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Posts Tagged ‘Video’

Blackmagic RAW 1.5 adds Adobe and Avid support, two new Blackmagic Video Assist 12G units also announced

15 Sep

Blackmagic has announced a number of new products and updates at IBC 2019, but two particular announcements stand out: the introduction of Blackmagic RAW 1.5 and the Blackmagic Video Assist 12G.

Blackmagic RAW 1.5 is a new software update that adds support, via plug-ins, for working with Blackmagic RAW video files directly inside Adobe Premiere Pro and Avid Media Composer, negating the need to transcode files and rely on proxies to edit footage. The update also includes a new version of Blackmagic RAW Speed test that’s compatible with Linux and Windows computer; until now, it was only available for macOS.

The Blackmagic RAW 1.5 update is currently available to download from Blackmagic’s website (under the ‘Latest Downloads’ section halfway down on the page)

Blackmagic also announced the Blackmagic Video Assist 12G, an update to its Video Assist 4K monitor-recorder that includes a brighter HDR screen, built-in scopes, 12G-SDI connectivity and support for recording to external disks over USB-C.

The Blackmagic Video Assist 12G is offered in 5in and 7in models, both of which feature 2500 nit touchscreen LCD displays with wide color gamuts to show Rec. 2020 and Rec 709 colorspaces. Both models include 12G-SDI connections, analog inputs for audio, USB-C external disk recording, dual battery slots for Sony L-Series batteries and headphone output for monitoring audio. Other features include four built-in scopes, tally indicators, enhanced focus assist features and 3D LUTS.

The only difference between the units, aside from size, is the 7in model features dual UHS-II SD card slots, compared to the single SD card slot on the 5in model. These SD card slots are hot-swappable, meaning you can remove and add storage even while recording, making it possible to shoot longer videos without the need to stop and start.

Connections on the device include two S12G-SDI ports, two HDMI ports, two Mini XLR inputs, a USB-C port on the base and a locking 12V DC power connection.

The 5in and 7in Blackmagic Video Assist 12G units will be available in September 2019 for $ 495 and $ 795, respectively, from authorized resellers.

Press releases:

Blackmagic Design Announces Blackmagic RAW 1.5

IBC 2019, Amsterdam, Netherlands – September 13, 2019 – Blackmagic Design today announced Blackmagic RAW 1.5 a new software update with support for Adobe Premiere Pro and Avid Media Composer, plus Blackmagic RAW Speed test for Mac, PC and Linux, so customers can work on a wider range of platforms and editing software with their Blackmagic RAW files. Blackmagic RAW 1.5 is available for download now from the Blackmagic Design web site.

Blackmagic RAW 1.5 will be demonstrated on the Blackmagic Design IBC 2019 booth #7.B45.

The new Blackmagic RAW 1.5 update includes Blackmagic RAW Speed Test which is now available on Windows and Linux for the first time. Blackmagic RAW Speed Test is a CPU and GPU benchmarking tool for testing the speed of decoding full resolution Blackmagic RAW frames on their system. Multiple CPU cores and GPUs are automatically detected and used during the test so that customers get accurate and realistic results. Simply select Blackmagic RAW constant bitrate 3:1, 5:1, 8:1 or 12:1 and the desired resolution to perform the test. Results are displayed in an easy to read table that shows how many frames per second the computer can decode for all supported resolutions.

Editors working in Adobe Premiere Pro and Avid Media Composer can now work with Blackmagic RAW files using the free plug-ins found in Blackmagic RAW 1.5. These new plug-ins enable editors to work with Blackmagic RAW directly, so they no longer have to transcode files. That means camera original Blackmagic RAW files can be used throughout the entire workflow. There is no longer a need to create proxy files and conform edits for finishing. These plug-ins bring the quality of RAW in small, modern, GPU and CPU accelerated files that are faster and easier to work with than any other video format.

Best of all, when projects are moved from Premiere Pro or Media Composer into DaVinci Resolve for color correction and finishing, all of the camera RAW metadata and image quality is still there.

“Blackmagic RAW is now available for editors working on all major professional NLEs,” said Grant Petty, Blackmagic Design CEO. “It’s exciting because you can now edit native Blackmagic RAW files in Premiere Pro and Media Composer and then finish them in DaVinci Resolve without needing to create proxy files, all without ever losing quality!”

Blackmagic RAW 1.5 Features

  • Includes Blackmagic RAW Speed Test for Mac, Windows and Linux.
  • Adds support for Adobe Premiere Pro and Avid Media Composer.
  • Performance improvements and minor bug fixes.

Availability and Price

Blackmagic RAW 1.5 is available now for download from the Blackmagic Design web site.

Blackmagic Design Announces New Blackmagic Video Assist 12G

IBC 2019, Amsterdam, Netherlands – Friday, 13 September 2019 – Blackmagic Design today announced Blackmagic Video Assist 12G which are new models of the company’s popular combined monitoring and recording solutions. These new models feature brighter HDR screens, built-in scopes, upgraded batteries, 12G-SDI and much more. Blackmagic Video Assist 12G will be available in September 2019 from Blackmagic Design resellers worldwide from US$ 795.

The new Blackmagic Video Assist 12G HDR adds professional monitoring and recording to any SDI or HDMI camera in all HD, Ultra HD, 2K and 4K DCI formats. The new improved design includes innovations such as brighter screens for HDR work, tally indicator, 4 built-in scopes, enhanced focus assist features, 3D LUTs and native Blackmagic RAW recording from supported cameras. With 12G-SDI and HDMI 2.0 on both 5″ and 7″ models, customers get support for recording from virtually any device in all formats up to 2160p60. A brighter touch screen ensures a better view of their recording when shooting HDR digital film, or when shooting outdoors in sunlight. The new design also features upgraded batteries and supports two standard Sony L-Series batteries. This means Blackmagic Video Assist 12G is incredibly versatile and is the perfect solution for the next generation of digital cinema shoots, live production mastering, broadcast testing and measurement.

There are two models of Blackmagic Video Assist 12G, with each model including an innovative touch screen user interface with deck controls, as well as a large screen to view recordings. The Blackmagic Video Assist 7″ 12G model also includes 2 media slots, while both the 5″ and 7″ models include 12G-SDI for high frame rate Ultra HD, analog inputs for audio, USB-C external disk recording, plus a front panel speaker and side-mounted headphone jack. Customers also get 2 rear battery slots for mounting Sony L-Series batteries, so customers have enough power for the brighter HDR screens and higher speed Ultra HD electronics. A 12v universal power supply is included for studio or on-location use.

Blackmagic Video Assist 12G HDR is an ideal upgrade for cameras, as it’s super bright 2500nit display is bigger than the tiny displays found on consumer cameras, plus users are also adding professional focus assist features and better quality file formats. Video Assist is also a great solution for professional cameras because customers can use it to upgrade older broadcast cameras to modern file formats used on the latest editing software. No matter what editing software customers use, Video Assist lets customers support them all, as customers can record in Apple ProRes, Avid DNx and Blackmagic RAW. With both HDMI and 12G-SDI inputs customers can connect it to any consumer camera, broadcast camera or even DSLR cameras. Then, on supported cameras, customers can even upgrade to RAW style workflows with Blackmagic RAW.

The innovative touchscreen LCD user interface provides incredible control. On-screen, there are dedicated buttons for play, stop and record, plus a mini timeline for scrolling through their recordings. Customers can even image swipe to jog. The LCD includes a heads up display of timecode, video standard, media status as well as audio meters. Scopes can be enabled via the touch screen as well as focus and exposure assist. Plus customers can load and save 3D LUTs.

Video Assist uses commonly available SD card media, so customers can record to flash memory cards that are easy to obtain. The files are small enough to allow long recordings on standard SD cards or the faster UHS-II cards. The larger Video Assist 12G 7″ model even includes 2 SD card slots so customers can swap out any full cards even during recording, allowing infinite length recording. Standard SD cards or the faster UHS-II cards are perfect for broadcast because they are small, high speed and affordable.

If recording to other media types is required, then the USB-C Expansion port lets customers plug in an external flash disk for recording. Imagine adding a Blackmagic MultiDock 10G for easy SSD compatibility with other recorders such as Blackmagic HyperDeck models. Customers even get on-screen menus for managing external disks using the touch screen.

Video Assist features a wide range of video and audio connections such as multi-rate 12G-SDI for SD, HD, and Ultra HD SDI devices. HDMI is included for HDMI cameras and monitoring to consumer televisions and video projectors. The 7-inch model features Mini XLR inputs which are provided for audio input from microphones and external audio mixers. Video Assist even includes a 12V DC power connection with locking power connector.

Customers will be ready for the latest HDR workflows with support for the latest HDR standards and an extremely bright screen with a wide color gamut. Plus the high brightness screen makes outdoor shooting in bright sunlight possible. The built-in scopes even change to HDR scopes when working in HDR formats. Files are tagged with the correct HDR information then SDI and HDMI inputs will also automatically detect HDR video standards. Static metadata PQ and HLG formats are handled according to the ST2084 standard. The bright LCD has a wider color gamut so it can handle both Rec. 2020 and Rec. 709 colorspaces. The built-in Video Assist LCD color gamut can even handle 100% of the DCI-P3 format.

Video Assist features full internal waveform monitoring so customers can ensure compliance to broadcast standards and it also works great as a portable waveform monitoring solution. The waveform display provides a traditional luminance (brightness) levels view of the video inputs or the playback signal. The vectorscope display allows customers to see the intensity of color at 100% SDI reference levels. Customers also get an RGB parade display which is ideal for color correction and checking for illegal levels. Histogram shows the distribution of white to black detail in their images and highlights or shadows clipping. The built in scopes can even be overlaid on live video, or as a small picture in picture view at the top right of the scope.

The SDI and HDMI connections are multi-rate, so handle SD, HD, and Ultra HD. SD formats include NTSC and PAL. 720p HD standards include 720p50 and 59.94p. 1080i HD interlaced formats include 1080i50 and 59.94. 1080p HD formats include 1080p23.98, 24, 25, 29.97, 30, 50, 59.94 and 60p. Customers can even do 1080 PsF formats. Ultra HD is supported up to 2160p59.94. Customers can even record 2K and 4K DCI rates up to 25p for digital film work.

Video Assist works with industry-standard 17 and 33 point 3D LUT files, or customers can work with the built-in LUTs such as Extended Video, Film to Video, Film to Rec.2020 and more.

Video Assist records using standard open file formats so customers don’t have to waste time transcoding media. Recording works in industry-standard 10-bit ProRes or DNx files in all formats and from all HDMI or SDI cameras, as well as 12-bit Blackmagic RAW when connected to supported cameras. Best of all media files work on all operating systems.

Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from cameras. Video Assist supports Blackmagic RAW recording from popular cameras such as Panasonic EVA1 and Canon C300 MK II. This eliminates the problems with popular camera formats such as H.264, which are highly compressed resulting in noise and processing artifacts. It also saves camera settings as metadata so customers can set ISO, white balance and exposure, then override them later while editing, all without any loss of quality. Blackmagic RAW files are also small and fast to use making them easy to work with.

Blackmagic Video Assist 12G includes a built-in professional audio recorder that’s much better quality than the audio quality found in most cameras, eliminating the need to carry around extra audio equipment. When working in SDI formats, customers can record 2, 4, 8 or 16 channels of audio in real-time. For connecting microphones the Video Assist 7″ model has two XLR analog audio inputs with phantom power that support the high definition audio sample rate of 192 kHz at uncompressed 16 and 24 bit per sample. Customers can monitor using on-screen audio meters with user-selectable VU or PPM ballistics.

Multiple languages are fully supported so customers don’t need to learn another language to use it. Support is included for English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese and Turkish.

The files from Blackmagic Video Assist 12G are common and are compatible with all operating systems or in most video software. Media can be formatted using ExFAT or HFS+ so customers can easily access the media on computers and access the files like regular disks. DaVinci Resolve is perfect for use with Video Assist because it features editing, color correction, audio post-production and visual effects all in one software application.

“The original Blackmagic Video Assist monitors and recorders were very popular and a fantastic way to upgrade older cameras, as well as for use in general broadcast areas of the television industry,” said Grant Petty, Blackmagic Design CEO. “These new models are an incredible improvement and incorporate all the lessons we have learnt from our customers in Hollywood. They have brighter LCD screens, 12G-SDI, Blackmagic RAW, better focus assist tools, presets, 3D LUTS and much more! They are so nice and it’s very exciting!”

Blackmagic Video Assist 12G Features

  • Supports live production, digital signage and archive use.
  • Modern design with fast to use touch screen controls.
  • Upgrades cameras to better monitoring and better record codecs.
  • Large LCD screen for digital film style focus assist tools.
  • SD/USH-II card support for commonly available media.
  • Records direct to external USB-C media disks.
  • 12G-SDI and HDMI for recording in SD, HD and Ultra HD.
  • Advanced HDR support with bright 2500nits wide gamut LCD.
  • Built in scopes include waveform, vector, parade and histogram.
  • Latest Multi Rate 12G-SDI technology for SD, HD and Ultra HD.
  • 3D LUTs can be applied for both monitoring and recording.
  • Standard open file formats compatible with popular software.
  • Records Blackmagic RAW from supported third party cameras.
  • Professional multi channel digital and analog audio.
  • Localized for 11 popular international languages.
  • Works with popular NLE software such as DaVinci Resolve.

Availability and Price

Blackmagic Video Assist 12G will be available in September 2019 from US$ 795, excluding duties, from Blackmagic Design resellers worldwide.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Watch 72 high-speed cameras capture bullet time slow-mo footage

13 Sep

Popular YouTube account Hydraulic Press Channel has introduced a major filming setup upgrade involving 72 high-speed Chronos 1.4 cameras mounted on a large rig suspended above the hydraulic press machine. The cameras are able to capture nearly 3,000,000 frames per second, according to the channel’s host, resulting in high-resolution 360-degree bullet-time videos.

The camera rig is used to show packs of playing cards exploding outwards under the pressure of the hydraulic press. It’s unclear how often this rig will be used for hydraulic press videos, but a comment published by the account indicates the team plans to introduce a new ‘Bullet Time Show’ on the Beyond The Press channel.

The Chronos 1.4 high-speed camera is offered by Kron Technologies with color and monochrome sensor options starting at $ 2,999.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm reveals X-A7 with improved AF, 4K/30p video and $700 price tag

12 Sep

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Fujifilm has announced the X-A7, an entry-level mirrorless camera with some key improvements over its X-A5 predecessor. A new 24MP sensor offers 8.5 times more phase detection autofocus points than the previous model, and includes 4K/30p video recording – a welcome upgrade over the X-A5’s 4K/15p. Burst shooting remains at 6 fps.

The X-A7 offers a fully articulated, ultra-high-res 3.5″ touch screen LCD, which is the primary means of interacting with camera controls, as the camera offers only a few physical controls on the back panel. The camera with kit lens attached weighs just 455g (1lb) altogether.

Other new offerings include an update to Fujifilm’s auto scene recognition mode called Bright Mode, which utilizes HDR and other camera settings to create brighter, more vivid images with little user input.

The Fujifilm X-A7 will be available October 24th kitted with a Fujinon XC 15-45mm F3.5-5.6 OIS PZ lens for $ 700. Shaking things up a bit, Fujifilm will offer the camera body in dark silver, ‘camel’, mint green and silver color options. A ‘navy’ color will also be available in some regions.

FUJIFILM INTRODUCES THE X-A7 MIRRORLESS CAMERA WITH LENS KIT – COMPACT SIZE, BIG FEATURES

Valhalla, N.Y., September 12, 2019 – The Electronic Imaging Division of FUJIFILM North America Corporation is pleased to announce the launch of its X-A7 mirrorless digital camera, available in a kit that includes a popular XC15-45mmF3.5-5.6 OIS PZ lens. The X-A7’s compact, lightweight form factor, outstanding image quality, and multitude of new and enhanced features position it as an ideal and timely entry into Fujifilm’s popular family of X Series mirrorless cameras.

Weighing in at only 11.3 ounces (320 grams)*1 and boasting a new 24.2MP imaging sensor, the X-A7’s fast auto-focus, quick face detection, and enough power to create stills at 6 FPS, the X-A7 is the ideal camera for content creators of all skill levels and disciplines. Its intuitive LCD articulating touch screen enables users to capture the perfect image on-the-go. The vari-angle touchscreen allows the monitor to be rotated in various angles freely. Moreover, the newly-designed “Smart Menu” facilitates intuitive touchscreen operation, so that even beginners can produce high-quality images easily.

Touch Your Way to the Perfect Image
Create great images with X-A7’s intuitive 3.5 inch, 16:9 touchscreen LCD flip-out articulating screen. With a quick touch, tap or swipe, users can adjust the brightness, film simulation, bokeh and even skin softening effects.

Incredible Image Quality for Any Situation
The newly developed 24.2MP imaging sensor features sensor features 8.5 times more phase detection pixels across its surface than the previously available sensor*2. The X- A7 has been engineered with industry-leading copper wiring to reduce digital noise, to ensure images and video are processed quickly and to ensure the best possible image quality. The X-A7 offers enhanced data readout speed which enables a smooth frame rate of 30fps when recording 4K video, minimizing the rolling shutter effect which typically occurs when recording fast -moving subjects or when panning the camera quickly.

Focus on the Moment; Let the Camera Focus on the Image
Enhanced face-detection and autofocus algorithms make it easy to focus on capturing the perfect moment in all kinds of situations, including low-light and with moving subjects.

Capture Life in Stunning 4K
Record stunning video in 4K30P to get a beautiful cinematic look with beautiful bokeh and colors that only a FUJIFILM X Series camera can provide. Record, upload, and share on-the-go with unique features such as “Countdown Video” mode, which allows videos to be filmed at a pre-selected duration: 15, 30 or 60 seconds, for a quick upload to social media channels.

Compact and lightweight design weighing only 11.3 ounces (320 grams)*
Despite featuring a large 3.5” touchscreen LCD, the X-A7 weighs approximately 1 pound (455 grams) with the kit lens (XC15-45mmF3.5-5.6 OIS PZ) attached. Perfect for the active photographer, the X-A7 can shoot approximately 440 pictures per charge*3 facilitating long-term use.

Diverse shooting modes that help produce photography with a creative flair
A new Bright Mode feature has been added to the Advanced SR Auto function, letting the camera configure ideal settings to produce HDR and other options that create bright, vivid images in a single, one-touch operation. The Light Trail mode, added to the Scene Position selection, can be used to capture light trails of car headlights, for example, while checking the effect on the LCD in real time.

Enhanced connectivity for easy link to smartphones and tablets
The use of FUJIFILM Camera Remote (a free app for smartphones and tablet devices) and the unique features of the X-A7 are designed to ensure dependable connectivity and stability in wireless communications. The X-A7 also supports wired communications with smartphones and tablet devices*4, useful when transferring large data, e.g. video, to such devices.

Availability and Pricing
The new FUJIFILM X-A7 with FUJINON XC15-45mmF3.5- 5.6 OIS PZ lens kit will be available in most markets in camel, dark silver, mint green and silver. It will be available for purchase starting October 24, 2019 in the U.S. and Canada at a MSRP of USD $ 699.95 and CAD $ 899.00.

*1 including the weight of a battery and a memory card, but excluding the Kit-included FUJINON lens
*2 Compared to the image sensor used in the Fujifilm X-A5 mirrorless digital camera
*3 When Economy mode is selected
*4 With a Type C jack: USB to C cable or USB C to A (included in package) +A to C Adapter
With a Micro B jack: USB C to A (Included in package) +A to Micro B Adapter
With a Lightning jack: USB C to A (Included in package) +A to Lightning Adapter

Fujifilm X-A7 specifications

Price
MSRP $ 699 (w/15-45mm lens)
Body type
Body type Rangefinder-style mirrorless
Body material Composite
Sensor
Max resolution 6000 x 4000
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 24 megapixels
Sensor size APS-C (23.5 x 15.7 mm)
Sensor type CMOS
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 100-12800 (expands to 25600)
Boosted ISO (minimum) 25600
White balance presets 7
Custom white balance Yes
Image stabilization No
Uncompressed format RAW
JPEG quality levels Fine, normal
File format
  • JPEG (Exif 2.3)
  • Raw (Fujifilm RAF format)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 425
Lens mount Fujifilm X
Focal length multiplier 1.5×
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3.5″
Screen dots 2,760,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type None
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/4000 sec
Maximum shutter speed (electronic) 1/32000 sec
Exposure modes
  • Program
  • Shutter priority
  • Aperture priority
  • Manual
Scene modes
  • Portrait
  • Night (tripod)
  • Fireworks
  • Sunset
  • Snow
  • Beach
  • Underwater
  • Party
  • Flower
  • Text
  • Multiple exposure
  • Light trail
Built-in flash Yes
Flash range 4.00 m (at ISO 100)
External flash Yes (via hot shoe)
Flash modes Auto, forced, slow synchro, 2nd curtain, commander, suppressed)
Flash X sync speed 1/180 sec
Drive modes
  • Single
  • Continuous
  • AE bracketing
  • ISO bracketing
  • Film Simulation bracketing
  • WB bracketing
  • Dynamic range bracketing
  • HDR
  • Movie
Continuous drive 6.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV steps)
AE Bracketing ±5 (3, 5, 7 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps)
WB Bracketing Yes
Videography features
Format MPEG-4, H.264
Modes
  • 3840 x 2160 @ 30p, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC (UHS-I supported)
Connectivity
USB USB 2.0 (480 Mbit/sec)
USB charging Yes
HDMI Yes (mini HDMI)
Microphone port Yes
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n + Bluetooth 4.2
Remote control Yes (via smartphone)
Physical
Environmentally sealed No
Battery Battery Pack
Battery description NP-W126S lithium-ion battery & charger
Battery Life (CIPA) 440
Weight (inc. batteries) 320 g (0.71 lb / 11.29 oz)
Dimensions 119 x 38 x 41 mm (4.69 x 1.5 x 1.61″)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Leaked promo video hints at Google Pixel 4 astrophotography mode

10 Sep

Google’s Pixel devices are usually cutting edge in terms of computational photography and the current Pixel 3 device comes with an entire range of computational imaging features, including the multi-frame-stacking Night Sight low light mode.

Now it looks like Google is planning to take things one step further with the upcoming Pixel 4 generation and offer some kind of astrophotography feature.

A fuzzy screenshot of the leaked promotional video showing off a dedicated camera mode for capturing stars.

Pro Android has managed to get hold of what appears to be an (as yet) unreleased Google Pixel 4 promotional video. The clip highlights several software features of the still unreleased device, including a Night Sight-like astrophotography mode. Unfortunately, no technical detail is provided but it is fair to assume to mode will use some combination of frame-layering techniques and artificial intelligence to create well-exposed noise-free images of the night sky.

Huawei’s current flagship P30 Pro already features a multi-frame star trail mode which is capable of achieving pretty attractive results in the right circumstances. We’ll have to wait until October, when the Pixel 4 is expected to be launched, to find out if Google’s solution is capable of improving on the Huawei feature.

Articles: Digital Photography Review (dpreview.com)

 
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How to Make a Cool Double Exposure Effect Using Photoshop [video]

07 Sep

The post How to Make a Cool Double Exposure Effect Using Photoshop appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video from tutvid, you’ll learn to make a cool double exposure effect using photoshop.

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Some of the things that you will learn while going through this double exposure effect in Photoshop tutorial include:

  • How to isolate an image from its background using the magic wand tool and the Select and Mask Tool.
  • Fine-tuning your selection in the Select and Mask Window using the paintbrush.
  • How to output your mask selection to a new Photoshop layer – so that you save your original image.
  • Making a new Layer and fill it with a solid color.
  • Using the pen tool to create a path you can then make a selection from.
  • Making your image Monochromatic.
  • Using the Channel Mixer, Curves and Levels to fine-tune your monochrome image.
  • Turning your image Monochrome using the Black and White Adjustment Layer.
  • Working with contrast.
  • Merging multiple Layers.
  • How to choose images that will work together.
  • Adding your second image to your original as a new layer.
  • Using Photoshop Blend Modes.
  • Saving and loading selections.
  • Dragging Layer Masks to new Layers to create your double exposure.
  • Fine-tuning your double exposure by painting out parts of your layer mask.
  • Using the High Pass Filter to add more detail to your image.
  • Using Camera Raw to fine-tune your image.
  • Working with Gradient Maps.

Try this out for yourself, and share your creations with us in the comments section below!

cool-double-exposure-effect-using-photoshop

The post How to Make a Cool Double Exposure Effect Using Photoshop appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Samsung Exynos 980 chipset supports 108MP images, 4K video at 120 fps

06 Sep

Samsung has launched its latest top-end chipset for mobile devices which will likely make an appearance in the brand’s next-generation Galaxy S and Note series smartphones. The Exynos 980’s headline features are a built-in 5G modem and plenty of processing power, but the new chip also has lots on offer for mobile photographers and creators.

The chipset supports image resolutions up to 108MP which means it’s ready for use with the next generation of high-resolution Quad-Bayer-like sensors. The image signal processor supports up to five sensors and can simultaneously process the output from three, allowing for advanced image-merging and other computational imaging methods.

There is also a built-in neural processing unit (NPU) which is specially designed to run artificial intelligence tasks. On the camera side of things, this is used for scene and object detection and subsequent optimization of camera parameters.

Exynos 980 powered mobile devices will also be able to encode and decode 4K video at 120 frames per second (fps). Support for HDR10+ with dynamic mapping should result in better color rendering in video clips.

There’s no definitive timeline for when this chipset will be released, but it’s safe to say Samsung’s future smartphones will likely be the first to showcase it.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Cinema5D goes hands-on with the Canon EOS C500 Mark II

06 Sep

We’ve already shared the basic specs and details of Canon’s new EOS C500 Mark II cinema camera, but our friends over at Cinema5D have gotten their hands on a unit and shared a ten-minute overview of the new full-frame cinema system.

Throughout the 11-minute video, Cinema5D takes a look at the overall unit, as well as the extension units, which make the camera even more modular and capable without the need for third-party solutions. Other details not given in Canon’s original press release are also mentioned and we even get a closer look at how the user-changeable mount system works.

Articles: Digital Photography Review (dpreview.com)

 
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Parrot announces the ANAFI FPV drone with 4K HDR video and 21MP stills

03 Sep

French manufacturer Parrot may have recently exited the toy drone market by retiring their Bebop and Mambo models, but its time in the drone market is far from over. Today, Parrot announced the Anafi FPV, a portable, foldable drone, based on its regular ANAFI model.

The ANAFI FPV features Parrot’s unique 180-degree tilting camera, 4K HDR video, a CMOS 1/2.4” 21-megapixel sensor and 3-axis stabilization with standard 3X zoom. The LD-ASPH lens boasts an F2.4 aperture and 26mm (35mm equivalent) focal length. The drone weighs 350 grams (0.77 pounds), has a maximum transmission distance of 2.5 miles, a flight time of 26 minutes, and a top speed of 34 miles per hour.

Parrot has focused its efforts on creating a fully immersive experience with its Cockpit Glasses 3 and the continual development of its FreeFlight 6 app. Pilots can easily toggle between flight modes to fine-tune their imagery. Arcade Mode allows users to capture imagery by simply pointing their camera in their direction of choice. It can be combined with the Cinematic preset to simulate a ‘bird’s eye view.’

Other built-in features include Autonomous Flight mode for cinematic selfies, Smart Return-to-Home and Geofencing for safety, Panorama modes including 360° Sphere, 180° panorama, and Little-planet, plus Slow-motion and Hyperlapse video modes. Parrot aims to make it easy for users to create unique, professional content with a portable set up that takes seconds to launch.

At the beginning of last month, the world’s leading drone manufacturer, DJI, introduced its own FPV system. One main component missing was the drone, itself. Instead of expecting consumers to solder or source their own, Parrot has included everything in its ANAFI FPV All-In-One Pack. Parrot has designed the ANAFI backpack to double as a launching pad for the drone. Included are the Cockpit Glasses 3, Skycontroller 3, a battery, USB-C cable, 16GB memory card, and an additional set of propellers.

The ANAFI FPV All-In-One Pack retails for $ 799 and is currently available to pre-order.

Update (September 3, 2019): Edited the article and headline to clarify that the Anafi FPV is not specifically a racing drone.

Articles: Digital Photography Review (dpreview.com)

 
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Atomos and Panasonic to co-develop Raw video for the Panasonic S1H

29 Aug

In a brief press release, Atomos announced that it’s working with Panasonic to bring Raw video recording via HDMI to Panasonic’s new S1H camera. According to the company, Raw recording will be supported using its Ninja V HDR monitor/recorder.

Atomos previously announced a collaboration with Nikon to support ProRes Raw recording from the Nikon Z6, which Nikon indicated will be available later this year. Curiously, today’s announcement from Atomos doesn’t specify what Raw format it intends to support on the S1H. We reached out to the company for clarification but were told it’s unable to provide additional information at this time.

According to Atomos the Raw update will be free to Atomos users, though it’s unknown whether there will be any cost associated with the upgrade on the Panasonic side. No timeframe for availability was provided.

Atomos and Panasonic announce 35mm full-frame RAW video over HDMI from the Lumix S1H to Ninja V

MELBOURNE, Australia, Aug. 28, 2019 /PRNewswire/ — Atomos is excited to announce co-development with Panasonic of RAW over HDMI from the brand new Lumix S1H to the Atomos Ninja V 4K HDR monitor-recorder. The RAW update will be available free on the Ninja V when released by Panasonic.

“We are very proud of continuing to develop new ground-breaking technology with a company of the caliber of Panasonic. We are both highly committed to the democratisation of filmmaking for creators, and the ability to transmit RAW over HDMI from the S1H to a Ninja V is a major leap forward in this endeavour,” said Jeromy Young, Atomos CEO.

As the world’s first full-frame mirrorless camera capable of 6K internal video, the Lumix S1H combines the quality of professional cinema-grade video cameras with the size and photo capability of a mirrorless, making it the perfect companion with the Ninja V.

“The leading brand of external monitor-recorders is definitely Atomos. Both companies have a very good relationship and we have been providing 4:2:2 10bit HDMI output recording for the Lumix GH series for years. We are very proud to be developing RAW output via HDMI with Atomos for the S1H,” said Panasonic at their launch event in LA.

Added Young: “Our advancements in screen technology now allows creators to accurately monitor RAW video in real-time as it would be viewed in the home or cinema for perfect preservation of creative intent. Our pristine custom Atomos HDR screens are second to none in colour accuracy and representation of brightness from RAW signals. When combined, these advantages create a dream workflow for filmmakers.”

The new Lumix S1H will be shown working with the Ninja V at the upcoming IBC show in Amsterdam from 13 September at the RAI Hall 11.D25, more information on the combination will be available during the show.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Beat creative block with these 5 tips

25 Aug

In his latest video YouTuber and photographer Jamie Windsor offers a collection of inspiring tips to lift us out of those dead-end moments when creativity temporarily abandons our world. When ideas seem to dry up it rarely feels like a temporary situation, even though experience proves that with time masterpieces will be made again. The problem is how long it takes to regain our mojo.

In A Few Quick Thoughts On Staying Creative Jamie discusses creative block and his theory on how it happens – and most importantly how to accelerate the return of fresh inspiration. He tells us to put ourselves in the way of new ideas, to listen to others plans and to try a new environment – and to review the ideas we have been working on.

If you are going through a dry spell at the moment this might just lift you out of it, and if you aren’t it could be your insurance for next time one comes along.

Articles: Digital Photography Review (dpreview.com)

 
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