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Posts Tagged ‘Sony’

Sony releases machine vision sensor capable of 1000 fps object tracking

17 May

Sony has released a new machine vision CMOS sensor, and though it’s destined for assembly lines and robots, it’s still interesting to us. Like the chip in the RX100 V, the IMX382 is a stacked, backside-illuminated chip capable of 1000 fps imaging. And, like that sensor, its stacked design includes signal processing circuitry in the chip. Unlike the RX100 V’s sensor, though, the 1.27MP IMX382 conducts video processing and subject recognition in parallel, so that it outputs both a ‘viewing’ stream and a ‘sensing’ stream simultaneously.

The sensing processing uses color and brightness information obtained from the sensor, enabling incredibly fast subject identification and tracking at 1000 fps. You can see what that looks like in the video below:

At a little over 1 megapixel this sensor is not destined for a smartphone or camera. And of course those applications get more complicated since they also have to re-focus a lens to keep up with a moving subject, but it’s interesting to see what levels of recognition and tracking possible when you bring signal processing to the chip itself.

Articles: Digital Photography Review (dpreview.com)

 
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Are we impressed by Eye AF on the Sony a9? Yes and no

16 May

A new video shows the a9’s Eye AF (in AF-C) tracking working remarkably well with a single subject, tracking the subject’s eyes all the way to the edges of the frame. Here are three reasons we’re impressed, and a couple reasons we’re still left ambivalent:

Thumbs up:

  • The a9 continues to track the subject’s eye when all it sees is his profile. It’s quite robust (though not robust enough; see ‘thumbs down’ below).
  • It tracks the eye at 20 fps, while the a7R II’s Eye AF-C falls apart in continuous drive.
  • When the subject turns his back to the camera, the camera doesn’t jump off to the background, maintaining focus at its current position instead.

Thumbs down:

  • Sony continues to offer no dependable solution for when you have multiple subjects in the frame. Though you can use this workaround to select which subject you want the camera to target, it’s prone to erratically switch subjects. Here’s a far faster way to select the subject to target.
  • When the subject in the video turns completely around, the camera stops tracking him altogether, unlike Canon Dual Pixel AF which uses enough ‘fuzzy logic’ to stay on our subject. Although we’re happy that in this example the camera doesn’t jump off to something else, if there were another face in the scene it likely would have.

Our request to Sony:

Be robust enough that when the camera no longer detects the eye of the original subject, focus just hangs around the general vicinity of the subject. This should be easy as the camera has distance (phase) information indicating the distance of the general subject matter around the eye its been tracking – but now lost – hasn’t radically changed.

Furthermore, retain some remembrance of the facial features when Eye AF is initiated so as to re-attain eye focus when the subject looks back at the camera and re-recognizes the initial eye (pattern) after having lost it. This is how Nikon’s 3D subject tracking works.

Articles: Digital Photography Review (dpreview.com)

 
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We shot the Boeing 737 Max 9’s first flight with a Sony Cyber-shot RX10 III

14 May

The Boeing 737 Max 9, shortly after landing. There’s enough latitude in the RX10 III’s Raw files to allow for moderate shadow and highlight adjustment.

28mm (equiv) F4.5, ISO 100

As has been amply demonstrated in the past, I’m an aeroplane nerd. So when Boeing offered us the chance to shoot the first flight of its brand new Boeing 737 Max 9 last month, I jumped at the chance. I might even have pushed a couple of my colleagues out of the way.

In the end, three of us headed over to Boeing Field in Seattle for the first flight – Dan, (who couldn’t care less about aeroplanes), with a Panasonic FZ2500; me, the super-nerd with the Sony RX10 III, and Carey, an impartial observer, with a Panasonic GH5 (to film me and Dan arguing). We’ll be publishing a longer article comparing our results soon, but in the meantime, with the 737 Max 9 just (temporarily, hopefully) grounded, we thought you might like a sneak preview.

The 737 Max 9 at the end of the runway at Boeing’s Renton assembly plant, seconds before starting its takeoff roll.

400mm (equiv) F4, ISO 100

I am on record as having described the Sony RX10 III’s lens as being ‘made of magic’. I just don’t understand how a 24-600mm lens built into a compact (ish) camera can be as sharp as it is. Since as Arthur C. Clarke so memorably said, any sufficiently advanced technology is indistinguishable from magic anyway, and bearing in mind that I’m no expert in advanced optical technology, magic is the explanation I’m sticking with.

It was for that reason that when the question came up of which cameras we should bring, I grabbed the RX10 III from our stockroom. I might even have pushed Dan out of the way…

As well as 20MP stills, the RX10 III also shoots 4K video. Because we were trying to compare two cameras, and Boeing didn’t seem too keen on our suggestion that the Max 9 take off at least five times for accurate side-by-side tests (sorry Rishi, we did ask), we decided not to worry about shooting any video. The RX10 III takes nice-looking video, and if you’re curious you can see several examples of its footage in our full review.

Grant Hindsley is too tall. It’s an unfair advantage.

24mm (equiv) F4, ISO 100

First flights are always a bit of a lottery in terms of timing. I’ve shot a couple of them, and things rarely go exactly according to schedule. The 737 Max 9 takeoff was delayed by a couple of hours, which we spent standing around, stamping our feet to stay warm and teasing Grant Hindsley from the Seattle PI (above) about his great height. When the plane started to taxi, things happened very quickly. No time for comparing how mode x compared to mode y – we just had to start shooting.

In high speed capture mode, the RX10 III can shoot at up to 14 fps, in Raw + JPEG, with focus locked. Since we were shooting a large airplane, pretty much at infinity, moving from infinity to infinity by way of infinity, having focus locked (at infinity) was fine.

What I hadn’t anticipated is that when focus is locked, so is the RX10 III’s zoom. It makes complete sense when you think about it, but the lens won’t zoom with the shutter button half pressed. For this reason, I had to zoom and recompose a couple of times during the Max 9’s takeoff run, but even with this interruption, I still captured a lengthy sequence of sharp images of the plane rocketing past our position, and into the sky.

The 737 Max 9 lifts off from the runway at Renton, for its first flight.

400mm (equiv) F4, ISO 100

While the RX10 III can be a somewhat frustrating camera to use (I really dislike its fussy user interface and I can’t wait for the inevitable Mark IV to finally clean it up) that lens really is something. From 24mm right through to 600mm, I took home images that are sharp and contrasty from edge to edge, and free from noticeable distortion. Having such a wide (and usable) zoom range in a single camera allows for incredible versatility.

Zooming out to a medium focal length of 50mm let me capture one of the members of the assembled press taking a quick shot on his iPhone as the 737 Max 9 was towed to its gate after the flight…

50mm (equiv) F4 ISO 100

Dan and I we were shooting alongside photographers from various news outlets and picture agencies (and of course slightly beneath Grant, from the PI) and while they juggled with huge telephoto primes, swapping for wides for crowd shots and then back again, I just nudged the RX10 III’s zoom rocker switch in the desired direction.

The 737 is on final approach? Nudge.. nudge… to 600mm. It’s taxiing into the gate below our balcony? No problem. Nudge… nudge… back to 50mm. And then out again to 600mm for a shot of the pilot waving from her window. Done.

… and moments later, zooming in let me capture Boeing’s chief deputy test pilot Captain Christine Walsh waving from the window of the 737 Max 9 as it taxis to the gate after the first flight.

600mm (equiv) F5, ISO 100

We’ll be publishing Dan’s images from the Panasonic FZ2500, and a short video from the day very soon. For now, take a look at the gallery, which includes out of camera JPEGs and converted Raw files, as well as Raw files for download.

Sony Cyber-shot RX10 III sample gallery

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Articles: Digital Photography Review (dpreview.com)

 
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Sigma releases updated firmware for 30mm F1.4 APS-C lens for Sony E-mount

12 May

Sigma has released an updated firmware version for its 30mm F1.4 APS-C lens for the Sony E-mount. Firmware version 0.2 brings the following improvements:

  • Improved peripheral brightness correction when an aperture value of F1.7 is selected on the Sony a6300 camera.
  • Fixed the AF operation when using focus points in peripheral areas of the frame with the Sony a6300 camera
  • Fixed freezing and not properly operating touch focus feature on the Sony a5100 camera 

Firmware Version 0.2 for the Sigma 30mm F1.4 APS-C lens for Sony E-Mount can now be downloaded from the Sigma support website. 

Articles: Digital Photography Review (dpreview.com)

 
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Sony releases short film showing off Xperia XZ Premium super-slow motion mode

12 May

Sony Mobile has released the first super-slow-motion short movie that has been completely recorded on a smartphone. All of the movie’s scenes were recorded by 120 amateur videographers from 21 countries on the Tróia peninsula near Lisbon, Portugal. The footage was shot under the direction of award-winning director Chris Cairns and using the new Motion Eye mode of the Sony Xperia XZ Premium smartphone that is capable of capturing moving images at 960 frames per second.

Articles: Digital Photography Review (dpreview.com)

 
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Fantasea FRX100 V underwater housing released for Sony RX cameras

12 May

Fantasea has announced the launch of its new FRX100 V Housing, an underwater housing unit designed for the Sony Cyber-shot RX100 III/IV/V cameras. The housing offers protection from water, as well as elemental nuisances like sand and dust, and is rated for depths as low as 60m / 200ft. In addition to being shock-resistant and durable thanks to its injection-molded polycarbonate shell, the housing features a double O-ring seal, support for lighting accessories, and a removable anti-glare hood for using the camera’s LCD.

FRX100 V Housing users are able to access all of the Sony camera’s functions and controls, according to Fantasea, which says they are all ‘clearly marked’ on the housing. A special mount is included for attaching lighting accessories, and there’s also removable connection point for a double fiber optic cable. Operators have access to a dedicated video control button, and there’s likewise a removable flash diffuser.

Fantasea states that each underwater housing unit is equipped with a Moisture Detector installed inside, as well as a port cover and hand strap. The housing is available to purchase from Fantasea now for $ 530.

Via: PhotographyBLOG

Articles: Digital Photography Review (dpreview.com)

 
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Viltrox launches lens adapters for Sony E-Mount and Micro Four Thirds cameras

10 May

Hong Kong based manufacturer Viltrox has announced three new electronic lens adapters for Sony E mount and Micro Four Thirds cameras. The NF-E1 model lets you use Nikon Nikon F mount lenses on Sony E mount cameras. The EF-M1 and EF-M2 models let you connect Canon EF and EF-S lenses to your Micro Four Thirds camera.

The latter comes with with four optical elements in four groups. According to the manufacturer this design results in a, compared to the EF-M1, one stop faster aperture and a focal length multiplier of 0.71x.

All adapters are made of metal and come with a USB port for firmware updates and gold-plated electronic contacts. Autofocus and aperture-adjustment from the camera are supported and Viltrox says the EF-models are compatible with all Canon EF lenses. Pricing and retail information have not yet been released. 

Articles: Digital Photography Review (dpreview.com)

 
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Updated: Sony a9 samples with Raw support

07 May

Introduction

Out-of-camera JPEG Processed to taste from Adobe Camera Raw
We’ve found with some consistency that overall color rendition and auto white balance performance could stand to be improved on the Sony a9 for its out-of-camera files.

You’ve no doubt heard of the Sony a9 by now – indeed, we’ve been covering as many details as we responsibly can before having a final review unit of our own. But since we’ve just been given full support from Adobe, it’s time for a closer look at the a9’s image quality, but this time we can compare the Raw files to the out-of-camera JPEGs to see how they stack up.

To start, the Raw files from the Sony a9 are just what we’d expect from a latest-generation Sony sensor. Noise appears to be well-controlled, and they’re very malleable, even at the high ISO values we found ourselves shooting at. However, processing the Raws has also given me a greater perspective on both the strong and weak points of Sony’s JPEG engine.

The noise (or lack thereof)

Sony’s context-sensitive noise reduction works very well at keeping noise in check while retaining detail at its default settings. However, I found that the a9’s processing can at times look a little heavy-handed to me at its default settings, which we typically use. In processing out the Raws in Adobe Camera Raw, I ended up with an image that is technically noisier because its processing isn’t as sophisticated, but it comes with a little more ‘bite’ (though this may well be due to the increase in perceived sharpness that a bit of grain can provide).

At smaller viewing sizes, I found the Raw-processed images which have more visible grain to have just a bit more ‘bite,’ with the out-of-camera JPEG looking a little ‘waxy’ in comparison. That said, Sony’s algorithm does an outstanding job controlling distracting noise in the background and maintaining crisp edges, like along the athlete’s shirt and arm (and this is an ISO 8000 image).

It comes down to personal taste of course, but I personally don’t mind trading a little noise for a crisper image, and given the time, it’s likely I would be able to find a better balance of in-camera settings. If you’re going to be using the JPEGs from the a9, it’s worth spending some time with the a9’s noise reduction and sharpening settings to find what works best for you.

The noise reduction isn’t likely to be a deal breaker for a lot of people who need to shoot JPEGs for web viewing. No, the real trouble continues to lie in Sony’s color output.

The color

Out-of-camera JPEG Processed to taste from Adobe Camera Raw
The out-of-camera file shows a purple ping-pong table – it was not purple. It was a deep blue.

We’ve not been wild about Sony’s color for a while now, which generally skew towards greenish yellows and cool greens – for an example of the latter, simply look at the track in the background in the above image (and there’s many more examples in the gallery). And as we’ve seen from the noise example in the previous section, sophisticated sharpening algorithms are of more limited importance when viewing at small sizes on the web, while quality of color is arguably going to have more of an impact.

These issues with color are exacerbated with auto white balance that struggled under artificial light (see the skaters at the top of the page). Sure, it’s not difficult to dial in a custom white balance for a sideline photographer shooting under the same light all evening, but it’s something to note nonetheless as auto white balance can be valuable for fast-moving photographers in fast-changing situations.

Updated samples gallery

And that brings us to our samples gallery, which has been updated and re-ordered to make it easy to compare the out-of-camera images (which come first) and the JPEGs processed out from Raw files. 

Please do not reproduce any of these images on a website or any newsletter / magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review), we do so in good faith, please don’t abuse it.

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Sony a9 real world samples gallery

100 images • Posted on Apr 27, 2017 • View album
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Sony a9 offers powerful pro-level customization

02 May

Sony has certainly rippled some tides with the announcement of its a9, which we got a first look at hands-on in NYC. We’ve been thoroughly analyzing its capability, which you can follow in our updated First Impression Review, and if you’re an a7R II owner, check out our ‘what’s better?’ slideshow here.

But perhaps as, or more, important as all its technical capability is that the a9 comes with some serious ergonomic improvements that change everything for fast-paced shooters. Features we’ve been asking for a long time now. And Sony listens. Not just to us but to the requests of many of its direct users. And we can all agree direct access to certain camera features is a huge plus, as opposed to menu-diving.

We can all agree direct access to certain camera features is a huge plus, vs. menu-diving. That’s exactly what Sony has given us.

So that’s exactly what Sony has given us. Instant camera overrides at the press of a button. With one simple button press you can switch the camera from Aperture Priority with 1/125s minimum shutter speed in Auto ISO to Shutter Priority with 1/2000s shutter speed to freeze the action. This can allow you to instantly switch from panning shots to ‘freezing the motion’ shots – with one button press.

Sports/action shooters should take note, but we’re particularly excited because the ability to assign different autofocus area modes plus autofocus activation (among other options) to different custom buttons, just like you can on a Nikon D5 (and to a limited degree on a Canon 1D X II), has changed the way I personally shoot. I can instantly adapt to changing scenarios, much like with the Nikon D5 here, with a simple button press – potentially rescuing shots I’d have otherwise missed diving into settings to change AF modes. Watch our video below to see the implementation on the a9:

On the a9, what allows one to quickly activate any AF mode is not just Sony’s dedicated function to do so (called ‘Registered AF func.’ – which only recalls one AF area mode) but, instead, ‘Recall Custom hold’. This function instantly overrides a number of camera settings, including: Shoot Mode, Aperture, Shutter Speed, Drive Mode, Exposure Comp., ISO, Metering Mode, Focus Mode, Focus Area, and AF On (whether or not to engage AF). This is very similar to Canon’s ‘Register/recall shooting func’, but with the added benefit that there are 3 such banks, while Canon only offers 1. That means that on Canon DSLRs, you can only ever recall one set of overrides (even if you assign this function to multiple buttons, they all do the same thing). Nikon only allows certain settings to be overridden – like AF area and metering mode – but at least allows any number of buttons to be assigned arbitrarily to any AF/metering mode.

So what Sony allows via ‘Recall Custom hold’ is a sort of best-of-both-worlds: marrying Canon’s flexibility to override multiple settings with Nikon’s ability to assign any button to a number of AF/metering options, not just one particular bank. Canon’s custom controls are so complex and inflexible that you can only assign a button to change and activate an AF mode via ‘Metering and AF start’ or ‘Recall shooting func’, which are themselves only available to two buttons: AF-ON and AEL. That’s it. Read more about it in our 5D IV review covering all this in detail.

Sony: you’ve one-upped Canon and Nikon – in an ergonomic regard no less.

The Sony a9, on the other hand, simply affords you 3 banks to allow to quickly switch between 3 different commonly accessed operating modes with utmost ease. Kudos, Sony: you’ve one-upped Canon and Nikon – in an ergonomic regard no less.

Settings you do with override to change you check with a checkmark in the checkbox; if you don’t want that particular mode to change (like Shoot mode or exposure settings if you’re simply trying to change AF mode): just uncheck it.

This is a powerful feature that allows me, for example, to instantaneously switch between subject tracking AF, complete auto AF when the former fails, Eye AF for portraits, or good old center-focus-and-recompose when everything intelligent fails. All with one button press. That can be the difference between nailing the shot, and missing it.

Memory Recall

But that’s not all that’s different about the a9. Memory Recall functions have been extended to be far more like the Custom modes Canon, Panasonic and Olympus allow – instantly changing most/all camera settings with one switch of the mode dial.

Memory Recall modes on Sony cameras are like ‘Custom’ Modes on Canon, Panasonic, and Olympus cameras – they recall many cameras functions simply by switching to that mode. Sadly, in the past, Sony’s M modes have not been very comprehensive (they don’t remember custom button assignments, e.g.), but the a9 remembers more settings. And while it doesn’t remember button assignments – a shame since the features I wish to access in video are different than the features I wish to access in stills – it’s a step in the right direction. Still, Sony really needs to introduce proper C modes that remember all camera settings – including button assignments.

Memory Recall now remembers far more features than in previous Sony cameras. Ideally, it’d remember all of them – including button customizations – so as to recall the state of a camera precisely, immediately. Sadly, this not yet the case, but the extended set of settings Memory Recall now remembers is welcome and significant. We’ll outline the additional features remembered vs. the a7R II below, shortly, so stay tuned.

That means keep hitting that ‘Refresh’ button. 🙂*


* It’s late, and I promise to update this article with a full set of Memory Recall functions/differentiators in the morning, after I get (I hope) at least 4 hours of sleep. Thank you for your patience!

Articles: Digital Photography Review (dpreview.com)

 
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Updated: A closer look at Sony a9 image quality and autofocus

27 Apr

While combing through our thousands of images from Sony’s a9 launch event last week, we’ve taken a critical look at the camera’s revamped JPEG engine and the effectiveness of its 653-point autofocus system. Read more

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