360Photography

Tag: Capture

  • Sony a7S III to get 4K/60p ProRes Raw capture over HDMI with Atomos’ Ninja V monitor/recorder

    To coincide with the announcement of Sony’s a7S III, Atomos has announced it will release a firmware update for its Ninja V recorder/monitor that will enable it to record 4K/60p ProRes Raw video over HDMI.

    The 16-bit linear Raw video output of the a7S III is sent via HDMI to the Ninja V recorder, which then compresses and records the video as 12-bit ProRes Raw at up to 4K/60p. The Ninja V will also be able to record the a7S III’s 10-bit 4:2:2 HDMI video output as 10-bit 4:2:2 Log or Rec.709 video at up to 4K/60p in ProRes or DNx codecs.

    Atomos has shared the following video from Phillip Bloom, shot on the Alpha 7S III and Ninja V in ProRes RAW:

    Atomos expects the firmware update to be available in September of this year.

    Press release:

    Atomos to record 4Kp60 ProRes RAW over HDMI from Sony’s Alpha 7S III

    Melbourne, Australia – July 28, 2020 – Atomos are today announcing RAW recording at up to 4Kp60 via HDMI from Sony’s new Alpha 7S III (ILCE-7SM3) full-frame mirrorless camera to the Ninja V HDR monitor-recorder.

    The Alpha 7S III has a state-of-the-art CMOS image sensor and the Ninja V can record its full dynamic range in Apple ProRes RAW for maximum detail and latitude in post-production. The RAW files are optimal for HDR finishing, or for greater flexibility in SDR (Rec.709), giving stunning results in either. Images are recorded directly to affordable, reliable AtomX SSDmini or other compatible SSD drives for quick transfer to your editing system.

    Unrestricted RAW recording
    RAW recording with the Ninja V from the Alpha 7S III is only limited by your imagination. The combination will record ProRes RAW video for as long as you have disk space on your SSD and power for the camera and recorder. The active cooling employed means that internal record time limitations can be bypassed making a perfect setup for performances and long interviews. Optionally, RAW video can also be captured on the Ninja V at the same time as compressed video is recorded internally to memory card on the Alpha 7S III, providing several workflow options and a useful backup

    Making low light RAW video a reality
    Alpha 7S III low light performance is especially impressive, with the data from the camera’s large photosites making recording RAW in dim conditions a practical option. The Alpha 7S III also has 5-axis optical image stabilisation that is available while shooting RAW video, allowing for amazingly stable and detailed handheld RAW shots.

    16-bit Linear RAW perfectly captured as 12-bit Log RAW
    The data-rich 16-bit linear RAW output of the Alpha 7S III is compressed and recorded in the Ninja V as 12-bit ProRes RAW at up to 4Kp60. The result is a high quality ProRes RAW file that combines the superb visual quality of the Alpha 7S III with the workflow advantages of RAW and the incredible real-time performance of ProRes. One key benefit, especially in low light, is that the ProRes RAW files allow you to take fine control of how noise reduction and sharpening is applied to images, tuning these precisely for each shot.

    A defined standard
    Atomos believes ProRes RAW is the new standard for RAW video capture, which is supported by an ever growing number of cameras outputting RAW over HDMI to the Ninja V. The format gives filmmakers enormous latitude when adjusting the look of their images and extending brightness and shadow detail, making it ideal for HDR workflows. Both ProRes RAW, and the higher bandwidth, less compressed ProRes RAW HQ are supported. Manageable file sizes speed up and simplify file transfer, media management, and archiving. ProRes RAW is supported in Final Cut Pro X, Adobe Premiere and Grass Valley Edius, along with a collection of other apps including ASSIMILATE SCRATCH, Colorfront and FilmLight Baselight.

    10-bit 4kp60 Apple ProRes or Avid DNx for extended recording
    For the first time in a mirrorless camera from Sony there is also a 10-bit 422 HDMI video output option available. The Ninja V and other current Atomos monitor-recorders can record this as 10-bit 422 Log or Rec.709 video at up to 4Kp60 into production ready ProRes or DNx codecs. These provide long record times and practical data rates when the additional flexibility of RAW is not required. This is ideal for situations where the camera needs to integrate into an established post workflow, or a fast turnaround is needed.

    HDR monitoring perfection
    The accurate 5” 1000nit HDR high brightness display of the Ninja V allows users to view the Alpha 7S III RAW signal in HDR in a choice of HLG and PQ (HDR10) formats or view natively in Sony’s S-Log profile and used with LUTs. The monitor offers touchscreen access to tools like waveform, magnification and peaking so users can check focus and make adjustments to get the perfect HDR or SDR shot.

    Launch film from filmmaker Philip Bloom
    Renowned filmmaker Philip Bloom has shot a short film titled ‘The Paddleboarder’ to test the ProRes RAW capabilities of the Alpha 7S III with the Ninja V. Shot on the river Thames in just one day it clearly demonstrates just how filmic the RAW images look. In his time with the camera he has also shot ProRes RAW in various lighting conditions including near darkness.

    He said: “Sony’s Alpha 7S III is incredibly powerful and does pretty much everything I need from a camera. Having the ability to record RAW over HDMI to the Atomos Ninja V is the icing on the cake. Not only can I record at full quality 10-bit 4K internally to the camera’s memory cards, I can simultaneously record 12-bit ProRes RAW to an SSD which gives me more flexibility to grade and bypass things like the in-camera sharpening and noise reduction. This is especially invaluable when shooting at very high ISO where working with RAW allows me to adjust the noise in post processing with much more precision.”

    Atomos and ProRes RAW
    Jeromy Young, Atomos CEO, said: “What Sony have done with the Alpha 7S III for RAW recording to the Ninja V is truly amazing. I’m delighted that together we are able to bring this first Sony’s Alpha™ into the Atomos RAW ecosystem. Sony’s engineers have delivered an amazing quality RAW over HDMI output to the Ninja V that will open up countless creative opportunities. The detail, dynamic range and especially low light performance is outstanding in RAW. The stable operation and long RAW record times that the Ninja V brings to the Alpha 7S III make it a brilliant tool for almost any production.”

    Ninja V users will receive a free AtomOS update to enable RAW recording over HDMI from the Alpha 7S III. This is set to be available in September 2020.

    To learn more about the Ninja V and Sony’s Alpha 7S III visit www.atomos.com

    VIEW: See the launch film “The Paddleboarder” shot on the Alpha 7S III and Ninja V in ProRes RAW by DP Philip Bloom here

    Articles: Digital Photography Review (dpreview.com)

  • Astronomers capture first-ever image of two exoplanets orbiting a 17M year-old Sun-like star

    The European Southern Observatory’s Very Large Telescope (ESO VLT) has captured the first-ever image that captures two exoplanets orbiting a Sun-like star.

    As the ESO explains in its blog post on the impressive feat, observing systems with multiple exoplanets is ‘extremely rare’ and, until this image, astronomers had never ‘directly observed’ multiple planets orbiting a young star.

    Credit: ESO/Bohn et al.

    In this groundbreaking image, captured by the SPHERE instrument onboard the ESO VLT, two ‘giant’ exoplanets are shown orbiting the star TYV 8998–760–1, which is estimated to be 17 million years old. Scientists captured the image by using a coronagraph to block the light from the young star, allowing for the light bouncing off the fainter planets to be seen.

    The two gas giants are approximately 160 and 320 times as far away from their host star as the Earth is to the Sun. ‘This places these planets much further away from their star than Jupiter or Saturn, also two gas giants, are from the Sun; they lie at only 5 and 10 times the Earth-Sun distance, respectively,’ reads the blog post.

    This chart shows the location of the TYC 8998-760-1 system. This map shows most of the stars visible to the unaided eye under good conditions and the system itself is marked with a red circle.

    You can find information on this image and future findings by heading over the the ESO website.

    Articles: Digital Photography Review (dpreview.com)

  • Canon releases EOS R5 with 45MP sensor, 8K video capture and next-gen Dual Pixel AF

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    We’ve known that the EOS R5 has been coming for a while, and today Canon has made it official. The R5’s most notable features – its sensor, in-body IS system and 8K video capture – demonstrate that Canon isn’t trying to make just another mirrorless camera: the company is trying to evolve it.

    The R5 uses an all-new, Canon-designed 45MP full-frame sensor, along with the DIGIC X processor found on the EOS-1D X III. This combination allows for the fast readout and data processing horsepower required to pull off many of the R5’s standout features.

    The R5 uses an all-new, Canon-designed 45MP full-frame sensor, along with the DIGIC X processor found on the EOS-1D X III

    The SLR-style design features a large electronic viewfinder with 0.76x magnification and 5.76 million dots, as well as a fully articulating 2.1M-dot LCD. The M-Fn bar from the EOS R is gone, replaced instead with a conventional joystick and AF-On button. Build quality is similar to that of the EOS 5D IV, meaning that it’s rugged and weather-sealed, though not to 1D standards. The camera has a USB Type C socket (with 3.1 Gen2 speeds) along with CFexpress and SD card slots.

    Some of the highlights of the R5 include its in-body image stabilizer, which can reduce shake by up to eight stops when paired with some RF lenses. The camera uses Canon’s second generation Dual Pixel CMOS AF system, which offers 100% coverage and 1053 auto-selectable points. Using deep learning, the camera is able to acquire and track both people and animals.

    It can capture 8K/30p video for up to 30 minutes, with your choice of Raw or H.265 output

    The R5 can shoot bursts at 20 fps with continuous focus using electronic shutter and 12 fps with its mechanical shutter. Buffer memory is plentiful, especially if you’re using a CFexpress card. The camera can shoot 10-bit HEIF images in addition to Raw and JPEG.

    The R5’s video specs are, well, stunning. It can capture 8K/30p video for up to 30 minutes, with your choice of Raw or H.265 output. If that’s too much for you, it also captures 4K/120p footage or it can output its 8K footage as oversampled 4K/30p. The camera can internally record 10-bit 4:2:2 footage using C-Log or HDR PQ. As one would expect, both mic and headphone jacks are available.

    The EOS R5 has dual-band (2.4Ghz and 5Ghz) Wi-Fi built-in, along with Bluetooth. The camera can transfer images over FTP/SFTP as they are taken.

    Battery life is rated at 320 shots/charge using the LCD and 220 shots with the EVF running at 120 fps (using the default rate of 60 fps gives you 330 shots). If you need more battery life, the $ 349 BG-R10 grip will double those numbers. There’s also a Wireless File Transmitter grip, which adds an Ethernet jack and enhanced multi-camera linked shooting. It’s priced at $ 999.

    The EOS R5 will be ship in late July for $ 3899 body-only and $ 4999 bundled with the RF 24-105mm F4L lens.

    Read our first impressions of the camera in our Canon EOS R5 initial review

    Take a closer look in our Canon EOS R5 hands-on

    Press release

    THE SECRET IS OUT: CANON OFFICIALLY ANNOUNCES THE CANON EOS R5 AND R6, THE COMPANY’S MOST ADVANCED FULL-FRAME MIRRORLESS CAMERAS EVER

    The Company is Also Announcing Four RF Lenses, Two RF Lens Extenders, and a PRO Printer

    MELVILLE, N.Y., July 9, 2020 – With anticipation at a fever pitch, Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to introduce the company’s next generation of full-frame mirrorless cameras – the EOS R5 and EOS R6. These groundbreaking cameras are the result of many years of collecting and listening to feedback from Canon users and are sure to meet the needs and demands of a variety of creators. The EOS R5 is a camera designed for professional applications featuring a new 45-megapixel full-frame CMOS sensor and uncropped 8K video recording up to 29.97 fps. The EOS R6 is geared towards advanced amateurs featuring a 20.1-megapixel full-frame CMOS sensor and 4K video recording up to 59.94 fps. The addition of the EOS R5 and the EOS R6 cameras within the EOS R series lineup further solidifies Canon’s commitment to providing the equipment needed for users to bring their content to the next level.

    Canon is also introducing four RF lenses and two RF lens extenders: The Canon RF100-500mm F4.5-7.1 L IS USM, Canon RF600mm F11 IS STM, Canon RF800mm F11 IS STM, and RF85mm F2 MACRO IS STM lenses. All four new lenses were designed to meet the ever-expanding demands of the skilled creatives who capture amazing imagery using EOS R series cameras, including the new EOS R5 and EOS R6. In addition to the lenses, there are two new RF lens extenders, a 1.4x and a 2x model, allowing for users to take their compatible RF lens focal lengths even farther, and a 13-inch professional printer, the imagePROGRAF PRO-300, to bring photos to life through the power of print.

    “For all of the Canon research and development team members who worked tirelessly on the production of these new products, today marks the culmination of a long journey. For those people looking for the next great tools to work with to expand their creative possibilities, the door is now wide open,” said Tatsuro “Tony” Kano, Executive Vice President and General Manager of Canon U.S.A.’s Imaging Technologies & Communications Group. “The industry has asked for new products that can push their levels of creativity to new heights, and we are confident that the EOS R5 and EOS R6, alongside the new lenses, lens extenders, and the pro printer, will fulfill those needs and more.”

    Canon EOS R5 and EOS R6
    Both the EOS R5 and EOS R6 cameras have the ability to capture the action of a variety of fast-moving subjects with impressive accuracy and speed. When using the mechanical shutter, each can shoot up to 12 fps and up to 20 fps when using the completely silent shutter. Both cameras are the first to be outfitted with Canon’s advanced Dual Pixel CMOS AF II which utilizes up to approximately100 percent coverage of the AF area and EOS iTR AF X incorporating AF tracking algorithms using deep learning technology and enhanced readout speed of the CMOS sensor and processing speed thanks to the DIGIC X image processor. The 1,053 automatically selected AF Zones are made even more potent by the ability to detect the human eye, face or head as well as the eye, face or body of animals such as dogs, cats and even birds. Adding to the feature set is the 5-axis In-Body Image Stabilizer, having coordinated control with Optical Image Stabilizer in IS equipped RF lenses. This provides up to 8 stops of shake correction, a feature that many creators have long asked for from Canon. Both the EOS R5 and R6 cameras come with a new LP-E6NH battery with a higher capacity than the previous model.

    As the new flagship model in the EOS R series lineup, the EOS R5 camera has features that pack a punch for a variety of users who create both still and video content. It has a powerful 45-megapixel full-frame CMOS sensor and is driven by the speedy DIGIC X image processor, giving wide dynamic range as well as boasting an ISO range of 100-51,200 that is expandable up to 102,400. In a camera full of eye-popping features, one that really stands out is the ability to record uncropped 8K RAW internal video recording up to 29.97 fps and 8K internal video recording up to 29.97 fps in 4:2:2 10-bit Canon Log (H.265)/4:2:2 10-bit HDR PQ (H.265). The camera can also record 4K internal video recording up to 119.88 fps in 4:2:2 10-bit Canon Log (H.265)/4:2:2 10-bit HDR PQ (H.265). External recording in 4K is also available up to 59.94 fps. When in DCI modes, the 8K and 4K video recording is uncropped and Dual Pixel CMOS AF II is available in all 8K and 4K recording modes. Additional features of the EOS R5 camera include:

    • Dual-card slots: 1x CFexpress and 1x SD UHS-II
    • Built-in 0.5-inch OLED EVF with approximately 5.76 million dots and a 119.88 fps refresh rate
    • 3.2-inch 2.1 million dots vari-angle LCD touch screen
    • 5GHz/2.4GHz Built-in Wi-Fi® and Bluetooth Technology with the ability to utilize the image.canon application, as well as optional WFT-R10A wireless file transmitter with Ethernet support
    • Enhanced operating controls such as rear-dial, multi-controller • The ability to voice tag photos and videos
    • Weather, drip and dust sealing on par with the EOS 5D series

    The EOS R6 camera is well-equipped with a host of new features to push the limits of creativity for imaging enthusiasts. The combination of the EOS-1D X Mark III based 20.1-megapixel full-frame CMOS sensor and the DIGIC X image processor produces an ISO range of 100-102,400 and is expandable to 204,800. Internal video recording at 4K is capable up to 59.94 fps or 1080p up to 119.88 fps in 10 bit 4:2:2 Canon Log(H.265) or HDR PQ(H.265). The camera also features a built-in 0.5-inch OLED EVF with approximately 3.69 million dots and a 119.88 fps refresh ratevi. Additional features of the EOS R6 camera include:

    • Dual UHS-II SD card slots
    • 3-inch 1.62 million dots vari-angle LCD touch screen
    • 2.4GHz Built-in Wi-Fi®vii and Bluetooth Technologyviii with the ability to utilize the image.canon application
    • Enhanced operating controls such as rear-dial, multi-controller
    • Weather, drip and dust sealing on par with the EOS 6D series

    Battery Accessory
    The optional BG-R10 battery grip accessory will be available for both the EOS R5 and EOS R6 full-frame mirrorless cameras. The BG-R10 accommodates up to two batteries and is compatible with the new LP-E6NH, LP-E6N and LP-E6 batteries. The convenient BG-R10 grip accessory can also improve handling for users while capturing portrait photography.

    Canon RF100-500mm F4.5-7.1 L IS USM
    The Canon RF100-500mm F4.5-7.1 L IS USM is a high-performance and versatile super-telephoto zoom lens that will find its way into the bags of many photographers. The compact and lightweight lens features optical image stabilization of up to five stops* of shake correction with three different IS modes, including standard, panning and during exposure only. Two Nano USM motors are at the heart of this lens and provide users with high-speed, smooth and quiet auto focus with a minimum focusing distance of three feet. Additional features of the Canon RF100-500mm F4.5-7.1 L IS USM include:

    • Rotation-Type zoom ring and torque adjustment allows for precision control and feel
    • Customizable control ring that enables photographers to adjust exposure compensation, shutter speed, aperture or ISO
    • 12-pin Communication System
    • Canon L-Series grade dust and weather-resistant construction with a fluorine coating
    • Lens hood with side window allows specialty filters to be adjusted even while Lens Hood is attached
    • Compatible with the new 1.4x and 2x RF lens extenders (from 300 to 500mm focal length)

    Canon RF600mm and 800mm F11 IS STM
    The Canon RF600mm and RF800mm F11 IS STM lenses are the first fixed focal length super-telephoto RF lenses and are incredibly compact and lightweight. The portability of the new lenses is made even greater due to the ability for the lens barrel to retract and lock in place when the lenses are stowed away and not in use. Diffractive Optics technology helps to reduce the necessary number of lenses and greatly diminish the cost of the lenses, making them affordable for a broader group of photographers. Additional features of the Canon RF600mm and RF800mm F11 IS STM lenses include:

    • Lightweight – the RF600mm weighs approximately 2.05lb and the RF800mm weighs approximately 2.78lb, respectively
    • Compact size, RF600mm measures approximately 7.85inch and RF800mm with measures approximately 11.09inch when retracted, respectively
    • Fixed f/11 aperture
    • Optical image stabilization of five stops* for the RF600mm and four stops* for the RF800mm of Shake Correction
    • Lead screw-type STM enables smooth auto focusing for still-image and video shooting
    • Customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture or ISO
    • 12-pin Communication System
    • Compatible with the new 1.4x and 2x RF lens extenders

    Canon RF85mm F2 MACRO IS STM
    The third RF85mm lens in the RF lineup, the Canon RF85mm F2 MACRO IS STM is compact and lightweight, featuring a bright f/2 aperture helping to capture images that have exceptional bokeh. The lens features a maximum magnification of 0.5x and a minimum focusing distance of 1.15 feet, providing users with macro-photography capability. Additional features of the Canon RF85mm F2 MACRO IS STM include:

    • Optical Image Stabilization with up to five stops* of Shake Correction
    • Hybrid IS compensates for angular and shift camera shake during macro photography
    • Control Ring for Direct Setting Changes.
    • 12-pin Communication System
    • Nine blade Circular Aperture

    RF Lens Extenders
    Lens extenders have long been a practical and useful tool for a variety of photographers. That story continues with the introduction of the Extender RF 1.4x and Extender RF 2x. The new lens extenders inherit the same high image quality, precision AF and reliability, such as being drip and dustproof, of EF lens extenders. When used in combination with the newly-released compatible lenses, the capturing range can be dramatically increased, providing consumers with additional use cases for their existing RF lenses.

    Canon imagePROGRAF PRO-300
    Completing the lineup of professional printer options from 13 inches through 60 inches, Canon also unveiled today the new 13-inch Canon imagePROGRAF PRO-300 Inkjet Printer along with a new Premium Fine Art Rough paper. Providing an improved workflow and high-quality output within a smaller footprint compared to previous models, this new printer excels at professional printing performance. Combined with the new Premium Fine Art Rough paper that features a textured surface to express the depth of an image, the printer along with the paper and new EOS R5 or EOS R6 camera introduces a new powerhouse professional imaging trio that meets creators’ demands.

    Pricing and Availability
    The EOS R5 full-frame mirrorless camera is scheduled to be available at the end of July for an estimated retail price of $ 3899.00 for the body only and $ 4999.00 for the R5 and RF 24-105mm F4 L IS USM lens kit**.

    The EOS R6 full-frame mirrorless camera is scheduled to be available at the end of August for an estimated retail price of $ 2499.00 for the body only, $ 2.899.00 for the R6 and RF 24-105 F4-7.1 IS STM lens kit or $ 3,599.00 for the R6 and RF 24-105mm F4 L IS USM lens kit**.

    The BG-R10 battery grip accessory and WFT-R10A are both scheduled to be available at the end of July for an estimated retail price of $ 349.99 and $ 999.99**, respectively.

    The RF100-500mm F4.5-7.1 L IS USM lens is scheduled to be available in September 2020 for an estimated retail price of $ 2,699.00. The RF600mm F11 IS STM and RF800mm F11 IS STM lenses are scheduled to be available at the end of July 2020 for an estimated retail price of $ 699.99 and $ 899.99, respectively. The RF85mm F2 MACRO IS STM lens is scheduled to be available in October 2020 for an estimated retail price of $ 599.99 **.

    The RF Extender 1.4x and 2x are scheduled to be available at the end of July for an estimated retail price of $ 499.99 and $ 599.99** each.

    The imagePROGRAF PRO-300 Printer will be available later in July for a suggested retail price of $ 899.99. Premium Fine Art Rough paper will also be available later in July for a suggested retail price of $ 44.99 for Letter size, $ 109.99 for 13” x 19” inches and $ 169.99, 17” x 22” inches**.

    For more information please visit, www.usa.canon.com/virtualproductlaunch

    ** Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.

    Canon EOS R5 specifications

    Price
    MSRP $ 3899 (body only), $ 4999 (w/24-105mm F4 lens)
    Body type
    Body type SLR-style mirrorless
    Body material Magnesium alloy
    Sensor
    Max resolution 8192 x 5464
    Image ratio w:h 1:1, 4:3, 3:2, 16:9
    Effective pixels 45 megapixels
    Sensor size Full frame (36 x 24 mm)
    Sensor type CMOS
    Processor Digic X
    Color space sRGB, Adobe RGB
    Color filter array Primary color filter
    Image
    ISO Yes, 100-51200 (expands to 102400)
    Boosted ISO (minimum) 50
    Boosted ISO (maximum) 102400
    White balance presets 8
    Custom white balance Yes
    Image stabilization Sensor-shift
    Image stabilization notes Works with lens-based IS systems for maximum shake reduction
    CIPA image stabilization rating 8 stop(s)
    Uncompressed format RAW
    JPEG quality levels Fine, normal
    File format
    • JPEG (Exif v2.31)
    • Raw (Canon CR3)
    • HEIF (10-bit)
    Optics & Focus
    Autofocus
    • Phase Detect
    • Multi-area
    • Center
    • Selective single-point
    • Tracking
    • Single
    • Continuous
    • Touch
    • Face Detection
    • Live View
    Manual focus Yes
    Number of focus points 1053
    Lens mount Canon RF
    Focal length multiplier 1×
    Screen / viewfinder
    Articulated LCD Fully articulated
    Screen size 3.2″
    Screen dots 2,100,000
    Touch screen Yes
    Screen type TFT LCD
    Live view Yes
    Viewfinder type Electronic
    Viewfinder coverage 100%
    Viewfinder magnification 0.76×
    Viewfinder resolution 5,760,000
    Photography features
    Minimum shutter speed 30 sec
    Maximum shutter speed 1/8000 sec
    Maximum shutter speed (electronic) 1/8000 sec
    Exposure modes
    • Program
    • Aperture priority
    • Shutter priority
    • Manual
    Built-in flash No
    External flash Yes
    Flash X sync speed 1/200 sec
    Drive modes
    • Single
    • High-speed Continuous
    • Low-speed Continuous
    Continuous drive 20.0 fps
    Self-timer Yes
    Metering modes
    • Multi
    • Center-weighted
    • Spot
    • Partial
    Exposure compensation 3 (at 1/3 EV, 1/2 EV steps)
    AE Bracketing 3 (at 1/3 EV, 1/2 EV steps)
    Videography features
    Format MPEG-4, H.264, H.265
    Modes
    • 8192 x 4320 @ 30p / 1,300 Mbps, MOV, H.265, Linear PCM
    • 8192 x 4320 @ 24p / 1,300 Mbps, MOV, H.265, Linear PCM
    • 8192 x 4320 @ 23.98p / 1,300 Mbps, MOV, H.265, Linear PCM
    • 7680 x 4320 @ 30p / 1,300 Mbps, MOV, H.265, Linear PCM
    • 7680 x 4320 @ 23.98p / 1,300 Mbps, MOV, H.265, Linear PCM
    • 4096 x 2160 @ 120p / 1,880 Mbps, MOV, H.265, Linear PCM
    • 4096 x 2160 @ 60p / 940 Mbps, MOV, H.265, Linear PCM
    • 4096 x 2160 @ 30p / 470 Mbps, MOV, H.265, Linear PCM
    • 4096 x 2160 @ 24p / 470 Mbps, MOV, H.265, Linear PCM
    • 4096 x 2160 @ 23.98p / 470 Mbps, MOV, H.265, Linear PCM
    • 3840 x 2160 @ 120p / 1,880 Mbps, MOV, H.265, Linear PCM
    • 3840 x 2160 @ 60p / 940 Mbps, MOV, H.265, Linear PCM
    • 3840 x 2160 @ 30p / 470 Mbps, MOV, H.265, Linear PCM
    • 3840 x 2160 @ 24p / 470 Mbps, MOV, H.265, Linear PCM
    • 3840 x 2160 @ 23.98p / 470 Mbps, MOV, H.265, Linear PCM
    Microphone Stereo
    Speaker Mono
    Storage
    Storage types CFexpress and SD (UHS-II) slots
    Connectivity
    USB USB 3.2 Gen 2 (10 GBit/sec)
    USB charging Yes
    HDMI Yes (micro HDMI)
    Microphone port Yes
    Headphone port Yes
    Wireless Built-In
    Wireless notes 802.11ac (dual-band) + Bluetooth
    Remote control Yes
    Physical
    Environmentally sealed Yes
    Battery Battery Pack
    Battery description LP-E6NH lithium-ion battery & charger
    Battery Life (CIPA) 320
    Weight (inc. batteries) 738 g (1.63 lb / 26.03 oz)
    Dimensions 138 x 98 x 88 mm (5.43 x 3.84 x 3.46″)
    Other features
    Orientation sensor Yes
    GPS None

    Articles: Digital Photography Review (dpreview.com)

  • Tips for Organizing Photos in Capture One Pro

    The post Tips for Organizing Photos in Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.

    Tips for organizing photos in Capture One Pro

    No matter which RAW photo editor you use, organizing your photos is probably one of the least enjoyable tasks in your photography workflow. However, setting up your catalogs correctly, or making changes to its structure, can ultimately save you a lot of valuable time. In this article, I’ll give you some tips to get you started on organizing photos in Capture One.

    Organizing Photos in Capture One Pro
    Capture One Pro Worksapce

    Setting up your Catalog for success

    Capture One offers you the ability to work in Catalogs or Sessions. It’s recommended that you work with both.

    A Catalog in Capture One functions like a Catalog in Lightroom in that it helps you organize large libraries of images; however, it offers more functionality. On the other hand, Sessions are great for on-set shooting and tethered shooting in studio and are an efficient way to organize the images from a specific shoot.

    There are different importing strategies you can use when organizing photos in Capture One. However, before you get started, you should, decide where you’ll put your catalogs.

    They don’t have to live in the same location as your photos, but your catalog should be kept in the fastest, most high-performing place you can put it – which is usually your computer’s internal hard drive.

    In short, consider the performance limitations of any storage medium that you use when organizing your photos in Capture One.

    Starting a new Catalog

    If you’re new to Capture One, you’ll want to start a new Catalog. Creating a Catalog creates a new database; it tracks photos and adjustments, and stores metadata and keywords, and a small preview of your photos

    You can have a single catalog for all of your images, which is further broken down into Sessions and Albums etc. depending on how you want to set up your workflow. You may choose to have more than one catalog; for example, a catalog for personal photos and another for client work.

    I shoot food and still life photography for several stock agencies. I like to keep these images separate from my client work, as it helps me feel more organized. However, this is simply my preference. You may decide to organize your photos in Capture One differently.

    How to start a new Catalog:

    • Navigate to File in the menu bar at the top of the Capture One workspace.
    Organizing Photos in Capture One Pro - making a new catalog
    • Choose New Catalog. The dialog box will appear.
    • Type in the name of your new catalog. Notice the location of where your catalog will be stored. You can change this by clicking the three dots to the right.
    • Hit OK. Now you’re ready for the import process.
    Organizing Photos_Capture One Pro

    Importing from an external hard drive

    The chances are that you shoot a lot. If you shoot RAW files, it doesn’t take long for your computer’s hard drive to fill up with thousands of image files. Therefore, it’s a good idea to keep your image files on an external hard drive to keep your computer’s performance at an optimal level.

    I keep my Capture One catalog on my iMac but have my files stored on two 4TB external hard drives – my main storage drive and a backup with duplicate files. 

    I also shoot tethered to a laptop when I shoot for clients. In this case, I save a backup of my files on a 1TB external hard drive and upload the photos to my main external drive after my shoot.

    Organizing Photos in Capture One Pro

    Before you get started with importing images, make sure that your image preview size is at least as large as your monitor, to ensure that they render properly. You can set this in your Preferences.

    Tips for Organizing Photos in Capture One Pro
    Organizing Photos in Capture One Pro - Preview Size screenshot

    How to import from an external hard drive:

    • Go to File and choose Import Images. A Dialog box will pop up. Choose your external drive from the dropdown under Source.
    • Make sure to check off Include Subfolder to see your photos in the Capture One workspace, otherwise it will appear blank.
    • Choose where you want to import them to under Destination. I have a file named after every calendar year on my main drive. I create folders named after the contents of the shoot. ie: Blood Oranges, Moody Whiskey, Carrot Cake, etc.
    • You can also create another backup and save the images to that location.
    • After you have chose your importing parameters, hit Import All.
    • Leave your photos in the current location to honor the file structure that already exists on the hard drive you are copying from.
    organizing photos in capture one

    Importing from a memory card

    • To import your photos from a memory card, you need a Destination folder to get them off the card. You may already have a folder in mind or you can create a new folder ie: My Photos
    • The dialog box will pop up once the card reader and memory card are connected to your computer. The process is the same as for importing photos from an external hard drive.
    • You can create Subfolders and further organize the images by date or other criteria. Capture One calls this Tokens. Tokens pull this data from the photo.
    • If you click on the three dots next to the Subfolder option, all of the various Tokens will come up. You can then click and drag them individually to the Format section, as well as drag them around to place them in a certain order.
    • Be sure to scroll down to see all the Tokens.
    Organizing Photos in Capture One Pro - Location Sub Folder Tokens
    • I usually choose to organize further by date, or date and time. Often I also include “Rights Usage Terms” to help me track licensing stats of various photos.
    • Once you have chosen your tokens, hit OK and then Import All.

    Moving files and folders to another location

    If you want to move files between folders, you can just drag and drop them. The database understands that you’re doing this within Capture One. When you attempt to do this outside of Capture One, this is where you get into trouble.

    Moving outside of Capture One is slower, and you’ll have to relocate the files.

    You’ll get an Offline notice and will have to locate it by right-clicking on the image and choosing Locate and navigate to where your image is. Capture One will re-establish the connection.

    If you move a whole folder, it’s the same process.

    You can move folders the same way you move files, and move them from your internal drive or an external drive.

    Organizing with User Collections

    User Collections is the best way of organizing your photos within Capture One. If you use Lightroom, you’ll be familiar with the concept of Collections.

    There are too many limitations when trying to organize by folders because you can’t bring certain images together for a specific purpose, such as printing your work, unless you move them. Therefore, User Collections is the perfect solution.

    There are four powerful organizational tools in User Collections:

    • Album
    • Smart Album
    • Project
    • Group

    Project is like a master container to put your Albums in. You can’t just drag images here; there has to be an album inside.

    Tips for Organizing Photos in Capture One Pro

    Much like a physical photo album, Album is a way to organize groups of photos that have a similar theme, such as vacation photos, or photos from a wedding shoot.

    How to start a User Collection

    • To start a User Collection, click on the + arrow to the right of the User Collections dropdown.
    • Then give your Collection a name and hit OK.
    Tips for Organizing Photos in Capture One Pro

    Smart Albums

    Smart Albums are a way to take this a step further, by giving you the ability to organize with star ratings and color tags. If you’re a Lightroom user, you’ll also be familiar with this concept.

    Smart Albums populate themselves based on the criteria you pick. If you click off a star or rating, it will disappear from the collection, because this feature is dynamic.

    Click + to add your search criteria, or use preset color and star ratings.

    Organizing Photos in Capture One Pro - Star Ratings

    Conclusion

    Organizing your photos in Capture One takes some effort and experimentation using the various tools the software has to offer. It’s a powerful program that has a lot of intuitive tools to help you create the most efficient workflow for your photography.

    If you have any other tips for organizing your photos in Capture One, let us know in the comments!

    The post Tips for Organizing Photos in Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.


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  • Getting Started with Layers in Capture One Pro

    The post Getting Started with Layers in Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.

    using layers in capture one pro

    One reason that Capture One is such a versatile and efficient RAW editor is the ability it gives you to work in Layers. It combines the ease of working in Lightroom with the functionality of Photoshop Layers.

    If you’re new to the software, learning to work with layers in Capture One will elevate your photos and help you in creating a more efficient workflow.

    Getting Started with Layers in Capture One Pro

    What are layers?

    Layers help you make targeted adjustments to certain areas of a photo. They are similar to Local Adjustments in Lightroom. You can make tweaks to color, exposure, clarity and other adjustments you’d typically make in a RAW editor, as well as more complicated edits.

    Capture One’s Layers tool enables you to combine brush adjustments, gradients, and repairs to masked areas using multiple layers.

    How to get started with Layers

    layers in Capture One

    The Layers option is indicated by the + Plus Icon in the Layers panel under the Histogram, which can be found in the Exposure tab. Layers can also be found in the top of the screen in the menu bar and has its own dropdown. Click on the Plus icon to create a new layer.

    layers in Capture One

    When creating or working on multiple layers, it’s a good idea to name each layer in a way that tells you what adjustments you made to the layer. Double click the layer to rename it.

    Getting Started with Layers in Capture One Pro

    Notice that if you make a new layer and start making adjustments, nothing will happen to the image. You need to create a Mask to determine where on the layer the adjustments will be applied.

    There are different ways to create masks: for this article, I’ll focus on the brush tool to brush in Masks. You can find the brush tool in the lower right of the Layers panel.

    layers in Capture One

    You can also use the shortcut B.

    To change the settings on the brush, simply right-click on the photo.

    Note that a soft brush is usually desired.

    The mask can be seen in red and will, by default, only show when you’re actually brushing on the image.

    layers in Capture One

    The shortcut M will toggle this setting, to show or hide. You can also choose to keep your Mask on. Options for the Mask are available in the Brush Panel dropdown in the tools panel at the top of the Capture One workspace.

    layers in Capture One

    There is also a Layers panel in the Capture One Menu tab. The great thing about Capture One is that there are several places where you can access any given tool all from one workspace, instead of having to switch Modules, as you do in Lightroom.

    layers in Capture One

    If you select too much or spill over into an area that you don’t want included in the adjustment, you can select the Erase brush and subtract the area where you didn’t intend to brush. You can also use the shortcut E.

    Getting Started with Layers in Capture One Pro

    The square bracket keys [ ] on your keyboard will help you change the size of your brush quickly.

    Once you have made an adjustment, toggle off the color so you can see the effect, and if you need to make any further adjustments. That’s why it’s a good idea to have the mask show only when you’re brushing over your image.

    Notice that every time you brush over the same area, the effect is stronger.

    Reduce the opacity if you want to lessen the effect.

    Getting Started with Layers in Capture One Pro

    Heal Layers

    Another type of layer is a Heal layer, which can be used to cover or conceal objects in your photo. It’s a very useful tool when working with layers in Capture One.

    Clone Layer will copy pixels from a source point to destination, however, it is not as efficient. The Heal layer is more dynamic; it will update according to changes made to the background layer or other layers.

    You can use the Heal layer to fix blemishes by copying and pasting pixels from a different part of the images.

    To start a new Heal layer, choose New Heal layer from the dropdown beside the Plus icon or choose it from the choices in the left-hand dropdown over where your named layers are located.

    Getting Started with Layers in Capture One Pro
    Getting Started with Layers in Capture One Pro

    Using Healing requires you to create a source point.

    Create source point by clicking Alt and then clicking once on the photo.

    Heal layers will intelligently blend the area with surrounding pixels.

    layers in capture one
    Choose a source point to heal from.

    Now brush on the photo.

    It will take the area from the source point and cover the object or blemish.

    If the appearance of the target area does not match the surrounding pixels, click on the source point and drag it anywhere within the same image in the Viewer.

    layers capture one

    Conclusion

    Capture One is a powerful program that can help take your editing to the next level. The ability to work with layers in Capture One is one way to do that. If you’ve been on the fence about whether to make the switch from Lightroom, they have a free 30-day trial available for you to check out.

    The post Getting Started with Layers in Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.


    Digital Photography School

  • Apple patent shows how you may one day be able to capture ‘synthetic group selfies’

    In the age of physical distancing, taking selfies with friends has become challenging to say the least, due to the worldwide suggestion to keep six feet apart to prevent the spread of the novel coronavirus. A recently-discovered patent from Apple, however, shows how we might one day be able to take a group selfie without needing to be next to each other — or even in the same room for that matter.

    First discovered by Patently Apple, the ‘synthetic group selfie’ patent wasn’t created in response to the COVID-19 pandemic, as it was originally filed back in July 2018. However, its usefulness is more valuable than ever, as the desire to feel connected in an age of physical distancing is growing.

    A pair of illustrations from the patent showing how the layers within the composited scene could be moved around to better frame people within the selfie.

    According to the patent, you could create a ‘synthetic group selfie’ by inviting friends and family to a shared photo session. The group selfie mode would then place those invited to the session next to one another in the image to give the appearance that everyone is right there in the frame. The patent also notes this mode could be used for video and livestreaming options with other options for changing the arrangement of people within the frame.

    An illustration from the patent showing how the composition process would work.

    As with all patents, it’s unclear if we’ll ever see this option in a forthcoming iOS update. But it would be a convenient option now more than ever, making virtual interactions more social while still staying distanced.

    Articles: Digital Photography Review (dpreview.com)

  • ProRes Raw video capture delayed for Lumix S1H, but firmware v2.0 still set to ship next week

    Videographers waiting to be able to record 5.9K ProRes Raw video footage from the Lumix S1H to their Atomos Ninja V will have to wait a bit longer as statements from both camera and recorder manufacturers have confirmed that while the expected firmware release will go ahead on Monday, May 25, Raw video won’t be included.

    Atomos says a technical issue is the cause and that the delay will be ‘slight,’ while Panasonic concentrates on the other new features firmware v2.0 will bring to users. Both companies say they’re working together to rectify the problem.

    There’s no indication what the problem is, but only that it cropped up in beta testing and that both companies want to ensure recording quality is at its best before the firmware is released. A new release date for the raw video feature will be announced ‘shortly.’

    Firmware V2.0 for the Panasonic S1H adds ProRes Raw video capture capability when paired with an Atomos Ninja V recorder.

    While the v2.0 firmware won’t have its headline feature when released on Monday, it will still offer these new features:

    LUMIX S1H Firmware Version 2.0 (*RAW video data output function is not included.)

    • Down converted output over HDMI during [6K]/[5.9K]/[5.4K] video recording is available.
    • In Creative Video mode, it is now possible to disable the operation of starting/stopping video recording by pressing a shutter button.
    • In Creative Video mode, it is now possible to set [Rec Quality (My List)] from the control panel.
    • The value of noise reduction in [V-Log] in Photo Style has been expanded to [-1], designed to suppress ghosting or afterimages that could have previously occurred in some situations.
    • It is possible to prevent the enlarged view window of MF Assist to be output over HDMI.
    • There were cases where colour banding appeared in 4:2:0/10-bit video recording in some situations. This bug has been minimised.
    • There were cases where the REC RUN time code did not count up when the video was not recorded on an SD Memory Card but was recorded on an external device over HDMI. This bug has been fixed.
    • It is now possible to set [AF+MF] in AFC mode.
    • It is now possible to assign functions to the lens’ Fn buttons when the Panasonic LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200) is mounted.
    • It is now possible to assign function to the Fn buttons of Sigma L-Mount interchangeable lenses.
    • When attaching a lens using the Sigma MC-21 mount converter and [Image Stabilizer] > [Lens] is set to ON , Body I.S. (Image Stabiliser) suppresses roll movement.
    • [Backlight Illumination Period] has been added to the menu of Status LCD. [ON1] prevents the LCD backlight to be turned off.
    • It is now possible to select the card slot to save the JPEG images developed by in-camera RAW processing.
    • [0.5 SEC] has been added for an option of [Duration Time (photo)] in [Auto Review].
    • [Off (Disable Press and Hold)] can be assigned to the Fn button. It disables operation when the button is long-pressed.
    • The Fn button can be used for checking aperture effect while the button is pressed.
    • To prevent improper operation, touch-control is disabled for [Delete All] operation in playback mode. Only cursor buttons can be used for [Delete All] operation.
    • There were rare cases where the camera froze during [Segmented File Recording] or during recording at 400 Mbps under a particular set of conditions including the type of SD Card used. This phenomenon has been improved.
    • Aperture and shutter speed can be controlled using front/rear dials when the rear monitor is set to OFF.
    • There were cases where F stop value control failed depending on the maximum F stop value when non-Panasonic L-Mount lens is mounted. This bug has been fixed.

    The new firmware will be downloadable for free via the Panasonic Japan support pages.

    Atomos press release:

    Atomos Ninja V and LUMIX S1H RAW firmware delay

    The firmware updates enabling the much-anticipated Atomos Ninja V and Panasonic LUMIX S1H RAW over HDMI combination have unfortunately been slightly delayed from the original 25th May release schedule, to ensure the highest possible level of RAW recording.

    An unforeseen technical issue has come to light in the final rounds of beta testing that needs rectification prior to shipping. The companies are working together to complete the development as soon as possible. We apologise to our mutual customers waiting for the functions this release enables.

    Please note that Panasonic will be releasing Ver 2.0 firmware on May 25th with various improvements to camera functions, however will not include the planned RAW HDMI output feature. Atomos will release its Ninja V AtomOS for LUMIX S1H HDMI RAW in-line with Panasonic’s RAW output firmware.

    Articles: Digital Photography Review (dpreview.com)

  • Capture One releases Nikon-specific version, also adds improved clone and healing brushes

    Earlier this month, Capture One teased a variety of new features in an upcoming free update to Capture One 20. Today, this free update has been released to all existing Capture One 20 users. Further, Capture One has released a new dedicated version of their software specifically for Nikon users, Capture One for Nikon.

    The new Nikon version of Capture One follows the same pattern as existing Fujifilm and Sony versions, meaning that the software will only work with files from Nikon cameras. Profiles for each supported Nikon camera have been specifically built for Capture One by the software team in Denmark using an exhaustive lab-based process. Further, the Vivid, Neutral, Standard, Landscape and Monochrome profiles in Nikon’s cameras are supported, allowing Capture One for Nikon to match the colors you see on your camera.

    The list of supported Nikon cameras is exhaustive and includes the company’s DSLR and mirrorless Z cameras. Many cameras also support tethered capture. You can view the full list of supported cameras and features by clicking here.

    Returning to the newly-released update for all versions of Capture One 20, we were previously shown the new heal and clone brushes plus an improved before/after viewer. The revised healing and clone brushes now create dedicated healing and clone layers, respectively, and utilize more intelligent source point technology. You can also now utilize as many source points per layer as you desire with no discernible impact on performance.

    With respect to the before/after view, users can now click a button in the toolbar to select from new before/after view modes. This is a much simpler and more streamlined process than in prior versions of Capture One and can be used across multiple images at varying zoom levels.

    Capture One has released additional videos showing off these new features, which you can view below:

    Another new feature that was not shown off during Capture One’s livestream in early May is an improved Lightroom Catalog Import tool. The tool now allows for importing files located on disconnected drives. Capture One will automatically import the files once the drive has been connected. Further, when importing a Lightroom catalog, some basic image adjustments and catalog structure can be imported into Capture One 20. To see how this works, refer to a new video tutorial from Capture One below.

    The update to Capture One 20 is available now at no cost for all existing users. If you don’t own Capture One 20 and would like to try it, there is a free trial available on Capture One’s website.

    Capture One 20 is available both as a subscription and as a lifetime license. An annual subscription is $ 180 USD and a lifetime license for new users is $ 299 USD. For a full pricing breakdown and to view additional bundles, click here. Further, there is an ongoing promotion for new purchasers, allowing for 12-month access to SmugMug Portfolio or Power plans, depending on their selected product.

    Capture One for Nikon can be purchased for $ 9.99 USD per month, $ 99 per year or as a perpetual license for $ 129.

    Articles: Digital Photography Review (dpreview.com)

  • Capture One teases upcoming Capture One 20 update, including new heal and clone brushes

    Earlier today, Capture One showed off a trio of major new features coming via a free update to Capture One 20 later this month. The announcement came in a live stream, which you can watch the replay of below, hosted by Product Manager Alexander Flemming and Business Development Manager David Grover.

    In the live demo below, the first major new feature coming to Capture One 20 later this month is a revised healing brush for retouching images and removing unwanted spots. In the current version of Capture One 20, the healing workflow comprises creating a new heal layer, select your brush and pick a source point. Further, you can only select a single source point per layer.

    In the upcoming update, the software will be able to quickly and intelligently select a source point for each instance of using the heal brush on a single ‘Heal Layer’. Per Flemming, there will be no limit to how many different heal points you can have on a single layer nor has the team found any performance issues when utilizing many heal points.

    In the livestream, Flemming and Grover shared a few interesting tidbits about how the new healing brush operates. The first time you use the brush on an image, the software caches the entire image, so that all subsequent uses of the heal brush are much faster. Further, the new healing technology is adept at adjusting the luminosity of your source point to match the area you wish to heal or touch up. For example, if an area in the image with the best match for texture is brighter or darker than the area you are trying to heal, the software can match the source area by brightening or darkening it.

    In addition to the new healing brush, there’s also a new clone brush. The clone brush works similarly to the new heal brush, but it creates a ‘Clone Layer’ rather than a ‘Heal Layer’. The clone brush creates a pixel-for-pixel clone, rather than replacing a healing area via a source selection. Basically, the clone brush allows you to copy a selected set of pixels from one area of your image to another area.

    In this screenshot from Capture One’s presentation, the new clone brush is being used. Image credit: Capture One

    Another addition is the new before and after button, which can be found on the toolbar. In prior versions, seeing a before and after comparison was done via a convoluted process whereby you reset the image and then undid the reset. Now you will be able to simply press the before/after button, which creates a sliding before/after split view, showing before on the left and after on the right. This works at all zoom levels and can be used across multiple images. Users will even be able to edit in this view if they so desire. There’s also a secondary before/after mode where you can view the entire image in its before and after state, rather than using a slider.

    The upcoming free update to Capture One 20 includes a new before/after view. You can use this view across multiple images at once as well, as can be seen here. Image credit: Capture One

    As mentioned, the update is scheduled to arrive by the end of the month. The update will be free for all existing Capture One 20 users, including those who use Capture One Fujifilm and Capture One (for Sony). For more information on Capture One 20, including pricing information for both subscriptions and perpetual licenses, click here.

    Articles: Digital Photography Review (dpreview.com)

  • DJI announces the Mavic Air 2 with 4K/60p capture, ActiveTrack 3.0 and more

    DJI has announced the Mavic Air 2, the newest compact, folding drone in DJI’s growing lineup. In addition to new hardware, both inside and out, the drone also features new fly modes for simplifying the flight process.

    At the heart of the Mavic Air 2 is a 48MP 1/2” Quad Bayer CMOS sensor that’s capable of recording 4K video at up to 60 frames per second (fps) with a 120Mbps data rate. When dropped down to 4K/30p, the Mavic Air 2 can record HDR video while a slow-motion mode can max out at 240 fps when shooting at 1080p. DJI has also included a new Hyperlapse feature that will result in 8K video using one of four flight modes: Free Movement, Circle, CourseLock and WayPoints. This isn’t the true 8K capture the Autel EVO II drone has promised, but it is 8K and we’re still yet to see the EVO II hit the market.

    On the stills front, the Mavic Air 2 can capture 12MP stills with a special 48MP supersampling option that uses the drone’s three-axis gimbal to help compensate for movement in-between frames. A new ‘SmartPhoto’ capture mode will also snap 12MP stills using one of three image capture options that DJI says uses ‘advanced scene analysis and deep learning to automatically choose one of [the shooting modes].’

    The first of the three shooting modes is HDR, which will snap seven photos at various exposures and merge them together to optimize the dynamic range in an image; the second mode is Hyperlight, which is a low-light mode that will take multiple photos and merge them together to create a single image with less noise than would be possible with a single image; the third and final mode is the ‘Scene Recognition’ mode that will automatically analyze the scene and select from one of five presets (sunsets, blue skies, grass, snow, and trees) to apply to the image to bring out the best of the scenery.

    DJI is using new motors and electronic speed controllers (ESCs) in combination with improved battery technology to offer up a maximum flight time of 34 minutes on a single charge. This benchmark is also helped by a more aerodynamic design and lighter weight, with the device weighing just 570g (1.26lbs).

    Transmitting live video from the drone to a mobile device is done with DJI’s OcuSync 2.0 protocol, which has been updated to support both 2.4GHz and 5.8GHz frequency bands, as well as an auto-switching feature, to offer a maximum range of 10km (6.21 miles) when unobstructed. Also included in the Mavic Air 2 is Advanced Pilot Assistance System (APAS) 3.0, which is a new obstacle avoidance technology that will recognize when an object is in the drone’s flight path and reroute the drone accordingly. DJI says this new version uses 3D mapping to ‘[aid] in smooth transitions and more fluid movements around objects even in highly complex environments.’

    A sample photo captured with the Mavic Air 2, provided by DJI.

    AirSense technology has also been included, which uses ADS-B aviation technology to help warn drone pilots of other nearby aircraft by displaying messages on the pilot’s screen, making sounds and vibrating with compatible mobile devices. DJI does note though that due to supply chain shortages caused by the COVID-19 pandemic, only Mavic Air 2 units sold in North America will feature the ADS-B transponder; units sold in other regions will be identical in every other regard. No timeframe is given as to when this discrepancy between units could change.

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    The Mavic Air 2 also features a number of AI-powered features, including ActiveTrack 3.0, Point of Interest 3.0 and Spotlight 2.0. Below is a breakdown from DJI explaining each of the three modes:

    • ActiveTrack 3.0: Select a subject for Mavic Air 2 to automatically follow. The third iteration of ActiveTrack uses state-of-the-art mapping technology and new flight path algorithms to offer improved subject tracking and obstacle avoidance, along with the ability to quickly re-engage the subject if it temporarily moves behind an object.
    • Point of Interest 3.0: Set an automated flight path around a specific subject. The updated iteration improves surface recognition to better dynamically track subjects.
    • Spotlight 2.0: Found in professional DJI drones, Spotlight locks a subject in the frame while the user has free operation of the drone’s movement.

    The Mavic Air 2 will be made available in China starting today, while other regions should see the first units hitting store shelves in mid-May for $ 799. This ‘standard’ kit will include the Mavic Air 2, one battery, the remote controller and all necessary cables. A new Fly More option, which will include everything in the standard version as well as a shoulder bag, ND filters, a charging hub and three additional batteries, will retail for $ 988. Other optional accessories include propeller guards, protective cases and a tablet holder. You can find out more information about the Mavic Air 2 on DJI’s product page.

    Articles: Digital Photography Review (dpreview.com)