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How to Use the New Enhance Details Feature in Lightroom

05 May

The post How to Use the New Enhance Details Feature in Lightroom appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

One benefit of subscribing to Adobe Creative Cloud is that the software you use is updated regularly throughout the year. Some of these updates might not add much to your workflow, while others result in dramatic improvements to how you edit your images.

In February 2019, Adobe rolled out a powerful new option in Lightroom called Enhance Details. You may not have noticed since there’s nothing new in the interface that even indicates the feature is available.

However, this can dramatically increase the quality of your RAW files, particularly if you shoot with Fuji cameras, and it is certainly worth investigating to see if it could benefit you.

In order to understand what Enhance Details does, it’s important to know how RAW files work. When you shoot in RAW you aren’t storing images on your memory card or computer like when you shoot in JPEG. Instead you are storing a set of instructions for how your editing software should create an image when it’s exported from Lightroom, Capture One, or any other image-editing program.

What’s weird to wrap your head around, though, is the notion that when you browse through your image library in Lightroom you aren’t looking at the RAW files at all. You’re seeing previews that the software has generated which give you a good idea of what the RAW files will look when they are exported.

This is why RAW files look slightly different when you open them in different software. Capture One, Lightroom, Luminar…they all use different methods to interpret the data in a RAW file. This results in previews (what you see when you edit an image or browse your image library) that look different, as well as your final exported final images.

This isn’t a RAW file. It’s a JPG file generated from RAW data, as interpreted by Lightroom.

Understanding RAW Files

So what does all this have to do with Enhance Details? It all goes back to how your RAW files are interpreted in Lightroom. Digital cameras collect Red, Blue, and Green data on their image sensors using an array of pixels that correspond to each color. When Lightroom loads a RAW file, it looks at the color data for each pixel and guesses what the resulting image should look like. This is what you see when you look at your images before exporting them.

This also means that Lightroom has to essentially fill in the details throughout each image since you don’t see individual Red, Blue, and Green pixels when you zoom in on an image. You see pixels of all colors that Lightroom has created based on what it thinks they should look like based on the Red, Blue, and Green color data in the RAW file.

Unfortunately, this means that some elements of the scene that you photographed, particularly the very fine details, get lost in the transition from RAW file to Lightroom.

Different camera sensors contain different types of RGB patterns. When saving RAW images, all of the color information for each pixel is stored without the camera deciding how to interpret the data as an actual image.

Enhance Details is a way for you to recover some of the finer aspects of your images that get lost along the way when interpreting RAW files.

It works by using Adobe’s artificial intelligence technology, called Sensei, to fill in some of the missing gaps when pixels are rendered from RAW data.

The results can be quite impressive, depending on the type of image you are working with. It can also mitigate some of the issues that Fuji users have traditionally had when rendering RAW data from Fuji’s X-Trans sensors. Traditionally, these result in wavy, worm-like artifacts with an overall loss of sharpness.

Bringing out the details

To use Enhance Details, select an image in your Lightroom Library and choose Photo -> Enhance Details.

This brings up a Preview window which lets you see what will happen after the Enhance Details procedure finishes.

It shows a zoomed-in view of the photo you are working with, and you can click and drag around to see what different parts of the image will look like after the operation is complete.

When you click on the image preview it reverts to its un-enhanced state, allowing you to compare the original and Enhanced versions with a single click. There are no parameters to configure, sliders to adjust, or options to customize with the operation which I find refreshing. It’s a take-it-or-leave-it approach, at least in its current state, which makes it a little less of a hassle from an end-user perspective.

When you are satisfied that you want to undergo the Enhance operation, click Enhance and wait for Lightroom to finish the operation.

When it’s done you will still have the original RAW file, but in addition you will now have a new Adobe DNG file that contains the Enhanced image. This file is, as you might expect, the same image as the original but with several additional megabytes of new data where Adobe has attempted to improve things.

Original on the left, Enhanced on the right.

More details, larger files

One important point to note in this process relates to file size and storage space. When I converted several RAW files that were originally about 22 megabytes, the resulting Enhanced DNG files were about five times larger. Since each new file easily takes up well over 100 megabytes you might want to be somewhat selective in choosing the images you want to Enhance. Either that, or start looking into more storage solutions!

So what’s different about the enhanced RAW pictures other than massive file sizes? It varies depending on the scene you photographed, the camera and lens you used, and other parameters. If you shoot Nikon, Canon, or Sony, you might not see that much of an improvement since Adobe already does a pretty good job interpreting those RAW files. However, if you use Fuji you might notice significant improvements. The image below is the original RAW file, shot with an X100F, that I edited in Lightroom.

Original Fuji RAW image. It seems fine, until you zoom in for a closer look.

At first glance, and sized down for on-screen resolution, it looks fine. But upon closer inspection you can see some significant issues particularly among the leaves and ground.

Some of the issues are now apparent, and they can’t be corrected simply by adjusting sliders in Lightroom.

When I first saw this up close, I thought there was something wrong with my computer! Either that or I had a broken camera. The edges of the leaves, particularly where the sun is shining through in the top-right corner, have a wavy, worm-like appearance that’s rather strange and almost a little disconcerting. This is due to how Lightroom renders Fuji RAW files and can be corrected quite easily using Enhance Images.

Original on the left, Enhanced on the right.

Notice the way the edges of the leaves are much smoother in the right-hand image. The gold light coming through the dark leaves is also crisper.

This isn’t just an issue of adjusting the Sharpening slider in Lightroom. Instead, it’s an entirely new RAW file built from the ground-up using Adobe’s artificial intelligence algorithms.

The new image really is enhanced – as the name of the process implies. While it might not be entirely obvious when viewed on a computer screen, there is a clear difference when files are shown at full resolution or as large prints.

Enhanced image. You can’t see a noticeable difference on a small screen, but when viewed full-size the details are much improved.

Your results may vary

While the process works wonders for Fuji RAW files, it’s somewhat hit-or-miss for major names like Nikon and Canon. For instance, below is a RAW file from a Nikon 7100 as rendered by Lightroom.

Original image, shot from the Columbia Center skyscraper in downtown Seattle.

The Seattle skyline looks crisp and clear, with no noticeable issues in the finer details even when zoomed in to 100%. When processed through the Enhance Image feature the improvements are discernible, but you really have to look for them. It’s a marginal improvement, and nowhere approaching the fixes to Fuji RAW files.

Original image on the left. Enhanced on the right. If you look at the roofline of the building in the middle, you can see a more accurate rendering in the Enhanced image…barely. The Enhanced version doesn’t have oddly-colored pixels where Lightroom didn’t quite get the original RAW file rendered properly.

Conclusion

In my opinion, Enhance Images isn’t worth the file size tradeoff on Nikon and Canon cameras. Lightroom already does such a good job of rendering them already. However, I encourage you to try it out and see for yourself. The amount of improvement depends greatly on a variety of factors including your camera, lens, and the subject in the photograph.

You might find that you prefer the Enhanced Images as a general rule, or you might only use this feature now and then. Either way, it’s nice to know it’s there.

Enhanced image, without a lot of truly noticeable improvements even enlarged to full size.

I like to think of Enhance Images as a useful tool to have in your back pocket for those times when you really need it and not something I use on an everyday basis.

The really exciting part is where this technology might end up in the future. Right now the process is done for one photo at a time and takes several seconds even on newer computers. I can easily see a time when it’s applied as easily as a filter or adjustment slider, with dramatic improvements to every image.

Until that happens, it’s fun to see technologies like this take shape and mature. As photographers, we live in an incredible time with technology like this that were unthinkable only a few years ago.

It’s amazing to ponder what the future might hold, and think about the tools we will have at our disposal to let our creative freedom loose.

Have you use this feature? Let us know your thoughts in the comments below.

 

The post How to Use the New Enhance Details Feature in Lightroom appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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Venus Optics shares details of upcoming zoom and prime cine lenses

07 Apr

Venus Optics is showing prototypes of its new Laowa cinema lenses at the NAB show in Las Vegas, and has released more details of their specification, what we should expect and a better idea of when they will be shipping. The lenses were first shown at Photokina in September, but in the meantime the company has confirmed more information regarding both models which were at a very early stage on their last outing.

The Laowa OOOM 25mm-100mm T2.9, it says, was designed with the aim of suppressing focus breathing, as well as distortion, chromatic aberrations, focus shift across the zoom range and variations in exposure – hence the fixed T2.9 aperture. The company also says that the OOOM name stands for ‘Out Of Our Minds’ and reflects the engineers ideology when it comes to lens design – meaning I suppose that the plans for the concept were ambitious. The lens has a 32mm covering circle which Venus Optics says makes it suitable for all Super 35mm aspect ratios. Using 20 elements in 16 groups the lens will have a closest focus position of 12.7in/32mm.

Venus Optics says we should expect delivery late this year at a price ‘well below USD $ 10,000’ – and that it is working on two more lenses to join it. One will be a wide angle zoom, and the other a telephoto model.

The company’s 12mm T2.9 Zero-D cine lens is also making progress, with details pointing to another late 2019 shipping date. New information on the specification shows the full frame lens will have a covering circle of 46.5mm and a 110mm filter thread. A 114mm step-up ring will be included for filmmakers to fit a rod-supported matte box onto the lens.

For more information see the Venus Optics website.

Press Release:

Laowa OOOM 25-100 t/2.9 and 12mm t/2.9 Zero-D will make their North America debut in NAB Las Vegas (Booth# C11738)

Venus Optics, the camera lenses manufacturer who had previously launched a number of unique Laowa camera lenses, is proud to display the new prototypes of Laowa OOOM 25-100mm t/2.9 and 12mm t/2.9 Zero-D in NAB Las Vegas show (Booth#C11738) and its the first time in America.

Laowa OOOM 25-100 t/2.9 Cine

Laowa OOOM 25-100 t/2.9 Cine is a high quality cinematic zoom lenses dedicated for PL/EF cameras with Super35-sized sensors. The name “OOOM” stands for “Out Of Our Minds” which properly describes our ideology of designing lenses. Unlike some other cine zooms in the market, the OOOM 25-100mm was designed with a goal to suppress focus breathing to the minimal at the beginning. Featuring a 32mm image coverage, the new OOOM lens covers a relatively bigger image than other S35 zoom lenses and should be able to cover most of the aspect ratios of cameras with Super35 sensors. The lens can focus up to 12.7” (32cm) away from the front element, which is comparatively closer than other lenses in the market with similar zoom factor. The 20 elements in 16 groups optics design successfully suppress distortion and chromatic aberration to the minimal and deliver outstanding resolution across the frame.

The 4X zoom factor provides a great deal of flexibility to shoot in most scenarios. This lens also has a par-focal and fixed t/2.9 aperture design that both the focus point & brightness will stay unchanged throughout the whole zoom range. The focus, aperture and zoom ring feature a cine-style 0.8 Mod gear teeth for fitting with focus units or motors. An industry standard 114mm front diameter is equipped for filmmakers to fit with their own matte boxes. A focus mark calibration mechanism is incorporated for filmmakers to micro-adjustment in case of front/back focusing. A user-interchangeable PL/EF mounts are available.

Venus Optics are currently preparing a similar cinematic zoom lens with wider focal length and the other one with a more telephoto perspective. The specifications will be announced in due course.

The retail selling price of the Laowa OOOM 25-100mm t/2.9 lens is not fixed yet but it will be well below USD 10,000. It will be available to ship from late 2019.

The lens will make its US debut in the coming NAB show in Las Vegas between 6-11 Apr in Venus Optics Booth (C11738).

Laowa 12mm t/2.9 Zero-D Cine

Laowa 12mm t/2.9 Zero-D Cine is one of the widest and fastest available lens for shooting with large format sensors. It is designed with a 46.5mm image circle, successfully covers both full frame and Vista Vision-sized sensors. Despite the ultra-wide 122° field of view, the image is perfectly rectilinear and features a close-to-zero distortion rate. The focus flow is extended to 270° for cinematographers to also take advantage of the 0.6 feet (18cm) closest focusing distance. The lens is super lightweight (650g, 1.4lbs) and comes with a 100mm front diameter. A 114mm step up ring is included for filmmakers to fit rod supported matte box onto the lens. Both EF and PL mount will be available.

The retail pricing of the 12mm t/2.9 Zero-D Cine is not ready yet and it will be ready to ship in around late 2019.

Articles: Digital Photography Review (dpreview.com)

 
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Apple patent application details tech to improve mobile underwater photography

29 Mar

Underwater photographers and cameras have to deal with less than ideal conditions. Light levels are low, water can be murky and add color casts to your images. Underwater modes on rugged cameras and (waterproof) smartphones are not new but now a patent application filed by Apple suggests mobile users could soon benefit from a more sophisticated version and achieve better underwater imaging results in the future if the system is ever implemented.

Apple’s patent application is titled ‘Submersible Electronic Devices with Imaging Capabilities and describes a system that automatically detects when the shutter button is pressed under water and makes the necessary adjustments to optimize image quality.

The device uses a range of sensors to detect if it is underwater and determines what steps are required to improve image results. A color ambient light sensor could be used to measure ambient light spectra above and under water and help calculate how much light is absorbed by the water. Depth, distance, pressure, and orientation sensors can be deployed to measure the water´s murkiness as well as the distances to the surface and subject. Backscattered light could be measured as well to find out how it affects the image.

With the data from all sensors collected, the system would then make adequate adjustments to camera settings and image processing, for example modify the white balance to avoid greenish color casts, or enhance exposure and texture rendition on the subject in murky conditions with low visibility.

As usual, there is no way of knowing if the patent ever makes it into a final product but given most of the sensors mentioned in the document are already present in current iPhone models, the system could probably be pretty easily implemented via a software update.

Articles: Digital Photography Review (dpreview.com)

 
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Yongnuo shares more details about its upcoming YN450 Android-powered mirrorless camera

07 Mar

Last October, Yongnuo teased the impending launch of a 16-megapixel Android-based mirrorless camera it called the YN450. Since then, not much has been heard about the device, but Yongnuo made an appearance at CP+ and brought along the unreleased device to show off in more detail.

In the video above, Cinema5D takes a closer look at the unreleased device to see just what Yongnuo has managed to pack inside the YN450 and what their goal is with the unique device.

The camera uses a 4/3 sensor and relies on a Canon EF mount for lenses. It’s powered by Android 7.1, features an 8-core Qualcomm processor and includes a 5-inch 1080p multi-touch display. The secret weapon, however, is an integrated 4G SIM card slot that will ensure the camera is as connected as a smartphone would be, with Wi-Fi and GPS to boot.

Based on the current information available, the camera will have 32GB of internal memory as well as a MicroSD card slot. However, Cinema5D believes that slot could be limited to 32GB cards and won’t support SDXC cards.

In addition to 16MP stills, the camera will shoot 4K/30p video, but details on the codec and other information are still unannounced. There’s also a front-facing 8MP camera that’s hidden next to the display. The device will feature a removable 4,00 may battery that’s said to power the camera for up to 4 hours of continuous use.


Photos by Cinema5D shared with permission

Articles: Digital Photography Review (dpreview.com)

 
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Adobe Lightroom February update adds AI Enhance Details feature, HDR and HDR Panos

13 Feb

Adobe has updated Lightroom CC, Lightroom Classic CC, and Adobe Camera Raw with a new AI-powered feature called Enhance Details. The feature is made possible by Sensei, Adobe’s artificial intelligence and machine learning platform, and it works on nearly any raw image file to improve fine detail and color rendering, as well as resolving issues that some users with Fujifilm X-Trans cameras have reported.

The new Enhance Details feature utilizes a convolutional neural network (CNN) that was ‘extensively trained,’ according to Adobe, to deal with issues like zippering and false colors while improving the overall quality of fine details. The feature ‘works well’ on X-Trans and Bayer raw mosaic files, which can have their resolutions increased by up to 30%. Adobe digs into the technical details here.

An example panorama stitched together using the updated Lightroom CC application. Provided by Adobe.

In addition to the Enhance Details feature, Adobe has updated Lightroom CC for Windows and Mac with new HDR, Pano, and HDR Pano merge tools, histogram clipping indicators, and a Target Adjustment tool. The HDR and Pano features support both raw and non-raw images, though the company points out that merged raw files retail the adjustment benefits inherent to the file type.

A screenshot of HDR exposures ready to be stitched together into a panorama. Provided by Adobe.

The HDR and HDR Pano tools are best used with a camera’s auto exposure bracketing mode, which captures images with varying exposure. Lightroom automatically merges the images for HDR and, in the case of panoramas, automatically adjusts alignment and corrects distortion. These features are joined by the Target Adjust Tool for precisely controlling an image’s tonality and color, as well as the histogram clipping indicators.

As far as mobile is concerned, the update enables users to create ad-hoc photo shares on Lightroom CC for iOS. Finally, Lightroom Classic users received improved Nikon camera tethering stability and performance. The updates are available now.

Articles: Digital Photography Review (dpreview.com)

 
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Canon patent details schematics for a possible RF 90mm F2.8L IS Macro lens

28 Dec

A recently published patent from Canon details a set of optical formulas for what appears to be an RF 90mm F2.8L IS Macro lens.

Japanese Patent Application Number 2018-205435, first detailed by Northlight Images, is fairly standard as far as patents go, but there is one interesting element worth noting.

The image stabilization elements inside the lens — labelled L12 — are located within the first optical group towards the front of the lens. More often the image stabilization component is towards the center of the lens, but that doesn’t appear to be the case here.

This could be for a number of reasons, but the patent text specifically mentions that in order to get the most accurate image stabilization, larger optical components and accompanying motors are needed. As such, the larger front area of the lens makes more sense than the middle of the lens where the optics are more confined, especially with the aperture mechanism located there (represented by ‘SP’ in the illustrations).

It’s also worth noting that the focusing component of the lens is towards the rear of the lens. The patent text says this too is due to the larger focusing motor(s) needed, but it could also have an added benefit of creating a more balanced lens with the heavy image stabilization component towards the front of the lens. As Canon showed the world with its RF 35mm F1.8 IS STM lens, the RF mount makes it possible to put larger elements and more electronics towards the rear of the lens due to the larger mount size.

Articles: Digital Photography Review (dpreview.com)

 
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Xiaomi details DeepExposure, an AI that automatically fixes image exposure and detail

06 Dec

Chinese company Xiaomi’s AI Lab has published a new paper detailing an AI network called “DeepExposure” that improves low-quality images through machine learning. “Comparing with other methods,” the researchers explained in their paper, “our algorithm can restore most of the details and styles in original images while enhancing brightness and colors.”

DeepExposure utilizes generative adversarial networks and asynchronous adversarial learning to split low-quality images into segments called sub-images. The system computes both local and global exposures for these sub-images, then evaluates their quality before blending them with the original image.

The end result is an image with improved exposure and detail, opening the door for future solutions that may automatically enhance low-quality photos. It’s possible that Xiaomi may one day offer this technology on its smartphones, which already offer other AI capabilities.

The researchers point out in their paper, “Due to the requirement of expertise of photography, photo quality enhancement is beyond the capability of non-professional users, thus leading to the new trend of automatic techniques of image retouching.”

The study indicates that DeepExposure could also be adjusted in the future to improve image tone and contrast.

Xiaomi isn’t the only company using artificial intelligence to automatically improve images. Earlier this year, researchers with Intel and the University of Illinois Urbana-Champaign detailed a deep neural network able to brighten low-light images without reducing their quality. Similarly, a technology called Deep Image Prior was unveiled last year with the ability to recreate damaged parts of an image based on the image’s existing elements.

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS R image quality: it’s all in the details

19 Oct

Although Raw performance of the EOS R is very similar to the 5D Mark IV, Canon’s done some tweaking on the JPEGs – take a look at our studio scene to see for yourself.

Articles: Digital Photography Review (dpreview.com)

 
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Voigtlander releases details and price of its 110mm F2.5 Macro APO-Lanthar for Sony E-Mount

03 Jul

Lens manufacturer Cosina has provided more specification for the Macro APO-Lanthar 100mm F2.5 lens that it first announced at CP+ in March. The E-mount lens is due to begin shipping in August 2018, and is quoted on the Japanese website as having a price of ¥148,000 – approximately $ 1350/£1050 before tax.

The new manual focus lens offers 1:1 macro and a closest focusing distance of 35cm. It uses three floating lens groups for focusing to ensure optimal quality at all distances – according the Cosina – and apochromatic correction to produce high resolution and detailed images for the full frame Sony sensors.

With electric contacts the lens can transmit aperture and focusing information to the camera, which will be recorded in the EXIF data of the image as well as being used to inform the 5-axis image stabilization systems of the Sony range. The contacts also allow manual focus assistance to be triggered by turning the focusing ring.

For full specification see the Cosina website.

Manufacturer information

Macro APO-LANTHAR 110mm f/2.5 E-Mount

Voigtländer MACRO APO-LANTHAR 110mm F2.5 is a high performance manual focus 1:1 macro lens optimized for the imaging sensors of Sony mirrorless cameras. Inheriting the APO-LANTHAR designation, the lens is highly corrected to eliminate optical aberrations including longitudinal chromatic aberration. The lens covers the full frame image area, and achieves a maximum image reproduction of 1:1 life size with no additional attachments. In order to ensure subjects from minimum focus distance to infinity are captured with extremely high image quality, a 3-group floating mechanism is employed to adjust three optical groups according to focus distance. The 110mm focal length on full frame format ensures not only a good working distance from subjects for macro shooting, but also its angle of view for portraiture does not look too cropped in comparison with 135mm and 200mm lenses. Another attractive feature is the ability to create images with a strong out-of-focus ‘bokeh’ effect, made possible by the 110mm focal length and F2.5 maximum aperture. This lens is a manual focus and manual aperture design, but also features electrical contacts that enable the lens settings at image capture to be included in the Exif information of the image data. Furthermore, the lens is installed with a distance encoder to enable support for 5-axis image stabilization on bodies with this feature, by providing distance to subject information used to compensate for camera shake. Focus peaking while manual focusing is also supported.

Main Features

  • Full frame Sony E-mount with electrical contacts
  • Apochromatic optical design that eliminates chromatic aberrations
  • Optical design optimized for digital imaging sensors
  • Maintains high image quality at all shooting distances with a 3-group floating mechanism
  • Extremely solid and durable all-metal barrel
  • Manual focus for precise focusing
  • Maximum reproduction ratio of 1:1 at a minimum focus distance of 35 cm

Articles: Digital Photography Review (dpreview.com)

 
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Nisi shares more details on its full-frame cine lenses and launches Mist filter range

19 May

In a bid to clear up online speculation, surprise entrant to the full-frame cinema lens market Nisi has answered some questions about its relationship with brands marketing lenses very similar to its own recently-announced F3 series.

NiSi F3 Cinema Lenses

The company says that it owns the designs of its own lenses as it ‘took ownership’ of them from the ‘now dead’ Bokkeh Bokkelux project. Nisi also claims that it has made changes to the original optical and mechanical designs of the series to make the lenses more reliable, the assembly more accurate, and to reduce their overall weight. Nisi goes on to explain that it is a partner of cinema equipment company Kinefinity, and that it manufactures the brand’s Mavo Prime range of full-frame lenses.

The release doesn’t say it directly, but this is clearly a move that aims to end claims that Nisi is just copying existing lenses and marketing them under a different name.

Further details of the lenses have also been released, including that the five officially announced will be joined by 18mm and 135mm focal lengths in the second half of 2018. We should also expect a ‘new and innovative design for an optical accessory’ in the near future.

As the lenses will cover 46.5mm sensors, the F3 series will be compatible with ARRI Alexia LF, Red Monstro VV, Panavision DXL2, SONY Venice and Canon C700FF cameras (as well as ‘future’ models). Service centers are being established in Europe, USA and South Asia.

Allure Mist Filters

Nisi has also introduced a new series of filters to its cinema range. The Allure Mist filters will come in white and black versions and are designed to soften contrast in movie footage. The white version pulls back highlights and reduces the appearance of skin blemishes, while the black version diminishes the effect of flare and creates a misty atmosphere.

They will be available in 4×5.65in and 6.6×6.6in sizes and can be pre-ordered now

A comparison of the effects of the Allure Mist filters, with the Black Mist on the left and the White Mist on the right. Click to enlarge the view

And here’s a demo of the filters in ‘action’:

For more information visit the Nisi website.

Press Releases:

Five Fundamental Facts about the NiSI F3 Range of Full-Frame Prime Cine Lenses (and other news)

Since the announcement of the NiSi F3 range of full-frame lenses, NiSi’s headquarters have been inundated with questions and queries. In order to address some of these, we have compiled a list of answers around five key subjects. Read on for more, and to discover news in our announcement of the new NiSi Allure Mist Black/White Filters

1. Where does the name F3 come from?

The ‘F’ in F3 stands for ‘Full-Frame’. The lenses are all designed for full frame cameras and are extremely versatile, coming complete with PL, Canon EF and Sony E-Mounts. Mounts for other systems will need to be purchased separately, although NiSi will provide shims to ensure consistent filmmaking.

The number ‘3’ simply means ‘third generation’ and also refers to the range’s three key design characteristics, i.e. high resolution, low dispersion and retro flare.

2. What exactly is the relationship between the NiSi F3 range and Bokkelux?

Let’s be clear; the F3 prime lenses belong solely to NiSi since the company took ownership from Bokkelux. Since this time, NiSi are pleased to report that numerous improvements have been made and, being based on the original Bokkelux design, NiSi’s optical and mechanical design engineering experts have re-optimised some key elements to deliver the excellent new range.

These include:

  • Improved accuracy with assembly and improved supply chain for the optical elements
  • Improved physical attributes, i.e. the weight and calibre of the lenses have been improved with reliability and user assurance being of primary importance
  • Along with these significant improvements, NiSi has developed a new and innovative design for an optical accessory for F3 range. Once this is completed, we will release information, but you can be assured that it will meet the unique needs for many filmmakers.

3. OK, so what about the relationship between the NiSi F3, Kinefinity and Mavo Prime?

That’s simple, really. Kinefinity is partner of NiSi. Our specialist engineers have modified the industrial design for the Mavo Prime while retaining the same performance and quality. The new F3 range and Mavo Primes are manufactured exclusively by NiSi.

4. Will the NiSi F3 Primes come with both imperial and metric markings?

Absolutely. Markings will be in feet and metres.

5. What are the details for the F3 sales warranty policy and can we expect additions to the focal lengths this year?

NiSi is currently in the process of setting up special service centres, specifically for sales warranties. Bases will be in Europe, North America and in South Asia. We will make further announcements about the details of the certified sales warranty suppliers after the third quarter. You can expect to see 18mm and 135mm primes coming to light in the second half of this year.

F3 Lens Range Highlights – (a recap):

  • Covers Full-Frame Format
  • PL Mount/Canon EF Mount/Sony E-Mount
  • T2.0-T22 Click-less Aperture Range
  • Ultra Low Dispersion
  • High Resolution
  • Retro Cinema Style Housing
  • 12-Blade Iris
  • Same physical attributes across the lens range
  • Geared Focus and Iris Control Rings
  • Pure Performance in Film

Launching in 25mm T2.1, 35mm T2.0, 50mm T2.0, 75mm T2.0 and 100mm CF T2.0 formats, the new range of premium lenses from NiSi debuted during NAB 2018, which took place between the 7th -12th April in Las Vegas.

Compatibility

The new F3 prime lenses cover full-frame format which is compatible with ARRI Alexia LF, Red Monstro VV, Panavision DXL2, SONY Venice and Canon C700FF, along with ‘future-proofing’ for other cameras that we will see arriving in the future. They cover 46.5mm format sensors, allowing filmmakers full creative control, opening up a wide range of cinematic possibilities.

Pure Performance in Film

The new F3 lenses offer filmmakers advanced resolution and perfect dispersion control, image contrast and flare; all optimised by their stylish, retro housing.

The entire F3 series of lenses share the same physical attributes, allowing for the simple and time-efficient fitting of lens accessories, along with the native ‘Sensed presence’ technology, which provides users with the ability to shoot with a beautiful bokeh. The native apochromatic optical design results in excellent ratio/axial dispersion performance, giving a pure and natural colour, with almost no purple/green fringing within focus and in bokeh.

NEW: NiSi Announces Allure Mist Black/White Filters

Allure Mist White – Highlights:

* Reduces highlights and lowers contrast* Softens wrinkles and blemishes

Allure Mist Black – Highlights:

* Reduces overall flare and contrast* Produces mist effect

To coincide with the exciting launch of F3 full-frame prime cine lenses, NiSi has also released Allure Mist White/Black and anamorphic filters; adding to their already burgeoning range of cinema filters.

Available in sizes 4×5.65”, 6.6×6.6”, the new filters will further assist filmmakers to capture their intended artistic expression with every shoot.

Preorders for individual filters available from May 7th 2018

Special kit launch

Along with individual lenses, NiSi has announced that all lenses will be available as a specially designed F3 kit, which will include a complete set of lenses, from 25-100mm, along with a NiSi 4×5.65 Allure Mist white 1/4 filter, a NiSi 4×5.65 Allure Mist Black 1/4 filter and a NiSi 4×5.65 Polarizer, all packaged in a tough NiSi hardshell case.

Articles: Digital Photography Review (dpreview.com)

 
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