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Posts Tagged ‘Announces’

HTC announces U Ultra 5.7″ phablet with 12MP camera

13 Jan

If you liked the camera performance of last year’s HTC 10 but would prefer a larger screen, the HTC U Ultra, which has been announced today, might just be what you’ve been waiting for. The Ultra U comes with the same rear camera module that can be found in the 5.2″ HTC 10. A 12MP 1/2.3″ sensor with 1.55µm pixels is combined with a fast F1.8 aperture and optical image stabilization. The camera also comes with phase detection AF and is capable of recording 4K video and 12-bit Raw files. 

Compared to the HTC 10 the front camera has received a serious upgrade, though. It now comes with a 16MP resolution and a pixel-binning low-light mode that puts out 4MP files. Images can be viewed on a 5.7″ Quad-HD display that comes with a secondary small screen on top, similar to what we’ve seen on the LG V20. The Android OS is powered by Qualcomm’s  Snapdragon 821 and 4GB of RAM. 64GB and 128GB storage options are available and can be expanded via microSD slot. 

Like the latest iPhones, the U Ultra lacks a 3.5mm headphone jack and only comes with a USB Type-C port. The latter is used to charge the comparatively small 3,000 mAh battery. Thankfully, quick-charging is supported. All the components are packed into HTC’s new ‘Liquid Surface’ design metal unibody that is entirely covered in glass, so a solid case might be a useful investment for future U Ultra owners. The new model will be available globally this quarter. In the US the U Ultra will set you back $ 749 and can be pre-ordered now. Start of shipping is slated for mid-March.

Articles: Digital Photography Review (dpreview.com)

 
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SanDisk announces 256GB microSDXC card and ‘world’s fastest, highest capacity’ USB flash drive

09 Jan

SanDisk has unveiled its new 256GB Ultra microSDXC UHS-I Premium Edition card. Meeting A1 performance standards, it’s designed to expand smartphone storage for photos and videos as well as provide space to store and run apps. It’s said to achieve transfer speeds ranging up to 95MB/s. At this capacity, the card is able to store up to 24 hours of 1080p Full HD video.

The A1 performance standard means this microSD card can handle random read input-output access per second, also called IOPS, of 1,500, as well as a write IOPS of 500. As such, SanDisk says this card is suitable for handling in-app permissions, graphics and audio, and save profiles on a smartphone. The A1 spec is particularly useful in in light of Android Marshmallow 6’s option for storing and launching apps from the microSD card.

SanDisk also announced a 256GB USB 3.1 solid state flash drive. Claimed to be the world’s fastest, highest capacity drive, it offers read speeds up to 420MB/s and write speeds up to 380MB/s. SanDisk claims that’s fast enough to transfer an entire full-length 4K movie to the drive in 15 seconds.

The new Ultra microSDXC Premium Edition card will be available globally later this month for $ 199. The 256GB SanDisk Extreme Pro USB 3.1 drive arrives at the same time, and will sell for $ 179 through Best Buy and Amazon.

Press release:

SANDISK® UNVEILS WORLD’S FIRST MICROSD CARD DESIGNED TO DELIVER A NEW DIMENSION OF MOBILE APPLICATION PERFORMANCE
JAN 4, 2017

THE 256GB SANDISK ULTRA® MICROSD CARD WITH THE LATEST A1 SD SPECIFICATION OFFERS MOBILE USERS EVEN MORE STORAGE EXPANSION OPTIONS

LAS VEGAS, Jan. 4, 2017 – Western Digital Corporation (NASDAQ: WDC), a global storage technology and solutions leader, today unveiled the world’s first microSDTM card that meets the Application Performance Class 1 (A1) requirements from the latest SD Association’s SD 5.1 specifications. By meeting the A1 performance standard, the 256GB SanDisk Ultra® microSDXCTM UHS-I card, Premium Edition, delivers capacity, speed and enhanced capability to deliver a better smartphone experience1.

Since the popular memory card format launched more than a decade ago, microSD cards have been instrumental in driving new segments in digital imaging like action cameras, drones, dashboard cameras and surveillance systems, and have significantly impacted the evolution of the smartphone. Today, approximately 75 percent of smartphone models on the market contain microSD slots, according to data from Strategy Analytics2. The 256GB* SanDisk Ultra microSD card offers the capacity and performance consumers need to capture all of life’s moments without having to worry about what to delete. The card can hold up to 24 hours of Full HD video3 and with premium transfer speeds of up to 95MB/s**. With A1 performance, the card can launch and run apps at blazing speeds.

“The microSD card has been an integral part of the digital revolution by providing more options for high performance, high capacity storage for smartphones,” said Dinesh Bahal, vice president of product management, Client Solutions Business Unit, Western Digital. “SanDisk® cards are at the center of more than two billion consumer devices, and now with this A1 card, we’re proud to play a significant role in continuing to advance the trusted format.”

Long used by billions to expand capacity for photos, videos, music and many other digital files, the, microSD card now must evolve to support application-intensive environments, paving the way for a new dimension of memory card performance. With the introduction of the Android Marshmallow 6 operating system, users can expand storage capacity on smartphones by selecting the microSD card as preferred or adoptable storage, which means apps can now be loaded and launched directly from the A1 microSD card.

The A1 spec allows the new card to manage random read input-output access per second (IOPS) of 1,500 and write IOPS of 500, so it can quickly open apps and process accompanying tasks, such as audio, graphics, saved profiles and in-app permissions. With this in mind, the new SanDisk Ultra microSD card with A1 is designed to provide consumers a faster, more powerful app experience using cards.

“SD technology is trusted by consumers around the world for its reliable, backwards compatible and

highly interoperable storage, making it the world’s leading memory format with billions of SD memory cards and devices in the market,” said Brian Kumagai, SDA president. “The A1 specification will help consumers identify the appropriate card to ensure an optimal experience when running and launching apps on their smartphone. We are pleased that SanDisk will release an A1 card, and continues to contribute to breakthrough technologies enabled by the microSD format.”

The new SanDisk Ultra microSD card with A1 is compatible with the SanDisk® Memory Zone app for Android™, giving users an easy way to manage and back up content on their device. The app is available for free through the Google Play™ Store4. The card will be available worldwide in January 2017 with a U.S. MSRP of $ 199.99.

The complete line of SanDisk® microSD cards can be purchased at more than 300,000 retailers worldwide.

SANDISK® LAUNCHES ITS FASTEST, HIGH-CAPACITY USB FLASH DRIVE EVER
JAN 4, 2017

NEW SANDISK EXTREME PRO® USB 3.1 SOLID STATE FLASH DRIVE NOW FEATURES SSD PERFORMANCE IN A PORTABLE, ALUMINUM METAL FORM FACTOR

LAS VEGAS, Jan. 4, 2017 – Western Digital Corporation (NASDAQ: WDC), a global storage technology and solutions leader, today announced its fastest, high-capacity USB flash drive to date with the launch of its high-performance 256GB* SanDisk Extreme PRO USB 3.1 Solid State Flash Drive. The new drive delivers the speed, capacity, and reliability of an SSD in the convenient form factor of a small USB flash drive, and is ideal for creative professionals, tech enthusiasts, or anyone who creates and shares massive files.

A game-changer in the USB storage category, the drive is capable of read speeds up to 420MB/s and write speeds up to 380MB/s1. With its unprecedented speeds, you can transfer full-length 4K movie to the drive in less than 15 seconds2. With its USB 3.1 interface, people can rapidly access and move files on the go, without having to worry about a cable. The new drive also features a sophisticated design with a durable aluminum metal casing and a retractable connector for ultimate style and reliability.

“The combination of SSD performance and a compact USB form factor offers the ultimate performance and convenience for moving files easily and quickly,” said Sven Rathjen, vice president of marketing, Client Solutions Business Unit, Western Digital. “With its increased capacity and blazing speeds, the SanDisk Extreme PRO USB 3.1 Solid State Flash Drive is our sleekest, most powerful SanDisk USB device yet.”

The SanDisk Extreme PRO Solid State Flash Drive is available up to 256GB, giving consumers plenty of room to manage large files. For added file protection, it includes the SanDisk SecureAccess® software, which offers 128-bit file encryption and password protection3. The drive also comes with a limited lifetime warranty4.

Pricing and Availability
The new 256GB SanDisk Extreme PRO USB 3.1 Solid State Flash Drive will be available in late January 2017 at Amazon.com and Best Buy at an MSRP of $ 179.99.

SanDisk storage solutions can be purchased at more than 300,000 retailers worldwide.

Articles: Digital Photography Review (dpreview.com)

 
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Ambarella announces 8K-ready H3 SoC for drones and video cameras

08 Jan

Image processor maker Ambarella has released the H3 System-on-Chip (SoC) for high-end drones and video cameras, including those capturing 360-degree and virtual reality footage. The H3 supports 8K Ultra HD H.264/AVC video at 30 frames per second or multiple video streams with equivalent performance, for example 360-degree cameras that use dual 4K/60fps sensors. 

With the introduction of H3 we believe we provide the highest video performance and best image quality solution for high-end drones and multi-sensor video cameras,” said Fermi Wang, president and CEO of Ambarella. “H3 delivers 8Kp30 video performance to match the next generation of displays, such as 8K televisions and high resolution head-mounted displays.

The chip comes with a multi-channel ISP for 360-degree video capture and multi-sensor drone applications. 10-bit HDR processing should help deal with high-contrast scenes and Ambarella’s electronic image stabilization should keep things steady, even in difficult conditions, such as high winds or when panning quickly. The chipset is powered by a quad-core ARM Cortex-A53 CPU and an integrated hardware de-warping engine supports wide-angle panoramic camera designs and fish-eye lenses. Ambarella has not provided any information as to when the H3 is likely to make its appearance in consumer products, but it’s good to see that in the near future there should be a range of capture devices capable of recording content for the latest 8K displays. 

Press Release:

Ambarella Introduces 8K Ultra HD SoCs for Virtual Reality and Drone Cameras

Ambarella H3 SoC delivers 8K Ultra HD at 30 frames per second and 4K Ultra HD at 120 frames per second

SANTA CLARA, Calif., January 5, 2017 — Ambarella, Inc. (NASDAQ: AMBA), a leading developer of low-power, HD and Ultra HD video processing semiconductors, today introduced the H3 System-on-Chip (SoC) for high-end drones and a new generation of video cameras, including 360-degree and virtual reality cameras. The H3 video SoC enables 8K Ultra HD H.264/AVC video at 30 frames per second, as well as multiple video streams with equivalent performance, including 360-degree cameras with dual 4KP60 sensor video capture.

8K videos played on large 8K displays provide a better viewing experience to the end user, as pixels at this resolution are indistinguishable to the human eye at any reasonable distance. The combination of 8K video capture together with Ambarella’s advanced oversampling and image stabilization also enables higher video quality 4K video recording.

“With the introduction of H3 we believe we provide the highest video performance and best image quality solution for high-end drones and multi-sensor video cameras,” said Fermi Wang, president and CEO of Ambarella. “H3 delivers 8Kp30 video performance to match the next generation of displays, such as 8K televisions and high resolution head-mounted displays.”

H3 includes a powerful multi-channel ISP for 360 degree video capture and multi-sensor drone applications. Its 10-bit HEVC High Dynamic Range (HDR) video processing handles high contrast and wide color range scenes. It also features Ambarella’s advanced Electronic Image Stabilization (EIS), capable of generating a smooth 4Kp60 video output under challenging conditions, including during high winds and with high degrees of rotation. The integration of a quad-core ARM® Cortex®-A53 CPU with floating point and NEON™ provides significant processing power for customer applications including computer vision, wireless networking, and multi-sensor stitching algorithms. The H3’s hardware de-warping engine supports wide-angle panoramic camera designs and fish-eye lenses.

Ambarella will demonstrate the new H3 SoC at a private, invitation-only event held during the Consumer Electronics Show (CES) in Las Vegas, January 5 – 8, 2017.

Articles: Digital Photography Review (dpreview.com)

 
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Hawks Factory announces new 35mm F2 in M-mount

07 Jan

Japanese optical manufacturer Hawks Factory has released details of a new lens it has designed in homage to ‘old-style’ Leica M lenses. The Tsubasa Swallow 35mm F2 comes in a Leica M-mount and intends to produce images with a retro feel, according the company. It will display high resolution in the center of the frame and a soft blur at the edges when used wide open. Hawks Factory claims that the style of image the lens produces is something that ‘fascinates people all over the world’. 

The Tsubasa Swallow 35mm F2 is constructed using eight elements in six groups and features an iris created with 14 blades that closes to F16. The company says the glass and the polishing are Japanese, and that they designed their own helicoid for the focusing ring. The lens has an all-metal barrel that is said to be designed to withstand decades of use, but the company doesn’t specify whether the focusing mechanism is coupled to the camera’s rangefinder system or whether users will be expected to focus via Live View.

The lens is expected to be released for sale in February and, according to Leica Rumours, will be priced ¥198,000 (approx. $ 1800). For more information and some sample images see this translated version of the Hawks Factory website.

Articles: Digital Photography Review (dpreview.com)

 
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Rangefinder magazine announces 30 rising stars of wedding photography for 2016

20 Dec

30 Rising Stars of Wedding Photography

Rangefinder magazine has announced selections for its fifth annual 30 Rising Stars of Wedding Photography for 2016, based on submissions by photographers from over 200 countries. Rangefinder is the official publication of the annual Wedding and Portrait Photographers International (WPPI) conference, and honorees will be featured in the December issue of Rangefinder, as well as on display at the WPPI Conference+Expo from Feb. 5-9 in Las Vegas, Nevada. 

We’ve highlighted a few of our favorite photos from this year’s selections, and you can find a complete online gallery here.

Above: Lato Photography/Laura&Tommy (Italy) “One of our favorite weddings of the last season. We were dealing with very difficult and shiny light, and we had to get the best from that situation so we captured this moment using a 45mm tilt-shift lens to create a softer background. The strength of this image comes from their hand positions creating a harmonious line, the delicate colors of their clothing matching with the background and, of course, the bride’s look.”

Lukas Piatek (Germany)

During a wedding day, I often try to take photos of small children. They are not disturbed by the camera at all and just do whatever they would do if I was not around. This little boy was basically running around the dance floor the entire evening, and at one point, I literally waited for him to do something special. I did not expect, however, that he would jump so perfectly, raising his arms in the air, looking into the light and being perfectly centered and framed on the dance floor. The shot was made two years ago and it was my favorite photo from that year.”

Jacob Loafman (USA)

“So, this couple’s ceremony and reception were held at their church. However, their church had recently built a brand new building, but they informed me they still had access to the old church. They wanted to know if I would like to do the main wedding party and bride/groom portraits there. I excitedly agreed and we headed that way. As soon as we walked in, I almost fell over from how amazing the building was inside. It was vacant. Completely vacant. This vacant space still featured the remnants of where the previously used cross hung on the wall. It was just beautiful.”

“I noticed there was still access to the balcony and wanted to do a full wedding party portrait from up there. My idea was to just have them arrange themselves randomly. I provided very little direction, as that’s what I wanted. My desire was to create a group portrait that felt more like an album cover, where the entire group was the focal point, but the vacancy and tattered old floors added an element of interest to the shot. After I released the shutter button a few times, I knew I had accomplished what I was going for.”

People Truelove Tellers (Spain)

“This was a very lucky one. We didn’t actually want to shoot it because we were running out of time and were on our way to another spot for portrait pictures. We were driving in a tiny, narrow and lonely road in the middle of nowhere outside of Madrid, and suddenly a full flock of sheep crossed the road. That was perfect because they ran away to the hill in the perfect direction of the sunset. I asked for the couple to follow them and the photo came!”

Tim and Laura Sullivan (USA)

“Chip and Karyn had a lot they wanted to do for their wedding (ranging from Prince impersonators to multiple live bands), but in the end, they chose an in-town elopement with just their two kiddos and us. Tim officiated, Laura took the ceremony photos, and we spent the day gallivanting around some of the most gorgeous spots in Seattle (we even organized a private chef in an industrial loft for them, because going above and beyond for our clients is our favorite thing). This shot is from the deck of their unfinished condo during their ceremony. Our florist came in and covered the construction dust with the most gorgeous arrangements, almost like their own little Wonderland. Their daughters were crying, we were crying—oh man, was it all memorable.”

Marko Marinkovic (Croatia)

“My editing process aims to resemble the colors of the visual artists from the 16th and 17th century as they, among others, struck a foundation for all of us. Each of the paintings I visit for inspiration gives me insight on the thought process a painter must go through in order to recreate 3D light on a two-dimensional surface. From framing the scene on the square canvas to choosing the color palette, it stays pretty much the same in photography today. Spoiled by the digital era we often overshoot and undermine the thought process behind the images we create.”

The Hendrys (Scotland)

“This was one of the most heartfelt weddings we’ve captured to date. The sun was out—when it was forecasted to rain heavily—emotions were running high and the couple and their guests exuded happiness throughout the whole day. At that moment, we thought to ourselves, is this really our job?! And from then on, we knew it was what we wanted to continue doing for as long as we possibly could.”

Lucy Spartalis (Australia)

“Working with Paul and his groomsmen was like spending a day on the set of Monty Python. LOOK at those mustaches; socks; sexual poses. My partner Alastair and I were wiping tears away between every shot. At one point, someone did a handstand and someone else started posing provocatively on the floor. I could’ve just shot them as they already were, but with a little zhuzhing (I checked that spelling, by the way—what a word)—positioning Paul between the spread legs of the groomsman behind him, asking another gent to kneel on one knee to create a mid-level point of interest, etc—we created a more balanced and dynamic composition. I don’t like to pose people too heavily in most cases, but when you’re onto a good thing, a little directorial tweaking can really take things to the next level.”

Heather Liddell (New Zealand)

“Spring weddings are something special. Julia was greeted by an ecstatic Graham and a sun shower when she reached the top of the aisle. The beads of water caught the light and created the most amazing effect. I crouched low so I could create an angle to get in a little sun flare and to make sure that the rain drops would be highlighted against the dark hedge.”

Pablo Beglez (Spain)

“A few minutes after Paula got out of her room to go directly to the altar, she had a problem with the dress. The designer was there with us and had to take a needle and thread and sew the dress right there. Those were some minutes of stress, but it finally was great.”

Jacob Murphy (USA)

“It was toward the end of the night and the dance party was reaching a crescendo, but I couldn’t help but notice this perfect vignette of everyone’s shoes. I love when details can tell a strong story too. I used an indirect tunnel flash technique to make this photo more interesting.”

Articles: Digital Photography Review (dpreview.com)

 
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National Geographic announces 2016 Nature Photographer of the Year

11 Dec

2016 National Geographic Nature Photographer of the Year

National Geographic has selected the winners of its 2016 Nature Photographer of the Year competition. In addition to overall winners, there were also selections for landscapes, environmental issues, action and animal portraits. This year’s grand prize winner was Greg Lecoeur’s ‘Sardine Run.’

Grand Prize + 1st Place for Action photography: Greg Lecoeur: ‘Sardine Run’

During the sardine migration along the Wild Coast of South Africa, millions of sardines are preyed upon by marine predators such as dolphins, marine birds, sharks, whales, penguins, sailfishes, and sea lions. The hunt begins with common dolphins that have developed special hunting techniques to create and drive bait balls to the surface. In recent years, probably due to overfishing and climate change, the annual sardine run has become more and more unpredictable. It took me two weeks to have the opportunity to witness and capture this marine predation.

2016 National Geographic Nature Photographer of the Year

First Place, Animal Portraits: Varun Aditya: ‘Dragging you deep into the woods!’

I shot this at Amboli, Maharashtra, India, on July 24, 2016, during a morning stroll into the blissful rain forest. Ceaseless drizzles dampened the woods for 10 hours a day; the serene gloom kept me guessing if it was night or day. The heavy fog, chilling breeze, and perennial silence could calm roaring sprits. And there I saw this beauty. I wondered if I needed more reasons to capture the habitat, for I was blessed to see this at the place I was at. I immediately switched from the macro to the wide-angle lens and composed this frame.

2016 National Geographic Nature Photographer of the Year

1st Place, Environmental Issues: Vadim Balakin, ‘Life and Death’

These polar bear remains have been discovered at one of the islands of northern Svalbard, Norway. We do not know whether the bear died from starving or aging, but more likely if we see the good teeth status, it was from starving. They say nowadays that such remains are found very often, as global warming and the ice situation influence the polar bear population.

2016 National Geographic Nature Photographer of the Year

1st Place, Landscape: Jacob Kaptein, ‘Struggle of Life’

Last year I participated in the Marius van der Sandt Beurs. This scholarship stimulates photography by young photographers. For a whole year I was guided by some excellent nature photographers to realize a project I wanted to accomplish. I chose a natural stream restoration project of a nature organization in the Netherlands. The first time I entered this patch of forest, I immediately saw this little beech. I came back several times to photograph it. One evening, just after sunset, all the light conditions were perfect. I stood in the cold water for more than an hour making many photos while I experimented with different shutter speeds.

2016 National Geographic Nature Photographer of the Year

2nd Place, Action: Tori Shea-Ostberg: ‘Approach’

An EF2 tornado bears down on a home in Wray, Colorado, on May 7, 2016. As soon as we were safe, as the tornado roared off into the distance through a field before roping out, we scrambled up the hill to check on the residents. Thankfully, everyone was all right, and we were grateful for that. As I was checking in with a young woman coming out of the basement, we became very aware of a strong new circulation right above our heads. We needed to run for cover and did so before saying a proper goodbye.

2016 National Geographic Nature Photographer of the Year

2nd Place, Animal Portraits: Michael O’Neill: ‘Proud Mama’

A female peacock bass guards her brood in a Miami, Florida, freshwater lake. She will protect her young fry from a variety of predatory fish until they are large enough to fend for themselves. This tropical freshwater species, also known as the peacock cichlid, was introduced in Florida in the mid-1980s from South America to control the tilapia population, another invasive species. Throughout its native range (and in Florida) it’s a prized sportfish known for its fighting spirit.

2016 National Geographic Nature Photographer of the Year

2nd Place, Environmental Issues: Chris McCann: ‘Outside Facebook HQ’

Eighty percent of the San Francisco Bay Area wetlands—16,500 acres—has been developed for salt mining. Water is channeled into these large ponds, leaves through evaporation, and the salt is then collected. The tint of each pond is an indication of its salinity. Microorganisms inside the pond change color according to the salinity of its environment. This high-salinity salt pond is located right next to Facebook headquarters, where about 4,000 people work every day.

2016 National Geographic Nature Photographer of the Year

2nd Place, Landscape: Alessandro Gruzza: ‘Wild Rink’

The first cold days of winter have frozen the surface of a pond, and the first snowfall has revealed its delicate beauty. In low-pressure conditions, southwest winds push the clouds against the vertical peaks of the Pale di San Martino. At dusk, a long shutter speed enhances the movement of the clouds around Cimon della Pala, one of the highest peaks in the Dolomites.

You can see additional photos from the competition on National Geographic’s website.

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic Design announces update to Video Assist monitors

20 Nov

Blackmagic Design has announced a software update to its 5-inch Video Assist and 7-inch Video Assist 4K monitor/recorders. Video Assist 2.3 allows users to load up to six 3D LUTs when monitoring on their devices, making it possible to view output from cameras in a form that approximates the final color grade of the footage.

In addition, the update adds several features to the 5-inch Video Assist that were previously only available 7-inch Video Assist 4K model. These include the ability to record DNxHD and DNxHR files in MXF format, improved compatibility with Avid systems running on Windows, false color monitoring to accurately judge exposure in different parts of the image, and additional options for customizing focus peaking indicators.

Video Assist 2.3 can be downloaded from the Blackmagic website.

Press release:

Blackmagic Design Announces New? Video Assist 2.3 Update

Major update adds new 3D LUTs, focus assist features and improved DNxHD and DNxHR support!

InterBEE 2016, Tokyo, Japan – November 18, 2016 – Blackmagic Design today announced Video Assist 2.3, a major new update for Blackmagic Video Assist customers that adds 3D LUTs to both models. This update also adds features to the 5” Blackmagic Video Assist including improved DNxHD and DNxHR support, false color monitoring, expanded focus options and new screen rotation features. The Video Assist 2.3 update is available for download now from the Blackmagic Design website and is free of charge for all Blackmagic Video Assist customers.

Video Assist 2.3 Update is being demonstrated at InterBEE on the Blackmagic Design booth 8216.

Customers using the Video Assist 2.3 update can now load up to six 3D LUTs when monitoring video on set with their 5” or 7” Blackmagic Video Assist. 3D LUTs have become an important part of digital filmmaking because they transform the camera images into a look that closely approximates the final look the director wants. The benefit of monitoring with 3D LUTs is that the crew can see the footage as the director intends it, and it’s completely non destructive because the original camera footage remains untouched. The six x 3D LUTs can be stored and recalled at any time by the user and this new feature is available on both the 5” Blackmagic Video Assist model and the 7” Blackmagic Video Assist 4K model.

For customers using the 5” Blackmagic Video Assist model, this update adds new features that were previously released only on the 7” Blackmagic Video Assist 4K model.

These new features include the ability to record to DNxHD and DNxHR files in MXF format which improves compatibility with Avid systems running on Windows. In addition, customers can now choose between DNxHD 220, 145 and 45 bit rates, or between DNxHR HQ, SQ and LB formats when recording.

The Video Assist 2.3 update also adds false color monitoring exposure tools to the 5” Blackmagic Video Assist model. False color exposure tools make it easier to properly set exposure in different parts of the image by highlighting specific color ranges of luminance with a solid color overlay. For example, green indicates neutral grey, while pink tones are good references for skin, which is typically one stop over neutral grey. Using false color helps camera operators keep exposure consistent from shot to shot.
In addition, Video Assist 2.3 update also expands the options for focus assist so customers can now choose whether they want to see red, green, blue, black, white or traditional focus peaking indicators. This makes it easier for customers to accurately adjust focus in a wider range of scenes and under a variety of different lighting conditions. Customers will now also have the ability to manually control the screen orientation and turn off the auto rotate feature which makes it easier for customers to use the 5” Blackmagic Video Assist model with handheld gimbals and other equipment designed to move the camera and rig simultaneously.

“Blackmagic Video Assist is perfect for customers that need better monitoring and higher quality recording,” said Grant Petty, CEO, Blackmagic Design. “This new update adds incredible LUT monitoring to both models, and brings some of the same powerful high end features from the 7” Blackmagic Video Assist 4K model to customers that have the 5 inch Blackmagic Video Assist model. We think the massive number of features on the 5 inch Video Assist model is amazing when you consider it only costs $ 495! Thats why Blackmagic Video Assist has become an essential part of every filmmakers toolkit because they help customers shoot and capture higher quality video with everything from DSLRs to older tape based camcorders, and even the latest digital film cameras!”

Availability and Price

Blackmagic Video Assist 2.3 update is available now and is a free download from the Blackmagic Design website.

About Blackmagic Video Assist 4K

Introduced at NAB this year, the Blackmagic Video Assist 4K is a portable all in one monitor and video recorder that can be used to add professional recording and monitoring to any SDI or HDMI camera. It features a bright, high resolution 7 inch screen for checking focus and framing, two high speed UHS-II recorders that work with the latest high performance SD cards for non-stop HD and Ultra HD recording. Blackmagic Video Assist 4K has multi rate 6G-SDI BNC connectors for input and output, HDMI in and out, two extremely high quality XLR microphone inputs for professional audio recording, a built in speaker, DC power, dual slots for two LP-E6 batteries and more.

About Blackmagic Video Assist

Blackmagic Video Assist is a portable professional monitor and recorder that can be used with any SDI or HDMI camera. It features a 5” full resolution HD monitor that helps you get perfect focus and framing, along with a professional ProRes and DNxHD recorder that uses high speed SD cards and saves files compatible with all modern NLE software. Blackmagic Video Assist has multi rate 6G-SDI inputs and outputs via DIN 1.0/2.3 connections, as well as HDMI in and out. It features a single SD card slot for recording HD resolution video. The touchscreen allows settings, histogram, audio meters, timecode display and much more. Blackmagic Video Assist works with DC power and has dual slots for two LP-E6 batteries.

Articles: Digital Photography Review (dpreview.com)

 
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DJI announces new Phantom 4 Pro and Inspire 2 drones

16 Nov
The DJI Phantom 4 Pro

DJI has announced the release of two new drones, the Phantom 4 Pro and the Inspire 2, and both of them are packed with interesting upgrades and features.

Visually similar to the original Phantom 4, the Phantom 4 Pro includes a camera with a 1″ 20MP sensor with ‘almost’ 12 stops of dynamic range. Of particular interest, the Phantom 4 Pro has a mechanical shutter to eliminate rolling shutter effects from fast motion. It can record 4K/60p video at 100 mbps and offers H.265 video compression. Its FlightAutonomy feature uses three sets of visual systems to map obstacles in front of, behind and below the drone to help it avoid obstacles, while a Landing Protection function will help it avoid landing on uneven ground or water. It has a maximum speed of 45 mph and a high performance battery provides up to 30 minutes of flight time. It also includes new intelligent flight modes.

The Inspire 2, similar to DJI’s Inspire 1 model, is oriented at the professional and semi-professional audience. Its magnesium-aluminum alloy body increases stiffness while lowering weight, while a new battery system allows flight time up to 27 minutes. It also offers a new forward-facing camera that will give the pilot a view for flying while a camera operator can independently control the Zenmuse camera mounted on the main gimbal. It includes a new image processing system, called CineCore 2.0, which improves file processing and supports 5.2K video at 4.2 Gbps for CinemaDNG Raw video capture, as well as support for ProRes 422 HQ, ProRes 4444 XQ, H.264, and H.265.

DJI has also released two new Zenmuse cameras for use with the Inspire 2. The Zenmuse X4S includes a 1″ 20MP sensor with 11.6 stops of dynamic range, a 24mm F2.8-11 lens and a mechanical shutter. The Zenmuse X5S has a 20.8MP Micro Four Thirds sensor with 12.8 stops of dynamic range, and it supports 8 lenses ranging from wide angles to zooms. DJI says that a handheld mount will be available for both cameras in the future.

The Phantom 4 Pro will retail for $ 1,499 with a standard controller and $ 1,799 with a high luminance display controller. The Inspire 2 will retail for $ 2,999 (aircraft only), and $ 6,198 for the Inspire 2 with the X5S camera, CinemaDNG, and Apple ProRes license, but will be available for $ 5,999 if ordered before January 1, 2017.

If you want to get your hands on one of these you won’t have to wait very long: the Phantom 4 Pro will begin shipping one week after launch, the Inspire 2/X5S camera combo will begin shipping in early December, and the Inspire 2 and X4S/X5S cameras sold separately will ship in early January, 2017. All products are available for immediate pre-order.

Press release:

DJI Raises Bar For Aerial Imaging With Two New Flying Cameras

Inspire 2 And Phantom 4 Pro Give Creators Unique High-Performance Tools

November 15, 2016 – DJI, the world leader in unmanned aerial technology, Tuesday introduced two new drones that raise the bar for professional imaging: Inspire 2, the best ready-to-fly platform for high-end film and video creators, and Phantom 4 Pro, the smartest and most creative flying camera of its size.

“Professional filmmakers and photographers always push to create images that have never been seen before, and DJI never stops trying to give them the tools to achieve their vision,” said DJI CEO and Founder Frank Wang. “Our newest flight platforms and stabilized aerial cameras are smarter, faster and more powerful than ever before. We can’t wait to see how creators use Inspire 2 and Phantom 4 Pro to capture dazzling images.”

Inspire 2

Advanced Imaging for Professional Results

Inspire 2 offers powerful capabilities and is easy to operate. The nimble new magnesium-aluminum alloy body increases stiffness while lowering weight. It has a top speed of 67 mph and takes only 4 seconds to accelerate to 50 mph. With the new dual battery system, flight time is up to 27 minutes. A new forward-facing camera offers the pilot the best flight view for operating the master controller, while the camera operator receives a separate feed from the professional Zenmuse camera mounted on the main gimbal. The Inspire 2 supports the brand-new Zenmuse X4S and X5S cameras and will support additional cameras in the future.

An entirely new image processing system, called CineCore 2.0, is embedded into the airframe, which allows processing large files faster than ever before. Inspire 2 captures 5.2K video at 4.2 Gbps for Adobe CinemaDNG RAW videos and leverages a newly-designed, fast CINESSD storage for a smooth work experience. A variety of video compression formats are supported by CineCore 2.0, including Adobe CinemaDNG, Apple ProRes 422 HQ (5.2K, 4K) and ProRes 4444 XQ (4K), H.264, and H.265. When recording 4K video in H.264 and H.265, the birate is up to 100Mbps.

Inspire 2 offers professional capability and control suitable for many scenarios. With optional high-altitude propellers, Inspire 2 can reach a maximum service ceiling of 16,404 feet above sea level, and the self-heating dual battery redundancy system maintains good performance of the battery to -4 degrees Fahrenheit. Through an optimized mode, Inspire 2 streams smooth video at the widely used 1080i50/720p60 broadcast standard. Enhanced Lightbridge video transmission makes smoother HDMI video possible.

High Performance and Professional Reliability

The dual-battery system ensures that if one battery fails during a flight, the other will be able to provide power for a safe return to home. Stereo vision sensors have been included on the front and bottom of Inspire 2 for obstacle detection, and upward facing infrared sensors on top of the aircraft add protection when flying in enclosed spaces.

The redesigned propulsion system can safely carry Inspire 2 through incredible vertical camera moves, climbing at almost 20 feet/second and descending at almost 30 feet/second. Redundant systems provide reliability for the IMU, barometer, electronic speed controller communication and satellite navigation modules. The master and slave controller range now extends to 328 feet and users can switch between 2.4 GHz and 5.8 GHz frequencies to cut through any noise for greater signal stability.

Creative Freedom

Inspire 2’s new intelligent flight modes expand DJI’s computer vision technology to safely fly routes that give creators new ways to capture what they envision. Spotlight Pro Mode locks onto a subject during flight while the aircraft flies freely in another direction – and automatically rotates the aircraft to stay on the shot if the gimbal reaches its rotational limit. The forward-facing camera offers TapFly, which directs Inspire 2 to any point on the screen while avoiding obstacles along the way. ActiveTrack recognizes common subjects such as people, cars and animals, sending Inspire 2 to follow behind, lead in front, circle above or track alongside while always flying forward, ensuring the forward-facing obstacle sensing system keeps the aircraft safe. 

New Zenmuse Cameras

DJI is enhancing the imaging potential of the Inspire 2 by expanding its line of interchangeable Zenmuse cameras, which are designed for aerial imaging and communicate directly with the aircraft’s gimbal and flight controllers. For situations that require a balance between weight and image quality, the new Zenmuse X4S has a 1-inch, 20-megapixel sensor with 11.6 stops of dynamic range and a 24 mm equivalent focal length. The Zenmuse X4S offers aperture control (f2.8-11) and a mechanical shutter that cancels rolling shutter distortion. The new Zenmuse X5S has a larger Micro Four Thirds sensor with 20.8 megapixels and an incredible 12.8 stops of dynamic range. The Zenmuse X5S camera now supports 8 lenses from wide angles to zooms. It shoots 20fps continuous burst DNG RAW (20.8 MP). In the future, a handheld mount will be available for the Zenmuse X4S and X5S cameras, bringing those cameras down to the ground for more flexible filmmaking.

Professional Accessories to Enhance Performance

A series of powerful DJI accessories will meet the needs of operators under various filming conditions. DJI Focus, a battery charging station, DJI CINESSD, CINESSD station and other optional accessories are available.

An optional DJI Crystalsky high-brightness IPS monitor features an ultra-bright screen that is clearly visible in direct sunlight and ideal for outdoor shooting. It comes in 5.5-inch and 7.85-inch sizes, with the highest brightness up to 1000 cd/m2 and 2000 cd/m2 respectively, and its dedicated system reduces video transmission latency. Dual Micro-SD Card slots within the screen make it easy to back up footage and can also be used to transfer and play back files. It operates in extreme temperature conditions from -4 degrees to 104 degrees Fahrenheit.

Phantom 4 Pro

Professional Imaging

Phantom 4 Pro offers a powerful imaging system for professional photo and video creators as well as non-professionals who demand excellence from the camera and platform they use to pursue their creative visions. The camera now packs a 1-inch 20-megapixel sensor, and almost 12 stops of dynamic range bring out levels of detail and low-light performance unprecedented in a flying camera of this size. Its mechanical shutter eliminates rolling shutter distortion in fast-moving scenes. Phantom 4 Pro can capture slow-motion 4K video up to 60 fps at a maximum bitrate of 100 mbps. In addition, the Phantom 4 Pro offers H.265 video compression, which substantially improves video quality at the same bitrate.

Reliable with Enhanced FlightAutonomy System

Phantom 4 Pro builds on DJI’s original obstacle avoidance system with FlightAutonomy – three sets of visual systems that build a 3D map of obstacles in front, behind and below the aircraft, as well as infrared sensing systems on both sides. FlightAutonomy can position, navigate and plan routes for Phantom 4 Pro, enabling it to avoid obstacles in a sensing range up to 98 feet at front and rear, even in complex 3D environments. When returning to home and tapping to initiate auto takeoff or landing, the Landing Protection function is able to detect and help avoid landing on uneven ground or water. Phantom 4 Pro has high-performance battery technology that provides up to 30 minutes of flight time. The Phantom 4 Pro flies at 31 mph in P mode with obstacle avoidance in effect, and has a 45 mph top speed in sport mode.

Professional Control with New Remote Controller

Phantom 4 Pro’s revolutionary new compact remote controller comes with an optional high luminance display, providing a clear and vivid live HD view from the main camera as well as essential telemetry data, even in direct sunlight. The aircraft will automatically choose between 2.4GHz and 5.8GHz once powering on to gain a clear signal in areas with high radio interference. The new controller has a built-in GPS, compass, Micro-SD card slot and HDMI port.

Intelligent Flight

New intelligent flight modes make Phantom 4 Pro the smartest flying camera of its size, opening new vistas for creators, such as the new Draw Mode that allows operators to draw lines on the controller display and direct the Phantom 4 Pro to fly that route.

ActiveTrack recognizes common subjects such as people and bikes, then follows them from any angle while maintaining camera focus, and includes three new modes – New Circle, Profile and Spotlight.

Narrow sensing enhances obstacle avoidance sensitivity so the aircraft can fly through complex environments like narrow doorways. TapFly now works backwards and comes with a new Free mode that allows a pilot to set the direction of flight, turn the Phantom 4 Pro or tilt the gimbal without changing the direction of flight. With the new AR Route feature, operators will be able to tell the flight route on the screen.

As an additional safety feature, within a minute of losing GPS signal, the aircraft will automatically return to the last connected position and hover there precisely to wait for the pilot’s command. With the enhanced return to home function, the aircraft knows where it should be going from up to 984 feet away and avoids obstacles along the route.

Price and Availability

Phantom 4 Pro’s U.S. retail price is $ 1,499 with a standard controller. The Phantom 4 Pro, which includes a Phantom 4 Pro aircraft, and a high luminance display remote controller, will be available at $ 1,799. Phantom 4 Pro and Phantom 4 Pro are immediately available for pre-order at dji.com/phantom-4-pro and DJI flagship stores in Shenzhen, Seoul and Hong Kong. These products will begin shipping one week after launch.

The U.S. retail price of the Inspire 2 aircraft is $ 2,999. The Inspire 2 Combo, which includes one Inspire 2 aircraft, one Zenmuse X5S, CinemaDNG and Apple ProRes License Key, is available for $ 6,198. Customers who order the Inspire 2 Combo before January 1, 2017 can enjoy a special price of $ 5,999. Inspire 2 and its accessories will be immediately available for pre-order at dji.com/inspire-2 and also in the three DJI flagship stores. Inspire 2 Combo will start shipping in early December 2016 while customers who purchase the aircraft and camera separately can expect their orders to start shipping in early January 2017.

Articles: Digital Photography Review (dpreview.com)

 
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Sony announces the PXW-FS7 ll with electronic variable ND filter and new handling features

10 Nov

Sony is preparing to release an updated version of its popular PXW-FS7 professional video camera that will feature an electronic variable neutral density filter that automatically compensates for exposure shifts of between two and seven stops. The filter can adjust itself so that apertures and shutter speeds can remain constant even when light intensity changes quite dramatically – thus maintaining the ‘look’ of the video. The new feature also allows aperture changes that alter the depth of field during recording without affecting the exposure of the footage.

The new camera doesn’t replace the existing FS7 as Sony says it will retain both models in the range to give videographers a choice. The new model will cost more than the original, so there will be models to suit different budgets.

Another new feature of the FS7 ll will be a locking collar around the lens throat that allows E-Mount lenses to be fitted directly to the camera without the need to twist them into place. The lens can be offered up to the throat and the collar rotated to lock it into place. This, Sony says, makes changing lenses much quicker as lens support rigs won’t need to be taken off to complete the lens switch.

Sony has altered the shoulder mount and the viewfinder so that they can be adjusted without tools, using wing nuts and finger screws to secure them in place. The monitor arm and the micro holder can now be switched for left-eye viewers, and the number of external assignable buttons has increased from six to ten.

The camera can accept A-mount lenses via an adapter

Like the FS7 the new FS7 ll uses a Super 35mm format sensor and can record 4K and full HD video at a range of frame rates up to 180fps and in a wide range of formats.

At the same time Sony announced the FS7 ll it also announced a new kit lens for the FS7 series and a G-Series 256GB XQD card with a 400Mbps write speed. The new lens is the SELP18110G 18-110mm f/4 power zoom with Optical SteadyShot built-in. Although Sony had said originally that the lens would be suited to be paired with the SEL14TC and SEL20TC teleconverters it has now announced that it will not in fact be compatible.

The Sony PXW-FS7 ll is due to arrive in January 2017, and the company has yet to release pricing information (the current model costs about £8000/$ 8500). For more information visit the Sony Pro website.

Press release:

Sony Expands FS Series with New FS7 II Camcorder

New Model Delivers Advanced Features for creative Documentary and Indie Production with Electronic Variable ND Filter, Lever Lock Type E-mount and Refined Mechanical Design

Sony is expanding its FS Series Super 35mm professional family with the addition of the new FS7 II camcorder. The new model builds on the original FS7’s strengths by adding advanced features including Electronic Variable ND technology, a lever lock type E-mount, and a new mechanical design for faster and easier set-up.

Since its introduction in 2014, the FS7 has become one of the most widely used cameras in a range of production applications, and the original model remains in the Sony line-up. The new FS7 II now gives creative professionals a broader range of creative tools, with new features all based on end user feedback.

The new FS7 II camcorder is designed for long-form shooting and production applications, especially for documentaries and independent filmmaking. Amongst the many enhancements outlined below, the FS7 II can also record in BT2020 colour space, hence making it ideal for today’s 4K broadcast productions.

Electronic Variable ND Technology

The camcorder’s Electronic Variable ND Filter system, combined with its large sensor, delivers greater exposure control, with the option of preset or variable operation modes. Variable ND mode (clear + 2~7 stop range, in seamless transition steps up to 1/128) allows the user to vary the density of the ND filter during shooting and to transition seamlessly between steps. This also ensures an optimum motion delivery by maintaining desired shutter speed.

The camera’s expanded ND operations enables fine exposure adjustment by relegating iris to set depth of field, prevents soft focus caused by diffraction, and prevents colour shift caused by stacking multiple external ND filters.

The camera can compensate for exposure fluctuation caused by iris control while adjusting the depth of field. Users can adjust exposure while keeping the same bokeh in changing shooting or lighting environments.

Preset mode lets users assign three ND settings to the filter turret, useful in selecting the most appropriate filtration range for changing light conditions, for example. Auto ND mode is also available allowing exposure to stay at a fixed level while adjusting the depth of field with iris control.

E-mount (Lever Lock type) for professional shooting

The FS7 II revisited E-mount (lever lock type) gives users the ability to change lenses by rotating the locking collar rather than the lens itself, which means that in most cases lens support rigs don’t need to be removed, saving time during a production. The new E-Mount has been designed for demanding applications in the professional environment and will fit any existing E-mount lenses in the market and other mount lenses with an adapter. The new FS7 II camcorder also supports Sony ? Mount System, which includes more than 70 lenses.

Mechanical Design Enhancements

Like its counterparts in the FS Series family – the FS7 and FS5 models – the new FS7 II features several design and ergonomic updates for comfortable and functional use in the field. These new features are based customer feedback around the FS7.

The FS7 II “tool-less” mechanical design lets users make on-the-fly changes to the camera’s set-up and operation. For example, no tools are required to adjust the Smart Grip or viewfinder positions.

The detachable viewfinder eyepiece, which comes with a pop-up hood, provides a third stabilizing contact point when shooting handheld. Durable square section rods and lever-clamps on the LCD and camera body provide simple and precise front-to-back VF adjustment while retaining level positioning.

New Sony 18-110mm Sony G lens

Sony also introduced a new E-mount, Super 35mm lens specifically designed for documentary and motion picture production.

The new lens, model E PZ 18-110mm F4 G OSS, covers Super35mm and APS-C sensors. Compact and lightweight — 2.4 lbs (1.1Kg) — with an 18 to 110 focal range (6x zoom) it uses a new fully mechanical/servo zoom switchable system, capable of snap zooms and entirely devoid of lag. The focal range is optimised for Super 35 and APS-C sensors.

The lens is compatible with Sony ? Mount System cameras, including the ?7 series interchangeable-lens cameras and professional Super 35mm 4K camcorders like the FS7 or FS5. Although perfectly suited for still image taking, filmmakers will fully appreciate the lens’ extended creative capabilities for shooting motion images.

The lens benefits Smooth Motion Optics (SMO) design from Sony, which is developed to optimise performance during motion image capture. This lens design eliminates undesirable characteristics and artifacts that do not affect still image taking, but can severely limit a lens’ usefulness for motion shooting, such as:

  • Ramping: F stop gradually diminishes when zooming tight
  • Not holding focus while zooming
  • Breathing (angle of view variation while focusing)
  • Optical axis shift (image moves in the frame while zooming)

*Due to a change in the SELP18110G specifications it is no longer compatible with the SEL14TC and SEL20TC teleconverters.

XQD Cards

The FS7 II supports the XQD memory card format, designed for capturing and transferring high-bandwidth, high resolution files. The newest XQD card from Sony, QD-G256E — with an industry first 256 GB capacity — enables recording time of approximately 45 minutes at 4K 60P and 3.5 hours at 2K 30P. Combined with a read speed of 440MB/s and write speed 400MB/s, users can shoot for longer without needing to change media cards.?

The FS7 II is planned to be available in January 2017. For more information, please visit the product page.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe announces Reuters partnership, Creative Cloud app updates

02 Nov
 Adobe Stock brings Reuters images like this one straight into Creative Cloud.

Adobe is teaming up with Reuters in an effort to strengthen its Stock app offerings. The move will bring Reuters entire video and still editorial collection into Adobe Stock, where users can license content directly within Creative Cloud. The company also announces a name for its machine learning and AI-based technologies: Adobe Sensei. Driving features like ‘content-aware face liquify,’ Sensei is also behind a new visual search tool that allows Stock users to search for images with similar content or a look and feel that matches a particular image.

Photoshop CC users will get a new universal search tool, and updates to Premiere Pro CC aim to make creating VR and 3D content easier. A new social publishing panel in Premiere Pro will facilitate video sharing and data analysis within the application. Design professionals will be most interested in the rest of Adobe’s CC updates introduced leading up to the company’s MAX conference, as Adobe Experience Design brings Photoshop tools like layers to an app for UX designers, and Dreamweaver CC gets an interface update. Photoshop Fix, Photoshop Sketch and Adobe Comp CC apps also see an Android release.

Articles: Digital Photography Review (dpreview.com)

 
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