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Archive for April, 2019

Sample gallery: Sigma 70-200mm F2.8 DG OS HSM Sport

06 Apr

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We’ve been shooting a lot with Sigma’s redesigned 70-200mm F2.8 Sport lens and initial impressions are positive: it appears nice and sharp throughout the zoom range and proved quick to focus on the Canon 5DS R and EOS R. However at 1805g it’s certainly not a lightweight lens. Do the images make up for the awkward handling? Judge for yourself in our gallery of real-world samples.

See our Sigma 70-200mm F2.8 DG OS HSM Sport gallery

Articles: Digital Photography Review (dpreview.com)

 
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Review: The Elgato Stream Deck is a customizable hardware control for post-processing

06 Apr

Elgato Stream Deck
$ 149 | elgato.com

The Elgato Stream Deck is a small, customizable keypad primarily targeted at gamers who stream live content. I’m not a prolific gamer, but it occurred to me that the Stream Deck might also be a useful tool in my daily post processing work, cutting down on mouse clicks and keyboard shortcuts, and speeding up my workflow.

In my case that means a non-linear editor, or NLE, for video editing. However, the Stream Deck isn’t limited to NLEs; it can be used with just about any editing software such as Photoshop, Lightroom, or Premiere Pro.

Key features:

  • 15 customizable keys, each with its own LCD screen
  • 210 actions* available by using folders
  • Macros** can be assigned to each key
  • Different profiles and key sets can be created for different applications

The power of the Stream Deck is that each of the keys contains an individual LCD screen behind a concave plastic window. You may remember the Optimus Maximus OLED keyboard which, when launched in 2007, had a full qwerty keyboard with an OLED display on each key. The Stream Deck takes this idea and makes it more accessible at a price of $ 149.

Design

The Stream Deck’s fascia is aluminum while the body is plastic, with dimensions of 118 x 84 x 21mm (4.6 x 3.3 x 0.80 in) and it connects via a captive USB cable approximately 1.5m long. Included in the box is a lightweight plastic stand which allows the Stream Deck to sit at multiple angles, and it includes rubber feet on the bottom to stop it from sliding across your desk when you push a button.

The Stream Deck’s stand. It does the job, but as I discuss below there’s room for improvement.

Setup

Out of the box, the Stream Deck does nothing, so the first step is to download the Stream Deck software from Elgato’s website, which allows you to completely tailor each key. It’s already loaded with several shortcuts for popular streaming software like Twitch, OBS, YouTube, etc. and these can just be mapped to the keys on the device.

However, my reason for buying the Stream Deck was to use it with Davinci Resolve, my NLE of choice, though it can be used just as easily with tools like Premiere Pro, Final Cut Pro X, or Lightroom. However, doing so requires a more involved setup process as there are no pre-configured shortcuts available for these applications.

To do this, I set up a new Davinci Resolve profile in the Elgato software that auto-loads when I run Resolve. This can be done for any software that’s being used, and therefore you can have multiple sets of shortcuts (210) for each program. It’s completely feasible to have different set ups for Resolve, Premiere Pro and Lightroom for example.

Configuring keys with the Elgato software.

I created keys for common tasks, some of which were duplicates of already available keyboard shortcuts, but with larger dedicated icons I didn’t have to remember the shortcuts for some of the lesser used key commands. It also meant that some actions that used a three-key combination for something like ‘freeze frame’ could now be achieved with a single button.

There’s also a certain satisfaction in quickly navigating pages of shortcuts with a single button press. Trust me – you have to try it to appreciate it.

Customizing Keys

For the functionality that I wanted I needed to register the required Resolve keyboard shortcuts in the Elgato software. I also created icons for the buttons. Some of this was achieved with the Elgato Key Creator, which is web based, but quite a few of my keys were also constructed with Photoshop. Any image editing software will work as you only need to create a 288 x 288 pixel PNG file for each button.

There’s a certain satisfaction in quickly navigating pages of shortcuts with a single button press.

Like anything worthwhile, setup and customization took some time. At first it seemed a little involved, but effort spent configuring at the start saved more time later. I spent a lot of time making the icons for the buttons and assigning functions, but also some thought into where to place them and how far down into the sub pages to go.

But, I hear you cry, fifteen buttons is not enough! Well, in that case you can actually use one of the buttons to access up to fourteen more sub pages of buttons, each with another fourteen buttons on them (one is reserved for going back a page). In this case you can see the appeal of the screens providing labels and icons representing their function. I certainly couldn’t remember what each one did without them.

One example of a bespoke key set on the Stream Deck.

However, the ability to customize the Stream Deck doesn’t stop there. With the help of software like Auto Hot Key for Windows or similar scripting software for Mac, scripts can be written and assigned to any button. This means if there isn’t an exact shortcut available in the software you want to use it with then you can record something like a simple mouse click on an on-screen button and assign it to a stream deck key. Although I haven’t used this yet, It might be something I look at doing in the future as my workflow evolves.

Workflow improvements

After working with the Stream Deck for a couple of weeks I’ve found it very useful, though not without making some adjustments. First, getting used to having the device placed to the left of my usual keyboard was a bit unusual (of course it can be placed anywhere). This, combined with the fact that I had to think and stop myself using the regular on screen buttons, also slowed me down initially.

After about half a day I found that my usual edit process had sped up, probably on the order of 20-30%.

After about half a day, however, I found that my usual edit process had sped up, probably on the order of 20-30%. Persistence pays off, and sometimes it’s all too easy to forget and go back to the old ways of working, but when I did I found that I slowed down again. After about a week or so of using it I needed to reorganize the button layout a bit, something I think will be an ongoing process.

Opportunities for improvement

Overall the Stream Deck works well and I’m impressed with the feel of the keys, however there are some improvements I’d like to see. First, I’d like the option for a detachable cable rather than a captive one. What happens if the cable get’s damaged? There have also been reports from some users of screen burn in on early units, but this seems to have been addressed in later ones and Elgato have been swapping out units with this issue.

The Stream Deck attaches to your computer using a captive cable. I’d prefer a detachable cable in case it gets damaged.

The Stream Deck’s stand is just OK, and I’d like to see a way of making the unit fit more securely into it. The way it adjusts for different inclinations could be improved as well, such as having a much more positive lock into position. I would also like to see a more ergonomic version of the Stream Deck; three rows of five keys works, but it’s a bit cramped and the spacing could be better. The way my hand lies it would be better if it was wider, and I’d like to see they keys placed more naturally.

Elgato also makes the Stream Deck Mini with six keys. Perhaps there could be an option for a Stream Deck Max with 30 keys? I know this would probably take it out of the realm of being a pure streaming tool, but it opens up possibilities for other markets. If Elgato really wanted to they could compete with other control devices by adding knobs and sliders, but I guess this might be a little outside their key user base.

It is for you?

Considering it’s a product aimed at online gamers, the Stream Deck is a tool that can be easily adapted for use by photo and video editors to streamline and speed up everyday workflows. It can take time to set it up properly and develop the muscle memory required to use it, and will probably require some ongoing tweaks to get the most out of it, but the time invested up front will be saved in use.

Its usefulness will very much come down to the individual and their workflow. The more time you invest in getting things working correctly for you the more benefits you’ll see. I’ve yet to really use it to it’s full potential and I’ve already seen the benefit.

What we like

  • Ease of use
  • Customization options
  • Cost
  • Tactile feel

What we don’t like

  • Stand design; positioning and adjustment could feel more positive
  • Captive cable
*An action may be any function assigned to a key on the Stream Deck, such as a keyboard shortcut or combination of keys pressed simultaneously.
**If you use macros to create automated scripts on your computer it’s possible to map an entire macro to a single button.

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2019: Sony Interview – ‘First full-frame, then APS-C’

06 Apr
Kenji Tanaka, VP and Senior General Manager of Sony’s Business Unit 1, Digital Imaging Group.

At the CP+ show in Yokohama Japan last month, we sat down with executives from several major manufacturers, including Sony. In our conversation with Sony’s Kenji Tanaka, we discussed various topics, including how the full-frame mirrorless market has evolved, and why he believes Sony will maintain its competitive edge.

Please note that this interview was conducted partly via an interpreter, and has been edited for clarity and flow.

How do you think the full frame market will evolve, now that lower-cost products like the Canon EOS RP are becoming available?

As more competitors jump into this market, I think that’s a very good thing, because customers have more choice. Our aim is to grow the industry. So when competitors jump in, that’s good.

A wide range of options is a very good thing

The EOS RP is a different kind of challenge from Canon, for entry-level customers. When they eventually enrich their entry-level lenses, that would be a very powerful story. But at this point, I cannot judge who the target customer is [for the EOS RP]. Thinking about the camera industry in the long term, a wide range of options is a very good thing. I’m very positive about it.

Canon would probably say that the RP is intended to appeal to entry-level customers and first-time ILC buyers. How do you intend to attract those kinds of photographers?

This is our one-mount strategy, which only Sony has. Initial entry is in APS-C, and the next step is full-frame. I want to make a kind of ‘step up ladder’.

Sony’s a7 III is one of the most competitive cameras in its class, offering advanced stills and video features at an attractive price. But its MSRP is undercut by the new Canon EOS RP.

Sony is no longer alone in the full-frame mirrorless market – are there any particular companies that you regard as more serious competitors than others?

Every one of our competitors is strong, and we respect each of them. For the [sake of] growth in the industry, we’re thinking about computational photography, and how to incorporate these technologies.

I first encountered this kind of technology more than 20 years ago, and it’s created a new future for imaging. So [while] of course we’re very respectful of our current competitors, the next step is we have to learn more things from computational photography.

So perhaps your most important competitors right now don’t make cameras?

That could be.

How will Sony maintain its competitive lead?

Sony is a technology company that provides technology in which customers may find value. I want our technology to be the reason people are attracted to Sony, not the price. Of course the balance is very important. When you get to price points of $ 3000, $ 4000, that’s a different matter, but the most important thing for Sony is technology. That creates customer value.

Technology will lead customers into the future.

Technology will lead customers into the future. That’s the kind of scenario we want to create. Last year we said that speed and AI would be our new technology drivers, and since then other mirrorless companies have tried to develop these technologies. It’s already happening.

Previously, our main target was professional, but this year we announced the a6400, not only for professionals, targeted a little more widely. We need to create a message for a different kind of customers, but basically our products contain advanced technology, and advanced technology make [makes] customers happy to shoot. I want [Sony] to become a company that drives technology – that’s the kind of message I want to send.

Smartphones like the Google Pixel 3 have changed the way that millions of us create images, and have become primary cameras for an entire generation of photographers.

Do you think Sony has an advantage here?

Yes, of course. We have an R&D section within Sony, it’s a real asset. The world of imaging is growing, and the speed is getting faster. I want to invest in the kinds of technologies that drive the world of imaging, and […] create a cycle. Computational photography is one aspect, lenses are another. I’m very positive for the future. At my core, I’m an engineer. I want to create a camera to enrich your life as a photographer.

How long have you been working on technologies like AI?

It’s very difficult to determine a starting point, but ten years ago I was an engineer, and at that time my interest was neural networks. So the seed for the technology goes back more than ten years. More recently, about five years ago we started developing deep learning. Of course at the same time our team was trying new technologies so it’s very difficult to say exactly when we started. We’re developing new technologies all the time, Sony is that kind of company.

Is it more important to Sony that you sell more cameras, or make more profit per camera sold?

Haha, do I only have two choices? the most important thing really is technology. That’s what creates new features. To develop new technologies of course we need money. Sometimes our strategy is [to create] high value products, and sometimes our approach is to increase the volume of customers.

Sony’s new APS-C a6400 (left) offers incredibly advanced autofocus and high-speed shooting features in a very compact body.

Some people have the perception that Sony is more focused on full-frame than APS-C, is this accurate?

Full-frame is the best platform to deliver our technologies. But of course these technologies need to cascade down for APS-C customers. So we will focus on both groups of customers, but [the] timing is a little different. First full-frame, then APS-C. It has been said that Sony has ignored the APS-C market, and our answer is the a6400.

Do you think there’s an opportunity for Sony to create GM lenses for APS-C?

Yes, I do, but I don’t know how they would be branded. Maybe not as ‘GM’, but high quality lenses are definitely an option [for development].

Do you think APS-C is a format that could be used by professionals?

Honestly speaking, for still photography, full-frame is [more appropriate] for professionals. But for video, APS-C is good for both amateur and professional customers, because it’s size is close to Super 35mm, [which is a] video Image sensor format.

Are you interested in creating an a7S-type product, geared towards video, within the APS-C lineup?

That is possible, I think. For example, looking at the US market, at the BlackMagic Pocket Cinema Camera, I think that’s a wonderful product for professionals. Not only for high-end amateurs. The sensor size of that camera is Micro Four Thirds, and [Sony’s] APS-C is bigger.

Mr Tanaka has expressed a keen interest in the BlackMagic Pocket Cinema 4K Camera, could hint at some of Sony’s future plans.

Are you interested in developing cine lenses for APS-C?

It’s possible, but looking at the market size, full frame is maybe a bigger opportunity. If we focused only on cine, the market would probably be too small, but the so-called ‘creators’ market is a little bigger.

What kind of products do you think would suit this market?

I have many things in my mind but I can’t tell you the details today! As you know well, stills and movies are completely different. Some people think that 30 or 60fps stills shooting is the same as shooting a movie, but the mentality of stills photographers and videographers is completely different. That kind of fusion, I don’t think [it’s realistic]. We want to create new cameras for both kinds of creators.

So you don’t think it’s possible to create a perfect ‘fusion’ camera for stills and video customers?

No.

Have you always believed that? Sony has really been a key developer of hybrid video-enabled cameras, like the a7S line.

Many people have enjoyed the a7S II as a video camera, but originally we designed it for stills photography users. So if we’re going to create products [specifically] for video shooters, we’ll have to modify them in the future.

It’s easy to add 4K/60, but beyond these specs, a lot of customers have other demands

How do video shooters want the camera to be changed?

We’ve had a lot of feedback from the market, including from DPReview! The basic expectation is for things like 4K/60, 10-bit 4:2:2, and a lot of manufacturers are doing that right now, but I want to think in a different way and create something that goes beyond the expectations of our customers. It’s easy to add 4K/60, but beyond these specs, a lot of customers have other kinds of demands, and that’s what we’re researching.

Judging by Mr Tanaka’s comments, the aging a7S II might be replaced by a much more revolutionary product that ‘goes beyond the expectations’ of his customers.

Your new cameras can shoot HLG video for the new generation of displays, how will this technology influence stills cameras?

JPEG is an old format, limited to 8-bit. Movies are going to 10-bit, and stills should become 10-bit as well. So of course we’re researching how to compress stills to 10-bit. The new standard will be 10-bit. There are many such formats already in the market, but we need to study which one is best for the customer.

Smartphones have high dynamic range displays, so the [impetus] will probably come from smartphones. Television development is a bit slower, but everything will be 10-bit [eventually]

The Tokyo 2020 Olympics is just a year away – do you think that by then we’ll see a lot of sports photographers using Sony?

We’re just beginners in that field, compared to Canon and Nikon. We’re currently going step by step, taking feedback from journalists and sports photographers, and we’re running a positive cycle, right now. What I can say today is that you can expect activity [from Sony] for big sports events.

Editors’ note: Barnaby Britton

Technology, technology, technology! That’s the message from Mr Tanaka this year, above all others. Although Sony is (finally) facing some serious competition in the full-frame mirrorless market, it appears that Mr Tanaka welcomes the company. He certainly doesn’t appear to fear the competition. As he says, while Sony respects all of its competitors, its most important rivals might not be the ones currently making cameras.

As a technology company first and foremost, former engineer Mr Tanaka confirms that Sony has been researching AI and deep learning for at least a decade. Lest we forget, Sony also makes smartphones, and in fact the camera and smartphone divisions were recently merged. When Mr Tanaka talks about wanting to invest in ‘the kinds of technologies that drive the world of imaging’ I’d be surprised if he’s thinking exclusively of the traditional consumer digital imaging market.

Inside that marketplace though, it’s clear that Mr Tanaka views full-frame as the preeminent format for delivery of Sony’s technologies to photographers, as well as being a superior platform for professional users. Given the company’s focus on attracting enthusiast and professional users – and that whole ‘technology, technology, technology!’ thing, it shouldn’t be a surprise therefore that Sony’s APS-C lineup has been pretty much put on ice the past couple of years. Mr Tanaka did hint at greater emphasis on APS-C in the near future though, including – crucially – the possibility of some high-end lenses to come.

It seems possible that Sony is interested in developing a dedicated, compact, affordable large-sensor dedicated video camera

There’s no such thing as a ‘perfect’ stills / video camera according to Mr Tanaka, and perhaps the most surprising thing to come out of this interview, for me, was his obvious interest in the Blackmagic Pocket Cinema Camera 4K. It’s unusual for a senior executive to so openly – and so specifically – praise a competitor product in an interview with press, and I doubt it was a throwaway comment. From this, coupled with Mr Tanaka’s reminder that APS-C is a bigger format than Four Thirds, and his earlier comment that APS-C is close to Super 35, ‘a video image sensor format’ we can draw some tentative conclusions.

It seems at least possible that Sony is interested in developing a dedicated, compact, affordable large-sensor dedicated video camera. That’s the kind of product that could prove disruptive. Even if such a camera doesn’t come to fruition, Mr Tanaka’s slightly dismissive remark that tinkering around the edges of the a7S II’s feature set, adding things like 4K/60 is ‘easy’ should give filmmakers hope. Sony, historically, doesn’t do ‘easy’. Whatever they end up looking like, it seems likely that the next generation of video-centric cameras from Sony will be anything but iterative.

Articles: Digital Photography Review (dpreview.com)

 
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Updated Panasonic Lumix G 14-140mm F3.5-5.6 lens is splash and dust resistant

06 Apr

Panasonic has updated its versatile 14-140mm F3.5-5.6 lens, adding a degree of splash and dust resistance. The Lumix G Vario 14-140mm F3.5-5.6 II ASPH Power OIS, which is equivalent to 28-280mm on a Micro Four Thirds body, has the same optics as its predecessor, with 14 elements, a seven-blade aperture and 240 fps AF control. The lens is remarkably compact given its focal range, with a length of 75mm (2.95″) and weight of 265g (9.4 oz).

The new 14-140mm F3.5-5.6 II will ship in May for $ 599.

Press Release

The LUMIX G 14-140mm* Telephoto Zoom Lens for Micro Four Thirds System Undergoes Update

LUMIX G VARIO 14-140mm* / F3.5-5.6 II ASPH. / POWER O.I.S. (H-FSA14140)
Featuring a Splash/Dust-Resistant Rugged Design
*35mm camera equivalent: 28-280mm

Newark, NJ (April 5, 2019) – Panasonic announced today that it has updated the LUMIX G telephoto zoom lens based on the Micro Four Thirds system standard. In addition to the versatile zoom range from wide-angle to telephoto, the new LUMIX G VARIO 14-140mm / F3.5-5.6 II ASPH. / POWER O.I.S. (H-FSA14140) features a splash/dust-resistant* construction for heavy field use yet retains its stylishly compact profile remains lightweight.

The Practical zoom range of 14-140mm (35mm camera equivalent: 28-280mm) suits a wide range of shooting situations. It can capture dynamic landscapes, bring subjects up close, or shoot impressive portraits with beautifully defocused backgrounds.

Comprised of 14 elements in 12 groups, the lens system features three aspherical lenses and two ED (Extra-low Dispersion) lenses to achieve dramatic downsizing of the powerful 10x optical zoom lens, while minimizing distortion and chromatic aberration.

The POWER O.I.S. (Optical Image Stabilizer) effectively compensates for not only small, fast movements, but also large, slow movements, making it easy to shoot super clear shots even in low-lit situations at nighttime or indoors.

Incorporating an inner focus drive system and stepping motor, the new LUMIX G VARIO 14-140mm / F3.5-5.6 II ASPH. / POWER O.I.S. is capable of smooth, silent operation to work with the camera’s high-speed, high-precision contrast AF system for both photo and video recording. It is also compatible with the sensor drive at max.240 fps to take maximum advantage of cameras with high-speed AF.

The LUMIX G VARIO 14-140mm / F3.5-5.6 II ASPH. / POWER O.I.S. (H-FSA14140) is built with a highly reliable metal mount, and uses multi-coated lens elements that minimize ghosts and flare. Seven blades give the aperture a rounded shape that produces an attractively smooth defocus effect in out-of-focus areas when shooting at larger aperture settings.

* Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.

* Design and specifications are subject to change without notice.

The LUMIX G VARIO 14-140mm will be available at valued channel partners in May for $ 599.99.

Panasonic Lumix G Vario 14-140mm F3.5-5.6 II ASPH Power OIS specifications

Principal specifications
Lens type Zoom lens
Max Format size FourThirds
Focal length 14–140 mm
Image stabilization Yes
Lens mount Micro Four Thirds
Aperture
Maximum aperture F3.5–5.6
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 7
Optics
Elements 14
Groups 12
Special elements / coatings 2 ED, 3 aspherical elements
Focus
Minimum focus 0.30 m (11.81″)
Maximum magnification 0.5×
Autofocus Yes
Motor type Stepper motor
Full time manual No
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 265 g (0.58 lb)
Diameter 67 mm (2.64″)
Length 75 mm (2.95″)
Sealing Yes
Zoom method Rotary (extending)
Power zoom No
Zoom lock No
Filter thread 58 mm
Hood supplied Yes
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix DC-G95/G90 features a 20MP sensor, weather-resistant body and built-in V-LogL

06 Apr

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Panasonic has introduced the Lumix DC-G95 (known as the G90 in some regions), which sits just above the G85 (G80) that was introduced in 2016. The G95 offers mostly minor updates to its predecessor, including a higher resolution 20MP LiveMOS sensor, updated design, built-in V-LogL and a headphone socket.

The G95 is a larger camera than the G85, with a beefier grip and dedicated ISO, white balance and exposure compensation buttons. It has the same OLED EVF as the G85, and its fully articulating 3″ LCD has received a bump in resolution to 1.24M dots.

The other changes of note related to video. The G95 is the first non-GH Panasonic camera to have V-LogL built-in. The company has also added a headphone socket to go alongside the mic socket. The mic socket has been moved further up on the side of the camera, to keep it out of the way of the rotating LCD.

Video capture specs are similar. The G95 captures 4K UHD video at 30p or 24p, albeit with a 1.25x crop. A Full HD high speed mode has been added, with a top frame rate of 120 fps.

The G95 (G90) will include the Lumix G 12-60mm F3.5-5.6 Power OIS lens for $ 1199/£1079. In some regions, body-only and bundles with the 14-140mm lens will be available. Shipments will begin in May.

Press Release

Panasonic Announces New Rugged-Design Hybrid Mirrorless Camera Built for High Picture Quality

LUMIX G95 Featuring 5-Axis Dual I.S. 2 and 4K Video Technology

Newark, NJ (April 5, 2019) – Panasonic is pleased to introduce a rugged-design Digital Single Lens Mirrorless camera, the LUMIX G95, that features high mobility for field use and a host of functions and technologies for both photo and video.

The camera’s high-picture quality and 20.3-megapixel Digital Live MOS Sensor without low-pass filter attain maximum performance with both lens and Venus Engine to render natural, high-precision images. The 5-axis Dual I.S. (Image Stabilizer) 2 effectively suppresses blurring to enable a 5-stop slower shutter speed*1 by combining the O.I.S. (Optical Image Stabilizer, 2-axis) and B.I.S. (Body Image Stabilizer, 5-axis) to take full advantage of both stabilization systems. Users will enjoy blur-free photo and video shooting in both wide angle and telephoto, even in low-light situations.

The Contrast AF System features DFD (Depth From Defocus) technology and excels in both speed and accuracy by exchanging digital signals between camera and lens at a maximum of 240 fps*2, resulting in ultra-fast auto-focusing of approximately 0.07 sec*3. Burst shooting performance is also improved to achieve 9 fps (AFS/MF) / 6 fps (AFC) up to 600 (JPEG) / 30 (RAW) images or more. A variety of AF functions, including Face/Eye Detection AF, Pinpoint AF, One-shot AF and advanced Low Light AF enhance usability to comply with wide-ranging shooting situations.

External components of the LUMIX G95 have additionally been redesigned to enhance intuitive one-hand operation and quickly responds to the photographer’s intention. It integrates an OLED LVF (Live View Finder) with 2360K-dot high resolution in approximately 1.48x / 0.74x (35mm camera equivalent) magnification capability. The free-angle large 3.0-inch LCD rear monitor with approximately 1240K-dot resolution provides a touch control system, making shooting at high and low angles easier.

A host of advanced video functions make the LUMIX G95 a true hybrid camera. In addition to 4K video recording capability in 3840×2160 at 30p or 24p in MP4, it handles real-time image output to an external monitor/recorder via HDMI, while also recording video. High Speed Video lets users record slow motion video in Full HD at 120 fps (1/4x), 90 fps (1/3x) and 60 fps (1/2x). What’s more, 4:2:0 / 8-bit log recording is available with the pre-installed V-Log L. The 3.5mm microphone jack and newly added headphone socket accommodate sophisticated sound recording needs.

With LUMIX 4K PHOTO users can capture fleeting photo opportunities at 30 fps in 8-megapixel equivalent resolution to save as high-resolution images. Auto Marking and Sequence Composition are included in addition to Post Focus, Focus Stacking, Light Composition and 4K Live Cropping to help make 4K PHOTO more creative and easier to use.

The LUMIX G95 includes Bluetooth and Wi-Fi® connectivity to offer a more flexible shooting experience and easily share images instantly. Bluetooth 4.2 (called BLE: Bluetooth Low Energy) compatibility enables constant connection with a smartphone or tablet with minimum power consumption.

The camera’s battery can be recharged either via AC or USB according to the users’ convenience. The Battery Grip DMW-BGG1 (sold separately) empowers comfortable, longer-time shooting.

*1 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=140mm (35mm film camera equivalent f=280mm), when H-FSA14140 is used.]

*2 Contrast AF with DFD Technology works only with Panasonic Micro Four Thirds lenses.

*3 In AFS, at wide-end with H-FSA14140 (CIPA).

  1. High image quality with real-life detail and Dual I.S. 2

The LUMIX G95 lets users shoot vibrant, true-to-life high-quality images with excellent resolution, high contrast and impressive color reproduction. The 20.3-megapixel Digital Live MOS Sensor without low-pass filter enables maximum lens performance, and the Venus Engine renders natural, high-precision images. An optimum gradation setting, according to the characteristics of the sensor, provides a wide dynamic range for smoother gradation. Tuned Three-dimensional Color Control detects hue, saturation and brightness, and applies optimal control according to the value of each factor. This achieves rich color reproduction from dark to bright parts of the image, which especially improves the expression of skies, human skin and more. A Tuned Multi Process NR boasts high noise identification accuracy and preserves details even after the noise reduction process. This results in natural textures and precise detail, especially in middle-to-high sensitivity image recording. The combination of Digital Live MOS Sensor and the Venus Engine achieves clear image rendering with minimum noise, even in low-lit situations and at max. ISO 25600.

The LUMIX G95 incorporates 5-axis Dual I.S. (Image Stabilizer) 2 which boasts even more powerful and effective blurring suppression to allow the use of a 5-stop slower shutter speed. The combination an O.I.S. (Optical Image Stabilizer, 2-axis) and B.I.S. (Body Image Stabilizer, 5-axis) compensates for larger movements which were conventionally uncontrollable. Both O.I.S. and B.I.S. are finely controlled based on information detected by a high-precision gyrosensor, and are highly beneficial in wide angle, telephoto, and adverse situations, such as night or one-handed shooting.

The 5-axis Dual I.S. 2 works for both photo and motion picture recording, including 4K video. Panasonic LUMIX G series DSLM (Digital Single Lens Mirrorless) Cameras offer a wide variety of digital, interchangeable lenses, most of which will comply with the 5-axis Dual I.S. in the LUMIX G95.*2 The B.I.S. compensates for camera movement even when a lens without O.I.S. is used.

*1 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=140mm (35mm film camera equivalent f=280mm), when H-FS14140 is used.

*2 5-Axis Dual I.S. 2 works when attaching the lens that complies with it.

  1. High-speed AF to capture those unmissable moments

The DFD (Depth From Defocus) technology*1 in LUMIX G95 calculates distance to the subject by evaluating several images with different sharpness levels while consulting the data of optical characteristics of the current lens in a moment. As a result, the LUMIX G95 achieves high-speed AF of approximately 0.07 sec*2 and high-speed burst shooting at 9 fps (AFS) / 6 fps (AFC) to capture fast-moving subjects just in-focus.

Furthermore, the Venus Engine in the LUMIX G95 is more capable of tracking moving subjects, and it prevents out-of-focus shots even when the subject is moving quickly, or when an obstacle cuts in front of the subject. Newly added AF Sensitivity mode lets the user set the tracking sensitivity according to the shooting situation.

The LUMIX G95 incorporates Face / Eye Detection AF to automatically set focus on the eye of a human face to capture stunning portraits with crisp focus.. With Pinpoint AF, users can magnify the target area for more precise focus. The Low Light AF enables focusing on the subject more precisely, even without an AF assist lamp, thanks to the newly adopted algorithm optimized for low-light, low-contrast situations. It is effective in extremely low-lit situations down to -4EV, as dark as under moon light. A total of 49 focus detection areas enable more flexible composition, together with the Custom Multi AF mode, with which users can freely select the blocks to focus on. Focus peaking is also available for precision manual focusing.

*1 Contrast AF with DFD Technology works only with Panasonic Micro Four Thirds lenses.

*2 In AFS, at wide-end with H-FSA14140 (CIPA).

  1. Perfect mobility with careful design and control – optimized for handheld field use

The LUMIX G95 has been redesigned externally for intuitive one-hand operation that quickly responds to the photographer’s intention. Three newly-added buttons located in line on the top let the user adjust exposure, ISO and white balance. Buttons on the back are positioned centering on the wheel dial to provide quick access to the target item in both shooting and playback. The front/rear dual dial system with dial operation switch enables direct setting. The grip is also redesigned for a more stable and comfortable hold.

To withstand heavy field use, the LUMIX G95 boasts a rugged design with a front structure composed of a magnesium alloy full die-cast front frame. Seals at every joint, dial and button also make the camera splash/dust-resistant*.

The LUMIX G95 has a large LVF (Live View Finder) with a high-magnification ratio of approximately 1.48x / 0.74x (35mm camera equivalent). The high-precision, high-speed OLED (Organic Light-Emitting Diode) display features 2,360K-dot high resolution and 100% field of view. Adoption of OLED for the LVF achieves high-speed response with a minimum time lag of less than 0.01 second, as well as 10,000:1 high contrast for exceptional visibility. With an eyepoint of approximately 20mm, it offers high visibility with comfort for users wearing glasses. It is always sharp and clear from the center all the way to the corners.

Adopting a static-type touch control system, the large 3.0-inch LCD rear monitor with 1240K-dot high resolution features free-angle shooting. It tilts up and down by approximately 250-degrees, which makes shooting at either high or low angles even easier.

The LUMIX G95 features an electromagnetic drive in the shutter unit. The shock caused by shutter diaphragm movement is dramatically reduced and the shutter sound is minimized. This enables users to release the mechanical shutter even in situations where they previously had to use the electronic shutter.

*Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.

  1. 4K capability brings evolution to videography

Taking advantage of the high-speed signal readout capability of the sensor and high-speed signal processing, the LUMIX G95 is capable of recording 4K video*1*2. Despite its high performance, it boasts superior energy efficiency and size remains compact for high mobility. The LUMIX G95 records stunningly smooth, high-resolution 4K video in 3840×2160 at 30p or 24p in addition to the full-HD 1,920 x 1,080 60p videos with practical full-time AF.

As a camera from Panasonic that has continually exceeded the limits of video performance in digital cameras, a host of functions are available on the LUMIX G95. The High Speed Video lets users record slow motion video in Full HD at 120 fps (1/4x), 90 fps(1/3x) and 60 fps (1/2x).

The LUMIX G95 is also capable of real-time image output to the external monitor in 4:2:2 / 8-bit*3 via an optional micro HDMI cable while simultaneously recording video. Users can choose to output only recording content or content with the setting menus individually, depending on the display.

The V-Log L is pre-installed in the LUMIX G95. Log recording offers exceptional flexibility as well as a wider dynamic range for color grading in the post-production process, and V-LogL features log characteristics with 12 stops of dynamic range.

In addition to the 3.5mm microphone jack for high-quality audio recording using an external microphone, such as Panasonic External Stereo/Shotgun Microphone DMW-MS2, a headphone socket is newly added for sound output.

Thanks to 4K technology, users can engage 4K PHOTO to capture fleeting photo opportunities at 30 fps by extracting the frame with the best timing from a 4K burst file to save as a 8-megapixel equivalent photo. Choosing the best shot out of hundreds of frames recorded in 4K PHOTO is now easier with the newly added Auto Marking function. Auto Marking lets you jump to the nearest frame where differences are obvious between consecutive frames to minimize the time it would otherwise take to choose the best shot. Sequence Composition makes it possible to create a stromotion image by synthesizing multiple images shot at a fixed frame with 4K PHOTO. A unique image reflecting the subject’s motion can easily be produced in-camera without needing a special retouching process. Plus, the LUMIX G95 enables 4K Live Cropping in video recording that realizes stable panning or zooming in video recording. In panning shots, the user can simply set the viewing angle to start and end for smooth panning without using any special equipment, such as a slider. In zooming, you can set the after-zoomed viewing angle first, so that the subject is perfectly framed. Thanks to digital operation, zooming imagery is smooth because it does not physically move the zoom lens.

*1 About motion picture recording / 4K Photo recording

– Use a card with SD Speed Class with “Class 4” or higher when recording motion pictures.

– Use a card with SD Speed Class with “UHS-I UHS Speed Class 3 (U3)” when recording motion pictures with [MP4] in [4K] or [4K PHOTO].

(SD speed class is the speed standard regarding continuous writing.)

– MP4 motion pictures with [MP4] in [FHD/30p] [FHD] [HD]: You can continue recording without interruption even if the file size exceeds 4 GB or 30 minutes in length, but the motion picture file will be divided and recorded/played back separately.

– MP4 motion pictures with [MP4] in [4K]:

Motion picture file will be recorded and played back in separate files in the following cases.(You can continue recording without interruption.)

– When using an SDHC memory card: If the file exceeds 4 GB

– When using an SDXC memory card: If the continuous recording time exceeds 3 hours and 4 minutes or If the file exceeds 96 GB

  • The maximum available continuous recording- When the ambient temperature is high or continuous recording is performed, the camera may stop the recording to protect itself. Wait until the camera cools down.

*2 For [4K] video output, use an HDMI cable that has the HDMI logo on it, and that is described as”4K compatible”.

*3 4:2:0 8-bit recording on an SD Memory Card.

  1. A variety of features to enhance photographic experience

?Post Focus / Focus Stacking

The LUMIX G95 also comes with a Post Focus function to select the in-focus area even after shooting. This is helpful in situations like macro shooting where strict focusing is required or for changing expressions by changing the focused subject. This function was developed by combining the high-speed, high-precision DFD (Depth From Defocus) auto focus technology and 4K technology. The Focus Stacking function enables users to adjust the depth of field after shooting by combining multiple images shot with the Post Focus function in the camera. Users do not need to focus strictly while shooting as they can obtain the image with the defocus level that they want or pan-focus the image by simply selecting the focus area after shooting. This is beneficial when shooting macro shots of insects, small accessories, and more.

?L.Monochrome D in Photo Style

L.Monochrome D mode is newly added to Photo Style, making it possible to shoot dynamic monochrome photos with emphasized highlights and shadows while preserving the details. All three monochrome modes – Monochrome, L.Monochrome and L.Monochrome D – allow the user to adjust the grain effect between High/Standard/Low for more creative monochrome photo shooting.

?Exposure / WB / Focus / Aperture Bracket

In LUMIX G95, Focus Bracket and Aperture Bracket are additions to conventional Exposure Bracket and WB Brackets for users to choose their best shots later. In Focus Bracket, a maximum of 999 images can be shot with different focus points. The Aperture Bracket lets users have multiple shots with different depth of field.

?Live View Composite Recording

The camera releases the shutter at designated intervals of exposure time and synthesizes the parts with high luminosity to produce a single picture. While the total brightness of each consecutive image is accumulated in bulb shooting, only the target subject and the bright parts of an image are detected, and the user can synthesize them carefully while seeing the photo in live view. This is useful for capturing shots of fireworks or stars in the night sky where the background needs no gain-increase.

  1. Other features

?Bluetooth 4.2 and Wi-Fi 2.4GHz (IEEE802.11b/g/n)

The LUMIX G95 integrates Bluetooth and Wi-Fi® connectivity to offer a more flexible shooting experience and easily share images instantly. Once the camera is connected to a smartphone or tablet installed with Panasonic’s dedicated application software the Panasonic Image App for iOS / Android, users can shoot, browse and share images remotely. Compatibility with Bluetooth 4.2 (called BLE: Bluetooth Low Energy) enables constant connection with a smartphone/tablet with minimum power consumption. This enables the camera to activate by simply using a smartphone/tablet or to add a GPS geotag on the photos automatically.

?AC/USB Power Charging

The camera’s battery can be recharged either via AC or USB according to the user’s convenience.

?Power Saving LVF

The LUMIX G95 newly incorporates a power-saving function. To preserve power, the camera automatically enters sleep mode in designated time (selectable among 1/2/3/5/10 seconds) after detecting the eye is off the eye sensor. Users can quickly go back into shooting mode with a half-press of the shutter button. A long battery life of approximately 900* images per battery charge is achieved by this Power Saving LVF.

* Under the test conditions specified by Panasonic based on CIPA standard. When the time to get in the sleep mode is set to 3 sec.

?Battery Grip DMW-BGG1 (sold separately)

The LUMIX G95 is compatible with the newly introduced Battery Grip DMW-BGG1.*1 By using two batteries, one in the camera and the other in the grip, the DMW-BGG1 extends battery life for longer-time shooting. It also makes gripping more comfortable even in vertical angle shooting. The DMW-BGG1 perfectly matches the camera, boasting a rugged, splash/dust-resistant*2 design.

*1 A battery pack is included in DMW-BGG1.

*2 Dust and Splash Resistant does not guarantee that damage will not occur if this camera is subjected to direct contact with dust and water.

The Lumix G95 will be available at valued channel partners in May for $ 1199.99

Panasonic Lumix G95 (G90) specifications

Price
MSRP £899 (body only), $ 1199/£899 (w/12-60 lens), £1259 (w/14-140 lens)
Body type
Body type SLR-style mirrorless
Body material Magnesium alloy
Sensor
Max resolution 5184 x 3888
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 20 megapixels
Sensor photo detectors 22 megapixels
Sensor size Four Thirds (17.3 x 13 mm)
Sensor type CMOS
Processor Venus Engine
Color space Primary color space
Color filter array Primary color filter
Image
ISO Auto, 200-25600 (expands down to ISO 100)
Boosted ISO (minimum) 100
White balance presets 5
Custom white balance Yes (4 slots)
Image stabilization Sensor-shift
Image stabilization notes IS system works together with stabilized lenses to improve shake reduction
CIPA image stabilization rating 5 stop(s)
Uncompressed format RAW
JPEG quality levels Fine, normal
File format
  • JPEG (Exif 2.31)
  • Raw (Panasonic RW2)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Number of focus points 49
Lens mount Micro Four Thirds
Focal length multiplier 2×
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3″
Screen dots 1,240,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 1.48× (0.74× 35mm equiv.)
Viewfinder resolution 2,360,000
Photography features
Minimum shutter speed 60 sec
Maximum shutter speed 1/4000 sec
Maximum shutter speed (electronic) 1/16000 sec
Exposure modes
  • Program
  • Shutter Priority
  • Aperture Priority
  • Manual
Built-in flash Yes
Flash range 6.40 m (at ISO 100)
External flash Yes (via hot shoe)
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 1/200 sec
Drive modes
  • Single
  • Continuous
  • 4K Photo
  • Post Focus
  • Interval
  • Self-timer
Continuous drive 9.0 fps
Self-timer Yes (2 or 10 secs, 10 secs x 3 shots)
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, AVCHD
Modes
  • 3840 x 2160 @ 30p / 100 Mbps, MP4, H.264, AAC
  • 3840 x 2160 @ 24p / 100 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 120p / 20 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 60i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 30p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 30p / 20 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 24p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC card (UHS-II supported)
Connectivity
USB USB 2.0 (480 Mbit/sec)
USB charging Yes (can be charged from external power banks)
HDMI Yes (micro-HDMI)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11b/g/n + Bluetooth 4.2
Remote control Yes (via wired remote or smartphone)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description Lithium-ion battery & charger
Battery Life (CIPA) 290
Weight (inc. batteries) 536 g (1.18 lb / 18.91 oz)
Dimensions 130 x 94 x 77 mm (5.12 x 3.7 x 3.03″)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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6 Methods to Create Dynamic in Your Photography [video]

06 Apr

The post 6 Methods to Create Dynamic in Your Photography appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video from our friends over at Cooph, you’ll learn 6 methods to create dynamic in your photography.

?

 

The video covers these 6 tips:

1. Power of Color

Scout a vibrant location, and find your angle.

Look for color blocking opportunities. Look for vivid backgrounds that are perfect for graphic needs.

2. Black and White

Look for things like parking ramps as they provide great contrast and depth. Shoot roofs that cast interesting shadows.

3. Motion Blur

Create dynamic by panning. Pan subjects passing on the street. Rig your tripod up in the back of your vehicle and photograph long exposures for light trails and movement. (Be sure you and your gear are safe and secure here.)

Or frame the cockpit instead!

4. Zoom Blur

Zoom out and expose long for interesting effects.

Define a focal point of interest, shoot and zoom!

Shoot at night using long exposures and zooming effects. Shooting buildings with all their lights can make for great effects!

5. Rectangles

Use places like stairways that have long vanishing points. Here straight lines become dynamic! Coupled with light and shadow, you can get some really interesting shots! Also, look for sharp corners and lines that draw the viewer’s eye throughout your frame.

6. Perspective

Seek high buildings, get down low and angle your camera from a low angle, pointing upward for epic perspective!

Crawl under a grid (if you really want to, and can find one!) and shoot your subject standing on the grid above for a cool urban look.

Find a low, infrequently used tunnel. Get low and create lines in your images.

 

You may also find the following article helpful:

Get Low and Aim High – How to Use Low-Angle Photography to Great Effect

9 Creative Architecture Photography Techniques for Amazing Photos!

How to do Light Painting Photography Art with Endless Possibilities

5 Photography Hacks to Improve Your Creative Photography

The dPS Top Street Photography Tips of 2018

The post 6 Methods to Create Dynamic in Your Photography appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Panasonic Lumix DC-G95/G90 pre-production sample gallery

06 Apr

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We’ve spent some time shooting with a pre-production Panasonic Lumix DC-G95 (G90) in a variety of situations, and we’ve put together a gallery so you can evaluate its image quality.

We’ll have a gallery with a production-level camera online as soon as we get one, but in the meantime, take a look at our initial samples!

View our Panasonic G95 pre-production sample gallery

Read our Panasonic G95 Review in Progress

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Panasonic G95 first impressions review

06 Apr

The Panasonic G95 was just announced, and Chris and Jordan are here with their first impressions. Join the boys on a photo scavenger hunt, and find out why Jordan can eat Lucky Charms better than all of you.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

  • Introduction
  • Body
  • Compared to the G85
  • USB charging
  • Displays
  • Moiré
  • Compared to the G9 and GH5
  • Video intro
  • Vlogging
  • Slow motion
  • Audio
  • VlLog-L and record limit
  • Wrap-up

Articles: Digital Photography Review (dpreview.com)

 
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Weekly Photography Challenge – Bicycles

06 Apr

The post Weekly Photography Challenge – Bicycles appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s photography challenge topic is BICYCLES!

Flo Karr

Your photos can include anything that has bicycles. It can be motion-blurred, cropped, minimalist, color-based, use nature, objects or anything really! They can be color, black and white, moody or bright. You get the picture! Have fun, and I look forward to seeing what you come up with!

Emily Levine

 

Some Inst-piration from some Instagrammers:

 

View this post on Instagram

 

A post shared by RITIHK SANTHALIA | ?? (@the.speaking.lenses) on

 

View this post on Instagram

 

A post shared by Locke Cheng (@lockelei) on

 

View this post on Instagram

 

A post shared by Ventsislav K Valev (@ventsislavvalev) on

 

View this post on Instagram

 

A post shared by Andy | 16 (@andyvisualz) on

 

View this post on Instagram

 

A post shared by ?? MD ?? (@daversa_marco) on

Check out some of the articles below that give you tips on this week’s challenge.

Tips for Shooting BICYCLES

6 Tips to Master Panning Photography

The dPS Top Street Photography Tips of 2018

How to Avoid Distracting Backgrounds in Street Photography

Which Street Photography Lens is Right for You?

How to Tell a Story With Your Street Photography

 

Weekly Photography Challenge – BICYCLES

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSbicycles to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Bicycles appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Atomos announces Shinobi SDI monitor, Shogun 7 monitor/recorder and a Ninja V SDI module

06 Apr

Atomos has been on a roll this past week with the introduction of three new video products ahead of NAB 2019: the Shinobi SDI, Shogun 7 and AtomX SDI module. Below we’ve summarized the news of each product.

Shinobi SDI

The Atomos Shinobi SDI is a new, super-lightweight 5-inch 4K HDR monitor that offers HD-SDI and 4K HDMI connectivity. The monitor features a compact, durable frame that offers a 1000nit display with a pixel density of 427 pixels-per-inch (PPI) behind an anti-reflection, anti-fingerprint screen. The monitor comes factory calibrated with the option to calibrate the screen on-demand.

Atomos says this monitor was built as a means of addressing one of its customers most-demanded products, a stand-alone SDI monitor. The monitor operates on AtomOS 10 and offers a number of features, including focus peaking, 4:1 / 2:1 / 1:1 zoom, customizable zebras, false color, frame guides, broadcast markers and a suite of scope options that include waveform, RGB parade, vector scope and audio level meters.

The Shinobi SDI weighs in at 226g / 7.8oz and is available for pre-order at B&H for $ 499 USD and is expected to ship at the end of April 2019.

Shogun 7

Also new is the Atomos Shogun 7, a new seven-inch HDR monitor, recorder and switcher. The 1,500nit daylight-viewable display features a new 1920 by 1200 panel with a 1,000,000:1 contrast ratio and 15+ stops of dynamic range.

Atomos says the ‘screen uses a unique combination of advanced LED and LCD technologies which together offer deeper, better blacks than rival OLED screens, but with the much higher brightness and vivid color performance of top-end LCDs.’

A new 360 zone backlight inside the Shogun 7 is controlled by the Dynamic AtomHDR engine that enables the panel to show ultra-wide color with 105% of the DCI-P3 colorspace covered. Atomos has also teamed up with Dolby to create Dolby Vision HDR ‘live,’ which makes it possible to capture HDR footage on the Shogun 7 and display it on an HDR-capable TV or monitor over HDMI.

On the recording front, the Shogun 7 can record video up to 5.7K / 80p, 4K / 120p or 2K / 240p in RAW/Log or HLG/PQ over SDI/HDMI. Video is stored directly to an AtomX SSDmini or comparable SATA SSD drives. Recording options include Apple ProRes RAW and ProRes, Avid DNx and Adobe CinemaDNG RAW codecs.

The Shogun 7 can also be used with an optional balanced XLR breakout cable that can record up to 12 channels of 24/96 digital audio from HDMI or SDI connections. Monitoring of the audio can be done using the onboard 3.5mm headphone jack.

The Shogun 7 is available for pre-order at B&H for $ 1,499 USD and is expected to ship June 2019.

AtomX SDI module for Ninja V

The third and final product Atomos has announced is the AtomX SDI module for Ninja V. As its name suggests, this add-on module adds the ability to record and output video over 12G-SDI at up to 4K / 60p.

Atomos says it’s been one of the most-requested products from video professionals around the globe. The module is approximately the size of an NP-type battery and attaches to the rear of the Nija V via the modular expansion port. It adds two user-configurable 12G-SDI connections and full-sized 75 Ohm BNC connectors.

Apple ProRes and Avid DNx file formats are used when recording over single or dual-link SDI uses, and shooting is supported in Log, HLG and Rec.709 gammas.

The AtomX SDI module is available for pre-order at B&H for $ 199 and is expected to ship in May 2019.

For more information on all these products and more, head over to Atomos’ website.

Articles: Digital Photography Review (dpreview.com)

 
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