Planning to treat yourself to a new full-frame camera this holiday season? We compare the Canon EOS R6, Nikon Z6 II, Panasonic S5 and Sony a7 III.
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Articles: Digital Photography Review (dpreview.com)
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MIOPS, makers of the Smart Trigger and Mobile Remote, is back on Kickstarter with another new product designed to make it easier than ever to capture unique images. The Flex is a ‘smart camera gadget’ photographers can use to create timelapse videos, capture photos of lightning strikes, breaking glass and more.
Flex attaches to your camera’s hot shoe and communicates wirelessly with an accompanying app for iOS and Android. Flex offers many different features and shooting modes, including:
As you can see, timelapse is an important aspect of Flex’s feature set. As MIOPS says, ‘Flex is one of the most powerful devices for making timelapse videos.’ A large part of what makes Flex such a promising tool for timelapse creation is that the application shows you a live preview of your timelapse video during the shooting process. When capturing a timelapse in changing conditions, Flex can automatically change your camera’s settings as well, allowing you to capture a ‘holy-grail timelapse,’ which is a timelapse with smooth day-to-night and night-to-day transitions. It’s a notoriously difficult type of timelapse to create.
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| Flex includes many timelapse features, including a live preview function on the Flex app. Image credit: MIOPS |
For high-speed photography, such as capturing lightning strikes or capturing the perfect moment of action, Flex incorporates numerous helpful features. When photographing lightning, Flex automatically captures photos as soon as its sensor detects lightning. For photographing something such as a popping balloon, breaking glass, or a falling object, Flex includes a sound-activated shooting mode and it has a laser sensor that can be tripped to trigger image capture.
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| When using Flex, you can remotely control your camera, including adjusting settings and capturing images. Image credit: MIOPS |
Flex includes new features for more traditional photography applications as well. From the Flex app, you can remotely adjust your camera’s settings and capture images. MIOPS says, ‘Go ahead – put your camera in hard-to-reach places to get that amazing angle.’ With customizable shutter speed control, Flex can also be used to capture very long exposure images, beyond what your camera can capture on its own. Further, you can see what your camera sees via live view from your smartphone.
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| Flex attaches to your camera’s hot shoe and is compatible with many cameras from Canon, Nikon, Sony and Fujifilm. Image credit: MIOPS |
Flex is compatible with cameras from Canon, Nikon, Sony and Fujifilm, including both DSLR and mirrorless cameras from Canon, Nikon and Sony. For the full list of compatible cameras, click here.
Flex has already eclipsed its $ 50,000 goal with 43 days to go in the Kickstarter campaign. MIOPS expects to ship Flex to backers in June 2021. The Flex is available for $ 199 USD with the ‘Super Early Bird’ backer option, a $ 100 savings compared to the expected MSRP. For full details of the Flex and the various backer options, head to the Flex Kickstarter page. To learn more about MIOPS and its other products, click here.
Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.
Articles: Digital Photography Review (dpreview.com)
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Fujifilm has announced a firmware update for its GFX 100 camera that adds Pixel Shift and Multi-Shot functions to its flagship camera, which work alongside Fujifilm’s new Pixel Shift Combiner software to stitch together up to 16 Raw photographs into a single 400MP Raw image.
The new 400MP image capture mode in firmware version 3.00 combines the capabilities of the GFX 100’s 102MP sensor, its in-body image stabilization and the X Processor 4 inside. To achieve this level of resolution, the GFX 100 will first capture a the base shot, before shifting the sensor one pixel left, right and down for a total of four images. The camera will then repeat this process with each of these four images for a total of 16 Raw photographs.
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This method ensures each pixel records image data in red, green and blue, which helps to increase color reproduction accuracy with minimal false color. To get the final result, users will need to rely on Fujifilm’s new Pixel Shift Combiner software, which will automatically stitch all 16 Raw images together to create a single 400MP Raw image (DNG), which can then be edited in the program of your choosing.
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The high color accuracy and resolution make this an obvious choice for digital archiving and art preservation, but also for commercial photographers who need resolution and accuracy, as showcased with this image of the one-off Koenigsegg Agera RS ‘Draken’ from Dan Kang:
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This first image is the standard image as captured by the GFX 100:
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| The full-resolution version of this image came in at 51.5MB |
This second image is a 100% crop of a photo captured with the new 400MP Pixel Shift Multi-Shot mode:
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| The full-resolution version of this image came in at 204.9MB |
Firmware version 3.00 for the Fujifilm GFX 100 also addresses a few smaller changes. Now, when rating images captured in the [JPEG + Raw] mode, both the JPEG and Raw file will keep the rating. Fujifilm has also fixed an issue that caused its EF-X500 to incorrectly fire other flash groups when using it as a commander in multi-flash scenarios. Eye AF performance has also been improved and a number of smaller bugs have been addressed as well.
You can download firmware version 3.00 for the GFX 100 as well as the new Pixel Shift Combiner program (macOS and Windows) on Fujifilm’s website.
Image credit: Photographs used with permission from Koenigsegg and Dan Kang.
Articles: Digital Photography Review (dpreview.com)
That feeling when you take the lens cap off to reveal a scratch. How did that get there? When did that happen? Is it going to affect my photos? These are just some of the questions that will no doubt run through your head should you find yourself in this situation. Cameras and their lenses are expensive pieces of equipment Continue Reading
The post A Guide to Repairing Camera Lens Scratches appeared first on Photodoto.
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Sigma has announced it will be showing off a new Digital Neo (DN) lens on December 1 during its ‘Sigma Stage Online’ livestream.
No further information has been shared about what kind of lens we can expect, but with the livestream just a week out, we won’t have to wait long. The livestream will take place at 7am ET (4am PT) using the below video:
You can subscribe to Sigma’s Youtube channel to keep up to date with the latest news and click the ‘Set reminder’ button on the above video to receive a push notification before the livestream starts.
Articles: Digital Photography Review (dpreview.com)
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Please note that this article will be updated over the course of the holiday week. We will make every effort to keep it up to date but we cannot guarantee that all of the deals listed below will be available at the time of reading.
Here in the US, we’re looking forward to Thanksgiving. While this year’s Turkey Day will be a little unusual thanks to you-know-what, some things remain the same. Holiday season traditionally means shopping season, and the week of Black Friday, Small Business Saturday and Cyber Monday deals is here.
We’ve compiled a list of the best offers on cameras, lenses, accessories and software, and we’re going to be updating this article regularly as more deals are listed and others are taken down. If you find a nice deal you think we’ve missed, or you notice one that’s expired, please let us know in the comments below.
Do note that the ‘SAVE’ figures below represent discount from original MSRP and we make no guarantees that the discounts listed will be available across the entire holiday weekend.
We’re focusing on deals from major U.S. online retailers in this article, and if you choose to shop via the Amazon links below, you’ll be supporting DPReview in a small way.
Happy holidays!
Loupedeck CT Save 10%
$ 500, normally $ 550 (Loupedeck, Amazon)
Loupedeck CT Save 10%
$ 225, normally $ 250 (Loupedeck, Amazon)
Everyday Line (V2) Save 20%
(Adorama, B&H, Peak Design)
Travel Line Save 20%
(Adorama, B&H, Peak Design)
Straps, Clips and Accessories Save 10%
(Adorama, B&H, Peak Design)
Travel Tripod Save 10%
(Adorama, B&H, Peak Design)
502 Bright Full HD On-Camera Monitor Save $ 100
$ 699, usually $ 799
Entire Store — Save 15%
You can see a full list of Canon’s deals on its dedicated holiday deals page
EOS RP RF24–105mm F4–7.1 IS STM Lens Kit — Save $ 400
$ 999, usually $ 1,399 (Amazon, B&H, Canon)
EOS R (body only) — Save $ 200
$ 1,599, usually $ 1,799 (Adorama, Amazon, B&H, Canon)
EOS M6 Mark II + EF-M 15–45mm f/3.5–6.3 IS STM + EVF Kit — Save $ 200
$ 899, usually $ 1,099 (Amazon, B&H, Canon)
EOS M6 Mark II + EF-M 18–150mm f/3.5–6.3 IS STM + EVF Kit Black — Save $ 200
$ 1,149, usually $ 1,349 (Amazon, B&H, Canon)
EOS 90D Video Creator Kit — Save $ 150
$ 1,299, usually $ 1,449 (Adorama, Amazon, B&H, Canon)
EOS M50 Video Creator Kit — Save $ 150
$ 599, usually $ 749 (Adorama, B&H, Canon)
Powershot G7 X Mark II — Save $ 130
$ 499, usually $ 629 (Adorama, Amazon, B&H, Canon)
Powershot G7 X Mark III — Save $ 100
$ 649, usually $ 749 (Adorama, Amazon, B&H, Canon)
EF-S 24mm f/2.8 STM — Save $ 30
$ 119, usually $ 149 (Adorama, Amazon, B&H, Canon)
EF-S 35mm f/2.8 Macro IS STM — Save $ 50
$ 299, usually $ 349 (Adorama, Amazon, B&H, Canon)
EF 40mm f/2.8 STM — Save $ 20
$ 179, usually $ 199 (Adorama, Amazon, B&H, Canon)
RF 50mm F1.2 L USM – Save $ 100
$ 2,199, usually $ 2,299 (Amazon, B&H, Canon)
RF 85mm F1.2 L USM – Save $ 100
$ 2,599, usually $ 2,699 (Amazon, B&H, Canon)
RF 24–70mm F2.8L IS USM — Save $ 100
$ 2,199, usually $ 2,299 (Amazon, B&H, Canon)
RF 24–240mm F4–6.3 IS USM — Save $ 200
$ 699, usually $ 899 (Amazon, B&H, Canon)
RF 70–200mm F2.8 L IS USM — Save $ 100
$ 2,599, usually $ 2,699 (Amazon, B&H, Canon)
Coming soon…
You can view all of Nikon’s deals on its Black Friday camera deals page
Z7 (body only) — Save $ 300
$ 2,499, usually $ 2,799 (Adorama, Amazon, B&H, Nikon)
Z7 with 24–70mm F4 S zoom lens kit — Save $ 300
$ 3,099, usually $ 3,399 (Adorama, Amazon, B&H, Nikon)
Z6 (body only) — Save $ 400
$ 1,599, usually $ 1,999 (Adorama, Amazon, B&H, Nikon)
Z6 with 24–70mm F4 S zoom lens kit — Save $ 400
$ 2,199, usually $ 2,599 (Adorama, Amazon, B&H, Nikon)
Z6 filmmakers kit — Save $ 400
$ 3,599, usually $ 3,999 (Adorama, Amazon, B&H, Nikon)
Z5 (body only) — Save $ 200
$ 1,199, usually $ 1,399 (Adorama, Amazon, B&H, Nikon)
Z5 with 24–200mm F4–6.3 VR lens kit — Save $ 200
$ 1,999, usually $ 2,199 (Adorama, Amazon, B&H, Nikon)
Z5 with 24–50mm F4–6.3 lens kit — Save $ 200
$ 1,499, usually $ 1,699 (Adorama, Amazon, B&H, Nikon)
Z50 Creator’s Kit — Save $ 100
$ 1,049, usually $ 1,149 (Adorama, Amazon, B&H, Nikon)
D750 (body only) — Save $ 200
$ 1,499, usually $ 1,699 (Adorama, B&H, Nikon)
D850 (body only) — Save $ 500 (currently back ordered)
$ 2,499, usually $ 2,999 (Adorama, B&H, Nikon)
Nikkor Z 50mm F1.8 S — Save $ 100 (currently back ordered)
$ 499, usually $ 599 (Amazon, B&H, Nikon)
Nikkor Z 35mm F1.8 S — Save $ 150
$ 699, usually $ 849 (Amazon, B&H, Nikon)
Nikkor Z 85mm F1.8 S — Save $ 100 (currently back ordered)
$ 699, usually $ 799 (B&H, Nikon)
Nikkor Z 14–30mm F4 S — Save $ 200
$ 1,099, usually $ 1,299 (Amazon, B&H, Nikon)
Nikkor Z 24–70mm F2.8 S — Save $ 300
$ 1,999, usually $ 2,299 (Amazon, B&H, Nikon)
AF-S Nikkor 24–70mm F2.8E ED VR — Save $ 500
$ 1,599, usually $ 2,099 (Amazon, B&H, Nikon)
AF-S Nikkor 70–200mm F2.8E FL ED VR — Save $ 450
$ 1,899, usually $ 2,349 (Adorama, Amazon, B&H, Nikon)
AF-S Nikkor 500mm F5.6E PF ED VR — Save $ 300
$ 3,299, usually $ 3,599 (Amazon, B&H, Nikon)
Coming soon…
18–35mm F1.8 DC HSM | A Save $ 120
$ 679, usually $ 799 (Amazon, B&H, Sigma)
24–70mm F2.8 DG OS HSM | A Save $ 240
$ 1,059, usually $ 1,299 (Adorama, Amazon, B&H, Sigma)
24–70mm F2.8 DG DN | A Save $ 240
$ 1,059, usually $ 1,299 (Adorama, Amazon, B&H, Sigma)
24–105mm F4 DG OS HSM | A Save $ 100
$ 799, usually $ 899 (Adorama, Amazon, B&H, Sigma)
70–200mm F2.8 DG OS HSM | S Save $ 160
$ 1,339, usually $ 1,499 (Amazon, B&H, Sigma)
16mm F1.4 DC DN | C Save $ 50
$ 399, usually $ 449 (Amazon, B&H, Sigma)
30mm F1.4 DC DN | C Save $ 50
$ 289, usually $ 339 (Adorama, Amazon, B&H, Sigma)
35mm F1.4 DG HSM | A Save $ 200
$ 699, usually $ 899 (Amazon, B&H, Sigma)
45mm F2.8 DG DN | C Save $ 100
$ 449, usually $ 549 (Amazon, B&H, Sigma)
50mm F1.4 DG HSM | A Save $ 150
$ 799, usually $ 949 (Amazon, B&H, Sigma)
56mm F1.4 DC DN | C Save $ 50
$ 429, usually $ 479 (Amazon, B&H, Sigma)
85mm F1.4 DG HSM | A Save $ 150
$ 1049, usually $ 1,199 (Amazon, B&H, Sigma)
MC-11 Mount Converter Save $ 100
$ 149, usually $ 249 (Adorama, Amazon, B&H, Sigma)
a7 III — Save $ 300
$ 1,698, usually $ 1,998 (Adorama, Amazon, B&H)
a7 III with 28–70mm lens — Save $ 300
$ 1,898, usually $ 2,198 (Adorama, Amazon, B&H)
a7 III with 24–105mm lens — Save $ 600
$ 2,880, usually $ 3,480 (Adorama, B&H)
a7R IV (body only) — Save $ 500
$ 2,998, usually $ 3,498 (Adorama, B&H)
a7R IV with 24–70mm F2.8 lens — Save $ 715
$ 5,118, usually $ 5,833 (B&H)
a7R II — Save $ 600
$ 1,198, usually $ 1,798 (Adorama, Amazon, B&H)
a6000 with 16–50mm Lens — Save $ 150
$ 498, usually $ 648 (B&H)
a6600 (body only) — Save $ 100
$ 1,298, usually $ 1,398 (Adorama, Amazon, B&H)
ZV-1 — Save $ 100
$ 698, usually $ 798 (Adorama, Amazon, B&H)
FE 35mm F1.8 Lens — Save $ 50
$ 698, usually $ 748 (Amazon, B&H)
FE 16–35mm F2.8 GM Lens — Save $ 200
$ 1,998, usually $ 2,198 (Adorama, Amazon, B&H)
FE 24–70mm F2.8 GM Lens — Save $ 200
$ 1,998, usually $ 2,198 (Adorama, Amazon, B&H)
FE 24–105mm F4 lens — Save $ 300
$ 1,098, usually $ 1,398 (Adorama, Amazon, B&H)
FE 70–200mm F2.8 GM OSS Lens — Save $ 200
$ 2,398, usually $ 2,598 (Adorama, Amazon, B&H)
Vario-Tessar T FE 16–35mm F4 Lens — Save $ 250
$ 1,098, usually $ 1,349 (Adorama, Amazon, B&H)
Vario-Tessar T* FE 24–70mm f/4 Lens — Save $ 200
$ 698, usually $ 898 (Adorama, Amazon, B&H)
Please note, DPReview is a wholly-owned but editorially independent subsidiary of Amazon. This article was put together entirely and exclusively by DPReview’s editorial staff, without any involvement from our parent company.
Articles: Digital Photography Review (dpreview.com)
Customers have gotten their hands on Apple’s latest family of iPhones, including the largest iPhone ever, the iPhone 12 Pro Max. While customers have been enjoying using the new phones, over at iFixit, the team has been busy tearing them apart. They’ve taken apart the iPhone 12 mini and the two medium-sized iPhone 12s, the 12 and 12 Pro. Over this past weekend, the iFixit crew got to work dismantling the iPhone 12 Pro Max.
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| Image courtesy of iFixit and Creative Electron. |
Before diving in, it’s worth recapping the iPhone 12 Pro Max’s features. It is powered by an Apple A14 Bionic system on chip and includes 6GB of RAM. Internal storage options include 128GB, 256GB and 512GB options. The phone features a 6.7″ Super Retina XDR OLED display with a P3 wide color gamut and Apple’s True Tone technology. It is the largest display ever in an iPhone, and according to DisplayMate, it’s a fantastic display.
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| iPhone 12 Pro Max camera modules. Image courtesy of iFixit. |
With respect to photography, the iPhone 12 Pro Max has unique components. It has a 12MP triple camera system like the iPhone 12 Pro, but the Max includes a 47% larger image sensor, a faster F1.6 lens, improved image stabilization, a new 65mm (equivalent) telephoto lens, and improved high ISO performance. If you want to learn more about the performance of the new camera system in the iPhone 12 Pro Max, check out this article: ‘Halide’s deep dive into why the iPhone 12 Pro Max is made for ‘Real Pro Photography’.
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| X-ray image of the iPhone 12 Pro Max’s rear camera module. The bottom left camera, the standard wide angle camera, has a 47% larger image sensor than the camera found in the iPhone 12 Pro. The four black magnets around the same camera are used for the new sensor-shift image stabilization feature, found exclusively in the iPhone 12 Pro Max and not Apple’s other iPhone 12 models. Image courtesy of Creative Electron and iFixit. |
After taking apart the iPhone 12 Pro Max’s new case construction, iFixit was able to investigate the new camera array. As you can see in the x-ray image above captured by Creative Electron, the standard wide camera (shown bottom left) has a noticeably larger image sensor. You can also see magnets around the sensor, which are being used for the new sensor-shift image stabilization tech found exclusively in the iPhone 12 Pro Max. For those lamenting the lack of the larger sensor in the standard iPhone 12 Pro, iFixit states that ‘There’s a decent chance this sensor wouldn’t fit in the cramped corner of the smaller iPhone 12 Pro without compromises.’
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| Close-up image of the standard wide angle camera module in the iPhone 12 Pro Max. Image courtesy of iFixit. |
There’s a lot to see inside the iPhone 12 Pro Max. You can head to iFixit’s teardown for more photos and information about the different internal components and how they relate to the features of the iPhone 12 Pro Max. You can also see a replay of iFixit’s live-streamed teardown of the phone below.
Articles: Digital Photography Review (dpreview.com)
Sony has announced the launch of its new FX6 full-frame 4K cinema camera, which merges Sony’s cinema technology and form factor with advanced imaging technologies taken from its Alpha mirrorless camera systems.
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At the core of the camera is a 4K 10.2-megapixel full-frame backside-illuminated CMOS Exmor R sensor powered by a Sony Bionz XR image processing engine — likely the same setup used in the Sony a7S III. Sony notes the sensor offers 15+ stops of dynamic range and has a maximum ISO of 409,600 for ultra-low-light shooting.
The FX6 captures 10-bit 4:2:2 full-frame footage at 120 frames per second (fps) at 4K and 240 fps in 1080. If you use the onboard 12G-SDI port, the FX6 can output 16-bit SDI Raw 4K/60p video. Sony has also added its S-Cinetone look profile, which is inspired by its Venice colorimetry and also found in the company’s FX9 cinema camera.
Footage is stored to one or both of the camera’s dual CFexpress Type A card slots, which are also backwards compatible with SD UHS-II cards. It’s worth noting though that any recording over 100 fps will require the use of the faster CFExpress Type A cards, as even UHS-II SD cards won’t have the bandwidth to get the job done.
Below are still frames pulled from footage captured with the FX6:
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The FX6 uses Sony’s E-mount for attaching lenses, making it compatible with more than 50 native lenses and countless dozens third-party lenses. The FX6 features the same 627-point Fast Hybrid AF system found in the FX9 and Sony’s Alpha mirrorless cameras, including advanced Face Detection and Real-time Eye AF. The FX6 also has internal electronic variable ND filters, which can be manually adjusted ‘in smooth increments from 1/4 to 1/128.’ Below is a video demonstration of the FX6’s electronic ND filter at work:
The FX6 is constructed of a magnesium alloy chassis that measures 11.6cm (4.6”) x 15.3cm (6”) x 11.4cm (4.5”) and weighs 890g (1.96lbs). The included 3.5” LCD viewfinder can be attached to various locations on the body, thanks to its modular design.
Other features include built-in Wi-Fi, four-channel audio recording and compatibility with Sony’s Catalyst Browse/Prepare software as well as Sony’s Content Browser mobile app that can be used to monitor video and control focus, iris and even zoom remotely.
The FX6 full-frame cinema camera from Sony will be available for $ 6,000 in December through Sony and authorized retailers. It will also be available as a kit with Sony’s FE 24–105mm F4 G E-mount lens for $ 7,200. Sony is also releasing a new FE C 16–35mm T3.1 G lens in December that will retail for $ 5,500.
Press release:
SAN DIEGO – November 17, 2020 – Sony Electronics Inc. today officially announced the FX6 (model ILME-FX6V) camera, the latest addition to Sony’s Cinema Line, a series of products that brings the company’s expertise in imaging technology to a broad range of filmmakers and content creators.
Sony’s Cinema Line, which also includes the VENICE and FX9 cameras, delivers a coveted filmic look cultivated from extensive experience in digital cinema production, as well as enhanced operability thanks to an innovative body design, extensive durability and intuitive customizability.
As part of the Cinema Line, the all-new FX6 incorporates Sony’s core technologies of image sensor, processing engine, and AF (autofocus) performance. FX6 is also compatible with the wide range of Sony E-mount lenses for creative flexibility.
“The new FX6 is the latest example of Sony’s drive to continuously push the boundaries of imaging technology based on the needs of our customers,” said Neal Manowitz, deputy president of Imaging Products and Solutions Americas, Sony Electronics. “With the advancement of our Cinema Line, we are dedicated to enabling the extraordinary skills and talent of today’s content creators and cinematographers. The FX6 leverages technology from Sony’s industry-leading VENICE cinema camera and marries it with the best of Sony’s innovative Alpha mirrorless camera technology.”
The new camera features a 10.2 MP[iii] full-frame back-illuminated Exmor R™ CMOS sensor that delivers a 15+ stop wide dynamic range[iv] with high sensitivity and low noise. FX6’s base sensitivity is ISO 800 with an enhanced sensitivity setting of ISO 12,800[v] – expandable up to 409,600[vi] – for shooting in low and very low light conditions. It is capable of recording in XAVC All Intra 4:2:2 10-bit depth with stunning image quality in DCI 4K (4096 x 2160 – up to 60p), QFHD 4K (3840 x 2160 – up to 120p[vii]) and FHD (1920×1080 – up to 240p) for incredibly detailed slow motion. When more convenient file sizes are needed, FX6 can record in XAVC Long GOP 4:2:0 8-bit QFHD 4K (3840 x 2160 – up to 120pvii) and 4:2:2 10-bit FHD (1920×1080 – up to 240p). FX6 also includes a BIONZ XR™ image processing engine, first used in the new Sony Alpha 7S III camera, providing up to four times faster processing performance compared to the FS5 II.
Developed with the same expertise as Sony’s world-leading VENICE cinema camera, FX6 offers advanced cinematic color science including S-CinetoneTM for richer tonal reproduction right out of the box as well as S-Log3, S-Gamut3 and S-Gamut3.Cine for post-production flexibility. FX6’s cinematic color science is optimized for premium applications by capturing the maximum dynamic range from the sensor and providing creative freedom. Leveraging the color science of VENICE, FX6 also allows productions to easily match footage with other cameras in the Cinema Line.
Pulling from Sony Alpha’s impressive AF features, FX6 offers Fast Hybrid AF by combining 627-point[viii] focal plane phase-detection AF with advanced Face Detection and Real-time Eye AF in high frame rates with continuous AF, allowing camera operators to effortlessly and precisely track fast-moving subjects in slow motion without losing focus. Fast Hybrid AF works with over 50 native E-mount lenses. The camera can also capture up to five times slow-motion with 4K (QFHD) 120fps.
The new FX6 also offers internal electronic variable ND filters for easy and seamless control of the camera’s filter density. Users can set variable ND to auto or adjust the filter density manually in smooth increments from 1/4 to 1/128 for perfectly exposed images without affecting the depth of field or shutter angle, even during changing lighting conditions. Combined with the camera’s ultra-high sensitivity, the electronic variable ND filter provides users with outstanding creative control in almost any shooting environment.
Outstanding Mobility and Operability
Built with a durable magnesium alloy chassis, measuring just 4.6 inches x 6 inches x 4.5 inches (116 millimeters x 153 millimeters x 114 millimeters) and weighing just 1.96 pounds (0.89 kilograms), FX6 has a compact and lightweight design making it easy for users to grab and shoot at any time. The new camera includes a heat dissipating structure to keep the camera’s components within their normal operating ranges to prevent overheating, even during extended recording times. FX6 also features a modular design allowing users to easily pair accessories, such as grips and viewfinders, or attach the camera to other mechanisms, such as gimbals and drones.
FX6’s 3.5-inch LCD Viewfinder can be attached on multiple locations of the camera body for added freedom and easy menu control with touch operation. Using a quick access control menu for commonly accessed features, camera operators can change key settings with a single touch – including Codec, Imager Scan Mode, Picture Size and Frequency, Base ISO and Sensitivity, Shooting Mode and Audio Levels.
Professional-level Reliability
In line with professional workflows, FX6 includes a 12G-SDI output that also supports 16-bit RAW, HDMI output, timecode in/out, built-in Wi-Fi and four channel audio recording (via XLR Interface, Multi-Interface Shoe and built-in Stereo Mic). The new camera also features two media slots compatible with CFexpress Type A cards[ix] for higher overall capacity and faster read and write speeds in addition to SDXC UHS-II/UHS-I cards.
Additionally, Sony’s Catalyst Browse/Prepare[x] software facilitates fast and easy editing. Users can import FX6’s image stabilization metadata into Catalyst Browse/Prepare to transform handheld footage into incredibly smooth and stable visuals. FX6 also has a dedicated Clip Flag button to easily filter and locate preferred takes using Catalyst Browse/Prepare. This software also reflects metadata indicating when FX6 is rotated or in its normal position, eliminating the need to rotate footage beforehand. FX6 is also compatible with Sony’s Content Browser Mobile App to easily monitor and control focus, iris, and zoom remotely[xi].
Cinema Line is series of professional cameras that have a filmic look, cultivated from Sony’s long experience in digital cinema production, and enhanced operability and reliability that responds to the wide variety of creator’s high demands.
Cinema Line includes the digital cinema camera VENICE, which is highly acclaimed in the feature and episodic production industry, and the professional camera FX9, which is has been popular for documentary and drama production. With the new FX6, Sony brings versatile creative tools to all types of visual storytellers.
The FE C 16-35mm T3.1 G (model SELC1635G) lens, announced at IBC 2019, will be available in December 2020 to pair with FX6, FX9 and other full-frame Sony cameras. This new lens supports intelligent shooting functions unique to E-mount cameras – such as fast and accurate AF within shallow depth of field – while also offering manual focus options in a form factor familiar to professional cinema creators.
The FE C 16-35mm T3.1 G delivers stunning bokeh and corner-to-corner resolution thanks to two XA (Extreme Aspherical) elements with extreme surface precision of 0.01-micron, circular 11-blade apertures in addition to three aspheric lenses that are positioned in a way that effectively reduces field curvature, astigmatism and, in combination with two ED (Extra-low Dispersion) glass elements, reduces color distortion. Additionally, floating focus provides outstanding resolution at every zoom position. The new lens also features Nano AR (Anti Reflection) coating, to reduce flare.
The focus ring offers a 140-degree large angle of rotation for fine control, with distance scale markers for consistent focus reset during multiple takes. Linear Response MF enables smooth manual focus, allowing users to adjust focus accurately and intuitively. Three independent rings for focus, iris and zoom enable users to get the exact creative results they desire. Each ring has the industry standard 0.8mm pitch gear for use of follow focus accessories, and the 114mm barrel diameter is compatible with industry standard matte box accessories. A two-speed servo provides smooth, accurate control of focal length and can be activated from a switch on the lens or a lever on the FX6 Smart Grip.
The new FX6 full-frame Cinema Line camera will be available in December and will be sold for approximately $ 5,999.99 USD and $ 8,048.99 CAD, at a variety of Sony’s authorized dealers throughout North America.
A new kit featuring the FX6 full-frame Cinema Line camera and FE 24-105mm F4 G E-mount Lens will also be available in December and will be sold for approximately $ 7,199.99 USD and $ 9,658.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.
The FE C 16-35mm T3.1 G lens will be available in December and will be sold for approximately $ 5,499.99 USD and $ 7,199.99 CAD, at a variety of Sony’s authorized dealers throughout North America.
Exclusive stories about Cinema Line, FX6, FE C 16-35mm T3.1 G and Sony’s other imaging products can be found at www.sonycine.com and www.alphauniverse.com, resources designed to educate and inspire all fans of Sony’s technology for content creation and photography.
Articles: Digital Photography Review (dpreview.com)
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In addition to releasing its 23mm and 33mm F1.4 atx-m lenses for Fujifilm camera systems, Tokina has also revealed its latest lens for Canon EF and Nikon F mount DSLR cameras, the atx-i 17–35mm F4.
If the specs of this lens look familiar, it’s because it appears to be a successor to the Tokina 17–35mm F4 AT-X Pro FX lens (also available for Canon EF and Nikon F mounts). The new lens is constrcuted of 13 elements in 12 groups, features an aperture range of F4 through F22 and has a minimum focusing distance of 28cm (.9ft).
The lens features Tokina’s exclusive One-Touch Focus Clutch Mechanism, which makes it easy to switch between autofocus and manual focus by pushing and pulling the lens barrel. On the topic of autofocus, the lens uses Tokina’s GMR sensor and Silent Drive-Module (SD-M) motor.
Other features include a 1:4.82 macro ratio, an 82mm front filter thread and ‘moisture protection,’ although Tokina doesn’t elaborate on the extensiveness of its weathersealing specifications.
The Tokina 17–35mm F4 atx-i lens will be available for Canon EF and Nikon F mounts and available to pre-order for $ 600 (Adorama). The first units are expected to ship on December 11.
Articles: Digital Photography Review (dpreview.com)
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Camera batteries are difficult to get excited about, but they are a critical part of any camera kit. Sure, they come in different shapes and sizes, but they’re basically all functionally identical. A new Kickstarter project hopes to change this by improving upon the conventional camera battery. The X-tra battery promises increased capacity, improved usability, and quite simply, a better user experience for photographers and videographers on the go.
For many photographers, particularly those using mirrorless cameras with smaller batteries and larger power consumption, it’s a foregone conclusion that you need to carry extra batteries. Keeping your charged and empty batteries organized and swapping out batteries is an inconvenience. The X-tra battery aims to reduce the hassle by delivering an increased capacity of 3,700 mAh, including a built-in charge level indicator, reducing the time it takes to swap out batteries and allowing for easy recharging, even while shooting. The 3,700 mAh capacity is about twice that of a Canon LP-E6 battery.
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| X-tra battery diagram and physical features |
To use the X-tra battery, you must remove the battery slot door on your camera, as the X-tra battery is larger than standard batteries. The tradeoff here is that you get an extra area to grip your camera, plus you have access to the X-tra battery’s quick-release system. Of course, it’s possible that the overhanging portion of the battery will impact your ability to use existing tripod plates and other accessories. To remove the X-tra battery, you simply push in and it slides out. To install a new X-tra battery, just pop into place.
To check the capacity of the X-tra battery, you press and hold the button on the bottom of the battery. There are four illuminated indicators, signaling the level of charge remaining in the battery. This is great if you want to check an X-tra battery’s life without inserting it into your camera and check the remaining battery life. If you need to power your camera for an extended period, such as when shooting timelapse video, you can use the X-tra’s included USB-C port.
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| The X-tra battery includes many features not found in traditional camera batteries. |
There is also an included X-tra Charging Case. This case allows you to quickly charge the X-tra battery via USB-C. Further, when you put an X-tra battery inside this case, you can use the battery as a power bank.
Given its design, the X-tra is not universally compatible with all cameras. You can view the full compatibility below. As you can see, the X-tra will work with numerous Sony, Canon and Nikon cameras, including both DSLR and mirrorless cameras. The team will update the final compatibility list before the campaign ends in a little under a month.
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| Current X-tra compatibility chart. Click to enlarge. |
The X-tra has already eclipsed its Kickstarter campaign goals. The product is expected to begin shipping in March 2021. As of writing, you can pledge $ 99 USD to receive an X-tra and the charging case. $ 188 will net you an additional battery and case. Additional combos are also available to backers. The planned MSRP for the X-tra is $ 145 per battery/case combo. For more information and to make your own pledge, visit the X-tra Kickstarter campaign.
Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.
Articles: Digital Photography Review (dpreview.com)