RSS
 

Archive for the ‘Uncategorized’ Category

Adobe releases Premiere Pro update, including scene detection and improved HDR

17 Sep

Adobe has announced an update for Adobe Premiere Pro and released a new beta for After Effects. In Premiere Pro, which is now at version 14.4, Adobe has added Scene Edit Detection, HDR for broadcasters, exporting with proxies and more. The beta update for After Effects includes a new 3D Gizmo and new camera navigation tools. Both the new Premiere Pro release and the beta update for After Effects include improved performance.

The new Scene Edit Detection feature, powered by Adobe Sensei artificial intelligence, allows you to add edit points in any footage as you import it into Premiere Pro. When using Scene Edit Detection is used, Premiere Pro analyzes imported video, detects original edit points and adds cuts or markets at edit points. You can learn more about the feature in the video below and by clicking here.

Premiere Pro 14.4 includes a new Rec.2100 color space, allowing broadcasters to work with more dynamic HDR content. Additional HDR features include fully color managed and GPU accelerated workflows for Apple ProRes and Sony XAVC-I formats, color space overrides and the ability to set scopes for Rec2100 HLG. Additional information about HDR for broadcasters can be found here.

The next new feature for Premiere Pro, exporting with proxies, allows users to select to use proxies while exporting, such as when you want a quick export that doesn’t require full-resolution media. There is also a new export feature, Quick Export, currently in a public beta. This feature allows easier access to popular and frequently used export settings from the menu bar in Premiere Pro. You can see a preview of this feature below.

Premiere Pro and After Effects (beta) have both received improvements to overall performance. Premiere Pro’s improved performance results in third-party audio plugins now scanning up to 10-15 times faster than before. ProRes multi-cam performance has been doubled as well. After Effects’s channel effects incorporate GPU acceleration, which results in performance improvements ranging from about 1.5 to 3 times.

After Effects’s new beta includes a new 3D Gizmo. This feature allows for faster motion graphics work and improved speed for scene navigation. There are also new camera navigation tools, including support for multiple virtual cameras.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Adobe releases Premiere Pro update, including scene detection and improved HDR

Posted in Uncategorized

 

CAMERADACTYL Mongoose Automated 35mm film scanner goes live on Kickstarter

17 Sep

Product designer Ethan Moses of CAMERADACTYL has launched a new film scanning product on Kickstarter called Mongoose. This device can be used with ‘just about any camera’ that has cable release support, according to Moses; it has three scanning modes, including a Fast Mode that can scan a roll of standard-sized exposures in less than one minute.

Mongoose is an automated 35mm film carrier that can be used with most cameras to digitize black & white and color negatives, as well as slide film. The Mongoose features a 27mm x 68mm film gate, enabling it to scan anywhere from half-frame images at 24mm x 20mm up to Hasselblad Xpan-sized panoramic images at 24mm x 65mm. Each scanned image includes a ‘full black border,’ but Mongoose doesn’t support scanning the film’s sprocket holes.

According to Moses, Mongoose was designed in such a way that it only touches the portion of the film where the sprocket holes are located, ensuring the film lies flat for scanning even if it is a cupped or curly film.

Mongoose is designed to be used with a third-party lightbox or some other source of light, such as a strobe with a diffuser, as well as a stand for holding the camera above the film and a lens that can focus close enough to digitize the content.

The film scanner is fully automated with a number of features that give users a fair amount of control over the process, including offering Fast and Manual modes in addition to the Automatic mode. Manual mode gives users full control over the process, including enabling them to manually advance and retract the film strips and to manually trigger the camera using Mongoose’s control box.

Automatic mode is more accurate than Fast mode, according to Moses, who explains on Kickstarter that Automatic can be used with rolls of film that have unevenly spaced frames because it uses edge detection to capture each image. ‘This mode has very high positional accuracy, and can scan a full roll of 36 frames in under a minute and a half,’ he says.

That’s nearly double the 40-second capture time of Fast mode, which can only be used with film that has evenly spaced frames. The big advantage of Fast mode is that it can rapidly scan a roll of film, but the downside is that it has less positional accuracy when compared to Automatic mode.

Users are able to adjust Mongoose’s edge detection sensitivity for use with underdeveloped/exposed film. Likewise, users are able to adjust the delay between each film frame; it can be turned off so that the scanning takes place very quickly or it can be slowed down so that the scanner accommodates other aspects of the overall setup, such as strobe light recycling time.

Finally, Moses notes that Mongoose can be used with strips of film that have as few as four frames, though it’s better when used with an entire roll. Likewise, Mongoose was designed with a separate control box so that users who are manually triggering shots aren’t at risk of bumping the scan module. Moses also says that Mongoose is not a silent device, and that it is, in fact, quite loud when in use.

Moses is seeking funding for his latest CAMERADACTYL product on Kickstarter, where Mongoose has already exceeded the funding goal. The product will ship to backers with the scan module and control box, connection cord, power supply, and an electronic shutter release cable. Kickstarter users have the option of backing the campaign at $ 500 or more with estimated delivery of this third batch (the first two are sold out) starting in February 2021.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on CAMERADACTYL Mongoose Automated 35mm film scanner goes live on Kickstarter

Posted in Uncategorized

 

Nikon 14-24mm F2.8 S and 50mm F1.2 S for Z-mount unveiled

16 Sep

Nikon has officially announced two more lenses for its Z-mount, full-frame mirrorless system: the Nikkor Z 14-24mm F2.8 S and 50mm F1.2 S. Both are slated to arrive by the end of 2020.

Nikkor Z 14-24mm F2.8 S

The 14-24mm is almost 35% lighter than its AF-S 14-24mm F2.8 G predecessor for DSLRs, and thanks to a nearly-flat front element it accepts conventional threaded filters (albeit very large 112mm ones) via the included HB-97 lens hood. That’s unusual for a lens of this type, and a rear filter holder also accepts trimmed gel filters.

Overall the lens measures a relatively compact 88.5mm (3.5in) x 124.5mm (5in), and weighs 650g (1.4lb). It includes a nine-blade aperture and features Nano Crystal and ARNEO anti-reflective coatings to control ghosting, flare and coma. Like the recent Z 24-70mm and 70-200mm F2.8 zooms that this lens complements, the 14-24mm offers ‘extensive’ weather sealing and includes a small OLED display panel on the lens barrel itself.

Nikkor Z 50mm F1.2 S

The Z 14-24mm may be relatively compact for its class, but the Z 50mm F1.2 S is decidedly not. With optics one and a half times bigger than those used by the Z 50mm F1.8, it weighs in at 1090g (2.4lb) and measures 89.5mm (3.6in) x 150m (6in).

It features a ‘symmetrical’ optical design, which Nikon says improves its ability to provide edge-to-edge sharpness. The lens features two focusing groups, each with its own STM stepping motor, and its optical formula includes three aspherical elements to boost resolution and reduce distortion. Nano Crystal and ARNEO coatings are also used, and like 50mm F1.2 also includes weather-sealing and lens barrel display.

The Nikkor Z 14-24mm S F2.8 will go on sale in November for $ 2400; the Nikkor Z 50mm F1.2 arrives in December for $ 2100.

Z 14-24mm F2.8 and 50mm F1.2 official sample images

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_5802807193″,”galleryId”:”5802807193″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Press release:

NIKKOR Z INNOVATION CONTINUES: NIKON INTRODUCES TWO ESSENTIAL NIKKOR Z LENSES EQUIPPED WITH INCREDIBLE OPTICS TO DELIVER UNRIVALED IMAGE QUALITY

The Ultra-Wide NIKKOR Z 14-24mm f/2.8 S and Powerful NIKKOR Z 50mm f/1.2 S Lenses Bring Groundbreaking Advancements in Optical Performance and Design to the Nikon Z Series

MELVILLE, NY (September 16, 2020) – Today, Nikon Inc. unveiled two exciting additions to the rapidly expanding NIKKOR Z lens lineup, demonstrating the brand’s commitment to the evolving Nikon Z series. These new full-frame S-Line1 lenses showcase the superior optical performance and capabilities of the Nikon Z mount for photographers and creators. The ultra-wide angle NIKKOR Z 14-24mm f/2.8 S is the world’s shortest2 and lightest2 full-frame f/2.8 zoom lens with a 14mm field of view, enabling a versatile range to capture expansive views including cityscapes, landscapes, astrophotography and more. Meanwhile, the NIKKOR Z 50mm f/1.2 S is the paramount fast-aperture prime lens engineered for optical excellence to help Z series users achieve unrivaled power, exceptional sharpness and show-stopping bokeh.

“This is an exciting time for Nikon lens technology as we lead the way in providing the most incredible optics available today,” said Jay Vannatter, Executive Vice President, Nikon Inc. “The highly anticipated NIKKOR Z 14-24mm f/2.8 and the powerful NIKKOR Z 50mm f/1.2 lenses demonstrate the incredible innovation behind the Z series and the limitless possibilities of what our engineers are capable of achieving.”

NIKKOR Z 14-24mm f/2.8 S: Broaden Your Horizons with the Essential Ultra-Wide Angle Zoom Lens
The much anticipated NIKKOR Z 14-24mm f/2.8 S is the shortest and lightest full-frame zoom lens of its kind, offering unique user benefits and incredible rendering capabilities across the wide zoom range. Joining the previously announced NIKKOR Z 24-70mm f/2.8 S and NIKKOR Z 70-200mm f/2.8 VR S lenses, this lens completes the trinity of coveted fast aperture Z series zooms. The 14-24mm is a versatile lens that proves the optical superiority of the Nikon Z mount, producing excellent edge-to-edge sharpness, minimal distortion and exceptional photo and video capabilities for creators. The new optical design allows for a significantly shorter lens that is nearly 35 percent lighter than its predecessor, the popular AF-S NIKKOR 14-24mm f/2.8, making this lightweight lens ideal for a trek into the field. Meanwhile, its wide-angle zoom range offers video content creators a new option for capturing tack-sharp establishing shots, interiors or POV angles.

The NIKKOR Z 14-24mm f/2.8 S lens is engineered to deliver unrivaled optical excellence and maximum usability. This thoroughly modernized lens design features a nearly flat front lens element, which allows the attachment of a threaded filter to the included additional lens hood (HB-97). This design provides users the ability to attach a Neutral density (ND) filter, as well as the new Neutral Color NC Filter 112mm or Circular Polarizing Filter II 112mm3, while a rear filter holder also accepts a trimmable filter gel. With the option to easily use multiple filter types, users can capture epic landscapes with greater versatility and flexibility in more lighting conditions than ever before. An excellent choice for photographing stunning night-time views, the 14-24mm lens delivers amazing low-light performance with a constant f/2.8 aperture and stellar point light reproduction capabilities that suppress sagittal coma and flare for tack-sharp stars and city lights.

The NIKKOR Z 14-24mm combines a robust design and reliable performance with custom controls, including a customizable one-touch shortcut button, EL Display panel and custom control ring, making controls and settings convenient and accessible. The optical formula includes four ED lens elements, helping to control chromatic aberrations, and capture fine details, including colors and lines, with consistent accuracy – a true benefit to those shooting interiors and architecture. Additionally, flare, ghosting and coma are suppressed, even with harsh backlight, thanks to the lens’ Nano Crystal Coat (N) and anti-reflective ARNEO Coat, while its robust fluorine coating and extensive weather sealing allow Nikon Z series users to shoot confidently in rugged and unpredictable environments. As an added benefit to videographers, the lens also features an electro-magnetic diaphragm, to help maintain smooth exposures as light changes.

NIKKOR Z 50mm f/1.2 S: Immense Details. Exceptional Sharpness.
The new NIKKOR Z 50mm f/1.2 S is Nikon’s fastest and most optically impressive AF prime lens yet, effortlessly balancing the combination of intense sharpness and dreamy bokeh. For pro-level creators that need powerful performance and versatility, the 50mm f/1.2 delivers a standard focal length with unrivaled sharpness, speed, and life-like clarity. With a bright f/1.2 aperture and premium S-Line engineering, the NIKKOR Z 50mm lens is the definitive and versatile prime for a range of photography styles including portraiture, street photography, landscapes, nightscapes and more.

The NIKKOR Z 50mm f/1.2 S lens effortlessly achieves a soft and enchanting bokeh, with a circular background blur that is smooth and gradual when focusing for a natural “fall-off”. The bright f/1.2 aperture affords a dramatically shallow depth of field with beautiful subject isolation for stunning portraiture, while it also offers exceptional low-light performance. Maximizing the capabilities of Z series’ technology, the 50mm f/1.2 lens adopts stepping motors (STM) as well as a multi-focusing system4, enabling multiple lens elements to focus simultaneously for fast and precise autofocusing, even when shooting close-up or wide open. Furthermore, the lens’ ability to maintain stable exposure in changing lighting conditions, combined with its quiet operation and minimal focus breathing, establishes the lens as an appealing tool for video creators.

The NIKKOR Z 50mm f/1.2 S lens tells a story of balance in design and functionality, seamlessly harmonizing intense resolution and velvety bokeh. The symmetrical optical design prevents light from being bent or distorted as it passes through the lens, meaning the purest, sharpest image reaches the camera sensor without any added distortion or aberration for true edge-to-edge sharpness. This innovative lens design also includes three aspherical elements to help virtually eliminate distortion, for superior resolution, point light reproduction and superb three-dimensional clarity. Designed for pro-level reliability, the NIKKOR Z 50mm is a superbly balanced lens constructed with robust weather sealing, a customizable control ring and shortcut button, as well as an EL Display panel to enhance workflow. Meanwhile, the lens is engineered with Nikon’s Nano Crystal and ARNEO Coating to minimize flare, ghosting and coma, allowing Z series users to confidently shoot in a variety of lighting scenarios, including harsh backlighting, to capture any scene with incredible sharpness and clarity.

Pricing and Availability
The NIKKOR Z 14-24mm f/2.8 S lens will be available in November 2020 for a suggested retail price (SRP) of $ 2,399.95*, while the NIKKOR Z 50mm f/1.2 S lens will be available in December 2020 for a suggested retail price (SRP) of $ 2,099.95*. For more information on the latest Nikon products, including the new NIKKOR Z 14-24mm f/2.8 S and NIKKOR Z 50mm f/1.2 S lenses and the full Nikon Z series, please visit ?www.nikonusa.com.

Nikkor Z 14-24mm F2.8 S and Z 50mm F1.2 S specifications

  Nikon Nikkor Z 14-24mm F2.8 S Nikon Nikkor Z 50mm F1.2 S
Principal specifications
Lens type Zoom lens Prime lens
Max Format size 35mm FF
Focal length 14–24 mm 50 mm
Image stabilization No
Lens mount Nikon Z
Aperture
Maximum aperture F2.8 F1.2
Minimum aperture F22 F16
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 16 17
Groups 11 15
Special elements / coatings 4 ED elements, Arneo + Nano Crystal coatings 2 ED + 3 aspherical elements, Arneo + Nano Crystal coatings
Focus
Minimum focus 0.28 m (11.02″) 0.45 m (17.72″)
Maximum magnification 0.13× 0.15×
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale Yes
Physical
Weight 650 g (1.43 lb) 1090 g (2.40 lb)
Diameter 89 mm (3.5″) 90 mm (3.54″)
Length 125 mm (4.92″) 150 mm (5.91″)
Materials Magnesium alloy
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Filter thread 112 mm 82 mm
Filter notes Also supports rear gel filters
Hood supplied Yes
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Nikon 14-24mm F2.8 S and 50mm F1.2 S for Z-mount unveiled

Posted in Uncategorized

 

Fujifilm Instax Square SQ1 review: simple square-format fun

16 Sep

Fujifilm Instax SQ1
$ 120 | Instaxus.com

With the launch of the SQ1, Fujifilm now has three models that use their square format Instax film. This is the most stripped-down of the three, in terms of operation.

The Fujifilm Instax SQ1 is a stylish and easy-to-operate instant camera that makes use of the brand’s Instax Square format film. This new camera is a lot like shooting with a bulkier version of the Instax Mini 9/10/11, since it lacks many of the advanced features found on earlier Instax square cameras like the SQ6 or the SQ10. But it still manages to produce appealing Instax images, even if the shooter only has a very basic understanding of photography.

Key Specifications

  • Retractable lens (65.75mm, F12.6)
  • Full-automatic exposure control (flash always fires)
  • Variable shutter speeds from 1.6 to 1/400 sec including slow synchro for low light
  • Selfie mirror on front of lens
  • Selfie/close-up mode
  • Auto frame counter
  • Powered by two CR2 lithium batteries
  • Available in: Terracotta Orange, Glacier Blue and Chalk White

Operation

The Fujifilm Instax Square SQ1 operates on two CR2 batteries that you load into the back of the camera near the door where you load a pack of Instax Square film. On the back of the camera you’ll also find an automatic film counter showing you how many shots remain in your film pack and the camera’s viewfinder. Turn the camera on by rotating the lens to the ‘on’ position; if you are shooting a selfie or want a macro shot rotate the camera’s lens one more time to put it into ‘selfie’ mode (effective for subjects between 0.3 and 0.5m away).

Shooting with the Instax Square SQ1 is incredibly straightforward. Simply turn the camera on, look through the viewfinder and press the shutter on the front grip of the camera. If you’re shooting a selfie, use the small mirror on the front of the lens to frame the shot.

Usability

The viewfinder on the SQ1 is a tad small.

The SQ1 is bulkier than its Instax Mini counterparts, but that’s to be expected since it’s shooting on a much larger piece of film (Instax Square picture size is 62 x 62mm). The plastic build quality of the camera feels sturdy and the ribbed grip on the right hand side makes it comfortable to hold. Be mindful while handling the grip especially if the camera is turned on – the shutter is located on the grip and you might accidentally press it before you’ve framed the shot. Instax film isn’t exactly cheap and it can be frustrating to waste one of the 10 frames in a pack. That being said, some of my accidental shutter releases ended up creating pictures that I like quite a bit.

The shutter is located on the grip and you might accidentally press it before you’ve framed the shot

The SQ1 lacks some of the advanced features that you will find on the SQ6, like double exposures, landscape mode, lighten and darken modes, and a self-timer. It’s more similar to the entry-level Instax Mini cameras, with the big distinction being that it can shoot bigger pieces of square film.

Although the camera is larger than the varieties that shoot Instax Mini film, the SQ1 does feel more portable than 2018’s SQ6.

Image Quality

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_0087592572″,”galleryId”:”0087592572″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

You’ll get the best results from this camera when shooting outside in sunny conditions. But it does have a powerful-enough flash to work well once the sun sets. The auto-exposure occasionally did seem to struggle when shooting indoors with mixed lighting situations though. It’s the one time when I wished that the camera at least featured the lighter/darker setting found on some Instax models. Regardless of the lighting conditions, this camera’s simple lens is satisfyingly sharp (enough).

Conclusion

Although the Instax SQ1 lacks some of the features found on the more advanced SQ6 (which has an MSRP of $ 10 more), it’s incredibly easy to operate, has a stylish look, and produces Instax prints with mostly accurate exposures and eye-popping colors. The shutter placement takes some getting used to, but it’s comfortable in hand and not so bulky that you’ll leave it at home – and it’s certainly more fun to shoot with than the hybrid digital/analog SQ10. The simplicity of operating the SQ1 makes this an Instax Square camera that photographers and non-photographers will enjoy shooting with.

What we like

  • Easy-to-operate
  • Accurate exposures outdoors
  • Comfortable to hold and operate
  • Stylish look
  • Square format film

What we don’t like

  • Placement of shutter button
  • CR2 batteries can be difficult to find
  • No creative modes like double exposure or lighten/darken

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Fujifilm Instax Square SQ1 review: simple square-format fun

Posted in Uncategorized

 

Hands-on with the new Sony a7C

16 Sep

Hands-on with the Sony a7C

Sony’s just released all the details on its new super compact a7C full-frame mirrorless camera. The a7C is barely bigger than the company’s a6600 APS-C mirrorless camera, and considering how much larger the a7C’s sensor is, that’s quite a feat. This is also the first Sony full-frame mirrorless camera to come in two color schemes – all black, and the silver-accented version you see here.

We’ve had our hands on the a7C for a little while, so follow along with us as we take a look at how it handles and what its controls are like.

Sensor

At its core, the a7C is more or less a refreshed Sony a7 III that includes all of the company’s latest autofocus algorithms. That means it features a familiar 24MP BSI-CMOS sensor, mounted to a miniaturized in-body stabilization system that’s good for the same 5 EV of shake correction as its larger a7 III sibling. That all sits behind a new shutter mechanism that goes up to 1/4000 sec, and can fire off bursts at 10 frames per second. You can also use a silent electronic shutter, but you may get some rolling shutter artifacts.

The Bionz X processor is also borrowed from the a7 III, which unfortunately means that all of the fancy new menus and touch functionality from the a7S III and its updated processor aren’t included here.

In the hand, the a7C feels incredibly solid, thanks to what’s called a magnesium alloy monocoque construction. It’s sort of like what US auto manufacturers call ‘unibody’ construction, and the result is a camera that’s free of creaks and flex and exudes a sense of quality.

From the top

Top plate controls will look pretty familiar to anyone who’s seen a recent Sony APS-C camera, with a few differences. Of greatest importance, perhaps, is the inclusion of a dedicated exposure compensation dial seen on Sony’s other a7-series cameras. The large, red ‘video record’ button is customizable and in a reasonably easy-to-reach spot. We’re pleased to see the inclusion of a hotshoe, as there’s no pop-up flash to be found.

This is also a nice view of the new FE 28-60mm F4-5.6 kit zoom. It’s incredibly lightweight, and has a manual zoom ring that also acts as the retraction mechanism to keep the package as small as possible while traveling.

We tend to like the On/Off switch surrounding the shutter button, but if you were holding out hopes for a front control dial underneath that, well, sorry to disappoint you – just like Sony’s a6x00 series, there is no front control dial for your index finger.

Rear screen

The a7C inherits a similar fully articulating display mechanism as found on the a7S III. The screen itself is bright and clocks in at 921k dots, and it packs Sony’s rather lackluster touch interface. You can basically use the touchscreen to move your AF point around or initiate tracking – manipulating other on-screen functions or menus isn’t possible.

The fully articulating design is generally favored by video shooters, but for a travel camera, it can come in especially handy for…

Rear controls

…folding away for protection. This should provide some peace of mind for those times when you just need to shove the camera in a bag and get moving.

Here, you can also see the rest of the rear controls. There’s no AF joystick (but you can use the screen as a touchpad to drag your thumb on), but there’s a large AF-On button, and a rear dial that doubles as a four-way controller. The directional presses default to activating what’s printed on the camera, i.e. drive mode, ISO and so forth, but they’re all customizable.

We’re not huge fans of the placement of the Menu button. As it’s more or less in the middle of the camera, it’s an inconvenient reach for either hand. If you come in from the left to use it, you will inevitably trip the eye sensor, causing the screen to go blank and then the camera sometimes won’t register that you pressed it in the first place.

Electronic viewfinder

The electronic viewfinder on the a7C is mounted in a ‘rangefinder-esque’ top left position. While any viewfinder is always better than none at all, we have to say we find the view through this one a little constricting. At 0.59X magnification the 1.0cm (0.39″) OLED panel is on the small side, and the glasses-wearers among us found that it was hard to see to the edge of the frame.

On the plus side, though, the resolution is decent at 2.36M dots and you can kick it up to a ‘high FPS’ mode for a faster 120hz refresh rate if you’re shooting fast action.

Card slot

Behind a latched door on the left side of the a7C you’ll find a single, UHS-II compatible card slot. While there will always be those who bemoan the lack of dual slots, we think it makes perfect sense on this camera. After all, the a7C is really aimed at travelers and vloggers and the like, not necessarily wedding shooters who need the constant backup.

Ports

Impressively, the a7C has a full suite of useful ports; headphone and mic jacks, a micro-HDMI port and a USB Type-C port that supports power and charging, data transfer, remote functionality, and more.

Battery

Even more impressively, Sony has managed to shoehorn the NP-FZ100 battery into the a7C. This gives the camera the best battery life of any full-frame mirrorless camera we’ve yet seen, with a CIPA rating of 680 shots through the viewfinder and 740 using the rear screen. In our experience, you can expect a single charge to easily last a weekend’s worth of pretty heavy usage.

Hands-on with the Sony a7C

And that completes our tour of the Sony a7C! In our time with it so far, we’ve found that it really is remarkably liberating to have a full-frame camera this small, but crucially, with interchangeable lenses and multi-day battery life. If you like to travel light but have a hard time compromising on image quality, this may just be the camera for you.

The a7C will be available in late October at a suggested price, body-only, of $ 1799 USD ($ 2399 CAD). You can get it paired with the FE 28-60mm F4-5.6 lens for $ 2099 USD ($ 2699 CAD).

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Hands-on with the new Sony a7C

Posted in Uncategorized

 

Vaonis teases upcoming feature for its Stellina smart telescope with 546MP panorama

16 Sep

French company Vaonis unveiled a fully automated camera telescope, Stellina. The product is designed to allow amateur astrophotographers to easily capture beautiful images of the night sky without the need for regular manual control or extensive astrophotography knowledge.

Vaonis is preparing to launch a new feature via software update in 2021 and it recently tested the feature by capturing a massive 546MP panorama of a group of nebulae. The new feature is ‘Automatic Mosaic-ing’ and it will take advantage of Stellina’s image stacking and image stitching technologies. This feature will let you create ultra-high-resolution panoramas of the night sky without you needing to do anything manually.

The image, shown via the screenshot below, was captured with the new feature by Vaonis Technical Director, Gilles Krebs. The image shows, from left to right, the Running Chicken, Statue of Liberty and Carina nebulae. These nebulae are about 7,000 light-years away. The image is comprised of 208,000 total photos, stacked into 168 images and then stitched together into a 546MP panorama. The panorama represents 336 hours of total exposure time. You can explore the full-size image by clicking this link.

Image credit: Vaonis

The Vaonis Stellina is designed to be easy to use and its intelligent, smart design allows the user to easily set up and use the device. DPReview contributor and astronomer Jose Francisco Salgado wrote an excellent review of Stellina. Salgado says, ‘The Stellina is a well-thought out smart telescope. It can easily be transported from one location to another and setting it up cannot be more simple.’ He continues, ‘…if you want a fun-to-use, click-and-shoot device that will work for you while you relax and enjoy the night sky then the Stellina is right for you!’ You can learn some of the basics of Stellina in Vaonis’s video below.

If you’d like to learn more about purchasing the Vaonis Stellina, you can head to Vaonis’s website. Vaonis has also begun teasing a brand new product that they ‘believe will change astronomy.’ The Stellina is already a compact device considering its capabilities, but the new teased product will be even smaller. It will be fully unveiled on Kickstarter on October 1. If you’d like to sign up for alerts or learn more about the new product, click here.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Vaonis teases upcoming feature for its Stellina smart telescope with 546MP panorama

Posted in Uncategorized

 

Apple announces updated iPad and redesigned iPad Air, saves new iPhones for later date

16 Sep
The new iPad Air, seen attached to Apple’s Magic Keyboard.

Today, Apple announced the details of its latest iPad and iPad Air devices. While many had hoped Apple would also announce its next-generation iPhones at today’s virtual event, the Cupertino company didn’t have ‘one more thing’ in store.

Starting with the new 8th-generation iPad, Apple kept the update fairly straightforward. The new entry-level iPad, which starts at $ 329, now uses the A12 chip, a step up from the A10 found in its predecessor.

In addition to improved performance and battery life, this new chipset also means the iPad will feature Apple’s Neural Engine technology for the first time. Aside from the small internal update though, little was changed, as no external design changes were made.

The 8th-generation iPad is available in Space Gray, Silver and Gold. Pricing starts at $ 329 for the 32GB model.

The same can’t be said for Apple’s new iPad Airs though, which feature an entirely new design that clearly takes inspiration from Apple’s recent iPad Pro devices.

The new iPad Air devices now feature a 10.9” Liquid Retina edge-to-edge display and eschew the Touch ID button on the bottom of the front glass in exchange for a new Touch ID button integrated into the power button. The edges of the device have also been squared off, as has been seen with recent iPad Pro devices. The updated 2360x1640px display features P3 wide-gamut color, True Tone and a laminate coating. It does lack the 120Hz functionality of the display found on the iPad Pro devices though.

Performance has also been dramatically improved thanks to the new A14 Bionic processor, the first in the industry to use 5nm construction. Apple says the CPU is 40% faster than the previous-generation, while GPU performance has improved by 30%. An updated Neural engine also improves the machine learning performance of the device.

As for the built-in cameras, there’s a single 12MP rear camera and a 7MP FaceTime HD camera. Apple has also added USB-C to the iPad Air for the first time, which means it will be able to use various adapters and hubs, as well as support 20W charging and 5Gbps data transfers. Wi-Fi 6 is included and the cellular models will feature LTE that Apple claims is 60% faster. The new iPad Airs will work with Apple’s new Apple Pencil as well as the Apple Magic Keyboard.

The new iPad Airs come in five colors: Space Gray, Silver, Rose Gold, Green and Sky Blue. Pricing starts at $ 599 for the 64GB Wi-Fi model.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Apple announces updated iPad and redesigned iPad Air, saves new iPhones for later date

Posted in Uncategorized

 

Atomos, Olympus working to bring ProRes RAW to E-M1X, E-M1 Mark III by end of year

15 Sep

Atomos and Olympus have teamed up to announce the duo is co-developing firmware updates that will enable ProRes RAW footage to be captured on the OM-D E-M1X and OM-D E-M1 Mark III mirrorless cameras when paired with the Atomos Ninja V over HDMI.

This partnership is the latest in many that have seen numerous cameras gain ProRes RAW output over HDMI when recording to an Atomos Ninja V recorder, including the Sigma fp, Fujifilm GFX100 and many others. The announcement doesn’t lay out the video specifications that will be able to be captured, nor a date we can expect the firmware updates to go live, but the press release says we can expect them before the end of 2020.

We’ll be sure to share an update article when the firmware updates go live later this year.

Press release:

Atomos announces ProRes RAW support for Olympus OM-D E-M1X and OM-D E-M1 Mark III mirrorless cameras

September 15, Melbourne, Australia: Atomos is excited to announce co-development with Olympus of RAW recording over HDMI with the OM-D E-M1X and Olympus OM-D E-M1 Mark III mirrorless cameras. Together these powerful Olympus cameras and the Atomos Ninja V will record Apple ProRes RAW directly from the camera’s sensor.

Olympus users who love the OM-D family for its portability and in-body 5-axis image stabilization will get all the benefits of a ProRes RAW workflow – creative control to adjust the color and look of the video in post-production while extending brightness and shadow detail.

The Ninja V allows users to accurately monitor the RAW signal on its daylight-viewable 5” 1000nit brightness HDR screen. Setup is simple with perfectly tuned color settings applied automatically. Users can then view the image in HDR quality with a choice of HLG and PQ (HDR10) formats. The Ninja V offers touchscreen access to tools like waveforms, 1-1 magnification and focus peaking, allowing users to perfect their shot setup. The Ninja V then records the ProRes RAW data onto a removable AtomX SSDmini or other SSD drive. When shooting is complete the drive is removed and connected to a computer via USB for immediate offload and editing.

Jeromy Young, Atomos CEO, said: “We’re thrilled to work with Olympus and their stunning mirrorless cameras to bring the power of Apple’s ProRes RAW to OM-D users. We can’t wait to see the creativity that results from this partnership”.

ProRes RAW the new standard:

ProRes RAW is now firmly established as the new standard for RAW video capture, with Olympus being the eighth brand to support the format with the OM-D E-M1X and OM-D E-M1 Mark III mirrorless cameras. ProRes RAW combines the visual and workflow benefits of RAW video with the incredible real-time performance of ProRes. The format gives filmmakers enormous latitude when adjusting the look of their images and extending brightness and shadow detail, making it ideal for HDR workflows. Both ProRes RAW, and the higher bandwidth, less compressed ProRes RAW HQ are supported. Manageable file sizes speed up and simplify file transfer, media management, and archiving. ProRes RAW is fully supported in Final Cut Pro X and Adobe Premiere Pro along with a collection of other apps including ASSIMILATE SCRATCH, Colorfront, FilmLight Baselight and Grass Valley Edius.

The firmware update to enable these features is scheduled for winter 2020.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Atomos, Olympus working to bring ProRes RAW to E-M1X, E-M1 Mark III by end of year

Posted in Uncategorized

 

Sony announces compact, travel-friendly a7C 24MP full-frame mirrorless camera

15 Sep

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_8187429299″,”galleryId”:”8187429299″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Sony has announced the a7C, a compact 24MP full-frame mirrorless camera. The company heralds it as the world’s smallest full-frame camera with image stabilization.

The a7C camera crams in most of the a7 III’s specifications, including 5-axis image stabilization, 10 fps shooting with autofocus, and oversampled 4K video into a body that’s smaller in every dimension than the existing camera. A one-piece magnesium alloy structure helps keep the weight down (22% less than the a7 III, at 509g / ~18oz).

Despite the size reduction, Sony has made room for a large NP-FZ100 battery, which powers the a7C to a rating of 740 shots per charge using the rear screen or 680 using the viewfinder.

The a7C camera crams in most of the a7 III’s specifications, including 5-axis image stabilization

The viewfinder is perhaps the most obvious area in which compromises to the specification have been made: the a7C uses a smaller-than-usual 1cm (0.39″-type) viewfinder panel. So although on paper, the 2.36M dot resolution is a match for the a7 III, the magnification ends up being a rather low 0.59x.

Alongside the a7C, Sony has announced a collapsible 28-60mm F4-5.6 kit zoom. It’s a manually extending zoom lens, that when retracted ensures a small camera/lens combination.

The a7C will be available in late October with a list price of $ 1799 body-only or $ 2099 with the new FE 28-60mm 4-5.6mm zoom lens.

Find out what we think so far in our
Sony a7C initial review

Sony a7C sample images

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6941396376″,”galleryId”:”6941396376″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Sony Electronics Introduces Alpha 7C Camera and Zoom Lens, the World’s Smallest and Lightest[i] Full-frame Camera System

New HVL-F28RM Compact Flash is also Announced

SAN DIEGO, CA – September 14, 2020 – Today, Sony Electronics Inc. announced several additions to an already impressive imaging lineup — the Alpha 7C full-frame camera (model ILCE-7C), the FE 28-60mm F4-5.6 (model SEL2860) zoom lens and HVL-F28RM flash.

The Alpha 7C is the world’s smallest and lightest[ii] full-frame body with uncompromising performance, featuring advanced AF (autofocus), high-resolution 4K video[iii] capabilities and more. When paired with the world’s smallest and lightest[iv] FE 28-60mm F4-5.6 standard zoom lens, this versatile combination delivers an experience unlike any other, maximizing portability and versatility without sacrificing any of the power of full-frame imaging. The HVL-F28RM flash allows users to broaden their photo expressions with outstanding compactness, and an intelligent light intensity control linked to camera face detection[v].

“We are committed to creating the best tools possible, based on the needs of our customers,” said Neal Manowitz, deputy president of Imaging Products and Solutions Americas, Sony Electronics. “The new Alpha 7C camera and FE 28-60mm F4-5.6 zoom lens pack many of our most advanced imaging technologies in a brand new design that is the smallest and lightest full-frame camera and lens system in the world. This opens up a new world of possibilities for creators, giving them the uncompromised power of a full-frame system in the palm of their hand.”

New Alpha 7C: Uncompromised Full-frame Performance in a Compact Design
The new Alpha 7C combines Sony’s full-frame image quality, advanced AF capabilities and versatile video shooting functions in a stunningly light and compact design. The new camera features a 24.2MP (approx. effective) 35mm full-frame back-illuminated Exmor R™ CMOS sensor and BIONZ X™ image processing engine, offering high sensitivity, outstanding resolution, 15-stop[vi] wide dynamic range and high-speed image data processing.

Measuring only 4.9 inches x 2.8 inches x 2.2 inches (124.0mm x 71.1mm x 59.7mm) and weighing just 18oz (509g)[vii], the Alpha 7C is similar in size and weight to an APS-C camera[viii], with only 1 percent more weight than the Alpha 6600. The Alpha 7C achieves the world’s smallest and lightest compact body[ii] through upgraded 5-axis in-body stabilization and shutter units, and the utilization of magnesium alloy monocoque construction, often used in the bodies of cars and aircraft. Even in this compact body, the Alpha 7C features a 5-step[ix] stabilization effect that allows for shooting snaps without a tripod. Moreover, despite the compact body, the high-capacity NP-FZ100 battery provides enough power for long shooting durations and to capture up to an industry-leading[x] 740 images[xi] when using the LCD monitor, or 680 images[xi] when using the viewfinder.

Outstanding Full-frame Image Quality

Sony’s new Alpha 7C combines high resolution with low noise for excellent image quality at all sensitivities, offering the user stunning image quality for shooting everyday photography and movies such as nature, portraits, sports, street photography and more. Standard ISO extends up to 51,200 and is expandable from ISO 50-204,800[xii] for low-light environment captures with low noise. The Alpha 7C also supports 16-bit processing and 14-bit RAW output[xiii] for natural gradations.

Advanced Autofocus

Using AI-driven functions, the Alpha 7C’s Real-time Tracking[xiv] maintains accurate focus automatically while the shutter button is half-pressed. In addition, “Tracking On + AF-On” is now assignable to a custom key and can be activated at once while the AF-ON button is pressed. Moreover, the intended subject can be specified just by touching it on the monitor when “Touch Tracking” has been turned ON via the menu and is available for both stills and movies. The Alpha 7C’s AF functions also feature Real-time Eye AF for both humans and animals to achieve fast and accurate focus[xvi]. When using Real-time Tracking while “Face/Eye Priority in AF” is ON with a human subject, the subject’s eye and face is detected and locked on in real-time with extremely high tracking precision.
The Alpha 7C provides wide, fast, reliable AF that locks onto the intended subject instantly without losing focus, thanks to its 693-point focal-plane phase-detection AF system covering approximately 93 percent of the image area, with an additional 425 contrast-detection points to ensure reliable focus, even in busy environments.

The Alpha 7C also features continuous shooting at up to 10 fps[xvii] with AF/AE (autoexposure) by using a newly developed shutter unit and refined image processing system. It is also possible to shoot continuously at up to 8 fps[xvii] in live view mode, with minimal viewfinder/monitor display lag for easy, stable framing, even with intense subject motion. The Alpha 7C allows up to approximately 223 JPEG (Fine L) images, 115 compressed RAW images, or 45 uncompressed RAW images to be captured in one continuous burst[xviii], and achieves highly accurate and reliable AF precision in light down to EV-4[xix]. These features make it easier to capture fast moving subjects in challenging environments.

Expanded Video Capabilities

Full-frame full-pixel readout without the need for pixel binning makes it possible to capture more than twice[xx] the amount of data required for 4K video (QFHD: 3840 x 2160)[iii], which is then oversampled to produce high quality 4K footage with exceptional detail and depth. In addition, the Alpha 7C supports HDR (HLG[xxi]) and S-Log/S-Gamut profiles, Slow & Quick motion, high-speed full HD recording at 120 fps[iii] and other advanced video features for additional creative freedom.

Furthermore, the Alpha 7C features Real-time Eye AF (human) for video shooting. The eye is automatically tracked with high precision and reliability so that the operator can concentrate on the content rather than focus operation. Users can also customize AF Transition Speed in seven settings, and AF Subject Shift Sensitivity in five settings, in their preferences. Touch Tracking functionality is also available for movie shooting.

The Alpha 7C features a side-opening vari-angle LCD monitor, making it easy to record selfies, overhead shots, low ground-level shots or whatever the user requires. The MOVIE button has been positioned on the top of the camera making it easier to operate while recording in selfie mode. The new Alpha 7C not only records high-quality video, but also high-quality audio. A digital audio interface has been added to the camera’s Multi Interface (MI) Shoe, allowing the ECM-B1M Shotgun Microphone or XLR-K3M XLR Adaptor Kit can be connected to input digital audio signals directly to the MI shoe for cleaner, clearer audio recordings. Like other MI shoe accessories, no cables or batteries are required, providing unrestrained freedom for Alpha system moviemaking. Headphone and microphone jacks are also provided to accurately monitor recorded sound, and metadata attached to movie footage shot vertically on the camera allows the footage after transfer to the smartphone or similar device, to also be replayed and edited in the vertical position.

Designed for Reliable Operation

The Alpha 7C is designed with the user in mind. The touch panel LCD monitor is a large touch-sensitive 3.0 type with approximately 921 thousand dots, providing optimal visibility even in bright outdoor conditions, and supporting touch focus, tracking and shutter operations. The Alpha 7C also features a high-quality view mode for finer, more natural detail in addition to a 2.35 megadot (approx.) XGA OLED Tru-Finder™ EVF. The Alpha 7C offers functions that simplify operation during and after shooting, such as Fn button customizations and more. It is also dust and moisture resistant[xxii] to support shooting needs in challenging environments.

To simplify workflow needs, Wi-Fi compatible wireless-communication functions allows images and movies to be directly transferred[xxiii] to a smartphone or tablet for convenient sharing, viewing or saving. In addition to the conventional 2.4GHz band, support for the 11ac standard allows transfer via 5GHz band (IEEE 802.11a/b/g/n/ac)[xxiv] so that users can select that stable and high-speed transfer with low interference. A USB Type-C® connector that supports SuperSpeed USB 5Gbps (USB 3.2) is also provided, allowing fast transfer of images during PC remote shooting and power supply from external mobile batteries.

New FE 28-60mm F4-5.6: The World’s Smallest and Lightest[iv] Full-frame Zoom Lens with High Image Quality

The new FE 28-60mm F4-5.6 offers the world’s smallest and lightest[iv] form factor in a standard zoom lens, delivering high optical performance that achieves the high-resolution depiction of full-frame everywhere in the image. Optimal arrangement of the three aspherical lens elements effectively suppresses aberrations throughout the zoom range and realizes high resolution from corner to corner. A minimum focus distance of 0.99 foot (0.3m) (wide-angle) to 1.48 feet (0.45m) (telephoto) delivers close-up capability, making it perfect for everyday use or vlogging with a gimbal or grip.

At 5.9oz (167g) and 2.6 inches dia. x 1.8 inches length (66.6 mm dia. x 45 mm length), along with its mechanical and optimal optical design that features a retracting structure, the FE 28-60mm F4-5.6 achieves unrivaled compactness and lightness, allowing users to easily carry it all the time. From everyday shooting to scenery, portraits and travel, it’s the ideal lens for any type of on-the-go shooting in a wide variety of environments. When combined with the Alpha 7C, the combination achieves uncompromising full-frame performance with the world’s smallest and lightest full-frame camera and lens system[i]. Even with its compact size and light weight, the FE 28-60mm F4-5.6 is dust and moisture resistant[xxii] and accepts a variety of 40.5mm filters.

The FE 28-60mm F4-5.6 delivers high-speed, high-accuracy AF allowing for Real-time Tracking and Real-time Eye AF, using a linear motor. In addition to Sony’s advanced AF capabilities, the FE 28-60mm F4-5.6 features an internal focus design which leaves the lens length unchanged with focus motion and close-up shots, enabling users to easily capture a wide variety of content from regular movie shooting to comfortable vlogging.

New HVL-F28RM: Compact Flash with Light Intensity Control Linked to Camera Face Detection[v]

The HVL-F28RM is a compact flash designed to match Sony’s mirrorless cameras for a compact, manageable system, and offers the type of reliable, stable performance that only a genuine Sony product can provide. When compared to the HVL-F32M, the HVL-F28RM features a 12 percent reduction in volume and 7 percent reduction in weight. This compact, easy-to-use flash unit delivers the capabilities and dependability to meet the needs of both professional and advanced amateur content creators.

The HVL-F28RM offers consistent GN28[xxv] light output, optimized light distribution and continuous flash performance that won’t interrupt the user’s workflow, as well as stable radio wireless communication and multi flash radio control. The new flash also features Sony’s newly introduced flash control linked to camera face detection[v] advanced technology. When used with a compatible camera, the balance between the light falling on the subject’s face and ambient light is evaluated to automatically adjust accurate white balance so that the subject’s face is rendered with natural, lifelike color. In addition, flash compensation, light ratio, and other detailed flash parameters can be controlled directly from a compatible camera[xxvi]. A camera custom key can be assigned to call up the flash parameter display so that adjustments can be made while looking through the viewfinder and gripping the camera. Flash parameters are shown in the selected camera display language.

A newly developed “Metal Shoe Foot with Rugged Side Frame”[xxvii] that also houses the unit’s electrical contacts offers improved resistance to physical shock and impact from all directions. The Multi Interface foot is fabricated from metal for higher strength. The HVL-F28RM also features a dust and moisture resistant[xxii] design. When the HVL-F28RM is mounted and locked onto the Alpha 7C, Alpha 7S III, Alpha 7R IV and Alpha 9 II, durability to dust and moisture is improved, even when used in challenging outdoor environments.

The HVL-F28RM also features simple, intuitive operation with minimal controls including +/- light level buttons, pairing button, test button and lock lever. Plenty of light is available for bounce applications. The flash angle can also be set as required via 0, 20, 40, 60, 80, and 120 degree click stops for easy positioning. The new flash also features a built-in wireless radio trigger for reliable flash triggering when mounted on a compatible camera[xxvi] and paired with an off-camera unit. When used as a transmitter, the HVL-F28RM can control up to 15 flash and/or receiver units in 5 groups[xxviii] at distances of up to 114 feet (35 meters)[xxix] for extraordinary lighting control and versatility. The HVL-F28RM is powered by two AA (LR6) alkaline or NiMH batteries. A fresh pair of alkaline batteries can provide power for up to 110 continuous flashes (1/1 manual flash with alkaline batteries)[xxix].

Pricing and Availability

The new Alpha 7C compact full-frame camera will be available in late October and will be sold for approximately $ 1,799.99 USD and $ 2,399.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

The FE 28-60mm F4-5.6 zoom lens will be available in early 2021 and will be sold for approximately $ 499.99 USD and $ 649.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

A new kit featuring the Alpha 7C compact full-frame camera and FE 28-60mm F4-5.6 zoom lens will also be available in late October and will be sold for approximately $ 2,099.99 USD and $ 2,699.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

The HVL-F28RM flash will be available this winter and will be sold for approximately $ 249.99 USD and $ 329.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

Exclusive stories and exciting new content shot with the new camera, lens and Sony’s other imaging products can be found at www.alphauniverse.com, a site created to educate and inspire all fans and customers of Sony ? – Alpha.

[i] An Alpha 7C with an FE 28-60mm F4-5.6 lens mounted. Among full-frame interchangeable-lens digital cameras, in combination with an interchangeable zoom lens. As of Sept. 2020. Sony survey.
[ii] Among full-frame interchangeable-lens digital cameras with optical in-body image stabilization mechanism, as of Sept. 2020. Sony survey.
[iii] A Class 10 or higher SDHC/SDXC card is required for XAVC S format movie recording. UHS speed class 3 or higher is required for 100 Mbps recording.
[iv] Among interchangeable zoom lenses for 35mm full-frame format digital camera bodies, as of Sept. 2020. Sony survey.
[v] This function is only compatible with Alpha 7C as of Sept. 2020
[vi] When shooting still images. Sony test conditions.
[vii] With battery and memory card included
[viii] Compared to the size of Alpha 6600, 120.0mm x 66.9mm x 59.0mm and a weight of 503g (With battery and memory card included).
[ix] CIPA standards. Pitch/yaw shake only. Planar T* FE 50mm F1.4 ZA lens. Long exposure NR off.
[x] Among full-frame mirrorless interchangeable-lens digital cameras with autofocus function, as of Sept. 2020. Sony survey.[xi] CIPA standards.
[xii] ISO expandable to 50 – 204,800 for stills, 100 – 102,400 for movies.
[xiii] Limited to 12-bit when compressed RAW is used for continuous shooting, BULB shooting, or when long-exposure noise reduction is [ON].
[xiv] “Tracking” in the menu.
[xv] Available on still images only.
[xvi] Accurate focus may not be achieved with certain subjects in certain situations.
[xvii] Up to 10 fps in continuous “Hi+” mode, and up to 8 fps in continuous “Hi” mode. UHS-II compatible SDXC memory card required. Sony test conditions. Maximum fps will depend on camera settings.
[xviii] Continuous “Hi+” mode. UHS-II compatible SDXC memory card required. Sony test conditions.
[xix] ISO 100 equivalent, F2.0 lens.
[xx] 24p recording. Approx. 1.6x at 30p.
[xxi] HDR (HLG) images can be viewed by connecting the camera directly to a Sony TV that supports HDR (HLG) playback.
[xxii] Not guaranteed to be 100% dust and water resistant.
[xxiii] Smartphone or tablet must have Imaging Edge Mobile installed. Please use version 7.2 or later.
[xxiv] Models sold in some countries/regions support IEEE 802.11b/g/n (2.4 GHz) wireless LAN only. 5GHz communication may be restricted in some countries and regions.
[xxv] 50 mm, at ISO 100 in meters
[xxvi] Visit Sony support webpage for functional compatibility information.
[xxvii] Design registration application pending.
[xxviii] In group flash mode. 3 groups (A-C) in TTL or manual flash mode.
[xxix] Sony internal test conditions.

Sony a7C specifications

Price
MSRP $ 1799 (body only), $ 2099 (w/28-60mm lens)
Body type
Body type SLR-like (bridge)
Body material Magnesium alloy
Sensor
Max resolution 6000 x 4000
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 24 megapixels
Sensor photo detectors 25 megapixels
Sensor size Full frame (35.6 x 23.8 mm)
Sensor type BSI-CMOS
Processor BIONZ X
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 100-51200 (expands to 50-204800)
Boosted ISO (minimum) 50
Boosted ISO (maximum) 204800
White balance presets 7
Custom white balance Yes
Image stabilization Sensor-shift
Image stabilization notes 5-axis
CIPA image stabilization rating 5 stop(s)
Uncompressed format RAW
JPEG quality levels Extra fine, fine, standard
File format
  • JPEG (Exif v2.32)
  • Raw (Sony ARW, 14-bit)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (2X)
Manual focus Yes
Number of focus points 693
Lens mount Sony E
Focal length multiplier 1×
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3″
Screen dots 921,600
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.59×
Viewfinder resolution 2,360,000
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/4000 sec
Maximum shutter speed (electronic) 1/8000 sec
Exposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe)
Flash X sync speed 1/160 sec
Drive modes
  • Single
  • Continuous (Hi+/Hi/Mid/Lo)
  • Self-timer (Std/Cont.)
  • Bracket (Single/Cont.)
  • WB bracket
  • DRO bracket
Continuous drive 10.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Center-weighted
  • Highlight-weighted
  • Average
  • Spot
Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps)
AE Bracketing ±5 (3, 5 frames at 1/3 EV, 1/2 EV steps)
WB Bracketing Yes
Videography features
Format MPEG-4, XAVC S, H.264
Modes
  • 3840 x 2160 @ 30p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 120p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC card (UHS-II supported)
Connectivity
USB USB 3.2 Gen 1 (5 GBit/sec)
USB charging Yes
HDMI Yes (Micro HDMI)
Microphone port Yes
Headphone port No
Wireless Built-In
Wireless notes 802.11ac (dual-band) + Bluetooth + NFC
Remote control Yes (via smartphone or Bluetooth)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description NP-FZ100 lithium-ion battery & charger
Battery Life (CIPA) 740
Weight (inc. batteries) 509 g (1.12 lb / 17.95 oz)
Dimensions 124 x 71 x 60 mm (4.88 x 2.8 x 2.36″)
Other features
Orientation sensor Yes
Timelapse recording Yes

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sony announces compact, travel-friendly a7C 24MP full-frame mirrorless camera

Posted in Uncategorized

 

Sony a7C sample gallery

15 Sep

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6941396376″,”galleryId”:”6941396376″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The a7C crams a lot of advanced features like Sony’s excellent Real-time AF tracking into a compact form-factor never before seen in this full-frame a7-series. Despite the challenges presented by a pandemic and a massive, lingering cloud of forest fire smoke, we found plenty of subjects to help us test out the new camera.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sony a7C sample gallery

Posted in Uncategorized

 
« Older Entries
Newer Entries »