel.

    Combine that resolution with the fact that VESA have given this monitor its DisplayHDR-600 designation, and you’ve got a truly HDR-capable IPS monitor, something LG only managed to achieve thanks to its Nano IPS technology and possibly some other trickery (more on that later…).

    As for color reproduction, Nano IPS technology manages to squeeze 98% of the cinema-grade DCI-P3 color space into the 4K monitor below. It stands to reason, then, that this same technology would bring similar results to the 5K UltraWide, but we’ll have to wait for LG to confirm this. The HDR-600 badge means the monitor has to at least hit 90% DCI-P3, but it’s likely the 5K UltraWide hits a higher percentage than that.

    Finally, the monitor also features a Thunderbolt 3 port that, according to LG, “enables the transmission of 5K resolution images at 60Hz with a single cable.”

    The LG 5K UltraWide 34WK95U will be on display at CES in Las Vegas in a couple weeks’ time, where we hope to find out more technical details. LG hasn’t released official pricing and release date details, but the monitor has been spotted online with a price tag of $ 1,500 and expected release date of May 2018.

    32-inch 4K UHD Nano IPS HDR600 Monitor (32UK950)

    Speaking of “the other monitor”… slightly overshadowed by the 5K UltraWide release, the 32-inch 4K UHD 32UK950 monitor might actually be the better fit for photographers.

    It, too, feature Nano IPS technology and the HDR-600 badge from VESA, but in a 4K UHD panel (3840 × 2160). It’s a bit more boastful on the color front. No, you’re not getting that crazy-wide aspect ratio, but you do get confirmed 98% coverage of the cinema-grade DCI-P3 color space. And then there’s the connectivity:

    LG model 32UK950 features the first Thunderbolt™ 3 docking display to support 4K daisy chaining, allowing a set-up of dual 4K monitors. This LG monitor can connect to Thunderbolt™ 3 notebooks like Macbook Pro via a single active Thunderbolt™ 3 cable – no charging adapter or unsightly USB cables required.

    This monitor’s single Thunderbolt™ 3 cable transmits 4K content and sound while providing enough charge to power a 60W notebook, simplifying any work space.

    This monitor, too, will be on display at CES in January. And like its UltraWide sibling, LG hasn’t officially announced pricing and release date; however, it too has been spotted online with a price tag of $ 1,300 and expected ship date of May 2018.

    Technical Dive: Nano IPS

    Nano IPS could be a huge leap forward for monitor technology. IPS panels are typically limited to a static contrast ratio of around 1000:1, leaving a lot to be desired in the HDR space. Ideally, you’d want at least 4000:1, especially if you’re editing HDR footage.

    Nano IPS seeks to get around this liquid crystal limitation by “applying nanometer-sized particles to the screen’s LED to absorb excess light wavelengths.” This, according to LG, greatly enhances the intensity and purity of on-screen colors for a more accurate and life-like viewing experience. It’s likely this is actually quantum dot technology at work, and it might also improve the monitor’s static contrast ratio, but we’re waiting for confirmation on both these fronts. We doubt these monitors will achieve anywhere near the static contrast ratios the ‘light modulating cells’ Panasonic recently developed allow its newest displays to achieve.

    Our Technical Editor Rishi Sanyal is very excited by the general evolution of computer monitors with technology trickled down from TVs. Wider color gamuts are very welcome not just for video but photography as well, as current printing technology can generate colors well outside of the old sRGB standard. The real trick is to also get brightness and contrast up (and, yes, glossy displays with tightly sandwiched layers and AR coatings, since matte surfaces tend to kill contrast). But we have no idea if NanoIPS or local dimming is what LG is using to get the contrast to HDR-600 levels here. Ideally, computer monitors and reference displays wouldn’t use local dimming (unless it’s ‘full array’)… but…

    As AnandTech pointed out last week, that HDR-600 badge requires a black level of no more than 0.1 nits, a feat which VESA believes is impossible without using local dimming. And yet, LG doesn’t even mention contrast a single time in its press release, to say nothing of static contrast, local dimming, or pixel-level backlight control (unlikely).

    For now, we’re left excited and intrigued, but not entirely satisfied. One thing’s for sure though, the computer monitor field is getting very interesting, and we intend to keep a very close eye on it moving forward.

    Press Release

    New LG Monitors Boast Premium Picture quality and Performance, Improved Versatility

    Unparalleled Viewing Experience with Vibrant Nano IPS Technology and Thunderbolt™ 3 Connectivity

    SEOUL, Dec. 21, 2017 — At CES 2018 in Las Vegas, LG will introduce upgraded models of its popular monitor lineup with Nano IPS technology that take color reproduction capabilities to a new level. In response to customer feedback, LG added support for HDR600 with even higher dynamic range of peak brightness and new connectivity options with full Thunderbolt™ 3 compatibility.

    LG’s new 32-inch UHD 4K monitor (model 32UK950) is the first to offer LG’s advanced Nano IPS technology. Nano IPS technology involves the application of nanometer-sized particles to the screen’s LED to absorb excess light wavelengths. This greatly enhances the intensity and purity of on-screen colors for a more accurate and life-like viewing experience. This LG monitor can display 98 percent of the DCI-P3 color spectrum, comparable to monitors used to master Hollywood blockbusters. Ideal for media prosumers seeking superb color reproduction with its support for HDR 600 LG 32UK950 users will experience high dynamic range of peak brightness of 600 candela (cd/?).

    LG model 32UK950 features the first Thunderbolt™ 3 docking display to support 4K daisy chaining, allowing a set-up of dual 4K monitors. This LG monitor can connect to Thunderbolt™ 3 notebooks like Macbook Pro via a single active Thunderbolt™ 3 cable – no charging adapter or unsightly USB cables required. This monitor’s single Thunderbolt™ 3 cable transmits 4K content and sound while providing enough charge to power a 60W notebook, simplifying any work space. With its beautiful signature Edge-ArcLine Stand and stunning 4-Side Edge Borderless Design where the picture literally drops off the edge, there is no mistaking this LG monitor for anything else.

    Expected to be another hot item at this year’s CES, LG’s 34-inch UltraWide monitor (model 34WK95U) delivers a broad range of accurate colors and viewing angles at a surreal 5K resolution (5120 x 2160 pixels). LG’s very first 21:9 5K UltraWide monitor is loaded to the maximum with a hefty amount of screen real estate and eye-popping colors. This ultimate 5K viewing experience is geared towards users who multitask extensively, such as video editors, photographers and software and app developers.

    Model 34WK95U supports Nano IPS technology, fantastic color reproduction capabilities and HDR600. In addition, model 34WK95U features a Thunderbolt™ 3 port, which enables the transmission of 5K resolution images at 60Hz with a single cable. The Thunderbolt™ 3 interface is ideal for power laptop users who desire fast video, audio and data transfers without the need for a separate AC adapter. With its elegant, stunning profile, this LG monitor turns heads even when powered off, with its 4-Side Edge Borderless Design and gorgeous slim Edge-ArcLine Stand addition to its refined image.

    “Most of us spend hundreds of hours in front of monitors every month and yet it’s one of the least likely products to get upgraded when higher productivity is desired,” said Chang Ik-hwan, head of LG’s IT business division. “With these latest premium monitors from LG, we wanted to communicate that LG is absolutely committed to delivering the best possible screen resolution and the best user experience on a desk or workspace.”

    Another attention grabber from LG will be LG’s latest QHD gaming monitor (model 34GK950G), which offers premium picture quality with Nano IPS technology and high-speed G-Sync technology.

    All this and more can be experienced personally at LG’s booth (#11100) in Central Hall of the Las Vegas Convention Center during CES 2018.

    Articles: Digital Photography Review (dpreview.com)

  • DJI announces Osmo 2 Mobile smartphone camera gimbal

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    DJI has announced the Osmo Mobile 2, an updated version of its popular Osmo Mobile camera gimbal for smartphones. Though visually similar to the original model, the Osmo Mobile 2 adds some useful new features along with a more attractive price point.

    The biggest change most users will notice right away is that the Osmo 2 Mobile no longer uses interchangeable batteries. DJI claims the new built-in battery will provide enough power for up to 15 hours of filming, which is probably more than most peoples’ arms will endure over the course of a day. Additionally, a new USB port enables the phone to charge off the internal battery while in use, preventing battery drain while filming, and can also be used as a power bank to charge other electronics.

    Perhaps the most notable feature of the new Osmo Mobile 2 is a lower price: it will retail for $ 129, significantly less than the $ 299 price point of the original model

    The new model also supports shooting in portrait orientation – perfect for people who want to create content that will primarily be consumed on mobile devices. It also includes a 1/4″ universal screw mount, making it possible to mount the Osmo Mobile 2 on a tripod or attach other accessories.

    In addition to existing software features like ActiveTrack and time-lapse modes, DJI has added a hyper-lapse feature, as well as a zoom slider on the handle that will allow users to simulate the effects of a dolly zoom.

    Perhaps the most notable feature of the new Osmo Mobile 2 is a lower price: it will retail for $ 129, significantly less than the $ 299 price point of the original model. It will be available for pre-order exclusively at Apple.com beginning on January 23, and directly from DJI and other authorized resellers beginning in early February.

    If you’re attending CES 2018 in Las Vegas and want to try the Osmo 2 Mobile in person, DJI will be offering free daily ‘rentals’ of the device to attendees.

    Press release:

    DJI Reveals New Handheld Camera Stabilizers At CES 2018

    A Redesigned Osmo Mobile 2 Turns Smartphones Into Smart Steadycams and Ronin-S Becomes DJI’s First Single-Handed Stabilizer for DSLR and Mirrorless Cameras

    January 7, 2018 – DJI, the world’s leader in creative camera technology, introduced two new handheld camera stabilizers at CES 2018 – Osmo Mobile 2 and Ronin-S. Built for smartphones, DSLRs, and mirrorless camera systems, they give consumers, professional videographers and photographers new tools to capture smooth, steady videos and stunning photos wherever they go.

    • Osmo Mobile 2: The handheld smartphone camera stabilizer from DJI, redesigned for the storyteller in all of us. Using a lightweight design that supports portrait orientation, with simpler controls with cinematic zoom, a longer battery life for more filming, and intelligent features to help you share a professional-looking story wherever you go.
    • Ronin-S: DJI’s first single-handed stabilizer for DSLR and Mirrorless Cameras. Built for efficient setup and ease of use with a compact form and dedicated buttons to control camera settings and precise positioning, plus intelligent features for advanced shooting modes all designed to help bring a steady shot to any set.

    “With the introduction of these two stabilizers, DJI now offers gimbal technology to help unlock the creative storyteller in everyone no matter what camera they’re using,” said Paul Pan, Senior Product Manager at DJI. “Osmo Mobile 2 offers the best in smartphone stabilization at an affordable price, and Ronin-S brings the quality of DJI’s professional gimbal technology to a new form factor that is perfect for run-and-gun filming using your favorite DSLR or mirrorless camera system.”

    Osmo Mobile 2 – Redesigned for the Storyteller in All of Us

    Osmo Mobile 2 is a smartphone camera stabilizer that captures smooth videos and high-definition panoramas with cinematic movement and incredible ease. DJI’s industry-leading three-axis gimbal technology cancels out movement in three directions so your video stays steady even if your hands shake or wobble, while DJI’s built in SmoothTrack technology detects and compensates for your movement of the camera to ensure a smooth cinematic shot every time.

    Designed to be lightweight and portable, Osmo Mobile 2 is made from high-strength modified nylon and features a folding design that makes it perfect for all-day use. The two-way mobile clamp lets you easily pivot between landscape and portrait orientation so that you can chose the most engaging full-screen format for your audience. In addition, a 1/4” universal screw mount ensures compatibility with your favorite photography accessories, making Osmo Mobile 2 more versatile than ever.

    Simpler controls let you use your phone’s camera like a professional camera with integrated settings for ISO, shutter speed and more. A new zoom slider lets you completely operate your smartphone camera from the handle and you can even produce dolly zoom, a visual effect usually created only on professional film sets.

    A more powerful built-in battery system lets you film for up to 15 hours, over three times longer than the original Osmo Mobile’s battery. The new USB port enables phone charging during use and serves as a power bank for charging other electronics while on the go.

    Smart software in the DJI GO mobile app unlocks intelligent photo and video features that help you create professional-looking content automatically. Videographers can use modes including ActiveTrack to automatically follow of subjects in motion, Motion Timelapse with up to five different camera positions, Hyperlapse to create dramatic time-lapse videos with the camera in motion, or stream live to popular social platforms like Facebook and YouTube. Photographers can expand their creativity with options such as Panorama, Long Exposure and LightTrail modes.

    Ronin-S – Bring a Steady Shot to Any Set

    Ronin-S is DJI’s first single-handed stabilizer for DSLR and mirrorless camera systems. Available in two frame sizes for either camera type, DJI’s powerful three-axis gimbal technology delivers smooth, shake-free video and crisp photos, adding a cinematic and professional look to your work.

    Powerful high-torque motors support the most popular camera and lens combinations including the Canon 5D, Panasonic GH and Sony Alpha systems. Its stabilization system compensates for zoom lenses with higher magnification ratios and an external zooming barrel, while its advanced stabilization algorithms work with both in-camera and in-lens optical stabilization technology.

    Capturing stabilized video has never been easier because Ronin-S was designed for easy setup and use. A new Push mode lets you adjust the pan and tilt axis by hand while the Ronin-S is powered on and axis locks speed up the setup process so you can spend more time filming and less time prepping your gear. Ronin-S has a comfortable, ergonomic curved design that helps capture smooth cinematic movements from upright to underslung positions without obstructing the camera’s display. Ronin-S also features DJI’s intelligent battery technology that can be hot-swapped during operation for extended shoots.*

    Dedicated control buttons for the camera and gimbal let you toggle between SmoothTrack settings, record and stop the camera, and the high-precision joystick changes the camera position to help frame your shot perfectly. A new Sport mode allows for fast movements with tight and quick subject following speed.

    Harness intelligent shooting modes on Ronin-S through the DJI Ronin mobile app to create complex camera moves automatically like Panorama, Hyperlapse, Track and CamAnchor that lets you designate specific camera positions in a scene and rotate between them on demand. Directly customize SmoothTrack settings with dedicated controls for responsiveness of each axis. Camera settings can be directly adjusted as well.**

    Ronin-S is compatible with a variety of DJI Pro Accessories to capture any scene and expand your creative freedom on set or location. Supported accessories include a Focus Control Center consisting of a focusing dial and a screen allowing advanced gimbal and focus control without a mobile device, a vehicle mount solution, DJI Master Force, DJI Master Wheels, an external focus motor, and a cheese plate adapter so you can use your favorite third-party accessories. A dual-handle support will also be available for when an added level of comfort and stability is required.

    Price and Availability

    Osmo Mobile 2 retails for $ 129 USD and will be available exclusively for pre-order at Apple.com on January 23, 2018. Starting in early February, it will also be available at store.dji.com, DJI Flagship Stores, and DJI Authorized Retailers, with additional availability later in February at Apple Stores in select regions worldwide. For more information on all the new features and capabilities of Osmo Mobile 2, please visit www.dji.com/osmo-mobile-2.

    Ronin-S will be available in the second quarter of 2018 from dji.com, DJI Flagship Stores, DJI Authorized Retail Stores, and DJI Resellers worldwide***. Pricing will be announced prior to availability. Additional information on Ronin-S can be found at www.dji.com/ronin-s.

    ?Osmo Shield for Osmo Mobile

    Osmo Shield is a coverage plan that extends the warranty of any Osmo series product by one additional year, including accidental hardware damage coverage, that covers up to one free replacement and provides repair solutions for two years. Osmo Shield is currently available in select countries, including China, the United States, and Canada.

    Photos and Videos Available for Download

    Osmo Mobile 2 photos: http://bit.ly/2CGwrPf

    Ronin-S photos: http://bit.ly/2lXk4E8

    DJI at CES 2018

    Visit the DJI booth at CES to see the new Osmo Mobile 2 and Ronin-S, and experience the entire DJI product portfolio of camera drones and image stabilization systems. Onsite activities and promotion for CES attendees at the DJI booth include:

    • Rent an Osmo Mobile 2 for free each day
    • Compete in DJI’s daily flight simulator challenge to win a DJI Spark Fly More Combo
    • Register to enter a daily raffle for Ronin-S and receive a $ 100 USD discount coupon

    DJI’s main booth is located in the Las Vegas Convention Center South Hall, Level 2, booth #26002. Drone flight demos will also take place at DJI’s booth in the Central Hall, booth #14710T.

    *Can be utilized with dual-handheld accessory as well

    **For supported camera models

    ***The Ronin-S products shown at CES 2018 are prototypes and the final specs and features may vary

    Articles: Digital Photography Review (dpreview.com)