Sigma Cine High Speed Zoom Line – Sample Footage & Review

 Cinematography, Gear  Comments Off on Sigma Cine High Speed Zoom Line – Sample Footage & Review
Aug 172017
 

In this guest review, DP and Director Thomas Schweighofer takes a look at the Sigma Cine High Speed Zoom line during a documentary shoot with a RED EPIC-W Helium 8K. Please also read Graham Sheldon’s extensive review of both Sigma zoom lenses, which we published a few months ago. 

I recently had the chance to shoot a documentary project in the US featuring Austrian musician Dominic Muhrer and American Superstar Joshua Ledet. In order to achieve a better image quality in this particular project, I wanted to get my hands on some of the new Sigma cine primes, but at that point in time it was just too early to get a set. Instead, the folks at Sigma contacted me and told me to test their Sigma Cine High Speed Zoom cine line. I agreed but, being so used to shooting with primes, I didn’t expect too much. 

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How to Maximize Your DJI Spark Dynamic Range in Postproduction

 Gear  Comments Off on How to Maximize Your DJI Spark Dynamic Range in Postproduction
Aug 172017
 

Amongst the drones available on the market in 2017, the DJI Spark is surely not amongst the top ones in terms of files quality. The sequences it creates are quite difficult to color grade in postproduction and thus it makes it hard for videographers to mix the clips with footage from another camera. However, there are ways to improve what you can get out of Spark’s videos. Casey Faris gives us one of the tricks he uses to maximize the dynamic range of the images.

The DJI Spark is without a doubt an incredibly attractive product to get into aerial photography and videography. But its price comes at the cost of more advanced features found on the Phantom and Mavic, such as log footage. The sequences produced by the Spark are very contrasty, sharp, and quite saturated. It’s not a bad thing for average users, but it’s far from ideal for those who want to color grade their footage.

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Fixed & Downloadable: Sony FS5 Firmware V4.02 with Hybrid Log Gamma

 Gear  Comments Off on Fixed & Downloadable: Sony FS5 Firmware V4.02 with Hybrid Log Gamma
Aug 102017
 

FS5 Firmware V4.02 has just been released, fixing some of the bugs introduced with the highly-anticipated V4.0.

A few weeks ago, Sony aimed to greatly increase the functionality of the Sony FS5 by releasing FS5 Firmware V4, bringing HDR support with the introduction of new Hybrid Log Gamma Picture Profiles, reduced minimum ISO for Slog 2 and 3, as well as support for 120fps continuous shooting with an optional license sold separately (you can read our post on this release HERE).

Only a few days later, however, Sony pulled the download due to “a minor issue found within the HDR function”. This caused concern among users who had already downloaded V4.0, as there is no way of rolling back on this camera’s firmware to a previous instance.

Sony removed the firmware V4.0 download, prompting worries from users.

True to their word, Sony have now released FS5 Firmware V4.02 available for download from HERE. The release notes also finally indicate the “minor issues” introduced with V4.0. From the Sony site:

V4.02 fixes the following issue:

1.      Video image may be recorded with short delay of 2 or 3 frames of audio in other recording modes than AVCHD.

2.      When choosing [HLG1],[HLG2] or [HLG3] in the PictureProfile and CENTER SCAN in the CAMERA/PAINT menu, rebooting the camera may cause brightness and color shift.

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DJI Spark Review – Is it Really Suitable For Professionals?

 Gear  Comments Off on DJI Spark Review – Is it Really Suitable For Professionals?
Aug 012017
 

As a professional filmmaker and DJI Mavic shooter, Tamás Kiss wanted to test the capabilities of the tiny new DJI Spark drone, so he took it to the challenging Icelandic climate to put it through its paces. Here’s his DJI Spark Review, that confirms a lot of the observations I made during my hands-on session with the tiny new drone. – Introduction by Sebastian Wöber.

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Lots of Canon Lenses Likely Coming at the End of August [Rumor]

 Gear  Comments Off on Lots of Canon Lenses Likely Coming at the End of August [Rumor]
Jul 162017
 

I think few people can argue that Sigma hasn’t been killing it lately, particularly with their 85mm f/1.4 Art and borderline audacious 135mm f/1.8 Art lenses turning in mostly rave reviews. It was only a matter of time before the big manufacturers responded, and from the looks of things, Canon is preparing to do just that.

Our friends over at Canon Rumors are reporting that Canon is preparing to announce the fabled EF 85mm f/1.4L IS lens at the end of August, along with three other lenses. Which mount these additional lenses will be for is unknown at the moment, though with Canon continuing to update their mirrorless models, it’s possible they may be looking to expand the EF-M line. Other lenses getting long in the tooth include the 50mm f/1.4 and 135mm f/2L. The 85mm f/1.4L IS will not replace the legendary 85mm f/1.2L II lens, but if it improves wide-open sharpness over its f/1.2 cousin (bringing it at least near that of the Sigma Art) and adds image stabilization while only giving up a third of a stop, it could be an extremely intriguing lens for Canon users and would complicate the choice for fans of the Sigma lens’ performance. Be sure to check out the full report over at Canon Rumors for more.

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A First Look at the Canon 6D Mark II Camera, by Alex Cooke

 Gear  Comments Off on A First Look at the Canon 6D Mark II Camera, by Alex Cooke
Jul 082017
 

Canon recently released both the 6D Mark II and SL2 cameras. The 6D Mark II was particularly anticipated, as it is Canon’s cheapest and lightest full-frame DSLR. Here’s a helpful and practical first look at the newest DSLR in the Canon family.

Kaiman Wong recently had a chance to play with the new Canon 6D Mark II. With 45 cross-type AF points, a fully articulating screen, improved burst speed, and dual pixel autofocus, it’s an intriguing option for those looking to break into the full frame world. Of course, it’s missing features to distinguish it from the 5D Mark IV, most notably 4K and a second card slot.

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FUJINON MK 50-135mm Review – A Worthy Cine Zoom For Your Kit?, by Sebastian Wober

 Cinematography, Gear  Comments Off on FUJINON MK 50-135mm Review – A Worthy Cine Zoom For Your Kit?, by Sebastian Wober
Jun 232017
 

Earlier this year FUJINON introduced a new line of affordable E-Mount Cine Zooms made for documentary-style shooters. Here’s our FUJINON MK 50-135mm Review, where we take a look at the second of the two complimentary zoom lenses from FUJINON .

Featuring a non-breathing focus mechanism, par focal design and fully-geared focus, iris and zoom, I took this lens for a spin, after having already reviewed its little brother – the MK 18-55mm T/2.9 – earlier this year.

FUJINON MK 50-135mm Review

I tested the FUJINON MK 50-135mm over the course of several days and, while at first I was hesitant, I really enjoyed working with the lens after I had gotten the hang of it and seen the footage. Together, the FUJINON MK 18-55 T/2.9 and the new FUJINON MK 50-135mm T/2.9 cover a good focal range: 18mm to 135mm.

I recently tested the Sony 18-110mm cine style lens which is also a good alternative to the FUJINONs if you don’t want to carry two lenses and if you don’t mind that a lot Sony’s science is done electronically. Of course, the Sony lens is missing the 110-135 range, which admittedly will not be a huge tradeoff for many. The MKs are all-manual and in comparison to the Sony they also feature a constant aperture of T/2.9. This is great, especially because to me it seemed like they do look good wide open.

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Apertus AXIOM Beta – Your Open Source Camera. An Update and Recent Footage, by Johnnie Behiri

 Cinematography, Gear  Comments Off on Apertus AXIOM Beta – Your Open Source Camera. An Update and Recent Footage, by Johnnie Behiri
Jun 142017
 

It has been a while since we last reported about the status of the apertus AXIOM beta camera, so last week I took the opportunity to meet and talk to Sebastian Pichelhofer who is acting as AXIOM’s project leader, association chairman and one of the software developers, in order to find out what is new and in what shape and status the project currently is.  

AXIOM Beta Developers kit

It was nice to hear and see that this unique open source/open hardware motion picture camera system venture is really moving forward to the point where developers and early adopters alike can now already get their kit. Mind you, if you are an “end user” like me, then the camera is NOT YET ready for us as the enclosure and actual  operating system of the camera are still under development. Without those, operating the camera can be a tedious work.

 

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Panasonic 360 4K Video Camera – A Prototype No Longer by; Graham Sheldon

 Gear  Comments Off on Panasonic 360 4K Video Camera – A Prototype No Longer by; Graham Sheldon
May 022017
 

360 video is still very much the talk of NAB, and Panasonic is not one to be left behind. First announced late last year, the AW-360C10 – AKA the Panasonic 360 camera –  features four cameras shooting at 3840×1920 resolution and uses real-time active stitching. It’s aimed at the live event 360 world and we have all the details below: 

We first announced the Panasonic 360 prototype camera (Panasonic-360C10) and its base unit back in November of 2016 at Inter Bee, and now it seems the camera has made the jump from prototype into production. Four cameras mounted along the head of the unit shoot 4K video at up to 59.94fps in a 2:1 image format ratio, a.k.a equi-rectangular video.

Panasonic is hoping that their low latency system will find a home with sports, concerts, and other live, stadium-based events.

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HDR Photography vs. HDR TV Explained

 HDR Info, HDR Software, HDR TV  Comments Off on HDR Photography vs. HDR TV Explained
Apr 132017
 

You’re going to hear a lot about High Dynamic Range, or HDR in the next few years. HDR imaging is already leaving a mark on the photography industry. Now, HDR displays are making a splash too, although it will be some time before they become commonplace.

As a photographer, you might be tempted to purchase an HDR TV or and HDR screen. At least for now, that isn’t necessary or practical.

 

HDR TV vs. NON-HDR TV. Is there a difference?

HDR display and HDR capture, which we’ll discuss, aren’t the same things, although they have a similar goal. Each process makes a digital copy, whether it be a video or photograph, look more like the real thing.

With HDR for monitors or TVs, this display process refers to the device’s ability to recognize specialized content that standard devices cannot. Here, the goal is to make bright images even more so, while keeping the darker parts dark. This difference between light and dark, known as the contrast ratio, is greater on HDR-capable devices than on standard ones.

As CNET notes,

“In its simplest state, it means a brighter TV, but only in the areas on the screen that need it. The result is an image that really pops and looks more like what you’d see in the real world.”

Not surprisingly, the first HDR monitors are very expensive. One from Dell, for example, is expected to launch for $4,999, while the studio-grade Sony BVM X300 costs $18,000.

 

What are the alternatives to expensive HDR TVs?

Rather than paying for an HDR display, purchase an entirely new Apple Mac instead.

Apple currently offers a 21.5-inch iMac with a Retina 4K display and the 27-inch iMac with a Retina 5K display. It also offers a 12-inch MacBook, 13-inch MacBook Pro, and 15-inch MacBook Pro — all with Retina displays too. Each of these devices are ideal for professional and novice photographers alike.

The 21.5-inch iMac with a Retina 4K display features 4,096 x 2,304 resolution and 9.4 million pixels, which is 4.5 times more than the standard 21.5-inch iMac display. The 27-inch iMac features 14.7 million pixels, seven times more pixels than an HD display. Both iMacs are supported by a wider P3-based color gamut, which provides 25 percent larger color space than previous models.

How can I capture HDR with my camera?

By contrast to HDR display, HDR for cameras is a capture process where a display shows a wider and richer range of colors, crisper whites, and much deeper blacks.

Many of today’s most popular smartphones have HDR capabilities, including current generation iPhones, Samsung, and Sony devices. High-end cameras also utilize HDR.

 

From a technical standpoint, smartphones and cameras handle HDR imaging differently. Regardless, each has a similar goal: providing a greater contrast between light and dark images, by combining several photos taken during a single burst.

You capture each of these pictures at a different exposure called “stops” or “brackets,” during the HDR process. The first stop offers an extremely dark image, while the last one is extremely bright. When merged into a single image, the final photograph includes a greater exposure range.

Taking  HDR shots isn’t easy, and in some situations, not recommended. HDR mode requires a steady hand because it doesn’t capture action well. When movement is involved, alignment can be off, and double exposures can occur. Because of this, you should use a tripod.

HDR mode works best for high-contrast scenes such as landscapes or in scenes with backlighting. HDR is also nice when capturing objects in direct sunlight.

 

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Leica Thalia Lens Line Announced for Alexa 65 and Vista Vision by; Tim Fok

 Gear  Comments Off on Leica Thalia Lens Line Announced for Alexa 65 and Vista Vision by; Tim Fok
Apr 022017
 

Leica has just announced a new set of primes for the 65mm Cinema format, compatible also with smaller sensor sizes. The Leica Thalia spherical lenses are compact, come in 9 focal lengths, and will cover a 60mm image circle.

The new Leica Thalia lens line.

The Leica Thalia collection has been designed with large format cinema in mind – think Alexa 65 and Vista Vision (RED Weapon 8K VV). The large image circle, however, will also enable their use on smaller, more regularly-used formats in Super35 film and digital.

Leica has announced 9 focal lengths straight off the bat, with no drip-feeding over time: 24, 30, 35, 45, 70, 100, 120, and 180mm, with T-stops ranging from 3.6 to 2.2 (see the graph further down for itemised T stops).

The Thalia lens line features a PL mount, with i Technology contacts for providing metadata.

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New Marshall 7″ On-Camera Monitor V-LCD70W-SH by; Olof Von Oss

 Gear  Comments Off on New Marshall 7″ On-Camera Monitor V-LCD70W-SH by; Olof Von Oss
Mar 262017
 

Marshall Electronics has just unveiled their latest LCD on-camera monitor, the 7″ V-LCD70W-SH. Originally planned for IBC 2016, it’s now finally available, so let’s have a quick look.

Marshall 7″ V-LCD70W-SH LCD monitor

There’s a wide range of decent on-camera monitors to choose from, and now there’s one more candidate: the new Marshall V-LCD70W-SH. It’s a 7″ HDMI and SDI LCD monitor with pretty much every feature you would expect in this class of monitors.

It features a detachable sun hood that’s also foldable, which can be quite useful for stowing away when not needed. Those tiny brackets look like they may be a little fragile, though…

Folded and extended sun hood.

When the sun hood is attached, all buttons remain accessible as they are located on the outside, which is nice. Three user-customizable buttons for common functions such as focus peaking can be found on the left-hand side of the monitor. The other buttons are for input, menu access and on/off.

In terms of connectivity, you can use both the HDMI and SDI signals as an input. There’s a cross converter built right into the V-LCD70W-SH, so you’re able to loop through whatever signal is needed to a client monitor, for example. As an addition, this 7″ LCD sports a built-in tally light with two colors to choose from: red or green.

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Rumor Has It Sigma Is Releasing a 70-200mm f/2.8 Sport Lens in Late 2017 by; Alex Cooke

 Gear  Comments Off on Rumor Has It Sigma Is Releasing a 70-200mm f/2.8 Sport Lens in Late 2017 by; Alex Cooke
Mar 062017
 

Sigma is showing no signs of slowing down. As their line of unique and high-quality lenses continues to expand at an explosive rate, it appears they’ll be adding a lens almost every photographer should own later this year: the 70-200mm f/2.8.

The 70-200mm f/2.8 lens is arguably the most important lens most photographers can carry, along with the 24-70mm f/2.8. Every major manufacturer has their own native version: Canon, Nikon, Sony, and Pentax, all of which represent some of their best optics and performance. Tamron also recently released the SP 70-200mm f/2.8 Di VC USD G2, an update that provides improved AF, stabilization, and optical quality. With Sigma on a roll, having released four new full-frame lenses, it’s only logical to hear that they’re planning an update to their 70-200mm f/2.8 lens, which is a holdover from the days before their revamped design that started with their Art series. Such a lens would surely be widely welcomed by photographers who have mostly embraced Sigma’s new lenses, while the continued pressure put on the mainstay manufacturers by increasingly tempting third-party options is always good for the market.

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New FUJIFILM X-T2 Cage – LockCircle Kinetics XT2 by; Jakub Han

 Cinematography, Gear  Comments Off on New FUJIFILM X-T2 Cage – LockCircle Kinetics XT2 by; Jakub Han
Mar 062017
 

LockCircle is introducing their new FUJIFILM X-T2 cage called Kinetics XT2. Its asymmetrical design approach lets you hold the original grip of the camera, and features various threads for accessories as well as a baseplate, and HDMI and USB ports protectors.

LockCircle Kinetics XT2 cage with all the features

FUJIFILM X-T2 Cage – LockCircle Kinetics XT2

FUJIFILM X-T2 is a very interesting mirrorless camera for filmmakers that is especially capable in 4K. We tested this little camera couple of months ago, os if you haven’t yet, make sure to take a look at our real world video test and also our Lab test where we compared it against the Sony a7S II. LockCircle is now introducing their ergonomic cage for the FUJIFILM X-T2, which is designed to fit around the camera with an “asymmetrical design approach” for a right-handed camera grip. This means it is possible to hold the camera using the original grip even when the cage is mounted, as visible in the product photos. The weight of the cage itself is 300g (10 oz).

All camera controls remain visible and available as the FUJIFILM XT-2 cage has many cutouts, and offers multiple threads to mount various accessories – 79x 1/4”-20 threads and 3x 3/8”. The cage has also several threads to mount the AC tape measurement titanium hook.

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FUJINON MK18-55mm Technical Review – The New E-Mount Cine Zoom in the Lab by; Sebastian Wober

 Cinematography, Gear  Comments Off on FUJINON MK18-55mm Technical Review – The New E-Mount Cine Zoom in the Lab by; Sebastian Wober
Mar 062017
 

FUJINON just introduced a new line of affordable E-Mount Cine Zooms made for documentary-style cine shooters. The FUJINON MK18-55mm T2.9 is the first of two complimentary zoom lenses and it’s already on our test bench – here’s our FUJINON MK18-55mm Review.

Featuring a claimed non-breathing focus mechanism, par-focal design and fully-geared cine lens controls, let’s confront this newcomer with our 8K test chart and compare it to the infamous new Zeiss LWZ.3 21-100mm T2.9-3.9 and a similarly-specced Canon photo lens.

Also, check out our Hands-on FUJINON MK 18-55mm with Footage HERE.

Why is this Lens Interesting for Cine Shooters?

First of all, let’s look at why this lens is interesting for us! For many years, large-sensor video shooters have been forced to use photo lenses with our Canon, or Canon-adapted large-sensor cameras. As many of us shoot documentaries or documentary-style projects, using photo zoom lenses has been a real frustration as they’re designed for photography, meaning they have a short focus throw, no hard stops, no manual iris control, clunky zooming, breathing, are non par-focal… the list goes on, as these are considerations that aren’t really relevant for shooting still images. Only recently manufacturers have finally started delivering zooms that are fit for video production and are not as heavy on the lens barrel and the wallet as high-end cine zooms. The Sony 28-135mm was the first of its kind (reviewed here), Canon was next, and now FUJINON is the one to catch our interest.

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Panasonic GH5 Hands-on – “6K” Anamorphic Video, 4K 60p, 180fps FHD, By Graham Sheldon

 Cinematography, Gear, News  Comments Off on Panasonic GH5 Hands-on – “6K” Anamorphic Video, 4K 60p, 180fps FHD, By Graham Sheldon
Jan 052017
 

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.

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DreamGrip Smartphone Rig for Filmmakers By: Jakub Han

 Gear  Comments Off on DreamGrip Smartphone Rig for Filmmakers By: Jakub Han
Dec 112016
 

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.

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Olympus OMD E-M1 II controls and handling for video – a first look

 Cinematography, Gear  Comments Off on Olympus OMD E-M1 II controls and handling for video – a first look
Dec 062016
 

The new flagship Olympus OMD E-M1 II has been getting quite a lot of attention lately thanks to its amazing image stabilisation capabilities and high bitrate internal DCI 4K recording. We’ve just received the highly specced Micro 4/3rds camera to test and will be taking a closer look at it over the coming days.

In this first article I’m going to look at the design and handling of the camera for video. In later articles we’ll examine the image stabilisation system, autofocus and image quality. Bitrates, crops and colour settings will have to wait till then. (spolier – there is no Log profile on the camera)

The camera body is nicely put together.

The body of the camera is nicely put together and is weather sealed. There is a good sized handgrip that felt good in my hands.

The LCD screen is a flip-out type similar to cameras like the GH4. You can angle it up, down or a full 180 degrees around for selfies – video bloggers will be happy. The electronic viewfinder has a 120 hz refresh rate and is very good, with little noticable lag or image judder. There is a histogram function, peaking and also focus magnification. These all work well, but the one major annoyance is that the magnification function doesn’t work while recording – unlike the competing Sony a7 and a6xxx series.

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DJI announces the M600 Pro drone for payloads up to 6kg

 Action cams, Gear  Comments Off on DJI announces the M600 Pro drone for payloads up to 6kg
Nov 162016
 

DJI has announced yet another drone, but this time it is a lot larger than the Mavic Pro. The Matrice 600 Pro inherits 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.

screen-shot-2016-11-11-at-3-09-35-pm

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.

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Google adds High Dynamic Range (HDR) video support to YouTube

 Technique  Comments Off on Google adds High Dynamic Range (HDR) video support to YouTube
Nov 162016
 

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.

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