Category: Uncategorized

  • Canon introduces Compact-Servo 70-200mm T4.4 lens for aspiring filmmakers

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    Canon has announced the Compact-Servo 70-200mm T4.4 L IS KAS S, a lens designed for small-scale filmmakers. Targeted at a similar ’emerging production’ market to Fujifilm’s recently announced MK-series cine lenses, it will offer a middle ground between the company’s photographic lenses and its high-end CN-E cinema lenses.

    Unlike traditional cinema lenses it offers autofocus, auto iris and image stabilization (when used with certain Cinema EOS models), but is designed to Canon’s standards for 4K video capture. It comes with a servo unit for driving focus, iris and zoom.

    The lens is scheduled for availability later in 2017; no price was given at the time of announcement.

    Press Release

    CANON ADDS VERSATILITY TO FAMILY OF HIGH-QUALITY, AFFORDABLE COMPACT-SERVO LENSES WITH NEW 70-200mm TELEPHOTO ZOOM LENS

    New Lens Features 4K Optical Performance, Servo Drive Unit, Image Stabilization, Autofocus and Auto Iris Functions*, Ideal for ENG, Documentary, and Budding Filmmakers

    MELVILLE, N.Y., April 20, 2017 – Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce today the new COMPACT-SERVO 70-200mm Telephoto Zoom Lens (model name CN-E 70-200mm T4.4 L IS KAS S), a compact and lightweight 4K lens constructed for users that demand versatility and portability. A bridge between traditional Canon EF lenses and CN-E cinema lenses, the COMPACT-SERVO 70-200mm can be ideal for filmmakers and documentary shooters who want the control and quality of cinema optics with the lightweight, compact design and features of Canon’s EF lenses.

    The second in a new class of Canon lenses, the COMPACT-SERVO 70-200mm Telephoto Zoom Lens is a cinema-style lens that includes a servo drive unit as a standard feature. Additionally, the lens incorporates Image Stabilization, Autofocus, and Auto Iris functionality*, three extremely useful features not commonly found in cinema lenses, but are popular in EF lenses. The lens also provides high image quality that supports 4K image productions and was designed to be utilized in a variety of shooting styles including, hand-held, shoulder mounted, and tripod mounted.

    “Canon prides itself on turning the ideas and thoughts from filmmakers about equipment into reality,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “We are very excited to expand our line of COMPACT-SERVO lenses, providing a variety of creators with an extremely versatile and affordable lens that features the outstanding build-quality and excellent optical performance that professionals have come to expect from Canon. We are excited to continue to build the COMPACT-SERVO line of lenses, and can’t wait to see what the imaging community creates.”

    The new COMPACT-SERVO 70-200mm Telephoto Zoom Lens is a 4K lens and features autofocus and optical image stabilization (with compatible camera models*), resulting in high-resolution imagery, with the ability to assist filmmakers in capturing the shot they envisioned. Compatible with EF-mount Super 35mm large-format cameras, the lens maintains brightness across the entire focal range at T4.4 (equal to f/4.0). The lens is also compatible with both the Canon EF 1.4x III (expanded focal range of 98-280mm) and EF 2x III (expanded focal range of 140mm-400mm) external extenders, expanding the focal range of the lens for additional versatility when the shooting situation calls for it.

    For added convenience, cinematographers can control many of the features of the lens in a variety of ways through the EF-mount communication, including Dual Pixel CMOS AF, push auto iris, record start and stop and remote lens control via the camera with an optional remote control, compensation for chromatic aberration** and peripheral illumination, metadata acquisition, and selection of T-number display**.

    The COMPACT-SERVO 70-200mm Telephoto Zoom Lens features a nine-blade iris aperture diaphragm to help give footage a truly artistic and beautiful look and feel, providing the much desired “bokeh” effect in the out-of-focus areas.

    The lens comes equipped with a Servo Drive Unit, which provides seamless switching between servo and manual modes, allowing videographers motorized control of focus, zoom, and iris settings. The Servo Drive Unit is compatible with broadcast style industry-standard lens controllers including Canon’s ZSD-300D zoom demand and FPD-400D focus demand. Like the Canon COMPACT-SERVO 18-80mm Zoom Lens, the ZSG-C10 accessory grip will be compatible with the new COMPACT-SERVO 70-200mm Telephoto Zoom lens, further enhancing ease-of-use for ENG and “run-and-gun” style shooters. The grip connects to the lens through a 20-pin cable, allowing a variety of lens functions to be controlled from the grip, including zooming via a rocker switch, one-shot AF and the starting and stopping of a recording. When the lens and grip are being used with the EOS C100 Mark II, EOS C300 Mark II and EOS C700 Cinema Cameras, users will also have the ability to control the zoom and iris from the camera’s grip unit.

    The Canon COMPACT-SERVO 70-200mm Zoom Lens is scheduled to be available later in 2017***. In addition, the ZSG-C10 accessory grip is currently available for an estimated retail price of $ 499. For more information please visit usa.canon.com/compactservo

    * Image Stabilization, Autofocus, and Auto Iris functions are enabled with the following compatible camera models only: Canon’s Cinema EOS C100 Mark II, EOS C300 Mark II and EOS C700. To enable these features, these camera models will require a firmware update that is scheduled to be released in the second half of 2017.

    ** These features will not be available on the EOS C100 Mark II camera.

    *** Availability, prices and specifications are subject to change without notice. Actual prices are set by individual dealers and may vary.

    Articles: Digital Photography Review (dpreview.com)

  • Working With A Creative Team

    What exactly is a creative team? It’s a group of people there to aid in the production of a


    Fashion Photography Blog

  • Ricoh releases Pentax 645Z and K-1 firmware updates and IMAGE Transmitter 2 software v2.3

    Ricoh Imaging has released new firmware for its Pentax 645Z medium format camera and K-1 full-format DSLR. The new firmware makes the cameras compatible with the also freshly released version 2.3 of the company’s IMAGE Transmitter 2 software package.

    The latter allows the cameras to  be controlled when tethered to a PC or Mac via USB cable and after the update now offers a range of new tethered control options, including drive mode, white balance, image format, size and quality, memory card slot selection, live view magnification and focus fine adjustment in live view. 

    As before, you can also adjust essential settings, such as  aperture, shutter-speed, ISO and exposure compensation, or trigger the shutter. Image Transmitter 2 version 2.3 as well as firmware version 1.41 for the K-1 and 1.23 for the 645Z are now available to download on the Ricoh Imaging website.

    Articles: Digital Photography Review (dpreview.com)

  • GoPro unveils Fusion, a 5.2K spherical VR camera

    GoPro has unveiled Fusion, a new pro-grade spherical camera capable of capturing regular and VR video at a 5.2K resolution. The camera will be released this fall, but ahead of the launch comes a pilot program that GoPro will introduce this summer. Interested professional content creators can apply to take part in the pilot program, which GoPro says will be used to ‘refine the user experience.’

    The company hasn’t revealed many details about Fusion, saying only that it capable of recording 5.2K spherical video at 30fps.Operators will also be able to produce ordinary non-VR videos from spherical videos using GoPro’s OverCapture technology. GoPro’s CEO Nicholas Woodman explains that Fusion can ‘capture every angle simultaneously… as though you had six GoPro cameras fused into one.’

    Via: GoPro

    Articles: Digital Photography Review (dpreview.com)

  • Lower cost of image sensor business lifts Sony’s annual income estimate

    According to a report by Reuters Japanese electronics manufacturer Sony has lifted its operating income estimate for the financial year ended March 31. Sony says it now expects an income of around ¥285 billion ($ 2.6 billion), which is up from a 240 billion yen estimate in February.

    The main reason for the adjustment of the estimate are lower amortization costs for Sony’s financial services segment but the company also cites lower-than-anticipated costs for its image sensor business. The company doesn’t provide any more detail than that, so we can only speculate what those anticipated costs were. 

    Sony’s semiconductor business has been a market leader for years with a dominating market share of around 40 percent. Sony sensors have been deployed in the cameras and smartphones of a large number of vendors. The company will report its full-year results on April 28.

    Articles: Digital Photography Review (dpreview.com)

  • Samyang Lens Station USB dock spotted in the wild

    Samyang recently showed off a new Lens Station device at the 2017 Seoul International Photo & Imaging Show, according to Photo Rumors.

    The Lens Station is described as a USB docking station for lens customization and firmware upgrades, one said to be similar to Sigma’s own USB dock. Unfortunately, no details about availability or pricing have been released at this time.

    Articles: Digital Photography Review (dpreview.com)

  • Samyang announces VDSLR 16MM T2.6 cine lens

    Lens maker Samyang has launched the new VDSLR 16mm T2.6 cine lens, which is designed for video shooting with uncoupled gear rings with T numbers. This latest launch takes the South Korean manufacturer’s  number of cine lenses up to 19. 13 of those are designed for use with DSLRs, varying from an 8mm fisheye up to a 135mm telephoto, and six for mirrorless system cameras, ranging from 8 to 50mm in focal length.

    The new 16mm T2.6 will be available globally from June at a price of 599 Euros in Europe (USD 640). No information on US pricing has been released yet. 

    Press Release:

    Samyang Introduces VDSLR 16mm T2.6

    April 21st, 2017, Seoul, South Korea – Global optics brand, Samyang Optics (http://www.samyanglensglobal.com) announce a new 16mm T2.6 cine lens, designed specifically for video shooting with uncoupled gear rings with T numbers. This launch adds one more lens to the existing 18 cine lenses for DSLR and mirrorless cameras. 

    Since 2012, Samyang Optics has released its cine lenses based on the needs of professional videographers. Satisfied with the image quality of Samyang lenses, videographers continuously requested for cine lenses and as an answer, Samyang launched cine lens line up. 

    This new launch expands the cine lens line up to a total of 19 lenses: 13 for DSLR cameras varying from 8mm fisheye to 135mm telephoto and 6 for mirrorless cameras varying from 8mm to 50mm. 

    Inheriting the renowned image quality of Samyang’s wide-angle lenses, the 16mm angle of view is commonly used by directors of photography around the globe for its versatile usage for wide-angled emotional scenes in film and videos. Along with the existing 14mm, 20mm and 24mm, this new lens will realise the delicate changes in the scenes. 

    As a ‘Total Imaging Solution’ optics brand, Samyang Optics now offers 51 lenses: 2 premium XP photo lenses, 2 autofocus lenses, 19 manual focus photo lenses, 19 cine lenses and 9 professional cinema lenses specifically under XEEN brand. 

    Launched to complete the Samyang cine lens line up, this new 16mm T2.6 will be available globally from June and will carry a suggested retail price of EUR 599. For more information, visit the Samyang social media channels.

    Articles: Digital Photography Review (dpreview.com)

  • Frederik Buyckx named Sony World Photography Awards 2017 Photographer of the Year

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    Belgian photographer Frederik Buyckx has been named the Sony World Photography Awards 2017 Photographer of the Year. Buyckx is a freelance photographer for the Belgian newspaper De Standaard and will receive the $ 25,000 prize for his winning series of images entitle ‘Whiteout’, which was shot in the Balkans, Scandinavia and Central Asia, all remote areas where people often live in isolation and in close contact with nature.

    “There is a peculiar transformation of nature when winter comes, when snow and ice start to dominate the landscape and when humans and animals have to deal with the extreme weather,” Buyckx says. “The series investigates this struggle against disappearance.”

    Chosen from the winners of the Awards’ 10 Professional categories, Chair of Judges Zelda Cheatle said of Buyckx’s images: “I have chosen a series of landscapes so that we may return to the essence of looking at photography. Landscape is often overlooked but it is central to our existence. These are beautiful pictures made by a serious photographer, and they are to be enjoyed.”

    This year the contest received more 227,000 entries from 183 countries, making it the world’s largest photography competition. An exhibition of all winning and shortlisted images and a selection of rare photographs by British photographer Martin Parr, who is this year’s recipient of the Outstanding Contribution to Photography prize, will run at Somerset House in London from now until 7 May. 

    The annual Sony World Photography Awards are free to enter and open to all photographers. The 2018 Sony World Photography Awards open for entries on 1 June 2017. You can find the full list of of this year’s winners below and see a selection of shortlisted and winning images on the World Photography Organisation website. 

    Professional  Category Winners and Finalists

    An expert panel of international judges were challenged to find the best photography series (between 5-10 images) across the ten Professional categories. The winning and finalist photographers are:

    Architecture winner: Dongni, China
    2nd – Julien Chatelin, France / 3rd – Diego Mayon, Italy

    Conceptual winner – Sabine Cattaneo, Switzerland
    2nd – Gao Peng, China / 3rd – Alexander Anufriev, Russian Federation

    Contemporary Issues winner – Tasneem Alsultan, Saudi Arabia
    2nd – Li Sony, China / 3rd – Lorzenzo Maccotta, Italy

    Current Affairs & News winner – Alessio Romenzi, Italy
    2nd – Joe Raedle, United States / 3rd – Ivor Prickett, Ireland

    Daily Life winner: Sandra Hoyn, Germany
    2nd – Christina Simons, Iceland / 3rd – Alice Cannara Malan, Italy

    Landscape winner: Frederik Buyckx, Belgium
    2nd – Kurt Tong, United Kingdom / 3rd – Peter Franck, Landscape

    Natural World winner: Will Burrard-Lucas, United Kingdom
    2nd – Ami Vitale, United States / 3rd – Christian Vizl, Mexico

    Portraiture winner: George Mayer, Russian Federation
    2nd – Romina Ressia, Argentina / 3rd – Ren shi Chen, China

    Still Life winner: Henry Agudelo , Columbia
    2nd – Shinya Masuda, Japan / 3rd – Christoffer Askman, Denmark

    Sport winner: Yuan Peng, China
    2nd – Eduard Korniyenko, Russian Federation / 3rd – Jason O’Brien, Australia

    OPEN PHOTOGRAPHER OF THE YEAR – Alexander Vinogradov, Russia
    YOUTH PHOTOGRAPHER OF THE YEAR – Katelyn Wang, US
    STUDENT PHOTOGRAPHER OF THE YEAR – Michelle Daiana Gentile, Argentina

    Articles: Digital Photography Review (dpreview.com)

  • LaCie reveals 2big 2-bay RAID storage solution with Thunderbolt 3 technology

    Today LaCie announced a new version of its 2big professional 2-bay RAID storage solution that now comes with Thunderbolt 3 technology. The 2big Dock not only offers fast transfer speeds and up to 20TB of storage, making it an interesting storage solution for professional photographers and video-shooters, but also serves as a docking station that helps simplify the workflow.

    At the front, SD and CF Card readers allow for easy file transfer from your camera and a USB 3.0 hub can charge a smartphone or other mobile devices or lets you connect a shuttle drive or digital camera an an additional image transfer options. In addition, the LaCie 2big Dock can be connected to displays with up to 4K resolution via DisplayPort technology.

    Dual Thunderbolt 3 ports can also power a compatible laptop while simultaneously daisy-chaining up to five additional Thunderbolt or one USB-C drive. In addition a USB 3.1 port allows for compatibility with USB-C and USB 3.0 computers via the included adapter cable. The new LaCie 2big Dock will be available in 12TB, 16TB or 20TB capacities this summer and will be showcased at the NAB Show in Las Vegas next week.

    Press Release:

    LaCie 2big Dock Thunderbolt 3 Bridges the Port Gap and Delivers Massive Capacity to Streamline Creative Workflows

    Today LaCie announced the next evolution of its popular 2big professional 2-bay RAID storage solution. Now with Thunderbolt™ 3 technology, the LaCie® 2big Dock delivers fast speeds and massive capacity, making it a powerhouse tool for photographers and videographers. Designed by Neil Poulton, the LaCie 2big Dock is also a sleek yet powerful docking station that provides ports for connecting other devices, a feature that many laptops have sacrificed in recent years. Through a single cable, the LaCie 2big Dock simplifies and centralizes the desktop by directly connecting to a laptop, SD Cards, Compact Flash Cards and other devices. The result is a simplified, more efficient creative workflow.

    Creative professionals juggle massive amounts of data and tight timelines, so capacity and speed are critical. With up to 20TB of storage—a twenty five percent increase over the previous version—the LaCie 2big Dock offers professionals enough space for large video and photo libraries including up to 650 hours of 4K 30fps footage* or 200,000 raw images**. With speeds of up to 440MB/s, users can transfer one hour of 4K footage in one minute***. It also means almost zero lag time when browsing photo libraries in Adobe® Lightroom. Working with compressed 4K or HD footage, videographers can edit quickly and smoothly in Adobe Premiere®Pro.

    More than storage, the LaCie 2big Dock is a powerful docking station that helps photographers and videographers simplify their workflows. Front-facing SD and CF Card slots allow the pro to directly ingest files off memory cards from a drone, DSLR, GoPro® and other devices into Adobe Lightroom or Premiere Pro. The USB 3.0 hub charges a phone or connects a shuttle drive or digital camera to offload footage or files. Via DisplayPort, professionals can connect the LaCie 2big Dock to high-resolution 720-1080p or even 4K displays. Dual Thunderbolt 3 ports can also power a compatible laptop while simultaneously daisy-chaining up to five additional Thunderbolt or one USB-C drive. Plus, the USB 3.1 port enables universal compatibility with USB-C and USB 3.0 computers via the included adapter cable. Thunderbolt 2 compatibility is also possible with an adapter (sold separately).

    Other key features of the new LaCie 2big Dock include:

    • Seagate® IronWolf Pro enterprise-class drives and RAID optimization for superior power management and reliability
    • LaCie RAID Manager that easily monitors system’s health with audible alarm and email alerts
    • Efficient cooling with aluminum enclosure and thermoregulated fan for professional reliability
    • A five-year limited warranty

    The new LaCie 2big Dock will be available in 12TB, 16TB or 20TB capacities through LaCie Resellers this summer. It will be showcased for the first time at the NAB Show in Las Vegas next week. Attendees can stop by the LaCie booth (SL4527) to see the LaCie 2big Dock in action. For more information, visit www.lacie.com.

    * On average, 1 hour of 4K 30fps compressed footage creates 30GB of data.
    ** 20TB can store approximately 200K raw photos.

    Articles: Digital Photography Review (dpreview.com)

  • Trends to watch at NAB 2017

    Trends to watch at NAB 2017

    Next week is the annual National Association of Broadcasters show, or NAB, in Las Vegas, Nevada. NAB is primarily an industry conference, and isn’t generally focused on consumer products, but we go to NAB because it often gives us a window into the future. Tools and technologies created for Hollywood or the broadcast industry have a funny way of tricking down to everyman products over the next few years, and that’s usually a good thing (3D television being a notable exception, in my opinion).

    So, let’s take a look at a few of the product categories we’ll be watching at NAB next week that have the potential to impact us not-named-Spielberg types in the coming years.

    Tools for Emerging Filmmakers

    The filmmaking industry has changed a lot in the past few years: technology has become better, costs have come down, and tools suitable for serious content creation are now accessible to anyone with a dream of producing films and the passion to make it happen. This transformation has ushered in an explosion of what are often referred to as ’emerging filmmakers.’

    These are people who often started making films with DSLRs or mirrorless cameras, but have grown their skills or businesses to the point where they need better, dedicated tools. They include independent filmmakers, small businesses working for commercial clients, or any number of other filmmaking roles. Some things they have in common are that they care about creating high quality content, have high expectations for production value, and they don’t have upwards of $ 20,000 to buy a single cinema lens.

    This category has grown large enough that we’re seeing more companies which have historically catered to the high end cinema market now looking to meet emerging filmmakers’ needs. Whether it’s to drive revenue or create brand loyalists, we’re seeing more tools designed and priced for these users. By way of example, in the past year we’ve seen cinema lenses such as Cookes and Fujinons with sub-$ 5,000 price points. We expect to see even more products aimed at emerging filmmakers at NAB. 

    Virtual Reality (VR)

    Virtual reality is a technology that everyone, from manufacturers to content creators, seems to want to succeed, but which hasn’t quite managed to do so. There’s clearly a lot of unrealized promise, and even Hollywood executives will tell you they’re spending a lot of money trying to figure out how to make it work. Will this be the year VR makes the leap?

    NAB will once again feature a dedicated Virtual and Augmented Reality Pavillion where the VR community can show off its latest technology. And there are clearly a lot of businesses betting big money on it, ranging from consumer-focused companies like Yi Technologies, which plans to announce VR capture devices at the show, to the likes of 360 Designs, whose Flying EYE drone system will livestream 360º 6K content from miles away for a cool $ 75,000. 

    The big question is whether any of the VR products or technologies we see at NAB this year will be enough to get significant traction in the market, or collectively move the needle toward wider adoption of VR by consumers, but the industry isn’t giving up on this one yet.

    8K Technology

    We actually saw 8K display technology for the first time at NAB a couple years ago. And yes, it’s good bleeping amazing. Last year, Canon had an 8K reference display in its booth with a magnifying glass next to it, teasing you to try to see the pixels. After all, with 8K you’re collecting about the same number of pixels as a Nikon D810. In bursts of 24 or 30 frames. Every second. Think of the memory cards you’re going to need… but I digress…

    What does 8K mean for photographers, videographers, and emerging filmmakers? Right now, not a lot. In fact, it’s unlikely we’ll even see 8K TVs being widely marketed to consumers for a number of years. But on the content creation side, there’s a lot to be said for 8K. With 4K quickly moving in the direction of becoming a standard for viewing content, 8K will give content creators the same advantages that 4K acquisition has for creating 1080p content. Right now we’re still talking about very expensive, high end pro cinema and broadcast equipment, but what we see at NAB is often a preview to what we’ll see in less expensive gear a few years down the road.

    And 8K technology may come faster than we expect. We’ve seen 4K gain fairly wide adoption very quickly, and most of the industry seems hell-bent on a collision course between full 8K broadcast and the 2020 Tokyo Olympics (having already demonstrated it at London 2012 and run test broadcasts from Rio 2016). Some of this 8K goodness (or massive data storage overhead, if you’re the glass-half-empty type) may start filtering its way into our cameras in the next few years.

    HDR Video

    HDR video is pretty much what it sounds like: high dynamic range video that lets us see brighter brights, darker darks, and more shades in between. It’s like HDR photos, but with motion, and done well it can look pretty amazing. From a consumer perspective, most talk about HDR video these days relates to TVs, but the market is still sorting itself out. As the old adage goes, ‘The great thing about standards is that we have so many to choose from.’ Between HDR10, Dolby Vision, and Hybrid Log-Gamma, there’s plenty of room for the marketers to fight it out and educate consumers on the jargon.

    But what we’re most interested in is content creation, or HDR video capture. Admittedly, there’s not a lot here for the enthusiast or prosumer at the moment. But… (and you know there’s always a ‘but’) Panasonic has already told us to expect Hybrid Log-Gamma to be included in the mother of all firmware updates – or, as we affectionately know it, MOAFU (really rolls off your tongue, doesn’t it) – that’s coming for the Panasonic GH5 in summer 2017. We look forward to testing it. Once we figure out how to test it.

    Drones

    Love ’em or hate ’em, people are going to use drones for all kinds of things. (At least until Skynet, and we all know how that ends.) Of course, what we care about at DPReview is aerial imaging, whether it’s still photography or video. The drone industry has exploded in the past few years, with tools ranging from octocopters that nonchalantly ferry around RED and Arri cameras to consumer products you can buy off the shelf and use to make your own movies.

    As with other video categories, what started out as technology available only to well-funded production studios has quickly started to filter down to the emerging filmmaker or prosumer level. In fact, less than six months ago DJI introduced the Inspire 2 drone and Zenmuse X5S camera. That combo uses a Micro Four Thirds camera to shoot 5.2K CinemaDNG Raw video with a bit rate of 4.2Gbps. All for the price of a Canon 1D X II. This is Hollywood-level stuff. They even got cinematographer Claudio Miranda, ASC (Life of Pi) to make a film with it, though he had to carry it around in his hands for some shots.

    Why do I bring up a product that was announced a few months ago? First, because it’s an indication of where the technology is going, and competitors will need to find a way to respond. We’ll be watching to see if that happens at NAB. And second, because for the love of God, DJI, can you please put this combination of tech into a regular camera? I don’t care if it’s a Micro Four Thirds camera the size of a Canon 1D X II, I will write you a check tomorrow.

    Such is my plea.

    Live Streaming

    It used to be that we recorded home movies which we then forced our friends and family to watch over Thanksgiving. Later came the internet, so we could just send aunt Mabel a Vimeo link, or start a YouTube channel about cats with millions of followers.

    Today that’s no longer adequate. Things must be on the internet, and they must be on now! Whether it’s Vloggers broadcasting live from a tradeshow floor using their iPhones, or sites like DPReview doing live webcasts from a studio, live streaming has gained a lot of momentum, and viewers are demanding higher quality live streams as time goes on.

    We’ve already seen products to meet this need at a consumer level, whether it’s a DJI Osmo that uses your phone to broadcast on Facebook Live, or the Blackmagic Web Presenter, which allows you to turn virtually any high quality camera into a streaming broadcast camera. We’ll be on the watch for other products and technologies that will fuel our live streaming future. Though we can’t promise to stream them to you live.

    Articles: Digital Photography Review (dpreview.com)