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Posts Tagged ‘Upcoming’

Skydio releases sample footage captured with its upcoming Skydio 2 drone

07 Aug

Last month, California-based drone manufacturer Skydio teased a follow up to their premier R1 model. Slated for release this Fall, the company recently updated email subscribers with more details about what they’re calling the ‘Skydio 2,’ presumably for the time being. The reel, above, demonstrates some of the new drone’s capabilities including the ability to navigate and fly through numerous obstacles, track subjects, and even perform a 360° spin.

Besides being able to fly autonomously and avoid obstacles, the ‘Skydio 2’ will also boast a breakthrough algorithm that can determine ‘where and how to fly to get the most stunning cinematic shots possible.’ Perhaps this ability was referenced in the second frame as the ‘Skydio 2’ gradually pulled away from a single beachgoer to reveal a stunning tropical island.

With the R1, Skydio positioned itself as a drone maker for consumers and enthusiasts. Using Nvidia’s onboard computer, the same technology that powers self-driving cars, the R1 can map it surroundings, avoid obstacles in every direction and track a single subject. Remote pilots can launch and fly effortlessly with this built-in technology.

Now, with the ‘Skydio 2,’ the focus has shifted to quality cinematography. A redesigned camera promises polished, professional-grade video. This, alone, makes it a huge improvement from its predecessor. If they offer it up in a compact, light-weight frame with increased battery life, they’ll have created the consumer-grade drone to beat.

Articles: Digital Photography Review (dpreview.com)

 
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Report: Samsung’s upcoming Note 10 will have a ‘3-stage variable aperture’

26 Jun

Samsung guru and leaker Ice Universe claims Samsung China engineers have said the camera inside the upcoming Samsung Note 10 smartphone will feature a ‘three-stage variable aperture.’

As noted in the above tweet, Ice Universe says the camera on the Note 10 will offer three specific apertures as options: F1.5, F1.8 and F2.4.

Since the Galaxy S9, Samsung’s flagship lineups have featured dual-aperture camera systems, so it’s not new territory for Samsung. It is interesting though that Samsung is continuing to put an emphasis on the mechanical side of mobile photography when so many others, including Leica, are clearly doubling down on the computational side of it.

It’s unknown how the variable apertures will be implemented in the camera system, but the option alone is an improvement over other manufacturers and so far Samsung’s dual-aperture setup has proven itself.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic’s upcoming Lumix DC-S1H cinema camera can capture 6K video

01 Jun

Panasonic has announced the development of its video-focused, full-frame Lumix DC-S1H mirrorless camera, which will be available in the third quarter of 2019 for $ 4000.

The S1H will be able to capture 6K/24p video from the 3:2 region of its sensor and 5.9K from the 16:9 area. The camera will also be capable of 10-bit 4K/60p recording. In addition, it will support multi-aspect recording, such as anamorphic 4:3. Regardless of what video setting you’re using, the S1H will be able to keep recording until the battery dies or your card fills up.

The S1H has been designed to produce video virtually identical to that of Panasonic’s pro-level VariCam cinema camera, through the use of V-Log and V-Gamut. The company claims that the S1H will match the VariCam in terms of both dynamic range (14+ stops) and color reproduction.

Panasonic Lumix S1R, S1H and S1

Panasonic says it plans to have ten L-mount lenses by the end of 2020 and, via EF and PL adapters, S1H users will be have access to more than 50 cinema lenses from its L-mount partners Sigma and Leica.

And that’s all we know about the S1H at this point. A prototype will be shown at the CineGear expo this weekend, and we have no doubt that Panasonic will drip out more information in the months to come.

Press release:

Panasonic Announces the New LUMIX S1H Full-Frame Mirrorless Camera

With Cinema-Quality Video and the World’s First 6K/24p*1 Recording Capability

Newark, NJ (May 31, 2019) – Panasonic Corporation is proud to announce the newest addition to the LUMIX S series, the LUMIX S1H, a new Digital Single Lens Mirrorless camera equipped with a full-frame image sensor. As the world’s first camera capable of video recording at 6K/24p *1 (3:2 aspect ratio), 5.9K/30p (16:9 aspect ratio), and 10-bit 60p 4K/C4K.*2 *3, it combines the video quality of a professional camera and the high mobility of a mirrorless camera. The LUMIX S1H will be released to world markets in fall 2019.

The main features of the new LUMIX S1H are as follows:

  1. High resolution up to 6K for multiple formats.

Maximizing the use of the pixels in the full-frame image sensor, the LUMIX S1H, as a digital camera, has achieved 6K/24p (3:2 aspect ratio) or 5.9K/30p (16:9 aspect ratio) video recording for the first time in the world.*1 It is also the world’s first full-frame digital interchangeable lens system camera*1 to enable 10-bit 60p 4K/C4K *2*3 video recording. It accommodates a variety of recording formats like 4:3 Anamorphic mode, to meet professional needs. Its high-resolution data can also be used to create 4K videos with higher image quality or to crop images in 4K.

  1. Rich gradation and a wide color space virtually equal to those of cinema cameras.

The LUMIX S1H features V-Log/V-Gamut with a wide dynamic range of 14+ stops, which are virtually the same as those of the Panasonic Cinema VariCam, allowing it to precisely capture everything from dark to bright areas. So much so, that the color and even the texture of human skin are faithfully reproduced. Designed under consistent color management, the S1H’s recorded footage is compatible with V-Log footage recorded by VariCam or the LUMIX GH5/GH5S.

  1. High product reliability that allows unlimited video recording. *7

In every S1H recording mode, video can be recorded non-stop under the certified operating temperature so the user can concentrate on shooting.

Since the 1990s, Panasonic has been a leader in the development of video recording technologies for digital cinema, and has produced a host of innovative technologies for impressive cinematic imagery, such as 24p video recording, slow motion video using a variable frame rate, and the wide dynamic range and color space of V-Log/V-Gamut. By working with film creators for more than 25 years, Panasonic has successfully designed a number of cinema cameras that exhibit stunningly high video performance. The LUMIX GH1 made its debut in 2009 as the world’s first Digital Single Lens Mirrorless camera capable of full-HD AVCHD video recording. *4 The LUMIX GH4 was launched in 2014 as the world’s first Digital Single Lens Mirrorless camera*5 capable of 4K video recording. Next, the LUMIX GH5 was released in 2017 with the world’s first 4K/60p, 4:2:2 10-bit 4K/30p recording capability.*6 The LUMIX GH5 is highly acclaimed by film creators for its high performance, excellent mobility, and superb versatility in film production. And now, in 2019, the LUMIX S1H joins as Panasonic’s newest cinema camera.

Panasonic now offers three innovative models in the LUMIX S Series of full-frame Digital Single Lens Mirrorless cameras – the S1R, the S1, and the new S1H. The LUMIX S1R is ideal for capturing high-resolution images, while the LUMIX S1 is an advanced hybrid camera for high-quality photos and videos, and the LUMIX S1H is designed especially for film production. With this lineup, Panasonic is committed to meet the demands of every imaging professional by challenging the constant evolution of the photo/video culture in today’s new digital era.

The LUMIX S1H prototype will be exhibited at the 2019 Cine Gear Expo.*8?

*1 As a digital interchangeable lens system camera, as of May 31, 2019 (U.S.). Panasonic research.

*2 As a full-frame digital interchangeable lens system camera, as of May 31 May, 2019 (U.S.). Panasonic research. In Super 35mm-equivalent size.

*3 Corresponding to 4K (4096×2160) as defined by Digital Cinema Initiatives (DCI).

*4 As of March 25, 2009, as a digital interchangeable lens system camera. Panasonic research.

*5 As of March 25, 2014, as a Digital Single Lens Mirrorless camera. Panasonic research.

*6 As of January 25, 2017, as a digital interchangeable lens system camera. Panasonic research.

*7 Recording time varies depending on the battery capacity and memory card capacity. When the camera’s temperature rises above the specified operation temperature, the camera may automatically stop video recording to protect it from heat damage.

*8 Cine Gear Expo 2019 is the premier annual event for professionals engaged in the technology, entertainment and media industry to be held at Paramount Studios in Los Angles, U.S., through May 30 to June 2.

?Design and specifications are subject to change without notice.

Articles: Digital Photography Review (dpreview.com)

 
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Kipon shares new details of upcoming 12mm F2.8 lens for Fujifilm X-mount cameras

29 May

Kipon has shared new details about an upcoming 12mm F2.8 manual wide angle lens for APS-C camera systems.

The Ibegon 12mm F2.8 lens is being sold under the Kipon name, but its optical formula was designed by the German IB/E Optics. Its optical construction consists of 12 elements in nine groups and it features a seven-blade aperture diaphragm. It has a minimum focusing distance of 15cm (approximately 6in) and an aperture range between F2.8 and F22.

Blurry MTF charts provided by Kipon.

Currently, the product page only mentions availability for Fujifilm X mount camera systems, but Kipon previously teased at CP+ 2014 that it would be available for MFT, Sony E and EOS M mounts as well. Kipon hasn’t shared specific pricing information, but says it plans to ship the lens starting September 2019.

Kipon hasn’t shared specific pricing information, but says it plans to ship the lens starting September 2019.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe is sending out beta signups for its upcoming Photoshop for iPad

14 May

At Adobe MAX in October 2018, Adobe teased Adobe Photoshop CC for iPad, a full-fledged version of Photoshop specifically designed to be used on the iPad’s multi-touch screen. Now, Adobe is apparently sending out emails to certain Creative Cloud subscribers inviting them to sign up for a beta version of the program.

Adobe routes signups through a Google Forms page, which asks for just three pieces of information: your email, your full name and the reason you want to try Photoshop CC for iPad. What isn’t clear is when invitations will actually be sent out and what all the first beta versions will include.

Adobe Photoshop CC for iPad will be the most thorough and powerful photo editing application Adobe has ever brought to iOS, complete with full multi-layer PSD support, a full Photoshop toolbar, filters, masking, adjustments and Creative Cloud sync so everything stays organized across devices.

We have contacted Adobe for more details regarding the beta invites and beta versions of Photoshop CC for iPad and will update the article accordingly when we hear back.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon video teases upcoming eye-detection AF firmware update for Z6 and Z7, due out May 16

25 Apr

Nikon Europe has shared a short video on its YouTube channel teasing an upcoming firmware update for its Z6 and Z7 mirrorless cameras.

At only 15 seconds long, there’s not much to see in the video, but it confirms the firmware will include eye-detection autofocus and is set to go live on May 16, 2019. We’ll be sure to share the details of the firmware once it’s released.

Articles: Digital Photography Review (dpreview.com)

 
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Venus Optics shares details of upcoming zoom and prime cine lenses

07 Apr

Venus Optics is showing prototypes of its new Laowa cinema lenses at the NAB show in Las Vegas, and has released more details of their specification, what we should expect and a better idea of when they will be shipping. The lenses were first shown at Photokina in September, but in the meantime the company has confirmed more information regarding both models which were at a very early stage on their last outing.

The Laowa OOOM 25mm-100mm T2.9, it says, was designed with the aim of suppressing focus breathing, as well as distortion, chromatic aberrations, focus shift across the zoom range and variations in exposure – hence the fixed T2.9 aperture. The company also says that the OOOM name stands for ‘Out Of Our Minds’ and reflects the engineers ideology when it comes to lens design – meaning I suppose that the plans for the concept were ambitious. The lens has a 32mm covering circle which Venus Optics says makes it suitable for all Super 35mm aspect ratios. Using 20 elements in 16 groups the lens will have a closest focus position of 12.7in/32mm.

Venus Optics says we should expect delivery late this year at a price ‘well below USD $ 10,000’ – and that it is working on two more lenses to join it. One will be a wide angle zoom, and the other a telephoto model.

The company’s 12mm T2.9 Zero-D cine lens is also making progress, with details pointing to another late 2019 shipping date. New information on the specification shows the full frame lens will have a covering circle of 46.5mm and a 110mm filter thread. A 114mm step-up ring will be included for filmmakers to fit a rod-supported matte box onto the lens.

For more information see the Venus Optics website.

Press Release:

Laowa OOOM 25-100 t/2.9 and 12mm t/2.9 Zero-D will make their North America debut in NAB Las Vegas (Booth# C11738)

Venus Optics, the camera lenses manufacturer who had previously launched a number of unique Laowa camera lenses, is proud to display the new prototypes of Laowa OOOM 25-100mm t/2.9 and 12mm t/2.9 Zero-D in NAB Las Vegas show (Booth#C11738) and its the first time in America.

Laowa OOOM 25-100 t/2.9 Cine

Laowa OOOM 25-100 t/2.9 Cine is a high quality cinematic zoom lenses dedicated for PL/EF cameras with Super35-sized sensors. The name “OOOM” stands for “Out Of Our Minds” which properly describes our ideology of designing lenses. Unlike some other cine zooms in the market, the OOOM 25-100mm was designed with a goal to suppress focus breathing to the minimal at the beginning. Featuring a 32mm image coverage, the new OOOM lens covers a relatively bigger image than other S35 zoom lenses and should be able to cover most of the aspect ratios of cameras with Super35 sensors. The lens can focus up to 12.7” (32cm) away from the front element, which is comparatively closer than other lenses in the market with similar zoom factor. The 20 elements in 16 groups optics design successfully suppress distortion and chromatic aberration to the minimal and deliver outstanding resolution across the frame.

The 4X zoom factor provides a great deal of flexibility to shoot in most scenarios. This lens also has a par-focal and fixed t/2.9 aperture design that both the focus point & brightness will stay unchanged throughout the whole zoom range. The focus, aperture and zoom ring feature a cine-style 0.8 Mod gear teeth for fitting with focus units or motors. An industry standard 114mm front diameter is equipped for filmmakers to fit with their own matte boxes. A focus mark calibration mechanism is incorporated for filmmakers to micro-adjustment in case of front/back focusing. A user-interchangeable PL/EF mounts are available.

Venus Optics are currently preparing a similar cinematic zoom lens with wider focal length and the other one with a more telephoto perspective. The specifications will be announced in due course.

The retail selling price of the Laowa OOOM 25-100mm t/2.9 lens is not fixed yet but it will be well below USD 10,000. It will be available to ship from late 2019.

The lens will make its US debut in the coming NAB show in Las Vegas between 6-11 Apr in Venus Optics Booth (C11738).

Laowa 12mm t/2.9 Zero-D Cine

Laowa 12mm t/2.9 Zero-D Cine is one of the widest and fastest available lens for shooting with large format sensors. It is designed with a 46.5mm image circle, successfully covers both full frame and Vista Vision-sized sensors. Despite the ultra-wide 122° field of view, the image is perfectly rectilinear and features a close-to-zero distortion rate. The focus flow is extended to 270° for cinematographers to also take advantage of the 0.6 feet (18cm) closest focusing distance. The lens is super lightweight (650g, 1.4lbs) and comes with a 100mm front diameter. A 114mm step up ring is included for filmmakers to fit rod supported matte box onto the lens. Both EF and PL mount will be available.

The retail pricing of the 12mm t/2.9 Zero-D Cine is not ready yet and it will be ready to ship in around late 2019.

Articles: Digital Photography Review (dpreview.com)

 
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Yongnuo shares more details about its upcoming YN450 Android-powered mirrorless camera

07 Mar

Last October, Yongnuo teased the impending launch of a 16-megapixel Android-based mirrorless camera it called the YN450. Since then, not much has been heard about the device, but Yongnuo made an appearance at CP+ and brought along the unreleased device to show off in more detail.

In the video above, Cinema5D takes a closer look at the unreleased device to see just what Yongnuo has managed to pack inside the YN450 and what their goal is with the unique device.

The camera uses a 4/3 sensor and relies on a Canon EF mount for lenses. It’s powered by Android 7.1, features an 8-core Qualcomm processor and includes a 5-inch 1080p multi-touch display. The secret weapon, however, is an integrated 4G SIM card slot that will ensure the camera is as connected as a smartphone would be, with Wi-Fi and GPS to boot.

Based on the current information available, the camera will have 32GB of internal memory as well as a MicroSD card slot. However, Cinema5D believes that slot could be limited to 32GB cards and won’t support SDXC cards.

In addition to 16MP stills, the camera will shoot 4K/30p video, but details on the codec and other information are still unannounced. There’s also a front-facing 8MP camera that’s hidden next to the display. The device will feature a removable 4,00 may battery that’s said to power the camera for up to 4 hours of continuous use.

Photos by Cinema5D shared with permission

Articles: Digital Photography Review (dpreview.com)

 
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EXCLUSIVE: Hands-on with upcoming Fujifilm XF and GF lenses

10 Feb

Hands-on with upcoming Fujifilm XF and GF lenses

We’re in Dubai, where Fujifilm is showing off pre-production and prototype samples of three upcoming lenses – the GF 50mm F3.5 – a compact, lightweight standard lens for medium format – the XF 16mm F2.8, and the XF 16-80mm F4 – both of which designed for the company’s range of APS-C format X-series cameras.

Click through for an exclusive first look at all three, including detailed specifications.

Fujinon GF 50mm F3.5 LM WR

First up is the GF 50mm F3.5, which was placed on Fujifilm’s GF roadmap back in September. Shown here on the medium-format GFX 50R, the GF 50mm F3.5 covers a focal length equivalent to 40mm in 35mm terms, making it a so-called ‘normal’ standard lens. In terms of subject isolation, you can think of it as offering F2.8 full-frame equivalent depth-of-field, thanks to the reverse 0.79x crop factor. As you can see, for a lens designed for a modern medium-format system, it’s impressively small.

Even more impressive when you consider that the GF 50mm F3.5 contains nine elements in six groups, including one aspherical element. Note the small front element – more on that in a minute.

Fujinon GF 50mm F3.5 LM WR

An ideal companion for the (relatively) compact GFX 50R, the 50mm F3.5 provides a versatile and very portable solution for day to day photography. Autofocusing performance seems good, from our brief time with this pre-production sample, and focus acquisition is fast and quiet. Manual focus (as with all GF lenses) is ‘focus by wire’, via the slim focus ring towards the front of the lens.

Fujinon GF 50mm F3.5 LM WR

This shot shows the rear element of the GF 50mm F3.5. Compare this with the markedly small front element, and you might spot a theme with modern prime lenses designed for mirrorless systems. The short flange back and wide diameters of dedicated mirrorless camera mounts compared to legacy SLR systems allow optical designers to include large rear elements, positioned close to the imaging surface. Large rear elements allow for the potential to keep light rays at the peripheries of the image somewhat perpendicular to the sensor – in other words, less oblique. As such, higher resolution, lower chromatic aberration, and less vignetting can be achieved nearer to the edges of the frame. This can also mitigate the need for complex software corrections.

Furthermore, by making the rear elements of lenses like this slightly convex relative to the imaging surface, light that reflects back from the sensor can mostly be bounced outwards, beyond the imaging area. This reduces the risk of ‘ghosting’ when bright highlights appear in a scene.

The GF 50mm F3.5 will be available later this year, pricing still TBD.

Fujinon XF 16mm F2.8 R LM WR

Next up is the XF 16mm F2.8 for Fujifilm’s X-series APS-C format cameras, which was added to Fujifilm’s XF roadmap last summer. Equivalent to a 24mm F4.2 lens in full-frame terms, the XF 16mm is a tiny lens, perfect for street photography and landscape work, where portability is more important than a bright aperture.

Fujinon XF 16mm F2.8 R LM WR

Similar in general styling to Fujifilm’s 23mm, 35mm and 50mm F2 primes, the XF 16mm F2.8 really is tiny, and weighs in at only 155g. Despite its compact dimensions, it is sealed against dust and moisture incursion – you can just make out the rubber gasket around the lens mount in this shot.

Fujinon XF 16mm F2.8 R LM WR

Optical construction of the XF 16mm F2.8 comprises 10 elements in eight groups, including one aspherical element. Autofocus from this near-final sample (we tried it on an X-H1) is very fast and effectively silent. It will be available next month, pricing still TBD.

Fujinon XF 16-80mm F4 R LM WR

Finally, here’s the XF 16-80mm F4. Also added the roadmap last summer, the 16-80mm is optically stabilized and covers an equivalent focal length range of 24-120mm, with equivalent depth-of-field of a F6.0 lens. It’s a versatile standard ‘do everything’ zoom lens for Fujifilm’s XT-class mirrorless cameras. As you can see, at its 16mm position this lens is highly compact.

Fujinon XF 16-80mm F4 R LM WR

Zoomed in all the way to 80mm however, it almost doubles in size. Inside the barrel you’ll find 16 elements in 12 groups, including no fewer than four aspherical elements and one ED. The relatively large front element supports a 72mm filter thread.

Fujinon XF 16-80mm F4 R LM WR

Like the XF 16mm F2.8, the XF 16-80mm F4 is ‘WR’ (weather resistant). Pricing and availability has yet to be confirmed.

Articles: Digital Photography Review (dpreview.com)

 
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Olympus teases upcoming sports-oriented camera once more

17 Jan

Olympus has released teaser number three for the sports-oriented camera the company is releasing in a week. The previous teasers only gave a quick glimpse of the camera, instead focusing on what it can do: sports.

In this latest episode, the camera is seen out in nature (including the rain). We’ll have a lot more on this intriguing new camera when it launches on the 24th!

Articles: Digital Photography Review (dpreview.com)

 
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