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Posts Tagged ‘Pocket’

Magicbooster Pro launched for 6K Blackmagic Pocket Cinema Camera to emulate full frame sensor

20 Aug

LucAdapters has launched a crowd funding campaign to develop a focal reducer for the newly announced Super 35mm 6K cinema camera from Blackmagic Design. The reducer will allow users to mount full frame lenses on the camera with only a slight crop, thus emulating the look of a camera with a full frame sensor.

The company has history with this kind of adapter and currently makes a reducer for the Ursa Mini called Magicbooster Pro, and has in the past made a full-frame adapter for the Samsung NX1. This new model will be called Magicbooster Pocket 6K and will combine the benefits of a 1 stop increase in effective aperture as well as decreasing the crop factor of the 6K area of the camera’s Super 35mm sensor from 1.5x to 1.1x. This allows full frame lenses to practically maintain their intended angle of view when recording 6K footage, with a 50mm lens acting like a 55mm with the reducer instead of like a 75mm without it.

Here’s a video made with the current Magicbooster, shot on Blackmagic Ursa mini 4.6K by PILOTMOVIES.

The Magicbooster Pocket 6K will be fully compatible with all of Canon’s EF lenses according to LucAdapters, but not EF-S models. The Magicbooster fits inside the camera’s throat leaving the mount untouched, and replaces some internal parts of the camera itself in doing so. The unit comprises a small barrel with lens elements at the end. It screws into the camera with the magnifying lens sitting directly in front of the camera’s sensor and behind the IR filter.

Buyers will receive a replacement UV-IR cut filter that the company claims is better than that which is shipped with the camera. Such a degree of installation is required that it isn’t the sort of adapter that can be attached and unattached in a couple of seconds, but it also means there’s no need to add and remove the adapter every time you have to change a lens.

LucAdapter says the Magicbooster Pocket 6K will ship in November this year, and will cost from €499 (approx. $ 550). For more information see the LucAdapters Magicbooster Pocket 6K Kickstarter campaign.

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic Design unveils the Pocket Cinema Camera 6K

11 Aug

Blackmagic Design has unveiled the Pocket Cinema Camera 6K (BMPCC6K), an EF-mount cinema camera with a 6K Super 35 (S35) sensor, a step up from the Four Thirds sensor found inside Blackmagic Design’s Pocket Cinema Camera 4K (BMPCC4K).

At the core of the camera is a 23.10 x 12.99mm Super 35 sensor with Dual Native ISO (400 and 3200), 6144 x 3456 pixel resolution and 13 stops of dynamic range. It can shoot in 10-bit ProRes or 12-bit Blackmagic RAW formats.

The S35 sensor will shoot up to 50 fps at 6144 x 3456 16:9 or 60 fps at 6144 x 2560 2.4:1 and 60 fps at 5744 x 3024 1.9:1. There is also a high frame rate option that shoots 120 fps at 2.8K 2868 x 1512 1.9:1 as well as a true anamorphic 6:5 mode that shoots in 3.7K 60 fps (3728 x 3104).

A comparison from the BMPCC6K product page highlighting the difference in the depth of field between the Four Thirds sensor inside the BMPCC4K and the roughly APS-C ‘Super 35’ sensor inside the BMPCC6K.

The EF mount on the BMPCC6K will feature full electronics so Canon’s EF lens lineup can communicate with the camera for focus and aperture control, as well as Image Stabilization support. In addition to using Canon’s EF mount, the BMPCC6K also uses the same Canon-style LP-E6 battery as its predecessor. Blackmagic rates this for 45 minutes of runtime and can be charged via external battery packs through the onboard USB-C connection.

Recordings can be captured as 10-bit Apple ProRes files in all formats up to 4K or 12-bit Blackmagic RAW in all formats up to 6K. The BMPCC6K features both a CFast and SD UHS-II slots, as well as a USB-C port for storing to external media. Blackmagic Design says ‘Customers can use regular SD cards for HD or higher performance UHS-II and CFast cards for native 4K or 6K when using Blackmagic RAW. Imagine capturing over an hour of full resolution 6K images on a single 256GB SD UHS-II card.’

Notably, though, the manual recommends CFast or USB-C-connected SSD storage for the camera’s high res, high frame rate output, as most of the compression options exceed the 90MB/s guaranteed speeds of the latest V90 UHS-II cards.

A full-size HDMI connection is included for monitoring footage and outputting 10-bit video, including HDR. Other connections include a mini XLR connection with 48 volt phantom power, a 3.5mm microphone input, a 3.5mm headphone output and a locking DC power connection.

On the rear of the BMPCC6K is the same five-inch touchscreen found on the BMPCC4K, which displays the Blackmagic OS, a proprietary operating system designed specifically for Blackmagic Design’s cameras.

The BMPCC6K utilizes Blackmagic Design’s Generation 4 Color Science, first introduced on the URSA Mini Pro G2. In Blackmagic Design’s own words, ‘Blackmagic Generation 4 Color Science uses a complex dynamic 12-bit gamma curve designed to capture more color data in the highlights and shadows, so they get better looking images.’

Other features include still frame capture up to 21.2-megapixels, remote camera control via Bluetooth, localization for 11 languages and a built-in timecode generator for synced multi-camera shoots.

The BMPCC6K is available now for $ 2,495 from resellers around the globe.

Press release:

Blackmagic Design Announces New Blackmagic Pocket Cinema Camera 6K

Fremont, CA, USA – Thursday, 8 August 2019 – Blackmagic Design today announced the Blackmagic Pocket Cinema Camera 6K, a new handheld digital film camera with a full Super 35 size 6K HDR image sensor, 13 stops of dynamic range, an EF lens mount and dual native ISO up to 25,600 for incredible low light performance. This new model builds on the popularity of the Blackmagic Pocket Cinema Camera 4K but has a larger Super 35 sensor size with 6K resolution, allowing higher image quality. The EF lens mount model works with a wide range of lenses from companies such as Canon, Zeiss, Sigma and Schneider.

Blackmagic Pocket Cinema Camera 6K is available immediately from Blackmagic Design resellers worldwide for US$ 2,495.

The elegant design of the Blackmagic Pocket Cinema Camera packs an incredible number of high end digital film features into a miniaturized, handheld design. Made from lightweight carbon fiber polycarbonate composite, the camera features a multifunction handgrip with all controls for recording, ISO, WB and shutter angle right at their fingertips. Because it’s an advanced digital film camera, the sensor is designed to reduce thermal noise allowing cleaner shadows and higher ISO. Plus the large 5 inch LCD makes it possible to get perfect focus at 4K and 6K resolutions.

Featuring a larger 6144 x 3456 Super 35 sensor and EF lens mount, the Blackmagic Pocket Cinema Camera 6K lets customers use larger EF photographic lenses to create cinematic images with shallower depth of field, allowing creative defocussed backgrounds and gorgeous bokeh effects. This means that customers can shoot in 6K and then in post production zoom and re-frame to allow wide shots and close ups to be created, all from a single camera and without losing image quality.

Blackmagic Pocket Cinema Camera 4K and 6K both have an incredible 13 stops of dynamic range which means they preserve more detail in the lightest and darkest areas of an image than simple video cameras can. This allows customers to set exposure for an indoor scene such as a cafe and still retain the details of bright outdoor light coming through a window. Customers even get more colors than the standard DCI-P3 colorspace used for feature films.

The Blackmagic Pocket Cinema Camera features dual gain ISO up to 25,600, which means both the 4K and 6K models are optimized to minimize grain or noise in images, while maintaining the full dynamic range of the sensor. The native ISO of 400 is ideal for scenes with on-set lighting. The gain is set automatically as they adjust the ISO setting on the camera, so it’s easy to capture great images when they don’t have time to set up lights.

The new 6K model will shoot up to 50 fps at 6144 x 3456 16:9 or 60 fps at 6144 x 2560 2.4:1 and 60 fps at 5744 x 3024 17:9. For higher frame rates they can window the sensor and shoot up to 120 fps at 2.8K 2868 x 1512 17:9. Customers can even work in true anamorphic 6:5 using anamorphic lenses in 3.7K 60 fps at 3728 x 3104.

Blackmagic Pocket Cinema Camera records using standard open file formats so customers don’t have to waste time transcoding media. Recording works in industry standard 10-bit Apple ProRes files in all formats up to 4K or 12-bit Blackmagic RAW in all formats up to 6K. Best of all media files work on all operating systems plus customers can format media cards and disks in HFS+ for Mac and ExFAT for Windows.

The Blackmagic Pocket Cinema Camera features built in CFast and SD UHS-II card recorders, and a USB-C expansion port for recording direct to an external media disk. Customers can use regular SD cards for HD or higher performance UHS-II and CFast cards for native 4K or 6K when using Blackmagic RAW. Imagine capturing over an hour of full resolution 6K images on a single 256GB SD UHS-II card.

Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from their camera. Video formats such as H.264 are highly compressed, plus add noise and weird artifacts, causing original sensor detail to be lost forever. Blackmagic RAW eliminates this problem and gives them stunning images with incredible detail and color throughout the production pipeline from camera to edit, color and mastering. It also saves camera settings as metadata so customers can set ISO, white balance and exposure in camera or override them later while editing, all without any loss of quality. Blackmagic RAW files are also small and fast to use making them easy to work with.

The rear of the Blackmagic Pocket Cinema Camera features a large, bright 5 inch touchscreen that makes it easy for customers to frame shots and accurately focus. It’s like getting a built in Blackmagic Video Assist with their camera. The touchscreen displays critical information while shooting, as well as menus for setting up the camera and intuitive touch to focus controls. On screen overlays show status, a histogram, focus and peaking indicators, levels, frame guides, playback controls and more.

With the advanced Blackmagic OS, customers get an intuitive and user friendly camera operating system based on the latest technology. The interface uses simple tap and swipe gestures to adjust settings, add metadata and view recording status. Customers also get full control over advanced camera features such as on screen focus and exposure tools, 3D LUTs, HDR, metadata entry, timecode, Blackmagic RAW settings and more.

Featuring the same Generation 4 Color Science as the high end URSA Mini Pro G2, the Pocket Cinema Camera delivers stunning, accurate skin tones and faithful color in every shot. Blackmagic Generation 4 Color Science uses a complex dynamic 12-bit gamma curve designed to capture more color data in the highlights and shadows, so they get better looking images. The color science also handles some of the complex Blackmagic RAW image processing, so color and dynamic range data from the sensor is preserved via metadata which customers can use in post production.

The camera includes a full size HDMI connector for monitoring with support for HDR and clean 10-bit output. There’s also a mini XLR connection with 48 volt phantom power for attaching professional microphones, a 3.5 mm video camera style microphone input, headphone connection and a professional locking DC power connector.

Digital film cameras shoot logarithmic colorspace to preserve the dynamic range, which is great for later post production, however when these files are viewed on a monitor they can look flat and washed out. 3D LUTs solve this problem because they allow customers to apply a “look” to the monitor so customers get an idea of how the finished images will look like when editing. The Pocket Cinema Camera works with industry standard 17 and 33 point 3D LUT files, or customers can work with the built in LUTs such as Extended Video, Film to Video, Film to Rec.2020 and more.

Professional cameras include professional features and customers also get a built in timecode generator, allowing shooting with more than one camera while keeping perfect sync. Simply plug in an external timecode generator such as Tentacle Sync into the 3.5 mm audio jack and the camera will automatically detect timecode and lock the internal generator. Now each camera can start and stop recording and all the shots from all cameras will have the same matched timecode. Imagine shooting a music festival with multiple roving cameras. Best of all the new DaVinci Resolve 16.1 will automatically find and sync the shots from all cameras so they don’t need to waste time sorting through thousands of shots.

The Blackmagic Pocket Cinema Camera uses standard removable LP-E6 type batteries and also features a locking DC power connector so they never have to worry about losing power in the middle of a shoot. The included AC plug pack can power the camera and charge the battery at the same time. The USB-C expansion port can also be used to charge the battery from portable battery packs, mobile phone chargers or a laptop computer. Customers can even add an optional Blackmagic Pocket Battery Grip that lets customers use 2 batteries to dramatically extend the power of the camera.

Blackmagic Pocket Cinema Camera 4K and 6K models include a full version of DaVinci Resolve Studio, which is the same software used in Hollywood for creating high end feature films, episodic television shows, commercials and more. DaVinci Resolve features a revolutionary new cut page with intelligent editing tools and innovative new features designed to help customers quickly find the footage customers want, edit it together and output it fast. In addition to the new cut page, customers also get DaVinci’s legendary professional editing, advanced color correction, audio post and visual effects tools, all in a single software application.

“The Blackmagic Pocket Cinema Camera 6K features incredible new 6K imaging and EF lens support that customers have asked for,” said Grant Petty, Blackmagic Design CEO. “It has all of the great features customers love from the 4K model, but now adds an EF lens, increased 6K resolution for even higher quality images and more. Plus, with the built in Video Assist features, customers don’t have to purchase and carry around extra equipment. DaVinci Resolve Studio is also included, making it an incredible all in one solution that enables anyone to be creative and tell a story.”

Blackmagic Pocket Cinema Camera 6K Features

  • Use for independent films, documentaries, blogs and more.
  • Designed from carbon fiber polycarbonate composite.
  • Multifunction grip allows single hand operation.
  • 2 models with 6K at 6144 x 3456 and 4K at 4096 x 2160.
  • Compatible with MFT or EF lens mounts.
  • Wide 13 stops of dynamic range for film looks.
  • Up to 25600 ISO for incredible low light performance.
  • Records full resolution up to 60 fps or 120 fps windowed.
  • Standard open file formats compatible with popular software.
  • Built in SD, UHS-II and CFast card recorders.
  • Features incredible quality Blackmagic RAW recording.
  • Built in 5″ touchscreen allows accurate focus when shooting 6K.
  • Blackmagic OS as used in URSA Mini and URSA Broadcast cameras.
  • Includes Blackmagic Generation 4 Color Science.
  • Features full size HDMI for monitoring with status overlay.
  • Professional mini XLR input with 48 volt phantom power.
  • 3D LUTs can be applied for both monitoring and recording.
  • USB-C port allows recording directly to external disk.
  • Built in timecode generator for sync muli-camera shoots.
  • Supports still frame capture up to 21.2 megapixel.
  • Localized for 11 popular languages.
  • Supports remote camera control via Bluetooth.
  • Powers via 12V DC input and can recharge via USB-C.
  • Includes full DaVinci Resolve Studio for post production.

Availability and Price

Blackmagic Pocket Cinema Camera 6K is available now for US$ 2,495, excluding duties, from Blackmagic Design resellers worldwide.

Articles: Digital Photography Review (dpreview.com)

 
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SliderMini ultra-portable motorized camera slider can fit in a pocket

09 Aug

An Indiegogo campaign is seeking funds for SliderMini, an ‘ultra-portable and smooth’ motorized camera slider that’s small enough to fit in a pocket. SliderMini features a lightweight unibody and can support capacities up to 14.9kg (33lbs), offering operators access to three different shooting modes: timelapse, stop motion, and video.

SliderMini is 2cm (0.79in) thick with a weight of 0.56kg (1.2lbs) and travel length of 20cm (8in). The device features a fully enclosed CNC machined aluminum unibody design and can be controlled using either a hardware button on the unit or the companion mobile app. The Android and iOS apps include 10 timelapse presets, customization options, and more.

Smartta, the company behind the product, says SliderMini features two advanced functions: Silent Mode, which disables the device’s default beep alert, and Loop Mode, which prompts the sliders to continuously move back and forth until manually stopped.

The company has fully funded its Indiegogo campaign in which backers are offered a single SliderMini unit in exchange for pledges of $ 399 USD. In its most recent update on the campaign, Smartta said it has started shipping products to backers.

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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Metabones introduces Speed Booster series for Blackmagic Pocket Cinema Camera

06 Aug

Lens mount adapter specialist Metabones has launched a new series of Speed Booster lens adapters especially designed for the Blackmagic Design Pocket Cinema Camera 4K (BMPCC4K). The new adapters allow users to mount Nikon G, Canon EF, Canon EF Cine and Arri PL lenses onto the Micro Four Thirds camera.

The company says it has redesigned the adapters to take account of the filter stack construction that Blackmagic uses on the sensor of this camera to ensure users get the same performance as other MFT users. Blackmagic uses a thinner layer of filters over the sensor of the BMPCC4K, compared to other MFT cameras, that can alter the effectiveness of the standard MFT adapter at wide apertures, the company claims. This means the new models aren’t compatible with other Micro Four Thirds cameras.

The adapters come in Ultra 0.71x and XL 0.64x versions, which reduce the crop factor in 4096 x 2160 4K video to 1.35x and 1.22x respectively. The Arri PL version will only be available as an Ultra 0.71x, but the other mounts can accept either adapter, with the company claiming that many EF-S and DX lenses from Canon and Nikon can also be used.
The Metabones Ultra 0.71x and XL 0.64x adapters are available now. For more information see the Metabones website.

Ultra 0.71x

  • Canon EF – $ 649
  • Canon EF Cine – $ 699
  • Nikon G – $ 489
  • Arri PL – $ 719

XL 0.64x

  • Canon EF – $ 649
  • Canon EF Cine – $ 699
  • Nikon G – $ 489

Press release:

Metabones Introduces a New Series of Speed Booster® for BMPCC 4K Camera

Caldwell Photographic Inc. and Metabones are pleased to announce a new series of Speed Booster for Blackmagic Design Pocket Cinema Camera 4K (BMPCC4K).

The BMPCC4K Speed Booster ULTRA 0.71x and XL 0.64x are similar to the standard m43 Speed Booster adapters, but the optics have been re-designed to optimize for the filter stack thickness of the Blackmagic cameras, which is substantially thinner than that of standard m43 cameras.

The thickness of the camera’s filter stack is an important component of the overall optical design, and the re-designed optics ensure that both versions can achieve the same high performance as the Speed Booster versions for standard m43. This is especially critical at the extremely large apertures made possible by Speed Booster technology.

In addition to the new optical designs, the new series of Speed Boosters also features a longer tripod mount to perfectly match the height of the BMPCC4K camera body. This way the camera and the Speed Booster can be mounted firmly on the same quick release plate.

Both versions – the Speed Booster ULTRA 0.71x and XL 0.64x – are available with Nikon G lens mount, with Canon EF lens mount and with Canon EF CINE lens mount. The ARRI PL lens mount is available in ULTRA 0.71x version only. The Canon EF CINE lens mount creates a positive lock for a secure electronic connection, and together with the matching length of new the tripod mount, allows for a rock-solid mechanical setup, which is important when using follow focus attachments.

This new series of Metabones Speed Booster adapters is designed exclusively for Blackmagic Design Pocket Cinema Camera 4K (BMPCC4K). They cannot be attached to any other m43 cameras such as JVC, Olympus or Panasonic cameras.

Metabones Speed Booster ULTRA 0.71x for BMPCC4K:
The new Speed Booster ULTRA 0.71x for BMPCC4K uses an advanced 6-element 4-group optical design incorporating ultra-high index tantalum-based optical glass. The new design is specifically optimized to bring the same level of astonishing performance as the ULTRA Speed Boosters for Micro Four Thirds to users of the Blackmagic Pocket Cinema Camera 4K.

In particular, the Speed Booster ULTRA 0.71x is optimized to correctly account for the BMPCC4K camera’s specific filter stack located near the sensor surface. This is especially critical at the extremely large apertures made possible by Speed Booster technology. As a result of this careful optimization, an enormous range of full-frame optics, ranging from vintage film lenses to the latest digital designs, will function flawlessly when adapted to BMPCC4K bodies.

The Speed Booster ULTRA 0.71x reduces the crop factor of the BMPCC4K camera as shown in the above table. The new design for BMPCC4K makes very effective use of exotic materials at the furthest limit of glassmaking technology, and as a result is almost perfectly corrected for use with all full-frame SLR lenses regardless of aperture or exit pupil distance. The Speed Booster ULTRA 0.71x will also work extremely well with many DX and APS-C format lenses, provided the image circle provided by the lens is large enough.

Optical performance of the new Speed Boosters is so good that the MTF of any lens attached to it will be improved. Even the latest generation of ultra-high performance SLR lenses such as the Zeiss Otus series can be improved by adding a Speed Booster ULTRA 0.71x.

MTF at 10, 20, and 40 lp/mm as a function of image height for output apertures of f/0.9, f/1.0, and f/2.0, respectively1. At the maximum aperture of f/0.90 (i.e., with an f/1.2 master lens) the sharpness and contrast are extraordinary across the entire image circle. At just one-third stop down to f/1.0 the performance is equal to or better than the best photographic lenses used at their optimum apertures. An additional stop down to f/2.0 yields performance that is rarely encountered in photographic optics. In practice, what all of this means is that the new Speed Boosters will always enhance and never degrade the performance of the attached master lens.

And other aspects of optical performance haven’t been sacrificed in order to obtain high MTF, either. There is less than 1 stop of corner illumination falloff even wide-open at f/0.9. There is no vignetting at all after the output aperture reaches f/2.82. Rectilinear distortion added by the Speed Booster ULTRA is negligible at less than 0.7%.

Metabones Speed Booster XL 0.64x for BMPCC4K:
Also this Speed Booster XL 0.64x adapter has been designed exclusively for the Blackmagic Pocket Cinema Camera 4K, with a magnification of 0.64x. The Speed Booster XL 0.64x uses an advanced 7-element optical design to achieve extraordinary optical performance at apertures up to an incredible f/0.80.

The new Speed Booster XL 0.64x reduces the full-frame crop factor of the BMPCC4K as shown in the table further above. In addition, the speed of any attached lens is increased by 11/3 stops, with a maximum output aperture of f/0.80 when an f/1.2 lens is used. For example, a 50mm f/1.2 becomes a 32mm f/0.80, which is the fastest aperture available for Blackmagic cameras.

Perhaps most exciting of all, in addition to increasing lens speed and field of view, the Speed Booster XL 0.64x offers amazingly high image quality even at extremely large apertures. Figures 1 through 3 below show MTF at 10, 20, and 40 lp/mm as a function of image height for output apertures of f/0.8, f/1.1, and f/1.81. At f/0.80 (i.e., with an f/1.2 master lens) the sharpness and contrast are extraordinary out to an image height of 5.1 mm, which is the limiting image height of the BMPCC4K camera’s FHD video mode. Beyond 5.1 mm the performance drops gracefully, but remains very good even in the extreme corner of the full Blackmagic sensor. Note that as the master lens aperture is reduced to f/1.8 and then f/2.8 (corresponding to output apertures of f/1.1 and f/1.8, respectively) the performance improves everywhere, especially in the extreme corners.

And other aspects of optical performance haven’t been sacrificed in order to obtain high MTF, either. There is only about 1 stop of corner illumination falloff even at f/0.8. There is no vignetting at all after the output aperture reaches f/3.42. Rectilinear distortion added by the Speed Booster XL 0.64x is negligible at less than 0.8%.

Just like the Metabones Speed Booster ULTRA 0.71x for BMPCC4K, the Speed Booster XL 0.64x is optimized to correctly account for the BMPCC4K camera’s specific filter stack located near the sensor surface. This is especially critical at the extremely large apertures made possible by Speed Booster technology. As a result of this careful optimization, an enormous range of full-frame optics, ranging from vintage film lenses to the latest digital designs, will function flawlessly when adapted to BMPCC4K bodies. In fact, most lenses will have significantly improved MTF when used with the Speed Booster, compared to using them with a plain (i.e. “glassless”) adapter on Blackmagic cameras.

Articles: Digital Photography Review (dpreview.com)

 
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Shooting with PolarPro’s six-pack ND filter set for the DJI Osmo Pocket

19 Jun

PolarPro filter 6-pack for the DJI Osmo Pocket
$ 80 | polarprofilters.com

Grand Turk, Turks and Caicos Islands, taken early in the morning using an ND16 filter.

DJI introduced the Osmo Pocket, a three-axis stabilized handheld camera, late last year. The portable device is an ideal tool for content creators and casual consumers. It’s designed for creating decent video clips and photos on the fly. Since I couldn’t bring a drone onboard a recent cruise, I opted to purchase this device to document my journey.

Neutral density (ND) filters are a must-have for anyone aiming to capture smooth, cinematic footage. Selecting the proper one can be tricky, but PolarPro prints out a simple guide on which filter is most appropriate based on weather conditions, including how cloudy or sunny it is outside.

Neutral density (ND) filters are a must-have for anyone aiming to capture smooth, cinematic footage.

More advanced users can access manual settings by connecting their smartphone, accessing the DJI Mimo app and selecting a shutter speed that doubles the frame rate. For example, when applying the 180-degree rule, if I wanted to take advantage of 4K/60fps, I would select a shutter speed of 1/125. One thing to keep in mind is that the Osmo Pocket has a tiny 1/2.3-inch sensor and a fixed F2.0 lens, so you can’t control aperture as an exposure variable.

Captured with the PolarPro ND4 filter.

Since I was going to be in the sun, surrounded by water, most of the time on this cruise, I invested in the Standard Filter Six-pack from PolarPro consisting of PL (fixed polarizer), ND4, ND8, ND16, ND32, and ND64 filters. In addition to the polarizer, the ND filters allow 1/4, 1/8, 1/16, 1/32, and 1/64 of incoming light to stream into the sensor, respectively. Think of them as sunglasses for your camera.

Selecting the right ND filter slows the shutter for video on the Osmo pocket, and can also add some motion blur to a timelapse for a more dramatic effect. The polarizer enhances colors and reduces reflection and glare on surfaces including water, glass, ice, and snow.

PolarPro’s ND filters snap into place easily.

A compact case houses two rows of three filters, arranged by stop. Each filter was a bit challenging to remove, and the case design could be ergonomically improved. Once out of the bearings, though, the clever magnetic design made it easy to snap the filters on and remove them from the Osmo Pocket’s camera.

Though they come in a sleek compact case, the ND filters can be a bit challenging to remove at times.

I found PolarPro’s filters to be effective at cutting down the glare on water and enhancing hues (polarizer) while also letting me dial in my desired shutter speed for video (NDs). They’re a recommended investment for capturing the highest quality footage possible with the Osmo Pocket and minimizing any post-production efforts.

Below are example photos I shot with different filters from the set, along with the story behind each one, which provide some real world examples of where each is useful.

PolarPro PL (polarizer) ND filter for the Osmo Pocket

About the photo: Walking the colorful streets of San Juan, Puerto Rico, was a highlight of the trip. The sun was completely obscured from this scene, so I opted for the fixed polarizing filter to retain the vivid hues of the buildings.

PolarPro ND4 filter for the Osmo Pocket

About the photo: ND4 filters are recommended for use at dawn or dusk. While sailing along the Atlantic, back toward Florida, this combination of sun setting behind a group of clouds, illuminating an unknown island, and nearby rainstorm caught my attention from the 12th floor deck of the ship.

PolarPro ND8 filter for the Osmo Pocket

About the photo: It was overcast when we visited the only tropical rainforest in the US. The ND8 filter worked great in this situation. (Yokahu Tower in the background.)

PolarPro ND16 filter for the Osmo Pocket

About the photo: When pulling into Puerto Rico, everyone pulled out their cameras to capture Castillo San Felipe del Morro – one of the most impressive historical attractions in the Caribbean. As it was 10:00 am, local time, an ND16 filter was enough for a mostly sunny scene.

PolarPro ND32 filter for the Osmo Pocket

About the photo: A partially-cloudy day, on a tropical resort island in the Bahamas, still calls for the second most powerful filter in the kit.

PolarPro ND64 filter for the Osmo Pocket

About the photo: There were few clouds in the sky at Trunk Cay, a small resort beach located in the Virgin Islands. Since the noon sunlight was bearing down, I used the ND64 to eliminate glare and capture the contrasting dark blue and turquoise patterns in the bay.

Wrap-up

The DJI Osmo Pocket is a fantastic camera that’s great for capturing photos and videos while you travel, but PolarPro’s standard 6-pack of filters is a valuable addition. As one would expect, the fixed polarizer can make your photos pop thanks to improved contrast, increased saturation, and reduced glare, and unlike screw-in filters it fits perfectly on the Osmo Pocket.

Additionally, the selection of ND filters make it possible to capture more natural looking video when used to dial in the appropriate shutter speed on the camera – something that’s particularly useful given that the Osmo Pocket’s aperture is locked at F2.0, eliminating the option to use aperture to adjust exposure.

Overall, I found the PolarPro filters to be a great addition to my Osmo Pocket. This 6-pack of filters should definitely be on your list if you want to get the most out of DJI’s pint-sized camera.

What we liked

  • Useful range of filters
  • Magnetic design makes it easy to attach and remove filters
  • Good optical quality

What we’d like to see improved

  • Filters can be a bit difficult to remove from case

Articles: Digital Photography Review (dpreview.com)

 
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Review: DJI Osmo Pocket

26 Apr

DJI Osmo Pocket
$ 350 | dji.com

The Osmo Pocket is an all-in-one camera with a built-in stabilizer that is, as the name suggests, pocket sized and incredibly easy to use. The camera is similar to what is found on DJI’s drones and can shoot 4K video and still images in a variety of shooting modes. The Osmo Pocket is aimed primarily at vloggers, and the product’s specs seem to reflect that. The camera is housed inside a three-axis gimbal which keeps footage steady even as you’re doing the walk and talk.

Although the tech inside the camera and the gimbal aren’t particularly revolutionary, the Osmo Pocket is unique because it combines these two products into one, creating a single pocket-sized product that produces quality footage quickly.

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Key specifications

  • 12MP resolution
  • 1/2.3″ CMOS sensor
  • Max image size of 4000 x 3000 pixels
  • 4K Ultra HD video: 3840 x 2160 24/25/30/48/50/60p,
  • FHD: 1920×1080 24/25/30/48/50/60/120p
  • ISO 100-3200
  • Built-in gimbal
  • Weight: 116g / 4oz
  • Dimensions: 121.9 x 36.9 x 28.6 mm
  • MicroSD slot up to 256GB
  • LiPo 875 mAH 6.738 Wh battery, 140 mins operating time when shooting 1080p/30 fps video
  • 48 KHz AAC audio output

Operation

The Osmo Pocket only has two buttons making stand alone operation very straightforward. The button on the right turns the Osmo Pocket on, touchscreen controls allow you to select different shooting modes (photo, video, slow-mo, timelapse, pano), recording resolution (4K or 1080p), access settings like fast follow, slow follow, FPV, or to recenter the camera, and review files. The button on the left with the red dot is how you start recording footage or shooting photos.

ISO 100 | 1/50 sec | F2

There is an option to connect a smartphone to the Osmo Pocket via a small adapter and shoot through the DJI Mimo app. In theory, shooting with the app gives users more control over the Osmo Pocket’s features; you get a larger view of what you are filming, can see a histogram, and get alerts if your footage is overexposed. Although the idea is a nice one, in practice attaching a phone to the Osmo Pocket defeats its best feature: its simplicity.

For starters, the smartphone attachment is tiny – during my time shooting with the Osmo Pocket I misplaced this accessory and the plastic cover that slides off a number of times. To ensure that the connection between the Osmo Pocket and my phone was tight I had to remove my iPhone X from its protective case, which is a setup that I didn’t find ideal. Although attaching a phone and using the app gives you a better idea of what you might be shooting, once the phone is attached the setup feels really unbalanced. I found it difficult to shoot, walk, use my phone as a touchscreen to control the camera, and also make sure I wasn’t about to drop my phone and end up with a dreaded spider web screen.

With an optional attachement it’s possible to operate the Osmo Pocket from your smartphone using the DJI Mimo app.

There is an additional Bluetooth accessory that you can attach to the bottom of the Osmo Pocket, which in theory would let you monitor the footage you are shooting without having the phone attached to the Osmo Pocket, but I didn’t test this and can’t speak to its usability. It would have been amazing if the Osmo Pocket just had built in WiFi or Bluetooth connectivity. More often than not I chose to use the Osmo Pocket without the DJI Mimo app. For me, shooting with the tiny screen as my monitor and trusting that the camera would do its job ended up being the ideal way to use the Osmo Pocket.

Video

The biggest draw of the Osmo Pocket is its ability to shoot stabilized 4K video footage at 30 or 60 fps. It can also shoot slow-motion 1080p at 120 fps. It’s similar to the quality of footage that you will get from one of DJI’s drones and the most recent smartphones.

The camera has an ISO range of 100-3200 and a lens with an aperture of F2, and for best results you are going to want to use the Osmo Pocket in sunny conditions.

Where the Osmo Pocket really excels is in-camera stabilization as a result of the integrated gimbal. It managed to keep this video fairly smooth despite running after a dog through New York City.

The camera stabilization of the Osmo Pocket is really its most impressive feature. It’s easier to use than larger stabilizers and seems to be just as reliable, likely because the stabilization tech inside was initially created for keeping the cameras attached to drones stable. The moment you turn the Osmo Pocket on the camera rotates into place to begin tracking whatever might be in front of it. As you move the gimbal moves with you to create impressively smooth footage.

Although the pre-amps inside the Osmo Pocket aren’t the best, the camera did do a decent job picking up sound. You will notice that the clips from a very loud live show have an audio quality similar to what you might get when recording with a smartphone.

The Osmo Pocket delivers sound quality similar to what you would get with a smartphone. Likewise, due to its small sensor, low light video is on par with a smartphone as well.

Still images

If you are looking to shoot stills with the Osmo Pocket you should expect files that look similar to what you will get from your smartphone. Files top out at 12MP and the camera performs best when shooting in bright conditions. The 1/2.3″ CMOS sensor and the F2 lens are very similar to those found on standard smartphones and you can expect the images to look about the same.

Unfortunately, the Osmo Pocket seems to have trouble keeping up with fast moving subjects when shooting stills. I noticed a lot of unintentional image blur while using it. One thing worth noting is the ease with which you can swap between photo and video modes on that touchscreen – which isn’t always a good thing. On more than one occasion I found that I’d unintentionally switched the Osmo Pocket into photo mode when I meant to be in video mode.

ISO 100 | 1/2000 sec | F2

Conclusion

The DJI Osmo Pocket isn’t exactly a must-have gadget in most shooters’ professional kits, but it does a surprisingly good job of capturing quality, stabilized video footage for its tiny size.

The Osmo Pocket feels like a good option for capturing supplementary BTS footage on a big shoot or POV video stories for vloggers and influencers. Its simple operation won’t intimidate people just getting into content creation. It also seems like it could be a great starter camera for kids who have shown an interest in video production.

The built-in stabilization in the Osmo Pocket is ultimately what makes this gadget so appealing. Although the quality of footage is similar to what you will get from a standard smartphone, the Osmo Pocket provides something that a smartphone simply can’t do on its own: seamlessly smooth footage.

What we like:

  • Lightweight and easy to use as a standalone device
  • 4K video capabilities
  • In-camera stabilization
  • Decent audio quality
  • Touch screen controls

What we’d like to see improved:

  • Feels unbalanced when shooting with smartphone attached, which makes the Mimo app of limited use
  • Lack of built-in WiFi or Bluetooth to connect to app
  • Removable cover for smartphone adapter is so small that it’s easy to misplace

Articles: Digital Photography Review (dpreview.com)

 
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Tiffen launches ND/PL filter kits for DJI Osmo Pocket camera

10 Apr

Tiffen has introduced a pair of filter kits for videographers using the DJI Osmo Pocket that the company says help to create a more cinematic look to the footage recorded with the device. The kits consist of neutral density filters to control the shutter speed of the Osmo and polarisers to assist with color saturation.

A three-filter kit has ND4, ND8 and ND16 filters, each with a polariser built in, while the six-filter kit offers the same three ND/PL filters minus the polarising element.

Tiffen says the filters are coated to prevent moisture sticking to the surface and to protect against reflections and scratches. The optical glass has a 10-year warranty, and a metal case is provided to store them in.

The 3-filter Osmo Pocket Filter Kit costs $ 49.99 while the 6-filter kit is $ 79.99. For more information see the Tiffen website.

Press release:

Tiffen Filter Kits Now Available for the New DJI Osmo Pocket

Tiffen Filters, a division of The Tiffen Company, introduces their exclusive new line of filters for the DJI™ Osmo Pocket. The filter kits will consist of a three-filter kit of neutral density polarizer filters and a six-filter kit of neutral density and neutral density polarizers available for DJI™’s latest 3-axis stabilized handheld camera.

The filters feature a multilayer and hydrophobic coating, waterproof surface and scratch prevention technology. They guarantee ultra-low reflection rates and have unmatched color fidelity. Its 4K high definition optical glass has a ten-year warranty.

“We’re excited to announce the launch of these filter kits for the popular DJI™ Osmo Pocket,” said Andrew Tiffen, SVP of Marketing, The Tiffen Company. “Matching our exclusive line of filters with the latest pocket-sized handheld gimble from DJI gives content creators the tools they need to enhance the cinematic footage they create with the device.”

Each filter kit includes a compact metal carrying case to safely pack and store the filters until ready for use, making it easy to take these filters on any video-worthy adventure with the DJI Osmo Pocket.

With Tiffen’s exclusive kit of filters for the DJI™ Osmo Pocket, imagemakers can create more professional content by having greater control in camera. When used in conjunction with the award-winning filter technology engineered by Tiffen, the high-quality performance of the DJI™ Osmo Pocket camera system is taken to the next level.

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic announces a new battery grip for its Pocket Cinema Camera 4K

10 Apr

Blackmagic Design has announced the impending arrival of the Pocket Camera Battery Grip, a new battery adapter for its Pocket Cinema Camera 4K (BMPCC4K) that dramatically increases the battery life and adds a bit of extra grip for when handholding the 4K camera.

The Pocket Camera Battery Grip features a carbon fiber design with non-slip hand grips and a slide out tray that trades the BMPCC4K’s usual LP-e6 battery for two L-series batteries, increasing the battery life to up to two hours of continuous shooting on a single charge. When a charge is needed, users can charge the batteries inside the grip using the camera’s 12V DC connection.

As with other battery grips, the Pocket Camera Battery Grip attaches to the bottom of the BMPCC4K and screws into the integrated tripod mount using a tightening dial. The LP-E6 battery door on the BMPCC4K even gets a cozy place to hide in the grip so it doesn’t get misplaced for when you need to switch back.

The Blackmagic Pocket Camera Battery Grip will be available in August 2019 and is currently available to pre-order at B&H for $ 245 USD.

Blackmagic Design Announces New Blackmagic Pocket Camera Battery Grip

New camera grip attaches to any Blackmagic Pocket Cinema Camera 4K and holds 2 L-Series batteries for over 2 hours of non-stop shooting

NAB 2019, Las Vegas, USA – Monday, April 8, 2019 – Blackmagic Design today announced Blackmagic Pocket Battery Grip, a new battery adapter that features a slide out tray designed to hold two L-series batteries. This allows customers to power external flash disks or run the camera for over 2 hours of record time before charging. Blackmagic Pocket Camera Battery Grip will be available in August from Blackmagic Design resellers worldwide for US$ 245.

The Blackmagic Pocket Camera Battery Grip will be demonstrated on the Blackmagic Design NAB 2019 booth #SL216.

Designed for the Blackmagic Pocket Cinema Camera 4K, the new Pocket Camera Battery Grip lets customers replace the camera’s standard LP-E6 battery with two L-series batteries so they can shoot for over 2 hours on a single charge. It’s perfect for anyone that needs to shoot for extended periods of time. Featuring a unique carbon fiber design, non-slip hand grips, and a slide out tray that holds 2 L-series batteries, the Pocket Camera Battery Grip also makes it easier to hold the camera on longer shoots. L-Series batteries are standard batteries used for a variety of professional lighting equipment, so they’re readily available. Customers can even charge the batteries in the grip via the camera’s 12V DC connection in between takes.

Unlike traditional external battery packs that hang off the side of the camera, the Pocket Camera Battery Grip has a unique design that makes it part of the Blackmagic Pocket Cinema Camera 4K. Simply remove the detachable LP-E6 battery door cover from the camera, slide the pocket grip in and lock it into place. There’s even a storage slot built into the grip for the battery door cover. Because the Pocket Camera Battery Grip becomes part of the camera, customers get larger non-slip hand grips that make holding the camera even easier. Best of all, there’s no extra gear hanging off the camera so customers still have a compact camera that can go anywhere.

“The Blackmagic Pocket Cinema Camera 4K has been received incredibly well by our customers because it’s not a dumbed down consumer product, but it is a true digital film camera with incredibly advanced features generally only found on the most expensive cameras available,” said Grant Petty, Blackmagic Design CEO. “The new Pocket Battery Grip is exciting because it lets you power external flash disks allowing customers to record to the disk used for editing. It will even power the camera for over 2 hours on a single charge. As it’s designed to integrate into the cameras design, it’s more comfortable to hold the camera on longer shoots. Unlike regular external battery packs that hang off the camera, the Pocket Camera Battery Grip is integrated into the cameras design itself, so it doesn’t add a lot of weight and it fits perfectly!”

Availability and Price

Blackmagic Pocket Camera Battery Grip will be available in August for US$ 245 excluding duties from Blackmagic Design resellers worldwide.

Articles: Digital Photography Review (dpreview.com)

 
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Thoughts and Field Test: DJI Osmo Pocket

05 Apr

The post Thoughts and Field Test: DJI Osmo Pocket appeared first on Digital Photography School. It was authored by Suzi Pratt.

In December 2018, DJI released a revolutionary product: the Osmo Pocket.

DJI basically took the same camera sensor found in their popular Mavic Pro and Mavic Air drones and put it in the Osmo Pocket. The result is a tiny, pocket-sized camera that can capture high-quality 4K video and 12-megapixel still photos. Given the presence of the 3-axis gimbal, this camera is widely marketed as an ideal compact video camera. But how is it for still photography? Read on to learn more!

DJI Osmo Pocket

Video features

Standing at just about 4.8 inches (12.19 cm) tall and weighing 4 oz (113.4 g), the Osmo Pocket looks more like a toy than a camera. This makes it ultra stealthy. Despite its size, this camera comes packed with pro features. The tiny camera sits on a full 3-axis gimbal to give you stable video. You can shoot at up to 4K 60fps, remarkable for its 1/2.3-inch sensor. There are dual built-in microphones with noise canceling to capture high-quality audio.

The Osmo Pocket has many more video features including ActiveTrack to follow subjects, FaceTrack to automatically recognize faces, Slow Motion shooting, Timelapse and Motionlapse.

Photography features

Based on features alone, this is clearly a camera for those interested in shooting video. But there are notable features for still photography as well. The camera has a fixed lens of about 26mm (35mm format equivalent) and a fast f/2.0 aperture.

It also has panorama photo mode, which is brilliant on a camera with a built-in gimbal. When shooting a panorama, the camera automatically pans and shoots 4 images in sequence. This is much more accurate than precariously handholding your camera while panning or having to lug a tripod around. The only downside is that the camera won’t stitch the pan together automatically unless you shoot with a cell phone attached (more on this below).

DJI Osmo Pocket

Osmo Pocket LCD screen

A camera this tiny has its challenges, especially when it comes to seeing what you’re shooting. The built-in LCD screen is tiny and can be quite hard to see if you don’t have the best eyesight. I found it a challenge to not only compose my images but also to see if my shots were in focus. Luckily, DJI has a solution.

There’s a port next to the LCD to connect a smartphone via USB-C (or Lightning connector for iPhones). When using the free DJI Mimo app, a connected smartphone becomes an extension of the LCD screen.

This makes shooting with the Osmo Pocket an entirely different experience. It is much easier to compose your images and even unlock more photo and video features, such as stitching panoramas together automatically.

However, this makes the camera rig significantly bigger. It’s also much harder to shoot one-handed with a cell phone precariously attached to the Osmo Pocket via a USB-C connection.

Shooting with the Osmo Pocket

Using a camera this small is fun, but challenging. Its design is very different than cell phones or traditional cameras, so that can take some getting used to. When using the Osmo Pocket by itself, it is a one-handed device. There are just two buttons and a tiny touchscreen LCD that you swipe up and down to control the gimbal, and left and right to activate various features. Attaching the phone turns the Osmo Pocket into a two-handed camera, which can feel more ergonomic and natural.

When shooting with the smartphone, my instincts were to use the device as I would a smartphone camera. Instead, I had to use the DJI Mimo app, which has a very different interface than most smartphone apps. It also doesn’t let you zoom, and you instead have to physically move forward to zoom in.

Also, it was difficult to remember where my camera was. I usually shoot with my smartphone cameras on the left, and in this case, the Osmo Pocket camera is on the right since it is plugged into the phone’s USB-C port. This made composing images a challenge as I struggled to remember my main camera location.

DJI Osmo Pocket

Osmo Pocket photo quality

If you’ve shot photo or video with DJI drones, the photo quality that comes out of the Osmo Pocket is very similar. Colors are pretty natural, and the images are sharp (almost too sharp, depending on your taste). While the fixed lens is definitely not a macro, you can get reasonably close to your subject and capture photos with pretty good bokeh. Osmo Pocket is slow to focus (tap on the LCD to focus), which can be frustrating if you’re trying to shoot action.

Who’s this camera for?

Osmo Pocket isn’t aimed at a professional crowd, although it certainly could be used by a pro to capture B roll (supplemental footage). However, the size of this camera plus some of its limitations suggests that this is for casual camera users.

If you’re wanting to dabble in videography without investing in large and expensive camera stabilizers, the Osmo Pocket is a great option to consider. Keep in mind that it isn’t waterproof and definitely not a tough action camera like the GoPro; in fact, this camera is somewhat fragile given the loose nature of the gimbal.

DJI is slowly releasing accessories to add on to the Osmo Pocket such as 3.5mm external microphone adapter, mount, extension rod, and WiFi module. There are also polarizers and ND filters that you can get to mount to the front of the camera. These little accessories add to the cost of the already pricey camera and also point out some of the seemingly basic features that are missing from this camera.

Bottom line

If you want an ultra compact and stealthy camera for capturing smooth, high-quality video footage, the Osmo Pocket is a great option to consider. However, in most cases, this isn’t a do-all camera and is instead a supplemental device for capturing very specific footage.

Sample Photos

DJI Osmo Pocket

DJI Osmo Pocket

DJI Osmo Pocket

DJI Osmo Pocket

DJI Osmo Pocket

DJI Osmo Pocket

DJI Osmo Pocket

DJI Osmo Pocket

DJI Osmo Pocket

Video

The post Thoughts and Field Test: DJI Osmo Pocket appeared first on Digital Photography School. It was authored by Suzi Pratt.


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DPReview TV: ‘Wooden Niccolls’ with the Blackmagic Pocket Cinema Camera 4K

30 Mar

A ‘Wooden Niccolls’ is an episode in which Chris and Jordan bring together a film crew to recreate a scene from a Hollywood movie, all while testing a piece of gear. In the first Wooden Niccolls for DPReview TV, their team used the Blackmagic Pocket Cinema Camera 4K (BMPCC 4K) to recreate a scene from Eternal Sunshine of the Spotless Mind.

But wait – there’s more! You’ll go behind the scenes to see how the scene was shot, meet members of the crew, and learn a bit about rigging the BMPCC 4K. Will Chris win the Oscar for his portrayal of Kate Winslet in a dramatic role? Will Jordan’s touching performance bring you to tears? We look forward to critics’ reviews.

If there’s a movie episode you’d like to see our dynamic duo recreate, tell us in the comments!

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

  • Introduction
  • Blackmagic Raw
  • Interview with camera owner Phil Bowen
  • Meet Director Chris Dowsett
  • Location
  • Costumes
  • Shooting for post-production
  • Editing in DaVinci Resolve
  • The overhead shot
  • Disclaimer
  • The scene
  • Wrap-up

Articles: Digital Photography Review (dpreview.com)

 
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