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Posts Tagged ‘Announces’

LaCie’s announces new Rugged SSDs, including one with a built-in SD card reader

12 Sep

Storage company LaCie has introduced three new portable, rugged SSDs that it says are designed specifically for creative, media, and entertainment pros who need ample storage while working remotely. The company’s new lineup consists of the LaCie Rugged SSD, Pro, and BOSS SSD models, each offering high durability alongside features targeted at different user needs.

The most notable of the three new models is the LaCie Rugged SSD Pro, a device featuring Thunderbolt 3 and USB 3.1, a Seagate FireCuda NVMe SSD with speeds up to 2800MB/s, and an IP67 resistance rating against dust and water. This device is designed for digital imaging technicians and filmmakers dealing with up to 8K footage.

Joining the Pro model is LaCie’s new Rugged SSD, an alternative for media professionals who have less demanding needs. This model features USB 3.1 Gen2 and a Seagate FireCuda NVMe SSD with speeds up to 950MB/s. According to the company, that’s fast enough for handling up to 4K video. As with the Pro model, this drive is secured in a durable housing with an IP67 rating, plus crush resistance and drop tolerance.

Finally, LaCie’s new Rugged BOSS SSD is designed for photographers and filmmakers, offering a 1TB SSD with speeds up to 430MB/s. As well, this drive is unique due to the housing’s built-in SD card slot alongside the USB port, as well as its built-in display for seeing the real-time status on data transfers, battery life, and available capacity. The housing is dust, splash, and drop-resistant and the drive works with a companion mobile app for managing content.

The LaCie Rugged SSD lineup will be available at the following prices:

  • LaCie Rugged SSD: 500GB ($ 179.99), 1TB ($ 299.99), and 2TB ($ 499.99).
  • LaCie Rugged SSD Pro: 1TB ($ 399.99) and 2TB ($ 699.99)
  • LaCie Rugged BOSS SSD: 1TB ($ 449.99)

Articles: Digital Photography Review (dpreview.com)

 
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Phase One announces new XT camera system

11 Sep

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Phase One has announced its XT medium format system, which the company is marketing as a ‘travel-friendly’ solution for landscape photographers. The system is made up of three parts:

  • The IQ4 digital back (150MP or 100MP versions); we assume that future IQ-series backs will also work.
  • The lightweight body that has a shutter release and Cambo WDS-compatible mount
  • Three lenses made by Rodenstock

The XT body is essentially the ‘bridge’ between the lens and digital back. It’s a lightweight body with a dual-action shutter release and removable Arca Swiss type tripod foot. It has two dials, which are used to shift the lens by 12mm in any direction. This allows for the correction of perspective distortion and can aid in the creation of super-high-res panoramic images.

Landscape photographer Reuben Wu with the XT

The available Rodenstock lenses are a HR Digaron-S 23mm F5.6, HR Digaron-W 32mm F4 and HR Digiron-W 70mm F5.6. All three lenses use an electromagnetic ‘X-Shutter’, which offers shutter speed ranging from 60 to 1/1000 sec and carbon fiber shutter blades. The shutter is capable of 500,000 actuations, according to Phase One.

If the XT system sounds like something you’re interested in, you can pick one up for $ 56,990, which includes the IQ4 150MP back and the lens of your choice.

Press Release

Phase One Announces A New Camera System: The ‘XT’ — The First Of Its Kind

A travel-ready, digitally integrated field camera that brings landscape photography to a whole new level

COPENHAGEN, Sept. 10, 2019 – Phase One has announced the XT Camera System, opening new frontiers of quality for landscape photography. Designed for convenience and engineered for precision, the XT packs a full-frame medium format camera of the highest quality into a travel-friendly design. By pairing the power and performance of Phase One’s IQ4 Infinity Platform with Rodenstock’s renowned optics, the XT is the most compact digitally integrated field camera to date.

The XT Camera System perfectly marries extraordinary image quality and extraordinary photographic technology. It’s versatile, flexible, and remarkably intuitive to use. With components that communicate digitally with each other and the system’s compact size, the XT is crafted for effortless capture, so the photographer can focus on capturing the moment, not on camera settings.

“The XT Camera System is designed to elevate both your creativity and image quality by providing the best possible components, in the smallest possible package with intuitive controls, all of which allows you to focus on the moment.”
– Drew Altdoerffer, Product Manager at Phase One

“I love the XT. The combination of the Phase One IQ4, a compact camera body, and an incredible lens is just what I need. I can easily fit the camera with two lenses in my small shoulder bag, and still barely feel like I am carrying anything.”
– Reuben Wu, fine art landscape photographer

Phase One’s ability to embrace heritage while not weighed down by it makes the blend of sensible Danish design, advanced technology integration, and precision mechanics the natural foundation for this next step in landscape photography. The system will evolve over time with the release of additional lenses, expanding Infinity Platform features, dedicated accessories, and discipline-focused workflows.

Components – Technology in a class of its own

The XT Camera System integrates components of the highest quality:

  • The Phase One IQ4 150MP, IQ4 150MP Achromatic, or IQ4 100MP Trichromatic, built on the Infinity Platform — designed to innovate and support evolving technology.
  • The XT Camera Body built exclusively for the Phase One IQ4. It features intuitive ergonomics and straightforward controls, including the dual action shutter button, which is designed to support future expansion and customization.
  • Three lenses manufactured by Phase One’s strategic partner Rodenstock. All lenses are fitted with Phase One’s new, digitally integrated, X-Shutter –an intelligently controlled electromagnetic shutter — born from Phase One’s industrial applications experience:
    • The XT – Rodenstock HR Digaron-S 23mm f/5.6 is the highest quality super wide lens available.
    • The XT – Rodenstock HR Digaron-W 32mm f/4 is an exceptional quality wide-angle lens with a large image circle and almost no distortion.
    • The XT – Rodenstock HR Digaron-W 70mm f/5.6 is a normal focal length lens with impeccable image quality and a large image circle.
  • The XT Camera System takes full advantage of Rodenstock lenses with 24mm of shift on both the X and Y axis. The shift movement allows the photographer to correct perspective distortion. It can also be used to create panoramic/stitched images at tremendous scale/resolution. The XT Camera Body intelligently integrates the shift position in the image file for later refer

Availability and Pricing

The XT Camera System is available now through Phase One Partners worldwide: www.phaseone.com/partners.

The Manufacturer Suggested Retail Price for the XT IQ4 150MP Camera System, including a lens of your choice, is $ 56,990

All camera systems are sold with a 5-year limited warranty, including unlimited lens actuations for the warranty period.

For more information, please go to: www.phaseone.com/XT or book a demo on: www.phaseone.com/xt-demo

Articles: Digital Photography Review (dpreview.com)

 
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Sigma launches its ‘Classic’ Art cine lens line, announces development of PL to L mount adapter

11 Sep

Sigma has announced a new line of cinema lenses, a new collection of Art Prime PL mount lenses with Cooke Optics’ /I Technology communication protocol and the development of a Sigma-made PL mount to L mount converter.

As it previewed back in July 2019, Sigma has launched its new line of ‘Classic’ Art prime lenses for cinematography. These new lenses are identical in design to its standard Cine prime lens collection, but feature different lens coatings to help re-create the aesthetic of lenses from the 1950s and 70s. The video example below, provided by Sigma, helps to show off the more ‘classic’ look:

Despite the identical optical design to the standard Cine primes, these new lenses feature slightly slow T-stops due to the different coatings. These new lenses also feature Cooke Optics’ /i Technology, which allows the lens metadata to be directly recorded to the camera with every frame, even as it changes mid-scene.

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For better or worse, these lenses aren’t sold individually and are instead sold as a single ten-lens kit. So unless you’re a rental company or a happen to have six figures sitting around burning a hole in your pocket, these are probably out of reach for most film sets. The lenses will be available with the PL mount and ship by the end of 2019.

Speaking of Cooke Optics’ /i technology, Sigma’s existing Cine prime lens collection has been updated to include the additional metadata. The lenses will be sold separately from the previous version of Sigma’s Cine lenses, but not all hope is lost for those with the original version of the lenses. Sigma says:

‘For SIGMA customers who have already purchased a SIGMA PL mount lens, a new service to turn their lenses into /i technology compatible ones is under consideration.’

Lastly, Sigma has announced that it’s working on the MC-31, a PL mount to L mount adapter that can be used to mount PL cine lenses on Sigma’s own fp camera system and other L mount camera systems. Sigma doesn’t specify any information regarding pricing or availability for the MC-31 adapter.

State-of-the-art resolution meets the classic “look”

SIGMA CINE LENS welcomes a new series “FF Classic Prime Line” to the lineup. With cutting-edge technology, SIGMA’s new “Classic Art Prime” offers unrivaled expression for artists.

The SIGMA Corporation is pleased to announce the launch of “FF Classic Prime Line” as a new series in the SIGMA CINE LENS.

FF High Speed Prime Line has been offering the highest resolving power in its class, that is compatible with 8K shooting with large format sensors while achieving an outstanding compact design. Based on this product line, the FF Classic Prime Line incorporates more non-coated optical elements to achieve unrivaled expression.

It retains the high-resolution capability that SIGMA CINE LENS is well known for, and offers a unique combination of low contrast and artistic flare/ghost in the image. As with all other lenses from the FF High Speed Prime Line, it creates beautiful bokeh effects to improve creativity.

FF Classic Prime Line has implemented newly developed coatings on the glass elements and offers consistent T value across the lineup (14mm and 135mm at T3.2 and the rest of the lenses at T2.5). This will greatly contribute to the effective workflow in postproduction. Furthermore, it is compatible with the communication protocol of Cooke “/i Technology”, thus an ideal tool for shooting and editing with the latest technology, such as VFX. A special coating is implemented on the front and rear elements so that the lens durability is ensured as with all other cine lenses from SIGMA.

“Classic Art Prime” is a new solution from SIGMA that is required for the most advanced technology for classical expression. The “look” that FF Classic Prime Line can offer will enable cinematographers to explore new possibilities in movie creation.
From September 13th to 17th, SIGMA is going to display this new product at the IBC 2019 in Amsterdam, Netherlands.

SIGMA CINE LENS “Art Prime” Launch

A new /i Technology-compatible PL mount lens in the FF High Speed Prime Line

SIGMA Corporation (CEO: Kazuto Yamaki) is pleased to announce the launch of a new Art Prime PL mount lens that supports Cooke Optics’ /i Technology communication protocol in a latest addition to the SIGMA CINE LENS family for filmmaking in the FF High Speed Prime Line.

Optimized for large-format camera systems and 8K shooting, the FF High Speed Prime Line lenses deliver stunning image quality in a compact construction. A new addition to this prime lens lineup comes with electronic contacts that supports Cooke’s /i Technology communication protocol for Art Prime PL mount lenses.

By using an /i Technology-compatible cine lens with a cine camera that supports the same protocol, users can see and record lens metadata such as focus distance, focal length, and aperture. This helps streamline compositing in the post-production process. This is particularly suitable for the latest forms of filmmaking, such as VFX, that call for detailed shooting data.

Prototypes of this /i Technology-compatible FF High Speed Prime lens were used for shooting “Top Gun: Maverick”, scheduled to be released in 2020, showing that the new lens is already in commercial applications.

For SIGMA customers who have already purchased a SIGMA PL mount lens, a new service to turn their lenses /i Technology-compatible is under consideration.

A production version of this new product will be on display at IBC 2019, scheduled to take place in Amsterdam, the Netherlands, from September 13 to 17, 2019.

PL-L Mount Converter

Development of SIGMA MOUNT CONVERTER MC-31 announced

SIGMA Corporation (CEO: Kazuto Yamaki) is pleased to announce its development of SIGMA MOUNT CONVERTER MC-31, a converter that allows PL mount lenses to be used on L-Mount cameras.

By using SIGMA MOUNT CONVERTER MC-31, users can use PL mount cine lenses, which are widely used in the filmmaking industry, on the SIGMA fp and other L-Mount cameras.

A production version of this new product will be on display at IBC 2019, scheduled to take place in Amsterdam, the Netherlands, from September 13 to 17, 2019.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Announces D6 in the Making, Plus Rumored D6 Specs

07 Sep

The post Nikon Announces D6 in the Making, Plus Rumored D6 Specs appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Nikon Announces D6 in the Making, Plus Rumored D6 Specs

Well, it’s official:

The Nikon D6 is under development, as announced by Nikon earlier this week.

This shouldn’t come as a surprise, because the Nikon D6 has been whispered about for months, including a lengthy list of rumored specifications.

But it’s nice to know the D6 is on its way.

Unfortunately, Nikon’s announcement includes no details on the D6, except that it will be the company’s “most advanced DSLR to date.” This may be a reference to the D6’s autofocus system, which is rumored to be better than even the Nikon D5’s incredible system.

Note that the Nikon D5 is famed for its autofocus capabilities. The D5 AF system featured 153 focus points, including 99 cross-type points. Better autofocus capabilities would be an exciting upgrade for action photographers, especially if it includes some form of Live View autofocus to rival Canon’s Dual Pixel system.

The announcement also indicated that the D6 will be a DSLR rather than a mirrorless camera. This puts to rest any speculation about Nikon’s flagship system moving to mirrorless, though rumors suggest the D6 will have several mirrorless-style features.

For instance, the D6 will likely include in-body image stabilization, which Nikon included in its full-frame mirrorless bodies, the Nikon Z6 and Nikon Z7. The camera may also have a high-performing silent shooting mode, which will be appreciated by photographers who need to remain discrete at events.

Now, the Nikon D6 is a professional’s camera, competing primarily with the Canon 1DX Mark II (and its likely successor, the Canon 1DX Mark III). The Nikon D6 line is primarily designed with professional sports photographers in mind, hence the incredible autofocus capabilities. It will undoubtedly feature a rugged body and lightning-fast continuous shooting speed, as well.

The Nikon D6 will likely begin shipping in early 2020, which will give professional sports photographers plenty of time to get used to its capabilities before the Summer Olympics in Tokyo.

So if you’re a professional sports photographer, don’t worry:

The D6 is in the works, and it’s guaranteed to impress.

Are you a Nikon user? Will you be getting the Nikon D6 or are you switching over to mirrorless? Let us know in the comments!

The post Nikon Announces D6 in the Making, Plus Rumored D6 Specs appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Canon announces C500 Mark II camera with 5.9K Cinema RAW Light recording

06 Sep

More than seven years after releasing the EOS C500, Canon has released its next-generation Cinema EOS System camera, the EOS C500 Mark II. The new camera builds upon its predecessors with an extensive list of new and improved features and technology.

At the heart of the EOS C500 Mark II is the same sensor found inside Canon’s EOS C700 camera, a5.9K full-frame 17:9 sensor, which Canon says offers more than 15 stops of dynamic range. Powered by Canon’s new Digic DV7 processor, the EOS C500 Mark II offers 5.9K internal Cinema RAW Light and 4K 4:2:2 10-bit XF-AVC recording. In addition to shooting 60 frames per second (fps) at 5.9K and 4K resolution, the EOS C500 Mark II can shoot up to 120 fps when dropped down to a cropped 2K resolution.

The EOS C500 Mark II also features Canon’s Dual Pixel autofocus technology, which covers roughly 80-percent of the image area on the sensors, and features user-changeable lens mounts with options for EF, PL and Cine EF mount. By unscrewing four hex screws located on the outside of the lens mount, it’s now possible to (comparatively quickly) switch from one mount to another without the need to send it in or make it a massive operation.

The camera, which weighs in at 1750g (3.86lbs), features built-in motorized ND filters at two, four and six-stop measurements that can be combined to achieve eight and ten stop levels as well. Media can be recorded to the two CFExpress card slots as well as an SD card slot for proxy media. Also new to a Canon EOS Cinema camera is a five-axis electronic image stabilizer.

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The EOS C500 Mark II comes with the LCD LM-V2, a 4.3in touchscreen, as well as a user-removable 0.46in 1.77-megapixel OLED electronic viewfinder (EVF). Canon is also offering two extension units that add additional connections and ports for added versatility.

In addition to its new full-frame cinema camera, Canon also announced the DP-V3120, a 4K HDR reference monitor. The massive machine delivers 2000-nit HDR output and 0.001-nit full-screen black levels with a 2,000,000:1 contrast ratio. It features four 12G-SDI inputs for both 4K and 8K workflows and features a 17:9 aspect ratio, matching that of the EOS C500 Mark II.

The Canon EOS C500 Mark II is scheduled to be avaialble in December 2019 for an estimated retail price of $ 15,999. The DP-V3120 is scheduled to be available in November 2019 for a wallet-busting price of $ 39,000. You can find out more information on both products by visiting Canon’s EOS Cinema site.

OWN, OPERATE, DOMINATE: EOS C500 MARK II 5.9K FULL FRAME CINEMA CAMERA DELIVERS VERSATILE, AFFORDABLE SOLUTIONS

New Cinema EOS Camera Features a User-Changeable Mount, Internal Cinema RAW Light Recording and the Newly Developed DIGIC DV 7 Image Processor

MELVILLE, N.Y., Sept. 5, 2019 – Contrary to popular belief, sometimes a sequel is better than the original. That is the case with the all-new Canon EOS C500 Mark II cinema camera today announced by Canon U.S.A. Inc., a leader in digital imaging solutions. With its modular design, competitive price point and new features such as a 5.9K Full Frame CMOS sensor, user-changeable lens mounts, electronic image stabilization, internal cinema RAW light recordingand the new DIGIC DV 7 Image Processor, the EOS C500 Mark II represents a bold leap forward for Canon’s Cinema EOS system line. The variety of assembly and lensing options help to make this camera ideal for a broad range of applications, from run-and-gun documentary shooting to live television broadcasts and big-budget films.

“As Canon’s position in the production industry has grown, we have sought to deliver new solutions that can perform at an elite level, while also maintaining competitive pricing to help continue to remove the barriers of great content creation,” said Kazuto Ogawa, president and COO, Canon U.S.A., Inc. “The EOS C500 Mark II encompasses the latest Canon technologies and, when teamed with the recently announced Sumire Prime Cinema Lenses and DP-V3120 4K Reference Display, forms an incredible input-to-output solution.”

The EOS C500 Mark II features a 5.9K full-frame sensor with 60p recording 5.9K and 4K (2K recording at 120p) and 15 stops of dynamic range. In addition, the newly introduced DIGIC DV 7 image processor allows for more fluid and efficient recording of 4K and HDR. Cinema Raw Light, first introduced in the popular EOS C200 cinema camera, helps to cut data size to about one-third to one-fifth of a Cinema RAW file, without losing grading flexibility.

For the first time ever with a Canon camera, users are able to change the lens mount themselves without the assistance from a Canon service center. Customers can purchase the EOS C500 Mark II with a standard EF mount and then have the option to purchase either EF-lock or PL mounts. This feature provides users with the creative freedom to pair the camera with the lenses that will provide the desired look for each project they work on.

In addition to the changeable mounts, the new camera’s body is quite modular. Included are 13 accessories, such as a 4.3-inch LCD monitor and the GR-V1 grip, and users can choose from a wide range of additional accessories that allow them to configure the EOS C500 Mark II to their preferences. Optional accessories include the EVF-V70 electronic viewfinder, SU-15 shoulder support unit and EU-V1 and EU-V2 expansion units. The EU-V1 expansion unit allows for gen-lock, sync out, remote use and ethernet connection, while EU-V2 expansion unit features those functions plus a V-mount battery connection, two analog XLR audio ports and 24v DC Out.

Additional features of the Canon EOS C500 Mark II include:

  • 4K and 2K 4:2:2 10-bit XF-AVC recording and 5.9k oversampling for 4K
  • 2 CFexpress media card slots
  • Compatibility with EF and PL lenses as well as anamorphic and spherical lenses
  • Dual Pixel CMOS AF with the ability for Touch and Face detection AF
  • First Canon cinema camera with 5-axis electronic image stabilization, which can be utilized even without the use of lens with IS functionally
  • Support for Canon Log 2 and 3 Gamma
  • 4 channel recording that supports 4 XLR inputs with the use of the EU-V2 expansion unit
  • User LUT allowing users to upload and apply custom LUTs

Pricing and Availability

The Canon Cinema EOS C500 Mark II is scheduled to be available in December 2019 for an estimated retail price of $ 15,999.00*. For more information, including accessory prices and availability, please visit, cinemaeos.usa.canon.com.

Articles: Digital Photography Review (dpreview.com)

 
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Canon Announces Two New RF Lenses: The 15-35mm and the 24-70mm

05 Sep

The post Canon Announces Two New RF Lenses: The 15-35mm and the 24-70mm appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Canon Announces Two New RF Lenses: The 15-35mm and the 24-70mm

Canon has just announced two more lenses for their RF lineup: the RF 15-35mm f/2.8L IS and the RF 24-70mm f/2.8L IS.

Note that the RF line is designed for Canon’s full-frame mirrorless bodies, which currently includes the Canon EOS R and the Canon EOS RP. This is excellent news for Canon mirrorless users, who have previously had to contend with Canon’s relatively weak mirrorless lens lineup.

So if you’re a Canon mirrorless fan, this is for you.

These two lenses were unveiled by Canon back in February. But we now have specifications, prices, and release dates to share.

The Canon RF 15-35mm f/2.8L IS

If you’re a landscape photographer, you’ll undoubtedly appreciate a high-quality wide zoom such as the Canon 15-35mm f/2.8L IS.

Canon Announces Two New RF Lenses: The 15-35mm and the 24-70mm

The focal length is perfect for a mix of wide and ultra-wide landscapes, and the image stabilization makes it possible to handhold photos, even with a deep depth of field.

Plus, the image quality is bound to be stellar.

This lens could easily become a landscape photography workhorse. It could also make its way into the bags of wedding photographers who are looking for a high-performing wide zoom.

The Canon RF 15-35mm f/2.8L IS will be sold for $ 2,299 USD starting at the end of September. While the price isn’t cheap, serious landscape photographers will appreciate the focal length, the optical quality, and the image stabilization.

The Canon RF 24-70mm f/2.8L IS USM

Compared to the 15-35mm, the 24-70mm is more of an all-around option and one that’ll hold its own with the best in the field.

Canon Announces Two New RF Lenses: The 15-35mm and the 24-70mm

First, the wide maximum aperture and standard zoom focal length make this lens a good choice for portraits. The 9-bladed aperture is also bound to produce some gorgeous bokeh. So for portrait photographers, this is a lens worth looking at.

Event photographers will also appreciate the fast aperture, while the 5-stop image stabilization will make handholding in low light easy to pull off.

Even landscape photographers should consider the 24-70mm f/2.8. For landscape photographers who like a tighter look, the 24-70mm focal length range is exactly what is needed.

The Canon RF 24-70mm f/2.8L IS USM will start shipping at the end of September for $ 2,299 USD.

Conclusion

If you’re a mirrorless landscape photographer, then this is a good day, because you’ve got two amazing new RF lenses to look forward to.

Same goes for portrait and event photographers, who should appreciate the image stabilization and fast apertures these two lenses bring to the table.

If this is a sign of things to come, then the future is bright.

What do you think about these new lenses? Will you purchase them when the come out? Share in the comments!

The post Canon Announces Two New RF Lenses: The 15-35mm and the 24-70mm appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Sony announces Xperia 5 with triple-cam setup, Eye AF and 6.1″ 21:9 CinemaWide display

05 Sep

Sony has announced the Xperia 5, the latest addition to its flagship smartphone lineup. The new phone brings technology from Sony’s Xperia 1 smartphone and puts them in a slightly more manageable size.

The Xperia 5 features a 21:9 CinemaWide 6.1-inch Full HD+ OLED display with BT.2020 color accuracy. The screen uses technologies from Sony’s Bravia TV systems to help bring High Dynamic Range (HDR) technologies to its latest smartphone. Another neat feature of the Xperia 5 is a new Creator mode, a feature inspired by Sony’s Master Series TV systems that adds 10-bit tonal gradation (8 bit display with 2 bit software smoothing) to the display, which makes it possible to support the ITU-R BT.2020 color space in addition to CDI-P3 and Illuminant D65.

Sony has also added Dolby Atmos surround sound technology to add ‘breathtaking realism’ to audio coming from the device, whether you’re using headphones or the built-in stereo speakers on the Xperia 5.

On the imaging front, the Xperia 5 uses a triple-camera setup with 12-megapixel sensors behind each of the three lenses: a 16mm, a 26mm and a 52mm (35mm equivalent). Sony doesn’t mention the apertures of the 16mm and 52mm lens but notes the main 26mm lens features an F1.6 aperture that works alongside the Dual Photo Diode image sensor with 1.5?m pixel pitch for better low-light capabilities. The imaging system uses a Sony Bionz X image processor for mobile as well as Optical SteadyShot image stabilization to get the most from the camera unit.

Sony has also brought its Eye AF technology to the Xperia 5, as well as continuous burst shooting up to 10 frames per second with Auto Focus and Auto Exposure calculations taking place at up to 30 frames per second.

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Other features include Corning Gorilla Glass 6 on both the front and back of the device, USB PD charging, a 3140mAh battery, IP68/IP65 water resistance and Sony’s ‘smart connectivity’ function that uses Neural Network Libraries to analyze Wi-Fi and LTE signals to know when to switch from one to the other for optimal connectivity.

The Xperia 5 will be available in the United States at various retailers starting November 2019 for a retail price of $ 799 and will ship with Android 9 Pie. For more information, visit Sony’s product page.

Articles: Digital Photography Review (dpreview.com)

 
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Parrot announces the ANAFI FPV drone with 4K HDR video and 21MP stills

03 Sep

French manufacturer Parrot may have recently exited the toy drone market by retiring their Bebop and Mambo models, but its time in the drone market is far from over. Today, Parrot announced the Anafi FPV, a portable, foldable drone, based on its regular ANAFI model.

The ANAFI FPV features Parrot’s unique 180-degree tilting camera, 4K HDR video, a CMOS 1/2.4” 21-megapixel sensor and 3-axis stabilization with standard 3X zoom. The LD-ASPH lens boasts an F2.4 aperture and 26mm (35mm equivalent) focal length. The drone weighs 350 grams (0.77 pounds), has a maximum transmission distance of 2.5 miles, a flight time of 26 minutes, and a top speed of 34 miles per hour.

Parrot has focused its efforts on creating a fully immersive experience with its Cockpit Glasses 3 and the continual development of its FreeFlight 6 app. Pilots can easily toggle between flight modes to fine-tune their imagery. Arcade Mode allows users to capture imagery by simply pointing their camera in their direction of choice. It can be combined with the Cinematic preset to simulate a ‘bird’s eye view.’

Other built-in features include Autonomous Flight mode for cinematic selfies, Smart Return-to-Home and Geofencing for safety, Panorama modes including 360° Sphere, 180° panorama, and Little-planet, plus Slow-motion and Hyperlapse video modes. Parrot aims to make it easy for users to create unique, professional content with a portable set up that takes seconds to launch.

At the beginning of last month, the world’s leading drone manufacturer, DJI, introduced its own FPV system. One main component missing was the drone, itself. Instead of expecting consumers to solder or source their own, Parrot has included everything in its ANAFI FPV All-In-One Pack. Parrot has designed the ANAFI backpack to double as a launching pad for the drone. Included are the Cockpit Glasses 3, Skycontroller 3, a battery, USB-C cable, 16GB memory card, and an additional set of propellers.

The ANAFI FPV All-In-One Pack retails for $ 799 and is currently available to pre-order.

Update (September 3, 2019): Edited the article and headline to clarify that the Anafi FPV is not specifically a racing drone.

Articles: Digital Photography Review (dpreview.com)

 
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Sony announces a6600 with image stabilization and Real-time Tracking autofocus

29 Aug

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Sony has just announced the a6600, a camera it’s calling the new ”flagship” of its APS-C lineup. In it, you’ll find a host of enhancements, including in-body image stabilization, the latest implementation of Sony’s Real-time Tracking autofocus, which seamlessly transitions from subject tracking to face and eye-detection, as well as a Z-type battery, which should have around 2.2x the stamina of the older, smaller W-series battery. Weight has gone up as a result of all this, with the camera weighing in at 503g (the a6400 is 100g lighter at 403g).

Sony has also tweaked the design of the grip on the a6600, partly for ergonomic reasons of course, but also partly to make room for the much-bigger battery. You can also shoot full 14-bit Raw files, and Real-time Tracking functionality – including eye detection – is possible while shooting 4K video. Speaking of video, the a6600 makes room for both microphone and headphone ports, and can shoot 4K footage in HLG to help make the most of the camera’s dynamic range.

Other core features remain unchanged from the existing a6400, including a 24MP APS-C sensor, 11fps burst shooting with autofocus and auto exposure, 4K/30p video recording and a 2.36M-dot OLED viewfinder. The a6600 does have a touchscreen for touch focus, touch shutter and touch tracking functionality. We’re told the a6600 officially replaces the a6500.

The Sony a6600 will be available in November, 2019, at a price of $ 1400 US ($ 1900 CAN) body-only, and $ 1800 US ($ 2400 CAN) with an 18-135mm F3.5-5.6 kit lens.

Press release:

Sony Electronics Strengthens APS-C Mirrorless Line-up with Launch of Two New Cameras

Company Introduces Alpha 6600 with in-body Image Stabilization and Enhanced Battery Life, Also Boosts Product Portfolio with Introduction of Alpha 6100

SAN DIEGO — August 28, 2019 — Sony Electronics today announced two new additions to its ? (Alpha) series of mirrorless cameras with the launch of the Alpha 6600 (model ILCE-6600) and Alpha 6100 (model ILCE-6100). These new models bring many of Sony’s most advanced imaging technologies into compact, lightweight APS-C bodies.

The new, extremely versatile Alpha 6600 camera has been designed to address the needs of the most demanding photographers and videographers, while the new Alpha 6100 is targeted at users who are looking to produce high-quality photos and videos with an interchangeable lens camera.

In addition to the new bodies, the Sony APS-C range has been further strengthened by the launch of two new lenses: E 16-55mm F2.8 G and E 70-350mm F4.5-6.3 G OSS. Sony’s “One Mount” solution for both APS-C and Full-frame cameras provides creators an extreme amount of versatility for all of their photography and video needs.

“These new APS-C cameras provide excellent image quality in a compact package, with the ability to take full advantage of Sony’s growing lineup of 54 different E-mount lenses,” said Neal Manowitz, deputy president of Imaging Products and Solutions at Sony Electronics. “We are proud to bring so many of our innovations into our APS-C lineup and to provide creators with several new tools to realize their vision.”

The new Alpha 6600 and Alpha 6100 include a 24.2MP Exmor™ CMOS image sensor, the latest BIONZ X™ image processor, and a front-end LSI implemented in Sony’s full-frame cameras. This powerful trio combine to deliver all-around enhancements in image quality and performance across all areas of photo and video capture.

The Alpha 6600 and Alpha 6100 offer a lightning-fast autofocus acquisition time of 0.02 seconds. With 425 focal-plane phase-detection autofocus (AF) points covering approximately 84 percent of the image area and 425 contrast-detection AF points, the high density and wide coverage of the AF system ensure reliable AF, even in the most challenging light conditions. Both new models benefit from Sony’s ‘Real-time Tracking’ which utilizes Sony’s latest algorithm with Artificial Intelligence-based object recognition to ensure that subjects can be captured with excellent accuracy, even via the touch panel on the rear screen. In addition, the new models offer ‘Real-time Eye AF’, the latest version of Sony’s acclaimed Eye AF technology. Real-time Eye AF employs AI-based object recognition to detect and process eye data in real time, resulting in improved accuracy, speed and tracking performance of Eye AF for both humans and animals, and it allows the photographer to concentrate exclusively on composition. The Alpha 6600 also offers Real Time Eye AF in video. When activated, the eye of a subject is automatically tracked with high precision and reliability, allowing the shooter to focus on the content itself as opposed to what is in focus or not.

Additionally, both cameras can shoot high-quality 4K video, and include a microphone jack and flip screen that allows for easy framing and shooting of vlog-style content. The Alpha 6600 also features a headphone jack to monitor audio.

An Eye for Detail

Based upon feedback from users of existing Sony APS-C camera users, Sony has added features to the Alpha 6600 and Alpha 6100 to fine tune the user experience. These include:

  • Improved color reproduction; algorithms inherited from full-frame models deliver natural color reproduction, particularly in skin tones
  • Hi-resolution internal 4K movie recording with full-pixel readout without pixel binning in Super 35mm format with easy smartphone transfers via the Imaging Edge™ Mobile application
  • Interval shooting for stunning time-lapse videos
  • 180-degree tiltable, 3.0-type 921k-dot (approx.) LCD touch screen
  • Integrated Microphone input for clear and crisp audio on video recordings

Alpha 6600

Across an ISO range of 100-32000 (expandable to ISO 50 – 102400), the new Alpha 6600 offers superb low-noise performance and delivers extremely high-quality images, even in low-light conditions. By applying noise reduction and sharpness processing optimally in each area, Area-specific Noise Reduction and Detail Reproduction Technology greatly reduce noise while preserving high resolution. This contributes to fine reproduction of subject textures and shadow details.

The Alpha 6600 features many of the technology breakthroughs that are attracting praise on Sony’s high-end full-frame cameras. These include:

  • Sony’s innovative 5-axis in-body image stabilization system that results in a 5.0-step shutter speed advantage
  • Implementation of the industry-leading long battery life with Sony Z Battery for the first time on an APS-C camera, enabling extended power performance; approx. 720 still images using viewfinder, approx. 810 images using LCD monitor
  • A tough magnesium alloy design that is dust and moisture resistant
  • Real-time Eye AF for movie shooting; when activated, the eye of a subject is automatically tracked with high precision and reliability, allowing the shooter to focus on the content itself as opposed to what is in focus or not in focus. Touch Tracking functionality will also automatically initiate Eye AF when a human subject is selected
  • Integrated headphone jack which allows the user to connect high-quality headphones for accurate monitoring of recorded sound

4K Recording

The Alpha 6600 and Alpha 6100 boasts internal 4K movie recording in Super 35mm format with full pixel readout without pixel binning, to enable them to capture approximately 2.4x the amount of information required for 4K movies. This oversampling results in stunning footage, delivered in the XAVC S™ format with unparalleled resolution. The Alpha 6600 also equips an HLG (Hybrid Log-Gamma) picture profile that supports an instant HDR workflow. Recorded movies played back on an HDR (HLG) compatible TV will appear true-to-life, with no blocked shadows or blown highlights, and without the need for color grading. For users who want to color grade their footage in post-production, S-Log3 and S-Log2 Gamma profiles are provided.

Pricing and Availability

The new Alpha 6600 will be available in November and will be sold at a variety of Sony authorized dealers throughout North America at below prices:

Camera body – $ 1,400 US / $ 1,900 CA

Camera kit with Sony 18-135mm Lens – $ 1,800 US / $ 2,400 CA

Sony a6600 specifications

Price
MSRP $ 1400 (body only), $ 1800 (w/18-135mm lens)
Body type
Body type Rangefinder-style mirrorless
Body material Magnesium alloy
Sensor
Max resolution 6000 x 4000
Image ratio w:h 3:2, 16:9
Effective pixels 24 megapixels
Sensor photo detectors 25 megapixels
Sensor size APS-C (23.5 x 15.6 mm)
Sensor type CMOS
Processor Bionz X
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 100-32000 (expandable to 102400)
Boosted ISO (maximum) 102400
White balance presets 8
Image stabilization Sensor-shift
Image stabilization notes 5-axis
Uncompressed format RAW
JPEG quality levels Extra fine, fine, standard
File format
  • JPEG (Exif v2.3)
  • Raw (14-bit Sony ARW)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 425
Lens mount Sony E
Focal length multiplier 1.5×
Screen / viewfinder
Articulated LCD Tilting
Screen size 3″
Screen dots 921,600
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 1.07× (0.71× 35mm equiv.)
Viewfinder resolution 2,359,296
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/4000 sec
Exposure modes
  • iAuto
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe)
Flash modes Flash off, Autoflash, Fill-flash, Rear Sync., Slow Sync., Red-eye reduction (On/Off selectable), Hi-speed sync, Wireless
Flash X sync speed 1/160 sec
Drive modes
  • Single
  • Continuous (Hi+/Hi/Mid/Lo)
  • Self-timer
  • Bracketing
Continuous drive 11.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Center-weighted
  • Highlight-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps)
AE Bracketing ±5 (3, 5 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps)
WB Bracketing Yes (3 frames, H/L selectable)
Videography features
Format MPEG-4, AVCHD, XAVC S
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC + Memory Stick Pro Duo
Connectivity
USB USB 2.0 (480 Mbit/sec)
USB charging Yes
HDMI Yes (micro-HDMI)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11b/g/n + NFC
Remote control Yes (via smartphone)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description NP-FZ1000
Battery Life (CIPA) 810
Weight (inc. batteries) 503 g (1.11 lb / 17.74 oz)
Dimensions 120 x 67 x 69 mm (4.72 x 2.64 x 2.72″)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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ON1 announces upcoming Photo RAW 2020 update, two mobile apps and ON1 Sync

22 Aug

ON1 has announced the impending release of ON1 Photo RAW 2020 as well as three new products: ON1 Video, ON1 Photo Mobile and ON1 Sync Service. ON1 says in its press release that ‘in the coming months’ it will launch a ‘complete line of photo and video products to all levels of photographers providing an integrated creative workflow.’

ON1 Photo RAW 2020

The first product to arrive is ON1 Photo RAW 2020, a successor to ONE1 Photo RAW 2019 that brings with it new AI-powered features and more. Specifically, ON1 says Photo RAW 2020 will feature ‘AI Match and AI Auto, four filters in Effects (Weather, Sun Flare, Color Balance, Channel Mixer), Custom Camera Profiles with X-Rite, SmugMug integration, improved noise reduction, a map view, a Print Module, and significant speed/performance enhancements.’

Additionally, ON1 Photo RAW 2020 will be available in eleven languages for the first time, including English, German, Spanish, French, Japanese, Korean, Simplified Chinese, Russian, Portuguese, Italian and Dutch.

ON1 says it plans to release a public beta for Photo RAW 2020 in ‘mid-September’ 2019. ON1 Photo RAW 2020 is available to pre-order as the full version for $ 99.99 and an upgrade for Photo Raw 2019 users for $ 79.99.

ON1 Photo Mobile 2020 App

ON1 has also announced it will soon release ON1 Photo Mobile 2020, an Android and iOS app that will allow you to both capture and edit Raw photos on your mobile device. According to ON1, the app ‘will allow you to capture raw photos on your smartphone using the pro-level controls you are familiar with on your interchangeable-lens camera.’ In addition to capture, it will provide basic editing tools to adjust the captured images.

ON1 Sync

Alongside the ON1 Photo Mobile 2020 app, ON1 has announced ON1 Sync, an optional service that makes it possible to ‘view and edit photos on all your devices without requiring you to store them in the cloud or a closed system.’

The optional add-on for ON1 Photo Mobile 2020 will sync albums, presets and more between devices. ON1 doesn’t elaborate on how exactly it’ll work, but says ‘You can store your photos on your desktop or laptop computer, an external hard drive, in any of the popular cloud services or on your mobile devices, and you can still access them from anywhere.’

ON1 also emphasizes its priority on privacy, saying using the ON1 Sync service won’t grant ON1 any additional rights to the content, nor will the company ‘have permission to use your photos for image analysis or any sort of marketing purposes.’

ON1 Video 2020

Last but not least, ON1 has announced ON1 Video 2020, a new video editing application that it says was ‘explicitly designed for the photographer.’ ON1 says it ‘will be a simple, yet robust video editor’ with tools for enhancing, tripping, editing audio, grading and sharing videos. ON1 says ON1 Video 2020 will work seamlessly with ON1 Photo RAW 2020.

A public beta for ON1 Video 2020 is expected mid-November with a final release timeframe of ‘early 2020.’

Articles: Digital Photography Review (dpreview.com)

 
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