RSS
 

Posts Tagged ‘releases’

Lomography releases gold-plated Daguerreotype Achromat 64mm F2.9 lens

10 May

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6340143185″,”galleryId”:”6340143185″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Lomography is back with another variant of its Daguerreotype Achromat 64mm F2.9 Art Lens. The lens was first launched on crowdfunding website Kickstarter in early 2016, followed by a chrome-plated version introduced last summer. This time around, Lomography is offering a limited edition gold-plated version of the Achromat 2.9/64, that joining the chrome-plated and original black/brass variants.

The Gold Plated Daguerreotype Achromat 2.9/64 Art Lens is “wrapped in a glossy coat of real gold plate” applied to the underlying brass, says Lomography. The lens is otherwise the same as the others in the collection, including Canon EF and Nikon F mounting options, a helicoid focusing mechanism, 37-degree FOV, 40.5mm filter thread, and 64mm focal length.

Here are some sample photos captured with the Daguerreotype Achromat:

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_5843442448″,”galleryId”:”5843442448″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The Gold Plated lens is available now globally from Lomography’s online store and Gallery Stores now for $ 550 USD. The brass, black, and chrome-plated versions are priced at $ 400 USD.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Lomography releases gold-plated Daguerreotype Achromat 64mm F2.9 lens

Posted in Uncategorized

 

BenQ releases SW240 PhotoVue monitor for photographers on a budget

03 May

BenQ has added a new entry-level monitor to its SW PhotoVue line of photo editing monitors. The new SW240 is a 24-inch 1080p 10-bit IPS display that will sit below the 27-inch QHD SW2700PT, the 27-inch UHD SW271, and the 32-inch UHD SW320, and like the rest of the lineup, it was designed with photo editors in mind.

The SW240 boasts 99% AdobeRGB coverage, 95% DCI-P3, a 14-bit 3D Look Up Table (LUT), hardware calibration, an ‘advanced black and white’ mode, and a color mode hotkey for switching between AdobeRGB, sRGB, and DCI-P3 while editing.

“We want to make professional tools accessible to everyone, whether you’re just starting out or you’re a pro upgrading an old monitor, the SW240 is the perfect choice,” says BenQ Product Manager Jason Lee. “It fits in our professional lineup with pristine color accuracy and without the hefty price tag of similar professional monitors.”

Key features:

  • 24.1 inches, 16:10, 1920 x 1200 resolution
  • 99% Adobe RGB coverage, 100% sRGB and 95% DCI-P3
  • 14-bit 3D LUT, ?E ? 2
  • Hardware Calibration with Palette Master Element calibration software
  • Color Mode HotKey for switching between color modes
  • Advanced Black & White mode
  • Optional shading hood

Of course, the most important feature for this “value monitor” is its price, and that’s where BenQ may have missed the mark. The SW240 monitor is available now for $ 400 by itself—the optional shading hood will cost you an additional $ 100. Which makes us wonder: why would you purchase an SW240 for $ 500 (with the shading hood) when you can get the SW2700PT 27-inch QuadHD option (shading hood included) for just $ 50 more right now?

Are we missing something? Let us know what you think in the comments.

Press Release

BenQ Adds Best Value Professional Photo Editing Monitor to Its Award-Winning SW PhotoVue Line

The High-Quality SW240 Monitor Gives Seasoned Photographers and Hobbyists All the Right Tools at the Right Price

COSTA MESA, Calif. — May 1, 2018 — BenQ America Corp., an internationally renowned provider of visual display solutions, today released the new SW240 24.1″ PhotoVue Photo Editing Monitor. Presenting photography professionals, enthusiasts and students with the most affordable AQColor SW PhotoVue Monitor to date, it supports 99% Adobe RGB color space for greater and more natural color reproduction and hardware calibration via BenQ’s Palette Master Element software for optimal, long-lasting, accurate color performance users can trust. The new monitor completes BenQ’s SW PhotoVue professional photography IPS portfolio, which includes the award-winning SW2700PT (27″ QHD), SW271 (27″ 4K UHD HDR) and SW320 (32″ 4K UHD HDR).

“Great artists rely on great tools, which is why we offer a complete family of professional photography monitors to suit every level, from the new value-priced 24.1″ SW240 up to our 32″ display,” said Jason Lee, product manager at BenQ America Corp. “We want to make professional tools accessible to everyone, whether you’re just starting out or you’re a pro upgrading an old monitor, the SW240 is the perfect choice. It fits in our professional lineup with pristine color accuracy and without the hefty price tag of similar professional monitors.”

Unparalleled Color Reproduction at an Exceptional Value

Engineered with all the advantages of a high-end professional monitor, the debut of the BenQ SW240 24.1″ monitor is a photographer’s dream. The 10-bit display shows more than 1 billion colors and allows users to enjoy the smoothest color gradations of even the most detailed images. Its 14-bit 3D Look Up Table (LUT) improves RGB color blending accuracy, resulting in impeccable color reproduction, and having Delta E?2 in both Adobe RGB and sRGB color spaces gives users the truest and most representative view of the original image. Featuring BenQ’s AQCOLOR™ technology, the SW240 provides out-of-the-box, factory-calibrated color accuracy with industry-standard color space to bring brilliant colors to life. The 99% Adobe RGB color space offers a greater range of color reproduction for shades of blue and green, resulting in a more realistic color representation for outdoor and nature photography.

Hardware Calibration for Consistent Images

The SW240 hardware calibration adjusts the monitor’s image processing chip rather than the graphics card output. As a result, users are never fooled by what they’re seeing on screen and can trust that images will stay consistent with their original copies. What’s more, BenQ’s Palette Master Element software allows users to easily tune and maintain the color performance of the monitor at its most optimal state.

Eye-Care Protects Eyes From Fatigue After Long Hours

The creative process can sometimes be a grueling one. Now users don’t have to fret over how much time they’re spending in front of their BenQ monitor. Engineered with BenQ’s exclusive Eye-Care technology, every PhotoVue Series monitor reduces eye fatigue for user comfort, enhanced productivity and workplace safety during extended use.

The SW240 PhotoVue Photographer monitor is now available at retail price of $ 399. A shading hood, which can be mounted to suit portrait or landscape orientation, is also available for purchase (MSRP $ 99).

More information on the full line of BenQ products is available at www.BenQ.com.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on BenQ releases SW240 PhotoVue monitor for photographers on a budget

Posted in Uncategorized

 

Fujifilm releases firmware updates for X-H1, X-E3, and X100F

28 Apr

It looks like Fujifilm’s software engineers have been working overtime the past few weeks. Today, the company has released firmware updates for three of its X-series cameras: the brand new X-H1, as well as the older X-E3 and X100F. In all cases, the new software addresses some user-reported bugs and improves camera performance.

Version 1.20 of the XE-3 firmware is the biggest of the three and comes with the following improvements:

  • Support for Fujifilm X Raw Studio: camera users can now convert Raw files, including batch processing, with the free Fujifilm X Raw Studio software.
  • Backup and restoring of camera settings via Fujifilm X Acquire: when connecting the camera to a computer via USB, photographers can now use the Fujifilm X Acquire software to backup camera settings to a file and restore them. It is also possible to copy settings from one camera to another.
  • Compatibility with the Fujinon XC15-45mm F3.5-5.6 OIS PZ lens: when using this lens the focus ring function now switches automatically. In focus modes S and C it is used for Fine Zoom adjustment. In focus mode M it controls the manual focus. In addition the zoom position of the lens is now memorized when the camera is powered off and maintained while switching into playback mode.
  • Improved radio flash controller operation: users can now shoot with compatible third party studio flash units in high speed sync. or TTL mode, using radio controllers.
  • Enlarged and customizable display indicators and information: users can now enlarge indicators and shooting information displayed in the viewfinder or on the LCD monitor. You will also be able to customize the location of the information on the display.
  • Enhanced Bluetooth connectivity via Camera Remote app: with the Fujifilm Camera Remote app user can now update the camera firmware via bluetooth and remote-trigger compatible cameras.

Version 2.10 of the X100F firmware offers the same capability to enlarge and customize display information and backup and restore of camera settings via X Acquire as the update for the XE-3.

The update to firmware version 1.02 for the Fuji X-H1 is fairly minor, simply fixing a bug that could cause image files to be overwritten when an image folder is selected through the Select Folder function in the Setup menu.

Follow the corresponding links above to get the latest versions for yourself.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Fujifilm releases firmware updates for X-H1, X-E3, and X100F

Posted in Uncategorized

 

Adobe apologizes for Lightroom Classic CC bugs, releases bug fix update

25 Apr
Credit: Adobe

The latest update to Lightroom Classic CC—a ‘massive update’ to camera profiles for both Lightroom and ACR—came complete with an infuriating set of bugs that, judging by our comment section, left Adobe users quite frustrated. But have no fear: the software giant is back with an apology and a slew of bug fixes in the form of Adobe Lightroom Classic CC 7.3.1.

The release went live this morning, complete with this apology on the Adobe blog:

We heard your feedback and felt that parts of the release didn’t uphold the level of quality that we hold ourselves to. We’re happy to report that these issues were resolved and now available for immediate download. Some of the issues resolved included converting presets, sorting and copying/pasting profiles, translation errors, along with crash fixes.

You can download the update and read the full release notes at this link, but here is the TL;DR about what this Lightroom Classic CC update fixes:

  • An issue where some presets were not converting to the new format.
  • An issue with B&W legacy presets where the profile resets to Adobe Standard
  • An issue where Develop presets were not sorting correctly
  • Translation errors in other languages for some profiles
  • An issue where users were unable to copy/sync Black and White Mix settings
  • Lightroom backup catalog error issues.
    • Note: To resolve corruption issue in the backed up catalogs, update to Lightroom Classic CC v7.3.1 and then back up your catalogs again. If you’re backing up your catalogs on macOS, see this known issue related to catalog compression below.
  • Known Issue on macOS only: When backing up your catalogs on macOS, Lightroom Classic doesn’t compress (zip) catalogs that have a file size less than 4 GB. As a workaround to this issue, manually compress the backed up catalog files. Compressed files take up less hard disk space. By default, Lightroom Classic saves backed up catalogs to the following location on macOS:
    • /Users/[user name]/Pictures/Lightroom/[catalog name]/Backups

To update to the latest version, simply run the update in the Creative Cloud Desktop App.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Adobe apologizes for Lightroom Classic CC bugs, releases bug fix update

Posted in Uncategorized

 

MindShift Gear releases 18L version of its popular BackLight daypack

17 Apr

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_3616816138″,”galleryId”:”3616816138″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

After releasing a set of weather-resistant Exposure messenger bags earlier this month, MindShift Gear is back with a new product: the BackLight 18L backpack for photographers. This new model expands MindShift’s existing BackLight rear panel access backpack lineup, offering the same convenient access in a smaller overall size.

The 18L offers the same features as the larger 26L and 36L backpacks. The bag’s exterior is made with 420D velocity nylon and high-density nylon, 320G UltraStretch mesh, 350G air mesh, YKK RC-Fuse zippers, 3-ply bonded nylon thread, and a water-repellant coating. The interior includes a 210D nylon lining, high-density closed-cell foam, hexa-mesh pockets, PE board reinforcement, and the same 3-ply thread.

One of the BackLight lineup’s biggest features is the ability to remove/replace items without taking the daypack off. Instead, the wearer, after securing the waist belt, rotates the bag to the front and uses the rear panel to access the gear inside. The bag accommodates various gear configurations, such as a pair of gripped DSLRs with attached lenses and an additional 1 – 3 zoom lenses, or a pair of gripped mirrorless cameras with attached lenses and and 3 – 5 additional lenses.

Additionally, the BackLight 18L supports up to 13-inch laptops and a 10-inch tablet, plus there are front compartments with a total 5L capacity for personal items.

Additional features include a front/side mounting system for a tripod/monopod, a pair of large water bottle pockets, lash points, daisy chain, ice axe loops, interior mesh pockets, lumbar support and an air channel. Plus, the bag is compatible with MindShift’s existing Tripod Suspension Kit, Switch Case, Filter Nest, and Filter Hive.

The BackLight 18L is available from MindShift now in Woodland Green and Charcoal colors for $ 200 USD. To learn more, head over to the MindShift Gear website.

Press Release

MindShift Gear’s BackLight 18L Outdoor Photography Daypack Offers Added Comfort and Quick Rear-Panel Access

SANTA ROSA, CALIF – MindShift Gear announces the release of an 18-liter version of its popular BackLight series, the BackLight® 18L rear-panel backpack. This smaller version offers a lightweight daypack that enables photographers to access gear without taking off the backpack. They can change lenses or just snap a quick photo simply by rotating the bag to the front while the waist belt is still secured. Rear-panel access also adds security when traveling since camera gear is protected from behind.

This back-panel access allows photographers to work out of the bag without getting the harness dirty, wet, muddy, or icy. It features dedicated compartments that fit up to a 13” laptop and a full-size tablet. As a daypack, its front pockets total 5 liters in personal gear carry for a day’s outing, such as extra layers, a light jacket, food, and more. It is available in two colors, Charcoal and Woodland Green, and meets most international and U.S. airline carry-on requirements.

This new backpack holds a variety of camera kits:

  • Two gripped DSLRs with lenses attached and one to three standard zoom lenses
  • Two gripped Mirrorless bodies with lenses attached and three to five lenses
  • Fits up to a 13” laptop and a 10” tablet
  • Fits personal gear in the 5L front compartments
  • Maximum lens size: 300mm f/2.8 or 150–600mm f/5–6.3 attached to a body

“The BackLight 18L was designed with comfort in mind,” said Doug Murdoch, MindShift’s CEO and Lead Designer. “The air channel on the rear panel was designed for maximum comfort. It features a large padded waistbelt to support heavy gear and a contoured backpanel for extra lumbar support.”

Additional Features and Benefits

  • Daisy chain, ice axe loops and additional lash points for expanding carry capacity
  • Includes tripod/monopod mounting system on front or side
  • Comfortable padded waist belt for all day comfort on the trail with webbing rail for additional MindShift accessories
  • Flap-keeper neck strap allows unencumbered access to gear
  • Two large water bottle pockets with cinch cord fit a 32oz Nalgene
  • Side compression straps with locking SR buckles for additional lash points
  • Air channel and lumbar support on rear-panel for all-day comfort
  • Ergonomic zipper pulls are easily gripped with gloves or frozen fingers
  • Highest quality YKK zippers, 420D Velocity and 420D high-density nylon for long lasting durability and strength
  • Front stuff pockets for trail essentials, e.g., headlamp, gloves, chargers
  • Adjustable dividers for large telephoto lenses, traditional photo gear, or personal items
  • Top zippered pocket for quick access essentials
  • Interior mesh pockets for storing filters, batteries, cables, etc.
  • Seam-sealed rain cover included, folds flat for use as a ground cover
  • Compatible with MindShift’s Tripod Suspension Kit, Filter Nest, Filter Hive and Switch Case

Materials

Exterior: For superior water resistance, all exterior fabric has a durable water-repellant coating, plus the underside of the fabric has a polyurethane coating. Features the highest-quality abrasion-resistant YKK® RC-Fuse zippers, 420D velocity nylon, 420D high-density nylon, 320G UltraStretch mesh, 350G airmesh, nylon webbing, 3-ply bonded nylon thread

Interior: 210D silver-toned nylon lining, hexa-mesh pockets, high-density closed-cell foam, PE board reinforcement, 3-ply bonded nylon thread

Specifications

  • Exterior Dimensions: 10.6” W x 18.5” H x 7.1” D (27 x 47 x 18 cm)
  • Interior Camera Compartment: 9.4” W x 16.7” H x 5.5” D (24 x 42.5 x 14 cm)
  • Laptop Pocket: 8.9” W x 13.8” H x 0.8”D (22.5 x 35 x 2.1 cm)
  • Tablet Pocket: 8.7” W x 10.2” H x 0.6” D (22 x 26 x 1.5 cm)
  • Total Volume: 18L
  • Weight: 3.5 lbs. (1.6 kg)

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on MindShift Gear releases 18L version of its popular BackLight daypack

Posted in Uncategorized

 

Fujifilm releases 1.4x teleconverter and macro extension tubes for GF system

13 Apr

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6949780090″,”galleryId”:”6949780090″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Fujifilm is set to ship three new lens accessories for its medium format GF system.

First is the GF 1.4X TC WR teleconverter, which is designed for the 250mm F4 R LM OIS WR lens also announced today. It boosts the 35mm equiv. focal range of that lens to 277mm, though the aperture increases by a stop. The teleconverter is weather-sealed and weighs in at 400g. It will be available in May for $ 849.95 USD / $ 1059.99 CAD.

Next are a pair of macro extension tubes, which increase the magnification ratio of any of Fujifilm’s GF lens. The MCEX-18G WR is 18mm long while the MCEX-45G WR is 45mm. Both are weather-sealed and are priced at $ 329.99 USD / $ 409.99 CAD.

Press Release:

FUJIFILM INTRODUCES A NEW TELEPHOTO LENS FOR THE GFX MEDIUM FORMAT MIRRORLESS CAMERA SYSTEM

The GFX System Expands with the New FUJINON GF250mmF4 R LM OIS WR Lens, FUJINON GF1.4X TC WR Teleconverter and MCEX-18G WR and MCEX-45G WR Macro Extension Tubes;
Firmware Updates for GFX, X-H1, X-T2, X-Pro2, X-E3 and X100F

Valhalla, N.Y., April 12, 2018 – FUJIFILM North America Corporation today announced the launch of the FUJINON GF250mmF4 R LM OIS WR, a lens that expands the telephoto range for the FUJIFILM GFX 50S medium format mirrorless digital camera system.

When combined with the GFX medium format sized sensor with an area approximately 1.7 times larger than 35mm format, the GF250mmF4 R LM OIS WR lens achieves exceptional image quality. Composed of 16 lenses in 10 groups, this lens delivers unsurpassed color reproduction, three dimensional image quality, as well as ultra-high resolution and rich bokeh.

In addition, this telephoto lens is equipped with a powerful five-stop optical image stabilization and a new focus preset function, which allows the photographer to instantly activate focus settings previously saved in the lens memory. With a rugged, lightweight magnesium alloy lens barrel designed to be dust and weather-resistant, the GF250mmF4 R LM OIS WR is capable of operating in temperatures as low as 14°F/-10°C. The front lens element has a fluorine coating designed to repel water and dirt even under tough outdoor conditions.

FUJINON GF250mmF4 R LM OIS WR Lens Key Features:

• Ultra-high image quality achieved with16 lenses in 10 groups, 1 super ED lens and 2 ED lenses.
• Powerful five-stop optical image stabilization to maximize high image resolution.
• Silent, high-speed autofocus operation and new mechanism to fix linear motor position. when turning power off or when in playback mode. Available with new GFX 50S firmware.
• Made with magnesium alloy, ensuring a robust, durable body.
• Dust and weather-resistant design capable of operating in temperatures as low as 14°F/-10°C.

FUJINON Teleconverter GF1.4X TC WR

The new FUJINON Teleconverter GF1.4X TC WR is designed for use with the new GF250mmF4 R LM OIS WR giving approximately 277mm in 35mm format equivalent, without compromising image quality.

MCEX-18G WR and MCEX-45G WR Macro Extension Tubes

The MCEX-18G WR and MCEX-45G WR Macro Extension Tubes further expand the range of macro photography. Connecting these macro extension tubes to GF lenses allows for images to be captured at high magnification ratio. The MCEX-18G WR and MCEX-45G WR Macro Extension Tubes are compatible with all existing GF lenses.

Availability and Pricing

The new FUJINON GF250mmF4 R LM OIS WR lens will be available in Late May 2018 for USD $ 3,299.95 and CAD $ 4,124.99. The FUJINON Teleconverter GF1.4X TC WR will be available in Late May 2018 for USD $ 849.95 and CAD $ 1,059.99 and Macro Extension Tubes, MCEX-18G WR and MCEX-45G WR will both be available in Late May 2018 for USD $ 329.99 and CAD $ 409.99.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Fujifilm releases 1.4x teleconverter and macro extension tubes for GF system

Posted in Uncategorized

 

Blackmagic releases DaVinci Resolve 15 with all-new VFX and motion graphics module

10 Apr

In addition to the new Pocket Cinema Camera 4K announced earlier today, Blackmagic Design also released a major update to its video production software DaVinci Resolve. According to Blackmagic, DaVinci Resolve 15 comes with “hundreds of new features and improvements” but the major addition is a new Fusion module that fully integrates visual effects and motion graphics tools into the DaVinci Resolve workflow.

If you were wondering if Blackmagic is serious about making this a class-leading application, this update should help answer that. Already an industry favorite for color-correction, DaVinci Resolve 15 now includes four high-end video production applications in one: there’s a module for editing, a module for color correction, a module for audio production, and now, the new Fusion module for VFX and motion graphics as well.

Previously available as a stand-alone application, Fusion—which Blackmagic Design calls the “world’s most advanced visual effects and motion graphics software”—is now built right into DaVinci Resolve 15.

“DaVinci Resolve 15 is a huge and exciting leap forward for post production because it’s the world’s first solution to combine editing, color, audio and now visual effects into a single software application,” said Grant Petty, CEO, Blackmagic Design. “We’ve listened to the incredible feedback we get from customers and have worked really hard to innovate as quickly possible. DaVinci Resolve 15 gives customers unlimited creative power to do things they’ve never been able to do before. It’s finally possible to bring teams of editors, colorists, sound engineers and VFX artists together so they can collaborate on the same project at the same time, all in the same software application!”

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_9400954258″,”galleryId”:”9400954258″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

According to Blackmagic, the Fusion module gives visual effects and motion graphics artists a true 3D workspace with over 250 tools for compositing, vector paint, particles, keying, rotoscoping, text animation, tracking, stabilization and more. You’ll still be able to purchase Fusion on its own, but Blackmagic plans to fully integrate the entire application into DaVinci Resolve 15 “within the next 12-18 months.”

Today’s release isn’t the final version, but rather a public beta that is available as a free download to all current DaVinci Resolve and DaVinci Resolve Studio customers. The free version of DaVinci Resolve 15 will remain free, while the Studio version—which adds multi-user collaboration, support for frame rates over 60p, more filters and effects, and more—is available for $ 300 with “no annual subscription fees or ongoing licensing costs.” Take that Adobe…

To learn more, check out the full press release below or visit the Blackmagic Design website.

Press Release

Blackmagic Design Announces DaVinci Resolve 15

New upgrade fully integrates visual effects and motion graphics, adds even more audio tools plus hundreds of new features and improvements that editors and colorists have asked for!

NAB 2018, Las Vegas, USA – April 9, 2018 – Blackmagic Design today announced DaVinci Resolve 15, a massive update that fully integrates visual effects and motion graphics, making it the world’s first solution to combine professional offline and online editing, color correction, audio post production, multi user collaboration and now visual effects together in one software tool. DaVinci Resolve 15 adds an entirely new Fusion page with over 250 tools for compositing, paint, particles, animated titles and more. In addition, DaVinci Resolve 15 includes a major update to Fairlight audio, along with over 100 new features and improvements that professional editors and colorists have asked for.

A public beta of DaVinci Resolve 15 will be available today and for immediate download from the Blackmagic Design website. DaVinci Resolve 15 will also be demonstrated on the Blackmagic Design NAB 2018 booth at #SL216.

DaVinci Resolve 15 continues to revolutionize post production by combining 4 extremely high end applications as different pages in one single piece of software. The edit page has all of the tools professional editors need for both offline and online editing, the color page features the world’s most advanced color correction tools, the Fairlight audio page is designed specifically for audio post production, and the new Fusion page gives visual effects and motion graphics artists everything they need to create feature film quality effects and animations. All it takes is a single click to instantly move between editing, color, effects and audio.

This gives individual users unlimited creative flexibility because they can learn and explore different toolsets. It also enables collaboration so people with different talents can work together on the same project at the same time. The DaVinci Resolve 15 collaborative workflow dramatically speeds up post production because customers no longer need to import, export or translate projects between different software applications, and work no longer needs to be conformed when changes are made. Everything is in the same software application.

The free version of DaVinci Resolve 15 can be used for professional work and has more features than virtually every other paid application for post production. DaVinci Resolve 15 Studio, which adds multi user collaboration, 3D, VR, dozens of additional filters and effects, unlimited network rendering and other advanced features such as temporal and spatial noise reduction, is available to own for only US$ 299. There are no annual subscription fees or ongoing licensing costs. DaVinci Resolve 15 Studio costs less than all other cloud based software subscriptions and it does not require an internet connection once the software has been activated. That means customers don’t have to worry about losing work in the middle of a job if there is no internet connection.

“DaVinci Resolve 15 is a huge and exciting leap forward for post production because it’s the world’s first solution to combine editing, color, audio and now visual effects into a single software application,” said Grant Petty, CEO, Blackmagic Design. “We’ve listened to the incredible feedback we get from customers and have worked really hard to innovate as quickly possible. DaVinci Resolve 15 gives customers unlimited creative power to do things they’ve never been able to do before. It’s finally possible to bring teams of editors, colorists, sound engineers and VFX artists together so they can collaborate on the same project at the same time, all in the same software application!”

DaVinci Resolve 15 Detailed Overview

DaVinci Resolve 15 features an entirely new Fusion page for feature film quality visual effects and motion graphics animation. Fusion was previously only available as a stand alone application and is the world’s most advanced visual effects and motion graphics software. It is now built into DaVinci Resolve 15. The new Fusion page gives customers a true 3D workspace with over 250 tools for compositing, vector paint, particles, keying, rotoscoping, text animation, tracking, stabilization and more. Adding Fusion to DaVinci Resolve has been a massive project that will be completed over the next 12-18 months. Customers can get started using Fusion today to complete nearly all of their visual effects and motion graphics work. The standalone version of Fusion will continue to be available for customers who need it.

In addition to bringing Fusion into DaVinci Resolve 15, Blackmagic Design has also added support for Apple Metal, multiple GPUs and CUDA acceleration, making Fusion in DaVinci Resolve faster than ever. To add visual effects or motion graphics, customers simply select a clip in the timeline on the Edit page and then click on the Fusion page where they can use Fusion’s dedicated node based interface, which is optimized for visual effects and motion graphics. Compositions created in the standalone version of Fusion can also be copied and pasted into DaVinci Resolve 15 projects.

DaVinci Resolve 15 also features a huge update to the Fairlight audio page. The Fairlight page now has a complete ADR toolset, static and variable audio retiming with pitch correction, audio normalization, 3D panners, audio and video scrollers, a fixed playhead with scrolling timeline, shared sound libraries, support for legacy Fairlight projects, and built in cross platform plugins such as reverb, hum removal, vocal channel and de-esser. With DaVinci Resolve 15, customers no longer have to worry about audio plugins when moving between Mac, Windows and Linux because the FairlightFX plugins run natively on all three platforms.

DaVinci Resolve is the fastest growing nonlinear video editor in the industry. It’s also Hollywood’s favorite color corrector. Blackmagic Design has listened carefully to feedback from professional colorists and editors. DaVinci Resolve 15 includes over a hundred new features and improvements that editors and colorists have asked for.

Colorists get an entirely new LUT browser for quickly previewing and applying LUTs, along with new shared nodes that are linked so when one is changed they all change, multiple playheads for quickly referencing different shots in a program, over 5x performance improvement for stabilization, improved noise reduction, and new Super Scale HD to 8K up-rezzing. DaVinci Resolve 15 also expands HDR support with GPU accelerated Dolby Vision metadata analysis and native HDR 10+ grading controls. In addition, new ResolveFX let customers quickly patch blemishes or remove unwanted elements in a shot using smart fill technology. There are also new ResolveFX for dust and scratch removal, lens and aperture diffraction effects, and more.

Professional editors will find new features in DaVinci Resolve 15 specifically designed to make cutting, trimming, organizing and working with large projects even better. DaVinci Resolve 15 has dramatically improved load times so that large projects with hundreds of timelines and thousands of clips now open instantly. New stacked timelines and timeline tabs let editors see multiple timelines at once so they can quickly cut, paste, copy and compare scenes between timelines. There are also new markers with on-screen annotations, subtitle and closed captioning tools, auto save with versioning, greatly improved keyboard customization tools, new 2D and 3D Fusion title templates, image stabilization on the Edit page, a floating timecode window, improved organization and metadata tools, Netflix render presets with IMF support and much more.

For the ultimate high speed workflow, customers can add a DaVinci Resolve Micro Panel, DaVinci Resolve Mini Panel or a DaVinci Resolve Advanced Panel. All controls are logically placed near natural hand positions and are made out of the highest quality materials. Smooth, high resolution weighted trackballs and precision engineered knobs and dials feature the perfect amount of resistance for accurately adjusting any setting. The DaVinci Resolve control panels give colorists and editors fluid, hands on control over multiple parameters at the same time, allowing them to create looks that are simply impossible with a standard mouse.

In addition, Blackmagic Design also introduced new Fairlight audio consoles for audio post production that will be available later this year. The new Fairlight consoles are available in 2, 3 and 5 bay configurations. Prices for the new Fairlight control panels are approximately 80% less than the previously available panels with prices ranging from US$ 21,995 to US$ 48,995.

Availability and Price

The public beta of DaVinci Resolve 15 is available today as a free download from the Blackmagic Design website for all current DaVinci Resolve and DaVinci Resolve Studio customers. DaVinci Resolve Studio is available for US$ 299 from Blackmagic Design resellers worldwide.

The Fairlight consoles will be available later this year and will be priced from US$ 21,995 for the Fairlight 2 Bay console. The Fairlight consoles will be available from Blackmagic Design Resellers worldwide.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Blackmagic releases DaVinci Resolve 15 with all-new VFX and motion graphics module

Posted in Uncategorized

 

Adobe releases ‘massive update’ to Camera Profiles in ACR and Lightroom

03 Apr
The new Profiles panel in Lightroom CC. Credit: Adobe

Earlier today, Adobe launched a major update to Camera Profiles (now known as just “Profiles”) in Adobe Camera Raw (ACR), Lightroom Classic CC, Lightroom CC, and both versions of Lightroom Mobile. The update brings six new Adobe RAW profiles, over 40 new Creative profiles, a new profile browser, and a bunch of new features and feature enhancements across both mobile and desktop.

The most significant update here is obviously Profiles.

Camera Profiles has now been renamed “Profiles”, and the whole panel has been moved so it’s easier to find. In Adobe Camera Raw and Lightroom Classic CC, Profiles have been moved from the Camera Calibration panel into the Basics panel; in Lightroom CC, they’ve been added to the top of the edit panel.

But this update isn’t just about adding Profiles to Lightroom CC and moving them around a bit. There are now six new Adobe RAW profiles to work with.

Six New Adobe RAW Profiles

In addition to the tried and true Adobe Standard, you now have Adobe Color, Adobe Monochrome, Adobe Landscape, Adobe Neutral, Adobe Portrait, and Adobe Vivid. Credit: Adobe

Previously, the only Adobe RAW profile you had at your disposal was Adobe Standard. Now, you’ve got six more to choose from:

  • Adobe Color: designed to improve the look and rendering of warm tones, improve the transition between certain color ranges, and slightly increase the starting contrast of your photos. As the new default, it was designed to work with the widest range of photos.
  • Adobe Monochrome: Tuned to be “a great starting point” for any black & white photo. Results in better tonal separation and contrast than Adobe Standard converted to B&W.
  • Adobe Landscape: Produces more vibrant skies and foliage tones.
  • Adobe Neutral: Provides a starting point with very low contrast. Adobe claims this one is most useful “for photos where you want the most control, or that have very difficult tonal ranges.”
  • Adobe Portrait: Provides “more control and better reproduction of skin tones.” This means less contrast and saturation applied to skin tones throughout the photo, so you have more control over how those tones turn out.
  • Adobe Vivid: A “punchy, saturated starting point.”

The point of each of these profiles (and Adobe Standard) is to give your images a unified “look and feel” regardless of the camera you’re using. But now, rather than a single profile, you’ve got six “starting points” to choose from depending on your genre and photo editing style.

Adobe Color replaces 10-year-old Adobe Standard as the default profile for newly imported photos, but you’ll still have access to all of them in the new Profiles section of the Basics panel.

New Creative Profiles

Creative Profile comparison. Credit: Adobe

You now have 40+ Creative profiles to choose from, split up into four groups: Artistic, Modern, Vintage, and Black & White. These profiles can be applied to both Raw and non-Raw photos, and come with a 3D Lookup Table (LUT) for a level of control that was previously reserved for Photoshop.

Creative profiles also come with an Amount slider, so you can increase or decrease the effect.

Black & White Creative Profiles comparison. Credit: Adobe

Additionally, Adobe has also been working with some popular Lightroom preset creators to create a range of 3rd Party Profiles, some of which are already available today. These include profiles by photographers Brian Matiash and Matt Kloskowski, and companies like RNI Films and Contrastly.

You can find links to all of the 3rd Party Profiles on the Adobe blog post about this update.

Updates to Lightroom CC on Android and iOS

The new Detail tab in Lightroom CC for Android. Credit: Adobe

In addition to the Profiles update described above, Lightroom CC for iOS, Android and ChromeOS all got some feature updates and upgrades as well.

On the Android/ChromeOS front, a new Details tab provides Sharpening and Noise Reduction options, Grain options have been added for “realistic film grain,” and some additional control for sharing images over Lightroom CC Web have been added as well.

For iOS users, the new Geometry tab will help you straighten crooked and skewed photos using new Upright, Guided Upright, and Geometry sliders; the same Grain options mentioned above have been added, and Adobe has introduced a Left-Handed Editing Mode on the iPad. The company has also done some iPhone X layout optimizations to take advantage of the dreaded notch.

The new Geometry tab in Lightroom CC for iOS. Credit: Adobe

A Few More Things

Finally, in addition to everything mentioned above, a few minor improvements have been made to Lightroom CC and Lightroom Classic CC on the Desktop.

In Lightroom Classic CC, the Dehaze tool has been made more accessible by moving it to the Basics panel, the Tone Curve panel has been expanded for better/more precise control, and the face-tagging algorithm has been improved.

In Lightroom CC, support has been added for Network Attached Storage (NAS) devices, and a new filter option has been added that allows you to sort your images by “sync status.”


To learn more about all of the updates detailed above, and particularly if you want to dive deeper into the new Profiles features, head over to the Adobe blog or update your Adobe Camera Raw, Lightroom CC and/or Lightroom Classic CC to the latest version. This update went live about 15 minutes ago, and should be available to all Creative Cloud subscribers.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Adobe releases ‘massive update’ to Camera Profiles in ACR and Lightroom

Posted in Uncategorized

 

Nikon releases new firmware for nine cameras, mostly AF-P lens support

04 Mar

Nine Nikon DSLR models are getting new firmware to fix a few issues users have been encountering, particularly when using AF-P lenses. Updated models include the D4, D4s, Df, D800, D800E, D810, D810A, D7100, and D7200.

The whole lot of them received these fixes:

Added the following supports for AF-P lenses:

  • If the standby timer expires after focusing, the focus position will no longer change when the timer is reactivated.
  • When focus is adjusted by rotating the lens focus ring, the focus indicator in the viewfinder (and in live view, the focus point in the monitor) now flash to indicate when infinity or the minimum focus distance is reached.

The D4, D4s, Df, D800 and D800E received the following fixes:

Added support for AF-P DX lenses.

And the D4, Df, D800 and D800E also benefit from:

When photos were taken using Camera Control Pro 2 after Custom Setting d10 (Exposure delay mode) was enabled in the CUSTOM SETTING MENU, the software would sometimes mistakenly display a message stating that no photo could be taken.

Finally, the Nikon D810 and D810A received fixes to their microphone operation and multiple exposure modes, while the D7100 and D7200 get updates that fix an issue of incorrect exposures when E-type lenses are used in live view mode.

For more information on all of these updates, or if you want to get your Nikon DSLR up to the latest firmware version, visit the Nikon firmware download web page.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Nikon releases new firmware for nine cameras, mostly AF-P lens support

Posted in Uncategorized

 

Wacom releases 24-inch 4K Cintiq Pro pen display, 32-inch coming ‘later this year’

28 Feb

Wacom has officially released the Cintiq Pro 24—a 4K 24-inch version of its popular Cintiq Pro Creative Pen Display for use with both Windows and Mac computers. The 32-inch version remains in-development, with an official release “slated for later this year.”

Wacom first announced its Cintiq Pro 24- and 32-inch tablets back in July of last year, but that announcement was more of a teaser than anything else. At the time, Wacom only shared that the pen displays would have “4K edge-to-edge displays” and “maximum color accuracy.” Now, with the official release of the Cintiq Pro 24, we have a lot more details to share.

The Cintiq Pro 24—which will be available in both Pen and Pen & Touch models—boasts an IPS UHD display with 4K (3840 x 2160) resolution, 98% Adobe RGB color accuracy (the store page claims 99%), and “a billion colors” (translation: 10-bit color). The tablet also features an etched glass surface to reduce glare and provide a “natural, pen on paper feel,” parallax reduction through “optical bonding,” close to zero latency, and support for the Pro Pen 2, which features 8,192 levels of sensitivity.

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_5059631519″,”galleryId”:”5059631519″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Finally, for those who want to take their Cintiq Pro 24 to the next level, Wacom also introduced the Cintiq Pro Engine. This plug-and-play PC module—which we covered in detail here—turns the Cintiq Pro 24 into a full-blown Windows 10 workstation with Intel processor, up to 32GB of RAM, NVIDIA graphics, and an SSD.

The Cintiq Pro Engine costs at least as much as the Cintiq Pro 24 itself, but the SSD and RAM inside are both upgradable, and its plug-and-play nature means you can swap your entire workstation from display to display as needed. If you’re looking for a single, portable solution… it’s an intriguing option to be sure

The Cintiq Pro 24 will be available in two variations: the $ 2,000 Pen Display version will start shipping in March, but if you want the $ 2,500 Pen & Touch version, you’ll have to wait until May. The Cintiq Pro Engine PC module also ships in May.

For more information about the Cintiq Pro 24 or if you want to order one right away, visit the Wacom website or head over to the Wacom Store.

Press Release

Wacom introduces the Cintiq Pro 24-inch pen display

Wacom extends the Cintiq Pro line-up with a new high performance mid-sized display built for cutting-edge creative and design applications including augmented and virtual reality. The Cintiq Pro family now features a range of sizes to meet the unique workflow and configuration needs of creative professionals.

Tokyo, Japan – February 27, 2018 – Today Wacom announced the availability of the Wacom Cintiq Pro 24 pen display, expanding the Cintiq Pro high-definition range, which is designed for creative professionals seeking a larger digital canvas and the power to tackle an increasing onslaught of creative applications and programs. The new 24-inch Cintiq Pro pen display joins the previously introduced 13 and 16-inch models to form a comprehensive range of sizes for every need and workspace. The pen and touch display version will be available in May, the earlier announced 32-inch model is slated for later this year.

Performance you can see and feel

The brilliant 4k display, 98% Adobe RGB color accuracy and a billion colors deliver a true-to-life visual experience. The pen on screen experience was also improved. The combination of the new Pro Pen 2 technology (improved pressure sensitivity featuring 8,192 levels), the etched glass surface, the reduction in parallax through optical bonding and the close to zero latency, provide artists with precise control and a more natural feeling pen on screen experience.

“We know that professional artists and designers are facing an increasingly vast array of computing and display demands as they embrace emerging technologies like augmented and virtual reality, and 3D, where one size doesn’t fit all,” says Faik Karaoglu, Executive Vice President for the Creative Business Unit at Wacom. “Everyone has their own way of working, and we are excited to offer larger sized digital canvases with flexibility that provides more pen space for those who need it to create.”

Transforming the workflow

With the Wacom Cintiq Engine Pro – also announced today – a Windows 10 computing module, featuring the new NVIDIA ® Quadro ® P3200 high performance graphic card, slides into the back of the Cintiq Pro 24 display. Thus creative professionals can easily transform their Cintiq Pro 24 into a high performance creative work station fully supporting state of the art applications and workflows, including 3D, animation and augmented and virtual reality.

Availability

The Cintiq Pro 24 pen display models are available in the U.S., Japan and selected European countries as of March; for further details visit our e-store at Wacom.com. Prices ranging from $ 1,999 to $ 2,499. The Pen & Touch version of Cintiq Pro 24 will be available in May 2018.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Wacom releases 24-inch 4K Cintiq Pro pen display, 32-inch coming ‘later this year’

Posted in Uncategorized