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How to Remove a Fence From Your Photo in Just 3 Steps in Photoshop (video)

18 Jan

The post How to Remove a Fence From Your Photo in Just 3 Steps in Photoshop (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this Photoshop video tutorial from Piximperfect, you’ll learn how you can remove a fence from your photo in Photoshop – you know, those annoying fences in front of your subject.

How to remove a fence from your photo in just 3 steps in Photoshop

Use the following steps to remove your fence:

Step one: Painting out the fence on a layer mask

Make a layer mask.
Zoom in close to your fence, then choose a hard-edged brush that is just slightly larger than the edge of your fence (be sure your paintbrush color is black).
To paint the fence, simply click at the beginning of the fence, then hold the shift key, move the brush to the next section of fence and click. This will create a straight line.
Continue this process over every section of the fence. While this can take some time, duplicating the pattern generally won’t work as no two sections will be the same).
While zoomed in, to move around the image, press the space bar to bring up the Hand and then move the image to where you need it. Then continue painting in the fence lines.
Be sure to paint over all the discrepancies in the fence. If some sections of the fence aren’t straight, simply paint in two or three points.
Once you have painted in all the fence lines, you can move onto the next step.

Step two: Apply the Content-Aware fill

Select the background layer and turn off the fence mask layer using the eye icon next to the layer.
Now hold Ctrl (PC) or Cmd (Mac) and click on the thumbnail of the fence mask layer. This will select the fence layer.
Go to Edit->Content-Aware Fill (If you are using an older version of Photoshop, for to Edit->Fill and then choose Content-Aware from the dropdown section).
This will open up the Content-Aware Fill settings. Leave them at the default settings. Just change the Output To: setting to New Layer. Click OK.
Press Ctrl+D (PC) or Cmd+D (Mac) to deselect the fence.
To see how the Content-Aware Fill tool has worked, turn off your background layer momentarily. Then turn it back on.

Step three: Making minor adjustments

The image may look great while zoomed out on the full image, but when zoomed in close, some areas may not look right. This is where the minor adjustments come into play.
Create a new layer.
You can use the Spot Healing Brush Tool. Paint over areas that need fixing with a soft brush. Be sure that the “Sample All Layers” box is checked too. That way, it samples all the layers below the layer you are working on.
For trickier sections, like eyes, select the Clone Stamp Tool.
Take a sample of a similar section by clicking the Alt Key and selecting. If you need to rotate your clone (for example, around an eye). Hold down Shift+Alt+Right or Left Arrows or > (Win) and Shift+Opt+Right or Left Arrows (Mac)
You can also do that by going to Window->Clone Source and then manually entering in the angle of rotation.
Then use the regular Healing Brush Tool. Click the Alt (Win) or Option Key (Mac) to take your sample then paint in the areas that need fixing.
If you are having difficulty fixing areas such as the eyes, consider duplicating the other eye.
To do this, make a new layer. Then use the Clone Tool and make your selection from the same eye. Then repaint it onto the new layer.
Then press Ctrl or Cmd+D to select it and right-click and select Flip Vertical. This then brings up the corner anchors, and you can rotate the eye as you please.
Next, move the rotated eye section over the top of the original eye.
Click on the Mask icon on the Layers panel to create a mask. Select your brush tool. Remember, a black fill will hide your layer (paint it out).
Start painting out the sections you don’t want. You can lower the opacity of your layer so that you can get it’s positioning just right too.
Next, merge your clone layers (not the background or Content-Aware Fill layers). To do this, select the first layer, then press Ctrl or Cmd and click on the next layer. Then press Ctrl or Cmd+E to merge them.
Continue to look for discrepancies and fix those using the same process.

Step Four: Further adjustments

Now, you can make further adjustments to your image, including selective focus.
Next, create a stamp visible layer.
To do this, first, create a new layer and call it “Selective Focus.” Then select Ctl+Alt+Shift+E (win) or Cmd+Opt+Shift+E (Mac). This will bring your image into the layer.
Then convert the layer to a smart object. Go to Filter->Convert for Smart Filters. Click OK.
Then go to Filters->Blur Gallery and choose Tilt Blur. Next, rotate it. Keep in mind that the areas in the middles are focused – they have zero blur.
Adjust the blur level to whatever you like. You can also adjust the width of the blur area by pulling the lines outward.
Always have your eyes in focus.
You can also add other blur types if you like.
You can also add some sharpness to the eyes. Create another Stamp layer as above. Then desaturate it by clicking Ctrl+Shift+U (Win) or Cmd+Shift+U (Mac). Then go to Filter->Convert for Smart Filter. Click OK.
Next, go to Filter->Other->High Pass. Zoom in so you can see the detail. Decrease the radius slowly and gradually increase it. Just when you begin to see the halos, stop.
Change your layer blend mode to Overlay.
You will see the sharpness on the overall image, but you really only want it on the face. So, hold down the Alt Key (win) or Opt Key (Mac) and then click on the mask. This will create a negative (black) Mask.
First, name it “Sharpen.” Then click the mask, select your Brush Tool, then choose a soft brush and paint on the areas you want to sharpen (Be sure your white paint palette is selected).

And that’s it!

Share your before and after results with us in the comments section!

The post How to Remove a Fence From Your Photo in Just 3 Steps in Photoshop (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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Sharp 8K Video Camera appears at CES 2020 with some specs and availability details

16 Jan

During last year’s CES event, Sharp introduced a Micro Four Thirds camera prototype simply referred to as the ‘8K Video Camera.’ Details about the camera at the time had largely come from Kinotika, which had the chance to spend some hands-on time with the model. The company was back with more details about this model during CES 2020 and this time they come from a video published by Personal View.

During the video interview below, Sharp’s vice president of New Business Development Cliff Quiroga revealed some details about the company’s 8K camera, which was demonstrated with a working model at the most recent Consumer Electronics Show. The camera will be able to record 8K/30p, 4K/60p and 1080/60p video, it was confirmed.

The latter two recording options will be at 200Mbits/s at 10-bit, according to the interview, which reveals that the camera will feature a full-size HDMI output port, a 14cm (5.5″) fully articulating touch LCD, headphone and audio jacks, as well as a mini XLR port. The camera was demonstrated with an 8K external display.

Sharp is aiming for an H2 2020 release date in Japan and plans to launch the camera in the United States at some point ‘shortly after that.’ The price is still expected to fall below $ 4,000, but additional details are still pending.

Articles: Digital Photography Review (dpreview.com)

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The Autel Evo II will come in three modular models, including two with 8K video

15 Jan

Early last month, a forthcoming EVO II from Autel Robotics was revealed through an FCC filing. The portable follow up to the EVO officially launched at last week’s CES 2020 show. Drone and tech pundit OriginaldoBo made a prediction a week before the conference that this year, industry-dominating company DJI was not going to be the star of CES. Now we know why. Autel has introduced the very first 8K folding drone. The EVO II comes in 3 variants offering up 3 separate camera modules.

The standard Autel EVO II has an 8K, 48MP camera with a 1/2″ CMOS sensor. It can capture content at resolutions up to 8,000×6,000 pixels for photos, meaning you could print an image as large as 100 inches wide. Video resolution will max out at 7720×4320 pixels. It also features lossless, in-camera zoom up to 4x. Its weight at takeoff is 1,127 grams (about 2.5 pounds).
The EVO II Pro features a 20MP camera with a 1″ CMOS sensor, an adjustable aperture (ranging from f/2.8 to f/11), HDR, an ISO range of 100-12,800, and the ability to capture 6K video. The weight of EVO II Pro at takeoff is 1,174 grams (about 2.6 pounds).
The EVO II Dual boasts both a FLIR Boson sensor, with a thermal resolution up to 640×512, plus the same 8K camera that comes with the standard model. Takeoff weight for the EVO II Dual 320 is 1,157 grams (2.55 pounds) and 1,192 grams (2.62 pounds) for the EVO II Dual 640.

All 3 cameras have a maximum bitrate of 120Mbps. They will also feature 10-bit color depth. Autel’s states on its official site that it will continue to update specs, as they become available, but they have not specified whether there is an H.264 or H.265 codec. Information on frame rates is also notably absent at the time of this writing. Each variant of the EVO II is modular. You can upgrade, downgrade, and switch out camera systems without having to purchase a new drone.

The EVO II has a maximum flight time of 40 minutes and a transmission range of 9 km (5.6 miles). While most users will not need to fly this far, Autel states that a longer range ‘also means a stronger signal.’ It can operate at a maximum speed of 45 miles per hour (20.1 m/s). 12 AI-powered computer vision sensors give it omnidirectional obstacle avoidance that can also be disabled if the user wants full, uninterrupted control. 8GB of onboard storage is available with the option of adding an external microSD card up to 256GB.

What drone enthusiasts and professionals, especially, will appreciate is that Autel does not equip its drones with geofencing. While the feature, found in all contemporary DJI models, prevents drones from flying into restricted areas, including controlled airspace, it can also create a major inconvenience if a pilot secures permission to fly in a designated area and is unable to unlock the zone as planned.

The EVO II is currently in production. The EVO II is $ 1,495 and the EVO II Pro is $ 1,795. Those interested in purchasing an EVO II Dual will need to contact Autel for pricing. Availability and shipping dates will be announced soon, according to Autel’s official site.

Articles: Digital Photography Review (dpreview.com)

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Canon releases white papers detailing the still and video tech inside the 1D X Mark III

14 Jan

Editor’s note: Links have been updated and are now linking to the proper white papers once again. It appears Canon changed the URLs, causing a permission error.

Canon has released a pair of white papers on its new 1D X Mark III that dive into the details of the still and video technology inside its latest flagship camera system.

The still and video white papers are 59- and 21-pages long, respectively, and cover nearly every piece of tech inside the 1D X Mark III, complete with accompanying charts, graphics, tables and more. From details on the new square pixel AF detectors and their faster readouts to the Canon Log optoelectronic transfer function used in the video, these white papers cover it all and then some.

One of many charts/illustrations in the video white paper showing the Canon Log OETF for video captured with the 1DX Mark III.

You can find the still image white paper and video white paper on Canon’s 1D X Mark III product page. They’re viewable in the browser or available to download as PDFs.

Articles: Digital Photography Review (dpreview.com)

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DPReview TV: Canon 1D X Mark III for video

08 Jan

Canon’s 1D X Mark III sets a new standard for video specs in a DSLR-style camera. What’s it like to use? Jordan Drake from DPReview TV shares his first impressions of this camera’s impressive video capabilities.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Introduction
Video resolution and compression
Raw video
Slow motion
Aspect ratio
Autofocus
Electronic image stabilization
Rear display
Audio pre-amp
Low light
HDMI output
Separate stills and video settings
Conclusion

Sample video

Want to see more video from the Canon 1D X III? Here’s a sample reel we shot with the help of Lawless Forge in Seattle, WA.

Articles: Digital Photography Review (dpreview.com)

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Apple’s new ‘Fire and Ice’ video shows off the iPhone 11 Pro’s camera capabilities

08 Jan

Apple has published seven videos in its ‘Experiments’ series, including four episodes and four behind-the-scenes videos. Each video is intended to show what’s possible with ‘an iPhone, simple materials, and boundless creativity,’ according to the company. The latest video involves effects created by fire and ice; past examples include water and colorful objects.

The methods used to create Apple’s newest Experiments videos are fairly simple and reproducible at home, including the use of dry ice, what appears to be isopropyl alcohol in a glass jug, a wire mesh covered in lint and caught on fire, a red hot piece of metal placed on dark paper and more. The majority of the shots were captured by hand.

Articles: Digital Photography Review (dpreview.com)

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Nikon Coolpix P950 mega-zoom gains 4K video, Raw support, improved EVF

07 Jan

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The Nikon Coolpix P950 has arrived, retaining the outrageous 24-2000mm equiv. zoom range of its P900 predecessor, while adding modern refinements like 4K video and a higher-resolution EVF.

In addition to its large zoom range, the P950 offers UHD 4K video capture, 7 fps burst shooting and Wi-Fi + Bluetooth. Raw image capture is a welcome addition for more advanced photographers, and anyone will be able to appreciate its higher-res 2.4M-dot viewfinder. The P950 boasts 5.5 stops of stabilization and an accessory shoe to support Nikon’s DF-M1 dot sight – a useful aid for bird and airplane photography.

The Nikon Coolpix P950 will arrive in February with an MSRP of $ 800.

Official sample photos

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NIKON ASSERTS COMMITMENT TO OPTICAL SUPERIORITY WITH THE ANNOUNCEMENT OF CUTTING-EDGE Z MOUNT, F MOUNT AND COOLPIX PRODUCTS

The New NIKKOR Z 70-200mm f/2.8 VR S Redefines a Quintessential Photographer Favorite for the Z System; The AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR is a Ground-Breaking Pro Super-Telephoto Zoom Lens; The COOLPIX P950 Packs an 83X Optical Zoom to Bring the World Closer

LAS VEGAS – CES BOOTH #14018 (January 6, 2020 at 9:00 P.M. ET / 6:00 P.M. PT) – Today, Nikon Inc. announced three new innovative products that affirms the imaging brand’s commitment to bringing optical excellence to all levels of customers. First, the new NIKKOR Z 70-200mm f/2.8 VR S is the latest in the ever-expanding Z mount lens line, giving users of Nikon Z series mirrorless cameras an indispensable workhorse lens for capturing action and portraits. For professional sports and wildlife photographers, the new AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR is an enticing high-performance, professional super telephoto F mount NIKKOR lens. Finally, the COOLPIX P950 is a powerful new addition to Nikon’s superzoom bridge camera lineup, offering creators a spectacular 83x optical zoom and a myriad of innovative features to take their creativity to new heights.

“Nikon continues to innovate and push the boundaries of what’s possible in imaging and lens technology,” said Jay Vannatter, Executive Vice President, Nikon Inc. “The new NIKKOR Z 70-200mm f/2.8 VR S takes advantage of the next-generation optical system offered by the Nikon Z mount to create a versatile 70-200mm lens with astounding sharpness and clarity, cementing this S-line lens as a staple for those who demand only the best from their lenses.”

The NIKKOR Z 70-200mm f/2.8 VR S – Astonishing Details, Uncompromising Zoom
An essential pro-level telephoto zoom lens re-imagined to take advantage of the optical potential of the Z series, the NIKKOR Z 70-200mm f/2.8 VR S is the latest addition to Nikon’s rapidly growing lineup of mirrorless lenses. The NIKKOR Z 70-200mm f/2.8 represents a pivotal lens for the Z series and a must-have for those shooting action, weddings, events, news, wildlife and portraits. Equipped with a versatile focal range, fast f/2.8 aperture and an impressive 5 stops of built-in optical VR image stabilization1, the NIKKOR Z 70-200mm gives mirrorless shooters the flexibility to capture astoundingly sharp images and videos in a variety of scenarios. Additionally, multimedia and content creators using the lens will appreciate the stepping motor (STM) for extremely quiet autofocus operation and reduced focus breathing.

The NIKKOR Z 70-200mm f/2.8 VR S demonstrates the technological benefits of the Nikon Z mount to reinvent a classic lens, while including new features to make this photographer favorite even more superior for Z series users. Parfocal support maintains focus when zooming, while a reduced minimum focus distance (0.5m wide, 1.0m telephoto) vastly increases versatility for photos and video. When used in combination with the in-body stabilization of the Nikon Z 6 and Z 7, the NIKKOR Z 70-200mm f/2.8 promises unparalleled stability with additional optical stabilization. Like other S line lenses, the NIKKOR Z 70-200mm f/2.8 boasts a premium optical design complete with a 9-blade diaphragm as well as Anti-Reflective Nano Crystal and ARNEO coatings for maximum image quality in any light, with a Fluorine coating that resists dirt and smudges. In addition to a rugged weather sealed design the lens is ready to tackle any assignment with a dedicated Info Panel, two customizable Function buttons and an additional custom control ring.

The new NIKKOR Z 70-200mm f/2.8 VR S and AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR are the first Nikon lenses to feature the newly developed SR (Short-Wavelength Refractive) lens element, a specialized-dispersion glass lens featuring characteristics that greatly refract light with wavelengths shorter than that of blue. By controlling short-wavelength light that is difficult to compensate, the lens can more effectively collect light of various specific wavelengths and achieve highly precise chromatic aberration compensation.

AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR: Impressive Reach, Incredible Speed, Absolute Versatility
The all-new AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR is a versatile, professional lens for the Nikon F mount with a large focal range and fast constant aperture. It’s ideal for sports, wildlife and portrait photographers seeking a bright and fast telephoto lens that offers sharp image quality across a wide range of focal lengths. Thanks to its extensive 120-300mm focal range, the NIKKOR 120-300mm f/2.8 provides users with a pro-level single lens solution, replacing the need to carry multiple lenses. With Nikon’s reliable weather-sealed construction, the NIKKOR 120-300mm f/2.8 is equipped to handle any shooting scenario whether on the sidelines or in the wilderness.

Users will appreciate the constant f/2.8 aperture which offers incredible low-light capability and depth of field that draws emphasis to a subject. The impeccably sharp image quality, beautiful bokeh and enhanced AF performance of the NIKKOR 120-300mm f/2.8 offer speed and sharpness reminiscent of a prime. Engineered with Nikon’s cutting-edge technologies, the AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR is the first NIKKOR F mount lens to adopt Nikon’s new SR lens element as well as Nikon’s anti-reflective ARNEO coat to deliver superior chromatic aberration compensation and effectively reduce ghost and flare. The built-in VR function provides an effect equivalent to a shutter speed 4.0 stops1 and includes a Sport VR mode for rapidly moving subjects.

Ready for professional use, the lens is sealed to resist the elements and is engineered for maximum usability, even when handheld. The zoom ring, focus function buttons, tripod collar ring and controls are all designed to ensure superior operability for more comfortable shooting.

COOLPIX P950: 2,000mm Zoom Power, 4K UHD Video & More
With an unbelievable 83x optical zoom NIKKOR lens, the 16-megapixel COOLPIX P950 is a powerful new addition to Nikon’s superzoom bridge camera lineup, which delivers unprecedented image quality from extreme distances. Beyond the staggering 24-2000mm lens, the COOLPIX P950 packs an advanced feature-set complete with Nikon’s renowned NIKKOR optics and advanced stabilization technology with 5.5 stops of VR image stabilization, allowing stargazers and birdwatchers to capture high-quality photos or 4K UHD videos at extreme distances with ease. Plus, by using the COOLPIX P950’s 166x** Dynamic Fine Zoom for far-away subjects and Macro Shooting capabilities to get as close as 0.4 inches, adventure-seekers can bring the unimaginable closer than ever.

Users can rely on the P950 to photograph life’s most unique subjects with incredible accuracy and focus thanks to its Target Finding AF capabilities, 7 fps continuous shooting and ISO sensitivity up to 6400. A great option for photographers of all skill levels, the COOLPIX P950 features user-friendly controls alongside an intuitive menu system and a 2359k-dot EVF, making it easier to review and capture one-of-a-kind shots. Using dedicated Bird-Watching and Moon Modes, photographers can effortlessly snap photos of their world and beyond. The new P950 also adds RAW (NRW) photo recording, an enhanced high-resolution electronic viewfinder and Nikon SnapBridge2,3,4 to seamlessly share images or remotely control the camera.

The COOLPIX P950 is also equipped with an accessory shoe to enable compatibility with a variety of useful accessories, including the optional DF-M1 Dot Sight, which helps users locate subjects and compose shots from far-away distances.

Pricing and Availability
The new NIKKOR Z 70-200mm f/2.8 VR S lens and COOLPIX P950 will be available in February for suggested retail prices (SRP) of $ 2,599.95* and $ 799.95*, respectively. The AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR lens will also be available in February for a suggested retail price (SRP) of $ 9,499.95*. For more information about Nikon and their latest products, please visit?www.nikonusa.com.

1. Based on CIPA Standard. This value is achieved when attached to an FX-format digital SLR camera, with zoom set at the maximum telephoto position.
2. The camera’s built-in Bluetooth® capability can only be used to connect the camera to a compatible smart device running the SnapBridge app, and to take advantage of SnapBridge features.
3. This camera’s built-in Wi-Fi® capability can only be used with a compatible iPhone®, iPad®, and/or iPod touch® or smart devices running on the Android™ operating system. The Nikon SnapBridge application must be installed on the device before it can be used with this camera.
4. Using the SnapBridge App System Requirements:

a. Android 5.0 or later or 6.0.1 or later
b. A device with Bluetooth 4.0 or later (i.e., a device that supports Bluetooth Smart Ready/Low Energy) is required.
c. The SnapBridge app is available for compatible iPhone®, iPad® and/or iPod touch®, and for smart devices running the AndroidTM operating system. The app can be downloaded free of charge from Apple’s App Store® and GooglePlayTM. SnapBridge can be used only with compatible cameras.

-Android™ and Google Play™ are trademarks of Google Inc.
-Wi-Fi® and the Wi-Fi CERTIFIED logo are registered trademarks of the Wi-Fi Alliance. The N Mark is a trademark or registered trademark of NFC Forum, Inc. in the United States and in other countries. The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Nikon corporation and its Affiliates is under license.

*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.
** At the maximum image size. The maximum zoom ratio varies by image size. Dynamic Fine Zoom magnification is calculated from the maximum wide-angle position of the optical zoom.

Nikon Coolpix P950 specifications

Price
MSRP	$ 799
Body type
Body type	SLR-like (bridge)
Body material	Magnesium alloy, composite
Sensor
Max resolution	4608 x 3456
Image ratio w:h	4:3
Effective pixels	16 megapixels
Sensor photo detectors	17 megapixels
Sensor size	1/2.3" (6.17 x 4.55 mm)
Sensor type	CMOS
Color space	sRGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-6400
White balance presets	5
Custom white balance	Yes
Image stabilization	Optical
CIPA image stabilization rating	5.5 stop(s)
Uncompressed format	RAW
File format	JPEG Raw (NRW)
Optics & Focus
Focal length (equiv.)	24–2000 mm
Optical zoom	83.3×
Maximum aperture	F2.8–6.5
Autofocus	Contrast Detect (sensor) Multi-area Center Selective single-point Tracking Single Continuous Touch Face Detection Live View
Autofocus assist lamp	Yes
Digital zoom	Yes (4X)
Manual focus	Yes
Normal focus range	50 cm (19.69″)
Macro focus range	1 cm (0.39″)
Screen / viewfinder
Articulated LCD	Fully articulated
Screen size	3.2″
Screen dots	921,000
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Electronic
Viewfinder coverage	90%
Viewfinder resolution	2,359,000
Photography features
Minimum shutter speed	300 sec
Maximum shutter speed	1/4000 sec
Exposure modes	Program Aperture priority Shutter priority Manual
Scene modes	Moon, Bird-watching, Creative, Movie manual, Backlighting, Beach, Black and White Copy, Close-up, Dusk/Dawn, Easy Panorama , Fireworks Show, Food, Landscape, Museum , Night Landscape, Night Portrait, Party/Indoor, Pet Portrait, Portrait, Scene Auto Selector, Snow, Sports, Sunset
Built-in flash	Yes
Flash range	11.50 m (at Auto ISO)
External flash	Yes (via hot shoe)
Drive modes	Single Pre-shooting cache Multi-shot 16 Interval timer Continuous L Continuous H 120 Continuous H 60 Continuous H Best Shot Selector
Continuous drive	7.0 fps
Self-timer	Yes
Metering modes	Multi Center-weighted Spot
Exposure compensation	±2 (at 1/3 EV steps)
AE Bracketing	±2 (3 frames at 1/3 EV steps)
Videography features
Format	MPEG-4, H.264
Modes	3840 x 2160 @ 30p, MP4, H.264, AAC 3840 x 2160 @ 25p, MP4, H.264, AAC 1920 x 1080 @ 60p, MP4, H.264, AAC 1920 x 1080 @ 50p, MP4, H.264, AAC 1920 x 1080 @ 30p, MP4, H.264, AAC 1920 x 1080 @ 25p, MP4, H.264, AAC
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC
Connectivity
USB	USB 2.0 (480 Mbit/sec)
USB charging	Yes
HDMI	Yes (micro HDMI)
Microphone port	Yes
Headphone port	No
Wireless	Built-In
Wireless notes	Wi-Fi + Bluetooth
Remote control	Yes (via smartphone)
Physical
Environmentally sealed	No
Battery	Battery Pack
Battery description	EN-EL20a lithium-ion battery & USB charger
Battery Life (CIPA)	290
Weight (inc. batteries)	1005 g (2.22 lb / 35.45 oz)
Dimensions	140 x 110 x 150 mm (5.51 x 4.33 x 5.91″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes
GPS	None

Articles: Digital Photography Review (dpreview.com)

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Video: Adobe Lightroom trick makes it easy to search images for sensor spots

04 Jan

Professional photographer Anthony Morganti of ‘I Am Mr Photographer’ has published a new video that shows viewers how to systematically search for sensor spots (or water droplets and other unwanted specks) in an image using Adobe Lightroom Classic. The method is very simple and relies on a few keyboard shortcuts, as Morganti explains in his video.

Using this method, Lightroom users zoom in on the image and set the zoom box to the upper left-hand side of the image. From there, Morganti simply uses his computer’s Page Down function to scan through zoomed portions of the image in columns. The video includes instructions for viewers using Mac and viewers whose keyboards lack dedicated shortcut keys, among other things.

Articles: Digital Photography Review (dpreview.com)

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Why DaVinci Resolve 16 is the best video editing software for beginners

03 Jan

Blackmagic Design DaVinci Resolve 16
Free | blackmagicdesign.com

Resolve 16, a tool for all creators?

The explosion of user generated video content for websites like YouTube has led to the launch of several competing non-linear-editors (NLEs) aimed at consumers, which vary in terms of price, feature set and upgradability. So, how do you choose which one to use?

One great option is DaVinci Resolve 16 from Blackmagic Design. The software is available for free from Blackmagic, but it’s not the only low-cost entry in the NLE arena, so what makes it different, and why is it so attractive to users getting into video editing for the first time?

First, a little bit of history. Originally created by da Vinci Systems in 1985, the software was designed mainly for color grading and color correction and ran on hardware costing more that $ 150,000. It has evolved both in terms of features and pricing model since Blackmagic Design acquired it in 2009. The most recent version, Resolve 16, introduces a more streamlined and less complicated workflow for many users, particularly those new to using NLEs, to edit video.

First time users

Opening up the software for the first time can be rather intimidating for those who haven’t used an NLE before. The sheer number of windows and buttons can be rather daunting. The only NLE I can think of which doesn’t introduce this sort of shock is iMovie, however that program has limitations for users who might want to move their work into the professional arena.

When opening Resolve you’re initially greeted with a window that allows you to open an existing project or create a new one. Once you have a project open in the main interface, you’ll see a row of workspaces for various parts of your edit along the bottom of the window. Blackmagic calls them ‘pages’. These are termed Media, Cut, Edit, Fusion, Color and Deliver, and are arranged left to right in order to assist with the workflow. You can jump between pages at any point.

The newly introduced Cut page allows a more simplified workflow.

Is it complicated?

The introduction of the new Cut page in Resolve 16 has simplified some of the traditional workflow that was visually complicated. The inclusion of a page with fewer options will attract a number of new users. It’s very easy to quickly add shots to the timeline and trim them without having to invoke the more complicated Edit page, which can be a little complicated.

The quick export option allows access to some render presets without the need for the Deliver page.

That’s not to say that you have to use the Cut page since at any time you can jump between any of the pages. This might seem confusing at first, but it’s done in a way that allows you to use the more complicated features when you’re ready. When you start out, for example, you may find that you don’t need to use the Fusion page (for VFX work) or Fairlight page (for audio), but inevitably you will probably want to use some of the features these pages offer as your skills and requirements change. The other great thing about the Cut page is that a number of common functions can also be accessed there. For example, there’s no need to go into the Deliver page to render files as you can export your edit within the Cut page.

One thing you don’t get is any sort of guided workflow. Some basic previous knowledge is assumed, but there are plenty of excellent online tutorial videos available on YouTube from channels like learncolorgrading and JayAreTV.

The Fairlight page enables fine tuning of your audio with features like EQ and dynamics filters.

As with any new version of software , the launch of Resolve 16 brings a lot of added features and improvements. For example, with previous versions it was easy to start editing only to realize later that the key settings – resolution and frame rate – had not been set correctly. In the past this could mean that you had to start again for optimal results. This is no longer a problem with Resolve 16 as a new timeline can be created with the correct settings without the need to create a new project.

How much?

I mentioned this selling point in a previous paragraph, but what exactly is the cost of Resolve 16?…$ 0. Yes, that’s correct, you can download and use Resolve 16 for free. No time limited trial, no logo burn in and no limitation to the length of your final output.

Yes, that’s correct, you can download and use Resolve 16 for free.

The free version of DaVinci Resolve does have some limitations, although a lot of these may not be important for those just starting out or even the more advanced user. Some key limitations are that the free version doesn’t offer HDR support or timelines with a resolution greater than UHD 4K. You’re also limited to using a single GPU, and I’ve found that the rendering speeds with the studio version are appreciably quicker. This is because you can select native Cuda acceleration in the Deliver page if you have an Nvidia graphics card.

There are other limitations as well which are detailed here, although the linked table should only be used as a guideline since, at the time of writing, it hasn’t been updated to Resolve 16 yet.

The Deliver page enables multiple exports for different platforms.

Will it work with my hardware?

There are, of course, some minimum hardware requirements for Resolve but these are quite reasonable. (It would be great to get a definitive requirements list from Black Magic Design, but that doesn’t seem to be available.)

To give you an idea of what’s possible, I previously ran version 14 on a 2012 Macbook Pro and, although a little slow, it did work. My current setup uses an AMD Ryzen 1700x with 32GB of RAM, along with an Nvidia GTX 1070Ti, and it works well for me. That’s not to say things wouldn’t be much quicker with better hardware but that’s a nice thing to have rather than a necessity.

One of the many upgrade options: the dedicated Resolve 16 keyboard, which includes a real jog shuttle wheel.

What’s the catch?

So why does Blackmagic offer such a full featured video editor for nothing? Well, they’re hoping that you like the free version of Resolve so much that you want to buy into their ecosystem. The upgrade path to Resolve Studio costs $ 299, but Blackmagic also sells a number of related hardware products that will assist you in your editing. These range from a dedicated editor keyboard at $ 995 to a control grading surface at $ 1025, and even a full production suite which retails at a staggering $ 30,805. This might seem like overkill for people just starting out, but you should know that Resolve is also used in professional post production facilities world-wide. There are options for all budgets.

The next question is which version should you get, the free version or Studio? There’s no penalty in trying the free version and then upgrading later if you need features in the Studio version. Why upgrade? For me it meant faster renders, and time is money. I also considered some of the additional VFX filters that are included for $ 299 and it made sense for me.

You can also upgrade the Studio version without cost to the next version. I went from 15 Studio to 16 Studio without paying any extra. Traditionally, this has been a selling point of Resolve.

Resolve 16 offers comprehensive color grading tools, including power windows

Help, I’m stuck

In addition to YouTube there’s a very active user community via the Blackmagic forums where developers and industry professionals with hundreds of years of combined experience can help you out. There are always more features that could be included, and as the number of users of Resolve has expanded so have the feature requests. Blackmagic is listening, hence the introduction of the Cut page and the ability to create timelines in the same project that have different frame rates and resolutions.

There’s also the recently published Beginner’s Guide to Using Resolve 16, but at 444 pages it may take some time to get through.

Is it for you?

The short answer is, it depends. I’d say give it a go, after all it costs nothing to try it. If you find it difficult to use then try watching some of the videos linked above. I find myself watching some of them when new features are introduced or if I need to look at a function that I’ve never used.

There are many functions you may never use, but it’s great to know they’re available if you ever need them. If you’re not limited by the software, you can develop your skill set as and when required.

What we like

Free version works for most users
Modest hardware requirements
Available for Windows, Mac and Linux
Excellent support resources, especially via YouTube
Reasonable upgrade cost if you require additional functions ($ 299)

What we don’t like

Can appear intimidating to new users
Lacks some support documentation

Articles: Digital Photography Review (dpreview.com)

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Video: Billie Eilish parody music video ‘Gear Guy’ is made for filmmakers and photographers

01 Jan

Dave Maze, the host of YouTube channel Kinotika, is the star of a newly published parody of Billie Eilish’s ‘Bad Guy’ music video. Called ‘Gear Guy,’ this song is made for the photographers and filmmakers who are obsessed with collecting new gear.

Maze is also behind the ‘Old Towne Road’ parody video published back in September. In addition to the music video above, the parody is also available to listen to on Soundcloud. The video also stars Jake Bernal, Zach Mayfield, and Laura Altizer.

Articles: Digital Photography Review (dpreview.com)

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