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Posts Tagged ‘latest’

Apple’s latest beta suggests ProRes RAW support for Adobe apps is coming to Windows

31 Mar

Apple has released a version 1.0 beta of ProRes Raw for Windows that adds support for Apple’s video codec in several Adobe apps on Microsoft’s operating system.

In the support text accompanying the download, Apple says the beta release ‘enables playback of ProRes RAW and ProRes RAW HQ video files in compatible applications on Windows systems.’ This includes Adobe After Effects, Adobe Media Encoder, Adobe Premiere and Adobe Premiere Rush.

Assuming this support makes it out of beta and expands to other applications, this could help to make ProRes Raw a more useful standard for video work. The download, which comes in at 737KB, is available to download on Apple’s support page.

Articles: Digital Photography Review (dpreview.com)

 
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Loupedeck’s latest software update adds new Profile Creator tool for custom profiles

28 Mar

The company known for its video and image editing consoles, Loupedeck, has announced a software update that enables users to create custom profiles for third-party applications. With the new Loupedeck Profile Creator, Loupedeck CT owners can create various custom profiles for all of the software they use, including for applications like Davinci Resolve, Logic Pro X, Capture One and more.

According to Loupedeck, creators don’t need any programming skills to create custom profiles for their favorite applications. Profile Creator can be used for adjustments and actions using everything from mouse movements to shortcuts, macros, keys, run applications, links and text. The new capability is found in software version 3.2 and higher.

Users can find a series of custom profiles for popular applications available to download on the Loupedeck website here. The company’s Founder and CEO Mikko Kesti explained, ‘The possibility for all users to create custom profiles is an important step in delivering an increased level of functionality and flexibility the digital creator community requires with their editing tools.’

In addition to announcing the Profile Creator’s Custom Profiles feature, Loupedeck has also revealed that its Creative Tool now has native integration for Streamlabs, a live streaming app that is popular with creators. Going forward, Loupedeck CT owners will be able to use the console to directly control their stream, including the ability to adjust audio, quickly mute and skip content, hide and unhide sources, and more.

Kesti calls the native integration a ‘natural addition’ to the company’s Creative Tool, which is available to purchase for $ 549. Users who are new to the device can download its companion software from Loupedeck’s website, where the company also offers User Guide downloads for everything from general usage to using Loupedeck CT with specific photo and video applications like Photoshop and Lightroom.

Articles: Digital Photography Review (dpreview.com)

 
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Hands-on with the latest Nikon Z lenses, AF-S 120-300mm F2.8

29 Feb

Hands-on with the Nikkor Z 20mm F1.8S

The Nikon booth at WPPI is bustling with visitors hoping to listen to a free educational session or get their hands on some of the latest Nikon gear – we’ve at least done the latter, and taken some photos to share with you. Nikon announced these two Z lenses earlier this month and the 120-300mm F2.8E telephoto zoom last month, and this is our first change to get up-close and personal with them.

Let’s start off with the Nikon Z 20mm F1.8S, pictured here on a Z7 camera body. The 20mm F1.8S looks right at home in Nikon’s growing lineup of S-series prime lenses for its mirrorless system, with solid construction and a large, well-damped manual focus ring. The silver ring near the base is indicative of its ‘S’ designation.

Hands-on with the Nikkor Z 20mm F1.8S

A peek at the front of the lens reveals – well first of all, some dust – but also that the Z 20mm F1.8S uses a 77mm filter thread. The optical construction comprises 14 elements in 11 groups, with three ED and three aspherical elements. It also employs Nikon’s nano-crystal coating to combat flare.

The Z 20mm F1.8S can focus down to 20cm (7.87″) for a maximum magnification of 0.19x.

Hands-on with the Nikkor Z 20mm F1.8S

At the rear of the lens, we can see a rubberized gasket surrounding the large metal Z-mount. Like all of Nikon’s S-series primes, the 20mm F1.8S is sealed against dust and moisture. You can also get a glimpse of the lens’ nine aperture blades, which should produce some brilliant sunstars (we’ll investigate further when we get a copy to evaluate).

Hands-on with the Nikkor Z 20mm F1.8S

On the side is the sole control point on the Nikkor Z 20mm F1.8S aside from the focus ring – an autofocus A/M switch. The Z 20mm F1.8S balances very well on the current Z6 and Z7 bodies, and should be a particularly useful lens for astrophotography and video. Or, place it on a Z50 and get a 30mm-equivalent field of view on Nikon’s APS-C Z-mount offering.

The Nikkor Z 20mm F1.8S is expected to be available next month, March 2020 for a suggested retail price of $ 1049.95 USD.

Hands-on with the Nikkor Z 24-200mm F4-6.3

Next up, we have the Nikkor Z 24-200mm F4-6.3 lens. It’s intended as a do-it-all travel zoom, complementing the existing Z 24-70mm F4S and 24-70mm F2.8S lenses Nikon has already released for the Z system, and offering the greatest zoom range of any Z-series lens to date.

Hands-on with the Nikkor Z 24-200mm F4-6.3

Here it is at full zoom; its length nearly doubles, but thanks to a reasonable 570g (1.26lb) weight, it doesn’t become ungainly or off-balance on full-frame Z-series cameras. Also visible in this image is a ‘Lock’ button that keeps the lens locked into the wide-angle position for travel, to help combat ‘zoom creep’ from the occasional bump or jostle while you wander around. There’s also a slim but customizable and well-damped manual focus ring near the base of the lens as well.

Hands-on with the Nikkor Z 24-200mm F4-6.3

From the front of the lens, we can see that the Z 24-200mm takes 67mm filters. This lens has a complex optical formula of 19 elements in 15 groups, and uses a special Arneo coating to reduce flare. The minimum focus distance is 50cm (19.69″), giving a maximum magnification of 0.28x. A total of seven aperture blades should produce some pretty nice sunstars on this lens as well.

Hands-on with the Nikkor Z 24-200mm F4-6.3

A rear gasket on the Z 24-200mm F4-6.3 is physical proof of Nikon’s claims of ‘drip and dust resistance,’ which is always a nice touch on a lens that is really designed to travel with you wherever you go, for just about any focal length you might need.

This lens also comes with built-in stabilization, which Nikon says works in tandem with the in-body stabilizers on the Z6 and Z7 cameras. If you want to use this on a Z50 which doesn’t have an in-body stabilizer, you can still expect up to 5 stops of compensation. This will definitely come in handy when you get to the maximum 300mm equivalent reach on an APS-C sensor.

Nikon has said that the 24-200mm F4-6.3 will be available starting in April 2020 for a suggested retail price of $ 899.95 USD.

Hands-on with the AF-S Nikkor 120-300mm F2.8E

First announced back in September, then with a release date given in January, we’ve finally gotten a chance to see the Nikon AF-S 120-300mm F2.8E FL ED SR VR in the flesh metal. No surprise, it’s a pricey optic at $ 9499.95 USD, but one that we expect will be put to good use by a variety of sports, action and wildlife photographers. Those letters in the name stand for electromagnetic diaphragm, fluorite elements, extra-low dispersion elements, short-wavelength refracting element and vibration reduction. Oh, and there’s Arneo coating to combat chromatic aberrations as well as flare. In other words, there’s a lot of optical technology in this lens.

Here, you can see the lens mounted to the company’s latest sports DSLR flagship, the D6.

Hands-on with the AF-S Nikkor 120-300mm F2.8E

In this view, you can see the name plate, serial number and a window displaying focus distance on the top of the lens. There’s also a customizable ‘Memory Set’ button on the side.

But speaking of focus distance, the lens can focus down to 2m (78.74″) at all focal lengths, for a maximum magnification of 0.16x.

Hands-on with the AF-S Nikkor 120-300mm F2.8E

Around the side are all of the control options on this lens. There’s an autofocus mode switch, a focus limiter, vibration reduction switch, a memory recall switch and a switch for the focus confirmation beep. Mounted right on the tripod collar are also lugs to which you can attach neck straps; Nikon is touting this lens as one you could use handheld if needed.

Being able to use a lens like this handheld is always a plus – but bear in mind, it weighs 3.25kg (7.17lb) so a monopod is probably still a good bet for extended shooting.

Hands-on with the AF-S Nikkor 120-300mm F2.8E

Around the front, we have a massive front element with fluorine coating to help repel moisture and oil. The filter thread is pretty sizable at 112mm, but many users will simply keep the lens hood on, which somewhat tempers the need for protective filters.

The AF-S Nikkor 120-300mm F2.8E has an optical formula of 25 elements in 19 groups, and a nine-bladed diaphragm. Nikon claims a high degree of weather-sealing as you’d expect from a lens of this caliber.

That’s a wrap

And that’s a wrap from the Nikon booth at WPPI 2020 in Las Vegas. If you missed it, we also have a dedicated hands-on look at the Nikon D6, pictured above. Let us know what you think of Nikon’s latest lenses and cameras in the comments below.

Articles: Digital Photography Review (dpreview.com)

 
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Vivo’s latest concept phone comes with ‘gimbal-like’ main camera stabilization

29 Feb

Chinese smartphone maker Vivo uses its APEX line of concept phones to showcase the latest mobile technologies and has just presented its latest version, the 5G-enabled APEX 2020 which puts a lot of focus on the cameras and display.

The first highlight is a 16MP periscopic tele camera on the back which, according to Vivo, offers an optical zoom range of 5x to 7.5x, more than the currently longest smartphone teles.

It’s not quite clear at this point how the ‘optical’ zoom is achieved but it’s fair to assume computational imaging methods will be used to achieve the upper end of the reach. In any case, performance should at least be on at least a similar level as the Huawei P30 Pro or Oppo Reno 10x Zoom which both offer a 5x optical tele lens.

Despite the impressive zoom reach the camera module is only 6.2mm thick, allowing for a slim design and only minimal camera hump.

The main main camera comes with a 48MP Quad-Bayer sensor and a stabilization system that goes way beyond what we’re seeing on current phones. The entire camera appears to be hinged in a gimbal-like structure that is capable of counteracting much more severe device motion than conventional systems. Vivo claims the new system extends the stabilization angle by 200 percent and says the design was inspired by the eyeballs of a chameleon, which freely rotates in its socket, allowing the animal to observe its prey.

The 16MP camera at the front works in similar was as we’ve already seen from Oppo and Xiaomi, and is hidden under the display which turns transparent as soon as the shutter is triggered, allowing incoming light to hit the lens. The area right above the camera also features six times larger display pixels to allow for better light transmittance. Like on the main camera, 4-in-1 pixel-binning is used to decrease image noise and increase dynamic range.

The camera also has the ability to remove passers-by in the background in real time and a ‘Voice Tracking Auto-Focus’. The latter uses audio data from the microphones and visual data from the camera to ‘focus’ audio recording on a scene’s main subject, minimizing background sounds, similar to Samsung’s ‘Zoom-in Mic’.

Other features include a ‘120-degree FullView Edgeless Display’ which measures 6.45 inches and offers a 2,330 x 1,080 resolution in its AMOLED panel which wraps around both edges at 120 degrees. This means bezels are invisible when the device is viewed form the front. There’s also Vivo’s third-generation Screen SoundCasting technology, which casts sound through the screen, eliminating the need for speaker holes and allowing for better environmental protection.

As it is appropriate for a showscase device such as the APEX, the 2020 version is powered by Qualcomm’s top-tier chipset Snapdragon 865 and runs the latest Android version 10.

We won’t find out how the APEX 2020 performs given it is unlikely to ever hit the market in its current form, but we hope some of the features of the concept phone, especially the camera elements, will make it to one of Vivo’s production devices in the near future.

Articles: Digital Photography Review (dpreview.com)

 
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The latest LEGO Collectable Minifigure series includes a UAV operator complete with drone, controller and battle wound

27 Feb

At the Toy Fair in New York City, LEGO unveiled its latest collection of minifigures, consisting of 16 themed characters, each of which has costumes and props to boot.

The collection, which is the 20th of its kind since LEGO started the series back in 2010, features a number of fun and playful characters, but one in particular stands out—a drone pilot. One of the collectable minifigs is an enthusiastic drone pilot that comes complete with a LEGO drone, a LEGO controller and even a bandage on their face to suggest they’ve been nicked by the propellors of the drone.

The drone operator minifig, along with the other 15 characters, is set to start shipping April 19, 2020 for $ 4.99.


Image credits: Photos by The Brothers Brick, used with permission

Articles: Digital Photography Review (dpreview.com)

 
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Canon launches its latest pocket-sized photo printer, the Selphy Square QX10

14 Feb

Although not nearly as exciting as its impending R5 mirrorless camera, the T8i or the 24–105mm F4–7.1, Canon has also announced the release of the Selphy Square QX10, its latest ultra-compact photo printer.

The Selphy Square has a built-in rechargeable battery and uses thermal transfer dye-sublimation to print images up to 68mm x 68mm (2.7in x 2.7in) with 287dpi resolution. The printer is rated for up to 20 prints on each charge, with each print taking roughly 43 seconds from start to finish.

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The printer uses a new square-format ‘sticker-type paper’ Canon is calling XS-20L that has a specialized coating that ‘protects against splashes, spills, and fading for up to 100 years when stored in an album,’ according to Canon.

The Canon Selphy Square QX10 printer is available in black, green, pink and white for $ 150, while 20-pack of paper and ink will set you back $ 15. You can find out more information about the Selphy Square on Canon’s product page.

Articles: Digital Photography Review (dpreview.com)

 
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Vision Research launches its latest high-speed camera, the Phantom VEO 1310

10 Feb

Vision Research has released its latest high-speed camera, the Phantom VEO 1310. The new camera, which is part of Vision Research’s robust ‘VEO’ lineup, can capture 720p video at up to 14,350 frames per second (fps).

The new camera isn’t the highest-resolution phantom on the market, but it still offers plenty in the framerate department. Below is a list of the framerates and resolutions the Phantom VEO 1310 can record at:

  • 1280 x 960 at 10,860 fps
  • 1280 x 720 at 14,350 fps
  • 960 x 960 at 13,333 fps
  • 640 x 480 at 30,030 fps
  • 320 x 120 at 423,350 fps

The camera features a native ISO of 25,000 D in Mono and 6,400 D in Color mode. It offers 18 µm pixel size, 12-bit color depth and has a minimum global shutter framerate of 50 fps.

The Phantom VEO 1310 comes in two models: Light (L) and Full (S). Both models offer SDI and HDMI video out, 12V battery input and include the option to add on a 10Gb ethernet adapter for remote operation. The difference between the two models is that the ’S’ version of the VEO 1310 offers six extra I/O ports (F-sync, TC in/out, trigger, strobe and a ready port), includes a CFast 2.0 port and offers on-camera controls, whereas the ‘L’ version lacks all of the above.

On both models, the lens mount is user-changeable with options for C-mount, Canon EF-mount and PL-mount lenses, with full electronic control support. The camera is made in the United States and comes with a handle, cheese plate, battery mounts (with the ’S’ model) and a case with custom foam cutouts.

Details on pricing and availability are unknown at this time. We have contacted Vision Research and will update this article with more information if and when we receive it.

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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NVIDIA’s latest AI project is ‘face swap’ for animals. Kind of…

30 Oct

NVIDIA researchers are back with another project that uses artificial intelligence to generate entirely new images from existing source images. Unlike past work that involved portraits of humans, however, this latest work — called GANimal — transforms an image of an animal into different animals, including other species.

Using an AI technique called generative adversarial networks (GANs), among other things, the researchers developed GANimal, an app that takes the expression of an animal from an image and recreates it on an image of a different animal. Examples include taking an expression from one breed of dog and replicating it on other dog breeds.

Though this is a fun example of the underlying technology, NVIDIA researchers say it could one day be put to use in more serious work. One given example of GANimal’s potential use is engaging filmmakers to shoot images of a tame animal doing stunts, such as a dog, and then using the AI to apply those movements onto a less tame animal, such as a tiger.

NVIDIA’s past artificial intelligence research includes an AI that can accurately scrub noise from images, generate portraits from source images, and transform simple sketches into photorealistic photos.

Articles: Digital Photography Review (dpreview.com)

 
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The latest iOS 13 developer beta gives us a sneak peek at Apple’s new Deep Fusion mode

05 Oct

Earlier this week, Apple released the first developer beta version of iOS 13 with support for its Deep Fusion technology built-in. Although there’s still plenty to learn about the feature, multiple developers have already taken the camera tech for a spin and shared their thoughts (and results) around the web.

To refresh, below is a brief explainer on what Deep Fusion is from our initial rundown on the feature:

‘Deep Fusion captures up to 9 frames and fuses them into a higher resolution 24MP image. Four short and four secondary frames are constantly buffered in memory, throwing away older frames to make room for newer ones […] After you press the shutter, one long exposure is taken (ostensibly to reduce noise), and subsequently all 9 frames are combined – ‘fused’ – presumably using a super resolution technique with tile-based alignment (described in the previous slide) to produce a blur and ghosting-free high resolution image.’

Although the tests are far from conclusive, we’ve rounded up a few sample images and comparisons shared by Twitter users from around the world. From the commentary shared by those who have tested the feature and from a brief analysis with our own eyes, Deep Fusion appears to work as advertised, bringing out more detail and clarity in images.

In addition to the above comparison, photographer Tyler Stalman also compared how Deep Fusion compares to the Smart HDR feature.

As noted by Halide co-founder Sebastiaan de With, it seems as though the image files captured with Deep Fusion are roughly twice the size of a standard photo.

Much remains to be seen about what Deep Fusion is actually capable of and how third-party developers can make the most of the technology, but it looks promising. There seems to be some confusion as well regarding whether Deep Fusion will work with Night Mode, but according to Apple guru John Gruber, the two are mutually exclusive, with Deep Fusion being applied to scenes between 600-10 lux while Night Mode kicks in at 10 or fewer lux.

We’ll know more for sure when we have a chance to test the new feature ourselves.

Articles: Digital Photography Review (dpreview.com)

 
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