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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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Photoshop vs Lightroom – the Power of Photoshop

14 Sep

The post Photoshop vs Lightroom – the Power of Photoshop appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video from Nick Page, he Looks at Photoshop vs Lightroom and shows some things that Photoshop can do that Lightroom cannot.

In this tutorial, Nick covers the following using landscape photos as examples:

  • How to use the Quick Selection Tool to select skies against difficult backgrounds so that you can change things like exposure, and contrast more selectively.
  • How to use the Select and Mask tool to refine selections.
  • Applying the selection as a new layer mask.
  • How to fade your opacity levels of your selection.
  • Using the Hue/Saturation adjustment.
  • How to focus stack using layers, and Auto Align and Auto Blend Layers features.
  • Using Exposure Blend and feathered brushes for realism in your photograph.
  • A handy shortcut to create a white layer mask rather that a black one.
  • How to use Levels Adjustment to alter your image contrast.

 

Do you use Lightroom, or Photoshop? Or both in conjunction with one another? Let us know in the comments.

 

You may also find the following helpful:

  • How to Make a Cool Double Exposure Effect Using Photoshop
  • How to Make an Awesome Pop-Up Card with your Photos
  • How to Change a Background in Photoshop for Still Life or Food Photography
  • How to Make an Animated GIF in Photoshop
  • How to Create Custom Brushes in Photoshop
  • Photo Editing: When Does it Get to be too Much?

The post Photoshop vs Lightroom – the Power of Photoshop appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Canon EOS M6 Mark II sample gallery (DPReview TV)

14 Sep

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A new gallery from the Canon EOS M6 II, shot by Chris and Jordan while filming this week’s episode of DPReview TV. As usual, it comes complete with reflected images in puddles.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Canon EOS M6 Mark II review

14 Sep

This week Chris and Jordan review the new Canon EOS M6 II mirrorless camera. Even if you’re not interested in the camera, you should probably watch just to see Jordan sing a Dire Straits cover.

Also, subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Design
  • Sensor
  • Burst speeds
  • Custom settings
  • USB charging challenges
  • Buffer
  • Rolling shutter
  • Video capabilities
  • Wrap-up

Sample gallery from this week’s episode

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Articles: Digital Photography Review (dpreview.com)

 
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Sony’s FX9 will offer oversampled 4K 4:2:2 10-bit internal recording, Dual Base ISO and more

14 Sep

Sony has unveiled the FX9, a new XDCAM camera that features a 6K full-frame sensor, a hybrid autofocus system and, most interestingly, an E-mount for attaching lenses.

The camera is based around a newly-developed 6K Exmor R sensor that features over 15 stops of dynamic range, Dual Base ISO (ISO 800 and 4000 in S-Log 3) taken from Sony’s Venice cameras and internal oversampled 4K 4:2:2 10-bit recording. Sony does note though that the FX9 will only support 3840×2160 recording at launch with full 4096×2160 recording following in a future update. The FX9 is also capable of capturing Full HD at 120 frames per second.

The Fast Hybrid AF system features a 561-point phase-detection AF sensor that covers roughly 94 percent the width and 96 percent the height of the imaging area. Sony has also taken inspiration from its FS7 series and included a continuously variable electronic variable neutral density (ND) filter.

An illustration comparing Sony’s Exmor CMOS sensor to its new Exmor R CMOS sensor.

The FX9 is also capable of recording image stabilization metadata that will be able to be imported into Sony’s Catalyst Browse/Prepare software to precisely stabilize footage in post-production via an update expected to be out in December 2019. Sony says other post-production software developers are being encouraged to adding this functionality as well.

A list of selectable framerates on the FX9 in both full-frame and Super 35 modes.

Sony has also made the FX9 compatible with existing and new accessories, including Sony’s UWP-D wireless microphones, the XDCA-FX9 extender kit that enables 10-bit Super35 4K video at 120 fps (as well as 16-bit Raw output in an upcoming update) and additional accessories.

To pair with the FX9, Sony has announced the FE C 16-35mm T3.1 G, an E-mount lens designed to work hand-in-hand with the new E-mount camera system. The lens features two Extreme Aspherical (XA) elements, an 11-blade aperture diaphragm and floating focus groups to offer improved focusing across the entire zoom range.

The FX9 will be available ‘towards the end of 2019’ while the FE C 16-35mm T3.1 G lens is set for a spring 2020 release. Pricing information hasn’t yet been confirmed for either units.

Sony Launches FX9 4K Camera with Newly-Developed Full-frame Sensor, Dual Base ISO and Fast Hybrid Auto Focus System

Next generation camera offers greater flexibility to bring artistic vision to life

SAN DIEGO, CA — SEPTEMBER 13, 2019 — At IBC 2019 in Amsterdam, Sony today unveiled the PXW-FX9, its first XDCAM camera featuring an advanced 6K² full-frame sensor and Fast Hybrid Auto Focus (AF) system. The new camera offers content creators greater creative freedom and flexibility to capture stunning images that truly resonate with audiences.

Building on the success of the PXW-FS7 and PXW-FS7M2, the FX9 uniquely combines high mobility with an advanced AF system, impressive bokeh and slow-motion capabilities thanks to its newly-developed sensor. The FX9 also inherits its color science and a Dual Base ISO from the VENICE digital motion picture camera, creating the ultimate tool of choice for documentaries, music videos, drama productions and event shooting.

The FX9 was designed in close collaboration with the creative community and is an example of Sony continuously evolving cameras to innovate for the customer and market needs. The FX9 benefits from the versatility, portability and performance expected of an FS7 series “Run & Gun” style camera, while also offering High Dynamic Range and full-frame shooting features.

“We are always listening to our customer’s voice, pushing to deliver innovation that allows them to realize their full artistic intention,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “With the new FX9, we are striking an attractive balance between agility and creative performance. We’ve combined the cinematic appeal of full-frame with advanced professional filmmaking capabilities in a package that’s extremely portable and backed by the extraordinary versatility of Sony E-mount.”

Powerful features

The newly-developed Exmor RTM sensor offers wide dynamic range with high sensitivity, low noise and over 15 stops of latitude that can be recorded internally in 4K³ 4:2:2 10bit. Oversampling of the full-frame 6K sensor’s readout allows professionals to create high-quality 4K footage with impressive bokeh effects through shallow depth of field, while wide-angle shooting opens new possibilities for content creators to express their creativity.

A dual base ISO of 800 and 4000 enables the image sensor’s characteristics to best capture scenes from broad daylight to the middle of the night. With S-CinetoneTM color science, the new sensor can also create soft and alluring facial tones. The camera can also capture content up to five times slow-motion with Full HD 120fps shooting played back at 24p.

The shallow depth of field available with a full-frame image sensor requires precise focus control, and the enhanced Fast Hybrid AF system, with customizable transition speeds and sensitivity settings, combines phase detection AF for fast, accurate subject tracking with contrast AF for exceptional focus accuracy. The dedicated 561-point phase-detection AF sensor covers approximately 94% in width and 96% in height of the imaging area, allowing consistently accurate, responsive tracking – even with fast-moving subjects while maintaining shallow depth of field.

Creative freedom

Inspired by the high mobility “Run & Gun” style approach from the FS7 series of cameras, the FX9 offers content creators shooting flexibility thanks to a continuously variable Electronic Variable ND Filter. This enables instant exposure level changes depending on the filming environment, such as moving from an inside space to outdoors or while filming in changing natural light conditions.

Additionally, the FX9’s image stabilization metadata can be imported to Sony’s Catalyst Browse/Prepare? software, to create incredibly stable visuals even in handheld mode. Sony is also working to encourage third-party non-linear editing tools to adopt this functionality.

The FX9 comes with a wide range of customizations and expansion features. These include compatibility with the new UWP-D series of wireless microphones via Multi Interface Shoe™ (MI Shoe) with digital audio interface, the XDCA-FX9 extender kit enabling 10bit Super35 4K 120fps and 16bit RAW output in a future update, compatibility with Sony BP-GL and BP-FL series batteries, D-Tap, RJ-45 interface and stable “Dual Link” streaming by using two carrier lines, as well as DWX slot-in type digital wireless receiver commonly used in broadcasting settings?. The FX9 will also be compatible with the newly launched E-mount lens FE C 16-35mm T3.1 G, which uniquely balances full manual operability for professional cinema shooting and auto-control functions.

“What narrative cinematographers, documentary filmmakers, music video directors and broadcasters have in common is a need for a flexible camera that allows them to tell unique stories, no matter the environment in which they operate. As a next-generation professional camera, the FX9 captures stunning visuals with the lifelike image quality available from a full-frame sensor, while adding the benefits of advanced auto focus features and customization. This makes it the ultimate creative tool for modern storytellers,” concludes Neal Manowitz.

The FX9 will be available towards the end of 2019 and on display at the Sony stand (A10, Hall 13) at IBC 2019 September 13th– 17th. For more information, please visit www.pro.sony/ibc.

A variety of additional content related to Sony’s cinema imaging products, including articles, videos and events, can be found at www.sonycine.com.

¹Initially supported recoding aspect is 16:9; 17:9 (active about 19M pixels) will be supported by future update.

²6K Oversampling; not capable of 6K recording.

³3840×2160 recording is initially supported; 4096×2160 recording will be supported by future update.

?Planned to be supported by Ver.2019.2 in December 2019.

A future update will be scheduled sequentially for summer 2020. Further details will be announced.

Sony Unveils Full-frame E-Mount Cinema Lens FE C 16-35mm T3.1 G, Designed for High Optical Performance and Reliable Operability

Lens offers greater flexibility for video content creation, with servo zoom and autofocus/autoexposure system

SAN DIEGO, CA — SEPTEMBER 13, 2019 — At IBC 2019 in Amsterdam, Sony today introduced a new full-frame E-mount, 16-35mm lens (FE C 16-35mm T3.1 G) to accompany the newly announced FX9 full-frame camera. The lens offers high optical performance, reliable operability and intelligent shooting functions for cinematographers. It is compatible with the full range of Sony’s E-mount cameras – from Alpha™ interchangeable lens cameras to the VENICE digital cinema camera – bringing unprecedented creative flexibility for all content creators. Sony also announced their intention to expand the FE C Cinema Lens line-up going forward.

“The performance of our new E-mount Cinema Lens series offers filmmakers greater creative freedom and helps them concentrate on their artistic vision. Encompassing the full range of Sony E-mount cameras, our “One Mount” solution is the most powerful system designed for today and for the future,” comments Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics.

Lens for a new age of full-frame video shooting

The new lens is compatible with the intelligent shooting functions of E-mount. Paired with the new full-frame FX9 camera, it supports fast and accurate auto focus, making it possible to track quick-moving subjects while maintaining a shallow depth of field.

Stunning bokeh and corner-to-corner resolution

The two XA (Extreme Aspherical) elements with extreme surface precision of 0.01-micron, together with circular 11-blade apertures, deliver beautifully smooth bokeh in every frame. The two XA elements and three aspheric lenses are positioned in a way that effectively reduces field curvature, astigmatism and, in combination with two ED (Extra-low Dispersion) glasses, reduces color distortion. Additionally, floating focus employs two focusing groups, providing outstanding resolution at every zoom position. Nano AR (Anti Reflection) coating drastically reduces flare and ghost phenomenon.

Excellent operability with three independent rings, remote control from the camera, and a detachable servo zoom

The new E-mount lens further offers accurate and precise operability thanks to three independent rings for focus, zoom and iris that content creators can manipulate to get the exact results they desire. The linear response Manual Focus (MF) feature provides direct adjustment for precise and repeatable manual focusing. The focus ring with a large rotation angle also includes a distance scale, which makes it possible to quickly and easily set the same focus position during scenes that need to be shot repeatedly.

The new range also supports a number of lens accessories to facilitate a variety of different shooting styles. The industry standard 0.8mm pitch gear on each lens ring provides the option to use follow focus and remote actuators. Equally, the widely-available 115mm diameter matte box and lens support can be used to aid accurate, responsive and precise operability. Additional functions include a de-clickable iris ring that prevents unintended iris change during shooting, the option to reverse the rotation direction of the zoom ring to be fitted with user’s preference and detachable servo zoom that provides smooth zooming expression.

The new 16-35mm (FE C 16-35mm T3.1 G) will be available in Spring 2020.

To learn more about the new cinema lens, visit Sony stand (A10, Hall 13) at IBC 2019 September 13th-17th. For more information please visit www.pro.sony/ibc.

A variety of additional content related to Sony’s cinema imaging products, including articles, videos and events, can be found at www.sonycine.com.

Articles: Digital Photography Review (dpreview.com)

 
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Atomos shares info on S1H ProRes Raw update, to offer 16-bit Raw capture with Sony FX9

14 Sep

Atomos has made two announcements that will bring improved video recording capabilities to two recently-released cameras: the Panasonic Lumix S1H and the Sony FX9.

First up, Atomos has shared more information regarding a previous announcement that it was working alongside Panasonic to co-develop a means to capture Raw video for the Lumix S1H. Atomos has now provided both a timeframe (albeit a rough one) and official specifications for the impending firmware update.

Atomos says the S1H firmware update will make it possible to record 5.9K/29.97p Raw and C4K/59.94p video on the Atomos Ninja V monitor-recorder over HDMI. Currently, the Lumix S1H can record 6K/24p (3:2 aspect ratio), 5.9K/29.97p (16:9 aspect ratio) and 59.94p 4K/C4K, so this update will be a substantial bump in recording capabilities.

In its announcement, Panasonic also revealed that ProRes Raw would be the codec supported for Raw recording. The firmware is scheduled to be launched in early 2020.

Atomos has also announced that it’s Neon 8K MCU (Adorama, B&H) will support 4K 16-bit Raw recording from Sony’s recently-unveiled FX9 camera. Details are scarce, but Atomos’ press release, embedded below, implies the functionality will be available when the FX9 ships later this year in December 2019.

It seems Atomos is adamant on working alongside camera manufacturers to get the most from the sensors inside the manufacturers’ latest cameras. In January 2019, Atomos said it was working with Nikon to bring 4K Raw video capture over HDMI to its Ninja V external recorder.

We’ve since learned this update won’t be free and will require cameras to be sent into Nikon service centers to perform an ‘internal upgrade’ to the camera, but the promise still remains. According to the latest information, the 4K Raw video update is still scheduled to be released before the end of the year.

LUMIX S1H Firmware Development Underway for 5.9K/29.97p and C4K/59.94p RAW Video Data Output to Atomos Ninja V

Newark, NJ (September 13, 2019) – Panasonic is proud to announce the development of firmware for the LUMIX S1H full-frame mirrorless camera which enables the output of 5.9K/29.97p RAW and C4K/59.94p video data to the Atomos Ninja V monitor-recorder. The firmware is scheduled to be launched in early 2020.

The LUMIX S1H is the world’s first camera to combine professional-level video quality, the high mobility of a mirrorless camera and a Full-Frame sensor. It is currently capable of video recording at 6K/24p*1 (3:2 aspect ratio), 5.9K/29.97p (16:9 aspect ratio), and 59.94p 4K/C4K.*2 *3 The LUMIX S1H will be introduced in late September 2019.

Panasonic has a long history of collaboration with Atomos. This relationship will deliver new RAW video functionality for the S1H. 5.9K up to 29.97p and C4K*3 up to 59.94p in RAW delivered over HDMI is in development. With this firmware Apple ProRes RAW can be recorded on the Atomos Ninja V.

A LUMIX S1H prototype with this firmware will be exhibited along with the Atomos Ninja V in the Panasonic booth (Booth No. C45, Hall 11) at the IBC2019 (International Broadcasting Convention) to be held in Amsterdam, the Netherlands, from September 13-17, 2019.

Atomos Announce 16bit RAW Support on New FX9 From Sony

PORT MELBOURNE, Australia, Sept. 13, 2019 /PRNewswire/ — Off the back of Sony Imaging Products & Solutions Inc. (“Sony”) unveiling their groundbreaking new FX9 today at IBC, Atomos is excited to announce 16bit RAW support from this new camera to the Atomos Neon 8K MCU.

“We have a long and proud history of collaborating with revolutionary companies like Sony, we are working closely with the FX9 camera team to deliver 4K 16bit RAW from the FX9 to our Neon cinema monitor-recorders.” Said Jeromy Young, Atomos Co-founder and CEO.

The FX9, which will go to market towards to end of 2019, features an advanced 6K full-frame sensor and has been designed to give professional shooters greater flexibility and capture capability, making it an ideal match for the Atomos Neon range. The FX9 has the same DNA as the popular VENICE cinema camera making it the ideal music, documentary, drama and event shooting.

“When paired with an Atomos Neon, the FX9 will be one of the most advanced production tools available today. We’re excited to empower content creators and filmmakers at the highest level through our ongoing work with Sony.” Added Young.

Articles: Digital Photography Review (dpreview.com)

 
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STC expands Clip Filter series with new Panasonic Lumix M43 ND and IR filters

14 Sep

STC Optics has expanded its Clip Filter Series to include new filters for Panasonic Lumix M43 camera systems, as well as the Z Cam E2 4K Cinema Camera and Blackmagic Pocket Cinema Camera 4K. As with the existing Clip Filters, the new series is designed to be sandwiched between the camera body and lens, positioning the filter over the sensor instead of on the front of the lens.

STC explains that its Panasonic M43 Clip Filter is designed to fit in front of the shutter mechanism to avoid interfering with the camera’s anti-shake function. All of the filters are made with Schott B2790 optical glass with double-sided NANO anti-smudge coatings and A2 stainless steel.

The new Clip Filter lineup includes a sensor protector filter, neutral density filters offered in N8, N16, ND64, ND400 and ND1000, as well as 590nm, 720nm and 850nm IR filters, a 625nm UV-IR cut filter and Astro filters in the following options:

– Multispectra Multi-Band Interferometric Filter
– Duo-Narrowband
– Bimodal Narrowband Filter? ?
– Nightscape Starscape Filter

The STC Clip filters are available on Amazon UK for £81.99 to £91.99, depending on the model, with more options available on the STC website at prices ranging from $ 80 to $ 430.

Articles: Digital Photography Review (dpreview.com)

 
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Weekly Photography Challenge – Landscapes

14 Sep

The post Weekly Photography Challenge – Landscapes appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s photography challenge topic is LANDSCAPES!

Image: Photo by Simon Bond

Photo by Simon Bond

Landscapes are one of my favorite things to photograph. Being out in nature with your camera is a wonderful experience. So for this week’s photography challenge, I’d love for you to get out in nature and take some lovely landscape photos.  They can be color, black and white, moody or bright. Just so long as they are landscapes. You get the picture!

Have fun you awesome photographers, and I look forward to seeing what you come up with!

Image: Photo by © Jeremy Flint

Photo by © Jeremy Flint

Image: Photo by Adam Welch

Photo by Adam Welch

Check out some of the articles below that give you tips on this week’s challenge.

Tips for Shooting LANDSCAPES

11 Surefire Landscape Photography Tips

12 Tips to Help You Capture Stunning Landscape Photos

How to Photograph a Minimalist Landscape

The dPS Top Landscape Photography Tips of 2018

7 Landscape Photography Tips You’ll Wish You Knew Earlier

Easy Beginners Tips for Long Exposure Photography

How a Short Versus Long Exposure Will Affect Your Landscape Images

5 Framing Tricks to Help You Capture Better Landscape Photos

 

Weekly Photography Challenge – LANDSCAPES

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSlandscapes to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Landscapes appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


Digital Photography School

 
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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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Google Photos adds Instagram Stories-style Memories feature, now offers canvas prints

13 Sep

Google Photos is expanding its feature set and has launched Memories, a slideshow feature that works in a similar way as Instagram stories. Memories is designed to highlight special events, such as birthdays, trips and holidays, and let you remember those special moments without having to sift through stacks of duplicate images.

Photos and videos from previous years will be pinned to the top of your gallery for you to browse. Google uses machine learning to curate your Memories and pick the best shots out of many similar ones. Certain people or time periods can be blocked in case you´d rather not be reminded of them, and you can also deactivate the feature completely.

Memories can also be shared with people who appear in them and others. Google says that in the coming months it will make this process even easier. Shared photos will be added to an ongoing, private conversation which should make it easier to keep count of the images you have shared with each other.

In addition, you can now search for text that appears in photographs or screenshots via the standard search function. This could be useful for those who store recipes or other text documents in image format in Google Photos.

U.S. users can now also order both standard photo prints and canvas prints directly from the app. Individual photo prints can be ordered directly through Google Photos and are available to pick up from your local CVS Pharmacy or Walmart that same day at over 11,000 locations. Canvas prints are available in 8x8in, 12x14in, and 16x20in formats and prices start at $ 19.99. The app suggests the best photos to print and the canvas prints will be delivered straight to your home.

Articles: Digital Photography Review (dpreview.com)

 
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