The Fujifilm X-T3’s 4K video more than lives up to its impressive specification, making it one of the most capable video cameras we’ve ever tested.
Articles: Digital Photography Review (dpreview.com)
Posts Tagged ‘Video’
Manfrotto launches ‘50% more rigid’ carbon fiber twin-leg tripods for video
27
Sep
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Accessories manufacturer Manfrotto has launched a pair of carbon fiber tripods for videographers that it claims are 50% more rigid than their aluminum counterparts and which come in a choice of configurations. The CF Twin Leg models feature dual risers and offer users a choice of leg spreading braces. The first model has a removable middle spreader half way up the legs and the other has the spreader attached to the feet. Both can have rubber or spiked feet, and are essentially the same in all other respects.
A 100mm bowl comes as standard along with a 75mm adapter to make the set-up compatible with a wider range of heads, and the legs are available as an optional kit with the Nitrotech N8 and N12 video heads as well as the 504. The legs in either configuration will cost £659.95/$ 699.95 with no head, and are available for pre-order on the Manfrotto website.
Press release
{pressrelease}
MANFROTTO EXPANDS ITS VIDEO SUPPORTS RANGE WITH TWO NEW TWIN-LEG TRIPODS IN CARBON FIBRE
- Carbon fibre with new internal lock mechanism
- 100mm bowl with 75mm aluminium adapter
- 50% increased rigidity*
Manfrotto, world leader in the photography, videography, imaging equipment and accessories industry, has expanded its video tripod range with two new twin-leg video tripods made of carbon fibre.
The two brand-new, twin-leg video tripod models are the perfect solution for professional videographers looking for robust, rigid and lightweight support.
A 50% increase in rigidity* is achieved thanks to the combination of carbon-fibre tubes and a new patent-pending internal leg lock mechanism.
Manfrotto’s two new twin-leg carbon-fibre video tripods feature a 100mm bowl and include a 75mm aluminium adapter, for compatibility with a wider range of video heads.
Moreover, the tripod feet with spiked option give great versatility when it comes to different shooting locations.
The twin-leg carbon fibre tripods are available in two models: the first with an easily removable middle spreader and telescopic arms, and the second with a ground spreader, telescopic arms and incorporated rubber shoes.
Both twin-leg carbon-fibre tripods are also available in combination with Manfrotto Nitrotech N12, N8 and 504 video heads.
All Manfrotto video tripods are engineered with a focus on quality and dedication to continuous innovation. These products are the perfect solution for all videographers looking for a great support for their video shooting. Manfrotto’s new twin-leg carbon-fibre tripods will take support for their video gear to the next level.
*Compared with the Manfrotto aluminium versions 546B, 546GB, 545B, 545GB.
RRP £659.95. For more information, please visit www.manfrotto.co.uk
{/pressrelease}
Articles: Digital Photography Review (dpreview.com)
Canon PowerShot SX70 offers 65X zoom lens, 4K video and CR3 Raw support
21
Sep
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Canon has introduced its latest superzoom camera, the PowerShot SX70 HS. Its equivalent focal range of 21-1365mm hasn’t changed, but the sensor, image processor, viewfinder and video capabilities have been greatly improved.
The SX70 has a 20.3MP BSI-CMOS sensor paired with Canon’s latest Digic 8 processor. The lens remains at 65X (almost half that of Nikon’s new P1000,) with a maximum aperture range of F3.4-6.5. The new image processor has improved the effectiveness of the camera’s image stabilization system according to Canon, which can now reduce shake by up to five stops. The Digic 8 also brings along support for Canon’s CR3 Raw format, which has smaller file sizes than the previous CR2 format.
While the design of the camera isn’t radically different from that of the SX60, there are three notable changes. First, the electronic viewfinder is now OLED with 2.36 million dots, compared to LCD with 922k dots. There’s also an eye sensor that wasn’t present on the SX60. Second, there’s now a zoom switch on the lens barrel. The final change is a ‘deprovement’: the hot shoe on the SX60 is gone on the SX70.
The SX70 HS can shoot bursts at 10 fps with focus locked or 5.7 fps with continuous AF. UHD 4K video can be captured at 30p with a bit rate of 120Mbps. The SX70 continues to offer a microphone socket. The camera’s wireless connectivity includes Wi-Fi and Bluetooth.
The PowerShot SX70 HS will ship at the end of November for $ 549.99.
Press Release
Zooming With Features: Canon Introduces Latest High-Power Zoom Digital Camera, The PowerShot SX70 HS
Latest Edition Provides 65x Optical Zoom, High-Resolution Electronic Viewfinder and 4K Video
MELVILLE, N.Y., September 20, 2018 – It’s a common saying that good things come in small packages and today, Canon U.S.A., Inc., a leader in digital imaging solutions, demonstrates this with the introduction of the new PowerShot SX70 HS compact digital camera. Featuring a 65x Optical Zoom Lens (equivalent to 211-1365mm1), 20.3 Megapixel2 CMOS imaging sensor and 4K video capabilities, the PowerShot SX70 HS camera is an ideal fit for anyone who wants powerful optical performance in a compact package. With a minimum focusing distance of 0cm3 and a zoom up to 2730mm1 (with ZoomPlus), the PowerShot SX70 HS allows users to create beautiful close-ups and stunning wide shots without changing lenses.
“In this day and age, cameras are becoming smaller while the desired list of features continues to grow,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Canon continues to be committed to incorporating the latest features in our compact cameras and the new PowerShot SX70 HS is our very latest version, providing the dynamic combination of a compact body, powerful zoom and robust features that photo and video enthusiasts alike will love.”
The PowerShot SX70 HS features a 0.39-inch, approximately 2.36-million dot, high-definition OLED Electronic Viewfinder (EVF) for clear, crisp representation of what the lens is seeing. This camera also features 4K video shooting and frame grabbing,4 and is the first Canon point-and-shoot camera compatible with the latest RAW format (.CR3). With the addition of a new eye sensor, the camera automatically switches to the EVF display simply by bringing the camera up to the eye. Additionally, the inclusion of built-in Wi-Fi®5 and Bluetooth®6 technology offers quick and easy sharing, making the switch from smartphone photography to the PowerShot SX70 HS camera simple and fun.
The DIGIC 8 processor enables the PowerShot SX70 HS camera to achieve five stops of IS with dual-sensing image stabilization (IS). Even during handheld shooting, IS allows users to take pictures with minimal worry about camera shake. The camera also features high-speed continuous shooting at up to 10 fps. A Zoom Framing Assist button on the side of the lens barrel enables quick adjustments of the view angle, which is especially useful during telephoto shooting. With a large grip for comfortable, stable shooting and an EOS-like user interface, the PowerShot SX70 HS will make it easy for artistic vision to come to life in the hands of photographers at any level.
Availability and Pricing
The PowerShot SX70 HS will be available for purchase in November 2018 for an estimated retail price of $ 549.997.
1 In 35mm format.
2 Image processing may cause a decrease in the number of pixels.
3 From the end of the lens, wide-angle only.
4 Frame grabbed images on the camera cannot be trimmed. Other than 4K movies, frame grabbing of Full HD or HD movies is not possible.
5 Compatible with iOS® versions 8.4/9.3/10.2, Android™ smartphone and tablet versions 4.1/4.2/4.3/4.4/5.0/5.1/6.0/7.0/7.1. Data charges may apply with the download of the free Canon Camera Connect app. This app helps enable you to upload images to social media services. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app.
6 Compatible with select smartphone and tablet devices (Android™ version 5.0 or later and the following iOS® devices: iPhone 4s or later, iPad 3rd gen. or later, iPod Touch 5th gen. or later) equipped with Bluetooth® version 4.0 or later and the Camera Connect App Ver. 2.0.30. This application is not guaranteed to operate on all listed devices, even if minimum requirements are met.
7Availability, prices and specifications subject to change without notice. Actual prices are set be individual dealers and may vary.
Canon PowerShot SX70 HS specifications
| Price | |
|---|---|
| MSRP | $ 549 |
| Body type | |
| Body type | SLR-like (bridge) |
| Body material | Metal, composite |
| Sensor | |
| Max resolution | 5184 x 3888 |
| Image ratio w:h | 1:1, 4:3, 3:2, 16:9 |
| Effective pixels | 20 megapixels |
| Sensor photo detectors | 21 megapixels |
| Sensor size | 1/2.3" (6.17 x 4.55 mm) |
| Sensor type | BSI-CMOS |
| Processor | Digic 8 |
| Color space | sRGB |
| Color filter array | Primary color filter |
| Image | |
| ISO | Auto, 100-3200 |
| White balance presets | 6 |
| Custom white balance | Yes |
| Image stabilization | Optical |
| CIPA image stabilization rating | 5 stop(s) |
| Uncompressed format | RAW |
| JPEG quality levels | Fine, normal |
| File format |
|
| Optics & Focus | |
| Focal length (equiv.) | 21–1365 mm |
| Optical zoom | 65× |
| Maximum aperture | F3.4–6.5 |
| Autofocus |
|
| Autofocus assist lamp | Yes |
| Digital zoom | Yes (4x) |
| Manual focus | Yes |
| Normal focus range | 5 cm (1.97″) |
| Macro focus range | 0 cm (0″) |
| Number of focus points | 9 |
| Screen / viewfinder | |
| Articulated LCD | Fully articulated |
| Screen size | 3″ |
| Screen dots | 922,000 |
| Touch screen | No |
| Screen type | TFT LCD |
| Live view | Yes |
| Viewfinder type | Electronic |
| Viewfinder coverage | 100% |
| Viewfinder resolution | 2,360,000 |
| Photography features | |
| Minimum shutter speed | 15 sec |
| Maximum shutter speed | 1/2000 sec |
| Exposure modes |
|
| Built-in flash | Yes |
| Flash range | 5.00 m (at Auto ISO) |
| External flash | No |
| Flash modes | Auto, on, slow sync, off |
| Continuous drive | 10.0 fps |
| Self-timer | Yes (2 or 10 secs, custom) |
| Metering modes |
|
| Exposure compensation | ±3 |
| Videography features | |
| Format | MPEG-4, H.264 |
| Modes |
|
| Microphone | Stereo |
| Speaker | Mono |
| Storage | |
| Storage types | SD/SDHC/SDXC (UHS-I supported) |
| Connectivity | |
| USB | USB 2.0 (480 Mbit/sec) |
| HDMI | Yes (micro HDMI) |
| Microphone port | Yes |
| Headphone port | No |
| Wireless | Built-In |
| Wireless notes | 802.11b/g/n + Bluetooth |
| Remote control | Yes (via smartphone) |
| Physical | |
| Environmentally sealed | No |
| Battery | Built-in |
| Battery description | LP-E12 lithium-ion battery & charger |
| Battery Life (CIPA) | 325 |
| Weight (inc. batteries) | 608 g (1.34 lb / 21.45 oz) |
| Dimensions | 127 x 91 x 117 mm (5 x 3.58 x 4.61″) |
| Other features | |
| Orientation sensor | Yes |
| GPS | None |
Articles: Digital Photography Review (dpreview.com)
Blackmagic Design announces new Blackmagic RAW codec for video
15
Sep
 |
Blackmagic Design has announced the public beta of its new Blackmagic RAW video codec. The company says the new format combines the benefits of shooting Raw video with the ease of use and smaller file sizes usually associated with compressed, gamma-encoded video files.
Raw video typically produces very large files and requires lots of processing power to edit when compared to compressed formats. Blackmagic says it has addressed this problem by moving part of the de-mosaic process into the camera, which is able to provide hardware-based acceleration. By performing this process in-camera, editing software like DaVinci Resolve won’t need to work nearly as hard to decode the files.
Blackmagic RAW supports two types of compression: constant quality or constant bit rate, allowing users to prioritize image quality or file size based on what they’re shooting. Images are encoded using a non-linear 12-bit space designed to provide both high quality color data and dynamic range. According to Blackmagic, its new Raw format will also provide more accurate skin tones and color thanks to its Generation 4 Color Science. (All of this processing does make us wonder whether these Raw files are completely comparable to the Raw files we’re used to in the still imaging world.)
 |
| The Blackmagic RAW public beta can be downloaded immediately for use on the URSA Mini Pro camera. |
The company says the new Raw format will also simplify media management by creating single files rather than directories of still images, as is the case with CinemaDNG. When files are edited in software like DaVinci Resolve a sidecar file will be created, similar to a Raw photo in Adobe Camera Raw.
Speaking of DaVinci Resolve, Blackmagic has just released version 15.1, which includes full support for Blackmagic RAW. For users of Blackmagic cameras, this means it will be possible to shoot, edit, and color grade using the same files through the entire workflow.
 |
| Blackmagic has released DaVinci Resolve 15.1, which fully supports its new Blackmagic RAW codec, and is available for download immediately. |
For users of other software platforms, Blackmagic has announced a Blackmagic RAW Developer SDK that will allow third party developers to add support for the new format in other applications.
Users can download the public beta of Blackmagic RAW for use with the URSA Mini Pro through the Blackmagic Camera 6.0 Beta update, with the final version shipping in several weeks once testing is complete. DaVinci Resolve 15.1 is available for download immediately from the Blackmagic website. If you happen to be attending IBC 2018 in Amsterdam, you can stop by the Blackmagic booth for a demonstration.
Press release:
Blackmagic Design Announces Advanced New Blackmagic RAW Codec
Revolutionary new and modern codec that’s easier to use and much better quality than popular video formats, but with all the benefits of RAW.
IBC 2018, Amsterdam, Netherlands – September 14, 2018 – Blackmagic Design today announced the public beta of Blackmagic RAW, a new and very modern codec that combines the quality and benefits of RAW with the ease of use, speed and file sizes of traditional video formats. Blackmagic RAW is a more intelligent format that gives customers stunning images, incredible performance, cross platform support and a free developer SDK.
The Blackmagic RAW public beta will be demonstrated on the Blackmagic Design IBC 2018 booth at #7.B45. Customers can download the public beta for use with URSA Mini Pro cameras via the Blackmagic Camera 6.0 Beta Update. In addition, DaVinci Resolve 15.1 Update, which includes support for Blackmagic RAW, is also available free of charge from the Blackmagic Design website.
Blackmagic RAW has been in development for years and is a next generation codec that features multiple new technologies such as an advanced de?mosaic algorithm, extensive metadata support, highly optimized GPU and CPU accelerated processing and more. It can be used from acquisition throughout post production for editing and color grading, all from a single file.
Traditional RAW codecs have large file sizes and are processor intensive, making them hard to work with. Video file formats are faster, but suffer quality problems due to the use of 4:2:2 video filters that reduce color resolution. Blackmagic RAW solves these problems with an intelligent design that moves part of the de-mosaic process into the camera where it can be hardware accelerated by the camera itself. This results in incredibly efficient encoding that gives customers the same quality, bit depth, dynamic range and controls as RAW, but with much better performance and smaller file sizes than most popular video codecs. Because the processor intensive partial de-mosaic is done by the camera hardware, software such as DaVinci Resolve doesn’t have to do as much work decoding the files. In addition, GPU and CPU acceleration make decoding of frames incredibly fast, so you get extremely smooth performance for editing and grading.
Blackmagic RAW is much more than a simple RAW container format. Its intelligent design actually understands the camera and the sensor. This means the image data, along with the unique characteristics of the image sensor, are encoded and saved into the Blackmagic RAW file, giving customers much better image quality, even at higher compression settings, as well as total control over features such as ISO, white balance, exposure, contrast, saturation and more.
In addition, Blackmagic RAW uses Blackmagic Design Generation 4 Color Science for superior imaging that results in reproducing extremely accurate skin tones and gorgeous, lifelike colors that rival those of cameras costing tens of thousands of dollars more. Images are encoded using a custom non-linear 12-bit space designed to provide the maximum amount of color data and dynamic range.
Blackmagic RAW also makes it easy for any software developer to access all this technology. The free developer SDK lets any third party software application add Blackmagic RAW support on Mac, Windows and Linux. The Blackmagic RAW developer SDK automatically handles the embedded sensor profile metadata, along with Blackmagic Design color science, for predictable and accurate image rendering that yields consistent color throughout the entire pipeline.
Blackmagic RAW features two types of file compression. Customers can choose either constant quality or constant bitrate encoding options, depending on the kind of work they are doing. This lets them prioritize image quality or file size. Constant quality uses variable bitrate encoding so complex frames are encoded at higher data rates to preserve detail and maintain the highest possible quality. Blackmagic RAW Q0 has minimum quantization and yields the highest quality, while Blackmagic RAW Q5 uses moderate quantization for more efficient encoding and a smaller file size. Blackmagic RAW 3:1, 5:1, 8:1 and 12:1 use constant bitrate encoding to give customers the best possible images with predictable and consistent file sizes. The ratios are based on the unprocessed file size of a single frame from the camera’s sensor, making it easy to understand the relative amount of compression being used.
The pristine camera native quality of Blackmagic RAW Q0 and 3:1 are perfect for effects heavy feature film and commercial work. Blackmagic RAW Q5 and 5:1 are extremely high quality making them great for episodic television and independent films. Blackmagic RAW 8:1 and 12:1 offer high quality and speed, making it suitable for productions that wouldn’t normally consider shooting RAW. Now, more customers than ever will be able to use high quality RAW images in an incredibly efficient way that was impossible before.
“Blackmagic RAW could entirely change the workflow going from camera through post production,” said Kees Van Oostrum, Director of Photography and President of the American Society of Cinematographers. “A superb image quality, fine detail and incredibly small file sizes could possibly make Blackmagic RAW the go to format for filmmakers. It will be an important change for post because the editorial team can work with the camera original files, which are fast enough to use for everyday editing. That means less confusion in regards to creative choices I make at the camera. The images can now travel throughout the entire workflow because we’re shooting, editing and grading with the same files! Blackmagic RAW could be a game changer in the way films, television shows and commercials are made.”
Blackmagic RAW dramatically simplifies and speeds up post production workflows. DaVinci Resolve 15.1, which was also released today, includes full support for Blackmagic RAW. The performance of Blackmagic RAW is much faster in DaVinci Resolve than any other RAW format. This makes editing, color correction and visual effects incredibly fast. In addition, working with single files instead of folders full of still image sequences greatly simplifies media management. When the RAW settings are changed in DaVinci Resolve, a .sidecar file can be generated or updated if one already exists. When opened in other software applications that support Blackmagic RAW, the .sidecar file, which contains the RAW settings made in DaVinci Resolve, will be automatically used to display the image. If the .sidecar file is removed then the file will be displayed using the embedded metadata instead. This innovative new workflow gives customers a non-destructive way to change RAW settings while working between different applications.
Featuring a fully scalable design and completely modern CPU and GPU acceleration, Blackmagic RAW is optimized for AVX, AVX2 and SSE4.1 enabled processors, multi-threaded, works across multiple CPU cores and is GPU accelerated with support for Apple Metal, CUDA and OpenCL. Frame decoding and image processing is extremely fast, making it super smooth for editing, color correction and visual effects in DaVinci Resolve. Another benefit of media being stored as single files, and not image sequences, is it makes media management easier and file copying much faster.
The free Blackmagic RAW Developer SDK is available on Mac OS, Windows and Linux. This SDK takes care of all the work for developers, so adding support for Blackmagic RAW to third party software applications is easy and fast. Developers get access to GPU and CPU accelerated algorithms for decoding files, along with unique information about the camera’s image sensor so their applications can accurately decode and display the files. The SDK features highly descriptive and flexible metadata options designed to support today’s modern workflows. Metadata is embedded directly in the .braw file or it can be stored in a .sidecar file. Metadata is important because it contains the RAW settings along with information for the slate, iris, focus, focal length, white balance and a lot more. The metadata in .sidecar files can be used on top of the embedded metadata without overwriting it. Blackmagic RAW also supports frame based metadata so customers can access values, such as focus distance, that often change on a frame by frame basis.
“Blackmagic RAW is the world’s only truly modern, high performance, professional RAW codec that is open, cross platform and free,” said Grant Petty, Blackmagic Design CEO. “It’s exciting because customers can get the visually lossless image quality of RAW with the speed of traditional video workflows. Best of all, there are no hidden licenses or ongoing fees. Blackmagic RAW has been designed to provide the industry with an open, elegant and standardized high quality image format that can be used across products and in customer workflows absolutely free!”
Availability and Price
Blackmagic RAW is available today as a public beta via the Blackmagic Camera 6.0 Beta Update for URSA Mini Pro. The final release of Blackmagic RAW is expected to ship in several weeks’ time once further testing is complete.
The DaVinci Resolve 15.1 Update, which features support for Blackmagic RAW, has also been released and can be downloaded today free of charge from the Blackmagic Design website.
Articles: Digital Photography Review (dpreview.com)
X-Rite launches the ColorChecker Video XL
12
Sep
 |
X-Rite has announced the ColorChecker Video XL, an oversized color target designed for those shooting situations in which smaller variants won’t quite cut it.
The Video XL uses the same gray and color patches as well as skin tones as the standard ColorChecker Video but is simply twice as large. Features include two rows of six chromatic color chips, both saturated and de-saturated, skin tones ranging from light to dark, patches for even gray balance, including white, 40IRE gray, deep gray and high gloss black, six color chips for linear gray balance, and illumination check chips in the corners.
“The X-Rite ColorChecker Video XL is designed for those longer and wider shots when the space between your camera and subject is too great to capture a smaller target,” X-Rite says. “With ColorChecker Video XL, users can increase capture resolution for post, maintain the same lighting conditions falling on their subject, eliminate the need to move the camera closer or adjust focal length, and minimize color casting from surrounding light.”
 |
X-Rite says the new tool can help video shooters and photographers set exposure, check highlights, shadows and mid-tones, achieve accurate color balance, match multiple cameras and edit for mixed lighting.
The ColorChecker Video XL is available now for $ 399. With a sleeve it is $ 429 and the bundle with a carrying case will set you back $ 495. More information is available on the X-Rite website.
Articles: Digital Photography Review (dpreview.com)
Shooting a music video with the Nikon Z7
10
Sep
As well as high-resolution stills, the new Nikon Z7 also shoots 4K video and 120p HD video, and offers a suite of filmmaker-friendly features including focus peaking, zebra stripes and 10-bit N-Log recording.
We recently spent two days with director Chris Hershman and his DP Corey Popp in Chicago, shooting a music video for pop artist Emily Blue. Chris shot the entire video using the Z7 and Nikon’s new Z-series lenses, and we joined his crew for a behind the scenes look.
Check out the final video, below.
Emily Blue, ‘Falling in Love’ – shot with Nikon Z7
This is sponsored content, created with the support of Amazon and Canon. What does this mean?
Articles: Digital Photography Review (dpreview.com)
Fujifilm X-T3 makes waves with a 26MP X-Trans sensor and 4K/60p video
07
Sep
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Fujifilm isn’t being conservative with its new X-T3 enthusiast mirrorless camera. Rather, the company is swinging for the fences, producing a camera with a brand new 26MP BSI X-Trans CMOS 4 sensor that can shoot at up to 30 fps (in crop mode) and capture 4K/60p video. The T3’s X-Processor 4 is three times faster than the chip on current X-series models. The camera also has a native base ISO of 160, down from 200 on the X-T2. All of Fujifilm’s Film Simulation modes are here, including Acros, Classic Chrome and Eterna.
The autofocus system is a big improvement over previous X-series models
Design-wise, the X-T3 looks a whole lot like its immediate predecessor. You’ve got your weather-sealed body with analog dials, unique dual-axis articulating LCD and good-sized electronic viewfinder. Both the LCD and EVF have been enhanced, with the former becoming touch-enabled and the latter getting a resolution boost to 3.69 million dots. The EVF has a 100 fps refresh rate when the camera is in ‘boost mode,’ which no longer requires the optional battery grip for maximum performance. The EVF diopter is now lockable, and the camera’s various dials and buttons are larger and have a more pronounced ‘press feel’.
Perhaps the biggest surprise on the X-T3 is just how much effort Fujifilm has put into making the X-T3 a serious video camera
The autofocus system is a big improvement over previous X-series models, with 2.1 million phase detection pixels providing nearly 100% coverage. The system checks focus and metering 1.5x faster than the X-T2 and is capable of focusing in light levels as low as -3EV. Face and eye detection have been improved, with the latter now available in AF-C mode. Fujifilm has also added a ‘Digital Microprism’ focusing aid, simulating the view through an old-school film SLR finder.
At full resolution the camera can fire away at 20 fps with the electronic shutter or 11 fps with the mechanical shutter. Putting the camera into ‘Sports Finder’ boosts the top burst rate to 30 fps with a 1.25x crop. Bright lines in the viewfinder show the cropped-in area. An available pre-capture option continuously buffers images and saves the images taken immediately before and after you press the shutter release. The X-T3’s battery life is rated at 390 shots per charge, which is above average for a mirrorless camera. The optional battery grip allows the camera to use three NP-W126S packs, with seamless switching between them.
The X-T3 can record F-Log footage with HLG support coming later in 2018.
Perhaps the biggest surprise on the X-T3 is just how much effort Fujifilm has put into making the X-T3 a serious video camera. Not only can it capture 4K/60p video (DCI and UHD): it can also output 10-bit 4:2:2 to an external recorder or capture 10-bit 4:2:0 internally (using the H.265 codec). The readout rate of the sensor has been increased to reduce rolling shutter, and new noise reduction algorithms have been added.
The X-T3 can record F-Log footage (with a minimum ISO of 640), with HLG support coming later in 2018. The camera has mic and headphone sockets, along with HDMI and USB-C, and the door over all of those can be removed for when the camera is on a rig.
The X-T3 will be available starting September 20th in black and silver for $ 1,499.95 body-only, or as a kit with the XF 18-55mm for $ 1,899.95.
Read our Fujifilm X-T3 First Impressions Review
Press Release:
FUJIFILM ANNOUNCES THE NEW X-T3, A MIRRORLESS DIGITAL CAMERA EVOLVING X SERIES INTO FOURTH GENERATION
New X-T3 introduces all-new back-illuminated 26MP X-Trans CMOS 4 sensor and X-Processor 4 processor; World’s first APS-C mirrorless camera capable of 4K/60P 10bit recording
Valhalla, N.Y., September 6, 2018 – FUJIFILM North America Corporation today unveiled the new FUJIFILM X-T3, launching the X Series mirrorless digital cameras into its fourth generation. Introducing an all-new back-illuminated 26.1MP X-Trans CMOS 4 sensor and X-Processor 4 processor, the X-T3 delivers superb image quality, dramatically improved AF performance, exceptional tracking performance of fast-moving subjects and blackout-free burst shooting. The X-T3 is also the first APS-C mirrorless camera capable of 4K/60P 10bit recording to meet the needs of professional videographers.
“We are proud to introduce the new X-T3 to market as not only the latest addition to our X Series mirrorless lineup of digital cameras, but as an introduction to fourth generation technologies that feature substantial performance enhancements over previous models, delivering high AF performance, superb color reproduction and outstanding image quality to photographers and videographers alike,“ said Yuji Igarashi, General Manager of the Electronic Imaging Division and Optical Devices Division of FUJIFILM North America Corporation.
Fourth Generation X-Trans CMOS 4 and X-Processor 4 for Improved Resolving Performance, Color Reproducibility, and Faster Processing
Featuring the latest, fourth generation 26.1MP X-Trans CMOS 4 APS-C sensor with no optical low-pass filter, the FUJIFILM X-T3 boasts the highest performance in the history of X Series. Utilizing the unique color filter array of X-Trans CMOS sensors to control moiré and false colors, it is the first APS-C back-illuminated structure sensor with phase detection pixels distributed across the surface to improve image resolution without compromising signal to noise ratio. With the X-T3, ISO160 is now part of the standard ISO range, previously this was only available as extended ISO, perfect for use in bright scenes or when trying to shoot wide open with a fast, large-aperture lens.
The new X-T3 debuts the X-Processor 4 processor which features a Quad Core CPU to achieve a processing speed 3 times faster than current X Series models. Providing incredible AF accuracy and speed, the processor is also the first to deliver 4K/60P 10bit output, fulfilling the performance needs of professional videographers. It is also capable of implementing complex image processing tasks in an instant, such as the unique FUJIFILM Color Chrome Effect or Monochrome Adjustment function.
The new FUJIFILM X-T3 features the Color Chrome Effect, previously limited to the FUJIFILM GFX 50S medium format mirrorless digital camera, which produces enhanced color gradation in highly saturated colors such as vivid-colored flowers with shadows, a notoriously difficult subject to reproduce. With the high-speed processing power of the X-Processor 4, this effect can be applied not only to a single shot but also during continuous shooting.
Exceptional Autofocus and Viewfinder Performance
With the X-T3, AF performance receives a dramatic improvement from previous X Series products, increasing the phase detection AF area to the entire frame with 2.16M phase detection pixels providing fast and accurate phase detection AF. The low-light phase detection AF limit has been increased over the X-T2 by 2 stops, from -1EV to -3EV, making it possible for photographers to accurately focus in low light conditions, perfect for night photography.
Furthermore, the X-Processor 4’s high processing speed and excellent phase detection algorithm means the camera refocuses (AF) and meters (AE) 1.5 times more frequently than the X-T2, enabling accurate autofocus even when photographing subjects that change speed and move erratically across the frame, such as sports photography. The performance of Face Detection AF has also been improved. Eye Detection AF now supports the AF-C mode to maintain accurate focus tracking. Face and Eye Detection AF is also available during video recording to achieve smooth filming of subjects.
The X-T3 offers photographers incredible viewfinder performance, with the ability to now track a moving subject in the 3.69-million-dot high resolution EVF with a magnification ratio of 0.75x. Further the X-T3, allows continuous shooting of 11fps with the mechanical shutter without the optional vertical battery grip, enabling fast continuous shooting while maintaining a low weight.
Additional enhancements to the X-T3 include a display time lag of just 0.005 seconds and a EVF refresh rate of 100fps for smooth display of moving subject or when panning the camera. A new sports finder mode for enhanced capture of moving subjects is especially useful for sports and wildlife photography, and a new pre-shoot function, which allows photographers to start shooting as soon as the shutter button is half-pressed to ensure the moment is never missed.
Enhanced Video Performance to Meet the Needs of Professionals
The X-T3 is the first mirrorless digital camera capable of internal SD card 4K/60P 4:2:0 10bit recording and the first mirrorless digital camera with APS-C or larger sensor that is capable of 4K/60P 4:2:2 10bit HDMI output. Supported video formats include the widely-used H.264/MPEG-4 AVC as well as H.265/HEVC for greater data compression, which enables internal recording of 4K/60P 4:2:0 10bit at200Mbps bitrate as well as simultaneous HDMI output. The X-T3 sensor’s read speed has been increased from that of the X-T2, enabling17msec reading in 4K/60P video, reducing rolling shutter distortion for smooth recording of fast-moving subjects. 10bit color depth for video boosts the amount of color information 64 times compared to 8bit, and is combined with approximately. 12 stops dynamic range to enable capture of subjects with rich gradation of color.
Also introduced in the X-T3 is a new noise reduction algorithm and 4K inter-frame noise reduction, the minimum sensitivity for shooting F-Log footage has been lowered from ISO800 to ISO640, further enhancing the camera’s performance to meet the needs of videographers.
Designed for Ultimate Operability
Inheriting the popular design of the X-T2, dials are positioned on the top panel, and the camera features a central viewfinder and excellent grip design for stability and comfort. The X-T3 also incorporates enhancements to its design, including a lockable EVF diopter adjustment to prevent unintended adjustments while carrying the camera, and a touchscreen panel with higher contrast, wider viewing angles and better functionality for more intuitive operation. In addition, the X-T3 offers larger top-panel dials than the X-T2, and larger rear-panel buttons and a more pronounced press function of the front and rear command dials, as found on the X-H1.
X-T3 Vertical Battery Grip
The Vertical Battery Grip VG-XT3 is designed to be dust-resistant, weather-resistant and capable of operating at temperatures as low as -10°C/14° F, and holds two additional batteries to increase the maximum number of shots to 1,100 (in normal mode). The grip features a shutter release button, focus lever, AE-L button, AF-L button, front and rear command dials, Q button and Fn button to provide the same level of excellent operability with vertical shooting as with horizontal.
X-T3 Metal Hand Grip
The MHG-XT3 Metal Hand Grip makes it substantially more comfortable to hold the camera when it is mounted with a large-aperture lens, in order to reduce camera shake. The battery or SD cards can be replaced without having to remove the hand grip, and the base can be used as a quick release shoe when using a dovetail mount on a tripod.
FUJIFILM X-T3 Key Features:
- 26.1MP X-Trans CMOS 4 Sensor with primary color filter
- X-Processor 4 Image Processing Engine
- Capable of 4K/60P and 10bit output
- Features 4 CPU units
- Startup time of 0.3 seconds
- Shutter time lag of 0.045 seconds
- High-precision, 0.5-inch, 3.69 million dot OLED color viewfinder
- Viewfinder magnification of 0.75x
- Wide viewing angle (diagonal 38º and horizontal 30º)
- Display time lag of just 0.005 seconds, refresh rate of approx. 100fps
- Robust magnesium alloy body
- Continuous Shooting
- 30fps [Only electronic shutter, 1.25 x Crop ] (JPEG? 60 frames Lossless compression RAW? 35 frames Uncompressed RAW? 33 frames)
- 11fps (JPEG: 145 frames Lossless compression RAW: 42 frames Uncompressed RAW: 36 frames)
- 5.7fps (JPEG: endless Lossless Compression RAW: 62 frames Uncompressed RAW: 43 frames)
- Pre-shot: Approx. 30fps [Only electronic shutter, 1.25 x Crop ] (max. 20 frames while half press, max. 20 frames after full press, total max. 40 frames)
- Movie Recording (using a card with the UHS Speed Class 3 or higher)
- File format
- MOV (MPEG-4 AVC/H.264, HEVC/H.265, Audio: Linear PCM / Stereo sound 24bit / 48KHz sampling)
- Movie compression
- All Intra/Long-GOP, can be used with the following settings:
- DCI4K/4K 29.97p/25p/24p/23.98p 400Mbps
- Full HD?2048×1080?/Full HD?1920×1080?94p/50p/29.97p/25p/24p/23.98p?200Mbps
- File size/ Frame Rate/ Recording Time
- ?DCI 4K?4096×2160?? 94p/50p/29.97p/25p/24p/23.98p 400Mbps/200Mbps/100Mbps 59.94p/50p: up to approx. 20min. 29.97p/25p/24p/23.98p: up to approx. 30min
- ?4K?3840×2160??94p/50p/29.97p/25p/24p/23.98p
- 400Mbps/200Mbps/100Mbps 59.94p/50p: up to approx. 20min. 29.97p/25p/24p/23.98p: up to approx. 30min
- ?Full HD?2048 ×1080?? 94p/50p/29.97p/25p/24p/23.98p 200Mbps/100Mbps/50Mbps up to approx. 30min.
- ?Full HD?1920×1080??94p/50p/29.97p/25p/24p/23.98p 200Mbps/100Mbps/50Mbps up to approx. 30min.
- ?Full HD?1920×1080) High speed rec.] 120p?100p 200Mbps (recording) up to approx. 6min.
- Recording movies in 400Mbps can be done with DCI4K/4K 29.97p/25p/24p/23.98p.
- DCI4K 59.94p/50p is not available when H.264 is selected.
- For recording movies, use a SD memory card with UHS Speed Class 3 or higher. For recording movies in 400Mbps, use a SD memory card with Video Speed Class 60 or higher
- LCD Monitor
- 0 inch, aspect ratio 3:2, approx. 1.04 million dots touch screen color LCD monitor (approx. 100% coverage)
- 16 Film Simulation Modes
- PROVIA/Standard, Velvia/Vivid, ASTIA/Soft, Classic Chrome, PRO Neg. Hi, PRO Neg. Std, Black & White, Black & White +Ye Filter, Black & White +R Filter, Black & White +G Filter, Sepia, ACROS, ACROS +Ye Filter, ACROS+R Filter, ACROS+G Filter, ETERNA/Cinema), B & W Adjustment: -9~+9
- Bluetooth® Ver. 4.2 low energy technology
- 16 Film Simulation Modes
- Accessories included:
- Li-ion battery NP-W126S
- Battery charger BC-W126S
- Shoe-mount flash unit EF-X8
- Shoulder strap
- Body cap
- Strap clip
- Protective cover
- Clip attaching tool
- Hot shoe cover
- Vertical battery grip connector cover
- Connector cover (detachable)
- Sync terminal cover
- Cable protector
- Owner’s manual
- All Intra/Long-GOP, can be used with the following settings:
- File format
FUJIFILM X-T3 Accessories:
- X-T3 Vertical Power Booster Grip VG-XT3
- Weather-resistant design fits two additional batteries
- X-T3 Metal Hand Grip MHG-XT3
- Enhanced ergonomic design for horizontal shooting
- X-T3 Bottom Leather Case BLC-XT3
- Genuine premium leather
- X-T3 Cover Kit CVR-XT3 includes:
- Sync terminal cover
- Hot shoe cover
- Connector cover
- Vertical battery grip connector cover, black
- Vertical battery grip connector cover, silver
- FUJIFILM Remote Release RR-100
- Battery Charger BC-W126S
Fujifilm X-T3 specifications
| Price | |
|---|---|
| MSRP | $ 1499 (body only), $ 1899 (w/18-55mm lens) |
| Body type | |
| Body type | SLR-style mirrorless |
| Body material | Magnesium alloy |
| Sensor | |
| Max resolution | 6240 x 4160 |
| Other resolutions | 4416 x 2944, 3120 x 2080 |
| Image ratio w:h | 1:1, 3:2, 16:9 |
| Effective pixels | 26 megapixels |
| Sensor size | APS-C (23.5 x 15.6 mm) |
| Sensor type | BSI-CMOS |
| Processor | X-Processor 4 |
| Color space | sRGB, Adobe RGB |
| Color filter array | X-Trans |
| Image | |
| ISO | Auto, 160-12800 (expands to 80-51200) |
| Boosted ISO (minimum) | 80 |
| Boosted ISO (maximum) | 51200 |
| White balance presets | 7 |
| Custom white balance | Yes (3 slots) |
| Image stabilization | No |
| Uncompressed format | RAW |
| JPEG quality levels | Fine, normal |
| File format |
|
| Optics & Focus | |
| Autofocus |
|
| 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 | Tilting |
| Screen size | 3″ |
| Screen dots | 1,040,000 |
| Touch screen | Yes |
| Screen type | TFT LCD |
| Live view | Yes |
| Viewfinder type | Electronic |
| Viewfinder coverage | 100% |
| Viewfinder magnification | 0.75× (0.5× 35mm equiv.) |
| Viewfinder resolution | 3,690,000 |
| Photography features | |
| Minimum shutter speed | 30 sec |
| Maximum shutter speed | 1/8000 sec |
| Maximum shutter speed (electronic) | 1/32000 sec |
| Exposure modes |
|
| Built-in flash | No |
| External flash | Yes (via hot shoe or flash sync port) |
| Flash X sync speed | 1/250 sec |
| Drive modes |
|
| Continuous drive | 20.0 fps |
| Self-timer | Yes |
| Metering modes |
|
| Exposure compensation | ±5 (at 1/3 EV steps) |
| AE Bracketing | ±5 (2, 3, 5, 7 frames at 1/3 EV, 2/3 EV, 1 EV, 2 EV steps) |
| WB Bracketing | Yes |
| Videography features | |
| Format | MPEG-4, H.264, H.265 |
| Microphone | Stereo |
| Speaker | Mono |
| Connectivity | |
| USB | USB 3.1 Gen 1 (5 GBit/sec) |
| USB charging | Yes |
| HDMI | Yes (micro-HDMI) |
| Microphone port | Yes |
| Headphone port | Yes |
| Wireless | Built-In |
| Wireless notes | 802.11b/g/n + Bluetooth 4.2 LE |
| Remote control | Yes (via smartphone or cable release) |
| Physical | |
| Environmentally sealed | Yes |
| Battery | Battery Pack |
| Battery description | NP-W126S lithium-ion battery & charger |
| Battery Life (CIPA) | 390 |
| Weight (inc. batteries) | 539 g (1.19 lb / 19.01 oz) |
| Dimensions | 133 x 93 x 59 mm (5.24 x 3.66 x 2.32″) |
| Other features | |
| Orientation sensor | Yes |
| Timelapse recording | Yes |
| GPS | None |
Articles: Digital Photography Review (dpreview.com)
DPReview TV: Fujifilm X-T3 vs Panasonic GH5 video comparison
06
Sep
Now that the Fujifilm X-T3 has launched, DPReview TV’s Jordan Drake puts it up against the venerable Panasonic DC-GH5 to see how their video features and quality compare. If you don’t mind the large download, a low compression version of the above video can be found here.
And if you haven’t seen them, don’t miss Chris and Jordan’s first look at the X-T3, as well as our own First Impressions Review.
Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
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Articles: Digital Photography Review (dpreview.com)
Microsoft introduces AI-powered audio and video transcription for OneDrive
30
Aug
 |
Managing media files, especially when sharing them across a group of people is not always an easy task. This is especially true for video files. Today Microsoft has launched a new AI-powered media search function for OneDrive that should help simplify things.
The new feature is capable of transcribing audio and video files and displaying timestamped quotes alongside the media viewer, which is compatible with 320 file types. The new feature is an addition to Microsoft’s already available AI-powered photo screening system that can detect location, objects and text in image files.
 |
As an end result all media files become fully searchable. For example, you could search for a scanned receipt by typing one of the items listed on it, or use a piece of dialogue or voiceover to search in video or audio files.
The new feature is designed to facilitate collaboration across larger groups but could certainly also provide benefits for photographers and especially videographers with large archives. The automated transcription services will be natively available for video and audio files in OneDrive later this year.
Articles: Digital Photography Review (dpreview.com)
DJI teases August 23 launch event, new drone in new video
18
Aug
DJI has published a video on its YouTube channel teasing a new product due out August 23, 2018. No specific details are shared, but at the very beginning of the video, we catch a glimpse of what appears to be an on/off button of a drone.
After the short clip of what looks like the body of a drone, the narrator of the video says:
For more than a decade we’ve taken the dimension of space to give you the freedom of flight. But did you think we’d stop there? Let us take you beyond the horizon where something incredible awaits. It’s about time.
The video wraps up with a clip that overlays the words ‘see the bigger picture.’
DroneDJ says the on-off button we see at the beginning of the video is likely that of the yet-to-be-announced Mavic 2 Drone. Considering the similarities between the device in the teaser clip and the Mavic Pro, it’s not much of a stretch to draw that conclusion.
Back in June, DJI sent out an invitation to press outlets teasing an event set for July 18. Three weeks after sending out the invitation, DJI delayed the event, citing issues regarding user experience and customer expectations. We’ll have to wait and see if the August event stays on-track or is pushed back once again.
Articles: Digital Photography Review (dpreview.com)