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Video: BTS look at how Nissan turned its 2020 GT-R NISMO into the ultimate camera car

10 Feb

How do you film a high-speed performance car capable of reaching speeds up to 300kph (186mph)? You simply take another one and modify it to be used as a high-speed camera car itself.

In a press release, Nissan has shared how it captured promotional footage for its 2020 Nissan GT-R NISMO using another GT-R that had been modified to be a purpose-built camera car. To get the job done, Nissan enlisted the help of Mauro Calo, ‘a professional precision driver and automotive video expert known for his work on big-budget blockbuster movies and automotive TV shows.’

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After plenty of planning and prototyping, Nissan and Calo got to work ‘bespoke tubular structure that was welded to the chassis and able to hold the weight of the professional carbon-fiber gimbal camera mounting system.’ In addition to the camera rig, the car was covered with a matte black wrap and gained a new name of sorts—Godzilla Tracking Rig (GT-R).

‘Thanks to its low center of gravity, adjustable sports suspension and four-seater configuration, the GT-R is the perfect base car to accommodate a camera rig of this type,’ says Nissan in its press release.

Using a four-person team (with not much room to spare inside the coupe), Calo drove while a gimbal operator, focus puller and director captured the required footage for the promotional material. The above behind-the-scenes video is promotional in its own regards, but it still shows the incredible camera rig Calo and the Nissan team were able to develop.

Articles: Digital Photography Review (dpreview.com)

 
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How to Migrate Your Lightroom Catalog into Capture One Pro

26 Jan

The post How to Migrate Your Lightroom Catalog into Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.

Migrate-Your-Lightroom-Catalog-into-Capture-One

When it comes to high-end studio work, Capture One Pro is the choice of professionals. If you’re doing advertising or product photography, COP gives you certain tools and functionality that don’t exist in Lightroom.

The tethering feature in COP is far superior and allows you to work tethered with Live View and use layout overlays. This is a crucial feature to have when working on things like product packaging shoots or magazine cover portraits. You’ll be provided layout overlays to use as a guide in how to frame your shots to get the subject to fit with the artwork.

There is no right and wrong when it comes to your favorite RAW processor. It comes down to preference.

However, if you take the time to play around with a trial version of Capture One Pro, you may decide the sophisticated tools and incomparable color rendering will make you want to make the switch from Lightroom.

Great! But what about the thousands of images in your Lightroom database?

The idea of migrating your Lightroom catalog to Capture One Pro may seem intimidating, but it’s actually very simple and involves only a few quick steps.

Migrate-Your-Lightroom-Catalog-into-Capture-One

Migrating a catalog from Lightroom to Capture One Pro

The most important thing to know before you get started is that migrating your Lightroom catalog to Capture One Pro will not have any impact on your Lightroom catalog. You can continue to use it as you ordinarily would, and it will stay in the same place.

Before you can migrate your catalog, make sure you know its location.

If you’re not sure where your current Lightroom catalog lives, simply go to your Lightroom menu, and click on “Catalog Settings.”

This will bring you a dialog box with the tabs “General,” “File Handling,” and “Metadata.”

Choose “General.”

Under location, it will tell you the name of the catalog and where you can find it. Click on “Show” to navigate to the catalog location.

Migrate-Your-Lightroom-Catalog-into-Capture-One

For example, mine is located on an external disk. I have all my photos and documents on two external 4TB hard drives to avoid clogging up my computer’s hard drive.

The other thing you should be aware of that every single property from your Lightroom catalog may not carry over. This mostly refers to color adjustments. Things like exposure, white balance, rotation, and orientation are usually switched over seamlessly when migrate your Lightroom Catalog into Capture One.

When you start the import process, COP will also notify you of any incompatible files in a dialog box.

Catalog vs Sessions

COP has two file management systems: Catalogs and Sessions.

As with Lightroom, a Catalog in COP is a database containing information about your images, such as metadata and ratings. Catalogs are most suitable for organizing large volumes of images.

A Session functions more like a Lightroom Collection. It provides a more simple, folder-based workflow and the ability to browse any folder on your computer without having to import images. Adjustments are placed in a subfolder next to the images.

Sessions are great for on-set workflow and tethered shooting, and are generally seen as the more efficient option. Sessions allow you to store all the files from a single project together.

Once you have migrated your Lightroom Catalog into COP, you can build and structure your photos into sessions if you choose.

Use the following steps to migrate your Lightroom Catalog into Capture One.

Steps to migrate your Lightroom Catalog into Capture One Pro.

Step 1

Start by creating a new catalog in Capture One Pro

Open COP and go to File -> New Catalog.

How to Migrate Your Lightroom Catalog into Capture One Pro

Step 2

After you have created the new Catalog in COP, you need to import the LRCAT Lightroom file.

Go to  File -> Import Catalog -> Lightroom Catalog.

Migrate-Your-Lightroom-Catalog-into-Capture-One

This is when a dialog box will notify you about any offline or incompatible files so that you’re aware.

How to Migrate Your Lightroom Catalog into Capture One Pro

Hit  “Continue.”

Step 3

This is where you get asked to name the catalog as you want it to appear in COP.

Give your catalog a name and hit “Enter.”

Under “Location,” navigate to the Lightroom catalog you wish to import. Click on the folder and then hit “OK.”

How to Migrate Your Lightroom Catalog into Capture One Pro

COP will start the import process.

It will tell you how many files it’s reading and how long the import will take.

If you have thousands of images, note that migrating your Lightroom catalog to Capture One Pro can take some time.

How to Migrate Your Lightroom Catalog into Capture One Pro

Conclusion

As you can see, migrating your Lightroom catalog to Capture One Pro is a simple and fairly seamless process. If you have more than one Lightroom catalog, follow these steps to import each catalog.

Once you have your catalogs in COP, you can further organize them into Sessions.

Do you have any other tips to migrate your Lightroom catalog into Capture One, or had experience doing with this process? Share your thoughts in the comments below.

The post How to Migrate Your Lightroom Catalog into Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.


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GANPaint Studio uses neural network to ‘paint’ new elements into images

24 Jan

A team of researchers with IBM Research, MIT CSAIL and MIT-IBM Watson AI Lab has launched a new online tool called GANPaint Studio that utilizes a GAN neural network and semantic brushes to ‘draw’ entirely new elements into existing images. In the case of this particular tool, the elements include grass, clouds, brick, doors, trees, sky and domes.

Unedited before image.

As demonstrated in the images above and below, GANPaint Studio is more of a fun demonstration rather than a serious tool for modifying images. The input images are stripped down to a very low resolution when uploaded; the resulting images are clearly edited, though the neural network is capable of some surprisingly realistic edits.

After adding grass, trees and clouds.

In addition to drawing elements into the images, the tool also features an eraser icon that, when clicked, enables the user to erase elements from the input image. This isn’t the first time we’ve seen a demonstration of a neural network capable of producing realistic elements in an image using a basic ‘drawing’ tool.

In March 2019, for example, NVIDIA Research demonstrated a similar tool it calls GauGAN to generate a photorealistic image from a series of crudely painted marks, each mark made to represent types of elements like water, trees and sky. NVIDIA has published a sizeable body of research on AI and its potential for generating photorealistic images.

As for GANPaint Studio, anyone can access the photo editor here; it comes populated with a selection of preloaded images, but users also have the option of uploading their own image. While using the tool, we found that the images need to be at a fairly low resolution, such as 800 x 500, for the editor to successfully upload the input image.

The MIT and IBM researchers have made their research on the project publicly available [Note: This is a 48MB PDF].

Articles: Digital Photography Review (dpreview.com)

 
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BTS: A look at the incredible planning, camera work and editing that went into the WWI film ‘1917’

22 Jan

Movies Insider has released a ten-minute behind-the-scenes look at the Golden Globe-winning film ‘1917,’ showing the incredible amount of thought, planning, camera work and editing that went into the World War I film that’s made to look as though it was captured in one, continuous shot.

The behind-the-scenes video shows how meticulously Cinematographer Roger Deakins (The Shawshank Redemption, Fargo, A Beautiful Mind, Skyfall and Sicario) and director Sam Mendes (American Beauty, Skyfall, Spectre) worked together to plan each and every shot, down to the second. From creating miniature dioramas to plan out the paths of the actors, cameras and lights to the vast array of gimbal and camera setups used, the video covers it all with great snippets of pre-production footage and interviews with the film’s creators.

Do yourself a favor and set some time aside to see the cinema magic that went into this Oscar-contender film.

Articles: Digital Photography Review (dpreview.com)

 
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Lucid’s new LucidPix AI app turns ordinary images into 3D photos

10 Jan

AI vision startup Lucid has introduced an upcoming app called LucidPix that transforms ordinary images into 3D photos. The app is currently in development but has been made available to some users as part of a private beta. LucidPix is made possible using a contextual artificial intelligence that replaces the need for depth of field sensors or multiple cameras.

Generally speaking, special high-end camera hardware including select expensive flagship smartphones are required to capture 3D images. Unlike old school red-cyan stereoscopic 3D images, this newer type of 3D image doesn’t require special glasses to view. Instead, the effect is generated in the image based on depth-of-field data. Users can perceive the depth of different elements in the images by tilting their phones while viewing them, giving the images a 3D effect.

The LucidPix app will make it possible for anyone to create 3D photos, including ones generated from existing 2D images, using any iPhone or Android smartphone model. The transformation happens entirely through software. The LucidPix app includes 3D effect frames and will be offered in both standard and for-pay Premium versions.

3D photos generated with LucidPix can be shared within the photo app, as well as on social media platforms that support 3D images, including Facebook. According to Lucid, more than 250,000 people are using the LucidPix beta app through the Google Play Store’s early access program. Lucid recently demonstrated the app at CES 2020; the product will officially launch in the second quarter of the year.

Additional examples of 3D photos generated with LucidPix can be found on the app’s official Facebook Page.

Articles: Digital Photography Review (dpreview.com)

 
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The Animaionic docking station transforms Mac Mini into a workstation for professionals

28 Dec

A new Kickstarter campaign is seeking funds for Animaionic, a Mac Mini docking station that supports external GPUs and SSDs. The team behind the campaign says that Animaionic was created specifically for the creative community, offering it the graphics capabilities and storage it needs at a price ultimately lower than that of the Mac Pro.

Apple’s Mac Mini, a small square-shaped desktop computer, starts at an affordable $ 799, but doesn’t offer the level of performance needed by professional filmmakers and photographers. The Mac Pro desktop is a more powerful alternative, but with a starting price of $ 5,999, the model is too expensive for some creators.

The Animaionic docking station aims to solve this problem by transforming the Mac Mini into a proper workstation. The model supports two PCIe graphics cards and up to four SSDs, according to the Kickstarter campaign, for up to 8TB of additional data storage capacity. The docking station also features an SD card reader, two USB 3.1 ports, Thunderbolt 3, HDMI, Ethernet and an audio mini jack.

When used with a pair of AMD Radeon Vega 56 graphic cards, the Animaionic team claims the Mac Mini with docking station offers considerably higher performance in a number of popular applications, including 4.5x greater performance in Final Cut Pro X, 10x in Apple Motion and 25x in Luxmark.

The Kickstarter campaign is offering Animaionic to backers who pledge at least £699; shipping is estimated to start in May 2020.


Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
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A Simple Technique to Put the Pizzazz Back Into Your Photos

14 Dec

The post A Simple Technique to Put the Pizzazz Back Into Your Photos appeared first on Digital Photography School. It was authored by Darren Rowse.

Kent DuFault’s Complete Guide to Long Exposure Photography

Day 3 of dPS Holiday Deals comes courtesy of our good friends at Photzy, who can always be counted on for fantastic quality photography training.  Today you can pick up Kent DuFault’s Complete Guide to Long Exposure Photography from Photzy + 2 bonuses worth $ 60 for just $ 17 USD.

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The post A Simple Technique to Put the Pizzazz Back Into Your Photos appeared first on Digital Photography School. It was authored by Darren Rowse.


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Diveroid housing turns your smartphone into a dive computer and underwater camera

22 Nov

A Kickstarter campaign has already gathered over ten times is funding goal for a campaign that aims to produce a smartphone dive camera system that uses your smartphone to take pictures as well as display live data about the dive itself.

Diveroid is an underwater housing kit that comes with a mini dive computer and a app that turn the users smartphone into an underwater camera while using the phones screen to display dive information and maintain a log of the dive. The housing accepts multiple models of smartphone and uses a set of three physical buttons to control the phone. The app connects to the mini dive monitor and the smartphone and displays depth, time and temperature information as well as guiding the diver around precautions such as avoid decompression.

The app takes over the phone’s camera function and offers ultra-wide-angle, wide-angle, zoom and selfie shooting modes, as well as options to record video. A red-filter effect can also be applied in the app to offer real-time preview and recording that compensates for the loss of red at certain depths.

The housing is said to be good for depths of 60m and keeps a track of your dive so it can tell you at what depths each picture was taken. Images can be overlaid with data graphs and the whole dive can be shared as a logbook through the app. When you need to summon a boat the app can send a text message with your exact location.

The campaign page shows the Diveroid kit with accessories attached for lighting the subject

The Diveroid kit is available for $ 249 via the Kickstarter campaign but will retail from $ 418 once it is in full production. The first units are expected to ship in February 2020. For more information see the Diveroid Kickstarter campaign page.


Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
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A closer look into the latest financial reports from Canon, Nikon and Sony

15 Nov

It’s no surprise the camera market is in a decline, earmarked by continuously-decreasing unit sales, revenue and operating income. It seems as though no company is safe from the impact of both smartphones and the general decline in demand for DSLRs, but while the numbers are indeed in a freefall, the reality is the actual macro-level outlook is far more nuanced than catchy headlines alone can tell.

To take a more overhead view of the camera industry, we’re dug into the industry-wide numbers from CIPA and broken down the most recent results from Canon, Nikon and Sony to compare them year-over-year (Y/Y) to see how things are shaping up.

CIPA

CIPA provides an overarching view of how the camera industry is doing through the participation of nearly a dozen camera companies that report their production and unit shipments to CIPA on a monthly basis. Since we’re only looking at the last two quarters from Canon, Nikon and Sony, we’re only going to dive into the numbers for the corresponding months of CIPA’s data.

CIPA’s September graph showing interchangeable lens camera unit sales over the past three years.

From April 2019 to September 2019 (the latest statistical data CIPA has made available), CIPA reports 8M total digital camera shipments: 4.4 million interchangeable lens cameras and 3.6 million cameras with built-in or fixed lenses. This is an overall decrease of 22-percent Y/Y with a 23-percent decrease for interchangeable lens cameras and a 20-percent decrease in cameras with built-in or fixed lenses.

CIPA’s September graph showing interchangeable lens unit sales over the past three years.

These decreases are concerning, but still less dramatic than the Y/Y change from 2017 to 2018. This change could be due to a few factors, but the most obvious one is that both Canon and Nikon introduced their full-frame mirrorless systems in late 2018, which likely helped to slow down the declining market as consumers hopped onboard the newer systems. However, it’s clear from the following numbers that neither Canon nor Nikon saw their full-frame mirrorless options replace the declining sales of DSLRs as both companies might ultimately be hoping.

Canon

For its FY2019 Q2 and Q3 numbers, Canon reported 2.06 million unit sales for interchangeable lens cameras and 1.36 million compact camera sales during its FY2019 second and third quarters, a decrease of 16-percent and 13-percent respectively Y/Y for the same time period.

A breakdown from Canon’s Q3 financial presentation that highlights the units sold in Q3 as well as the net sales and operating income of its Imaging Systems division.

This 16-percent decrease is less than the industry-wide 22% decrease as noted in CIPA’s data, but these two quarters last year were before Canon’s EOS R (and EOS RP) was announced and it’s possible that DSLR sales were depressed in expectation of the new cameras being around the corner. So, while the numbers are better than the market in general, with all of the development and marketing that went into making its new RF-series gear, it’s merely softened the blow rather than boost unit sales.

In regards to finances, Canon has reported ¥394B ($ 3.6M) in revenue and ¥23B in operating profit over the past two quarters, a decrease of 19-percent and 59-percent, respectively. It’s worth noting the drop also includes the loss of revenue and profit from the broadcasting and cinema gear that was included in last year’s numbers and has since been moved elsewhere within Canon’s business structure.

A breakdown of the net sales and operating income of Canon’s respective business divisions for its third quarter.

Throughout its presentation for investors, Canon specifically references the ‘deterioration of [the] macro-environment,’ which is more or less investor spin for the camera market is in decline—a fact backed up by CIPA numbers, as well as numbers from other camera manufacturers during the same time period. Canon also echos the sentiment that you’ll see in Nikon and Sony’s report below, saying there is ‘intensifying price competition.’ Interestingly though, Canon isn’t downgrading its forecast for the remainder of the year—something Nikon has done for two straight quarters now as you’ll see below.

Canon also notes that it’s working to lower inventory before the end of FY2019. Based on numbers provided, Canon has ¥157B worth of inventory as of the end of FY2019 Q3; less than it had this time last year (¥174B), but still higher than previous FY2019 quarters.

A breakdown from Canon’s Q3 financial presentation that discloses current inventory levels compared to previous quarters and last year.

Something always worth keeping in mind is that Canon’s Imaging Systems business accounts for a relatively small percentage of its overall income. Based on the numbers from FY2018, Canon’s Imaging Systems division represents 25-percent of its overall revenue and 37-percent of its operating profit.

Also, Canon’s FY2019 numbers are skewed when looked at Y/Y, as it moved its broadcasting equipment and cinema-use video cameras from its Imaging System division to its Industry & Others division.

Nikon

Moving onto Nikon, the numbers don’t get any prettier. In its most recent financial statements covering the past two quarters, Nikon says it sold 800K interchangeable lens cameras, 1.3M interchangeable lenses and 500K compact cameras. These numbers are down 25-percent, 21-percent and 41-percent Y/Y, respectively.

Revenue, Operating income and unit sales broken down in Nikon’s Q2 financial presentation.

In its financial presentation for investors, Nikon has updated its forecast for how many units it expects to ship this coming fiscal year, as well as the number of units it expects the digital camera market as a whole to bear. Nikon believes it will sell 1.5M interchangeable lens cameras, 2.5 million interchangeable lenses and 900K compact cameras, down 100K units across the board compared to its previous forecast from August 2019 and down 28-percent Y/Y.

Comparing Nikon’s numbers to Canon show the situation is more dire for Nikon. Canon’s EOS R and EOS RP haven’t done as well as Canon expected, but Canon is forecasting unit sales to drop 17-percent Y/Y whereas Nikon’s forecasting nearly double that at 28-percent. This means Canon is expecting a decline less than the market as a whole according to CIPA’s numbers whereas Nikon is six percentage points worse than what CIPA is reporting.

A chart from Nikon’s Q2 financial presentation that breaks down the sales of its ILCs, interchangeable lenses and compact camera unit sales.

In addition to unit sales, Nikon’s revenue and operating income aren’t cheery either. Over the first half of its FY2020, Nikon reported 119B yen in revenue and an operating profit of just 2B yen. Compared to the first half of its FY2019, those numbers are a 21-percent and 85-percent decrease, respectively.

Much like Canon with its RF-series, the cost Nikon has sunk into its Z-mount system and accompanying lenses has likely contributed to the massive decrease in operating profit. It’s not cheap to develop new systems and lenses, especially considering the amount of capital required to get new factories and fabrication up and running at full scale.

A chart from Nikon’s Q2 financial presentation showing revenue, operating income and unit sales figures compared to last year, as well as the forecast for the remainder of this fiscal year.

Nikon specifically calls out its Imaging Products Business in the presentation, saying it was the only division that wasn’t ‘mostly in line’ with its estimates. The materials specifically say the camera market ‘has deteriorated further as market shrinkage accelerates and competition intensifies.’ It also cites the increased cost of its Z-mount system lineup expansion as ‘a burden’ to its operating profit and notes it overestimated the sales forecast of its Z-series cameras.

For a company that’s stated in the past that its Z-series is more or less the future of the company, continually low numbers isn’t the best look, especially considering how much Nikon relies on its camera division compared to the likes of Canon and Sony. Nikon goes so far as to say it hopes to ‘fundamentally transform’ its Imaging Products Business to ‘generate enough profits to justify [the Imaging Products Business] existence as a business unit.’

Sony

Of all the financial results we look at, Sony’s has consistently been one of the most challenging to gain details insights on. Due to how they structure their business segments, we can’t really delve into the figures in detail as we can with Canon and Nikon. However, Sony didn’t specifically mention anything too positive or negative about its camera division, which hints that there wasn’t anything too notable about its latest quarters.

A breakdown of sales and operating income for Sony’s Electronics Products & Solutions division. This division includes Sony’s camera sales, as well as mobile devices, televisions and other electronics.

According to Sony’s current Q2 and Q3 reports, its Electronics Products & Solutions EP&S segment — which includes digital cameras amongst other electronic products — pulled in 977.4B yen in revenue and 66.5B yen in operating profit. This is a decrease of 13-percent and an increase of 35-percent Y/Y, respectively. Sony doesn’t elaborate much on the sales of camera gear, aside from saying that overall unit sales have decreased year over year.

A breakdown in sales and operating income for Sony’s Imaging & Sensing Solutions division, which is responsible for the manufacturing of its imaging sensors.

Moving onto Sony’s Imaging & Sensing Solutions (I&SS) segment, which is a separate — but related — business responsible for making its image sensors, the latest reports put its cumulative Q2 and Q3 earnings at 541B yen and 126B yen. This is an increase of 18-percent and 64-percent, respectively. Sony says a ‘significance increase in sales of image sensors for mobile products,’ mostly due to smartphone manufacturers now putting multiple camera units in their devices, as the main reason for such dramatic growth Y/Y in both revenue and operating profit

Conclusion

All in all, there’s plenty to take away from the latest numbers and results. The digital camera market continues to shrink and although full-frame mirrorless cameras from Canon and Nikon are somewhat picking up the slack in sales, they’re not entirely mitigating the decrease in DSLR shipments—especially for Nikon.

Furthermore, the cost of research and development (not to mention marketing and promotional material) that goes into launching cameras and lenses with new mounts has dramatically impacted the operating profits of the imaging divisions. As Canon and Nikon continue to pump money into their newer systems, operating profit will likely stay low until economy of scales kicks in and the new fabrication components are paid off. But declining DSLR and compact sales without corresponding growth in the mirrorless market isn’t going to make the transitions any easier to get through.

The market appears to be dropping at a slower rate than it has in past years, but it’s still not great news. At what point it will stabilize remains to be seen, but with an Olympic year next year and more mirrorless developments in the works across the entire industry, it’ll likely be a while until we find out.

Articles: Digital Photography Review (dpreview.com)

 
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You will soon be able to import into Lightroom on iOS directly from external storage

14 Nov

Adobe has given the public a new sneak peek at a future update for Lightroom on iOS that will simplify the process of importing images into the app. As demonstrated in the above video, Adobe will enable users to directly import images from card readers into Lightroom on iOS, after which point the content is uploaded to the cloud and added to the app’s photo library.

The ‘seamless importing experience’ will arrive in a future Lightroom update starting with iOS 13.2, according to Adobe’s Tom Hogarty. The company doesn’t provide an exact release date for this update, but says that it will arrive ‘soon.’

Articles: Digital Photography Review (dpreview.com)

 
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