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Posts Tagged ‘Video’

Adobe Premiere Pro can now natively decode ProRes Raw video files

22 Oct

Adobe has announced Premiere Pro (version 14.5) will now natively support ProRes Raw, finally opening up editing of Apple’s Raw video format to all Premiere Pro users.

Earlier this year, Adobe started selectively supporting ProRes Raw, but only for Windows users running Nvidia GPUs. With this new update, both macOS and Windows users will be able to edit ProRes Raw video regardless of what system or GPU your computer has packed inside.

The initial support is limited, in the sense you aren’t offered full control of ISO and White Balance settings as you are with Apple’s Final Cut Pro X, but it’s likely Adobe is working to get this functionality in place too. Adobe has also added ProRes Raw to LOG color space conversion.

As more cameras get ProRes Raw recording, most notably with the help of Atomos who’s already brought ProRes Raw support to more than 20 cameras via its Ninja V monitor/recorder, it’s nice to see Premiere Pro finally getting the ability to decode and work with the files.

Other improvements in the October 2020 release (version 14.5) of Premiere Pro include support for HDR workflows in Rec2100 PQ color space, improved hardware decoding when using AMD and Nvidia GPUS and faster audio pre-roll.

Articles: Digital Photography Review (dpreview.com)

 
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Ilford Photo Darkroom Guide video series reveals printing techniques and more for beginners

20 Oct

Black and white film and paper manufacturer Ilford Photo has produced a series of videos to help beginners get to grips with essential darkroom techniques. Hosted by Rachel Brewster-Wright from Little Vintage Photography the collection of videos tackles some of the basics of common darkroom questions in a simple to follow format.

So far, subjects covered in the 16-video playlist include dodging and burning, selenium toning, using multi-grade paper and more. The series sits alongside a mass of other educational content from the film-maker that covers issues such as how an enlarger works, pinhole photography, a checklist for setting up your own darkroom and processing your first roll of film. This is mixed with inspirational interviews with black and white photographers and printers, as well as footage inside the Ilford Factory in the UK.

If you want to get started in black and white film photography, or you want a refresher on how it’s all done check out the Ilford Photo YouTube channel.

Articles: Digital Photography Review (dpreview.com)

 
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Video: How to create ‘mind-bending’ drone photos with a little creative thinking

19 Oct

The Cooperative of Photography, better known as COOPH, has shared ‘Droneception,’ a quick tutorial video that breaks down how to create ‘mind-bending’ drone images using two-shot, three-shot and more advanced multi-shot methods.

The video is three-and-a-half minutes long with only visuals and text overlays for instructions, but it’s succinct and manages to effectively convey the steps required to get the shots and make the final compositions. These methods should work with nearly any drone, so whether you’re using the newest DJI or a few year old no-name brand, the magic happens with the creative thinking ahead of time and the post-processing done afterwards.

For more videos, head over and subscribe to COOPH’s YouTube Channel.

Articles: Digital Photography Review (dpreview.com)

 
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Video: This is what happens when you make a bullet-time rig out of 15 Raspberry Pi cameras

17 Oct

Canadian photographer Eric Paré has built a bullet-time rig using 15 Raspberry Pi cameras synchronised to record pictures at exactly the same moment from different angles. The cameras then create a series of images that show the subject, usually someone jumping in the air it seems, from multiple viewpoints. These images can then be put together as a video to show the person frozen in mid-air as the camera appears to pan around them. The technique, made popular by the fight scenes in the movie The Matrix, requires that the cameras used are all pointing at exactly the same spot and that the shutters are tripped either at the same moment or in sequence.

Eric usually uses a collection of EOS DSLRs for his bullet-time videos but thought it would be interesting to use the tiny Raspberry Pi cameras as the lenses can be placed much closer together to create smoother motion in the final video. To do this he mounted 15 cameras on an aluminium rail and synchronised them using a single dashboard that could also control the settings of each camera.

Problems arose due to the wide angle lens of the Raspberry Pi camera and because the cameras are mounted on their PCB using a gum glue that doesn’t hold them in a specific position. This meant that while the boards were all facing the right way the cameras were not, and the footage produced was jerky. Eric solved this issue by remounting all the camera units directly to the boards using a thin adhesive.

Each camera in the rig was connected to the laptop via an Ethernet cable to a switch and Eric triggered the set-up using a Bluetooth presenter controller. He says he didn’t need to make any custom electronics for the rig when shooting with continuous lighting, but he did make a new control board to fit in the rig when he wanted to use flash.

For this experiment Eric used the Pi 3B+ with version 2 of the Raspberry Pi camera module. He says the same set-up would also work with the newer High Quality Pi camera with its 12MP sensor and interchangeable C-Mount lens system.

See Eric’s website for more of his work.

Articles: Digital Photography Review (dpreview.com)

 
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The new Canon EOS M50 Mark II brings autofocus and video refinements

14 Oct

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Canon has just announced the EOS M50 Mark II, a relatively minor update to one of its most popular mirrorless models. The M50 Mark II shares the same 24MP APS-C sensor with its predecessor, and the same Digic 8 image processor. The Dual Pixel autofocus system has been updated to allow for eye tracking in both stills and video, and users can now capture vertical video and stream to YouTube Live over a smartphone internet connection.

The rest of the camera’s specs are largely unchanged. Video tops out at 4K/24p with a heavy 1.5x crop, and autofocus in 4K is contrast-detect only. Full HD comes with Dual Pixel autofocus, and you can capture slow-motion up to 120p. On the stills side, a new electronic shutter option is available and burst speeds top out at 7.4fps with continuous autofocus. The camera is CIPA-rated to capture 305 images on a charge, but of course, you can expect much more in general use.

The EOS M50 Mark II will be available in late November 2020 for $ 599 USD body-only, $ 699 USD as a kit with the 15-45mm F3.5-6.3, and $ 929 USD as a kit with the 15-45mm and 55-200mm F4.5-6.3 lenses.

Press release:

Improved eye autofocus paired with new video and streaming functions make the new Canon EOS M50 Mark II camera a strong imaging tool for content creators and imaging storytellers

MELVILLE, N.Y., October 14, 2020 –– Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the EOS M50 Mark II Interchangeable Lens Camera, the successor to the #1 selling mirrorless camera in the U.S. market – the EOS M50*. An all-in-one product for content creators with improved video features and autofocus capabilities, the EOS M50 Mark II is the latest, high-quality digital imaging camera in the notable EOS lineup.

“Our customer base includes future content creators and imaging storytellers; it’s in our best interest to continuously provide high-quality products that are easy to use in the creative world of photography and video content creation, as well as streaming,” said Tatsuro “Tony” Kano, executive vice president and general manager of the Canon U.S.A., Inc. Imaging Technologies & Communications Group. “The EOS M50 Mark II continues to pave the way for photography and video enthusiasts to experience a lightweight interchangeable lens camera with many similar features as our full-frame professional mirrorless cameras.”

For the family who strives for high-quality output when capturing their precious moments or for the budding social media creator, the added and improved capabilities of the EOS M50 Mark II camera make the upgrade to an ILC extremely appealing. The new features include:

  • Improved autofocus including eye autofocus for stills and video
  • Vertical video shooting support
  • Vari-angle touchscreen LCD with newly added tap video record button and movie self-timer for better vlogging experience
  • High quality webcam capability, when used with compatible services, with the free EOS Webcam Utility software or Clean HDMI output
  • Wireless YouTube Live streaming capability**
  • The ability to tap the screen to auto focus on your subject while looking through the EVF, helping to control who the main focus of the image is

The EOS M50 Mark II camera is inclusive of many of the beloved features of its predecessor. Overall, the EOS M50 Mark II is a well-balanced package deal for those interested in both still photography and videography – including those with sparks of social media content creation, thanks to the 4K UHD 24p. Providing a 24.1MP APS-C CMOS sensor, DIGIC 8 image processor and built in Wi-Fi® and Bluetooth® technology, as well as access to image.canon cloud service for better workflow, the EOS M50 Mark II camera remains compact and a lightweight addition to your carry bag.

Pricing and Availability

The Canon EOS M50 Mark II camera is scheduled to be available in Late November 2020 at an estimated retail price of $ 599.99 – body only, $ 699.99 for the camera body plus EF-M 15-45mm lens kit and $ 929.99 for the camera body plus EF-M 15-45mm and EF-M55-200mm double zoom lens kit.

* Source: The NPD Group, Inc. U.S. Retail Tracking Service, Mirrorless Detachable Lens Cameras, Based on camera family unit sales, Jan. 2020 – Aug. 2020 combined.

** The live streaming service available with this product is for live streaming on YouTube only. To use live streaming, you need to have an active YouTube account and an image.canon account. Please be aware that YouTube may change, stop, or terminate its services, including live streaming, at any time without notice. In accordance with YouTube’s “Restrictions on live streaming” users must have a minimum of 1,000 channel subscribers in order to live stream from a mobile device (including camera products with live streaming capability). For up-to-date information from YouTube on restrictions, please visit https://support.google.com/youtube/answer/2853834?hl=en. Canon makes no representations or warranties with respect to any third party product or service, including live streaming.

Canon EOS M50 II specifications

Price
MSRP $ 599 (body only), $ 699 (w/15-45mm lens), $ 929 (w/15-45 and 55-200mm lenses)
Body type
Body type SLR-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 photo detectors 26 megapixels
Sensor size APS-C (22.3 x 14.9 mm)
Sensor type CMOS
Processor Digic 8
Color space sRGB
Color filter array Primary color filter
Image
ISO Auto, 100-25600 (expands to 51200)
Boosted ISO (maximum) 51200
White balance presets 7
Custom white balance Yes
Image stabilization No
Uncompressed format RAW
File format
  • JPEG (Exif v2.31)
  • Raw (Canon CR3 14-bit)
  • C-Raw (Canon .CR3)
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 143
Lens mount Canon EF-M
Focal length multiplier 1.6×
Screen / viewfinder
Articulated LCD Fully articulated
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 resolution 2,360,000
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/4000 sec
Exposure modes
  • Program
  • Shutter priority
  • Aperture priority
  • Manual
Built-in flash Yes
Flash range 5.00 m (at ISO 100)
External flash Yes
Flash modes Evaluative (face priority), Evaluative, Average
Flash X sync speed 1/200 sec
Drive modes
  • Single
  • Continuous
  • Self-timer
Continuous drive 10.0 fps
Self-timer Yes (2 or 10 secs, custom)
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±3 (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 @ 23.98p / 120 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 60p / 60 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 30p / 30 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 23.98p / 30 Mbps, MP4, H.264, AAC
  • 1280 x 720 @ 120p / 52 Mbps, MP4, H.264, AAC
  • 1280 x 720 @ 60p / 26 Mbps, MP4, H.264, AAC
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC slot (UHS-I compatible)
Connectivity
USB USB 2.0 (480 Mbit/sec)
USB charging No
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 Battery Pack
Battery description LP-E12 lithium-ion battery & charger
Battery Life (CIPA) 305
Weight (inc. batteries) 387 g (0.85 lb / 13.65 oz)
Dimensions 116 x 88 x 59 mm (4.57 x 3.46 x 2.32)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Video: From its origins to a harrowing kidnapping, the story of Adobe

13 Oct

The YouTube channel ColdFusion published an in-depth look at the history of Adobe. In the photo and video industry, Adobe is a giant. While some people may not be in favor of the company’s more recent push toward a subscription model, nearly everyone can agree that Adobe and its software has had a massive influence.

Tracing Adobe’s history requires going back all the way to 1982 when John Warnock and Charles Geschke founded the company in Warnock’s garage. How did the pair decide on the name Adobe? There was a creek behind the Warnock home called Adobe. And the company’s first logo? It was designed by John Warnock’s wife, Marva Warnock, a graphic designer and illustrator.

Adobe co-founders John Warnock and Charles Geschke

Warnock and Geschke had worked together at Xerox Parc and developed a printing code, PostScript. The duo had pitched their development to Xerox but the higher-ups weren’t interested. After being rebuked, Warnock and Geschke left the company to found Adobe. It wasn’t long before others took notice of Adobe, including Steve Jobs, who the very same year Adobe was founded tried to buy the company for $ 5M USD. Warnock and Geschke refused to sell outright but did eventually sell Jobs a 19% share of the company at five times its valuation, making Adobe the first company in the history of Silicon Valley to turn a profit in its first year.

With a license in hand for PostScript, Apple’s foray into laser printing changed publishing forever, allowing people and businesses to print and publish content without the use of expensive photo typesetters. As Dagogo Altraide states in his video below, the idea that you could purchase a Macintosh computer and Apple LaserWriter printer, underpinned by Adobe’s PostScript coding, and be able to publish completely changed the industry.

Adobe’s first few years went very well, and the company became publicly traded on the NASDAQ index in 1986. The Adobe more familiar to us today started to take shape in 1987 with the launch of the vector-based drawing program, Adobe Illustrator, which is still used today. Adobe Photoshop, on the other hand, was not developed in-house at Adobe. Thomas Knoll began working on a grayscale image editor while a PhD student in Michigan. Upon advice from his brother, John, Thomas took a sabbatical from his post-graduate studies to turn his project into a fully-fledged image editing program.

As Thomas continued his work on the program, John gave demonstrations in Silicon Valley, including to Adobe and Apple. Adobe purchased the license to distribute the software in late 1988. Adobe Photoshop was released exclusively on the Macintosh in January of 1990 with a lifetime license and price of $ 895. This price may seem steep, but digital photo retouching services cost upwards of $ 300 an hour at the time.

Thomas Knoll showing off Adobe Photoshop on a Macintosh computer

In the video above, Altraide recaps an incident in 1992 in which Charles Geschke was held at gunpoint and kidnapped as he exited his vehicle in Adobe’s parking lot. The pair of kidnappers held Geschke for a $ 650,000 ransom and told his wife, Nan, that Charles would be killed and dismembered if she didn’t follow their instructions. After four days in captivity and with the help of the FBI, Charles was rescued, and his captors were arrested and eventually sentenced to life sentences.

Adobe’s business moved forward and the next year, Photoshop was ported to Microsoft Windows, beginning a rapid expansion in Adobe’s software offerings and influence. To learn what happened next and find out more about Adobe’s torrid pace of acquisitions and developments in the decades since watch ColdFusion’s full video above. For more from ColdFusion, click here.

(Via Fstoppers)

Articles: Digital Photography Review (dpreview.com)

 
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Video: The history of cameras in space and how iconic space photos were captured

10 Oct

Astronauts have been taking cameras into space Soviet cosmonaut Gherman Titov orbited the Earth aboard the Vostok 2 in 1961. Since then, astronauts have used cameras to capture some of the most iconic photos of space exploration and created important memories for countless people back on terra firma.

As Scott Manley points out in his new video, How Astronauts Captured Iconic Space Photos – A History of Cameras in Space, although cameras are often modified for space flight, not every camera has been special. In fact, John Glenn bought a standard Ansco Autoset camera on his own, likely to avoid delays if he had gone through the standard government acquisitions process. NASA engineers modified the camera to make it easier to use while in space, including the addition of a pistol grip and an additional viewfinder that could be used with the suit helmet closed. You can learn more about Glenn’s Ansco Autoset in this article from the Smithsonian National Air and Space Museum. A second camera on board Glenn’s first orbital flight was a special Leica camera which had been modified to capture wide-spectrum images of stars.

Walter Schirra, pictured above second from the left, took a Hasselblad 500C camera aboard the Mercury Sigma-7 spacecraft. Schirra was a photography enthusiast himself and had asked professional photographers who had been following the space program for advice. On their advice, Schirra purchased the medium format Hasselblad and after it was modified for improved usability and performance, he used it to capture images during six orbits of Earth. The resulting images were very detailed and as Manley says in the video below, established a new standard for images captured in space.

Schirra’s Hasselblad camera was later used in the final Mercury mission by Gordon Cooper and was eventually sold at auction for $ 275,000 USD. If you would like to own a working replica of this same Hasselblad, Cole Rise makes replicas of space cameras, including the Hasselblad 500C. You can learn more about Rise’s cameras at Space Camera Co.

Thanks in large part to Schirra’s photography in space, Hasselblad cameras became important cargo aboard subsequent space exploration missions as part of the Gemini and Apollo missions. Hasselblad cameras were used outside of spacecraft as well, capturing many iconic images. One of these iconic images was of Edward White during his spacewalk in 1965. By this point, Hasselblad had begun working directly with NASA to develop cameras for space and had outfitted NASA with a custom-built Hasselblad 500EL data camera, complete with a silver finish for thermal control, special low-distortion lens and Reseau plate.

This custom-build Hasselblad data camera was used on Apollo 8, 9, 10 and 11 missions. Image credit: Hasselblad

Hasselblad has an informative website dedicated to its history in space, it is well worth checking out.

Near the end of the Apollo program, Nikon began working work NASA to outfit astronauts with customized 35mm SLR cameras. Nikon cameras are still used in space to this day. Some of the modifications made to make Nikon cameras suitable for space include different soldering standards, vacuum-safe lubricants and a more robust metal construction. You can learn more about Nikon’s history, including the use of its cameras in space, by clicking here. Manley also references Timm Chapman, a photographer who owns many Nikon space cameras. Chapman has written extensively about Nikon’s space cameras, including fascinating details on how they were modified.

Screenshot from Nikon’s dedicated history website. Click to enlarge.

To learn more about a history of cameras in space, including the beginning of the digital age in space, watch Scott Manley’s full video above. To see additional videos from Manley, head to his YouTube channel.

Articles: Digital Photography Review (dpreview.com)

 
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Disk Drill 4 makes it easier to recover Raw image, video files from damaged drives and memory cards

08 Oct

The macOS version of disk recovery software Disk Drill has received a major 4.0 update that adds, amongst other features, a dramatically improved ability to recover RAW image formats from drives and memory cards.

Disk Drill for macOS 4.0 is now ready for the latest versions of Apple’s desktop and mobile operating systems, macOS Big Sur and iOS 14. Using ‘state-of-the-art scanning methods and updated recovery algorithms,’ Disk Drill 4 can recover more than 400 different file types from drives with FAT32, NTFS, HFS+, and APFS file systems.

CleverFiles, the team that develops Disk Drill, says it’s ‘invested a lot of resources into researching and implementing unique search and recovery algorithms aiming bring back many raw images.’ Specifically, CleverFiles says it’s dramatically improved the ability to recover Raw image and video formats, including 3FR (Hasselblad), ARW (Sony), CR2 and CR3 (Canon), DNG (multiple mobile devices and cameras), GPR (GoPRO), HEIC (Apple), RLE (QuickTime videos), CVID (Cinepak), H263 and H264, MP4V, BRAW (Blackmagic RAW), CinemaDNG, Canon CRM, multiple MOV-container-based formats and many others.

CleverFiles specifically notes the success rate of being able to reconstruct Raw photo and video files has increased to 99% and 96%, respectively, compared to the respective 68% and 51% success rates with Disk Drill 3.8.

A breakdown of the success rate for recovering Raw image and video files from disks and memory cards compared to its previous version and competing products.

Other benefits of Disk Drill includes the ability to browse recovered files in real-time as they’re reconstructed, rather than having to wait for the entire disk to be scanned, and a secure ‘data shredder’ option for ensuring no data can be recovered from drives you’re looking to get rid of.

You can download Disk Drill 4 for free to try out basic functionality and to get familiarized with all the recovery methods, but if you actually need to recover files from a drive, you can pick up the ‘Pro’ version for $ 89. A single purchase is good for activation on up to three computers. Disk Drill has a great overview of all the new features on its website.

Articles: Digital Photography Review (dpreview.com)

 
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Video: The impact of hand-colorized photos on photography in 19th century Japan

07 Oct

For many years, photography was strictly a monochromatic medium. While images offered people detailed depictions of people and places, without color, some people found photographs to be incomplete. In a new video, Vox shares the history of colorized photos and the important role Japan played in the colorization of black and white images.

Japan’s role in the international economy throughout the 18th and 19th centuries was tumultuous, at best. For over 200 years, Japan had closed itself off from the rest of the world, forbidding many from entering the island country. However, a United States naval expedition of warships arrived on Japanese coasts in 1854 and the US forced Japan to open its ports to foreign enterprise and visitors. Travelers and enterprising individuals from around the world traveled to Japan to visit and open businesses. As Vox notes, photography became a burgeoning industry.

Foreign photographers such as Felice Beato and Baron Raimund von Stillfried opened photo studio operations in Japan. Rather than sell customers monochrome images, which were all they could produce with their cameras of the day, photographers like Beato and von Stillfried hired local artists from the ukiyo-e woodblock industry to apply watercolors to black and white prints. Eventually, some of these artists branched out their own.

Time doesn’t stand still, and photography technology became more affordable and amateurs were able to capture their own images, leading to a downturn in the Japanese souvenir photo industry. However, the hand-colored photos from 19th century Japan have had a long-lasting impact. In the video below, Vox shares insight into the history of colorized photos in Japan and shows off beautiful examples that highlight what made, and continues to make, colorized images from Japan so desirable but also potentially problematic in informing a complicated understanding of Japan in the 19th century.

As the video above showcases, when Japanese apprentices branched out from foreign-owned photography studios, some opted to create elaborate depictions of historic Japanese culture to sell to foreigners. One of these apprentices that started his own photography operation was Kusakabe Kimbei. In his work, it’s clear how meticulously crafted some images were, with Kimbei even going so far as to simulate rain using scratches on glass plates and pinning a subject’s clothing to the background to create the appearance of wind. These techniques and resulting images draw on various tropes in traditional Japanese fine art. There are many similarities in composition and subject matter between traditional ukiyo-e woodblock prints and 19th century colorized photos.

The topic brings to light a very interesting discussion on how photography shapes the understanding of a place and time. People often think about photos as realistic representation, whereas a painting doesn’t carry the same weight nor birth the same expectations. However, the early era of the Japanese photo industry was, of course, a for-profit endeavor. Photographers, both foreign and Japanese, wanted to sell a certain idea of Japan to outsiders, and this meant staging scenes, relying on outdated dress and even capitalizing on stereotypes.

If you’d like to learn more about this intriguing topic, Vox offers suggested reading. A Good Type: Tourism and Science in Early Japanese Photographs by David Odo. Sites of ‘Disconnectedness’: The Port City of Yokohama, Souvenir Photograph, and its Audience by Mio Wakita-Elis. Photography in Japan 1853-1912 by Terry Bennett. To view more videos from Vox, including other videos in their ‘Darkroom’ series which shares insight into the history of photography, click here.

Articles: Digital Photography Review (dpreview.com)

 
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NVIDIA Research develops a neural network to replace traditional video compression

06 Oct

NVIDIA researchers have demonstrated a new type of video compression technology that replaces the traditional video codec with a neural network to drastically reduce video bandwidth. The technology is presented as a potential solution for streaming video in situations where Internet availability is limited, such as using a webcam to chat with clients while on a slow Internet connection.

The new technology is made possible using NVIDIA Maxine, a cloud-AI video streaming platform for developers. According to the researchers, using AI-based video compression can strip video bandwidth usage down to 1/10th of the bandwidth that would otherwise be used by the common H.264 video codec. For users, this could result in what NVIDIA calls a ‘smoother’ experience that uses up less mobile data.

In a video explaining the technology, researchers demonstrate their AI-based video compression alongside H.264 compression with both videos limited to the same low bandwidth. With the traditional video compression, the resulting low-bandwidth video is very pixelated and blocky, but the AI-compressed video is smooth and relatively clear.

This is made possible by extracting the key facial points on the subject’s face, such as the position of the eyes and mouth, then sending that data to the recipient. The AI technology then reconstructs the subject’s face and animates it in real time using the keypoint data, the end result being very low bandwidth usage compared to the image quality on the receiver’s end.

There are some other advantages to using AI-based compression that exceed the capabilities of traditional video technologies, as well. One example is Free View, a feature in which the AI platform can rotate the subject so that they appear to be facing the recipient even when, in reality, their camera is positioned off to the side and they appear to be staring into the distance.

Likewise, the keypoints extracted from the subject’s face could also be used to apply their movements to other characters, including fully animated characters, expanding beyond the AI-powered filters that have become popular some video apps like Snapchat. Similar technology is already on the market in the form of Apple’s AI-based Animoji.

The use of artificial intelligence to modify videos isn’t new; most major video conferencing apps now include the option of replacing one’s real-life background with a different one, including intelligent AI-based background blurring. However, NVIDIA’s real-time AI-based video compression takes things to a new level by using AI to not only generate the subject in real time, but also modify them in convenient ways, such as aligning their face with a virtual front-facing camera.

The technology could usher in an era of clearer, more consistent video conferencing experiences, particularly for those on slow Internet connections, while using less data than current options. However, the demonstration has also raised concerns that largely mirror ones related to deepfake technologies — namely, the potential for exploiting such technologies to produce inauthentic content.

Artificial intelligence technology is advancing at a clipped rate and, in many cases, can be used to imperceptibly alter videos and images. Work is already underway to exceed those capabilities, however, by fully generating photo-realistic content using AI rather than modifying existing real-world content.

The Allen Institute for AI recently demonstrated the latest evolution in this effort by using both images and text to create a machine learning algorithm that possesses a very basic sense of abstract reasoning, for example. NVIDIA Research has also contributed extensively to this rapidly evolving technology, with past demonstrations including generating landscapes from sketches, generating photo-realistic portraits and even swapping facial expressions between animals.

A number of companies are working to develop counter technologies capable of detecting manipulated content by looking for markers otherwise invisible to the human eye. In 2019, Adobe Research teamed up with UC Berkeley to develop and demonstrate an AI capable of not only identifying portrait manipulations, but also automatically reversing the changes to display the original, unmodified content.

The general public doesn’t yet have access to these types of technologies, however, generally leaving them vulnerable to the manipulated media that permeates social media.

Via: NVIDIA

Articles: Digital Photography Review (dpreview.com)

 
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