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How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide

18 Mar

The post How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide appeared first on Digital Photography School. It was authored by Theodomentis Lucia.

How to repair corrupted videos featured image

Earlier today, I thought about playing some videos that I shot on my digital camera during my last vacation. Sadly, every time I tried to play them on VLC or Windows Media Player, I got a gray or green display on the screen instead. I realized that my videos were corrupt and thought of digging up and finding an ideal solution for it. To be honest, after some failed attempts, I was finally able to repair my corrupted videos. If you have also encountered a similar situation in the past, then you may learn something from my experience.

Read on to find out how.

What could have caused your videos to become corrupt?

Before we head into the details on how to repair corrupted videos, it is important to discuss a few things in advance. You should know the major reasons why a video gets corrupt or damaged so that you can avoid it in the future.

These reasons include:

  • The transfer process of videos from your digital camera to the computer could be halted mid-transfer.
  • You may have restarted the system while the video was still playing in the background.
  • Sometimes, a third-party tool like a video editing software can also end up corrupting a file.
  • The location (drive or partition) where your video is stored could be corrupted.
  • The meta content or the header of the video might be tampered with as well.
  • If you have forcefully tried to change the video extension or type, then it can corrupt the file.
  • The audio-video components of the file might not be synced properly or could be missing.
  • You have played the video with an unsupported media player, or there could be an issue with the video encoding.
  • Other logical issues related to video playback, picture, sound, etc. can also cause this problem.
How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide

How can you repair corrupted videos on Windows or Mac?

If your videos have been corrupted, then you need to look for the right tools to fix them. 

Since there are so many tools out there to repair corrupted videos, I asked a friend of mine, who is an expert in the field. He recommended Recoverit Video Repair, so I decided to give it a try as well. 

Ideally, Recoverit is a dedicated application to recover the lost or corrupt data of all kinds. However, it also has a dedicated video repairing tool that can fix various issues related to a video file.

After getting to know these features, I wanted to give Recoverit a try and found its click-through process pretty easy. 

Once you have installed the Recoverit Video Repair application, you can follow these steps to fix your corrupt files.

Steps to repair corrupted videos and files

Step 1: Launch the Video Repair tool

If you have some videos to fix, then just launch the Recoverit application on your system and launch the “Video Repair” tool from its home page. Also, attach your digital camera to the computer and move your damaged videos to the system.

How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide

Step 2: Add corrupt videos to repair

Once you launch the Recoverit Video Repair application, you can just click on the “add” button to load the corrupted videos.

How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide

This will further launch a browser window, letting you locate and load the videos that are damaged. If you want, you can load multiple videos and repair them at the same time.

How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide - Adding the videos screenshot

Step 3: Start the repairing process

After you have added the corrupted videos to the application, the interface will let you know. You can view the details of the added videos and even remove them from here. 

If you are ready, then just click on the “Repair” button to commence the repairing process.

How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide

Step 4: Wait for the repairing process to be over

As soon as you click on the “Repair” button, the application starts fixing the loaded videos and displays the progress. Kindly be patient as of now and let the application complete the process.

How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide - waiting for the repair process screenshot

Once the repairing process is completed, Recoverit will let you know by displaying the following prompt.

How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide

Step 5: View the repaired videos

You can now preview the results of the repaired process by clicking on the play icon adjacent to the video.

How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide - View repaired videos screenshot

This opens a pop-up window with a video player that will let you play the repaired video. In this way, you can check the results of the application before saving the videos.

How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide

Step 6: Save the repaired videos

If you are satisfied with the results, then click on the “Save to Folder” button right next to the video. 

If you want, you can also click on the “Save All” button to save all the videos. This opens a browser window, letting you select a secure location to save the videos.

How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide

Step 7: Run an advanced video repair (optional)

In the case that you are not satisfied with the standard video repairing results, then click on the Advanced Video Repair feature, which you can find at the bottom of the video player.

How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide - Advanced video repair screenshot

To run an advanced repair, you need to load a sample video to the application. The sample video should be shot on the same device as the corrupted video and must be in the same format. 

After loading the sample video, you can start the advanced video repair process and view its results as well.

How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide

Conclusion

When using Recoverit, it’s easy to repair corrupted videos. Recoverit is able to fix all sorts of issues related to videos like missing fragments, gray/green screens, video not loading error, and so on and supports a wide range of video formats like MOV, AVI, FLV, 3GP, MP4, MKV, MTS, and more. It can fix all kinds of videos shot on a wide range of devices like digital cameras, drones, camcorders, and smartphones.

The video repair tool is available in three different purchase options – $ 29.95 a month, $ 39.95 a year, or $ 49.95 (lifetime purchase) for the Windows version. If you get it now, you can get 30% off Recoverit for windows or 30% off for mac.

Download and Get 30% off Recoverit video repair now by using the exclusive coupon code: LENOP09

Disclaimer: Recoverit is a dPS paid partner.

The post How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide appeared first on Digital Photography School. It was authored by Theodomentis Lucia.


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Editorial: ‘The world is ending, why are you still writing about cameras?’

18 Mar
Office mascot and all-round Good Boy, Belvedere. Pictured in October, before we all had to pack up and work from home. Good times.

Well, here we are. It seems like a year ago that I was pulling alarming statistics together about the economic impact of the novel coronavirus outbreak, but in fact it’s only been two weeks.

Back then we were still working from our main office here in Seattle, and still mostly going about our normal lives. One of us was on vacation in New York, and one of us was preparing for a short holiday outside of the country. One of us was planning a wedding, in May. I can’t remember what I was doing, but I’m sure it was trivial – it normally is.

At the risk of adding more mud to the landslide of hyperbole that has so far characterized 2020, all of that now feels like a different world.

A couple of weeks ago, I was writing about how – whatever the long-term health impacts of COVID-19 on the global population turned out to be – the virus was ‘already’ having a devastating economic impact. On the photography industry specifically, but across the board. Things have moved quickly. With countries around the globe counting the human cost in terms of suspected cases, confirmed cases, and (sadly – inevitably) deaths, it’s obvious that we’re living in a changed reality.

Here on the west coast, we have the unwelcome distinction of being right in the middle of things in the USA at the moment. As a team, we’ve been working from home and for about two weeks now we’ve been virtually self-isolating. We’re following the guidance of WA state officials and our parent company, keeping ourselves to ourselves, and updating the site remotely from laptops and home computers.

You can expect to see current events reflected in our editorial coverage to some extent, but we’re not going to be plastering our homepage with articles about infection rates

We’re very lucky. We’re not among the thousands of hourly employees in the catering, travel and hospitality industries who are looking at multiple weeks stretching ahead without an income. We review cameras, not ocean cruises. But of course we all have friends and family who are out of work, and others that are employed in health and social care. Still others who are caring for vulnerable relatives. All of them are making sacrifices right now that hopefully the lucky ones among us will never have to fully understand.

We’re working. We can afford to pay our freelance writers, we’re still having the usual daily meetings, and thanks to the impressively high-resolution cameras in our computers and phones (they’re the future, if you hadn’t heard…) we all know a lot more about the state of each others’ respective ‘home offices’ than we’d probably like to. We’re writing, and editing, moderating comments and taking photos. Just like always. As I said, we’re lucky.

We’re doing these things because that’s what you expect us to do. Unlike many ‘tech’ sites, we have a fairly focused editorial remit. You can expect to see current events reflected in our editorial coverage to some extent, as they pertain to the world of photography, but we’re not going to be plastering our homepage with multiple articles about infection rates, death rates, emergency measures or vaccine research. It’s not what we’re good at, and it’s not why you come to our site. It’s not what we do.

Life will get back to normal, eventually, for most of us. Until it does (and with any luck long after it does) we’ll keep on working to bring you the best and most relevant news, analysis, opinion and of course in-depth reviews that we can. Without our daily readers, we wouldn’t be able to do what we’re doing. We need you, and we’re going to make sure that whatever else is going on, there will be plenty to distract you (and yes – if you must – plenty to argue about) on DPReview.

Stay safe, and stay in touch.

Barnaby Britton, Senior Editor, DPReview.com

On behalf of every member of the DPReview team:

Editorial:

Allison
Barney
Carey
Dan
Dale
Gannon
Jeff
Richard (B)
Rishi

DPRTV:

Chris
Jordan

Development:

Ram
Richard (L)
Vlad

Business:

Eugene
Scott

And of course, Belvedere.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma CEO confirms ‘most new products’ will be ‘exclusively for mirrorless cameras’

16 Mar

In a tweet published on March 10, Sigma CEO Kazuto Yamaki shared a bit of information that hints at what products we should most be expecting to see from Sigma in the foreseeable future.

In response to a question from Twitter user Terri Ikoma, username @uplink_boss, Yamaki-san said Sigma will put a priority on developing its ‘DN’ lens lineup for mirrorless camera systems, including full-frame, APS-C and Micro Four Thirds (MFT) systems. Below is the screenshot with the machine-translated text:

Since much can get lost in translation (particularly machine translation), we contacted Yamaki-san to independently confirm the statement and see if he would be willing to divulge any further information. Yamaki-san both confirmed the statement and elaborated that while APS-C and MFT lenses aren’t out of the question, ‘most of [the lenses] will be DG DN series (designed for full-frame mirrorless cameras).’

Considering the direction the rest of the photography world is moving, this news shouldn’t necessarily come as a surprise, but to get confirmation from Sigma’s CEO that the third-party lens manufacturer will be focusing exclusively on mirrorless systems is a significant detail. Canon also confirmed earlier this year that its focus will be on full-frame mirrorless lenses (RF-mount) over DSLR lenses (EF-mount), so Sigma isn’t the only one who’s looking at DSLRs through the rearview mirror.

Articles: Digital Photography Review (dpreview.com)

 
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GoPro Hero8 Black review: Have action cameras finally hit a wall?

16 Mar
Have action cameras reached peak performance?

I remember GoPro in the early days. Back then the cameras could only offer sub-SD recording, had no Wi-Fi and more importantly no way to see the picture as they lacked a screen. They were a hard sell, but filled a gap for small disposable digital video cameras.

The launch of the Hero 8 Black brings some improvements over the previous generation, but is it enough? If you already have an action camera does the quality and feature set of the Hero 8 Black make you want to upgrade? And, if you don’t already have a camera like this, has GoPro launched a camera that will convince you to buy into this product category?

Key specifications

  • 12MP sensor
  • 4K/60p, 2.7K/120p and 1080/240p video (up to 100 Mbps bit rate)
  • H.264 and H.265 codecs
  • HyperSmooth 2.0 video stabilization
  • LiveBurst captures 1.5 seconds of photos or video before shot
  • Integrated mounting ‘fingers’ attach directly to GoPro mounts
  • Optional ‘Mods’ add features like 3.5mm mic jack, HDMI-out, selfie screen and LED light
  • Waterproof
  • Wi-Fi + Bluetooth connectivity

The list of features on the Hero 8 Black is extensive, but improvements in image quality year-over-year are hard to come by. After all, 4K/60p with limited noise on a sensor that is incredibly small is difficult to achieve, especially in low light. To paraphrase a well known line from Scotty, ‘you can’t change the laws of physics’. Pixel pitch, size and resolution play directly against each other in the triangle of visual fidelity. Without increasing the pixel size, or finding a way of gathering more photons per pixel, improving signal-to-noise ratio is difficult.

Image quality isn’t everything

Where do you see improvement when moving from the Hero 7 Black to the Hero 8? One feature that’s attracting attention is HyperSmooth 2.0, GoPro’s image stabilization technology, which claims to rival gimbal levels of image stabilization without the need for balancing, mounting or powering an external handle. But can it actually deliver, and is it a big enough improvement over the previous generation to convince people to part with their money and upgrade?

Before I started using this camera I was incredibly skeptical, but having tested this feature over the past few weeks it does deliver a very good result, even managing to smooth out some of the bumps associated with footfalls, which is very difficult to achieve on standard gimbals.

This video compares the four levels of HyperSmooth 2.0 stabilization: off, on, high, and boost modes. As expected, each level provides increased stabilization, however notice that there’s a small crop factor when using ‘on’ and ‘high’ modes, and an even greater crop factor in ‘boost’ mode.

I did notice one slightly odd characteristic when shooting below 4K, however. When mounted in certain situations, for example in or on a vehicle, it will actually pan the image to counter movement. If you’re driving and turning left the embedded software will pan the image to the right, then slowly return to the center once you’ve completed the turn. As a result, the image has an overall floating feel to it instead of providing a rock solid picture.

That said, overall the results are surprisingly effective, even when using the boost mode, although that’s not available at 4K/60p. Be aware that HyperSmooth crops the image about 10% (and somewhat more in the most stabilized boost mode).

I discovered one odd effect when using the HyperSmooth 2.0 boost mode at 1080 resolution: when mounted in certain situations, like a moving car (above) the image will pan to counter movement. This gives the image a floating feel instead of the sense that the camera is locked in place.

With that proviso, though, it rivals and now beats a lot of traditional optical image stabilization done in-lens or in-camera, even compared to models that use sensor shift.

Integrated ‘fingers’ eliminate the need for frames or cases to mount the camera on standard GoPro accessories.

Two steps forward and one step back?

Along with some useful additions, this new camera also changes some features – and not for the better. For example, it’s no longer possible for the user to change the front element of the lens if it becomes cracked or chipped. GoPro’s stance is ‘GoPro does not offer a repair service on our cameras as, due to their size and design, the cost of parts and labor for performing such a specific repair would be more expensive than replacing the camera outright if it’s covered by warranty.’

Instead, it offers the GoPro Plus service, which will replace your camera if something goes wrong (at a maximum of 2 cameras per year). However, this service comes at a cost: $ 4.99 per month or $ 50.04 per year, and includes unlimited cloud storage and 50% off mounts and some accessories. Yes, another service to subscribe to, although for serious users this may pay dividends.

The USB-C port interfaces with GoPro’s range of accessories

Why only incremental improvements?

Technology usually progresses at an evolutionary pace rather than a revolutionary one. The introduction of a brand new product can have the ‘wow’ factor, but usually subsequent versions don’t have the same effect.

A limiting factor here is processing power and its relationship to battery life and available power. Small cameras have small batteries and in turn these can only provide limited power to the processor. As a result, you can’t have all the best features enabled at the same time.

Think you might be able to use your older Hero 7 batteries? Think again. Hero 7 batteries can’t deliver as much peak power as Hero 8 batteries and are not compatible with the new camera.

There’s always a trade off with temperature as well. If you did have all the available features turned on the camera would most likely shut down before the battery was exhausted due to overheating, which could cause damage to the camera or battery. There’s a reason that the older Hero 7 batteries—even though they are physically the same—won’t work on the Hero 8 due to power delivery limitations. The newer Hero 8 batteries can deliver more peak power. What more can be added?

If image quality isn’t making great leaps, and with features like Hypersmooth 2.0, live streaming, 4K capture and slow motion already included, have we hit a wall? What more can possibly be added to future action cameras? Part of the answer for GoPro seems to be add-on hardware, like a vlogging flip-up LCD (Display Mod), or an add-on frame which gives you HDMI out, a 3.5mm in and an extra microphone (Media Mod). These go some way to disguise the limitations of the bare camera and add the possibility of appealing to the ever expanding vlogging market.

HyperSmooth 2.0 is impressive, and even does a good job of smoothing out the bouncing of footsteps, such as this child holding the camera running across a yard. Since it’s getting harder to improve image quality with each generation of action camera, manufacturers will need to get creative with features like this to entice users to upgrade.

What’s the competition?

The competition in the premium action camera space is actually fairly limited. There’s the Sony FDR-X3000, the DJI Osmo Action and the recently introduced Insta360 One R, and really that’s about it at the moment. The recently released Insta360 camera employs an interesting modular setup, but can it compete? After all, GoPro has been doing this for nearly 20 years.

There are lots of cameras available at the mid and lower end of the market, but this isn’t an area that GoPro competes in and it really is a case of getting what you pay for. GoPro’s installed user base and reputation are formidable to any new manufacturer coming to market, and it has proven difficult for established name brands to launch and maintain an action camera market segment, as Nikon found out.

The GoPro Hero 8 Black. A hero among action cameras?

What does it all mean?

Much as we’d like to see revolutions in technology, this isn’t the norm. Incremental improvements mean that year-over-year upgrades are less necessary for a lot of users. The niche factor of the high end action camera market also means that not many manufacturers operate in this space, which in turn limits competition.

The next major developments will probably center around a change in battery technology and an increase in power density that allows for more powerful processing. The gradual shrinking of the process node in the CPU will also bring key improvements and the ability to do more while maintaining lower temperatures or extending battery life.

An action camera is a great addition to a filmmaker’s tool kit, and if you need a new one the Hero 8 Black is a solid choice. However, while there’s a certain FOMO—a fear of missing out—and even peer pressure to have the latest and greatest, it probably doesn’t make financial sense to upgrade every year for only minor improvements.

That looks like it’s not going to change any time soon.

What we like

  • HyperSmooth 2.0 stabilization is impressive
  • Excellent 4K/60p video
  • GoPro accessory mount integrated into body

What we don’t

  • HyperSmooth results in strange panning effect in certain situations
  • Subscription service for repairs
  • Incompatible with Hero 7 batteries

Articles: Digital Photography Review (dpreview.com)

 
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Opinion: Stop worrying about new cameras and love the one(s) you’ve got

13 Mar

I’ve recently found myself in the following situation: Over the course of just a couple months, the two main digital cameras I shoot with have both been replaced by new models. This includes my everyday, ‘personal’ camera in the Fujifilm X100F and my ‘gig’ camera in the Nikon D750.

With the announcement of the X100V and D780, in the blink of an eye my kit suddenly went from feeling fresh to feeling like last night’s leftovers. But the more I dig into the differences between these modern generations of cameras and the generation which I own, the more I feel relieved. If you’re in a similar situation, let me assure you, it gets easier. Here’s why.

Pixel counts are leveling out

The megapixel wars have largely wound down and most brands aren’t fixating on increasing the number of pixels in a camera with each subsequent generation, as they have in the past. This is a trend we’re starting to see across the board from multiple brands. Case in point: my D750 has the same number of pixels as the D780, and the X100V offers only a modest 2MP gain over my X100F.

This is not to say neither brand has improved the image quality in these updated models. Indeed the D780 has far nicer JPEGs than the D750. That’s an important improvement, but not one that necessarily matters to me as a Raw shooter.

With the Fujifilm, I tend to stick to JPEG shooting and there’s no real difference between the two cameras there. The only real image quality difference comes down to the lenses: the X100V’s updated lens should provide better corner sharpness and close focus. I certainly can appreciate both of those improvements, the latter especially for portraiture. But then again doesn’t that just mean my X100F’s lens has more ‘character’ by comparison? I can live with that.

Double exposure shot in-camera on the Fujifilm X100F and edited in Adobe Photoshop.
ISO 2000 |1/125 sec | F2

New features are nice but perhaps not necessary

So if camera companies aren’t making huge strides in image quality with the current generations coming out, where are they concentrating their efforts? The answers lie in usability refinements, autofocus improvements and video/feature additions. These are nice-to-haves, but for me, not need-to-haves.

Both my cameras have signs of a life well-lived. But they’re still as capable as ever – in fact more thanks to firmware updates – even if they’re not as beautiful as they once were. Just like me.

Sure, a tilting touchscreen would be a nice addition to my X100 camera, especially for street candids. But then again, I’ve already trained myself to shoot from the hip, while zone focusing with my X100F, so do I really need a tilting screen? The same goes for touch capability; yes, a touchscreen is handy for quick point placement, but the AF joystick on the X100F is also rather speedy.

Similarly, am I tempted by the D780’s excellent live view mode? Heck yes I am. But is it enough to make me want to replace my D750? No. The same goes for video. As a primarily stills shooter who dabbles, I’d definitely appreciate the D780’s movie-making features. But not enough to trade up.

Shot on the Nikon D750 and edited in Adobe Camera Raw.
ISO 12,800 | 1/250 sec | F2.2 | Nikon 20mm F1.8G

Simpler can sometimes be better

I’m not trying to get all philosophical here, but when it comes to getting creative, simplicity can often be refreshing. Because even though my D750 and X100F offer limited usability compared to their updated counterparts, specifically when shooting with the rear LCD, those limiting factors streamline how I use these cameras.

Moreover, other comparative limitations just mean I’ll have to come up with creative workarounds, not unlike learning to shoot from the hip blindly due to the lack of a flip-out LCD. And creative workarounds spawn even more creative thinking – the secret sauce of good photography.

‘Shiny and new’ is overrated

We’ve all brought home a shiny new gadget, whether it be a camera, a smartphone or some other device, and babied it like we’d birthed it ourselves. But shiny new things aren’t meant to stay shiny and new forever – a fact that can take a while to sink in.

On the other hand, there’s something to be said for the comfort of time-tested, worn-out gear. Both my cameras show signs of a life well lived, complete with love and some hard knocks. But they’re still as capable as ever – in fact more so thanks to firmware updates – even if they’re not as beautiful as they once were. Just like me. Which means I don’t hesitate to grab my X100F to tag along for a night on the town, out of fear it may sustain some sort damage. But with a brand new X100V, I might be more cautious.

Shot on the X100F and edited in Adobe Lightroom.
ISO 400 | 1/1600 sec | F5.6

Happiness is accepting the inevitable

Aging is inevitable: just as a new car loses its value once driven off the lot and your camera’s shutter starts to wear after the first shot, we too begin to age the moment we are born. That may sound depressing, but it’s not! Here’s a lyric by the folk singer Jeffrey Lewis to explain why…

‘Time is going to take so much away, but there’s a way that you can offer time a trade. Because your looks are gonna leave you. And your city’s gonna change too. And your shoes are gonna wear through. So you gotta do something that you can get smarter at, you gotta do something you might just be a starter at. You better do something that you can get better at, because that’s the thing that time will leave you with.’

So don’t worry about having last generation’s model, instead invest that energy in your own photographic passion and betterment. Because just as your camera will inevitably fall out of vogue, your time behind it too will one day come to an end. Get out there and shoot!

Articles: Digital Photography Review (dpreview.com)

 
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Video: Ferrari sports cars, Formula 1 cars captured on-track with a Super 8 cameras from the 1960s

12 Mar

Nick Shirrell, a motorsport filmmaker known for using old school film cameras to capture auto races, recently received an invitation from Ferrari to travel to Italy and film a race using 50-year-old Super 8 cameras with 8mm film. The result is a 10-minute video featuring a retro production style and classic voiceover narration that recently went viral on the /r/Formula1 subreddit.

DPReview spoke with Shirrell to ask about his experience with Ferrari and the gear he used to capture the race, as well as the events that led up to this moment. The project wouldn’t have been possible without support from Reddit, according to Shirrell, who explained that his first Super 8 race video went viral on the /r/cars subreddit, resulting in articles from publications like Jalopnik and, eventually, a private message from Ferrari.

Following the initial video, Shirrell filmed an IndyCar video at Road America, which likewise was popular on Reddit and with automotive media. He explains:

‘Not long after the IndyCar video went viral, I got DM’d on my Instagram by Ferrari asking if I’d like to talk to them about doing some filming. Little did I know the phone call that would follow would be an invitation to Italy to make the great film released this week! Ferrari was amazing to work with and they made it clear they wanted no hand in the creative process or in the final content, they only wanted to enable me to create something amazing and give me the opportunity to do what I do with these films.’

Shirrell used a variety of gear to capture the race, including three Super8 cameras: a 1966 Canon 814, 1968 Canon 1218 and a 1971 Beaulieu 4008 ZM2 with Kodak Vision3 50D and 200T motion picture film stock. These models were joined by a RadioShack-brand Realistic 14-1029 handheld mini-cassette recorder featuring a Smith-Victor supercardiod condenser shotgun microphone.

Shirrell said his narrator Alan Baxter used a modern microphone to record the voiceover, which was later edited using software. As well, he relied on the natural lighting available at the filming locations. Shirrell explained:

‘For post-processing the voiceover audio, I use EQ and distortion filters within Adobe Premiere Pro to mimic the sound of an older microphone recording onto tape as accurately as I can. For ambient track sounds of V10s, Challenge cars, etc recorded onto mini-cassettes the old fashioned way I didn’t have to add any filtering.’

As for processing the film, he said:

‘I do develop my own 35mm and medium format still photos with C-41, E-6, and black and white chemicals, but for a professional project like for Ferrari I didn’t trust myself to not ruin the film on my first ever attempt at developing 8mm. 8mm is challenging to develop because it’s 50 feet long and very small and fiddly compared to a roll of 35mm or 120 film that is 4-6 feet in length.’

This isn’t the end for Shirrell, who has plans for other projects involving his retro equipment:

‘For what I want to shoot next, I’d love the opportunity to film Formula 1 if the opportunity presents itself, but I also have ideas for shooting drag racing, rally, and other motorsports.’

Shirrell’s work can be found on his YouTube account and on Instagram.

Articles: Digital Photography Review (dpreview.com)

 
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6 Reasons Why Dedicated Cameras are Better than Smartphones for Photography

09 Mar

The post 6 Reasons Why Dedicated Cameras are Better than Smartphones for Photography appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

6 Reasons Why Dedicated Cameras are Better than Smartphones for Photography

Modern smartphone cameras are amazing! They have facilitated an explosion in photography that shows no signs of stopping. Mobile phone cameras, apps, editing, and sharing have given people access to creative outlets that were unthinkable a mere 15 years ago. If the best camera is the one you have with you, then 9 times out of 10, the best camera is right in your pocket! Despite the advances in smartphone cameras, there are still few things smartphone cameras lack. So, in this article, we’ll explore why dedicated cameras are better than smartphones for photography. In other words, there are some photos you just can’t get with a smartphone.

Reasons why dedicated cameras are better than smartphones for photography

why dedicated cameras are better than smartphones-butterfly
Nikon D7100, 85mm, f/2.8, 1/1000 second, ISO 100

1. Software vs. Physics

The first of the 5 reasons why dedicated cameras are better than smartphones for photography, is software vs physics.

I don’t want to sound like an old man yelling at clouds, decrying all modern technologies that might make my life better. Smartphone cameras and computational photography are incredible! They can use software and artificial intelligence to capture incredible images of night skies and portrait-style images with blurry backgrounds.

But digital trickery and software manipulations are no match for a mastery of light and physics, and this is where dedicated cameras still have an edge.

Most smartphones have lenses that approximate roughly a 28mm field of view on a full-frame camera. Some have second lenses that go a bit wider, usually about 15mm. It’s also not uncommon for higher-end phones to have a telephoto lens as well, which is roughly equivalent to a 50mm lens.

Nearly all smartphone cameras are stuck at a single aperture value as well, which gives you limited control over a key element of exposure. While there is much that can be done in software to overcome the inherent limitations of these lenses and focal lengths, sometimes you just need a separate camera to get the shot.

2. Foreground Blur

why dedicated cameras are better than smartphones-flower-bokeh
Nikon D7100, 50mm, f/1.8, 1/2000 second, ISO 100

Any smartphone can take pictures of flowers. This particular image shows a backlit flower whose petals are glowing with sunlight streaking in from above and behind, and a mobile phone could capture that just fine. However, there is one key element of this image that’s impossible on a smartphone – the foreground blur.

Smartphones have come a long way with so-called portrait-style photography. Portrait mode involves software combined with depth data that allows a smartphone to blur the background.

But not the foreground.

This is one of the things smartphone cameras lack. Try it for yourself!

Take a portrait-style photo with your smartphone but include objects in the foreground that you would like to blur. The background will get blurry, but the foreground will remain in focus.

Blurring both the foreground and background is a time-honored technique to add a sense of depth and perspective to your photos. Perhaps one day the software and AI techniques used on mobile phones will be able to replicate this. But, for now, if you’re using a smartphone, you’re stuck with just background blur.

3. Telephoto Zoom

6 Reasons Why Dedicated Cameras are Better than Smartphones for Photography
Nikon D500, 200mm, f/8, 1/400 second, ISO 900

While smartphone cameras have had pinch-to-zoom capabilities for over a decade, it amounts to little more than just cropping your pictures. Modern smartphones do a better job of interpolating data between pixels and adjusting exposure values on the fly, but at the end of the day, you’re still just cropping.

In the process, you lose a lot of detail. And even then, you just can’t zoom in very far. It’s definitely one of the things smartphone cameras lack, despite some recent advances.

One classic example of this is a picture of the moon.

Smartphone lenses, and the laws of physics, make pictures like this impossible. You have probably noticed if you have ever tried to do a pinch-and-zoom photo of our nearest celestial neighbor.

You’ll need a dedicated camera if you want to get crisp, detailed photos of faraway objects. And this is just another reason dedicated cameras are better than smartphones.

why dedicated cameras are better than smartphones-horse
Nikon D500, 200mm, f/2.8, 1/3000 second, ISO 100

Smartphones aren’t great for most long-distance shooting scenarios, such as this picture of a horse in the pasture.

While pinch-and-zoom can make it seem like you’re getting closer, you won’t get a tack-sharp, high-resolution image suitable for printing and framing.

Like everything tech-related, this is getting better and will improve with time. Some phones now are using stacked periscope-style lenses combined with software and AI processing to mimic 10x or even 100x zoom lenses. Right now, these make interesting tech demos, but the results don’t have the same level of clarity, color, and fidelity as you would get from a DSLR or mirrorless camera with a zoom lens attached.

4. Background compression

why dedicated cameras are better than smartphones-walking
Nikon D7100, 200mm, f/2.8, 1/1500 second, ISO 100

Another reason dedicated cameras are better than smartphones is background compression.

Something interesting happens when you shoot photos with a telephoto zoom: the background appears to move closer to your subject.

It’s called background compression and is a time-honored compositional technique to make your subjects stand out and take your images up to another level. It’s also impossible to do on a smartphone.

In the picture above, the building is very far away from the woman walking in the foreground. Shooting with a telephoto lens compresses the background and makes it seem much closer.

-family-forest
Nikon D750, 200mm, f/4, 1/400 second, ISO 3200

In this family photo, you can see the trees and leaves in the background, which are very far away. However, they appear closer as a result of background compression.

While some smartphone cameras do have some limited zoom capability, their smaller lenses and image sensors simply do not allow for these types of pictures.

5. Fast action

Before I get too far in this section, I want to point out that smartphones are good at capturing some types of fast action. These conditions are fairly limited, though.

You have to be close to your subject, which isn’t possible in a lot of action situations. It also helps if you can lock focus on a specific area where you know the subject will be, or else have a smartphone with amazing autofocus capabilities. And if you can meet those challenges, then your phone could produce some good results.

For a lot of fast action, though, you need a DSLR or mirrorless camera. It helps to have a good lens attached too.

This will let you stand on the sidelines while getting up close and personal with your subjects. It helps to shoot with a wide aperture too, which will let you get a fast shutter speed and freeze the action.

action photo
Nikon D750, 185mm, f/4, 1/500 second, ISO 100

These types of action shots are impossible on smartphones because pinch-to-zoom just can’t get the job done. You’ll get pictures that are pixellated, blurry, or out of focus because smartphones are not able to match the speed and capability of a dedicated camera.

In the picture below, I was sitting in the stern of a boat zoomed in to 200mm. I had to use tracking autofocus to keep the picture sharp. My brother was also in the boat with his smartphone, and he didn’t like any of the shots he got.

why dedicated cameras are better than smartphones- action photo of tubing
Nikon D7100, 200mm, f/2.8, 1/2000 second, ISO 100

6. Portraits

The last of my reasons that dedicated cameras are better than smartphones relates to portrait photography.

This one might ruffle some feathers because phones have gotten so much better at portraits in recent years. In fact, some people can’t even tell the difference between portrait-style images shot on mobile phones and actual portraits taken with a dedicated camera. I have trouble sometimes too. In the coming years, mobile phones are going to keep getting better and better.

For now, and into the foreseeable future, dedicated cameras still have a significant advantage.

Software and AI, and computational horsepower can do a lot, but they can’t keep up with a good lens and physics.

In the picture below, the girl’s eyes are tack sharp but there is a subtle falloff as you look towards the edge of her face. Her hair goes from sharp to blurry in a smooth, even fashion.

The background isn’t just blurry – it’s obliterated. Mobile phones can’t do that.

girl-red-shirt
Nikon D750, 170mm, f/2.8, 1/180 second, ISO 100

You don’t need expensive gear to take great portraits either.

In fact, you can spend far less on a used DSLR or Mirrorless camera than you would on a mobile phone with portrait mode.

The shot below was taken on a Nikon D200, which came out in 2006, and can be found today for about $ 150.

The lens is a cheap 50mm f/1.8. And the results blow away anything you can get from a mobile phone.

All the subtle details, like the way her eye is in focus but her ears are slightly blurry, to her hair slowly fading away, to the bokeh in the background, make this image a cut above what you could get from a smartphone. Just another reason that dedicated cameras are better than smartphones for photography.

why dedicated cameras are better than smartphones-girl-park
Nikon D200, 50mm, f/1.8, 1/250 second, ISO 400

Conclusion

Before anyone gets out a bucket of tar and some feathers, please understand that I think smartphone cameras are amazing!

Despite the things smartphone cameras lack, they can take incredible pictures and technology will only make them better with time. I just think it’s important to understand their limitations and have a sense of some of the pictures they can’t yet achieve.

What about you?

I’m curious what your experience has been with smartphone pictures. Does your smartphone take the kinds of shots you want, or have you found that it can’t yet replace your DSLR or mirrorless camera?

I’d love to hear from you. Feel free to share your thoughts and example images in the comments below.

The post 6 Reasons Why Dedicated Cameras are Better than Smartphones for Photography appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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DPReview TV: Battle of the entry-level APS-C mirrorless cameras

07 Mar

A lot has changed since we last compared entry-level APS-C mirrorless cameras. In this 2020 update, Chris and Jordan compare the Fujifilm X-T200, Sony a6100 and Canon EOS M50. Which one is right for you?

For more information watch our videos about the Fujifilm X-T200, Sony a6100 and Canon EOS M50.

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

  • Introduction
  • Handling
  • Displays
  • Image quality
  • Autofocus
  • Video
  • Lens lineup
  • Sony a6100 conclusion
  • Canon M50 conclusion
  • Fujifilm X-T200 conclusion

Watch our Fujifilm X-T200 video review

Watch our Sony a6100 video review

Watch our Canon EOS M50 first look

Articles: Digital Photography Review (dpreview.com)

 
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Tokina reveals updated 2020 lens roadmap with new lenses for DSLR, mirrorless cameras

07 Mar

Tokina, which is celebrating its 70th anniversary and had planned to reveal this information at CP+, has announced its latest 2020 lens development roadmap, showing a number of new lenses it plans to release in 2020 for DSLR and mirrorless cameras.

The announcement, seen above, is split into four different sections, based on the lens mounts the forthcoming lenses are destined for. First up is the atx-i lineup for Canon EF- and Nikon F-mount camera systems. In addition to the previously-announced 11–16mm F2.8 CF and 100mm F2.8 CF Macro lenses, Tokina also teases an upcoming 11–20mm F2.8 CF lens due out in Summer 2020 for Canon and Nikon APS-C DSLR camera.

Moving onto Tokina’s atx-m series, the updated roadmap shows off three new APS-C lenses for Sony E-mount and Fujifilm X-mount camera systems: a 23mm F1.4, 33mm F1.4 and 56mm F1.4. The E-mount version of these lenses (denoted by an ‘E’ after the lens name) are set for a Summer 2020 release, while the X-mount versions (denoted by an ‘X’ after the lens name) aren’t due out until Autumn 2020.

Tokina also highlights three atx-m series lenses for full-frame Sony E-mount cameras. In addition to the 85mm F1.8 FE, which is currently available for $ 499 (Adorama, B&H), Tokina also highlights a 35mm F1.8 FE and 50mm F1.8 FE lens, both of which are due out in Autumn 2020.

It’s unconfirmed at this time, but it’s worth noting these lenses do bear a striking resemblance in looks and specs to a number of Viltrox lenses that have already been announced (and delayed).

Articles: Digital Photography Review (dpreview.com)

 
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Find great cameras for less money in our updated ‘best bargains’ buying guide

02 Mar

We’ve updated our ‘best bargains’ buying guide, which features both newer cameras that we think are great values, as well a few older models that are inexpensive yet still very capable.

Articles: Digital Photography Review (dpreview.com)

 
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