CinematographyComments Off on Sony Develops Super Slow Motion Sensor for Smartphones by; Jakub Han
The capabilities of image sensors are constantly getting better, also in the area of the ubiquitous small smartphone sensors. Sony has developed a new 3-layer stacked high speed CMOS sensor with DRAM. It promises to minimise image distortion and add super slow motion capabilities to future smartphones.
Sony announced the development of the industry’s first 3-layer stacked CMOS sensor for smartphones. Compared to traditional 2-layer sensors, the new Sony sensor features an added DRAM layer. The purpose of this extra layer is to increase data readout speeds and make it possible to capture still images of fast-moving subjects with minimal focal plane distortion (something we also call “rolling shutter”) as well as super slow motion movies at up to 1,000 frames per second in 1080p.
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.
Cinematography, Gear, NewsComments Off on Panasonic GH5 Hands-on – “6K” Anamorphic Video, 4K 60p, 180fps FHD, By Graham Sheldon
The GH5 was announced 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.
Here is the full firmware breakdown:
GH5 Firmware Upgrade Path:
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 is available in a 4:3 aspect ratio. However, 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.
GearComments Off on Sphere Pro – The 360 Degree Lens for DSLR by Jakub Han
Sphere Pro lens is a new product from Sphereoptics — a young startup from New York. It brings 360 video capability to conventional DSLRs and mirrorless cameras. No stitching is required so converting videos to spherical format is easier and faster.
The Sphere Pro lens is intended to be mounted (for best results) or held pointed upwards and it is designed to capture a 360° horizontal and 180° vertical field of view. That makes it one of a kind. It is a 35mm full frame format lens and has a Nikon F mount, but you can mount it to most cameras using an applicable adapter. The aperture is fixed at f/8 and focus is fixed as well (best at 40″/1meter).
From the test video you can see the image quality is not perfect, but for a quick VR experience it is sufficient. This lens gives you the ability to shoot conventional content with your personal camera and then quickly switch lenses and record a spherical video with the same body. If you wanted a better quality image you could mount the lens to a RED Cinema camera and shoot in significantly higher resolution, such as 6K. The image outcome will get better in line with the sensors used, which is an excellent feature of the device.
How does Sphere Pro lens work?
The device uses a special toroidal mirror with a reflective surface and series of optical elements to capture the full sphere of light around the lens into a circle-like image on the camera sensor. The resolution is therefore only dependent on the smallest dimension of the sensor. Converting the video to a spherical shape for VR viewing is easy and fast through pixel mapping. According to the creators, the process is so easy it can be done on your average iOS or Android device.
GearComments Off on DreamGrip Smartphone Rig for Filmmakers By: Jakub Han
If you’re a smartphone videography enthusiast maybe considering to step up your game, check out DreamGrip. You can use it with any smartphone, and allows you to mount plenty of accessories.
The quality of smartphone cameras has been steadily improving in recent times, with more and more people starting to use smartphones to generate high-quality video content. We brought you 10 useful Tips for cinematic smartphone videos in the past, but I think we will continue to see huge progress in smartphone videography in the coming years. This means more smartphone-oriented filmmaking accessories will start making an appearance.
DreamGrip is a Hong Kong-based company but with offices in Vancouver, Canada, and have been developing their smartphone rig since August 2015. After testing their first prototypes during the past year, they are now taking pre-orders.
What does the DreamGrip smartphone rig offer you?
Adjustable lens mount, so you can use any smartphone.
A variety of lenses: Fisheye, Wide Angle, Telephoto x2, Telephoto x3.
Bluetooth wireless remote with free app for Android and iOS.
Two cold shoe mounts on the handles.
Additional mounting possibilities through ¼” – 20” mounts and screws.
Adapter with a 52mm CPL filter.
One of the issues when filming with a smartphone at high resolutions while using Bluetooth is of course battery life. While I am not sure where you could mount a powerbank on this rig, it seems like it could accomodate one of those power cases for extra battery life. These are not available for all smartphones, though.
GearComments Off on Fstoppers Reviews the New Best Portrait Lens, the Nikon 105mm f/1.4, By Quentin Decaillet
Canon has always been known for its fabulous portraits lenses: the 85mm f/1.2 and the 135mm f/2. I used to own and love both of them, with a preference for the first. When I bought into the Nikon system, I was afraid I would miss these two optics. But truth be told, the Nikon 85mm f/1.4 is at least as good as its Canon equivalent if not better! Regarding the 135mm, that’s a whole different story as the Nikon’s is quite old now. However, they recently announced the 105mm f/1.4, and I had the chance to put my hands on it for a few weeks! Let’s see how it compares with other portrait lenses and if it could potentially replace a 135mm.
Many people regarded the 105mm f/1.4 announcement as very bizarre. The new portrait lens is not extremely different from the 85mm in terms of focal length and most people probably expected a 135mm replacement instead. Nonetheless, the 105mm in itself is an interesting focal length for many uses, especially for someone who owns a 58mm even though they don’t share the same image quality or look at all.
When taking the lens in your hands for the first time, you immediately notice its weight and size. It’s not small by any means. For someone used to the Canon 85mm f/1.2, it’s nothing very surprising, but for Nikon users, it might feel beefy.
Canon 5DII with 85mm f/1.2 vs. Nikon D810 with 105mm f/1.4
Canon 5DII with 85mm f/1.2 on the left and Nikon D810 with 105mm f/1.4 on the right
Action cams, GearComments Off on DJI announces the M600 Pro drone for payloads up to 6kg
DJI has announced yet another drone, but this time it is a lot larger than the Mavic Pro. The Matrice 600 Proinherits everything from the M600 with the addition of improved flight performance and better loading capacity. The M600 now comes with pre-installed arms and antennas to help reduce the setup time. This is perhaps the biggest improvement over the older M600.
The airframe is equipped with the A3 Pro flight controller, Lightbridge 2 HD transmission system, intelligent batteries and battery management system. All Zenmuse cameras and gimbals are natively compatible and there is full integration with third party software and hardware.
TechniqueComments Off on Google adds High Dynamic Range (HDR) video support to YouTube
For some millennials, YouTube stars are more important than popular pop musicians or famous Hollywood actors. Older folks may not understand this phenomenon, but it actually makes a lot of sense — YouTube is a platform where many young people spend their time.
Today, Google announces that it is making YouTube even better. The service can already stream video in 4K, and is available on countless devices, but now the videos are gaining High Dynamic Range (HDR) support too. This means the content will be presented with better contrast and more vibrant colors. Of course, the benefits will only be relaized with displays that support HDR.
“Starting today, you can watch YouTube videos in HDR on supported devices, such as HDR TVs with the new Chromecast Ultra, and soon on all 2016 Samsung SUHD and UHD TVs. If you’re using a device that doesn’t yet support HDR, don’t worry, videos will still play in standard dynamic range. As more HDR devices become available, YouTube will work with partners to enable streaming of the HDR version”, says Steven Robertson, Software Engineer, Google.
Robertson also shares, “any creator can upload HDR videos to YouTube. To make sure creators can tell awesome stories with even more color, we’ve been working with companies across the industry. We’ve worked with the DaVinci Resolve team to make uploading HDR just as simple as SDR videos to YouTube. We’ve also outfitted the YouTube Spaces in LA and NYC with all the gear needed to produce great HDR content”.
Google shares the above side-by-side images to show the potential benefits. As you can see, the HDR image on the right is more detailed and vibrant, while the simulated SDR image on the left looks washed-out.
Want to check out some HDR content now? Google shares the following YouTube playlist that contains videos that are already compatible.
Cinematography, GearComments Off on Compact Wireless Video Gets Range Boost – Teradek Bolt 500 Announced
Teradek has announced a new compact wireless video system. The Teradek Bolt 500 keeps the small form factor of the Bolt 300, but with an increased range of an impressive 500-foot distance, as well as offering HDMI/SDI conversion.
Teradek has become one of the industry standards for wireless video transmission systems. They offer robust solutions for when you are you looking to transmit your video signal to a wirelessl, whether for providing a separate monitor for client viewing, director viewing and/or your camera is situated where running a cable isn’t practical, such as when sat on a gimbal, high out of reach or across a long distance.
The Bolt 500 is, however, still placed in Teradek’s short range category, a product that will favour users looking to keep their wireless systems small. The Bolt 500 is similar in size to its smaller 300-foot range brother, but step up to the Bolt 1000 and above and you’ll have to deal with a larger physical system when taking antennas into consideration.
GearComments Off on Chronos 1.4 – Affordable 1050fps Camera for 720p Slow Mo
The Chronos 1.4 camera is the result of the efforts of a single engineer, David Kronstein, who is working diligently to bring slow motion to a wider group of filmmakers. The device – now “production ready” and headed to Kickstarter in the “next few months” for funding – is capable of 1050fps at a resolution of 1280×1024. Read on for all the details, including footage samples:
Shooting great-looking slow motion is really, really expensive and usually requires renting a Phantom high-speed camera for the best shots at 300 fps+, or an equally pricey RED Epic Dragon or Weapon for anything below 300 fps. Slow motion, however, is almost always worth it. Don’t take my word for it – just look at the trailer for Planet Earth II here, which includes some epic slow motion moments.
The YouTubers over at the “TAOFLEDERMAUS” channel have gotten their hands on a prototype production model of the Chronos 1.4 and have in-camera footage to show as well:
As you can see from the video, there are still a few kinks to work out: there is a 30 second boot up time from the moment the power button is pressed, and saving to SD card takes a considerable amount of time as well, but hopefully we’ll see improvements as the project progresses.
This is very much a speciality tool, especially given the lack of full 1080p resolution, but it is cheap and shows promise at being a no-fuss slow motion solution in the future.
Once fully funded through Kickstarter, the 8GB base model of the Chronos 1.4 is expected to cost a (comparatively speaking) very affordable $2,500.
Weannounced the new Sigma Cinema lenses line back in early September and my colleague, Nino, was hands on with the new glass at IBC a few weeks later. Now, we have the pricing details below:
Sigma had been promising a price well bellow $5,000, and true to their word both the Cine High Speed Zoom 18-35mm T2 and 50-100mm T2 now have a price tag of $3,999 and will begin shipping on December 9th.
Both of these zooms are built around the S35 standard and are compatible with 6K – 8K shooting. Available in E, EF and PL mounts.
This price point puts Sigma in unique territory, well clear by a large margin of other cine zoom competitors like Angenieux, Cooke and Arri/Fujinon. For other budget cinema zoom offerings I would recommend looking into the Zeiss LWZ.3 21-100mm T2.9/T3.9, with a price point of $9,900, or the $5,000 Canon 18mm-80mm T4.4 Servo. While both Zeiss and Canon have cinema zoom glass that covers a wider useful range, neither are faster then the first Sigma cine zoom offerings out of the gate.
I have no new information on a price or ship date for the full frame Sigma Cinema 24-35mm T2.2. More updates on that when we have it.
While I wasn’t able to capture any footage, I was able to mount the cine high speed zooms and upcoming primes on a variety of camera bodies at a hands-on event a few weeks ago, and I can tell you that the glass feels great and the image holds up well in-camera. Check back at cinema5D.com for footage and a full-fledged review coming in the near future.
Cinematography, GearComments Off on Laowa 15mm f/2 E-Mount and 7.5mm f/2 MFT Mount Lenses Announced
At Photokina, Chinese lens manufacturer Venus Optics, who sell lenses by the name Laowa and specialise in niche glass for various cameras, announced two new fast wide angle lenses:
After their 12mm f/2.8 E-Mount which we reported about in August, they now also offer a new 15mm f/2 for E-Mount, which is very fast for such a wide angle lens. It covers the full frame 35mm sensor of Sony A7 series E-Mount cameras and is fully manual with hard stops and manual aperture. It features a filter thread which isn’t a given on all wide angle lenses at 15mm. No info on pricing yet.
Their other new lens is a fully manual 7.5mm f/2 prime for Micro Four Thirds cameras. It will feature a comparable wide angle field-of-view given the 2x crop factor of MFT sensors compared to 35mm full frame cameras. What’s particularly noteworthy about this lens is its tiny size and weight which, when combined with the wide angle field-of-view and the staggering f/2 maximum aperture, make it an ideal choice for drone operators flying a GH4 (or GH5 in the future) on their multicopter. There is no word on pricing on this lens either, but they promise to be “competitive”, which has usually been the case with their lenses so far indeed.
Cinematography, GearComments Off on Fujifilm X-T2 vs. Sony a7S II – Which One is the Best Mirrorless Video Camera?
The Fujifilm X-T2 mirrorless camera is quickly becoming a candidate as the new gold standard in affordable 4K video. But will it be replacing the famous Sony a7S II as the best mirrorless video camera for cinematic shooting?
Video shooters live in good times. Every few months, a new video shooting mirrorless camera rocks the market and gives us better cinema-like quality and features. Last year, theSony a7S II quickly became the best mirrorless video camera you could get, with a nice 4K image, numerous useful video features and impressive lowlight performance.
Just two weeks ago, the Panasonic GH5 was announced and raised the bar once more with its specs, offering internal 4:2:2 10bit in 4K, though this camera will only see the light of day in 2017. For now, the Fujifilm X-T2 has landed on our desk and stands a serious contender against theSony a7s II as the new gold standard. Let’s take a look.
We recently tested the Fujifilm X-T2 in a documentary style situation (check out our review). Few people expected that this camera would be quite so interesting for both photographers as well as video shooters. This is only Fujifilm’s first attempt at implementing 4K video into one of their mirrorless cameras, yet they got a lot of things right, and even since our review some new features have been implemented via a firmware update: Now you can get extended dynamic range (H-2, S-2) when recording internally.
Both the Fujfilm X-T2 as well as the Sony a7S II are designed as mirror-less cameras in a photo body. The FujifilmX-T2 has the Fuji X-Mount and houses an APS-C sized sensor. The Sony a7S II has the Sony E-mount and houses a full-frame sensor. There are fans for both sensor sizes, but in terms of the lens-mount, there are only a few adapters for Fuji right now, while there are many options for Sony E. This could change in the future, if user interest for Fuji X-Mount adapters rises.
The Canon EOS C700 was announced last month and raised a lot of interest, but also criticism among our readers. The new flagship model for Canon’s Cinema line was on display at IBC 2016 and we took the chance to take a closer look at the new camera.
A Closer Look at the Canon C700
With the C700, Canon moved on to a different form factor for the first time in quite a while. The Canon EOS C700 is reminiscent of competitor cameras such as the Panasonic Varicam, Arri Amira or the Sony F55/F5, and its features and pricing clearly target it at the higher end of filmmaking.
Action cams, GearComments Off on DJI’s New Mavic Pro Has All the Smarts of the P4, None of the Bulk
While drones can navigate pretty freely in the air, they’re still a hassle to port around on the ground. DJI’s newest aerial camera, the Mavic Pro, looks to change that. It boasts a foldable design that shrinks the drone down to a device that basically fits into the palm of your hand and slips easily into a backpack or purse.
The Mavic Pro may be far more compact than DJI’s Phantom models, but it doesn’t skimp on features. It features a 4K camera that can record at up to 3o (full HD at 96p) and snap 12-megapixel still images in the DNG or JPEG format. The lens has a 78-degree field of view and you’ll enjoy about 27 minutes of flight time with a top speed of 40 miles per hour in sport mode.
GearComments Off on Why the Olympus E-M1 MK II Might Just Be Your Next 4K Video Camera
Just a few days ago, Olympus unveiled their new MFT camera, the Olympus E-M1 MK II. It is not only the Japanese company’s first foray into 4K video, it is also a technology milestone in terms of image stabilization and pro video features.
Please make sure to read Graham’s article for a good overview of this new camera. As a reminder, here are the specifications:
New 20 Megapixel Live MOS Sensor
4K UHD Video up to 30fps (3840×2160) and Cinema 4K up to 24fps (4096×2160)
3.0 Articulating Touch Monitor
121 Point Dual Auto Focus
5-Axis Image Stabilization
Dual SD Card Slot (UHS II Compatible)
Weatherproofing: dust, splash and freeze-proof
Weight: 1.3 pounds.
One of the real achievements of this newly developed camera is the implemented image stabilization. As Janne Amunet puts it:
It really gives new possibilities in terms of moving the camera without having a huge production budget.
And that’s really it! The quality of stabilization that the Olympus E-M1 Mark II can achieve seems to be quite impressive, and can be even further improved when used alongside an Olympus lens with image stabilization. In a scenario like this, the result of both camera and lens add up to almost gimbal-like performance.
The other buzzword surrounding this camera is, of course, 4K. It’s a first for Olympus, but it’s good to see other manufacturers adopting more and more camera systems to choose from. The Olympus E-M1 MK II caters the micro four thirds system, just like the Panasonic GH4.
Cinematography, GearComments Off on The New Panasonic FZ2000 Bridge Camera – 10bit 4K DCI External in Vlog for $1200
We get hands on with the Panasonic FZ2000, a compact bridge camera with great video functions. It’s the first of its kind with a 1 inch sensor, built in ND filters and 4K DCI recording on a super zoom lens. We talked to Mark Baber from Panasonic, who explained a little more about the camera. Also, make sure to check out the footage we recorded directly on the Panasonic FZ2000.
The Panasonic FZ2000 was one of the many announcements by the Japanese manufacturer at Photokina 2016. It has a 20MP 1 inch CMOS sensor with a zoom range of 28-480mm at f/2.8 – 4.5. It shoots 4K video internally in both DCI and UHD resolutions, which is a feature many filmmakers will be pleased about. Although it has a fixed lens, the FZ2000 has built-in ND filters (a feature usually exclusive to video and cinema cameras) which means a shallow depth of field at wide apertures can be used even in bright sunlight.
It can also output 4K 24p in 10bit 4:2:2 via HDMI to external recorders like the Atomos Shogun Inferno, giving greater colour depth. The inclusion of 10bit in both this camera and the GH5 is pushing the boundaries of mirrorless and DSLR technology, meaning other camera manufacturers will now need to keep up. Both CINELIKE D and CINELIKE V picture profiles are included in camera, with the V-Log L picture profile to be available as a paid upgrade, ideal for grading in post production.
At wider angles, the 5-way optical and digital stabilization works very well to compensate shake and movement. This of course struggles to keep up at the telephoto end.
GearComments Off on Xeen 16mm T2.6 – Samyang Further Expands Cine Lens Lineup
Samyang has been quite busy lately. Among other mostly photo-related lens announcements, they have just unveiled the newest addition to their cinema lens line-up: the Xeen 16mm T2.6.
The Xeen 16mm T2.6 Cine Lens
Samyang keeps adding lenses to their current Xeen cinema lens line-up, with their newest addition just unveiled at this year’s Photokina. Sitting in between the 14mm T3.1 and the 24mm T1.5, the new Xeen 16mm T2.6 could become your new favourite wide angle lens. Due to its faster aperture, it might also prove to be much more versatile than the 14mm T3.1 option.
Samyang’s Jeon Min, Shin claims that the decision behind introducing a model with these specs is that the former wide angle option, theXeen 14mm T3.1, may be just a little bit too wide (and more importantly, too slow) for most cinematographic needs.
This newest addition brings the whole Xeen range of lenses up to a grand total of 7 primes to choose from:
Maybe we’ll even see some more focal lengths to choose from in the future? At this rate of development, this might just be the case.
Action cams, GearComments Off on The GoPro Hero5 Black: Waterproof, Stabilized, Voice Commands & More
GoPro is calling the new Hero 5 Black “Simply the best GoPro, ever.” They’re not wrong. Waterproof to 33ft out of the box and featuring 4K video, stabilization, voice commands, and more, the Hero 5 Black is a lot of action camera for $400.
This morning’s GoPro announcement was a product release bonanza. Not only did we get to see the Karma ‘so muchmore than a’ Drone, CEO Nick Woodman also debuted the new flagship GoPro Hero5 Black.
The big news on the surface is that the Hero5 Black can survive below the surface… of the water that is. Out of the box and without a casing of any kind, it’s waterproof to 10 meters (~33ft). This thanks to a new one-button design that takes away a lot of seams and looks pretty sleek doing it.
The second most ‘exciting’ bit of news about the Hero5 Black is the voice controls, which let you “stay in the moment” while capturing said moment. Available in 7 languages at launch, you can tell your Hero5 Black to start recording, take a photo, take a burst, and more.
Over and over during this morning’s release Woodman harped on the fact that GoPro’s goal was to make a camera that “disappears.” A camera that is so easy and intuitive to use that you forget you’re using a camera—an extension of your experience instead of something that interrupts it. Voice controls are a big piece of this.
Add to that the automatic upload to the cloud that comes with a GoPro Plus subscription—every time you plug in your GoPro to charge, it uploads automatically—and Woodman is getting closer to his “invisible” camera dream.
Here’s a quick into and an overview of “what’s new” with the Hero5:
AppleComments Off on iPhone can now shoot RAW photos, here’s why it’s a big deal
Apple and Google have finally agreed on something: RAW photography with DNG files. With the launch of iOS 10, Apple addsRAW support to select iOS devices with DNG (iPhone 6S, 6S Plus, SE, 7, 7 Plus, and the 9.7-inch iPad Pro), the same file format many Android users have had access to since the launch of Lollipop 5.0 over a year ago. But what exactly is RAW photography and DNG anyway – and what’s the big deal?
Smartphones traditionally snap the very familiar JPEG file that’s easily (and instantly) shareable. JPEGs are automatically edited and adjusted by the software built into the camera or smartphone so they’re ready to go. The downside is that JPEGs are heavily compressed. RAW file types, such as DNG, on the other hand, are untouched by that automatic software, leaving more of the photo’s data intact. The untouched RAW file, whether opened on a desktop program or a mobile photo editor, offers more flexibility in retouching than a JPEG that’s already been processed. As you might suspect, the tradeoff is that RAW files tend to be very large.