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Posts Tagged ‘tracking’

Not quite as good? Nikon D850 versus Nikon D5 subject tracking

01 Oct

Video: D850 versus D5 subject tracking

Photographer Matt Granger’s YouTube channel is chock-full of videos that run the gamut from fairly technical testing to fun challenges and prize giveaways. But we took particular notice when, last weekend, he pitted his new Nikon D850 against his Nikon D5 in terms of autofocus tracking. (What can we say; we’re nerds.)

But why even bother? After all, the D850 and D5 purportedly have the exact same autofocus hardware—performance should be virtually identical. In fact, in our conversations with Nikon, we were told that the D850 includes an additional processor to handle autofocus calculations, just like the D5; they also claimed this processor was omitted from the D500.

More importantly, we were told flat out to expect ‘D5 levels of performance’ from the D850.

So why is it that, during an early shoot with the D850, Granger said, “I felt like I was getting more [images] well-tracked with the D5 than I did with the D850.” Cue the tests in the video below:

Granger performed both low-light and daylight tests. In the former, his subject moved primarily in the X axis (read: across the frame); in the latter, his subject moved in all three dimensions. Both cameras were set to shoot at 7fps (the D850’s max), and shared all other settings as well.

In both instances, Granger concludes that the D850 is simply not as good at tracking moving subjects as the D5.

In the first low-light test, he notes some hesitation: the AF point occasionally lagged behind the subject before catching up (though at 3:00, where he says the D5 does not exhibit this behavior, it looks like the D5 also hesitates a bit, but perhaps not as severely).

We’ve been told to expect ‘D5 levels of performance’ from the D850’s autofocus system.

In the second test, the D850 really struggled to track the subject as she moved between shade and direct sun, seemingly performing better if the subject was initially acquired in bright light.

Of course, Granger concludes that this disparity isn’t really a reason to ignore the D850 or cancel that pre-order. In fact, there have been similar claims across the interwebz of autofocus performance disparities between previous Nikon cameras that are supposed to share the same AF system (the D810 and D4S for example—although we haven’t dug into those). But it’s definitely something worth testing further.

So, given our recent coverage and in-progress full-review, what does the DPReview staff make of all this?

Our experience so far

For white water kayaking, we found the D850’s 3D Tracking to perform very well indeed.

We’ve been shooting a lot with the Nikon D850 over the past couple of weeks, and as with just about any recent high-end Nikon camera, we find subject tracking to work very well. Even though the D850 comes with that excellent AF selection joystick, sometimes we find it preferable to let the camera do some of the work for us.

In particular, when shooting white water kayaking in Oregon, 3D Tracking performed admirably. That shouldn’t be too much of a surprise, though, considering these are fairly distinct subjects, particularly in terms of color, when compared with their surroundings.

As with Matt Granger, though, we’ve been surprised by some of our own experiences while shooting with the D850. With both the D5 and even the D500, we’ve become accustomed to being able to initiate 3D Tracking on a subject’s eye for a tight headshot, and have the camera track it remarkably well as either the camera or subject moves.

This sort of candid kid shot is a situation in which accurate 3D Tracking or Sony’s Eye AF both come in very handy.

With the D850 though, we’ve noticed it is more apt to be ‘jumpy,’ in that it will jump from our subject’s eye to another portion of their face. Further complicating our assessment of this sort of behavior is that it seems to be inconsistent—sometimes the D850 will track perfectly, other times it gets distracted by something else in the scene.

We also noticed some inconsistency in a situation where we’ve historically been able to rely solely on 3D Tracking, namely: motocross. With the D850, we were able to get a ton of keepers using 3D Tracking, but sometimes, when we looked through our bursts and found that one perfect moment, it would be slightly out of focus because the AF point had jumped from one part of the rider or motorcycle to another.

When we switched to a type of zone focusing called D25, we came away with a better hit rate, so long as we kept the zone over our subject (Note: you would expect this result from just about any camera with advanced autofocus).

3D Tracking on the left nailed focus in this instance, but D25 on the right nailed focus more reliably, more often.

So what’s next?

More photos. Lots more photos.

We’ll be doing our standard autofocus treatment on the D850, including our bicycle tests and our close-range, low-light autofocus evaluation. We’ll also be seeking out sporting events in the Seattle area to see if we can draw some parallels between our usual evaluations and real-world shooting situation performance.

We should also note that, in both Granger’s testing and our own experience, we haven’t yet been able to use Nikon’s new battery grip for the D850. For it to be as even a comparison as possible, we’ll be looking to add the grip and the much more powerful EN-EL18a battery if at all possible.

Only more time and more testing will tell if the D850 can truly stand up to the D5’s autofocus performance, though we should reinforce that D5-level subject tracking is an awfully lofty benchmark to reach for. In our experience, it’s a benchmark that has remained out of reach of any camera to date, and whether or not the D850 measures up will be revealed in our full review.

Articles: Digital Photography Review (dpreview.com)

 
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MIT previews autonomous tracking drone

23 May

Despite camera drones becoming more and more intelligent, high-quality aerial tracking shots normally still require a large degree of human input. A research project at the MIT’s Computer Science and Artificial Intelligence Laboratory (CSAIL) is aiming to change that. The team has developed a drone that does not require any human control for recording tracking shots. 

Users can specify a viewing angle as well as the position and size of the target’s face on the screen and the drone will remain locked onto its target while also avoiding any obstacles in its flight path. Tracking parameters can be changed in-flight and the drone will adjust its position accordingly. Users can also attach a weighting to parameters, so the drone can prioritize in situations when it’s impossible to maintain all specified parameters. 

The MIT drone and tracking system will be presented at the International Conference on Robotics and Automation in Singapore at the end of the month. You can see the MIT drone in action in the video below and find more information on the MIT website.

Articles: Digital Photography Review (dpreview.com)

 
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New Olympus TG-5 improves ‘toughness’, brings new sensor and tracking functionality

17 May

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Olympus has announced its latest ‘tough’ camera, the TG-5. It’s the follow-up to the TG-4, one of our favorite rugged cameras, and features a new sensor and processor, advanced tracking capabilities, 4K video capture, Wi-Fi and more.

Where the TG-4 used a 16MP BSI CMOS sensor, the TG-5 has dropped to 12MP, in order to improve image quality (according to the company). It uses the same TruePic VIII processor found in the E-M1 Mark II. The 25-100mm equiv. F2-4.9 lens is mostly the same, although Olympus has added dual panel glass to prevent ‘foggy’ due to rapid changes in temperature. The lens can still focus down to 1cm/0.4in in its ‘microscope’ mode. 

The body has been strengthened. It’s now hermetically sealed and its waterproof rating is now 15m/50ft. It can survive a drop from 2.1m/7ft or having 100kg/220kg of force applied to it. It’s also freezeproof to -14C/+14F and dustproof. The design of the zoom controller is now more traditional, though in initial use we found that even a grain of sand can cause it to stick. A control dial has been added to the top of the camera, as well. 

The TG-5 inherits quite a few features from Olympus’ TG Tracker action camera, with the ability to log location, temperature, pressure and direction with the flip of a switch. The recorded info can be viewed in the O.I. Share app via maps and charts.

Video-wise, the TG-5 can capture UHD 4K video at 30p or go ‘high speed’ at 120 fps when shooting Full HD movies.

A number of accessories are available, including waterproof tele and fisheye conversion lenses, an LED Light Guide and flash diffuser and an underwater housing that functions down to 45m/147ft.

The TG-5 will be available in June for $ 449. You can choose from an easy-to-find-when-it’s-at-the-bottom-of-the-ocean red or a slick-looking black.


Sample Gallery

We’ve put together an initial gallery of photos from the TG-5. More to come soon!

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Press Release:

OLYMPUS AND ADVENTURISTS CONQUER THE OUTDOORS WITH THE NEW TOUGH TG-5

High-Speed f2.0 Lens, High-Speed BSI CMOS Image Sensor and the Latest TruePic VIII Image Processor Deliver High-Quality Images in a Rugged Design

CENTER VALLEY, Pa., May 17, 2017 — Olympus builds on the outdoor shooting and tracking capabilities of the Tough product family with the new Tough TG-5, a compact digital camera designed to capture outstanding images in the most challenging conditions. The Tough TG-5 combines its high-speed f2.0 lens with advanced technologies, including a new high-performance backlit 12-megapixel CMOS image sensor, Olympus’ latest high-speed TruePic VIII Image Processor and a Field Sensor System that records movement and environmental data. With the Tough TG-5, users are able to tell immersive stories using brilliant videos, stills and data captured from their extreme adventures.

The new Olympus Tough® TG-5 touts the widely praised bright f2.0 lens found on previous premium Tough models. Boasting a wide-angle 25mm to a telephoto 100mm (35mm equivalent) focal length, this lens works in concert with the new high-speed backlit CMOS image sensor and the dual quad core TruePic VIII Image Processor to deliver the highest image quality of any Tough model to date.

The built-in Field Sensor System, consisting of a GPS sensor, manometer, compass and temperature sensor, records movement and environmental data independently or in conjunction with still images or videos. Data logs can be simultaneously displayed with images and videos using the Olympus® Image Track app, enhancing the experience of reliving and sharing outdoor adventures.

The Tough TG-5 excels in extreme conditions. In addition to being waterproof to 50 feet (15 meters), crushproof to 220 pounds of force (100 kilograms of force), shockproof from 7 feet (2.1 meters), freezeproof down to 14°F (-10°C) and dustproof, the camera now includes Anti-Fog Lens Cover Glass. This allows the Tough TG-5 to capture amazing action shots on the slopes, underwater and in other uniquely challenging environments where other cameras can’t perform.

New video functions include 4K Movie to capture Ultra HD video at four times the resolution of Full HD, allowing users to record beautiful scenery in amazing detail. Full HD 120fps High-Speed Movie lets users easily capture stunning slow-motion, and 4K Time Lapse automatically creates short videos of long periods of time.

Pricing and Availability

The Olympus Stylus Tough TG-5 will be available in red and black beginning in June 2017 with an estimated street price of $ 449.99 USD and $ 579.99 CAD. For a complete list of specifications, visit the Olympus website: getolympus.com/digitalcameras/tough/tg-5.html. 

Main Features

1) High-speed f2.0 lens, new high-performance BSI CMOS image sensor and the latest high-speed TruePic VIII Image Processor deliver high-quality images in all lighting conditions.
The high-speed lens works in concert with the image sensor and processor for a powerful synergy resulting in improved high-quality images, even in low light or underwater.
 
a) High-performance BSI CMOS image sensor and the latest TruePic VIII Image Processor
The Tough TG-5 features a high-speed f2.0 lens, a newly developed high-sensitivity, high-speed backlit 12-megapixel CMOS image sensor and the latest TruePic VIII Image Processor used in the Olympus flagship OM-D E-M1® Mark II camera. The new technology produces better image quality at standard and higher sensitivity ranges. The processor is capable of more complex calculations to improve resolution in low-contrast areas, especially when shooting at low ISO sensitivity. A maximum ISO sensitivity of 12800 and RAW capture are also available, covering a wide range of shooting situations.
 
b) High-speed f2.0 lens with a 25–100mm focal length (35mm equivalent)
The bright f2.0 lens supports faster shutter speeds when shooting underwater or in other challenging conditions to capture fast-moving subjects with minimal blurring. Superb Olympus optical technology is incorporated into the lens, including DSA (Dual Super Aspherical), HD (High Dispersion) and HR (High Refractive Index) lenses to deliver high-quality images while reducing aberrations throughout the entire zoom range.

2. Field Sensor System adds tracking data to images and videos for reliving the moment.
The Tough TG-5’s Field Sensor System consists of built-in sensors, including GPS, a compass, a temperature sensor and a manometer for altitude or depth. Tracking data may be recorded simultaneously with images and video or independently using the camera’s Data Log Mode. Tracking data may be viewed on the camera’s monitor or on a smart device. Users are able to press the INFO button to display current real-time data, even when the camera is turned off. Using the Olympus Image Track app to simultaneously display images, videos, and tracking information, lets users tell the story behind their shots.

a) Field Sensor System

  • GPS: The built-in GPS utilizes GLONASS and QZSS satellite systems in order to precisely calculate latitude and longitude. The GPS Assist function significantly reduces the amount of time required for initial GPS signal acquisition.
  • Manometer: Altitude and water depth are calculated based on atmospheric pressure and water pressure information.
  • Temperature Sensor: This sensor measures both air and water temperature, and is shielded from the effects of heat generated inside the camera.
  • Compass: The compass measures the direction in which the camera lens is pointed.

b) Olympus Image Track App
Pairing the camera and a smartphone with the TG-5’s built-in Wi-Fi® enables the simultaneous display of images, video, and tracking information, delivering a unique way to relive users’ experiences. A data overlay can be applied to images or video for posting adventures to social media. The resizing of images and videos is also available with the app.

Reliable Tough performance: waterproof to depths of 50 feet (15 meters), shockproof from 7 feet (2.1 meters), crushproof to 220 pounds of force (100 kilograms of force), freezeproof down to 14°F (-10°C), dustproof and Anti-Fog Lens Cover Glass.

Hermetically sealed construction provides waterproof performance for worry-free shooting underwater. This sealing also provides superb dustproof performance so that users can feel comfortable using the camera in dusty and dirty environments. The Tough TG-5’s shockproof performance is made possible via its floating construction that suspends key components inside the housing of the camera, enabling the camera to clear drop tests of up to 7 feet. The Tough TG-5’s robust construction also withstands loads of up to 220 pounds of force. Reliable operation is assured down to 14°F, making it possible to use the camera in cold environments where other digital devices may fail. In addition, the Tough TG-5 features Dual Pane Protective Cover Glass over the lens, preventing condensation caused by sudden changes in ambient temperature.

Video functions now include 4K Movie and Full HD 120fps High-Speed Movie.
The Tough TG-5’s 4K Movie makes it possible to shoot Ultra HD video at four times the resolution of Full HD video, ideal for recording beautiful scenery in amazing detail. Full HD 120fps High-Speed Movie is also included to capture split-second moments with playback in stunning slow motion.

Other Features

1) Variable Macro System easily captures microscopic subjects.
The Tough TG-5 is equipped with four macro modes with a maximum shooting
magnification of 7x for capturing microscopic subjects difficult to see with the naked eye. Accessories such as the LG-1 LED Light Guide and the FD-1 Flash Diffuser expand shooting possibilities by enabling proper illumination of macro subjects.

a) Four Specialized Macro Modes

  • Microscope Mode: This mode allows users to shoot subjects as close as 1cm from the end of the lens and use the optical zoom to enlarge and shoot subjects. This feature is perfect for shooting insects, the veins in a leaf, snowflake crystals and other details in nature that cannot be seen with the naked eye.
  • Microscope Control Mode: This mode uses a combination of optical and digital zoom to magnify and capture microscopic subjects. Users are able to magnify a subject that is only 1mm in size up to a maximum of approximately 44.4mm when displayed on the rear LCD monitor. In addition to switching the magnification factor with the zoom lever, the arrow pad may be used to switch between 1x, 2x and 4x with the press of a single button as if changing the objective lens on a real microscope.
  • Focus Stacking Mode: Depth of field typically becomes shallow in macro shooting. Focus Stacking Mode automatically captures eight different shots while shifting the focus from the foreground to the background. Then, the focused areas are extracted and merged so that a full resolution image with large depth of field is created.
  • Focus Bracketing Mode: This function captures up to 30 images while shifting the focus from the foreground to the background. Users can select the amount of focus shift and number of shots in three levels. Focus Bracketing Mode is convenient for focusing on low-contrast subjects such as flower petals that consist of a single color.

2. Superb controls allow for smooth shooting even in rugged environments.

The Tough TG-5’s grip’s shape and thickness have been improved to provide for a more secure hold, and the camera’s controls may be easily operated even while wearing gloves. A new control dial helps users easily adjust shooting settings such as exposure compensation. An Accessory Lock has been added to the front of the camera to secure Tough system accessories, including Tough converter lenses and the LG-1 LED Light Guide. Movie Modes are now readily accessible via the primary Mode Dial, and a variety of shooting settings may be registered to the two Custom Modes for instant use. Together, these features make the Tough TG-5 easy to use in any environment.

  • Four Underwater Modes allow users to easily capture beautiful underwater photos.
  • Grid Display assists users with composition.
  • Focus Peaking and MF Assist aids in manual focusing.
  • Zero-lag Pro Capture Mode enables users to capture precise moments, even if they happen prior to fully depressing the shutter.
  • Nighttime Live Composite Mode is ideal for shooting fireworks and star trails.
  • HDR shooting delivers a rich range of tonal expressions by merging multiple images.
  • The Olympus Image Share aApp allows for remote shooting and wireless sharing via a connected smart device.
  • 14 unique Art Filters enable enhanced creativity.

System Accessories

There is an extensive lineup of system accessories available for the Tough TG-5 for expanded photographic applications.

  1. Waterproof Converter Lenses (Sold separately)

With Tough converter lenses, users can enjoy different angles of view while maintaining the brightness of the camera lens. Attach the FCON-T01 Fisheye Converter lens to enjoy shooting with fisheye effects with an ultra-wide 130° angle field of view. Attach the TCON-T01 Teleconverter lens to shoot at a telephoto 170mm focal length (35mm equivalent). Both lenses are waterproof and may be attached and removed underwater. The CLA-T01 Adapter is required to use these lenses. Users may also attach the bundled LC-40.5 lens cap and the PRF-D40.5 PRO Protection Filter (sold separately) to the CLA-T01.

  1. Macro Lighting Accessories (Sold separately)

The LG-1 LED Light Guide uses the camera’s built-in LED light to evenly illuminate subject up to the closest focusing distance of 1cm for superb macro shooting. The FD-1 Flash Diffuser evenly diffuses the light of the camera’s built-in flash. This helps reduce subject blur and camera shake that tends to occur during macro shooting in low-light situations, and enables the use of lower ISO sensitivity. It also makes it possible to darken the background all subjects to better stand out in photos. Both lighting accessories enable users to easily obtain creative macro shots that rival those of an interchangeable lens camera.

  1. Underwater Housing (New, sold separately)

The PT-058 Underwater Housing is waterproof down to 147 feet (45 meters), and features black coating on the front of the body to prevent unwanted reflections. This housing enables use of the Control Dial for exposure compensation while underwater. There is a wide range of accessories available, including the UFL-3 External Flash for dual-unit underwater flash photography. The external PTWC-01 Underwater Wide Converter Lens and PTMC-01 Underwater Macro Converter Lens may also be used with this underwater case.

Other Accessories

  1. Silicone Jacket, CSCH-126 (New, sold separately)

This customized silicone jacket protects the surface of the camera body from scratches and improves grip performance so that users can hold the camera more securely. The LG-1 LED Light Guide and FD-1 Flash Diffuser may be used with the silicone jacket attached to the camera.

  1. Mesh Camera Case, CSCH-121 (Sold separately)

This case is made of silicone rubber and features a mesh design that makes it easy for water to drain to keep the camera dry. Because this case contains no metal parts (including the carabineer), users don’t have to worry about rust.

  1. Sport Holder, CSCH-123 (Sold separately)

This holder secures your camera to a backpack or belt horizontally or vertically and can

be easily removed with a single hand. This accessory makes it possible to capture POV video and includes a carabineer and spiral cord to prevent the camera from falling.

Olympus TG-5 specifications

Price
MSRP $ 449
Body type
Body type Compact
Body material Metal
Sensor
Max resolution 4000 x 3000
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 12 megapixels
Sensor size 1/2.3" (6.17 x 4.55 mm)
Sensor type BSI-CMOS
Processor TruePic VIII
Color space sRGB
Color filter array Primary color filter
Image
ISO Auto, 100-12800
Boosted ISO (minimum) 100
Boosted ISO (maximum) 12800
White balance presets 8
Custom white balance Yes (4 slots)
Image stabilization Optical
Image stabilization notes Up to 2.5 stops
Uncompressed format RAW
JPEG quality levels Super fine, fine, normal, basic
File format
  • Exif (v2.3)
  • Raw (Olympus ORF)
Optics & Focus
Focal length (equiv.) 25–100 mm
Optical zoom 4×
Maximum aperture F2–4.9
Autofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Tracking
  • Single
  • Continuous
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (2X-4X)
Manual focus Yes
Normal focus range 10 cm (3.94)
Macro focus range 1 cm (0.39)
Number of focus points 25
Screen / viewfinder
Articulated LCD Fixed
Screen size 3
Screen dots 460,000
Touch screen No
Screen type TFT LCD
Live view Yes
Viewfinder type None
Photography features
Minimum shutter speed 4 sec
Maximum shutter speed 1/2000 sec
Exposure modes
  • Auto
  • Program
  • Aperture Priority
Scene modes
  • Portrait
  • e-Portrait
  • Landscape
  • Portrait +Landscape
  • Hand-held Starlight*
  • Nightscape
  • Portrait + Nightscape
  • Children
  • Sport
  • Candlelight
  • Sunset
  • Fireworks
  • Beach & Snow
  • Panorama
  • Live Composite
  • Backlight HDR
Built-in flash Yes
External flash No
Flash modes Auto, redeye reduction, slow sync, redeye slow sync, fill, manual, off
Drive modes
  • Single
  • Continuous
  • Self-timer
  • Pro Capture
Continuous drive 20.0 fps
Self-timer Yes (2 or 12 secs, custom)
Metering modes
  • Multi
  • Spot
Exposure compensation ±2 (at 1/3 EV steps)
WB Bracketing No
Videography features
Format MPEG-4, H.264
Modes
  • 3840 x 2160 @ 30p / 102 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 102 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 52 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 52 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 52 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 52 Mbps, MOV, H.264, Linear PCM
  • 1280 x 720 @ 120p / 25 Mbps, MOV, H.264, Linear PCM
  • 1280 x 720 @ 30p / 52 Mbps, MOV, H.264, Linear PCM
  • 1280 x 720 @ 25p / 52 Mbps, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC card (UHS-I compatible)
Connectivity
USB USB 2.0 (480 Mbit/sec)
HDMI Yes (micro HDMI)
Microphone port No
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n
Remote control Yes (via smartphone)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description LI-92B lithium-ion battery & charger
Battery Life (CIPA) 340
Weight (inc. batteries) 250 g (0.55 lb / 8.82 oz)
Dimensions 113 x 66 x 32 mm (4.45 x 2.6 x 1.26)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS Built-in
GPS notes GPS, compass, manometer, thermometer

Articles: Digital Photography Review (dpreview.com)

 
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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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Subject tracking: Why it matters to us and why it should matter to you

19 Mar
On many cameras, subject tracking (choosing your subject and letting the camera track as you hold your composition) has gotten very, very good.
Nikon AF-S 24mm F1.8 @ F2.8 | 1/8000 | ISO 320.
Photo by Rishi Sanyal

Digital cameras, and for that matter, film cameras, have offered autofocus for a number of decades now. It’s evolved from just one point to many hundreds of points over the years, allowing for varying degrees of control. You can leave the whole focusing process up to the camera and let it choose what it thinks is your subject; you can just use a single point of your choosing; or you can dance in the middle-ground using a zone or group of points that you select and keep over your subject, while the camera attempts to compensate if your subject veers toward the outside of that zone.

Outright subject tracking, though, is something else. You select the subject you want, usually with a single point or a single zone, initiate focus, and the camera does the rest. It will attempt to identify the size, color and distance of your chosen subject and do its best to track that subject around the frame, whether your framing changes or your subject moves.

This isn’t a particularly challenging use case, but it’s a good demo of how subject tracking works on Nikon’s D5 in 3D Tracking mode. Note focus is initiated at the beginning of the run, and the camera automatically keeps an AF point over Richard while constantly refocusing; even when shooting at 12fps.

Many people don’t have trust their cameras to do this, and until the last few generations of digital cameras, we wouldn’t have recommended it; but manufacturers continue to invest in pushing this technology forward. Established professionals in particular are highly unlikely to shoot this way, because once you’ve worked one way and can reliably get results you’re happy with, why would you change?

But believe us; good subject tracking is really something special, and it’s worth your time to give it a go. Frankly, it has the potential to forever change the way you shoot, for the better.

Why does it even matter anyway?

There are cases both for and against using subject tracking. In high speed, peak action sports, an experienced photographer would likely do a fine job (or better job) by using a cluster, group or zone of autofocus points and follow the action his or herself. But for those who are less experienced, or when shooting at longer focal lengths where following the subject can be more difficult, or when just shooting really erratic and unpredictable motion, subject tracking can be a tremendous help. It got me a number of keepers at a rugby match on a Panasonic camera even though it was the first time I’d ever photographed rugby, and the Nikon D5 was great for low-light soccer.

1 2 3 4 5 6 7 8 9 10 11 12

In the above example from a Nikon D5, our tech editor Rishi Sanyal initiated focus on the kayaker, fired a short burst, kept tracking him with the shutter half-pressed, and then fired another burst that kept accurate focus despite the kayaker basically disappearing underwater for a moment. This gave Rishi an abundance of options for editing, allowing him to get just the moment he was after with that may not have been possible without the use of 3D Tracking. Click here to see the final edited photograph.

It’s true that most manufacturers, despite constantly improving their tracking algorithms with newer models, somehow still don’t recommend subject tracking for these sorts of situations; but in our experience, it still seems to work most of the time anyway.

What other sorts of situations could benefit from using subject tracking? Turns out, a lot.

Weddings are one situation in which I find subject tracking invaluable. For this shot, you could frame up your composition, initiate autofocus on the bride at the beginning of her walk down the aisle, and fire away as she moves through the scene with the camera constantly focusing. Ironically, I didn’t use tracking here because on this camera it’s a menu-dive to access that setting, and single AF is super fast; but the catch is I ended up with fewer options this way. 
Leica Q | ISO 2500 | 1/125 sec | F2
Photo by Carey Rose

Events and weddings are great use-cases for subject tracking. You can initiate focus on the bride (or groom) in a scene, and simply keep continuously focusing on them as they move around, dance, interact with guests, and so on. You don’t have to take the time to move your focus point around, which could results in missed shots, and you don’t have to focus and recompose, which can result in missed focus when shooting at really wide apertures. You can end up with a greater variety of images and more options to choose from when it comes time to edit.

Another use case is candid portraiture. When you can reliably lock focus on a subject’s face or eye and are able to move the camera around while it continues to track focus, that allows you to sample multiple compositions really quickly. It also allows you that much more creative freedom to focus on those compositions in the first place instead of constantly having to move your focus point to catch up to what you’re seeing in your head. Autofocus point placement becomes just one less thing you have to think about.

The elephant in the article – just give it a try

Now, you may have noticed that most of the examples and references in this article are from high-end Nikon cameras, and the reason is not a personal bias; we’ve consistently called out this feature for a while now on mid-to-high end Nikons because we find it to be industry-leading.

But if you’re not a Nikonian, don’t fret! Almost every major consumer camera manufacturer has subject tracking in some form. Panasonic’s tracking system works reliably well, in both rugby and in social situations. Sony’s Eye AF feature is truly amazing. Olympus’ C-AF + Tracking is fairly robust, and Canon’s Dual Pixel AF is probably the best face detection and recognition system out there.

In short, experiment a little, give it a try and happy shooting!

Articles: Digital Photography Review (dpreview.com)

 
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Samsung patent shows dual-camera tracking feature

04 Jan

2016 was a breakthrough-year for the dual-camera concept on smartphones, with several models being launched. Notably the largest manufacturer of Android smartphones, Samsung, has so far not participated in the dual-camera game. This appears to be changing however, as a patent application has been filed with the South Korean Patent Office suggests that the tech giant is at least considering smartphone models with dual-cameras. The patent suggests that the phone would feature two different focal lengths, similar to what we have already seen on the LG G5 or Apple iPhone 7 Plus.

The patent application is for a specific dual-camera feature that allows for tracking a moving subject with the preview-image of the wide-angle lens and then capturing it larger in the frame with the tele-lens. In the images included in the patent application the frame lines of the tele-image are superimposed onto the wide-angle image, which should make it easier to follow a fast moving subject. 

As usual, there is no way of knowing if the concept will ever make it into a final product but the system certainly looks possible to implement with current technologies. We probably should not expect a dual-cam in Samsung’s upcoming Galaxy S8 flagship but after the Galaxy Note 7 disaster the Korean manufacturer could certainly do with a stand-out feature in one of its next models to recover lost market share.

Articles: Digital Photography Review (dpreview.com)

 
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Sony releases a6300 videos showing AF tracking and 8 fps live view burst performance

04 Feb

Sony has released a video showing the AF tracking and 8 fps live view burst of the newly announced a6300, as well as a video demonstrating AF with subject tracking in 4K video.

The camera appears to have impressive AF subject tracking accuracy, following not just the dog but the dog’s face in the demo. We’ll reserve judgement until we get our hands on one, but previous Sony cameras had a tendency to wander off to other areas of the subject when using general subject tracking, so these results indeed appear impressive. The expansive 425-point array also mean the camera can track the subject to almost any point in the frame, and all of these points purportedly work with A-mount lenses mounted via a LA-EA3 adapter (we expect Canon mount lenses to work as well, with appropriate adapters).* Have a look below.


Sony a6300 ‘4D Focus’ demo


The a6300 also potentially addresses one of the largest shortcomings of mirrorless cameras for action shooting: the often stop-motion playback of last-shot images, as opposed to a live feed, when shooting continuous bursts. We recently reported on Nikon’s calling out of this particular weak point of mirrorless cameras, so Sony’s response in the a6300 today seems timely. Essentially, the a6300 offers a live feed in the EVF or on the LCD during 8 fps continuous shooting, in between what seem to be very short blackouts. This should make it much easier to both pan the camera and still keep your subject in the frame, or keep your selected AF point(s) over your subject. 

The video above, in addition to one Sony presented at the press event earlier today, demonstrate a promising live feed during 8 fps bursts, but ultimately its utility will be largely dependent on the length of those blackouts between shots. Sony claims that the length of blackouts is competitive when compared to a <$ 1000 DSLR.

While that might seem like a relatively low bar, the fact that Sony is getting a live feed off the sensor at all in between shots at 8 fps represents significant progress in the realm of mirrorless cameras. In comparison, a DSLR doesn’t have to do anything but return the mirror to get you this ‘live feed’ through the optical viewfinder between shots.


Autofocus in video


Sony has also released a video demonstrating impressive AF in 4K video recording with native mount lenses. There appears to be little hunting, with fast refocusing and even subject tracking available during movie recording. Have a look above.

This should be a boon for videographers, assuming Sony now allows one to easily specify the subject before tracking it. On the note of specifying a subject, it’s a huge shame that a touchscreen isn’t paired with this capable video AF system for focus point selection.

At least on paper, we think that these advances mark some significant progress for mirrorless (it’s too bad we can’t say the same for the a6300’s ergonomics), and we’ll be curious to see how the systems perform when we get our hands on a production a6300.


* It remains to be seen if subject tracking is available in any mode save for ‘Wide’ with 3rd party lenses though: subject tracking has been severely limited with 3rd party glass on the a7 II and a7R II due to the inability of the photographer to specify the subject, since it’s only available in Wide area mode.

Articles: Digital Photography Review (dpreview.com)

 
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Sony a6000 promises world’s fastest AF and 11 fps subject tracking

12 Feb

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Sony has released its new a6000 mirrorless camera, which is the replacement to the NEX-6. This midrange mirrorless features a 24MP CMOS sensor, Sony’s latest Bionz X processor, and a refined Hybrid AF system that covers 92% of the frame with phase-detect points. The new AF system allows for continuous shooting at 11 fps with subject tracking, and also promises the ‘world’s fastest autofocus’, according to Sony. Video enthusiasts will be pleased to see that the a6000 offers a zebra pattern and clean HDMI output, though it lacks headphone or mic ports. Read more.

News: Digital Photography Review (dpreview.com)

 
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Researchers in Tokyo develop high-speed subject tracking system

17 Jul

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Engineers at Tokyo University’s Ishikawa Oku Laboratory have come up with new technology to track extremely fast motion. Their new system – which uses ‘Saccade Mirrors’ for pitch and tilt, a ‘pupil shift system’, and very fast image processing – is able to keep even the quickest subject in the center of the frame at all times. According to engineers, the initial application for this system could be to capture video at sporting events. They expect it to be market-ready in about two years. Follow the link for a video demonstration of this intriguing new technology.

News: Digital Photography Review (dpreview.com)

 
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Motion Tracking Tutorial: 3D Text [Boujou & C4D] – AcrezHD

05 Oct

In this tutorial i show you how to motion track 3D text into real life footage / game cinematic with life like shadows in the scene using Boujou (Motion Tacking Footage) and Cinema 4D (Compositing 3D text, Lighting, Shadows etc.) I also go over some of the problems you may run into when doing this kind of thing and do my best to address these issues so hopefully you will get the best possible result. Be sure to leave your feedback in the comments box below, and also if you found the tutorial helpful maybe rate the video as well, Thanks. Follow me on Twitter to keep to date with all the latest news, projects, tutorials, GFX packs and much more. www.twitter.com Example Clip [Nuketown – 720p – 30fps] Download Link: – www.sendspace.com – www.zshare.net – www.filefront.com Programs Used: – After Effects (Render JPEG Sequence) – Boujou (Motion Track Footage) – Cinema 4D (Compositing 3D Text, Lighting, Real Life Shadows Etc.) Extra Tags: AcrezHD tutorials 3D Text Motion Tracking Tutorial MatchMaking Match Making Real Life Footage Compositing Boujou Tutorial Synth Eyes Phoe Cinema 4D Adobe After Effects CS3 CS4 CS5 AE AAE C4D FCP

David Sztypuljak from HeyUGuys visits Aardman Animation Studios for a set isit on The Pirates! In an Adventure with Scientists and uses the b-roll footage to narrate his experience. You can read his entire report here: bit.ly Pirates! stars Hugh Grant, Brian Blessed, David Tennant, Martin Freeman, Jeremy Piven, Imelda Staunton, Salma Hayek, Brendan Gleeson and Ashley Jensen.
Video Rating: 4 / 5