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Archive for November, 2020

DPReview TV: We answer your questions about how to start a YouTube channel

05 Nov

Following our DPReview TV video series ‘How to start a YouTube channel’, we received lots of follow-up questions from viewers, so Chris and Jordan sat down to answer some of the most common ones.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • How important is it to publish consistently?
  • How much time does it take to shoot an episode?
  • How do you get things like health insurance?
  • How do you know what videos will succeed?
  • Should you include humor/personality?
  • Video editing speed round!
  • Should you focus on making videos for yourself or your audience?
  • Chris is cold

Articles: Digital Photography Review (dpreview.com)

 
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DJI’s Mavic Mini 2 now has 4K/30p video, Raw photos, OcuSync 2.0 and more

05 Nov

DJI has unveiled the DJI Mavic Mini 2, a second-generation compact drone that keeps the same look as its predecessor while improving performance in key areas.

On the outside, the DJI Mavic Mini 2 looks almost indistinguishable from the Mavic Mini. It features the same 249g weight (1g under the 250g weight limit that requires you to register the drone with the United States Federal Aviation Authority (FAA)), the same white livery and the same fold-up design that makes is small enough to fit in the palm of your hand.

Inside, however, the drone has received a number of updates, both in hardware and software. At the heart of the camera onboard the Mavic Mini 2 is a 1/2.3-inch sensor that can capture 12-megapixel photos and 4K/30p video at 100Mbps. In addition to the new 4K video capabilities, the Mavic Mini 2 can also capture Raw photos—something the Mavic Mini wasn’t capable of. When shooting video in 1080p, users can now zoom in 2x with lossless quality and 4x via digital zoom.

The Mavic Mini 2 now has DJI’s OcuSync 2.0 transmission technology, which increases transmission range by 150% compared to the Mavic Mini for a maximum line-of-sight range of 10km (6.2m). Upgraded motors in the Mavic Mini also improve the flight time, acceleration, top speed and wind resistance (capable of withstanding winds up to 38.6kmph (24mph).

No new sensors have been added, but that means the Mavic Mini 2 retains the basic vision and positioning sensors on the bottom of the device to help map out the terrain for the assisted landing function. Likewise, DJI’s array of safety features, including geofencing, Return to Home and Altitude lock are present.

The Mavic Mini 2 comes with a number of pre-programmed shooting modes for quick setting changes that make it easier to track subjects and apply movements with minimal user input. Below are the descriptions for each of the pre-programmed shooting modes:

  • QuickShots: Pre-programmed movements and image capture modes.
    • Dronie: DJI Mini 2 flies backward and upward, with the camera tracking your subject. Set a height limit of 40, 60, 80, 100, or 120 ft.
    • Helix: DJI Mini 2 flies upward and away, spiraling around your subject. Set a height limit of 40, 60, 80, 100, or 120 ft.
    • Rocket: DJI Mini 2 flies straight up into the air with the camera pointing downward following your subject. Set a height limit of 40, 60, 80, 100, or 120 ft.
    • Circle: DJI Mini 2 will circle around your subject at a constant altitude and distance.
    • Boomerang: DJI Mini 2 flies a boomerang-like oval flight path around your subject, starting and stopping video in the same place.
  • Panoramas: Capture a wider perspective with select pano modes.
    • Sphere: DJI Mini 2 automatically captures twenty-six images and stitches them together for a crystal-clear image.
    • 180°: Captures seven photos for sweeping landscape images.
    • Wide-Angle: Captures a wide 3×3 image consisting of nine images.
  • Image modes: Different photo modes for different scenarios.
    • AEB Triple Shot: Auto Exposure Bracketing (AEB) takes three images of varying exposure and merges them for a vivid image. This can be edited further to bring out a High Dynamic Range (HDR) image in post-processing.
    • Timed Shots: Give yourself a few extra seconds before taking that photo with timed shots.

Additional accessories available for the Mavic Mini 2 include a 360-degree propeller guard, a DJI mini bag, a charging display case, a DIY creative kit for customizing the look of the Mavic Mini and a snap adapter for attaching an LED screen to the top of the drone.

The DJI Mavic Mini 2 surrounded by its optional accessories.

The basic DJI Mavic Mini 2 drone is available to purchase from the DJI online store and authorized DJI retailers for $ 449 while the Fly More Combo, which includes the Mavic Mini 2, three batteries, a charging hub, a carrying case and a remote control for $ 599. You can read our full review as well:

DJI Mavic Mini 2 Review

Articles: Digital Photography Review (dpreview.com)

 
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Review: the DJI Mavic Mini 2 is the perfect drone for beginners

05 Nov

DJI Mini 2
$ 449 | DJI.com

A little over a year ago, DJI introduced the Mavic Mini. Its most notable feature was a takeoff weight that fell below the threshold of 250g (0.55 lbs). Now DJI is back with the Mini 2, which addresses the most important requests from users and still checks in at 249g. In the process, the Mavic branding has given way to a shorter name: the DJI Mini 2.


The original Mini was packed full of features and easy to operate; the DJI Fly app was introduced at the same time with a slick, pared-down and intuitive interface. But the drone also came with limitations that frustrated users, including spotty transmission and the ability to only capture JPEG files were frequently cited shortcomings.

The Mini 2 addresses these concerns and more. Users will pay slightly more for a drone with a higher quality camera that can record up to 4K/30p video, capture Raw+JPEG files, and features DJI’s robust OcuSync 2.0 transmission technology instead of relying on Wi-Fi. So, is it worth upgrading from the original Mini? Let’s find out.

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View our DJI Mini 2 sample gallery

Key Features

  • 249g total weight
  • OcuSync 2.0 transmission
  • 1/2.3″ CMOS image sensor
  • 24mm equivalent lens (84º FOV)
  • F2.8 aperture (fixed)
  • 12MP photo resolution
  • JPEG + RAW images
  • 4K/30p and 1080/60p video (100 Mbps bit rate)
  • Up to 4X (2X lossless) zoom
  • 31-minute flight time

Let’s start by comparing the Mini 2 to its predecessor, the Mavic Mini. Though some specifications are similar, those that have changed are significant.

Mavic Mini Mini 2
Takeoff weight 249g 249g
Flight time 30 minutes 31 minutes
Drone size (Folded) 140x81x57 mm 131x81x58 mm
Camera Sensor 1/2.3-inch CMOS, 12MP 1/2.3-inch CMOS, 12MP
Max. Video Resolution 2.7K/30p @ 40 Mbps 4K/30p @ 100 Mbps
Lens F2.8, FOV 83º, 35mm equivalent at 24mm F2.8, FOV 83º, 35mm equivalent at 24mm
Photo File Type JPEG JPEG + RAW
Video File Type .MP4 .MP4
Zoom Capabilities None 2X @ 4K, 2X @ 2.7K, 4X @ 1080p
Return to Home No Yes
Transmission Wi-Fi OcuSync 2.0
Maximum Distance 4km 10km
Image Modes Timed Shots AEB (Auto Exposure Bracketing) Triple Shot, Timed Shots

Not much has changed when it comes to the overall design of the Mini 2. Its body is compact, its propellers need to be screwed in, the legs are foldable, the battery and MicroSD slots are located in the rear, and the vision positioning sensors are placed on the bottom of the aircraft. If not for the ‘4K’ lettering imprinted on the camera and a ‘Mini 2’ logo on the top left-hand arm of the vehicle, it would be difficult to tell them apart.

Registering the Mini 2 with the FAA, or other regulatory agencies with a similar 250g cut-off isn’t required

Also worth noting: the Mini 2’s 249g weight doesn’t exempt anyone from the Federal Aviation Administration’s (FAA) rules and regulations for operating unmanned aircraft. It just means registering a Mavic Mini with the FAA, or regulatory agencies in other countries with a similar 250g cut-off isn’t required.


Camera

The Mini 2 has a 1/2.3″ CMOS sensor with a 12MP camera, much like the original Mini and Mavic Pro. The camera has a 24mm (equiv.) fixed-aperture F2.8 lens with an 83º FOV, and an ISO range of 100-3200. What many buyers will appreciate this time around is the ability to capture Raw images in addition to JPEG.

The camera on the Mini 2 fits into an impressively small, but effective, 3-axis gimbal.

For those not familiar with the Mavic Mini and looking at a Mini 2 for the first time, you’ll be impressed with the 3-axis gimbal DJI managed to place on such a tiny machine that easily fits in the palm of your hand. The footage captured is typically smooth and stable. DJI also claims this particular drone can withstand wind speeds up to 24mph, thanks in part to upgraded motors.

For those looking at a miniature drone for the fist time, you’ll be impressed with the 3-axis gimbal

A useful feature that seasoned photographers will surely make use of is Auto Exposure Bracketing (AEB); the Mini 2 can take up three shots, one underexposed, one normal, and one overexposed. While DJI says the shots are automatically stitched together, I found all three appeared separately on my memory card. Either way, they can be combined in post-processing for an HDR image.

The original Mavic Mini could only capture up to 2.7K/30p footage at 40 Mbps. The Mini 2 now allows you to record in resolutions up to 4K/30p, 2.7K/30p, and 1080p/60p at 100 Mbps. You can also zoom in on subjects while recording. Both 4K and 2.7K allow up to 2X zooming, and 1080p resolution allows you to hone in on a subject up to 4X, though the quality only remains lossless at 2X zoom.

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The Controls

DJI decided it was time to do away with the remote from the first Mavic Mini. Replacing it is a remote that replicates the design and functionality of the controller on the Mavic Air 2. This upgrade makes sense for a lot of reasons; it’s easier to hold and despite the fact that I still find it challenging at times to clamp my smartphone in, its placement above rather than beneath the remote makes viewing the display screen way more convenient.

The remote for the Mini 2 follows the trend of the new Mavic Air 2, mounting a smartphone above the control sticks instead of below for improved visibility.

The front of the remote contains a ‘Return to Home’ button on the left-center area. This is a useful feature for beginner pilots who may not be comfortable with flying back to the home point – especially when battery life is running low. In the center is a switch that allows you to navigate between three flight modes – ‘Cine,’ which slows the drone down to 13 mph for cinematic-type footage, ‘Normal’ (22 mph), and ‘Sport’ which lets you fly up to 36 mph. To the right is the ‘Power’ button. I’m a fan of this simple layout as it gives you instant access to necessary commands.

An ‘Fn’ button on the top-left-hand corner activates an auxiliary light that’s useful for visibility when landing in poorly lit scenarios. On the upper-right-hand side is the ‘Photo/Video toggle’ button that allows you to instantly switch back and forth between the two modes. A gimbal wheel on the top-left-hand corner allows you to tilt the camera up and down while the top-right-hand corner contains a shutter button for taking images or recording video clips. The joysticks can be unscrewed and stored on the bottom of the remote for easier transport.

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The DJI Fly app

With the release of last year’s Mavic Mini, DJI also introduced the Fly app. It’s cleaner, powers the Mavic Air 2, and is more streamlined than DJI’s GO 4 app – which is compatible with more advanced drones including the Phantom 4 and Mavic 2 series. A top progress line allows you to view how much battery life is left on the drone, and the control panel can be accessed in the upper-right-hand corner.

The DJI Fly app is more streamlined than the DJI GO 4 app used with DJI’s more advanced drones, and offers a good balance of simplicity and control for beginners.

On the left-hand side, above the shutter button, is a rectangular photo icon. This pulls out a menu that serves as access to all the features you need to capture imagery. Starting from the inside, a menu displaying the options of Photo, Video, QuickShot, and Pano appears. From there, you can customize your settings for each mode.

On the photo end, you can select regular, AEB, and Timed Shots. Video pulls out to a menu that allows you to select resolution and frames-per-second. When you start recording, a zoom button displaying either ‘2X’ or ‘4X’ depending on the resolution appears next to the Shutter button on the right-hand side. You can also slide it up and down for smoother zooming. It’s easy to use even while recording.

This sample reel from the Mini 2 includes 4K, 2.7K and 1080 footage, as well as 2x and 4x zoom shots.

The Mini 2 features five different options for QuickShots versus the original Mini’s four. As before there’s the “Dronie”, which flies up to 120 feet above its target, the “Helix” which spirals at a distance up to 120 feet as well, the “Rocket”, and the “Circle”. The latest addition, “Boomerang”, flies away from and back to the subject in an oval path. Like the original Mini, there aren’t any Intelligent Flight modes, like ActiveTrack or Point of Interest, available.

Finally, there are three different options for creating a panorama. “Sphere”, which resembles a tiny planet, captures twenty-six images. “180º” captures seven images for a landscape perspective while wide captures a 3×3 tile consisting of nine images. Unlike the Mavic Air 2, there isn’t an option to create a vertical panorama.

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Other important upgrades

There are two other significant upgrades to the latest Mini beyond the camera: upgraded motors and the addition of DJI’s OcuSync 2.0 transmission technology.

Regarding the motors, the Mini 2 is no longer ‘quite noisy for such a little machine,’ as I stated in my review of the original Mavic Mini, and also accelerates at a faster pace when taking off and in the air, especially in windier conditions.

As for the transmission tech, the Mini 2 doesn’t rely on Wi-Fi communication. With OcuSync 2.0, dual-frequency transmission automatically alternates between channels to prevent signal interference between the remote and drone. DJI claims connectivity up to 10km (6.21 miles). While that’s impressive, it is important to keep the drone within your visual line of sight at all times.

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What’s it Like to Fly?

I was impressed with the original Mavic Mini and am even more delighted with the upgrades that the Mini 2 boasts. The updated motors really make all the difference as far as general noise and acceleration are concerned. Lately, it’s been windy where I live, and the drone handled gusts quite well, delivering smooth footage and crisp images.

What I enjoy most about this entry-level drone is how compact it is. DJI sent me the Fly More combo ($ 599), which also includes three batteries, a charging hub and a case. Everything, including the three-battery charger, fits neatly into the case and all components weigh a little over a pound. I found myself taking off unexpectedly in places, on impromptu shoots, where I may have hesitated with larger drones that needed the propellers snapped on. It feels effortless to launch and fly.

I was impressed with the original Mavic Mini and am even more delighted with the upgrades that the Mini 2 boasts.

The only minor snag I encountered is that the gimbal would sometimes flip back up slightly if I pointed it straight down. It may be an issue with the review unit, but I was a bit annoyed when I had to readjust the camera to achieve a top-down shot.

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Who’s if For?

The Mavic Mini 2 is an excellent drone for hobbyists and beginners alike. One particular line that resonates is that this is ‘a drone that grows with you.’ The original Mini had its limitations with JPEG-only imagery, 2.7K video footage, and a Wi-Fi signal. DJI took the logical next steps to ensure that anyone purchasing the Mini 2 could accomplish a lot more with their investment.

That being said, with the recent release of the Mavic Air 2, which retails at a few hundred dollars more than the Mini 2, it’s clear that Intelligent Flight modes, which allow you to track and follow subjects, won’t ever be included. If you’re looking to upgrade to a drone with a similar camera that includes those capabilities, can produce higher-quality .MOV film clips, shoot hyperlapses, and even simulate FPV flight, all while offering obstacle avoidance, you will need to upgrade. Serious photographers may even want the 1″ CMOS sensor that the Mavic 2 Pro offers.

One final thing I found odd for drone aimed at beginners is that images taken for panoramas aren’t stitched together, or synthesized, in the aircraft. This is something the Mavic 2 series and Mavic Air 2 performs automatically. While you can pull a completed version of your pano off the media library in your Fly app and instantly share it to social channels, the quality is inferior compared to the imagery from your memory card, which stores images from each panorama in a separate folder. This strikes me as a strange move on DJI’s part since most beginners may not be ready or willing to do the extra work in post-processing.

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Final Thoughts

DJI took an excellent initial concept for a beginner-level drone, listened to feedback from the community, and made some significant improvements. Despite some minor issues, the Mini 2 is a versatile little machine that is easy and convenient to transport and packs a number of sophisticated features into a small package. Mavic Mini owners will definitely want to upgrade and for those first-time buyers, the extra $ 100 you’ll spend is well worth it.

What We Like:

  • 4K camera with zoom capabilities
  • Raw photo capture
  • OccuSync 2.0 transmission
  • Quieter motors than predecessor

What We Don’t:

  • No obstacle avoidance sensors
  • No .MOV files
  • Gimbal can be jerky when facing directly downward

Articles: Digital Photography Review (dpreview.com)

 
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Nikon brings its Webcam Utility out of beta, adds support for macOS computers

05 Nov

Nikon has released the first non-beta version of its free webcam utility for macOS and Windows computers.

Back in July, Nikon announced it was working on a webcam utility that would turned select Nikon cameras into webcams with compatible videoconferencing and streaming software. In August, they followed through on that promise with the release of a beta utility for Windows 10 users. Nikon confirmed a macOS version was on the way, but that has yet to be seen—until today.

In addition to being the first non-beta version of the app for Windows 10 users, Webcam Utility Software version 1.0.0 is also available for macOS computers.

As with previous versions of the software, all you need is a compatible Nikon camera, a USB cable for plugging the camera into your computer and a videoconferencing or streaming app that supports external webcams, such as Facebook Messenger, Google Meet, Skype, Zoom, OBS and others. Below is a full list of compatible cameras:

  • Z7
  • Z6
  • Z5
  • Z50
  • D6
  • D850
  • D780
  • D500
  • D7500
  • D5600

You can download Nikon’s Webcam Utility Software version 1.0.0 for macOS and Windows 10 computers on Nikon’s website. Additional information and a full list of compatibility notes can also be found on Nikon’s website.

Articles: Digital Photography Review (dpreview.com)

 
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Canon’s new ML-100, ML-105 industrial cameras can reach ISO 4.5 million

05 Nov

Canon has announced the release of the ML-100 and ML-105 Multipurpose Cameras, a pair of industrial-use cameras that offer extremely low light imaging capabilities in small, modular form factors.

Both the ML-100 and ML-105 use a next-generation 19um 35mm full-frame CMOS sensor. The sensor can capture Full HD (1080p) with a subject illumination of less than 0.0005 lux when set to their maximum 75dB gain setting (equivalent to roughly 4.5M ISO).

ML-100 ML-105

The two units are differentiated by lens mounts and video output configurations, resulting in four individual models. The ML-100 uses a CoaXpress terminal that produces 12-bit Raw video with a ‘region of interest’ feature that can bump up the frame rate to 164 frames per second at 720p. The ML-105 uses a 3G/HD-SDI video terminal and is capable of TCC 4:2:2 10-bit output powered by Canon’s Digic DV4 image processor. The two versions can be ordered with either an EF or M58 mount.

Although Canon doesn’t specifically mention it, these cameras appear to be, at least in spirit, the successors to its industrial-use ME20F-SH camera, which currently retails for around $ 20K.

The M58 mount version of the ML-100 multi-purpose camera is set to be released at the end of December 2020, while the three other models are scheduled for an April 2021 release date. No pricing information has been shared at this time.

Articles: Digital Photography Review (dpreview.com)

 
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Kodak Professional Select’s AI-powered virtual assistant speeds up image culling

05 Nov

Kodak has introduced a new application, Kodak Professional Select. The app relies upon proprietary artificial intelligence to cull hundreds to thousands of images based upon technical attributes and aesthetic qualities.

Kodak states that technical attributes include color, focus, brightness, exposure, contrast and sharpness. With respect to aesthetic qualities, the AI looks for eyes being open, smiles and centered faces in your images. Kodak Professional Select then uses this data to select your best images and showcases them in an ‘easy-to-use interface.’ Importantly, the user maintains total control over which images are included in a final selection. The AI has been designed to drastically speed up this process. Kodak promises that ‘image culling is completed in minutes.’

Along with artificial intelligence, Kodak Professional Select allows the user to tag images with keywords, adjust the orientation, add star-based ratings, organize your files and more. You can learn more about Kodak Professional Select and see it in action in Kodak’s video below.

As you can see in the video above, to use Kodak Professional Select you must first sign up and install the required desktop application. This app interacts with Kodak’s cloud-based software. You then select and upload your images, which the software resizes for faster uploading and processing on the cloud. Once your images are uploaded, Professional Select goes to work and analyzes each image, ranking, and organizing your best images from the batch.

You can adjust how Kodak Professional Select prioritizes its evaluation criteria. Further, you can select how many images you desire from the batch. For example, you can prioritize exposure and sharpness and then select that you will want to keep 20 images from a batch of 500.

Kodak Professional Select judges images based upon multiple properties, including color, focus, contrast, and how the faces look in your images. Click to enlarge.

Once the analysis is complete, you will be able to adjust score criteria, add/remove selections, move images between groups, review images that the software determined were nearly identical and more. At this point, you can adjust the orientation of images, rate photos and add keywords. Once you’re all set with your selection, you export your selected images for the next step in your editing workflow.

Kodak Professional Select is compatible with Windows 10 and macOS Mojave (10.14.4) or newer and requires an internet connection. The following file formats are supported: DNG, JPG, RAW, TIF, CRW, CR2, CR3, RAF, 3FR, FFF, ARW, KDC, MRW, MOS, IIQ, NEF, NRW, ORF, RW2, PEF, X3F, SRF.

With its AI, Kodak Professional Select promises to make culling your images much easier and faster than traditional manual analysis. A free trial is available to try the software for yourself.

If you’d like to try Kodak Professional Select to see if it will fit in your workflow and speed up your image culling, there is a free 30-day trial available. After this trial, the ‘virtual assistant’ solution is available in monthly or annual subscriptions. Kodak Professional Select costs $ 29.95 USD per month. If you’d prefer a 12-month subscription, you pay $ 299.95, the equivalent of 10 months. To download the trial, head to Kodak Professional Select’s website.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic firmware shares more features across S1, S1R, S1H and S5

04 Nov

Panasonic has announced an extensive series of feature-enhancing firmware updates for its S1, S1R, S1H and S5 full-frame mirrorless cameras, along with the G100 Micro Four Thirds model. All five updates will become available on November 24, 2020.

The updates vary between models, often adding features and improvements from the other cameras. For example, the boost in AF performance for the S1H, S1R and S1 brings them inline with the performance of the S5. Meanwhile, the S1R, S1 and S5 gain the ability to specify shutter speed and gain (rather than shutter speed and ISO), an option originally reserved for the S1H.

Notable improvements include the S1R gaining 10-bit HLG capture and 4:2:2 10-bit output of 50p and 60p 4K footage over HDMI.

The S5 gains a series of DCI ‘cinema 4K’ (4096 x 2160) shooting modes. The S5 also gains the ability to stream Raw footage, which can be encoded as ProRes RAW using an Atomos external recorder. The S5 also gets Master Pedestal (black level) control and a Vector Scope display mode.

S1 users, in addition to the promise of firmware v1.6 in November, will gain a series of 12-bit Raw video output options, in a v2.0 update promised for 2021. This will also add the ability to explicitly control the Dual ISO behavior, along with a host of 10-bit internal capture modes which were previously only available on the S1H. This will include V-Log options for users who have bought the SFU2 Log upgrade.

Panasonic Announces Firmware Update Programs for the LUMIX S1H, S1R, S1, S5 and LUMIX G100 and Further Upgrades for the LUMIX S1 with a Future Firmware Update

Newark, NJ (November 4, 2020) – Panasonic is proud to announce the release of
firmware update programs for DC-S1H (Ver.2.2), S1R (Ver.1.6), S1 (Ver.1.6) and S5
(Ver.2.0) for the LUMIX S Series full-frame mirrorless cameras and for DC-G100 (Ver.1.1)
LUMIX G Series MFT(Micro Four Thirds) mirrorless camera on November 24, 2020.
Panasonic is also pleased to announce the future firmware update exclusively for
S1(Ver.2.0) to further enhance the functions and performance in the first half of 2021.

  1. Firmware Update Programs to be released on 24 November 2020
    DC-S1H Firmware Version 2.2 DC-S1R Firmware Version 1.6
    DC-S1 Firmware Version 1.6 DC-S5 Firmware Version 2.0

    • Improved AF performance S1H S1R S1
      LUMIX’s state-of-the-art AF technology and performance of the new LUMIX S5 will also be available on the S1R, S1H and S1. The upgraded AF notably excels in detection of human and its movement. In addition to the eye, face, body the head is also separately recognized by real-time detection technology to provide even more precise focusing. The camera keeps tracking the subject person even if he/she moves quickly, turns his/her back to the camera, tilts his/her head or moves far away from the camera. In addition, improvements to the DFD technology has enhanced AFC, which also enables users to keep tracking small or fast-moving subjects to capture them in crisp focus. Users can take these advantages in both still and video recording.
    • Human/Animal recognition can be set ON or OFF when the AF mode is set to [1-Area] or [1-Area+]. S1H S1R S1 S5
    • [AF+MF] can be used during video recording S1H S1R S1 S5
    • Recognition performance during video recording in V-Log has been improved. S1H S1 S5
    • [SS/Gain Operation] function has been added. S1R S1 S5
    • [Red REC Frame Indicator] is available. S1R S1
    • It is possible to play back vertical videos vertically. S1H S1R S1
    • 4K video files can be transferred to a smartphone via Wi-Fi. S1H S1R S1
    • [Horizontal Image Flip(Monitor)] / [Vertical Image Flip(Monitor)] enables to reverse or not to reverse the monitor image when the free-angle monitor is rotated. S1H S5
    • 5K (4992×3744) video recording in MOV is available. S1R
    • C4K (4096×2160) MOV can be recorded. S5

      5K 30p/25p/24p 4:2:0 10-bit LongGOP 200Mbps LPCM
    • [Like 2100(HLG)] has been added in [Photo Style] to support 10-bit HDR video recording. S1R
    • High-Resolution audio recording using an XLR Microphone Adaptor DMW-XLR1 is available and it can be controlled with [XLR Mic Adaptor Setting] menu. *MOV only S1R
    • [Luminance Level] function supports the 10-bit mode. S1R
    • 4K 60P/50P 4:2:2 10-bit video output over HDMI has been supported. S1R

      C4K 60p/50p 4:2:0 8-bit LongGOP 150Mbps LPCM
      C4K 30p/25p/24p 4:2:2 10-bit LongGOP 150Mbps LPCM
      C4K 30p/25p/24p 4:2:0 8-bit LongGOP 100Mbps LPCM
    • RAW Video Data output over HDMI has been supported. S5
      [5.9K] / [4K] / [Anamorphic (4:3) 3.5K] 12-bit RAW Video Data can be output over HDMI.
      The Apple ProRes RAW can be recorded on Atomos NINJA V.
      *All functions may not be available depending on the situation.
      *Software that supports Apple ProRes RAW is required to edit RAW video recorded with NINJA V.
      *Apply the LUT(Look up table) available on the following customer supports site to make the same color grading as V-Log/V-Gamut. ???
    • It is possible to display a Vector Scope. S5
    • [Master Pedestal Level] function has been added. S5
    • [L.ClassicNeo] and [L.Monochrome S] have been added to Photo Style. S5

    DC-G100 Firmware Version 1.1

    • The camera will be compatible with LUMIX Webcam Software (Beta).
    • [Horizontal Image Flip(Monitor)] / [Vertical Image Flip(Monitor)] enables to reverse or not to reverse the monitor image when the free-angle monitor is rotated.

  2. Firmware Update Program to be released in the first half of 2021 DC-S1 Firmware Version 2.0
    To meet the demands of users, the LUMIX S1 will continue to evolve. [5.9K] / [4K] /
    [Anamorphic (4:3) 3.5K] 12-bit RAW video data can be output over HDMI, thus, the RAW video data can be recorded on Atomos Ninja V*1 *2 . Also, 5.9K/C4K internal video recording, 4K60p/50p 4:2:0 10bit recording as well as Anamorphic mode and Timecode will also be available*2 . The firmware itself enables manual setting of Dual Native ISO.

*1 5.9K (5888×3312) 29.97p/25p, 4K (4128×2176) 59.94p/50p, Anamorphic 3.5K (3536×2656) /50p.
*2 To activate functions related to MOV and V-Log video recording, a Software Upgrade Key DMW-SFU2 (sold separately) is required. Users who already have DMW-SFU2 do not need to purchase extra DMW-SFU2.

Panasonic further addresses technology development and its achievement shall be applied not only to the new products but also to those already released via firmware update.

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Panasonic announces compact Lumix S 85mm F1.8 prime for L-mount

04 Nov

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Panasonic has announced the Lumix S 85mm F1.8 for L-mount. This compact lens has nine elements, two of which are ED glass that help control chromatic aberration, along with a nine-blade aperture for circular out-of-focus highlights. It has a minimum focus distance of 0.8m (2.6ft) and a maximum magnification of 0.13x.

The 85mm F1.8 is just 82mm (3.2″) long and weighs in at 355g (12.5oz). The lens is dust and moisture-resistant and Panasonic claims that it can function down to -10°C/+14°F. It’s designed to have the same size and control placement as Panasonic’s other upcoming L-mount primes (24/35/50mm), for easier use with things like gimbals.

The Lumix S 85mm F1.8 will be available in January for $ 599.

Press release:

A New F1.8 Large-Aperture Fixed Focal Length Lens for the LUMIX S Series

Compact, Lightweight Medium-Telephoto LUMIX S 85mm F1.8 (S-S85)

Newark, NJ (November 4, 2020) – Panasonic is pleased to introduce a new large-aperture medium-telephoto fixed focal length lens, the LUMIX S 85mm F1.8 (S-S85) that enhances portrait photography with its beautiful bokeh effect. Based on the L-Mount system for the LUMIX S Series full-frame mirrorless camera, Panasonic is going to release four F1.8 large-aperture lenses as previously announced, and this 85mm F1.8 is the first one. These four F1.8 lenses feature common size and position of control parts to provide practical advantage in use, for example, when the camera is on a gimbal, it is easy to exchange lenses quickly with minimum adjustment of connected gears. Filters can also be used in common thanks to the same diameter. Boasting high mobility realized by its compact size and light weight, the LUMIX S 85mm F1.8 is also suitable for stills.

Comprising 9 elements in 8 groups, the use of 2 ED (Extra-low Dispersion) lenses effectively suppresses both axial chromatic aberration and chromatic aberration of magnification. Panasonic S series lenses even pursue the beauty of bokeh and the LUMIX S 85mm F1.8 provides smooth defocus gradation from the focus peak to the neighboring area of the image as well as smooth, round bokeh of point light source without vignetting. The LUMIX S 85mm F1.8 also excels in video recording performance with a mechanism that suppresses focus breathing, which was a critical problem of all interchangeable lenses designed for still image photography.

With its compact size and approximately 355g weight, the LUMIX S 85mm F1.8 features stunning mobility. The rugged dust/splash-resistant* design withstands use under harsh conditions even at 10 degrees below zero for high mobility. The filter diameter is 67 mm, with a 9-blade circular aperture diaphragm.

In addition to the four F1.8 large-aperture lenses, A 70-300mm telephoto zoom lens is also under development to further enhance LUMIX S Series lens lineup. Panasonic and L-Mount system alliance are committed to the development of L-Mount lenses for the further expansion of its lineup to fulfill the needs of customers.

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

Panasonic Lumix S 85mm F1.8 specifications

Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 85 mm
Image stabilization No
Lens mount L-Mount
Aperture
Maximum aperture F1.8
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 9
Groups 8
Special elements / coatings 2 ED elements
Focus
Minimum focus 0.80 m (31.5)
Maximum magnification 0.13×
Autofocus Yes
Motor type Linear Motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 355 g (0.78 lb)
Diameter 74 mm (2.91)
Length 82 mm (3.23)
Materials Magnesium alloy
Sealing Yes
Colour Black
Filter thread 67 mm
Hood supplied Yes

Articles: Digital Photography Review (dpreview.com)

 
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Mastering Noise Reduction in Lightroom: The Essential Guide

04 Nov

The post Mastering Noise Reduction in Lightroom: The Essential Guide appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Shooting at a high ISO is a great way to retain control over other exposure parameters such as aperture and shutter speed while still getting a usable image.

However, even today’s digital cameras still produce noise and grain when shooting at values like ISO 6400, ISO 12800, and beyond. While an ISO 6400 photo is never going to look as clean as a photo taken at ISO 100, you can use Lightroom noise reduction to clean up your high ISO images.

Mastering noise reduction in Lightroom involves a few tradeoffs. But it’s a great solution for people who need the flexibility of shooting at high ISO values while still getting great results.

Mastering noise reduction in Lightroom infant
Nikon D750 | Nikon 85mm f/1.8G | 85mm | 1/500 sec | f/1.8 | ISO 6400

To understand how to use Lightroom noise reduction, it’s important to learn a little more about ISO.

In a nutshell, ISO is a measure of a camera’s sensitivity to light. When shooting with film, each roll has a single value and cannot be changed until you use up all your exposures and put in a new roll. Digital photography, on the other hand, lets you alter your ISO any time you want.

Higher ISO values let you use smaller apertures or faster shutter speeds because your camera produces a brighter exposure. As a result, you don’t need as much light coming through the lens in order to take a picture. This means that you can use a smaller aperture, faster shutter speed, or both. (Or you can use Auto ISO and let your camera figure out the rest.)

The tradeoff is that increasing your camera’s ISO inevitably leads to noise being introduced to the picture. (Digital noise is kind of like the static you might remember seeing on old television sets.) High ISO shots aren’t as sharp, and colors aren’t as vibrant, thanks to noise. But if shooting at ISO 6400 means you can use a fast shutter speed to avoid motion blur, then it’s generally a tradeoff worth making.

Mastering noise reduction in Lightroom man portrait
Nikon D750 | Nikon 85mm f/1.8G | 85mm | 1/90 sec | f/4.8 | ISO 6400

The best of both worlds would be a high-ISO shot that retains the color and sharpness of a low ISO shot. Unfortunately, that’s not actually possible (at least not with current technology). But mastering noise reduction in software such as Lightroom gives you a great deal of control over reducing high-ISO artifacts while keeping as much detail as possible.

A closer look

The effects of high ISOs aren’t always visible when photos are downsized for the web. To really see what happens at high ISOs, and to understand how to clean it up, you should look at images up close.

Here’s a zoomed-in view of the above image; you can now see the effects of shooting at high-ISO values:

Mastering noise reduction in Lightroom portrait close-up
Up close you can see the speckled background on the left and the lack of definition in the eyebrows. These are just some of the effects of shooting at ISO 6400. Noise reduction settings are at their default values: Luminance 10, Detail 50, and Contrast 0.

Lightroom lets you remedy these ISO artifacts, at least partially, through the Detail panel in the Develop module.

There are two types of noise reduction available: Luminance and Color.

Luminance is the most common form of noise in digital photography and refers to the slight speckled variations in brightness from one pixel to the next. You can see this most clearly in the brown background on the left side of the above photo.

Color noise is often obvious at very high ISO values like 25600 or greater. It looks like random splotches of color scattered around the brightest or darkest portions of an image. In modern digital photography, color noise isn’t nearly as much of an issue in most instances. Most of the time you won’t need to use the Color, Detail, and Smoothness sliders. For most practical purposes, it’s best to stick with luminance noise reduction adjustments.

Lightroom noise reduction sliders mastering noise reduction

To access the noise reduction sliders, click the Detail panel in the Develop module. The noise reduction sliders are grouped with sharpening adjustments because these often go hand-in-hand. Boosting noise reduction can have a smoothing effect on your images which can be somewhat mitigated by adjusting the sharpening sliders.

Getting detailed

When working with luminance noise, there are three sliders to adjust:

  • Luminance
  • Detail
  • Contrast

Luminance is a measure of how much noise to remove, while Detail and Contrast give you finer control over the effects of the noise reduction.

You might notice that Lightroom automatically applies a small amount of noise reduction to every RAW file by default. This is generally a good starting point because RAW files, due to their unprocessed nature, inherently contain more noise than in-camera JPEG files. And it’s almost always recommended to remove some of that noise even if just a tiny bit.

To start the noise removal process, move the Luminance slider to the right. The farther you go, the more pronounced the noise removal effect will be. I generally don’t push it past 50, but your settings will depend on your image and your personal preferences.

Mastering noise reduction in Lightroom portrait close-up
This is the same image as above, but with Luminance set to 50. Notice how the background is much smoother, as are the cheeks. However, the eyelashes have lost much of their sharpness.

After adjusting the Luminance slider to your liking, use Detail and Contrast to bring back parts of your image that might have been lost by the noise reduction algorithm. Move the Detail slider to control the threshold at which the noise reduction starts to kick in. This can help retain some of the details in your image but end up leaving some of the noise intact.

Mastering noise reduction in Lightroom portrait close-up
Bumping the Detail slider up to 80 brings back some of the sharpness around the eyelashes and other areas of the face.

As you adjust the Luminance slider, you will see some parts of your picture get muddy, almost like a layer of petroleum jelly has been smeared across the shot. Use the Contrast slider to bring back some of the high-contrast parts of your image that are most affected by the Luminance slider.

Mastering noise reduction in Lightroom portrait close-up
Moving the Contrast slider up to 40 helps mitigate a bit more of the effects of software-based noise reduction. However, the more you use the sliders, the more processed and artificial your images will look.

As with many aspects of photography, there is no single correct answer for how much noise reduction to use in Lightroom. Some high-ISO images will look fine without too much tinkering, while others require more drastic measures. Mastering noise reduction isn’t about finding one solution that works for every image. It’s about understanding how to use the editing tools to create the best possible outcome for any given photo.

Low ISO versus noise reduction

To really understand how Lightroom noise reduction works, it helps to look at some comparisons of images so you can see the results for yourself.

The following images show different versions of the same scene; one base shot is taken at a very low ISO, while another is taken at a high ISO. I then apply varying degrees of noise reduction and display the results.

I took the first image at ISO 100:

test scene
Nikon D7100 | Nikon 50mm f/1.8G | 50mm | 1 sec | f/8 | ISO 100

Here’s the same scene shot at ISO 6400 for comparison:

test scene
Nikon D7100 | Nikon 50mm f/1.8G | 50mm | 1 sec | f/8 | ISO 6400

When resizing images for the web, some of the issues with shooting at a high ISO are difficult to notice. However, a few artifacts do stand out, such as the muddiness of the solid blue radio toy, and a clear lack of definition in the intricate parts of the ball maze on the left.

For a closer look, here are 100% crops of each image:

test scene crop
A 100% crop of the original ISO 100 image. Note the fine detail in the cactus and the overall clarity of the picture.
test scene crop ISO 6400
A 100% crop of the original ISO 6400 image. Colors are washed-out and subtle texture is obliterated. Note that the green paint lines at the borders of the white lines are completely gone.

When looking at these images close-up, it’s clear that the ISO 6400 photo is noticeably worse. However, if shooting at ISO 6400 or greater will give you the ability to get the shot you want, then it’s a tradeoff worth making.

High-ISO shooting becomes even more practical when you learn to eliminate some of these issues in Lightroom. Using the noise reduction options won’t fix a high-ISO image entirely, but it can go a long way toward cleaning things up.

test scene with noise reduction
A 100% crop of the ISO 6400 image with these adjustments applied: Luminance 80, Detail 60, and Contrast 55. While the ugly noise artifacts have been smoothed out, the image still isn’t as rich and detailed as its low-ISO counterpart.

Mastering noise reduction in Lightroom isn’t just limited to moving three sliders in the Detail panel. It’s best paired with other adjustments such as Texture, Clarity, Contrast, Saturation, etc. There is no one-size-fits-all preset to magically make your ISO 6400 images look as good as ISO 100 images. But with a little work, you can bring back some of the punch and brilliance of your originals.

test scene noise reduction and edits added
A 100% crop of the high-ISO image with previous noise reduction edits applied along with the following: Contrast -15, Shadows +34, Blacks -35, Texture +42, and Saturation +22.

Noise reduction isn’t a cure-all, and it won’t resurrect parts of the image that were never captured to begin with. In the ISO 6400 shot above, no amount of software-based noise reduction can bring back the green paint along the white lines that were clearly present in the low-ISO image.

But careful use of the tools available to you can go a long way toward making a messy picture more than usable.

Mastering noise reduction in Lightroom test scene
Nikon D750 | Nikon 85mm f/1.8G | 85mm | 1/250 sec | f/2.8 | ISO 6400. The sun was setting and I needed a fast shutter speed, so I chose to shoot at ISO 6400 and was able to adjust it in Lightroom. My clients loved the results.

Mastering noise reduction in Lightroom: Conclusion

Mastering noise reduction in Lightroom isn’t a science; each image is different and your own preferences matter most of all. Shoot some test images at ISO 6400 or higher, then see what you can do to clean them up using the tools available to you.

You might be surprised at how much latitude you have when editing. The more you experiment, the more skilled you will get.

And soon you’ll be transforming your photos from noisy messes into near-masterpieces.

The post Mastering Noise Reduction in Lightroom: The Essential Guide appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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What you need to know about Canon’s new RF 70-200mm F4 and 50mm F1.8

04 Nov

Introducing the Canon RF 70-200mm F4 L IS USM and RF 50mm F1.8 STM

Canon’s full-frame mirrorless RF system keeps on growing, and today sees the addition of two much-requested new lenses. The RF 70-200mm F4 L IS USM is a compact, more affordable alternative to the previously-announced RF 70-200mm F2.8, and the RF 50mm F1.8 STM is a low-cost standard prime for photographers that don’t need F1.2 (i.e. most photographers).

Click through this article for a walkthrough of their key features (hands-on images courtesy of Canon).

Canon RF 70-200mm F4 L IS USM

Let’s look first at the RF 70-200mm F4 L IS USM. Spiritual successor to the popular EF 70-200mm F4 family of tele-zooms, one of the main selling points of this new RF zoom is its size (it’s both smaller, 32% shorter than the EF equivalent, and 11% lighter). In fact, at its 70mm position, the new RF 70-200mm F4 is only slightly bigger than the RF 24-105mm. The zoom can be locked at 70mm for storage.

Despite its medium/long-tele reach, minimum focus is a respectable ~0.6m (2 ft) at all focal lengths.

Canon RF 70-200mm F4 L IS USM

Like its big brother the RF 70-200mm F2.8, however, the lens gets considerably bigger when zoomed-in towards 200mm. Despite the extending design, the RF 70-200mm features ‘L-series dust and weather-resistant build,’ which includes a fluorine coating on the front element to repel water and dirt.

Optical construction consists of 16 elements in 11 groups, including four UD (ultra low dispersion) elements that mitigate chromatic aberration. The new lens also features Canon’s Air Sphere Coating, to reduce flare and ghosting.

Canon RF 70-200mm F4 L IS USM

On the barrel of the RF 70-200mm F4 you’ll find the usual array of switches, for focus (and focus limiting) and image stabilization. The RF 70-200mm F4 offers three I.S. modes: 1, for general use, which stabilizes in all directions, 2, which is intended to offer best performance for panning shots, and 3, where stabilization only activates once you fully depress the shutter button.

The RF 70-200mm F4’s rated I.S. performance is impressive: 5EV from the lens alone and up to 7.5EV when used in conjunction with the in-body image stabilization system in the EOS R5 and R6.

Canon RF 70-200mm F4 L IS USM

You might need that stabilization because unlike the RF 70-200mm F2.8 (and previous EF designs) there’s no provision for a tripod foot. Potentially also frustrating for some photographers is that just like its ‘big brother’ the RF 70-200mm F2.8, this new lens is not compatible with Canon’s RF 1.4X and 2X extenders.

Focus elements are driven by a pair of Nano USM motors. Based on our previous experience with Canon’s Nano USM technology, we expect autofocus performance will be very fast, and silent as well.

The Canon RF 70-200mm F4 L IS USM will be available in early December for $ 1,599.

RF 50mm F1.8 STM

Next up is the RF 50mm F1.8 STM, a low-cost prime lens for RF shooters. Essentially a native RF equivalent to the older EF 50mm F1.8 STM, the new lens is tiny (weighing only 160g / 5.6oz) and at $ 199, considerably more budget-friendly than the RF 50mm F1.2L.

RF 50mm F1.8 STM

Optical construction is all-new, consisting of six elements in five groups, with one aspherical element. Minimum focus of ~0.3m (1ft) works out to a maximum magnification ratio of 0.25X.

The ring you can see in this picture (and the previous one) is a customizable control ring, which can be set for direct control over manual focus, or in it’s ‘control’ position to provide access to other settings like aperture control or exposure compensation, via the menu system of RF cameras.

RF 50mm F1.8 STM

Seven rounded blades deliver a near-circular diaphragm at wide aperture settings, and the new lens features a front filter diameter of 43mm. Canon’s SSC (Super Spectra Coating) should help reduce flare and ghosting. The RF 50mm F1.8 STM will be available next month.

Articles: Digital Photography Review (dpreview.com)

 
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