GearComments Off on Yi Erida tricopter drone carries the new 4K+ 60p Action Camera to new heights
Yi has launched a new version of what they are claim is the world’s ‘fastest tricopter drone’ (although we have no idea which tricopter drone previously held the record so its a bit hard to verify), the Yi Erida. The company says the Erida is exceptionally fast and agile, and can reach speeds of up to 75 miles per hour (120 km/h). To put that speed into perspective the DJI Inspire 2 can fly at up to 58 mph or 94 kph in Sport mode.
The only major difference between the new drone and the one that was originally announced in the middle of last year, is that it will now include the company’s latestYI 4K+ Action Camera. The 4K+ the only action camera in the world that can capture UHD video at up to 60fps. The Erida also has a built-in advanced gimbal system.
For those not familiar with the drone, the Yi Erida features patented folding rotors which helps make the drone more portable. It can be controlled from any mobile device using the compatible YI Erida mobile app, which means there is no need for a remote control. From the app, users can set the flight mode, choose the height and shooting angle, control takeoff and landing, and check battery status, distance and flight time. If you don’t want to use a smart phone or tablet to control the Erida, it is possible to connect a regular RC remote control.
The Erida also has a claimed maximum flying time of up to 40 minutes. The drone weighs 1.3 kg (2.86lb) and is made out of carbon fibre. The company also uses a very unique three-rotor design and innovative aeronautics to make the drone capable of flying at such high speeds.
As far as built in safety features go the Erida uses Yi’s custom LIDAR system. This system has built-in laser scanners that automatically increases the altitude if the surface elevates. The LIDAR system operates at altitudes up to 6,000 meters, and is effective at up to 30 meters. The Erida also works with Beidou, GPS and GLONASS satellites to provide high accuracy and safety of flight. Supporting messages include integrity protection, geofencing, and spoofing detection.
GearComments Off on Panasonic GH5 Hands-on – “6K” Anamorphic Video, 4K 60p, 180fps FHD by: Graham Sheldon
TheGH5 wasannounced back in September last year, but Panasonic kept many features of the camera close to the chest. Today, at CES, Panasonic pulled back the curtain. We have the full feature list and were invited to an exclusive prior GH5 hands-on event in Los Angeles. Spoiler alert, the camera looks great and it’s a cinematographer’s dream. Features, pricing and availability below:
The built-in flash found in the old GH4 is gone and a whole new array of magical features aimed squarely at indie filmmakers have taken its place in the MFT Panasonic DMC-GH5, unveiled today at CES in Las Vegas. However, the Panasonic GH5, like a fine wine, will need to age gracefully into the summer to reach its full potential. More on that later.
Back in May of 2014, the Panasonic Lumix GH4 hit the market and became an instant favorite. Lauded for its internal 4K, variable frame rate option, XLR input module and professional video features such as peaking, zebras and cinema color profiles, it was clear that Panasonic built the camera with the cinematographer in mind. On paper, engineers have outdone themselves in every way with the new GH5.
Panasonic will be squishing features like 4:2:2 10bit 4K with a bitrate of 400Mbps and 180fps FHD variable frame rate recording into the tiny 2.0 pound body of the GH5. Over the years you get used to seeing specs like this from companies such as RED Cinema, but with the price point of a BMW 5-series. For the GH5, we are more in 1998 Honda Civic territory with a camera body price point of $2,000.
In short, the GH5 looks stylish, feels great to hold and shoots gorgeous video.
The camera launches with a max resolution of 4096×2160 up to 60fps with a bitrate of 150Mbps. Notice the differences from the features in bold above? That’s because Panasonic is rolling out a free firmware plan upgrading the camera into the summer, and 4K (400Mbps) All-Intra recording will unlock by July.
Of course, it would be great to have all the banner features right as you open the box, but like many video games these days, you’ll need to wait for updates before the camera has its full feature list, but what a list of features it is.
4:2:2 10bit – Available April, 2017
6K/24p Anamorphic Video Mode (4:3) – Available Summer, 2017
(200 Mbps) FHD 4:2:2 10bit ALL-Intra – Available Summer, 2017
(400Mbps) 4K 4:2:2 10bit ALL-Intra – Available, Summer 2017
V-Log Color Profile – Available at launch, Cost: $100
6K/24p Anamorphic Video Mode will be available in a 4:3 aspect ratio in the Summer and the very fact we are talking about getting 6K, or close, Anamorphic out of a $2,000 MFT body is exciting. Panasonic is calling this upcoming mode: “High Resolution Anamorphic” as it is 6K resolution in terms of pixel density, but not 6000 pixels of horizontal resolution.
**Update: The camera ships with Anamorphic 4K (4:3) with H.264 compression enabled. Come Summer 2017, 6K (4:3) will be shootable in H.265 compression with free firmware update. Firmware schedule below.
Unfortunately, if you previously purchased V-Log for your GH4 you will not be able to transfer that update over to the newGH5. A new purchase is required.
While the GH5 has the same dynamic range as thePanasonic GH4, it has slightly improved lowlight performance, but I wouldn’t call this a lowlight camera by any means. We were presented with a ISO 6400 video sample and noise in the picture was very evident. On top of that, when shooting with high ISO settings, the camera will automatically reduce noise internally. This feature cannot currently be turned off and can only be controlled via the menu with high/mid/ and low settings. Panasonic is certainly willing to listen to feedback and might consider adding a complete “off position button” if there is a demand for it.
Color depth is improved and the GH5 will eventually shoot internal 4:2:2 10bit, compared to the 4:2:0 8bit of its predecessor, but launches with 4:2:0 8bit only in IPB compression. 4:2:2 10bit color is double the information of 4:2:0 and provides greater grading flexibility in the post process before the image falls apart.
Here is some gorgeous footage, shot on GH5, from the good folks over at Neumann Films: