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Posts Tagged ‘Pocket’

DJI releases $39 mic adapter for its Osmo Pocket camera

20 Mar

DJI’s Osmo Pocket is an impressive little camera that punches well above its size and size. The video from it has proven impressive, but the one area it lacks is in the sound department.

The onboard microphone aren’t necessarily terrible, but it could use a little improvement, and up until now that wasn’t possible. After many hints that one was on its way, DJI has finally released a 3.5mm microphone adapter for the Oslo Pocket that plugs directly into the camera’s USB Type-C port.

The adapter works with TRS 3.5mm connectors, meaning it supports stereo audio when used with stereo microphones in addition to mono audio. If it’s being used with a TRRS microphone, an additional TRRS to TRS adapter will be needed.

The DJI Oslo Pocket 3.5mm Adapter is available now at B&H and the DJI Store for $ 39.

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic Pocket Cinema Camera 4K gets Raw and URSA Mini 4.6K gets 2nd-gen update

06 Mar

Blackmagic has announced its new Camera 6.2 update, adding Blackmagic RAW codec support for the Pocket Cinema Camera 4K. Upon updating, BMPCC 4K owners will be able to use the camera to record in Blackmagic RAW with 3:1, 5:1, 8:1, and 12:1 constant bit-rate encoding and constant quality Q0 and Q5 recording options.

Blackmagic RAW was introduced in September 2018, but was only available for the URSA Mini Pro at that time. The format’s arrival on BMPCC 4K gives users the option to prioritize image quality or file size, depending on need, including recording at the highest settings while keeping file size to a relative minimum.

According to the company, users can record more than two hours of footage in 4K ‘full cinematic quality’ via Blackmagic RAW on a 256GB SD UHS-II card. These same inexpensive cards can now also be used when recording 4K DCI images using Blackmagic RAW 12:1. On the flip side, Blackmagic has removed the CinemaDNG formats.

Joining the Blackmagic Camera 6.2 update is the URSA Mini Pro 4.6K G2, a second-generation update to the URSA Mini Pro. The new G2 model offers ‘dramatic enhancement’ over the original, according to Blackmagic, bringing a new Super 35mm 4.6K sensor with 15 stops of dynamic range and all-new electronics for faster processing.

The URSA Mini Pro 4.6K G2 captures 4.6K images at up to 120fps and 1080p video at up to 300fps. It’s also capable of recording Blackmagic Raw. As with the first-generation URSA Mini Pro 4.6K, the G2 model features interchangeable lens mounts and ships standard with Canon’s EF mount. Blackmagic has also added a USB-C expansion port for recording to external disks. Full details can be found on Blackmagic’s website.

The Blackmagic Camera 6.2 update is available to download for free. The URSA Mini Pro G2 camera is now available to purchase for $ 5,995 USD from the company’s global resellers.

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic Pocket Cinema Camera 4K update adds pixel remapping, better battery life, more

06 Feb

Blackmagic Design has released Blackmagic Cameras 6.1, the latest firmware for its Pocket Cinema Camera 4K camera. The update includes better audio recording, improved battery performance, a new pixel remapping feature and other updates.

On the audio front, Blackmagic has implemented a new audio processor that ‘analyzes incoming audio from the dual microphones on each side of the camera to dramatically lower the noise floor, resulting in quieter recordings than possible before.’ Audio latency has also been reduced for more accurate syncing with video footage and improved real-time monitoring.

Screenshot of the menu area dedicated to the new pixel remapping feature.

A new in-camera calibration tool has also been added that lets users recalibrate pixels in the camera to fix brightness variations that can occur over time. ‘The new pixel calibration feature allows the camera to realign the light output of each pixel resulting in a smooth clean image under changing environmental conditions,’ says Blackmagic.

Other features and improvements include more accurate autofocus, a new media formatting interface designed to prevent accidental formats, 2:1 monitoring frame guides, and new power savings and efficiency fixes that Blackmagic claims improves battery life 10-15%.

Blackmagic Cameras 6.1 is available as a free download for existing Blackmagic Pocket Cinema Camera 4K customers on Blackmagic Design’s website.

Blackmagic Design Announces Blackmagic Cameras 6.1 Update

Major update adds new features for Blackmagic Pocket Cinema Camera 4K including better audio recording and improved battery performance.

Fremont, California, USA – February 4, 2019 – Blackmagic Design today announced Blackmagic Cameras 6.1 which is a new update for the Blackmagic Pocket Cinema Camera 4K. This update adds quieter audio recording, a new pixel remapping feature, new 2:1 monitoring frame guides, improved battery performance and much more.

Blackmagic Camera 6.1 update is available now as a free download from the Blackmagic Design website.

The new Blackmagic Cameras 6.1 significantly improves audio recording when using the built in microphones on the Blackmagic Pocket Cinema Camera 4K. The new processing now analyzes incoming audio from the dual microphones on each side of the camera to dramatically lower the noise floor, resulting in quieter recordings than possible before. In addition, latency has been reduced for audio monitoring, audio and video synchronization has been fine tuned, and the 3.5mm audio input selection interface is now more intuitive, making it faster to use.

Blackmagic Cameras 6.1 also improves auto focus performance. Auto focus now responds quicker and more accurately so that lens hunting is greatly reduced when the camera is locking on to the focal point. There’s also a new media formatting interface that helps prevent customers from accidentally formatting media cards. Once the camera is updated, customers will need to tap and hold the media format confirmation button for 3 seconds before a card will be erased and reformatted.

This update also includes a new in-camera calibration feature which allows customers to recalibrate pixels in the camera. Over time some pixels can change in brightness and create small variations across the sensor. The new pixel calibration feature allows the camera to realign the light output of each pixel resulting in a smooth clean image under changing environmental conditions. Blackmagic Camera 6.1 update also features 2:1 monitoring frame guides, which is another creative composition tool for filmmakers to frame shots. In addition, new power savings and efficiency enhancements improve battery runtime by 10-15% and give customers a more accurate indication of remaining battery power.

“The Blackmagic Pocket Cinema Camera 4K is an incredible success and it’s been very exciting watching the adoption of digital film workflows by a much wider range of people,” said Grant Petty, CEO, Blackmagic Design. “This update is exciting because it adds even more great new features to the camera and it’s an exciting way for us to say thank you to all the people who have purchased a Blackmagic Pocket Cinema Camera 4K and who have taken the time to discuss ideas for the future with us. We can’t wait to see what customers will produce next!”

Blackmagic Cameras 6.1 Update Key Features

Adds support for pixel calibration in camera. Improves auto focus performance. Improves signal to noise ratio performance of the camera’s internal microphone. Improves power efficiency for improved battery life. Adds 2:1 monitoring frame guide. Improves media formatting user interface. Improves audio monitoring latency performance. Improves 3.5mm audio input selection interface. Improves AV sync performance.

Blackmagic Cameras 6.1 is available as a free download for all existing Blackmagic Pocket Cinema Camera 4K customers from www.blackmagicdesign.com/support.

Articles: Digital Photography Review (dpreview.com)

 
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Comparative review: The best pocket printer in 2019

27 Jan
From left to right: Fujifilm Instax Share SP-2, Canon Ivy, Polaroid ZIP

With the resurgence of the instant camera, photographers and non-photographers alike have found a new love for printed photos. Enter pocket printers, a recent addition to the accessories market that offer portable, fast and simple photo printing. These pocket printers all work in basically the same way: They’re powered by rechargeable batteries, and once you connect your smartphone or camera via Wi-Fi/Bluetooth you pick your image, make an edit via the app (if you want to) and then click print.

Our selections were the Polaroid ZIP, Canon Ivy and Fujifilm Instax Share SP2

For a lot of photographers, these printers will feel a little gimmicky, but that doesn’t mean they aren’t useful and fun. So, we took three of the most popular models and played around with them to see which one we like best. Our selections were the Polaroid ZIP, Canon Ivy and Fujifilm Instax Share SP2, though it should be noted that many other brands have comparable offerings including HP and Kodak.

Specifications compared

Polaroid ZIP Canon IVY Fujifilm Instax Share SP-2
Dimensions 2.9 x 4.7 x 0.9 in 3.2 x 4.7 x 0.7 in 3.5 x 5.2 x 1.5 in
Weight 6.6 oz. (186g) 5.6 oz. (159g) 8.8 oz. (250g)
Powered by Micro USB Micro USB Micro USB
Battery Rechargeable 500mAh Lithium Polymer battery Rechargeable 500mAh Lithium Polymer battery Rechargeable 500mAh Lithium Polymer battery
Charge Time 1.5 hours 1.5 hours 1.5 hours
Prints per charge 25 20 20
Print time ~45 sec ~51 sec ~20 second + ~5 minutes to develop
Print paper / ~cost per shot Zink photo paper / ~$ 0.50 per shot Zink photo paper / ~$ 0.50 per shot Instax Mini /
~$ 0.50 per shot
Print format 2 x 3 in 2 x 3 in 1.8 x 2.4 in
Connectivity Bluetooth Bluetooth Wi-Fi
Price $ 99.95 $ 129.99 $ 139.95

Spec-wise, the Canon and Polaroid are virtually the same (this will come up again). With that out of the way, lets start with the obvious. The Fujifilm is a bit thicker and heavier than the other two. While the Canon and Polaroid are pretty comparable to a portable hard drive, the Fujifilm feels closer to single-serving cereal boxes in size. While the size is definitely noticeable, the weight difference is pretty negligible given that none of these printers are heavy by any stretch of the word.

To get an idea of their size, here’s all three printers next to a standard pack of playing cards.

The other major difference comes down to the printing format. The Polaroid and Canon both use ZINK paper (meaning, Zero Ink). This process works through cyan, yellow and magenta layers within the paper that respond to heat provided by the printer, making your photo possible. Meanwhile, the Fujifilm uses the same instant film as the Fujifilm Instax Mini line of cameras. (Note: Fujifilm also offers a square format printer that we assume works identically) ZINK paper prints as a 2″ x 3″ image with no border (by default, more on that later) on a sticky backed paper (read: sticker) while the Fujifilm instant film prints a 1.8″ x 2.4″ image with the instant film border that we all know and love (or maybe just know… I love it, but that’s just me).

Polaroid ZIP Canon Ivy

Design wise, the Polaroid and Canon basically just look like cute little hard drives and the Fujifilm has kind of an odd sleek sci-fi aesthetic to it. The Polaroid and Canon are available in a couple of colors (mostly pastels,) while the Fujifilm is available in silver or gold. The corners on the Polaroid and Canon are very round while they are a little more angular on the Fujifilm but still not sharp in any sort of way. The Canon also features a small loop for a strap.

In use

Ultimately, these three printers work in very similar ways. Of the three apps the design on the Canon app is definitely the most attractive though the Polaroid app is in a close second with just little bit less attention paid to how things flow. The Fujifilm app is ugly with colored tiles that feel like they were picked with very little design intent. That being said, I actually found that the interface of the Fujifilm app was the best when it came to usability. The differences here are minimal and in the end each app worked just fine.

One nice touch on the Fujifilm is that it will display the number of prints left

The apps feature a slew of options and customizability including: frames you can add to your photos, filters, basic color and exposure adjustments, cropping, and “stickers” you can add on top of photos. Outside of the frames, I didn’t find much appeal in most of these features. The color and exposure adjustments I tried seemed to only degrade the image quality and didn’t improve things much. I would say you’re better off using whatever editing software your smartphone comes with and just printing the edited photo through the printer’s app.

An example of one of the many lovely border options on the Polaroid ZIP app. Note: the sticker peeling after ~2 weeks.

Physically, they’re all fairly portable (though again, the Fujifilm less so), charge with a simple Micro USB cable, and use a variety of green, red and white lights to indicate their charging status or if there’s an error. One nice touch on the Fujifilm is that it will display the number of prints left in the pack when you turn it on. Loading film into all three of these is as easy as can be though the Fujifilm requires some reading/fiddling to figure out the first time.

The Fujifilm also allows you to remove and replace the NP-45S battery

Another nice feature on the Fujifilm is that it stands up on it’s own, taking up less desk space. The other two can only lay flat. The Fujifilm also allows you to remove and replace the NP-45S battery while the other two don’t have removable batteries.

All three of these printers were fun and easy to use.

In terms of the print time, there’s a clear winner: Fujifilm. If you’re looking to hand out prints fast, the SP-2 can churn them out in 20 seconds. That said, the 45-60 second range of the Polaroid and Canon didn’t feel excessive at all.

Lastly, the Fujifilm has one very big feature that only applies to those that own other modern Fujifilm cameras. Unlike the Polaroid and Canon (and most other pocket printers on the market) the Fujifilm can print directly from a handful of Fujifilm cameras. The compatible models are as follows: GFX 50S, GFX 50R, X-H1, X-Pro2, X-T3, X-T2, X-T20, X-T100, X-E3, X-A5, X100F.

Print Quality

The prints are just a bit smaller than an average playing card (left to right: Fujifilm, Canon, Polaroid).

Well let’s just get this right out of the way – compared to a dedicated inkjet photo printer, they all suck. These 3 pocket printers are exactly that, pocket printers. If you’re expecting true high quality prints out of these things then you’ll be disappointed.

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Let’s talk about the Polaroid and Canon prints first. I noticed a lot of over-sharpening in these both. Interestingly, despite the near-identical design, they show a really obvious difference in their prints; the Polaroid leans warmer and the Canon leans cooler. The Canon prints also seem to have a bit less of that over-sharpening which definitely helps in making people’s skin look more natural. Definitely keep in mind that these are small prints. Not your standard 4×6 but rather, half of that.

Keep in mind that these are small prints. Not your standard 4×6 but rather, half of that

As for the Fujifilm, because it uses instant film as opposed to photo paper, there’s a much different look to these prints. They’re soft and almost blurry, especially in comparison to the look of the Canon and Polaroid. The color seems to lean a bit cooler as well but I found that the color reproduction on the Fujifilm prints was without a doubt the best of the three. The Fujifilm prints also have a glossier finish than the others.

And the winner is… Fujifilm

Film (or paper) will cost money.

The Polaroid and Canon are extremely portable and if nothing else make for a really easy way to print custom stickers that reference specific memories you’ve captured on your phone. But the Fujifilm Instax Share SP-2 produced the most-pleasing images, prints the fastest, can connect to Fujifilm cameras and indicates the number of prints left. For that reason, it’s our choice.

Our pick: Fujifilm Instax Share SP-2

What we like:

  • Most pleasing print-quality
  • Prints in 20 secs
  • Indicator for number of prints left
  • Stands up-right
  • Print directly from Fujifilm digital cameras

What we don’t:

  • Larger and heavier than the competition
  • App design is ugly
  • Prints are pricey

Note: All of the images printed were taken with and printed from the apps on a Samsung Galaxy S9.

Articles: Digital Photography Review (dpreview.com)

 
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DJI announces the Osmo Pocket, ‘the world’s smallest 3-axis gimbal’ that shoots 4K60p video

29 Nov

DJI has announced the DJI Osmo Pocket, the world’s smallest three-axis stabilized camera system.

The Osmo Pocket features a 1/2.3″ sensor that captures 12-megapixel photographs and 4K60p video at 100Mbps. It also captures slow-motion footage at 120 fps when shooting 1080p. Audio is recorded with two buiilt-in microphones (one on the bottom of the camera and one on the rear of the camera) that feature noise-cancelling technology for reducing unwanted background noise.

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To compose shots, review media, navigate the menu, and select the various shooting modes DJI included a 1″ integrated touchscreen onboard the Osmo Pocket. The integrated shooting modes include ActiveTrack, which tracks a subject within the frame; FaceTrack, a more advanced version of ActiveTrack that will follow a particularly persons face when visible; Timelapse & Motionlapse, modes that speed up time and integrate motion into timelapse videos; FPV Mode, a locked shooting mode that follows the movement of the users hand while keeping the footage steady; and Panorama modes, which enables the capture of multiple images for stitching together in post-production.

For times when the onboard screen isn’t enough — and to unlock a slew of other features — users can also attach a mobile device using the onboard USB Type-C port. Using the included adapters, Android and iOS mobile devices can be connected to the DJI Osmo and operated with the dedicated DJI Mimo app. In addition to live-view and image review, DJI Mimo also adds Story Mode and Pro mode.

Story Mode simplifies the entire video creation process by offering ten templates that automatically control the camera movement and include music, transitions and color grading presets in post-production. After shooting is finished, the DJI Mimo app constructs an entire video that’s ready to share.

Pro Mode, which is available on numerous other DJI products, gives complete control of almost every camera setting imaginable. As its name suggest, it’s oriented more towards professionals, but when auto modes just aren’t enough, Pro Mode is there to fill in the gaps.

The DJI Osmo Pocket battery life is rated for two hours when shooting 4K30p video. The battery is built-in, so there’s no swapping out batteries on the fly, but it’s possible to charge on-the-go with an external battery pack.

DJI has also announced a range of nine accessories for the Osmo Pocket to expand creative possibilities, including an accessory mount, wireless module, controller wheel, expansion kit, ND filter set, waterproof case, extension rod, charging case, and a 3.5mm adapter.

The DJI Osmo Pocket retails for $ 349 and is available for pre-order at DJI.com and through other DJI Authorized Retailers, including B&H.

Capture Life’s Moments With Ease Using The DJI Osmo Pocket Stabilized Camera

The world’s smallest three-axis stabilized camera is made for your travels, family events and adventures

November 28, 2018 – DJI, the world’s leader in creative camera technology, today announced Osmo Pocket, a highly compact three-axis stabilized camera created for everyone. Designed to be incredibly easy to use, Osmo Pocket offers a host of intelligent features to help capture creative videos and photographs in a portable form factor.

“Innovation is at the heart of every product we create and DJI Osmo Pocket is here to change the way photos and videos are captured, not just by professionals but by parents, couples, adventurers, travelers, and everyone in between,” said Roger Luo, President at DJI. “Osmo Pocket is a portable personal camera crew and we can’t wait to see how people use it to capture their stories and share them with the world.”

Small yet powerful

At just over 4 inches tall, Osmo Pocket is DJI’s smallest three-axis stabilized camera. It redefines DJI’s family of handheld gimbals offering features never before seen in a product this compact. A 1/2.3-inch sensor records 12-megapixel photographs and 4K video up to 60fps at 100Mbps in stunning detail. Osmo Pocket also uses built-in dual microphones and advanced noise-canceling algorithms to ensure you capture high quality audio to match your footage. Furthermore, a battery life of up to two hours shooting video in 4K, 30fps means you can always rely on Osmo Pocket to capture your story no matter where you are at the very best quality.

Smooth, stable video

Building on DJI’s experience creating gimbal technology, Osmo Pocket helps capture stable video for all of life’s moments. The state-of-the-art three-axis mechanical gimbal compensates for movements and smooths these motions so you can focus on composition and subject matter. Whether you are taking videos of your vacation or documenting special holiday moments, Osmo Pocket helps ensure your video comes out smooth.

Simple and smart

Designed with ease of use in mind, Osmo Pocket doesn’t just let anyone shoot cinematic footage; it empowers creativity. The gimbal camera uses a 1-inch integrated touch screen that provides a high quality live view as well as the ability to toggle through the various shooting modes, adjust settings, review footage and gain access to a full suite of creative features including:

  • ActiveTrack- DJI’s image recognition algorithms allow Osmo Pocket to recognize and follow subjects of your choice, perfect for capturing family moments easily with the tap of your finger.
  • FaceTrack– FaceTrack takes ActiveTrack one step further. With enhanced ActiveTrack algorithms, FaceTrack automatically recognizes a human face and locks the subject in center of the frame at all times. It does not identify individual faces, but keeps the camera centered on one. To initiate FaceTrack, simply select selfie mode and the camera will detect your face.
  • Timelapse & Motionlapse– If you’re looking to turn minutes into seconds, Timelapse is perfect for capturing unique content with the effect of the world moving faster around you, while Motionlapse adds the dynamic element of camera movement to your Timelapse.
  • FPV Mode– FPV Mode lets you capture your greatest adventures by recording video from your perspective. Instead of locking the gimbal to maintain the horizon, FPV tells the camera to follow your every tilt and lean, shooting dynamic footage exactly as you experienced it.
  • 3×3 & 180° Panorama– For capturing breathtaking wide-angle photos, Osmo Pocket offers two Panorama modes. 3X3 takes an expansive 9 images in total while 180° mode captures 4 images. Osmo Pocket software stitches them together automatically so you can focus on the framing of the scene.

Unlock the full power of Osmo Pocket

A universal port under the touchscreen allows users to connect their mobile devices that use iOS Lightning or USB-C. Upon connection, the new dedicated DJI Mimo app will automatically open and serves as a monitor, while in-app menu offers a variety of intelligent features and recording modes:

  • Story Mode – Bring creative editing to your video with a host of preset music, video transitions and coloring. Choose one of 10 fun templates and Mimo will handle the camera movement for you. After finishing, Mimo automatically generates your very own short story, ready to be shared.
  • Pro Mode – If you want even more control over your content, “Pro mode” gives you access to camera setting adjustments and exposure settings to let you create exactly how you want, from rich video in bright conditions to a perfect handheld long exposure photo at night. Whatever you want to shoot, Osmo Pocket and DJI Mimo let you explore and expand your creativity. Osmo Pocket automatically detects and illuminates low-lit scenes into bright photos. This helps eliminates the need for a tripod, and you can rely on the gimbal to keep the camera still for a shutter speed of up to three seconds. Illuminate the dark, or capture the movement of light in a “light painting.” You’re only limited by your imagination.

A versatile tool with a range of accessories

An ecosystem of accessories unlocks the potential of Osmo Pocket:

  • Accessory Mount- The accessory mount makes Osmo Pocket compatible with action camera accessories so you’re able to capture your adventure footage, such as when mounted on a helmet, backpack or your wrist.
  • Wireless Module- The wireless module supports Wi-Fi and/or Bluetooth transmission between Osmo Pocket and your smartphone, providing remote access to the camera feed and control of Osmo Pocket; perfect for setting up a Timelapse or Motionlapse on a busy city street.
  • Controller Wheel- The wheel allows you to precisely control gimbal movement (left-right or up-down) enabling you to easily adjust the composition of your shot. Re-center the gimbal or switch to selfie mode easily with dedicated buttons on the handle.
  • Expansion Kit- The expansion kit includes the Accessory Mount, Wireless Module and Controller Wheel.
  • ND Filters Set**- Specifically designed for Osmo Pocket, ND filters attach to the front of the camera to reduce the amount of light entering the sensor. The ND Filter Set offers several levels of filter darkness and allows for more control over the camera’s aperture, exposure time, and sensor sensitivity settings.
  • Waterproof Case**- Bring a unique underwater perspective to your footage using the Waterproof Case which can be placed at a depth of 60 meters.
  • Extension Rod**- The Extension Rod attaches to the Lightning or USB-C port and provides 31 inches of reach to Osmo Pocket, opening a world of new creative angles that are normally difficult or impossible to get. A gimbal control joystick and camera button on the handle were designed for remote control when using the Extension Rod and a tripod was added to the bottom for expanded use cases
  • Charging Case**- This dual-purpose case not only protects Osmo Pocket while in transit but charges it as well. Dedicated sections were added into the case for your MicroSD card and ND filters so you can quickly grab your Osmo Pocket and know you’re ready to capture those moments and adventures.
  • 3.5mm Adapter**- The 3.5mm Adapter allows you to connect an external microphone if you prefer to capture audio using a separate device.

**coming soon

Price and Availability

Osmo Pocket retails for $ 349 USD and will be available for pre-order at store.dji.com, DJI Flagship Stores, DJI Authorized Retailers and additional retailers beginning today, November 28th 2:15 PM EST. Pre-orders will start shipping in December. For more information on all the new features and capabilities of Osmo Pocket, please visit www.dji.com/osmo-pocket.

OSMO Shield

OSMO Shield offers comprehensive two-year protection coverage, doubling your DJI warranty from one to two years. Customers also get an additional free accidental coverage service.

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic releases first Pocket Cinema Camera 4K footage

30 Aug

Blackmagic Design has released three videos demonstrating the performance of its upcoming Pocket Cinema Camera 4K. It updates the Pocket Cinema Camera introduced in 2013, was revealed at NAB 2018 in April and is expected to launch next month.

Ahead of that launch, Blackmagic Design has published the videos “Nature” by Mark Wyatt, “Models Walking at Night” by John Brawley, and “Models Walking in Daylight” also by John Brawley, each showcasing the upcoming camera’s capabilities. This is the first time footage from the camera has been published.

Both Wyatt’s and Brawley’s experiences with the camera are provided in each video description. In describing his time with the Pocket Cinema Camera 4K, Wyatt said:

I had the Blackmagic Pocket Cinema Camera 4K for only a few days, but overall I was really impressed by it. The weight of the camera is very liberating, especially when you are used to using larger camera systems. The screen is big and bright enough to use in daylight, which I found great for judging focus and exposure. And, the colors too on the screen, were also nicely represented. In fact, I would argue it is Blackmagic’s best screen yet.

The Blackmagic Pocket Cinema Camera 4K features a full size Four Thirds HDR sensor offering a native 4096 x 2160 resolution and 13 stops of dynamic range. The upgraded model also features dual native ISO, a USB-C expansion port with direct support for external storage drives, a new multi-function grip design, and much more.

Via: Newsshooter

Articles: Digital Photography Review (dpreview.com)

 
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Latest Apple ad: iPhone Portrait Lighting is a ‘studio in your pocket’

20 May

No matter your attitude towards Apple and its products, it’s probably fair to say the company’s iPhone ads are among the more visually pleasing and entertaining commercials we get to see on TV or online. And like many recent ads, Apple’s latest clip is related to its smartphone’s photography capabilities.

The ad—titled ‘Studio in your pocket’—promotes the iPhone X and 8 Portrait Lighting feature. In the ad, a woman pulls out her iPhone to take a selfie in a train station when all sorts of studio lights, umbrellas and softboxes materialize out of nowhere around her—emphasizing one of the iPhone’s most distinguishing photography features.

Despite some manufacturers now offering similar functions, Portrait Lighting is still pretty much exclusive to Apple devices. It works on both front and main cameras (on the iPhone X, only rear on the iPhone 8 Plus and below) and applies computational effects to a subject that aim to simulate lighting effects you could achieve in a studio with proper lighting equipment. The effects can be applied at capture or later during editing. Options include Natural Light, Studio Light, Contour Light, Stage Light and Stage Light Mono.

You can read more about the feature in our iPhone X review or watch a tutorial here, and while it is most certainly not equal to a bunch of softboxes, umbrellas, or other professional lighting equipment, the feature is impressive in its own right.

Have you used Apple’s Portrait Lighting? Do you think the results can compare to the real thing? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic Design announces Pocket Cinema Camera 4K

10 Apr

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Way back in 2013, Blackmagic Design introduced the Pocket Cinema Camera, a compact camera with a Super 16 sensor that promised cinema recording quality in a body about the size of a Sony a6500. While it delivered high quality footage, many users acknowledged that it felt like a version 1 product, including frustrating issues like fussy behavior, short battery life, and inelegant ergonomics and controls.

At NAB in Las Vegas, Blackmagic finally announced the sequel many were waiting for, the Pocket Cinema Camera 4K. Video shooters will be happy to know that it’s a significant upgrade at a very aggressive price point.

The Pocket Cinema Camera 4K is built around a Micro Four Thirds sensor with dual native ISO and a native DCI 4K (4096×2160) resolution. Although we don’t have any technical information on the sensor, this sounds suspiciously similar to the one used in Panasonic’s GH5S. Blackmagic claims the sensor can capture 13 stops of dynamic range.

Blackmagic finally announced the sequel many were waiting for, the Pocket Cinema Camera 4K. Video shooters will be happy to know that it’s a significant upgrade at a very aggressive price point.

The camera will be able to record DCI 4K at 60 fps and windowed HD (a native 1080 crop) at up to 120 fps in either 10-bit ProRes or 12-bit Raw formats. Various internal recording media are supported including standard SD cards, UHS-II cards, and CFast 2.0 cards.

What’s potentially more interesting, however, is the option to record externally using the camera’s USB-C port. Blackmagic claims it’s the first camera that will let users connect media, like an SSD, directly to the camera’s USB-C port for direct external recording. This means it should be possible to go directly from shooting to working on your computer without transferring data from cards. It seems like a brilliant, if not obvious, use for the USB port.

The Blackmagic Pocket Cinema Camera 4K. Image courtesy of Blackmagic Design

In addition to the USB-C port, there’s also a full sized HDMI port that can output clean 10-bit video, a mini XLR input with 48v phantom power for audio, 3.5mm audio input, and a headphone jack. Power comes from a standard Canon LP-E6 type battery, and there’s a locking DC power connector that protects the camera from being accidentally unplugged.

The camera’s body is made from a carbon fiber polycarbonate composite to keep it both sturdy and light. It has a substantial grip and a top button layout similar to what’s found on many mirrorless cameras, which should improve handling over the original.

Blackmagic claims it’s the first camera that will let users connect media, like an SSD, directly to the camera’s USB-C port for direct external recording.

On the rear is a large 5″ touchscreen for composition, viewing exposure parameters, and useful tools such as a histogram and focus peaking. Notably, Blackmagic doesn’t mention support for waveform displays or vectorscopes.

The camera can capture still photos, though Blackmagic hardly mentions it. Since this camera is clearly aimed at videographers we don’t expect a deep feature set for regular photography.

What may be most impressive about the camera is the price. The Pocket Cinema Camera 4K will sell for $ 1295 and be available later this year. We definitely look forward to getting our hands on this camera and testing it out.

Press release:

Blackmagic Design Announces Blackmagic Pocket Cinema Camera 4K

Next generation 4K camera features dual native ISO, full 4/3 HDR sensor, 13 stops of dynamic range, and ProRes or RAW recording to internal SD/UHS-II and CFast cards, or even external USB?C drives!

NAB 2018, Las Vegas, USA – April 9, 2018 – Blackmagic Design today announced the all new Blackmagic Pocket Cinema Camera 4K, a handheld digital film camera with full 4/3 HDR sensor, dual native ISO with up to 25600 ISO for incredible low light performance as well as 13 stops of dynamic range. It also eliminates expensive external recorders, as it features a unique new USB-C Expansion Port, which allows customers to record using the internal SD/UHS-II and CFast recorders or directly to the same external disks they will use for editing and color correction. The Blackmagic Pocket Cinema Camera 4K will be available from Blackmagic Design resellers worldwide later this year for only US$ 1,295.

The Blackmagic Pocket Cinema Camera 4K will be demonstrated on the Blackmagic Design NAB 2018 booth at #SL216.

The revolutionary new Blackmagic Pocket Cinema Camera 4K is the handheld digital film camera that customers have been asking for. It packs incredibly high end imaging and professional features into a portable and affordable design that can be used anywhere. The compact body style is perfect for shooting independent films and documentaries, fashion shows, travel blogs, web videos, weddings, corporate video, sports and much more.

The Blackmagic Pocket Cinema Camera 4K features a full size 4/3 HDR sensor with native 4096 x 2160 resolution and 13 stops of dynamic range for true digital film quality. The full size of the 4/3 sensor is designed to perfectly match MFT lenses so the crop factor is greatly reduced, giving customers a wider field of view. It also features dual native ISO with up to 25600 ISO for incredible low light performance.

The Blackmagic Pocket Cinema Camera 4K is packed with features such as a MFT lens mount, large 5 inch touchscreen monitor, 10-bit ProRes and 12-bit RAW recording, 3D LUTs, 4 built in microphones, mini XLR audio input with phantom power, Bluetooth wireless camera control, HDMI on set monitoring output and more. The latest Blackmagic Design color science lets customers shoot images that are far better than DSLR cameras and even better than professional digital film cameras costing tens of thousands more.

Designed using a space age carbon fiber polycarbonate composite, the body of the Blackmagic Pocket Cinema Camera 4K is extremely strong and light. The carbon composite material consists of a high strength polymer that’s reinforced with carbon fibers. This gives the camera body incredible strength and rigidity to help protect it from accidental knocks and drops which can often result in damage. The handheld design features a multi function grip which has logically placed buttons and dials that allow super fast access to essential shooting functions such as recording start/stop, still photos, ISO, shutter, aperture, white balance, power and more.

Fourth generation Blackmagic Design color science lets customers shoot HDR images in film, video and new extended video modes. The new extended mode combines the latitude of digital film with an optimized video file. This gives customers working on fast turnaround projects an ideal solution for shooting great looking images that don’t need a lot of color correction or post production work.

Images can be recorded onto standard SD cards, faster UHS-II cards or CFast 2.0 cards in either ProRes or RAW formats. The Blackmagic Pocket Cinema Camera 4K can record 4K images at up to 60 frames per second and windowed HD at up to 120 frames per second. It’s also the first camera that lets customers record directly onto the same exact external USB-C media drives they use for editing and color correction. That means customers can turn projects around much more quickly because they don’t have to transfer files. All they need to do is unplug the USB-C drive and then connect it to their computer to start editing.

The Blackmagic Pocket Cinema Camera 4K uses the same MFT (Micro Four Thirds) lens mount as the original Pocket Cinema Camera so customers can use the investment in lenses they already own. The MFT mount is extremely flexible and allows for different lens adapters so customers can also use PL, C, EF and other types of lenses from manufacturers such as Canon, Nikon, Pentax, Leica and even Panavision.

The rear of the camera features a large bright 5 inch touchscreen that makes it easy to frame shots and accurately focus. It also uses the same Blackmagic OS as URSA Mini so customers can use simple tap and swipe gestures to adjust settings, add metadata and view recording status. On screen overlays make it easy to see recording parameters, status, histogram, focus and peaking indicators, and playback controls. In addition, 3D LUTs can be applied for both monitoring and recording.

For audio, the Blackmagic Pocket Cinema Camera 4K features multiple built in microphones with an extremely low noise floor, a mini XLR input with 48 volts of phantom power to connect professional lapel and boom mics, and a 3.5mm stereo audio jack for connecting different types of video camera microphones. The high quality built in audio recording means customers don’t have to carry around a separate recorder.

The Blackmagic Pocket Cinema Camera 4K also includes a full size HDMI connector which can output HDR video as well as a clean 10-bit video feed with optional on screen overlays. There’s also an innovative high speed USB-C Expansion Port for adding external accessories such as flash drives and an SSD for external recording. The camera uses standard LP-E6 batteries and can be charged via USB-C or the locking DC power connector, which protects the camera from being accidentally unplugged during a shoot.

“Customers love the original Blackmagic Pocket Cinema Camera and have been asking us for a 4K version,” said Grant Petty, Blackmagic Design CEO. “We’ve listened and built a camera that combines all of our newest ideas and customer feedback from the previous model! The new Blackmagic Pocket Cinema Camera 4K is exciting because it packs so much technology into an incredibly small design. We feel it will go well beyond what customers expected. It’s perfect for anyone that needs a truly professional ultra compact digital film camera. This is not a consumer camera that’s trying to do high end work, it’s a true high end camera designed for high end work.”

Blackmagic Pocket Cinema Camera 4K Features

  • Full size 4/3 sized sensor with native 4096 x 2160 resolution sized sensor.
  • Compatible with extremely high quality Micro Four Thirds lenses.
  • Super wide 13 stops of dynamic range allows capture for high end feature film look.
  • Up to 25600 ISO for incredible low light performance.
  • Carbon fiber polycarbonate composite body which makes it lightweight, portable and durable.
  • Multi function grip for quick access to recording start/stop, still photos, ISO, shutter, aperture,white balance, power and more.
  • Built in SD, UHS-II and CFast card recorders.
  • USB-C expansion port allows longer duration recording directly to an external SSD or flash disk.
  • Standard open file formats compatible with popular NLE software such as 10-bit ProRes and 12 bit RAW.
  • Features full size HDMI output for monitoring with camera status graphic overlay.
  • Professional mini XLR input with 48 volts of phantom power for connecting to pro microphones.
  • 3.5mm audio jack, headphone jack, and locking DC 12 volt power connection.
  • Built in 5” LCD touchscreen allows accurate focus when shooting 4K.
  • LCD supports on screen overlays including status, histogram, focus peaking, and transport controls.
  • Records 4K images at up to 60 frames per second and windowed HD at up to 120 frames per second.
  • 3D LUTs can be applied for both monitoring and recording.
  • Blackmagic OS as used in URSA Mini and URSA Broadcast cameras.
  • 4th generation Blackmagic color science.
  • Supports remote camera control via Bluetooth.
  • Includes full license for DaVinci Resolve Studio editing, color, visual effects and audio post production.

Availability and Price

Blackmagic Pocket Cinema Camera 4K will be available later this year for US$ 1,295 from Blackmagic Design resellers worldwide.

Articles: Digital Photography Review (dpreview.com)

 
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Review of the Godox AD200 Pocket Flash

02 Apr

Can you think of the ideal camera flash which can fit in your pocket, has almost 3-times output or regular speedlights, and also features a modeling light? The Godox AD200 is one such pocket flash (not if you are wearing skinny fit jeans) which meets all three of those expectations. That is why this flash has been my personal favorite outdoor fashion shoot light source.

To give you a quick overview of some of the features of the Godox AD200 flash, it features TTL, HSS (high-speed sync) up to 1/8000th of a second, 60 guide number, multi-stroboscopic flash feature and second-curtain sync.

If these specifications make you interested in this Godox flash, let me share my personal views and experiences after using it for more than six months now.

Review of the Godox AD200 Pocket Flash

Built Quality and Physical Overview

When you hold the Godox AD200 flash in your hand your first reaction might be that it is too heavy, as it weighs about 1 kg (2 lbs). Although it is heavier than any flagship flash than you might have used to date, at the end of this review you may realize that it is still worth carrying along to a shoot.

The built quality seems and feels durable and strong, almost a par with Canon and Nikon speedlights.

Talking about the physical overview, the front side of Godox AD200 has an interchangeable flash head mount. This allows you to mount the standard Fresnel flash head or the bare bulb flash head.

The only difference between this flash as compared to a speedlight is that the head of the AD200 cannot be rotated. And, the AD200 cannot be mounted on a camera, it can only be used as an off-camera flash. This could be a concern for some, but actually, this flash is not built to be used on-camera anyway.

The standard Fresnel head

The Fresnel flash head is ideal for situations when you are shooting without a light modifier and want to use it as any other speedlight. But an additional feature that the AD200 has is two LED strips on this head, which can use used as a modeling or continuous light. The continuous light could help the camera to focus in low-light conditions, instantly.

Bare bulb

The bare bulb flash head is ideal when while using this Godox flash with a light modifier, as the bulb is omnidirectional. I would choose to avoid using this head otherwise, as it is fragile and could easily be damaged shooting without a light modifier.

Controls

On the back side of the flash rests an AV display panel which is big enough for you to clearly see the various icons being displayed. There are five buttons dedicated to respective functions, a dial to adjust the flash exposure and the infrared sensor panel. The placement of the buttons, dial, and the screen is exactly what you as a photographer would desire in a flash.

On one side of this pocket flash, you will spot the Lithium battery slot, an unlock switch to change the flash head and a rubber cover which covers the 3.5mm sync cord jack and wireless control port. On the other side sits the ON/OFF switch, mini USB port, and a 1/4″ tripod/stand mounting hole.

Review of the Godox AD200 Pocket Flash

Highlighted Features and Performance

TTL (Through-the-lens)

This pocket flash by Godox features TTL metering, a technology which allows the flash to sync with the camera and automatically set the flash exposure based on the camera exposure. Using a flash in TTL mode is exactly the same as using the camera in automatic mode. The camera exposure helps the flash to set its own output value accordingly to correctly expose the frame or the subject.

The TTL mode performance on the Godox AD200 is precise in a majority of situations and it works perfectly in sync with the camera exposure to properly expose the subject. I rarely came across any instances where I got an underexposed or overexposed photo when shooting in TTL mode. Even if I did encounter exposure issues, I used the FEC (flash exposure compensation) feature to overcome it.

HSS (High-Speed Sync)

The Godox AD200 can sync up to 1/8000th while using its HSS functionality. This is ideal for situations where you want to freeze a fast-moving subject or shoot at an outdoor location where you need to control the light.

Review of the Godox AD200 Pocket Flash

Rear-Curtain Sync

Using the rear-curtain (or second-curtain) sync feature of the Godox AD200, you can shoot some really creative and cool photos with long exposures.

Ideally, when you shoot using a flash, the light gets fired from the flash the moment the shutter opens. So if you are shooting a long exposure photo of two seconds, the flash will fire the moment you press the shutter release button and whatever happens after that does not get exposed properly.

But by using the second-curtain sync feature, you can instead make the flash fire right before the shutter closes. Considering the above example, the flash will now fire just before the 2-second exposure is completed and the shutter closes.

Using this feature might sound confusing, but trust me, once you practice you may fall in love with it.

Flash Exposure Compensation

Assume flash exposure compensation to be exactly like the exposure compensation feature of your DSLR camera. If you feel that you are not getting the desired exposure in your photo while using the flash in TTL, or if you plan to try something different, you can adjust the flash exposure compensation.

This amazing feature lets you reduce or increase the flash output as per your desire, all you have to do is adjust the exposure value to your requirements. This is basically like shooting in aperture priority or shutter priority mode, without getting into manual mode.

Review of the Godox AD200 Pocket Flash

Flash Output

The AD200 has a guide number of 60 and the flash output that you get is almost three times of what any flagship speedlight can provide. I was able to expose my subject correctly while shooting outdoors in bright daylight conditions, and believe me when I say that the flash is powerful enough to overpower the background light.

Imagine using three speedlights at a time and on the other hand using just one Godox AD200 flash. The light output shall be almost same. For me, it has performed amazingly well even in low light conditions as I used the built-in LED light to ensure that the focus and flash exposure were correct.

Godox AD200 Flash Recycle Time

The recycle time also plays an important role while deciding on the perfect flash, so here are some tests that I conducted to figure out the recycle time of this flash at various powers.

The recycle time on this flash at full power is quite impressive:

  • While using the flash at 1/1 (full) power, the recycle time that I got was just less than 2 seconds.
  • While using the flash at 1/2 power, the recycle time that I get was almost half a second.

I mostly use a flash when I’m shooting fashion and portraits, and with this swift recycle time I hardly miss any shots. Even if you plan to buy this flash for wedding, action, or event photography, I am sure you will thank me later.

Review of the Godox AD200 Pocket Flash

Would I recommend this?

At $ 299, this pocket flash by Godox looks like an ideal choice for a fashion, wedding, event, or even sports photographer. This flash has almost all the features that you, as a hobbyist or as a professional photographer, would require to get the desired results, with almost three times the power of a regular speedlight.

I have been using this portable flash for almost 6 months now, and I do not have any major complaint about this beauty, except for the display panel which could be better for outdoor visibility.

The best part about the Godox AD200 is that there is a universal model of this pocket flash. This means that you can pair this flash with the compatible trigger (Canon, Nikon or Sony) and use it as an off-camera light source. So if you own multiple brand cameras, this is another reason you should consider investing your $ 299 in this Godox flash.

The post Review of the Godox AD200 Pocket Flash appeared first on Digital Photography School.


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Flip to flop: the pocket camcorder flash in the pan

17 Aug

Whether it’s the Walkman, Photoshop or the GoPro, every now and again a product comes along that so perfectly epitomizes the form, that its name is taken to represent the entire category of products (whether its maker likes it or not). For a couple of years, the Flip Video pocket camcorder was just such a device. The dead giveaway being that you can probably picture what I mean by ‘Flip Video’ but not by the phrase ‘pocket camcorder.’

In a manner similar to GoPro, the Flip wasn’t necessarily the most technologically innovative product, but it represented a novel arrangement of components in such a way that it heralded a new class of devices. Rather than making you carry around a full-sized camcorder, the Flip squeezed a small sensor, a battery and some memory together in a genuinely pocketable package.

The first units captured VGA resolution, which wasn’t as undesirable as it now sounds, since standard (1950s) definition TV still ruled the world in the mid 2000s. In fact the Flip Video grew out of a device so simple that could only be used once, with the expectation that its output would be transferred to DVD (which, for all their ‘digital quality,’ are essentially ‘widescreen’ standard definition discs).

A video camera, in your pocket!

In the classic ‘it only has to be good enough‘ fashion that Allison highlighted earlier this week, the Flip was a raging success. The first version, launched in 2007, captured a claimed 13% of the total camcorder market within a year of launch and for a while they seemed like the only video devices anyone was buying.

By 2009, though, the Flip Ultra HD brought 1280 x 720 video and, with its 8GB of internal memory, could capture 2 hours of footage. A flip-out USB connector allowed this footage to be offloaded and some basic sharing software was accessed in the same manner. Above all, though, it remained simple. There was a tiny screen and a big red button to start recording. Beyond this there were directional buttons to activate the digital zoom, buttons for play and delete and that’s pretty much it.

No need to carry cables or software: you could just connect the flip-out USB socket

The speed with which the Flip phenomenon emerged meant the whole sector was comparatively mature by the time DPReview conducted a roundup/introduction. By 2010, Flip itself had dropped a little off the pace and rivals such as Panasonic, JVC, Kodak (remember them?) and Sony (whose ‘Bloggie’ branding just didn’t pass into common parlance as smoothly as Walkman had) had not only started to muscle-in, but had already moved to Full HD capture. Imagine that!

The Flip Mino HD shot 720p video: resolution so high that not everyone had a TV that could show it, yet.

As is probably very apparent from the footage included in our introductory article, I knew nothing whatsoever about shooting video, but since all you could do is hold the camera up the right way and hit the big red button, that didn’t really matter. We were all going to be the next Kubrick. Or, at least, were going to imperil our friend’s mobile data limits by taking advantage of Facebook’s newly-added video capabilities.

Flip finally flops

This talk of mobile data already hints at what would eventually wipe out the entire class, but interestingly, I think, the Flip itself didn’t die as a result of the challenge from smartphones. Smartphones with video were still comparatively rare (though clearly visible in the offing) and the Flip was a successful product in a comparatively buoyant market when the plug was pulled.

The quality wasn’t great, but pocket camcorders could be pretty fun

Instead, its downfall was that the company got bought by the wrong buyer. Network infrastructure company Cisco bought Flip Video in 2009, during a period in which cash-rich companies were diversifying into just about anything that seemed internet-related. But just two years later, under pressure from shareholders, it closed most of its consumer division to refocus on its core business. Interestingly, there doesn’t appear to have been any attempt to sell the business, which suggests there was already a significant question mark hanging over it.

The pocket camcorder class would persist for another couple of years but would soon enough be rendered irrelevant by the camcorder you already have with you (sound familiar?). Perhaps there were lessons the wider camera industry could learn from the brilliant but short-lived impact of the Flip Video. You can bet GoPro has given it plenty of thought.

The Flip cam: My first time filmmaking

by Dan Bracaglia

Still image from ‘They Dream,’ a short film I shot on the Flip Mino (close to actual resolution) in 2008. While Richard was reviewing cameras for DPReview, I was busy getting my degree and making (bad) artsy short films.

I remember the Flip fondly, specifically the Flip Video Mino which debuted in the summer of 2008.

I was an undergraduate at Rutgers University and the editor in chief of our student newspaper, the Daily Targum when MTV reached out to me, along with editors of other college papers with a proposition: we’ll send you a Flip cam to keep if you use it to make and submit a short film back to the network (specifically MTVU). Having shot, but never edited video footage before, I was intrigued and obliged their offer.

The device, capable off 640 x 480 video seemed way ahead of its time. It could capture up to an hour of footage on 2GB of internal memory, offered a built-in microphone, a postage stamp-sized LCD, digital zoom, and best of all, had a built-in USB for charging and off-loading footage.

The day it arrived I brought it out to a university-sponsored concert to get some test shots even though there was a strict no-video policy. I figured the Flip was small enough, no one would pay me any mind. I was wrong, as I was instead bombarded by curious classmates, eager to check out the strange new device.

‘The Flip cam removed a major mental barrier for me in terms of making movies.’

The short film I ended up submitting, titled ‘They Dream,’ represented my first foray into the world of video editing, and was hacked together over the course of an all-nighter using iMovie. Without giving too much away, I warn you that it is both amateurish and embarrassing. But artsy cliches and bad editing aside, The Flip cam removed a major mental barrier for me in terms of making movies. Suddenly, the labor of getting the shot became as simple as pulling the Flip out of my pocket, turning it on and pressing record.

I still own the Flip cam and it still works. In fact I recently plugged it in and found a whole cache of questionable college-age footage, shot by both me and by friends. Another reminder of how simple it was to operate (and how wild my college years were). So thank you Flip cam, for introducing me to the wide world of video capture and editing. By today’s standards your footage may be bad, your audio crap and your digital zoom laughable, but at the time, you were the bees knees and and integral part of my visual development.

Articles: Digital Photography Review (dpreview.com)

 
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