Fujifilm’x X-E3 comes with a whole host of refinements and upgrades both inside and out. A new touchscreen drives the user experience, and with an updated sensor and processor comes 4K video capture. Take a peek at what these upgrades look like in action.
Read our Fujifilm X-E3 First Impressions Review
 |
The Fujifilm X-E3 is a 24MP mid-level APS-C mirrorless camera, designed as a smaller, more touchscreen-driven sister model to the SLR-like X-T20.
In terms of their internal hardware and specifications, the two cameras are very similar, but the X-E3 relies more heavily on its touch panel for moment-to-moment operation, as well as retaining a more rangefinder-like form factor.
It’s slightly smaller than the previous X-E models, with the removal of the four-way controller and built-in flash allowing the body to be made a little lighter and more compact. A clip-on flash is included in the box, but it’s a simple affair with no tilt or swivel capability to compensate for the decision to make it a separate component.
The more advanced use of the touchscreen, with directional swipes of the finger replacing the role of the four-way controller, pinch to zoom in playback and the option to use the screen as an AF touchpad when the camera’s to your eye doesn’t come at the expense of physical controls for all the main exposure settings.
The X-E3 also becomes the first Fujifilm model to gain Bluetooth, which establishes a full-time connection between the camera and a smartphone, allowing instant transfer of images as you shoot them. [or faster re-connection of Wi-Fi if you’re just choosing to send selected images]
The company also says it has improved its AF Tracking algorithm so that it can track smaller and faster subjects. Fujifilm say this improved algorithm will also come to the X-T2, X-T20, X100F and X-Pro2 in fimrware updates in November and December 2017.
| Fujifilm X-E3 | Fujifilm X-T20 | Fujifilm X-T2 | Fujifilm X-E2S | |
|---|---|---|---|---|
| Pixel Count | 24MP | 24MP | 24MP | 16MP |
| Auto mode switch | Yes | Yes | No | Yes |
| AF Joystick | Yes | No | Yes | No |
| Touchscreen | Yes | Yes | No | No |
| AF Touchpad | Yes | No | No | No |
| AF points | 91 or 325 | 91 or 325 | 91 or 325 | 49 |
| Rear screen | Fixed | Tilt up/down | 2-axis hinge | Fixed |
| Exposure comp. range | ± 5EV | ± 5EV | ± 5EV | ± 3EV |
| Viewfinder Magnification | 0.62x | 0.62x | 0.77x | 0.62x |
| Max frame rate (mech/e-shutter) |
8/14 fps | 8/14 fps | 8/14 fps (11/14 with grip) | 7 fps |
| Built-in flash | No | Yes | No | Yes |
| Video | Full width 4K (by Pixel Binning) |
Full width 4K (by Pixel Binning) |
1.17x crop 4K (by oversampling) |
1080p |
| Log Video | No | No | Yes (over HDMI) | No |
| Weather sealing | No | No | Yes | No |
| Card slots | 1 (UHS-I) | 1 (UHS-I) | 2 (UHS-II) | 1 (UHS-I) |
| Connectivity | Wi-Fi with Bluetooth | Wi-Fi | Wi-Fi | Wi-Fi |
Fujifilm will offer the X-E3 in two kits, one with the excellent 18-55mm F2.8-4.0 OIS, the other with the 35mm-equivalent 23mm F2 lens. We’re particularly interested to see this second kit, as it’s a combination we particularly like. It’s also a useful option for anyone who already has an earlier generation X series camera and already owns the 18-55mm.
The camera will be available, body only, for around $ 899, with the 18-55mm kit costing $ 1299 and the 23mm kit weighing in around $ 1149, both of which represent a considerable cost saving over the cost of buying the lenses separately.
$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_2299524587″,”galleryId”:”2299524587″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });
Sony has just unveiled a new, groundbreaking (at least for them) cinema camera. It’s called the Sony Venice, and it’s the company’s first 36x24mm full-frame digital motion picture camera system.
Designed in “close collaboration with the creative community,” the Venice is the newest generation of Sony’s CineAlta series, which promises natural skin tones, “elegant” highlight handling and wide dynamic range. In the case of the Venice, the camera’s 36x24mm sensor promises 15 stops of latitude to tackle challenging lighting scenarios, and a brand new color management system with ultra wide color gamut for more flexibility in post.
The headline feature is the sensor itself, though. The full-frame chip can be switched out by the camera’s user by simply removing four screws, and at 36x24mm it’s compatible with Anamorphic, Super 35mm, Spherical and Full Frame PL mount lenses. If you’re really feeling frisky, the lens mount can be modified to support E-mount lenses.
Additional features include a built-in 8-stage glass ND filter system, weather sealing, 10-bit XAVC, 16-bit RAW and S-OCN recording via the Sony AXS-R7 recorder, and a modular design that allows you to use the Venice with current and upcoming CineAlta accessories.
The camera is expected to arrive officially in February of 2018, and while Sony didn’t reveal a price, it seems filmmakers will have the option to ‘license’ different builds for specific production requirements like 4K anamorphic and Full Frame. To learn more, head over to the Sony Venice landing page, or read the full press text below.
Press Release
Anamorphic Capabilities, Interchangeable Sensor, 8-stage ND Filter System, New Color Management & Established Workflow Combine into Unique Creative Filmmaking Tool
LOS ANGELES, Sept. 6, 2017 — Sony Electronics is unveiling VENICE – its first Full-Frame digital motion picture camera system. VENICE is the next generation of Sony’s CineAlta camera systems, designed to expand the filmmaker’s creative freedom through immersive, large-format, Full Frame capture of filmic imagery producing natural skin tones, elegant highlight handling and wide dynamic range. VENICE was designed through close collaboration with the creative community, fulfilling the requirements from filmmakers and production professionals.
VENICE will be officially unveiled on Sept. 6, in front of a select audience of American Society of Cinematographers (ASC) members and a range of other industry professionals. Sony will also screen a short film, “The Dig”, the first footage shot with VENICE, produced in Anamorphic, written and directed by Joseph Kosinski and shot by Academy Award winning Cinematographer Claudio Miranda, ASC.
“We really went back to the drawing board for this one,” said Peter Crithary, marketing manager, Sony Electronics. “It is our next-generation camera system, a ground-up development initiative encompassing a completely new image sensor. We carefully considered key aspects such as form factor, ergonomics, build quality, ease of use, a refined picture and painterly look—with a simple, established workflow. We worked in close collaboration with film industry professionals. We also considered the longer-term strategy by designing a user interchangeable sensor that is as quick and simple to swap as removing four screws, and can accommodate different shooting scenarios as the need arises.”
Full frame sensor and wide range of lens compatibility
VENICE combines a newly developed 36x24mm Full Frame sensor to meet the high-quality demands of feature filmmaking. Full Frame offers the advantages of compatibility with a wide range of lenses, including Anamorphic, Super 35mm, Spherical and Full Frame PL mount lenses for a greater range of expressive freedom with shallow depth of field. The lens mount can also be changed to support E-mount lenses for shooting situations that require smaller, lighter, and wider lenses. User-selectable areas of the image sensor allow shooting in Super 35 mm 4 – perf. Future firmware upgrades are planned to allow the camera to handle 36mm wide 6K resolution. Fast image scan technology minimizes “Jello” effects.
New color management system and established workflow for flexible post-production
A new color management system with an ultra wide color gamut gives users more control and greater flexibility to work with images during grading and post-production. VENICE also has more than 15 stops of latitude to handle challenging lighting situations from low-light to harsh sunlight with a gentle roll-off handling of highlights.
VENICE achieves high quality and efficient file-based production through Sony’s established 16-bit RAW/X-OCN via the AXS-R7 recorder, and 10 bit XAVC workflows. VENICE is also compatible with current and upcoming hardware accessories for CineAlta cameras (DVF-EL200 Full HD OLED Viewfinder, AXS-R7 recorder, AXS-CR1 and high-speed Thunderbolt-enabled AXS-AR1 card reader, using established AXS and SxS memory card formats.
Intuitive design & refined functionality support simple and efficient on-location operation
VENICE has a fully modular and intuitive design with refined functionality to support simple and efficient on-location operation. It is the film industry’s first camera with a built-in 8-stage glass ND filter system, making the shooting process efficient and streamlining camera setup. The camera is designed for easy operation with an intuitive control panel placed on the Assistant and Operator sides of the camera. A 24 V power supply input/output and LEMO connector allow use of many standard camera accessories, designed for use in harsh environments.
License options for individual production requirements
With VENICE, Sony is giving users the option to customize their camera by enabling the features needed, matched to their individual production requirements. Optional licenses will be available in permanent, monthly and weekly durations to expand the camera’s capabilities with new features including 4K anamorphic and Full Frame, each sold separately.
The VENICE CineAlta digital motion picture camera system is scheduled to be available in February 2018. For more information, please visit: www.sony.com/venice.
 |
Photonicz, a California-based company founded by photographer Alex Munoz, is seeking funding for the new Photonicz One: the first ever compact LED strobe light that is weather-sealed. Due to this weather-sealed design, the Photonicz One can be used outdoors in snow and rain without risking damage… not bad.
oining that durable construction is a light weight of just 1.5kg / 3.3lbs, and compact size measuring in at just 4.9 x 4.7 x 3.5in (or 124 x 119 x 89mm for you metric types).
The Photonicz One strobe light offers a maximum power output equivalent of 2500 watts, is capable of speeds as fast as 1/50,000 of a second, and can fire at full power at speeds up to 30fps from battery power. The built-in battery is capable of powering ‘thousands’ of full-power flashes per charge, according to the company.
Users have two options for controlling the Photonicz One: a built-in touchscreen display, or the remote control with OLED display. The remote control can be paired with an iPhone or Android mobile device for use with an app that lends even more control options. Finally, the Photonicz One can also be wirelessly synced with other lighting devices, or can be triggered individually from distances of up to 0.6 miles / 1km.
Here’s a quick intro to the new strobe:
The Photonicz One’s design is still a work-in-progress; the Kickstarter campaign, which is offering backers the chance to get the device at $ 750 USD, offers images of the device prototype. The final design may have a different look.
Assuming Photonicz is able to successfully fund the strobe, the Photonicz One will begin shipping to backers in March of 2018.
[ By WebUrbanist in Conceptual & Futuristic & Technology. ]
A new hologram table has its sights set on the ultimate prize: an interactive and immersive experience that can shared from multiple angles by different users, all without clunky headgear.
Developed by Euclideon Holographics and retailing for just shy of $ 50,000, the table lets up to four people interface simultaneously with augmented reality images. Motion-tracking glasses are the key to the holographic effect — “frequency separation crystal films in the lens and on the table surface filter jumbled light into a stereo image, similarly to how your standard 3D glasses work.”
Behind the scenes, though, the computerized table has to calculate where each set of glasses is located and, accordingly, where to emit light. Right now, the company has a single working prototype but is raising funds to mass-market the devices by early 2018. Architects and planners, for instance, are sure to be interested in new ways to show clients their designs in new three-dimensional ways. Larger models are also in the planning stages, as well as versions designed for gaming and other applications — the company aims to gain traction in arcades around the world.
Among other things, this breakthrough hints at a future much like the ones we’ve seen for decades in science fiction — the more work that can be packed in on the computing side, the less inconvenient the attire and equipment needed by those interacting with the holograms.
[ By WebUrbanist in Conceptual & Futuristic & Technology. ]
[ WebUrbanist | Archives | Galleries | Privacy | TOS ]
 |
The Nikon D850 is Nikon’s latest high resolution full-frame DSLR, boasting a 46MP backside-illuminated CMOS sensor. But, in a fairly radical departure for the series, it is also one of the company’s fastest-shooting DSLRs. This combination of properties should significantly widen the camera’s appeal to high-end enthusiasts as well as a broad range of professional photographers.
The use of a backside illuminated (BSI) sensor means that the light collecting elements of the sensor are closer to the surface of the chip. This should not only increase the efficiency of the sensor (improving low light performance) but should also be expected to make the pixels near the edges of the sensor better able to accept light approaching with high angles of incidence, improving peripheral image quality.
Like the D810 before it, the D850 continues to offer an ISO 64 mode, that allows it to tolerate more light in bright conditions. We will be testing whether this gives the D850 the same dynamic range advantage as the D810, as soon as a production version arrives but our initial quick looks suggests it does, meaning it should be able to compete with the medium format sensors used in the likes of the Fujifilm GFX 50S and Pentax 645Z.
 |
| A BSI sensor with ISO 64 setting should be able to match the D810’s low ISO DR while also offering improved performance in at high ISOs. |
And, while the D850 still hasn’t got an electronic first curtain option to ensure stable shooting when using the viewfinder (you need to use live view or Mirror-up mode). However, presumably thanks to a redesigned shutter and mirror mechanism, our quick check with a pre-production model suggests shutter shock may not be an issue, even without it.
The D850 has no anti-aliasing filter, which should allow for slightly finer detail capture but with added risk of moiré, if any of your lenses are sharp enough to out-resolve a 45.7MP full-frame sensor. There’s still no sign of the clever design Nikon patented so, unlike the Pentax K-1 or Sony RX1R II, you can’t engage an anti-aliasing effect if you do find false color appearing in densely patterned areas.
In addition to the increased speed, the D850 also gains the full AF capabilities of the company’s flagship sports camera: the D5. This includes all the hardware: AF module, metering sensor and dedicated AF processor, as well as the full range of AF modes and configuration options, which should translate to comparable focus performance combined with high resolution.
Given the D5 possessed one of the best AF systems we’ve ever seen and could continue to offer that performance in a wide range of conditions and shooting scenarios with minimal need for configuration, this is an exciting prospect.
As part of this system, the D850 gains the automated system for setting an AF Fine Tune value. It only calibrates the lens based on the central AF point and for a single distance, but it’s a simple way to ensure you’re getting closer to your lenses’ full capabilities, which is handy given you’ll now be able to scrutinize their performance with 46MP of detail.
 |
 |
| Add the optional MB-D18 battery grip and an EN-EL18b battery, and the D850 will shoot at 9 frames per second. | |
Impressively, the D850 can shoot at nine frames per second if you add the optional MB-D18 battery grip and buy an EN-EL18b battery, as used in the D5. As well as increasing the camera’s burst rate, this combination also ups the battery life to a staggering 5140 shots per charge. You don’t get this same boost in speed or endurance if you use a second EN-EL15a in the grip, though.
An MB-D18 plus an EN-EL18b is likely to set you back over $ 580 over and above the cost of the camera body ($ 399 for the grip, around $ 149 for the battery, $ 30 for the BL-6 battery chamber cover plus the cost of a charger).
The D850 also includes a sufficiently deep buffer to allow fifty-one 14-bit losslessly compressed Raw files, meaning the majority of photographers are unlikely to hit its limits.
In terms of video the D850 becomes the first Nikon DSLR to capture 4K video from the full width of its sensor. The camera can shoot at 30, 25 or 24p, at a bitrate of around 144 Mbps. It can simultaneously output uncompressed 4:2:2 8-bit UHD to an external recorder while recording to the card. Our initial impression is that the video is pixel-binned, rather than being resolved then downsampled (oversampling), but we’ll be checking on this as part of the review process. This risks lowering the level of detail capture and increases the risk of moiré, though it’s a better solution than line-skipping. There also seemed to be a fair amount of rolling shutter, but again these are only first impressions from a camera running non-final firmware.
At 1080 resolution, the camera can shoot at up to 60p, with a slow-mo mode that can capture at 120 frames per second before outputting at either 25 or 24p. The 1080 mode also offers focus peaking and digital stabilization, neither of which are available for 4K shooting.
 |
| The D850’s tilting rear screen will make video shooting easier, though we doubt many will use its contrast-detection tap-to-focus system when they do. |
The D850 doesn’t have any Log gamma options for high-end videographers, but it does have the ‘Flat’ Picture Profile to squeeze a little extra dynamic range into its footage, without adding too much to the complexity of grading. It also offers full Auto ISO with exposure compensation when shooting in manual exposure mode, meaning you can set your aperture value and shutter speed, and let the camera try to maintain that brightness by varying the sensitivity.
As you’d expect from a camera at this level, the D850 also includes the Power Aperture feature that allows the camera to open and close the lens iris smoothly when in live view mode. There’s also an ‘Attenuator’ mode for the camera’s audio capture, that rolls-off any loud noises to avoid unpleasant clipping sounds.
$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_0724895971″,”galleryId”:”0724895971″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });
Nikon Japan has released the first set of official sample images captured with the new Nikon D850. Unfortunately there aren’t RAWs, but they are full-resolution JPEGs shot in 14-bit RAW and converted to JPEG using Capture NX-D.
Given the D850’s beast of a 45.7MP sensor, even in JPEG the files are anything but small, ranging in size from 18MB all the way to 25.4MB. We can’t wait to get our hands on a production model and shoot our own sample gallery, but in the meantime these photos should give you a good idea of what the new full-frame camera can do in the real world.
And if you want to find out more about how the D850 camera handles, check out our hands on:
Hands On with the Nikon D850
The Nikon D850 looks to be an excellent upgrade over its predecessor, the D810. The resolution has jumped from 36.3MP to 45.7MP, the burst rate has jumped from 5 to 7 fps (9 fps with the right accessories), and the entire AF system has been yanked directly from the flagship D5. Not to mention the D850’s full sensor width 4K video, a first for a Nikon DSLR.
That’s just a little bit of what the D850 has up its sleeve. Watch the video to find out more.
A few weeks ago I upgraded my paddling camera to waterproof and rugged Olympus Stylus TG-5 . It’s the follow-up to the Olympus STYLUS Tough TG-4 and features a new sensor and processor (but reduced resolution), advanced tracking capabilities, 4K […]
paddling with a camera
 |
On April 16, 2016, disaster struck in Kumamoto in the Kyushu region of Japan. A series of earthquakes, including an unprecedented 7.0 mainshock struck beneath Kumamoto City where Sony’s sensor factory resides. The factory itself was a mere 20 kilometers from the earthquake’s epicenter. A foreshock (warning) of magnitude 6.2 came approximately two days earlier, which gave the factory time to evacuate; however, the damage to the carefully built, precision controlled and automated factory with clean rooms was devastating. Not to mention the impact on the lives of those in the region…
During a recent trip to the repaired Kumamoto factory, DPReview was afforded an inside look at the facility and a chance to meet the very people that keep one of the world’s largest sources of imaging sensors operational. We watched a video that showed the extent of the damages and repair efforts. Combined with a better of understanding of how the facility operates, we were able to appreciate just how extensive the destruction and repair processes were. We’ll get to that in the following slides, but have a look above at the public’s first look of footage from the facility during the earthquake, and the massive repair efforts that followed.
 |
Before we dive more into the impact on Sony’s sensor factory itself, we’d be remiss to not mention the impact on the region. The foreshock and mainshock together claimed more than 50 lives, injured 3,000 others, forced more than 44,000 people to evacuate from their homes and left over 180,000 people seeking shelter in the days after the earthquake. The entire city of Kumamoto was left without water, flights were grounded, as was rail service due to a derailed train. A thousand buildings had been seriously damaged either directly by the earthquake or due to the resulting fires and landslides, and an entire hospital had to be evacuated due to the building being knocked off its foundation.
More than 140 aftershocks were registered within just two days. The estimated economic costs due to the earthquake are estimated to be up to $ 7.5 billion USD. Although you can’t quite appreciate it in this image, the sensor factory is surrounded by mountainous hills resulting from a tectonic line housing many active faults. Earthquakes of some magnitude or another are common to the area. In the following days we’ll have more pictures of the area, as we traveled extensively within the Kyushu region.
Source of statistics: Wikipedia
 |
Many sections of the 40,000 square meter facility were severely damaged. There were continued aftershocks for many days that made it difficult to even re-enter and start repairs. In fact, the region is used to After it was deemed safe to enter, the damage was assessed. It was extensive. Heavy duty H-beams for structural support buckled, causing walls and ceilings to collapse. Here is an image showing the ceiling of the clean room ripped open, exposing the sky above. ‘Now we were speechless’ said the camera crew filming the damage.
And those ceilings aren’t your typical roofs over your head: they house tracks that carry many of the parts from machine to machine in the automated processes of taking a silicon wafer and generating active sensors from them. Essentially, many parts of the sensor development process were disrupted.
 |
The extensive damage to the clean room meant that many of the machines automatically processing silicon wafers to generate sensors* were destroyed, including the many wafers each machine contained. Throughout the video you’ll see shattered silicon – at various stages of the silicon-to-sensor process – scattered everywhere. Ultimately many functional machines were salvaged, removed, and brought back after the clean room was reconstructed, but many were deemed too damaged to ever function again.
* Stay tuned for an in-depth look at the actual sensor manufacturing process, which we learned about during a recent trip to the factory.
 |
The sensor factory in Kumamoto produces most sensors Sony manufactures not just for their own cameras, but for other manufacturers as well, including those in the smartphone, security camera, webcam, automotive, medical and other imaging-related industries. The disruption of this facility had no small impact: consider that by July 2017, Sony has sold 7.2 billion sensors worldwide.
Therefore, it was imperative to restore operations to normal as soon as possible. And that’s why Sony factory members themselves, including executive ones, went to work right away restoring the factory. There are nearly 2700 employees at this factor, and it was all hands on deck.
 |
Imagine an earthquake at your corporate office that ruined much of your workspace. Would you expect to return to clean up and help repair the damage yourself? That’s what the Kumamoto employees did. The spirit is really remarkable when you stop to consider that most of us here in the States would expect our companies to simply ‘deal with it’. Here is a factory employee vacuuming up thousands of fragments of broken silicon wafers.
 |
The factories worked with such diligence and dedication that they restored operations ahead of schedule. They did this whilst putting in place precautions that would lower the lead time from 3.5 months to 2 months were this sort of disaster to happen in the future. These measures included stronger piping as well as the engineering of self-stop systems that halt precision processes when shake is detected. These systems respond in particular to P-waves, the first of two major elastic seismic waves to arrive at a seismograph during an earthquake.
 |
And so the story ends on a happy note. Here is an image of the team of employees that worked countless hours to restore the Kumamoto facility to normal operations. We can only imagine the dedication involved, and how heartening it was to work together to bring back to life such an important part of the company. It’s a story of not just company dedication and culture, but a human one of working together to achieve an honorable goal.
We were obviously touched watching the video and seeing the spirit of the employees. Were you? Let us know in the comments below.