The post Adobe Announces $ 1M Community Fund to Aid Artists During Pandemic appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
In response to the COVID-19 crisis, Adobe has announced a new Creative Residency Community Fund, designed to “help visual creators stay on track and achieve their dreams.”
The Fund is an offshoot of Adobe’s annual Creative Residency program, which supports several artists over the course of a year. But creatives have been hit hard by the coronavirus pandemic, leading Adobe to look for additional ways to support artists in need.
And so the Creative Residency Community Fund was born. With the support of the Fund, artists can undertake a project of their own or complete a project commissioned by Adobe.
The Fund has been given $ 1 million USD to offer creatives support through mid-2021. Several application deadlines have been established over the next year, and artists will be notified on a rolling basis of their acceptance into the program.
Successful applicants will receive a sum between $ 500 USD and $ 5000 USD to support the project. Applicants will also receive a Creative Cloud membership, in addition to “career guidance workshops.”
For those who are interested in applying, the details can be found on the Adobe website. Note that you must specify up-front whether you’d like to be considered for the personal project or the commissioned project. Your application will ultimately go before a selection committee, which will determine both the success of your application and the funds you’ll be allotted.
Creatives can apply from all over the world, though Adobe does require English proficiency (excepting Japanese applicants). Applicants must also be 18 years or older.
As for the type of project that will be successfully funded:
Adobe explains that they “always consider great projects of all types if they showcase Creative Cloud capabilities,” but will focus on:
Video
Photography
Photo art
Graphic design
Illustration
3D
Motion design
Product or interface design
So if you’re a creative that’s looking to complete a new project, go ahead and apply! The first application deadline is June 1st, though you’ll also have an opportunity to apply in September 2020, December 2020, and March 2021.
The post Adobe Announces $ 1M Community Fund to Aid Artists During Pandemic appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Have you dreamed of a simple yet feature-rich portable camera? Something that’s a step up from compact cameras but still small enough to carry around in your day bag? A camera that will deliver the image quality of an entry-level DSLR without the bulk? Oh, and still be affordable? The Canon m50 mirrorless camera just might be your dream come Continue Reading
The post Why Buy? Canon m50: A Real Review appeared first on Photodoto.
AVID has released a new update for AVID Media Composer, its popular video editing software. The new version, AVID Media Composer 2020.4, includes numerous new features, but the biggest one for Mac users is that the software is finally 64-bit.
Apple’s macOS Mojave was the last version of Apple’s operating system to support 32-bit apps. Apple warned software developers for a couple of years that 32-bit apps would no longer be supported with macOS Catalina. As photographers and videographers alike have upgraded to macOS Catalina or purchased new computers such as Apple’s latest Mac Pro which ships with Catalina, they have had to deal with outdated software no longer being supported. Until AVID Media Composer 2020.4, that list of inoperable software included Media Composer.
In addition to being 64-bit, AVID Media Composer 2020.4 also includes a new Universal Media Engine (UME). This new UME speeds up the entire workflow, right from file ingest, by removing reliance on QuickTime. AVID promises that the new UME will be felt via improved performance during importing, playback, editing and exporting files.
Windows users can now create, edit, collaborate on and export Apple ProRes media natively. This includes full encoding and decoding support. However, per Cinema5D, it appears that this may not include support for ProRes RAW files. On AVID’s latest blog post detailing Media Composer 2020.4, there is no mention of ProRes RAW.
“Get a birds-eye view of an entire 128-track sequence with the Timeline Sequence Map, enabling faster navigation without scrolling or changing the view size.” Image and text credit: AVID
The updates in AVID Media Composer 2020.4 are not limited to under-the-hood improvements, the team has also worked on improving the user interface and making the software more efficient. Additions and improvements include a Timeline Sequence Map, which allows for a full view of 128-track sequence, color coding for bin tabs, Titler+ improvements, bulk editing capabilities, multi-select tools, faster sound separation, new 9×16 and 1:1 aspect ratio mask margins, new color space support, additional workspace customization options and much more.
AVID Media Composer 2020.4 includes new bulk edit capabilities. Image credit: AVID
AVID Media Composer 2020.4 is a free update for all existing Media Composer users. If you are a first-time user, perhaps someone who is looking for video editing software for your new macOS Catalina machine, the software is available via a subscription model. You can subscribe on a per-month basis for $ 23.99/month or for a full year for $ 239.00. By opting for an annual subscription, you save just under $ 50. For more information on AVID Media Composer, click here.
Canon has introduced a new firmware option for EOS R owners interested in high-end stop motion photography. The firmware, which has to be installed at a Canon service center, adds a number of features to make shooting stop motion easier, particularly for those using the Dragonframe animation application. A new version of the EOS R has also been released that has the firmware already installed.
This is a comparison of the new Live View resolution of 1920×1280 (full screen) versus the original size of 960×640 (small inset). The large preview image makes it easier for the animators to have confidence in the shot and can improve the overall quality of the scene.
The main advantage of the new firmware for animators is the increased resolution of the live preview when the camera is tethered via USB. Without the new firmware, the camera outputs an image of 960×640 pixels, but this is increased to 1920×1280 pixels with the firmware installed. This resolution is higher than all other still cameras compatible with Dragonframe, and the extra detail makes checking the image details and focusing much easier. Output live view resolution from the Nikon Z7 and the Sony A7R IV is 1024×680 pixels, for example, while that from the Olympus OM-D E-M lll is 1280×960 pixels.
Seeing Focus Peaking on the full screen allows the animator to precisely capture fine detail and adjust for desired depth of field.
The downside of the update is that HDMI output is disabled, as are display performance options. Manual focus peaking becomes an option over USB but it will no longer work in the viewfinder or on the camera’s rear screen in a number of situations:
When an EF-S lens is used
When [Multiple exposure] is set
When [Cropping/aspect ratio] is set to an option other than [FULL]
When the shooting screen is magnified
When you keep holding down the shutter button after shooting
The new firmware costs $ 100 plus shipping to have installed on an existing EOS R camera, and the new version of the camera with the firmware pre-installed costs $ 1899 – about $ 100 more than the standard version.
For more information on the firmware see the Canon website, and for more on the animation software see the Dragonframe website.
Press release
Stop Motion Animation Firmware
Supercharge Your Stop Motion Animation
Whether pre-installed on a new EOS R or manually installed on an existing EOS R the new Stop Motion Animation upgrade for EOS R cameras increases your Live View resolution to 1920×1280 from Canon’s normal of 960×640 when connected to Dragonframe stop motion animation software. This makes it easier for animators to confirm focus and movement within every frame.
Larger Live View
Live view is critical to animators creating stop motion animation films. Animators use the remote live view of the camera to review critical details and make decisions within the Dragonframe software. Canon’s Stop Motion Animation firmware increases the Live View to 1920×1280 – helping animators see subtle movement for refined animation.
USB Manual Focus Peaking
Canon has added Manual Focus Peaking over USB to interface with Dragonframe software.
HDMI Output
Important information about EOS R Stop Motion Animation Firmware: * HDMI output is not available on the EOS R with this firmware installed * [Disp. performance] cannot be set * MF peaking will not show up even if [MF peaking settings] is set to [On] under the following conditions:
When an EF-S lens is used
When [Multiple exposure] is set
When [Cropping/aspect ratio] is set to an option other than [FULL]
When the shooting screen is magnified
When you keep holding down the shutter button after shooting
Apple has announced its new 13-inch MacBook Pro, bringing modest performances improvements and one physical improvement that should make keyboard warriors around the world much happier.
We’ll get to the specs in a minute, but first the most important update—the keyboard. Apple has eschewed its troubled ‘butterfly’ keyboard for its Magic Keyboard with this new 13-inch MacBook Pro. For nearly five years, Apple’s ‘butterfly mechanism’ keyboard has caused issues for MacBook owners, with individual keys sometimes becoming entirely non-functioning, causing all sorts of issues while typing. This transition means the ‘butterfly’ keyboard is no longer present in any of Apple’s laptops.
The physical ‘esc’ key is a welcomed change also.
In addition to the changes underneath the keys, Apple has also added a physical ‘Escape’ (esc) key to the left of the Touch Bar. On previous models, the ‘esc’ key was digital, located within the Touch Bar, a design decision that could wreak havoc if the Touch Bar glitched out or broke.
The updated 13-inch model is powered by Intel quad-core chips, with optional upgrades to configure the MacBook Pro with Intel’s 10th-gen CPUs that offer up to 2.3GHz per core and TurboBoost speeds up to 4.1GHz. Apple has also added the option to configure the 13-inch MacBook Pro with up to 32GB of 3733MHz LPDDR4X RAM and has doubled the base model storage to 256GB (with optional upgrades to increase it to 4TB).
If you upgrade to the $ 1,799 model, you’ll also get the latest Intel Iris Plus Graphics, which Apple claims will offer an 80% performance increase over the previous-generation dual-core MacBook Pros. In addition to improving overall graphic performance, models with Intel’s Iris Plus graphics will be able to power Apple’s Pro Display XDR at its full 6K resolution.
As for the laptop’s own display, the 13-inch screen supports P3 wide color gamut, offers a maximum 500 nits brightness and includes Apple’s ‘True Tone’ technology that automatically adjusts the screen’s white balance based on the ambient environment.
The base model starts at $ 1,299 and includes a 1.4GHz quad-core 9th-gen Intel Core i5 CPU, 8GB of RAM and 256GB of storage. However, if you’re planning on using this for editing photos or video though, we’d suggest you jump up to the $ 1,799 base model, which offers Intel’s 10-gen CPUs with the newer Intel Iris Plus graphics and 16GB of RAM. Further upgrades can be configured for additional costs, as usual.
You can find out more information about the latest 13-inch MacBook Pro models and browse through the different configurations on Apple’s website.
Panasonic’s FZ1000 II brings some significant updates to an already capable camera without messing too much with the basic formula: A solid 20MP 1″-type sensor, a Leica-branded 25-400mm-equivalent F2.8-4 zoom lens and great image quality. As we put the wraps on our final review of this latest Lumix, take a stroll with us through Knoxville, Tennessee under some beautiful spring sunshine. At least a 400mm-equivalent max focal length makes social distancing pretty easy.
In an alternate timeline New York-based photographer Aaron DuRall and his partner Whitney DuRall would have been gearing up for their busiest season of the year – wedding season. The couple have been photographing weddings together for eight years and typically make the bulk of their yearly income during Spring and early Summer. Of course, these are not the times we’re living in. Like many independent photographers, as COVID-19 began sweeping through the states, DuRall saw his work drop off quickly.
“We lost about about a third of the year, it’s pretty staggering,” he says.
DuRall, who also specializes in portraiture and documentary work, saw those gigs dry up quickly as well. For the last month DuRall has been isolating at home in his apartment in Ridgewood, Queens, churning out daily photos that are worlds away from the natural documentary style work that he typically creates. We caught up with DuRall over the phone to learn more about the inspiration for the brightly-colored, surreal frames that make up his COVID-19 Self Isolation series.
Tell me how you started your isolation photo project.
We began isolating on Sunday, March 15 and have been at home since. I knew I was going to be cooped up and I needed something to keep me occupied and stretching my brain – keep me busy and creating. I decided I was going to make photos every day, but it’s gone through an evolution.
Initially I thought I would photograph the neighbors when they were outside in their backyard from our back windows, or that I’d photograph from our front windows and capture people on the sidewalks and hanging out on their stoops. I thought I’d use an observational, bird’s eye view and a long lens, then I realized how limiting that would be. I have a view of one backyard and a view of four stoops. How can you photograph the exact same people every single day? Then I decided I’m just going to get weird using the objects that we have at home, and experiment with light, form and the human body.
Aaron DuRall
What is the planning process like for the daily shoots?
I start thinking about what I’m going to do tomorrow as soon as I stop shooting for today. It’s the mindset of ‘I got that idea out there, so what is the next one?’ I’ve been keeping notes in my phone so if an idea comes to me in the middle of the night or while I’m walking around the apartment I put it in my phone. Then I sketch them out in a notepad and figure out how I might enhance the idea through different objects and colors that I have access to in the apartment.
I start thinking about what I’m going to do tomorrow as soon as I stop shooting for today
I’m not going to lie, we lost the bulk of our livelihood for this year with the pandemic—April, May, June and July wiped clean—so I do spend extra time in bed every day. I get out of bed around 11:30, make a coffee and a blueberry waffle with peanut butter, and then come into the space, turn on my music and stare at my backdrop to try and figure out what the idea is going to be and how I’m going to facilitate it.
What’s in your home-studio setup?
Behind the scenes: Aaron’s home studio.
I’ve got a handful of seamless paper, some poster boards, a variety of gels and then just a bunch of silly props. For lights I’ve got two Alienbees B800s and a Canon 430EX speedlight. My camera is a Canon 5D Mark III.
During weddings you and your partner Whit are typically shooting alongside each other, what has her role been in these shoots while the two of you are quarantined at home?
Some days I make a photo 100 percent by myself and I won’t need help, but there are other concepts where I need to have her involved. I would say 70 percent of the time she is involved, sometimes that means being the subject of the picture, other times it’s having her flag lights, or even press the shutter for me. Whit’s usually sitting in the living room reading a book or working on emails while I’m in the office tinkering. The process has typically been when I’m at a point where I need her help with something she will pop in. I try to make it a quick process and not hold her hostage with this stuff.
Early on, day four or five of isolation I decided to light my hand on fire
A big part of what she is doing is sitting in as my subject. She’s very comfortable in front of the camera, awesome at taking direction and is great at helping me give these images that final pop. I’m lucky that Whit is super patient, and will generally participate in any of the ideas I have – there have been some moments that she hasn’t been too thrilled.
I’ve cut it from the series at this point, but early on, day four or five of isolation I decided to light my hand on fire – she wasn’t stoked on that for obvious reasons. You take the best precautions that you can, and there is a process to doing it as safely as possible, but she obviously wasn’t too thrilled about setting me ablaze inside of our apartment – which is very reasonable. She’s been really supportive, whether she is involved in the shoot or not.
Aaron DuRall
What is the post-processing process like for you?
It’s gotten more involved as the project has gone on. I was never big on post-cleanup and retouching, but I’m actually starting to enjoy it. These were skills that I didn’t have the best grip on going into isolation, and when I come out of this situation I feel like I’m going to have a lot more skills that are applicable to my freelance career.
Some of it is simple: removing artifacts from the backdrop and making sure that it has a consistent smooth look. The Invisible Man photo required a lot of compositing. I had to mask myself out of that and then I had to take additional photos of the inside of the collar of my shirt, the inside of my sleeves, the insides of my shoes and my beanie so that when I inevitably erased myself from this photo those things would be filled in and it would look authentic.
It’s been more post-processing than I’m used to, but I’m not mad about it. These projects are taking up a good amount of my day. I wake up, I spend a couple of hours tinkering, I spend about an hour shooting it and then I’ll spend about two hours retouching and editing.
I’ve felt like I’ve broken out of a shell and have started creating work that is so far from the body of work that I generally live within
What have some of your favorites from the series been so far?
I feel like each new day provides a new favorite, honestly. The ones that appeal to me the most are the ones that have some kind of erotic or sexual connotation to them. I’m primarily a portrait and documentary photographer, and so this has been really exciting, creatively speaking. I’ve felt like I’ve broken out of a shell and have started creating work that is so far from the body of work that I generally live within. Lots of color, lots of punch, lots of heavy shadows. These are things that I never really did before. I love them all, but I’m drawn most to the ones that have a subversive and sexual feel to them.
Why was it important for you to take such a different approach with this project?
I could have gone into this and taken a documentary approach, I did at first, but I think everyone is acutely aware of how scary this situation is – at least in New York. I would rather create an escape and give people a distraction from this, as opposed to creating something somber that is predicated on the weight of this moment.
I think it’s been great for my mental well-being, has kept me focused and kept me optimistic. Based on the feedback I’ve been getting online, it appears that this work is something that other people enjoy as well, and that’s the cherry on top for me. I make this work to make myself feel better, and if it’s somehow making someone else feel better that’s cool and I am lucky for that.
The post Review: Struman Optics Cinematic Lenses for Smartphones appeared first on Digital Photography School. It was authored by Lee Herbet.
The argument of whether smartphones can take good photos or not has been settled – they can! In this article, we are going to have a look at a set of lenses for smartphones from an Australian company, Struman Optics. While there are many lenses for smartphones on the market, I found a manufacturer that many, including me, had not heard of. Read on to find out how they perform.
I remember Scott Bourne once said on a podcast that when he was shooting a wedding, he had an “Uncle Bob” turn up with a “nicer camera” than his DSLR. And no matter what camera “Uncle Bob” was using, Scott could use his iPhone and still take better images. This was because Scott was a professional photographer with 30 years’ experience, and “Uncle Bob” was, well, “Uncle Bob.”
I totally agree with Scott’s sentiment. It’s the skills and years of experience behind the camera, rather than the camera itself that creates a beautiful image.
Having said that, thanks to the computational power of our smartphones these days, that gap is narrowing.
So, the next stage in this photographic evolution is what accessories we use to make our images from our phones even better.
Shot on iPhone 11 Pro with Struman 18mm wide lens
What are smartphone lenses?
In this article, I want to focus on a set of smartphone lenses I have been testing from Struman Optics. I’ve been trying out various brands for years now to either give me a bit more zoom, a wider shot, or the ever-fun macro function. They were always okay, but not optically amazing.
In the last 3-4 years, that’s changed with some really great glass coming out for smartphones. Unfortunately, you always get what you pay for, so these better lenses do cost a bit more than the cheaper ones we’ve seen over the years. But they’re still not going to break the bank.
The lenses that I’ve been testing over the last two months are Struman Optic’s Cinematic Wide, Cinematic Portrait, and Cinematic Macro lenses.
Struman Optics do make more cost-effective lenses that are more suited to purely photography, but since I am primarily a filmmaker, I got the Cinematic trifecta. Of course, they are great for photos too.
The wide is an 18mm f1.8 equivalent, and the portrait lens is 70mm f1.8 equivalent.
All three lenses attach via what has become a standard screw-on back. The portrait and wide lenses also have a 37mm front, which means you could actually attach standard filters such as a Circular Polarizer or Neutral Density filter.
What’s in the box
Before I go into some of the individual features of the lenses, let’s first look at what they come with. They each come with a travel pouch, cleaning cloth, and phone adapter. Struman Optics do make phone cases that allow you to screw your lens directly on too. I went with that option, but I really like that they have the phone adapter included. That means you can use the lens with any phone or, even dare I suggest it, tablet. (Please people, use your phones as cameras before you use your tablets.)
Using the adapter, which is kind of like a clip, means you could also use the lenses on the front camera of your phone for better quality selfies. ?
Build quality
The lens cases are nicely made. They are not too thick and have a good rubber grippy feeling. The thing that stands out for me is that the screw connection that you screw the lenses into seems to be solid metal. This is good, as I’ve had lens cases from other brands made of less sturdy stuff that breaks on me when trying to attach a lens. This happened to me while I was on a trip to Hong Kong, which meant I couldn’t use those lenses for the rest of the trip. Going by the feel of the Struman cases, it’s unlikely to happen.
Struman Optics lens case
The build of all the lenses is top-notch. They feel solidly made and have an aluminum casing. I appreciate that they come with a back cap as well as a front lens cap. I am not sure about the red ring around them, which I guess is a nod to bigger lenses with red rings. But most people I’ve shown them to have really liked it, so what do I know about design?
Why use them?
One of the first things you may be thinking is, “why would I need these now that most new phone cameras come with 3 lenses: an ultra-wide, a wide and telephoto lens?”
Well, not all lenses are created equal.
For example, the ultra-wide on the iPhone 11 Pro doesn’t feature the pretty amazing low light feature that the wide and telephoto lenses have. So, if you want to take an ultra-wide shot in the dark, you could put the Struman wide on your wide, get the advantage of the low light feature and still have an ultra-wide image.
In the same way that sometimes the tele just isn’t tele enough, adding the portrait lens to the tele gives you even more reach.
One thing to note is that if your phone has an ultra-wide lens, then the lenses will most likely not cover the entire lens as it’s just too wide. You can get some interesting-looking shots with the lenses on the ultra-wide, though, so it may be worth a try!
Shot on iPhone 11 Pro with Struman 18mm wide lens
Finally, that brings us to the macro lens. This has a feature that I’ve asked Struman Optics to add to all of their Cinematic lenses. The macro lens has a focus ring!
Struman Optics 22-82mm Macro lens for smartphones has a focus ring so that you can “pull focus.”
Again, you may be asking, “what do you need a focus ring for when the autofocus on the smartphones is so good?” Well, that’s true, but your autofocus won’t always focus on the thing you want to focus on when you’re super close, such as with a macro shot.
Shot on iPhone 11 Pro with Struman Macro lens
The reason I’d love to have the focus ring on the other two lenses is for when I want to a focus pull when making videos. That’s when you adjust your focus from one subject in your shot to another.
Autofocus can do that, but you can’t tell the autofocus how fast or slow to do it, so having that focus ring would be great for that type of creative control in video.
One thing to be aware of is that if your phone has more than one lens, then you may have to use a third-party photo app to force the camera to use the phone lens that has your external lens attached. A few of these apps are Procam, Halide and Manual – all have their pros and cons.
Both the wide and portrait cinema lenses are $ 249 AUD and the macro is $ 199 AUD. Struman Optics also has a series of cheaper lenses focused more on pure photography. They are available from their website www.strumanoptics.com.au, and, yes, they ship all over the world.
Have you used these or any other lenses for smartphones? How have you found them? Let us know in the comments section!
Shot on iPhone 11 Pro with Struman zoom lensShot on iPhone 11 Pro with Struman 18mm wide lens
The post Review: Struman Optics Cinematic Lenses for Smartphones appeared first on Digital Photography School. It was authored by Lee Herbet.
DisplayPort logo on a USB Type-C device notes VESA certified DisplayPort Alt Mode support.
The next-generation USB protocol will combine its functions with those of a DisplayPort, allowing users to run extreme resolution monitors or to connect and power external devices from the same port type.
The Video Electronics Standards Association (VESA) has worked alongside the USB Implementers Forum (USB-IF) to develop the DisplayPort Alternative Mode standard which ‘provides seamless interoperability with the new USB4 specification.’ This new functionality means the new USB 4 standard will be able to take on all the roles of the forthcoming DisplayPort 2.0 standard.
DisplayPort Alt Mode will allow users to not only run high-resolution monitor from a USB-C socket but also transfer data and deliver power to external devices
As reported in July 2019 DisplayPort 2.0 will provide communication speeds of up to 70 Gigabits per second (Gb/s) to allow users to run monitors with resolutions up to 16K at 60fps, as it will offer three times the current data rates of DisplayPort 1.4.
The new USB 4 standard, however, will allow up to 80 Gigabits per second, which DisplayPort Alt Mode will be able to take advantage of via the USB Type-C connector. As much as these speeds are exciting for those interested in super-resolution monitors that don’t yet exist, for the majority, it means being able to run multiple high-resolution screens and data-hungry devices at the same time, all without sacrificing frame rates.
We should expect to see devices supporting these new standards by 2021, according to the press release. For more information see the DisplayPort and USB-IF websites.
Press release
VESA Releases Updated DisplayPort™ Alt Mode Spec to Bring DisplayPort 2.0 Performance to USB4™ and New USB Type-C® Devices
The Video Electronics Standards Association (VESA®) today announced that it has released version 2.0 of the DisplayPort™ Alternate Mode (“Alt Mode”) standard.
DisplayPort Alt Mode 2.0 provides seamless interoperability with the new USB4™ specification published by the USB Implementers Forum (USB-IF), and fully enables all of the features in the latest version of the DisplayPort standard (version 2.0) through the USB Type-C® (USB-C) connector. With DisplayPort Alt Mode, the USB-C connector can transmit up to 80 Gigabits per second (Gbps) of DisplayPort video data utilizing all four high-speed lanes in the cable, or up to 40 Gbps with simultaneous SuperSpeed USB data delivery. VESA anticipates first products incorporating DisplayPort Alt Mode 2.0 to appear on the market in 2021.
DisplayPort 2.0, which was introduced in June 2019, provides up to a 3X increase in data bandwidth performance compared to the previous version of DisplayPort, as well as new capabilities to address future performance requirements of displays. These include beyond-8K resolutions, higher refresh rates and high dynamic range (HDR) support at higher resolutions, improved support for multiple display configurations, as well as improved user experience with augmented/virtual (AR/VR) displays, including support for 4K-and-beyond VR resolutions. Featuring the highly efficient 128b/132b channel coding shared with USB4, DisplayPort 2.0 delivers a maximum payload of 77.37 Gbps across four lanes (up to 19.34 Gbps per lane)—supporting ultra-high display performance configurations such as an 8K (7680×4320) display with 60 Hz refresh rate with full-color 30 bpp 4:4:4 HDR resolution uncompressed, and 16K (15360×8460) 60 Hz display with 30 bpp 4:4:4 HDR resolution with compression. With the release of DisplayPort Alt Mode 2.0, all of these high-performance video capabilities are now available to the USB ecosystem.
“VESA’s updated DisplayPort Alt Mode spec includes a number of under-the-hood developments—including updates to interface discovery and configuration as well as power management—to ensure seamless integration with the USB4 specification,” stated Craig Wiley, senior director of marketing at Parade Technologies, and VESA board member and DisplayPort Alt Mode sub-group leader. “This major undertaking, which was several years in the making, could only be made possible through the combined efforts of VESA and the USB-IF. Through our latest collaboration with the USB-IF, VESA is now taking care of everything related to high-performance displays over USB-C, whether through a native DisplayPort or USB-C connector, or through tunneling of DisplayPort over the native USB4 interface. DisplayPort is also tunneled through the Thunderbolt interface, making it the de facto video standard across PC and mobile displays.”
“USB Type-C is becoming the connector of choice in notebooks and mobile solutions. With the new DisplayPort Alt Mode 2.0 specification, USB Type-C now delivers compelling single-connector solutions for docking, gaming, AR/VR HMDs, and professional HDR displays that combine 80 Gbps of video bandwidth and other important features of DisplayPort 2.0 with the transport of USB data and power delivery,” said Syed Athar Hussain, VESA board vice chairman and display domain senior fellow, AMD.
“Intel’s contribution of the Thunderbolt™ PHY layer specification to VESA for use in DisplayPort 2.0 was a significant milestone, and it underpins this new DisplayPort 2.0 Alt Mode specification to provide data rates up to 20 gigatransfers per second,” said Jason Ziller, general manager, Client Connectivity Division at Intel. “This contribution ensures great user experiences by enabling today’s most versatile port with the highest performing display capabilities.”
The Mavic Air 2 is a great all-around drone for almost anybody, but how are its photos? We shot Raw and JPEG images at both 12MP and 48MP, as well as ‘SmartPhotos’ that promise improved image quality. Compare the results in our sample gallery.
Did you miss our full review of the Mavic Air 2? You can read it here.
You must be logged in to post a comment.