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Posts Tagged ‘Camera’

Google Camera app 7.0 leak reveals new Pixel 4 camera features

16 Sep

A leaked version of the Google Camera app 7.0, which will likely be installed on the upcoming Google Pixel 4 device, has made its way into the hands of the people at XDA Developers who have analyzed the code and found a bunch of new camera features to look forward to.

The new camera will likely come with a motion blur mode that lets you capture moving subjects in the foreground and blur the background to emphasize the impression of motion and speed. The feature, which should come in handy at racing or sports events, will likely be called Motion Mode.

A section of code inside the Google Camera 7.0 app that hints at the upcoming Motion Mode.

The app source code also suggests that the computational photography feature Night Sight will be improved on the Google Pixel 4, likely with the previously leaked astrophotography mode. The Night Sight feature will also be sped up by making use of zero shutter lag technology and for astrophotography Google will be using the chipset’s integrated GPU to accelerate segmentation of the sky as well as identifying and brightening stars.

References to Live HDR and HDRNet in the code hint at HDR rendering in the preview image and it also looks like the the Pixel 4 will come with an audio zoom feature, similar to what Apple has implemented on the iPhone 11 and what LG and HTC have been using for some time now. The feature allows the phone to focus its microphones on a major audio source when zooming the camera.

Code from within the Google Camera 7.0 app that references Live HDR settings, as well as mesh warp settings, presumably used in conjunction with depth data.

Other sections in the source code indicate that the Pixel 4 and other compatible Pixel devices will support saving depth data as a Dynamic Depth Format (DDF) file which should allow for re-focusing and other depth modifications in any app that supports the format.

Further improvements could include an updated version of the Photobooth feature which was introduced with the Pixel 3 and automatically takes photos when it detects smiles or funny faces in the frame, integration of an augmented reality measurement app into the Camera app, and a ‘rewind’ feature, the exact function of which is as yet unknown.

Google Pixel have traditionally been at the forefront of mobile imaging and it looks like the Pixel 4 will be no different. We’ll know more in October when the new device is expected to launch.

Image credits: Screenshots used with permission from XDA Developers

Articles: Digital Photography Review (dpreview.com)

 
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Laowa delays the release of its 4mm F2.8 Fisheye lens for MFT camera systems

11 Sep

In a post on Sightron Japan’s website, it has announced that the Laowa 4mm F2.8 Fisheye lens for Micro Four Thirds (MFT) camera systems has been postponed.

In a very brief notice (translated) on its information page, Sightron says the lens, which was set to be released this coming Friday, has been delayed. The machine-translated version of the notice reads ‘since there is a possibility that a problem individual was mixed, we decided to postpone the release.’

Based on that translation, it seems as though a number of lenses had issues, but Laowa couldn’t pinpoint down exactly what lenses were affected and are therefore going back through and testing the units that have already been produced.

Sightron, says ‘details regarding the release date will be announced as soon as they are determined.’ It ends the post by thanking interested parties for their understanding and patronage. We’ve contacted Venus Optics for additional details and confirmation on what regions are affected by this delay. We will update this article accordingly when we hear back.

Update (September 11, 2019): This article originally mistated the relationship between Sightron Japan and the Laowa brand. It has been updated accordingly.

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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Apple debuts iPhone 11 and iPhone 11 Pro with ultra-wide camera

11 Sep

Apple has unveiled the iPhone 11, iPhone 11 Pro and iPhone 11 Pro Max. All three devices offer a standard 12MP camera plus, for the first time on an iPhone, an ultra-wide 13mm camera module. In addition to those two cameras, the Pro models also provide a 12MP telephoto camera. The iPhone 11 provides a 6.1″ LCD ‘XDR’ display, with the 11 Pro and Pro Max offering OLED HDR displays measuring 5.8″ and 6.5″ respectively. All three displays support P3 wide color gamut and display of HDR video content.

All three phones offer a main 12MP ‘wide’ camera with a 26mm equivalent F1.8 6-element lens and optical image stabilization. It’s a new sensor, and Apple claims it offers ‘100% focus pixels’, which suggests a dual pixel sensor with split photodiodes.

The iPhone 11, 11 Pro and 11 Max all offer a second 12MP ‘ultra wide’ camera with a 13mm equivalent F2.4 5-element lens, which provides a dramatic wide 120 degree field of view. A new feature uses the ultra-wide camera to show you what’s beyond the frame when using the main camera, helping you decide whether to switch the wider field of view.

The 11 Pro and 11 Pro Max continue to offer the telephoto camera of previous generations. This is also a new 12MP sensor paired with a faster F2.0 lens with optical image stabilization.

All three iPhones have upgraded video capability, with the rear cameras capable of 4K 60p footage with what Apple is calling ‘extended dynamic range’ (EDR). Optical and digital stabilization work in combination for smooth footage. The front facing camera can record 4K 60p video, and can also record EDR video at 4K 30p. It’s now easier to switch from shooting photos to shooting videos: in stills mode, simply hold down the shutter to start recording a video.

Like previous models, slow motion and time-lapse modes are available. Apple claims the Pro models have all three rear cameras calibrated at the factory, so you can quickly switch between lenses when recording video and retain the same look across all cameras.

The iPhone 11, 11 Pro and 11 Pro Max will be available for pre-order this Friday and will ship September 20th. The iPhone 11 is the most affordable of the bunch starting at $ 699; the 11 Pro and Pro Max are priced at $ 999 and $ 1099, respectively. Apple says it will keep the XR in the current lineup for $ 599.

Articles: Digital Photography Review (dpreview.com)

 
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Hands-on with the Phase One XT camera system

10 Sep

Introduction

Phase One has just unveiled their new XT Camera System, which uses the same IQ4 digital backs as their XF system, but in a much smaller and lighter overall package. Phase One is billing the XT system as a ‘field camera,’ explaining to us that, while the XF system is really about ultimate image quality in a studio environment, the XT is about making it easier to achieve that quality beyond the studio.

Let’s take a closer look at the components of the XT camera system and how it handles.

The XT camera

Although Phase One likes to use ‘back-to-basics’ as a phrase to describe the entire XT camera system, it’s the impressively slim XT camera itself that is perhaps most representative of this philosophy. The IQ4 digital backs mount to the rear of the camera, and a series of new Rodenstock lenses (which are attached to the company’s new ‘X-Shutter’ mechanism – more on that in a bit) mount to the front, using a standard Cambo mount. You can see the electrical contacts here that control that shutter, and also communicate shooting data between the lens and the camera.

The XT camera also allows users to quickly switch from landscape to portrait orientation, thanks to a tripod plate mounted on a grooved track (visible here on the right of the camera) that allows the whole system to rotate 90 degrees without leaving the tripod. If you like, you can remove the tripod foot altogether.

There are only three control points on the XT camera – one which you can easily see here, is that bright blue shutter button at the top left. The others are…

Lens shift knobs

…shift-knobs, seen here as the textured tumbler on the top of the camera. These will adjust the Rodenstock lenses by as much as 12mm up, down, left and right. There is another of these knobs on the rear of the camera (not visible, but just below the thumb in the photograph), and they principally allow for the correction of perspective distortion while shooting, but could also aid those shooting with high-megapixel stitched panoramas in mind, as well.

Lens shift knobs

Here, you can see one of this early prototype camera’s lens-shift display windows, as well as a peak of that second shift knob. These show you how far you’ve currently got the lens shifted. This value is saved into the EXIF data for the files, for later reference.

So, on the XT camera, you have the dual-action shutter button and two shift knobs – how do you go about controlling the rest of the camera?

The digital back

As is already an option for users of Phase One’s XF system, the touchscreen interface on the company’s IQ4 lineup of digital backs becomes absolutely key when using the XT system. They provide a robust live view display to aid in composition, and also include helpful exposure aids, such as Raw clipping indicators. You also have full access to the system’s menus, and from there, you can enable the new Automated Frame Averaging feature, which we’ll be looking at in greater depth in a separate article.

The rear touch-sensitive display also allows for adjustment of all exposure parameters, including aperture (there’s no aperture ring on the Rodenstock lenses). Speaking of rings on lenses…

Manual focus only

…the XT system is manual focus-only. Here, you can see the manual focus ring for the Rodenstock 32mm F4 lens – it’s very well-damped and very smooth, and we’d expect the same on the other lenses offered. Of course, manual focus generally precludes the use of the XT system as a fast, reactive photographic tool for moving subjects, but Phase One is…unfazed…by this reality. The company has stated that it’s really aiming the XT system at high-end landscape and architectural photographers that will likely use smaller apertures for greater depth-of-field, and for whom focusing using the rear screen and its in-built focus aids is an expected way of working.

Of course, there will probably be users who will take their XT system out as a ‘carry-around’ kit for shooting just about everything, just as there are users who currently do the same with the much-bigger XF system.

The X-Shutter and ebony grip

This brings us to the new X-Shutter mechanism, shown here protruding between the mount and the lens barrel. Phase One tells us that their experience in industrial applications informed this new unit’s construction.

The X-Shutter is electromagnetically controlled, and allows for shutter speeds from 1/1000 sec to 60 minutes, and is tested for a minimum of 500,000 actuations. There are 5 rounded aperture blades, all made of carbon fiber.

Oh, and last but not least, you can get a nice view of the XT’s grip in this image. It’s made of ebony, and is one of very few non-metal components on the camera.

The wrap

And that’s it for our quick hands-on tour of Phase One’s new XT camera system. The Phase One XT is the second example we’ve yet seen of modular medium format makers embracing the possibility of mirrorless cameras.

With the exception of the Pentax 645D and Z, most medium format systems have been based around modular backs that attach to camera bodies that contain an SLR mirror and viewfinder mechanism, along with the mechanism required to fire the shutter.

In the digital era, most of the camera functions and, increasingly, the ability to preview the image, have migrated from the camera body to the camera back. A move to a mirrorless design further reduces the role played by the camera body, to the point that it becomes almost a back-to-lens adapter with a shutter button.

Whether encouraged by the acceptance of the mirrorless approach by the rest of the market or as a by-product of a generation of large CMOS sensors with usably-fast live view, it’s interesting to see both Hasselblad (with its 907x) and Phase One recognize how minimalist a ‘camera body’ can be.

What do you make of the brand-new XT camera system? Let us know in the comments!

Articles: Digital Photography Review (dpreview.com)

 
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Leaked photos, specs allegedly reveal Leica’s upcoming SL2 mirrorless camera

09 Sep

Nokishita has shared images and specifications for a new Leica camera it claims is the SL2.

According to the report, the new camera (codenamed Vader) will feature a 47-megapixel CMOS sensor and feature 4K video recording with a new ‘Cine Mode.’ The report also notes the camera will have both Wi-Fi and Bluetooth connectivity and be compatible with Leica’s mobile app, FOTOS.

Based on the images, the front of the camera remains largely unchanged from the original Leica SL (Typ 601) with the exception of the viewfinder bump and edges around the grip, both of which have been rounded off compared to the sharper design of the original SL. The rear of the camera stays the same up top, but swaps the unlabeled buttons on both sides of the camera for a row of three buttons on the left-hand side of the rear display: a play, function and menu button.

There’s no additional information on pricing, but Nokishita points at a September release with a note that the camera could be pushed back to later in the year pending other factors.

Articles: Digital Photography Review (dpreview.com)

 
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Review: Vuze+ 3D Stereoscopic 360 Camera

09 Sep

Vuze+ VR camera
$ 995 | vuze.camera

As someone who has been involved in the 360 video community for what is (too) quickly approaching half a decade, the rate at which the medium has evolved in recent years, from both the hardware and software perspective, continues to blow my mind, and the Vuze+ is just another reason why.

The Vuze+ is an upgraded version of HumanEyes Technology’s flagship Vuze stereoscopic 3D 360 camera. For the unfamiliar, the original Vuze was perhaps the most consumer friendly entry-level and affordable stereoscopic (3D) option. The main difference between the original and the Vuze+ are the IP65 instead of IP64 dustproof/water-resistant rating, the addition of spatial 360 audio, upgraded lenses, and the ability to livestream.

While there are a few aspects not to like, and I’ll get into those a bit below, those are almost negated (depending on your intended use for the camera) by the aspects that are very much to like, including the quality, the build, and the ease-of-use, especially at the impressive price point. After all, the original Vuze was good enough for National Geographic to film the first 3D VR footage in space and Discovery VR used the Vuze+ to capture VR footage for Sharkweek (with the optional underwater housing case).

Key features:

  • Eight F2.4 fisheye lenses
  • Stereoscopic (3D) at 4K/30p or monoscopic (2D) at 4K/60p
  • 4-microphone spatial audio
  • Livestreaming at full resolution
  • IP65 (dust tight, water jet proof)

Design

The Vuze+ is very well-designed. I was immediately surprised by how hefty a piece of quality machinery this was, especially for what is essentially a portable stereoscopic rig.

The camera has two buttons, one for power/mode and one to start/stop capture, as well as two LED lights to help indicate camera status such as photo, video, and recording. Hidden behind a thick rubber flap between two of the lenses is the slot for the microSD memory card, the mini-USB 2.0 input/output plug, as well as a battery charge status LED and Wi-Fi on/off and status indicator LED. There is a standard 1/4″ 20 tripod thread on the bottom of the unit.

The Vuze+ ships with a small handle, lens cloth, USB charger and cable, and a quite trustworthy thick padded hard-shell case.

Though the battery is not swappable, it does provide a respectable 90-120 minutes of recording power, and you can attach an external battery pack if needed. The internal battery charged from empty to full in a little under 2 hours. The app displays both battery levels and memory card space remaining.

The included hard-shell case for the Vuze+ is compact and protects the camera very effectively.

One of the main attractions of the Vuze+ is its capability to livestream in full resolution to various platforms that support 360 video including Facebook, YouTube, Periscope and any Real-Time Messaging Protocol (RTMP). It should be noted that in order to livestream, the camera needs to be connected to a computer, which acts as the stitch-box. This also allows you to save the out-of-camera video while you stream. Currently the livestream feature is available for Windows PC only.

Also, brownie points to the manufacturer, HumanEyes, for including mini VR glasses for a mobile phone and an international plug adapter, which as any media professional will be quick to tell you is a much appreciated touch.

In the field

Overall, the Vuze+ is very easy and fun to use. The camera records onto a single microSD card and there is a companion app for both iOS and Android that gives you control over ISO, shutter speed, and exposure. You also have record setting options that include choosing between 80 or 120Mbps bitrate, 50Hz or 60Hz anti-flicker, and 3D 30fps or 2D 60fps recording. The app also has an incredibly convenient digital bubble level to ensure an even horizon for every shot.

The Vuze app has a very convenient digital bubble level – very helpful when setting up a shot.

You also have the option of adjusting exposure settings for each of the four sets of lenses independently, a fantastic feature typically reserved for much higher end rigs like the Insta360 Pro 2. It worked great for automatic exposure adjustments but, unfortunately, more often than not, the app crashed when I tried to manually change the exposure settings on a Samsung Galaxy Note 8. It’s worth noting that others I spoke with did not have this problem.

Exposure can be adjusted independently for each of the four sets of lenses on the Vuze+, a feature typically reserved for higher end VR cameras.

With all that being said, my main, and perhaps only, gripes with this camera lie in two glaring omissions in the app’s functionality.

One, there is no live view on the app while recording. As the nature of 360 video is such that you have to be out of view during capture, not having an option to be able to preview what the camera is recording is borderline mind-boggling.

Two, while you can preview still 360 photos on your mobile device, the mobile app will not stitch 360 video files, so in order to preview video footage, you need to offload and stitch using the computer software.

Overall, the Vuze+ is very easy and fun to use.

While the image quality is pretty good for a stereoscopic camera at this price point, not being able to see or preview video captures in the field are sure to make for an inefficient video production. For this reason, I’d be more than comfortable using this as a B-camera on a professional job, but not as my main camera for principal footage.

Finally, it’s worth mentioning that the Vuze+ only records in h.264/mp4 format, and as of this writing, you do not have access to the raw, uncompressed individual camera files. You can however, output from the provided HumanEyes VR Studio software in ProRes.

Post processing / Desktop app

The Vuze+ workflow is fairly straightforward: once you connect your camera or offload the footage to your hard drive, you launch HumanEyes VR Studio software, which has 3 tabs – Import, Preview & Edit, and Render.

The Vuze desktop app, Vuze Studio, is used to process and stitch your footage, and is organized into three basic functions: Import, Preview & Edit (shown), and Render.

The software is easy to navigate and offers some pretty handy and effective features. Anytime you work in stereoscopic 360 you’re going to run across some stitching issues, and Vuze Studio gives you decent tools to fine tune those stitches. Often times, simply choosing reference frames in parts of the video where stitches are most apparent produces very acceptable results.

Other times, be prepared to spend some time refining stitches using the provided sliders to adjust the four stitch points, especially for moving subjects within a couple meters (6 feet) of the camera.

Vuze Studio software provides some powerful tools to fine tune stitching between cameras.

Vuze Studio does have something called ‘adaptive stitching’ (beta), which works quite well as it seems to analyze the scene and movement and adjust its stitching to accommodate for those variables. However, you’ll need to render the video in order to see the results of this adaptive stitching. In the samples below, watch the woman walking in the center of frame to see a short example of before & after stitch refinements. The second set of videos show how well it did in both standard and adaptive stitching from 3, 5, 7 and 10 feet (1m to 3m) away.

Editor’s note: For the best experience, we recommend viewing the 360 clips below using either a mobile device or a head mounted display like Google Cardboard.

Samples: standard vs. adaptive stitching

The first video above was created with standard stitching, while the second was created using adaptive stitching. Watch the woman walking in the center of the frame to see an example of standard vs. adaptive refinements.

Samples: standard vs. adaptive stitching at different distances

The two videos above show the effect of standard vs. adaptive stitching at 3, 5, 7 and 10 feet (1m to 3m) away. The closer an object in the scene is to the camera, the more challenging the stitching becomes.

Finally, if you so desire, you always have the option to employ a proven near-perfect optical-flow stitch using a third party software like Mistika VR (which has a Vuze+ preset).

One thing to be aware of is that the on-board mics are quite sensitive to wind noise, so if there’s a slight breeze and audio is important to your shot, I’d recommend a spatial recorder like the Zoom H2N with a windscreen to record audio separately.

Horizon stabilization works quite well for static captures. If there is excessive walking or movement without using a gimbal or stabilizer, don’t expect to be able to remove all of the shake and jello-ing as well as, say, the GoPro Fusion or the Rylo Camera, which, to be fair, were designed as action cameras and are just two-lens monoscopic cameras, making this sort of stabilization much less cumbersome. Alternately, as mentioned above, you can use third party software like SGO’s Mistika VR for more advanced software stabilization options.

Samples: walking video without stabilization vs. stabilization with adaptive stitching

The two videos above illustrate the camera’s video stabilization. The first video has no stabilization and standard stitching, while the second has stabilization enabled and uses adaptive stitching.

Since the camera already has an internal accelerometer and gyroscope, I wouldn’t be surprised to see future firmware/software updates remedy these issues.

The ability to easily add a nadir logo on the bottom (as well as on the top if desired) is a huge plus, as anyone that has had to format their own equirectangular logo in a program like PT Gui knows it’s typically an obscenely tedious process. VR Studio also makes it very easy to select your center field of view by simply dragging the video to your preferred focal point before rendering. Furthermore, Vuze Studio has a built-in tool to crop to 180? stereoscopic VR, a format Google is pushing heavily to help further immersive content adoption.

Default as shot

Rotated to preference
Vuze Studio makes it easy to select the default center for the field of view, ensuring that your viewer will be initially directed to your recommended point of view.

In the advanced Blending tool, you can choose from ‘none,’ ‘low,’ ‘medium,’ and ‘high’ to choose the amount of blending applied between the 4 sets of lenses. I found that ‘medium’ seemed to provide the best all around blend.

No blending

Low blending

Medium blending

High blending
Vuze Studio has an advanced blending tool that allows you to apply different levels of blending between lenses. I found that the medium setting generally provided the best all around results. The fluctuations seen between lenses in this view are less noticeable when viewing the content in 360 format.

In the advanced Color Matching tool, you have the choice of ‘none,’ ‘by neighboring lenses,’ or ‘entire sphere.’ All work very well to tone down the image so that there are no extremely noticeable exposure fluctuations, especially in a headset.

No color match

‘Neighboring lenses’ color match

‘Entire sphere’ color match
Vuze Studio also provides an advanced color matching tool that lets you specify how color matching is performed between lenses. As with blend modes, the fluctuations visible in this view are not as noticeable when viewing the content in 360 format.

You also the get the option to adjust basic settings like exposure, highlights, shadows, temperature and saturation.

Finally, you have several options for output, including presets for YouTube, Facebook, Google Maps (360 stills), Vimeo and HumanEyes Zone, a proprietary platform to share VR sites through a single website link. Additionally, you can manually set output parameters, which gives you a choice of h.264 or ProRes, monoscopic (2D) or stereoscopic (3D), 4K or 2K resolution (or custom), spatial or stereo audio, cube map or equirectangular projection, as well as aspect ratio and video bitrate.

The image quality and dynamic range is pretty good for a rig this size and, especially, at this price. The one thing that was apparent in certain conditions, especially in scenes with high contrast, say through tree branches or rooftop edges, was chromatic aberration – noticeable purple fringing was introduced.

In some scenes with high contrast some purple fringing is noticeable.

Conclusion

While it may not fit the bill as a primary camera for most professional stereoscopic 360 shooters that are already accustomed to higher-end 3D rigs, there is still a place for the Vuze+ in many 360 shooters’ kits. Coming in at around $ 1000, aside from the original Vuze, there is no better deal for a stereoscopic rig. It’s easy to use, does a very decent job, and for those either jumping from monoscopic 360 video/photo to stereoscopic, or those that want to experiment with stereoscopic, it’s a good option considering the next cheapest 3D option would run almost 3x the price. This is a great way to dip your toes in without breaking the bank.

The Vuze+ can also serve as a great B-camera and as an option for shooters in specialty markets such as real estate and journalism where they may forego many of the above issues that might plague a more produced shoot.

While there are a few drawbacks, between the acceptable optics, the software, and the user experience, what this gives you, for the price, is quite impressive. Keeping those things in mind, you can’t really go wrong with the HumanEyes Vuze+.

What we like

  • Good price point for a stereoscopic rig
  • Well designed, heavy and sturdy
  • Live-streaming capabilities
  • Approachable and functional software
  • Built in optimized presets for Google Maps / YouTube / Facebook outputs

What we’d like to see improved

  • No Live Preview while recording video
  • Can’t preview video files in app – need to offload and stitch.
  • No optical-flow stitching
  • Software stabilization
  • Chromatic Aberration in certain high-contrast conditions
  • No uncompressed recording

Articles: Digital Photography Review (dpreview.com)

 
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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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The Shuttercase 2.0 is an iPhone camera case with battery grip, mechanical shutter button

05 Sep

Last year Shuttercase unsuccessfully attempted to collect funding for the original Shuttercase iPhone camera case. Now the company is back with a redesigned version that is called Shuttercase 2.0 and already available for purchase.

The Shuttercase 2.0 is aimed at iPhone photographers and movie makers who prefer the handling of a traditional camera over smartphone ergonomics for image and video capture. The case comes with a mechanical shutter button and a replaceable camera handle with a leatherette effect cover. The handle also contains a 3000mAh battery. In addition the case offers a mount for all current Moment smartphone lenses.

The modular design – lens mount, camera handle with battery, leatherette cover and thumb rest are all removable – allows you to use the battery pack when taking pictures with your iPhone and removing it and other components and leaving them at home for normal smartphone use. It also sets the Shuttercase apart from competitors such as the Pictar camera grip or battery packs from Mophie and others.

The Shuttercase 2.0 with Moment lens mount is now available for several iPhone models on the Shuttercase website for $ 78.99. An additional battery pack will set you back $ 28.99.

Articles: Digital Photography Review (dpreview.com)

 
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The Redmi Note 8 Pro is the first officially-announced smartphone with a 64MP camera

30 Aug

Samsung announced its 64MP Isocell GW1 Quad-Bayer smartphone image sensor in May this year. Now Xiaomi has announced the first device featuring the new sensor in the shape of the Redmi Note 8 Pro.

The Isocell sensor is deployed in the primary camera of the Note 8 Pro’s four-camera setup. It is a 1/1.7″ sensor and coupled with an F1.8 aperture lens and PDAF autofocus system. Like with other Quad-Bayer sensors, it is not primarily designed to output 64MP files but to combines four pixels into one, for better detail, lower noise levels and increased dynamic range, resulting in a 16MP default image size.

The primary camera is accompanied by an 8MP super-wide-angle, a 2MP macro camera and a 2MP depth-camera for a simulated bokeh effect. The front camera is located in a notch and offers a 20MP resolution plus several AI features and scene recognition modes.

Camera aside, the new phone’s specifications are distinctly mid-range. The IPS display measures 6.53 inches and comes with an FHD+ resolution. The Android 9 OS is powered by a Mediatek’s Helio G90T chipset and 6 or 8GB of RAM. In terms of storage you can choose between 64 or 128 GB. The 4,500 mAh battery offers quick-charging.

The Note 8 Pro will be available in September in China and set you back CNY1,399 ($ 195) for the 6/64GB version and CNY1,799 ($ 250) for the 8/128GB option. Pricing and availability for other regions have not been revealed yet.

Articles: Digital Photography Review (dpreview.com)

 
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