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Blackmagic Design announces Pocket Cinema Camera 4K

DPReview.com - Latest News - Mon, 04/09/2018 - 6:39pm
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Way back in 2013, Blackmagic Design introduced the Pocket Cinema Camera, a compact camera with a Super 16 sensor that promised cinema recording quality in a body about the size of a Sony a6500. While it delivered high quality footage, many users acknowledged that it felt like a version 1 product, including frustrating issues like fussy behavior, short battery life, and inelegant ergonomics and controls.

At NAB in Las Vegas, Blackmagic finally announced the sequel many were waiting for, the Pocket Cinema Camera 4K. Video shooters will be happy to know that it's a significant upgrade at a very aggressive price point.

The Pocket Cinema Camera 4K is built around a Micro Four Thirds sensor with dual native ISO and a native DCI 4K (4096x2160) resolution. Although we don't have any technical information on the sensor, this sounds suspiciously similar to the one used in Panasonic's GH5S. Blackmagic claims the sensor can capture 13 stops of dynamic range.

Blackmagic finally announced the sequel many were waiting for, the Pocket Cinema Camera 4K. Video shooters will be happy to know that it's a significant upgrade at a very aggressive price point.

The camera will be able to record DCI 4K at 60 fps and windowed HD (a native 1080 crop) at up to 120 fps in either 10-bit ProRes or 12-bit Raw formats. Various internal recording media are supported including standard SD cards, UHS-II cards, and CFast 2.0 cards.

What's potentially more interesting, however, is the option to record externally using the camera's USB-C port. Blackmagic claims it's the first camera that will let users connect media, like an SSD, directly to the camera's USB-C port for direct external recording. This means it should be possible to go directly from shooting to working on your computer without transferring data from cards. It seems like a brilliant, if not obvious, use for the USB port.

The Blackmagic Pocket Cinema Camera 4K. Image courtesy of Blackmagic Design

In addition to the USB-C port, there's also a full sized HDMI port that can output clean 10-bit video, a mini XLR input with 48v phantom power for audio, 3.5mm audio input, and a headphone jack. Power comes from a standard Canon LP-E6 type battery, and there's a locking DC power connector that protects the camera from being accidentally unplugged.

The camera's body is made from a carbon fiber polycarbonate composite to keep it both sturdy and light. It has a substantial grip and a top button layout similar to what's found on many mirrorless cameras, which should improve handling over the original.

Blackmagic claims it's the first camera that will let users connect media, like an SSD, directly to the camera's USB-C port for direct external recording.

On the rear is a large 5" touchscreen for composition, viewing exposure parameters, and useful tools such as a histogram and focus peaking. Notably, Blackmagic doesn't mention support for waveform displays or vectorscopes.

The camera can capture still photos, though Blackmagic hardly mentions it. Since this camera is clearly aimed at videographers we don't expect a deep feature set for regular photography.

What may be most impressive about the camera is the price. The Pocket Cinema Camera 4K will sell for $1295 and be available later this year. We definitely look forward to getting our hands on this camera and testing it out.

Press release:

Blackmagic Design Announces Blackmagic Pocket Cinema Camera 4K

Next generation 4K camera features dual native ISO, full 4/3 HDR sensor, 13 stops of dynamic range, and ProRes or RAW recording to internal SD/UHS-II and CFast cards, or even external USB‑C drives!

NAB 2018, Las Vegas, USA - April 9, 2018 - Blackmagic Design today announced the all new Blackmagic Pocket Cinema Camera 4K, a handheld digital film camera with full 4/3 HDR sensor, dual native ISO with up to 25600 ISO for incredible low light performance as well as 13 stops of dynamic range. It also eliminates expensive external recorders, as it features a unique new USB-C Expansion Port, which allows customers to record using the internal SD/UHS-II and CFast recorders or directly to the same external disks they will use for editing and color correction. The Blackmagic Pocket Cinema Camera 4K will be available from Blackmagic Design resellers worldwide later this year for only US$1,295.

The Blackmagic Pocket Cinema Camera 4K will be demonstrated on the Blackmagic Design NAB 2018 booth at #SL216.

The revolutionary new Blackmagic Pocket Cinema Camera 4K is the handheld digital film camera that customers have been asking for. It packs incredibly high end imaging and professional features into a portable and affordable design that can be used anywhere. The compact body style is perfect for shooting independent films and documentaries, fashion shows, travel blogs, web videos, weddings, corporate video, sports and much more.

The Blackmagic Pocket Cinema Camera 4K features a full size 4/3 HDR sensor with native 4096 x 2160 resolution and 13 stops of dynamic range for true digital film quality. The full size of the 4/3 sensor is designed to perfectly match MFT lenses so the crop factor is greatly reduced, giving customers a wider field of view. It also features dual native ISO with up to 25600 ISO for incredible low light performance.

The Blackmagic Pocket Cinema Camera 4K is packed with features such as a MFT lens mount, large 5 inch touchscreen monitor, 10-bit ProRes and 12-bit RAW recording, 3D LUTs, 4 built in microphones, mini XLR audio input with phantom power, Bluetooth wireless camera control, HDMI on set monitoring output and more. The latest Blackmagic Design color science lets customers shoot images that are far better than DSLR cameras and even better than professional digital film cameras costing tens of thousands more.

Designed using a space age carbon fiber polycarbonate composite, the body of the Blackmagic Pocket Cinema Camera 4K is extremely strong and light. The carbon composite material consists of a high strength polymer that’s reinforced with carbon fibers. This gives the camera body incredible strength and rigidity to help protect it from accidental knocks and drops which can often result in damage. The handheld design features a multi function grip which has logically placed buttons and dials that allow super fast access to essential shooting functions such as recording start/stop, still photos, ISO, shutter, aperture, white balance, power and more.

Fourth generation Blackmagic Design color science lets customers shoot HDR images in film, video and new extended video modes. The new extended mode combines the latitude of digital film with an optimized video file. This gives customers working on fast turnaround projects an ideal solution for shooting great looking images that don’t need a lot of color correction or post production work.

Images can be recorded onto standard SD cards, faster UHS-II cards or CFast 2.0 cards in either ProRes or RAW formats. The Blackmagic Pocket Cinema Camera 4K can record 4K images at up to 60 frames per second and windowed HD at up to 120 frames per second. It’s also the first camera that lets customers record directly onto the same exact external USB-C media drives they use for editing and color correction. That means customers can turn projects around much more quickly because they don’t have to transfer files. All they need to do is unplug the USB-C drive and then connect it to their computer to start editing.

The Blackmagic Pocket Cinema Camera 4K uses the same MFT (Micro Four Thirds) lens mount as the original Pocket Cinema Camera so customers can use the investment in lenses they already own. The MFT mount is extremely flexible and allows for different lens adapters so customers can also use PL, C, EF and other types of lenses from manufacturers such as Canon, Nikon, Pentax, Leica and even Panavision.

The rear of the camera features a large bright 5 inch touchscreen that makes it easy to frame shots and accurately focus. It also uses the same Blackmagic OS as URSA Mini so customers can use simple tap and swipe gestures to adjust settings, add metadata and view recording status. On screen overlays make it easy to see recording parameters, status, histogram, focus and peaking indicators, and playback controls. In addition, 3D LUTs can be applied for both monitoring and recording.

For audio, the Blackmagic Pocket Cinema Camera 4K features multiple built in microphones with an extremely low noise floor, a mini XLR input with 48 volts of phantom power to connect professional lapel and boom mics, and a 3.5mm stereo audio jack for connecting different types of video camera microphones. The high quality built in audio recording means customers don’t have to carry around a separate recorder.

The Blackmagic Pocket Cinema Camera 4K also includes a full size HDMI connector which can output HDR video as well as a clean 10-bit video feed with optional on screen overlays. There’s also an innovative high speed USB-C Expansion Port for adding external accessories such as flash drives and an SSD for external recording. The camera uses standard LP-E6 batteries and can be charged via USB-C or the locking DC power connector, which protects the camera from being accidentally unplugged during a shoot.

“Customers love the original Blackmagic Pocket Cinema Camera and have been asking us for a 4K version,” said Grant Petty, Blackmagic Design CEO. “We’ve listened and built a camera that combines all of our newest ideas and customer feedback from the previous model! The new Blackmagic Pocket Cinema Camera 4K is exciting because it packs so much technology into an incredibly small design. We feel it will go well beyond what customers expected. It’s perfect for anyone that needs a truly professional ultra compact digital film camera. This is not a consumer camera that's trying to do high end work, it’s a true high end camera designed for high end work.”

Blackmagic Pocket Cinema Camera 4K Features

  • Full size 4/3 sized sensor with native 4096 x 2160 resolution sized sensor.
  • Compatible with extremely high quality Micro Four Thirds lenses.
  • Super wide 13 stops of dynamic range allows capture for high end feature film look.
  • Up to 25600 ISO for incredible low light performance.
  • Carbon fiber polycarbonate composite body which makes it lightweight, portable and durable.
  • Multi function grip for quick access to recording start/stop, still photos, ISO, shutter, aperture,white balance, power and more.
  • Built in SD, UHS-II and CFast card recorders.
  • USB-C expansion port allows longer duration recording directly to an external SSD or flash disk.
  • Standard open file formats compatible with popular NLE software such as 10-bit ProRes and 12 bit RAW.
  • Features full size HDMI output for monitoring with camera status graphic overlay.
  • Professional mini XLR input with 48 volts of phantom power for connecting to pro microphones.
  • 3.5mm audio jack, headphone jack, and locking DC 12 volt power connection.
  • Built in 5” LCD touchscreen allows accurate focus when shooting 4K.
  • LCD supports on screen overlays including status, histogram, focus peaking, and transport controls.
  • Records 4K images at up to 60 frames per second and windowed HD at up to 120 frames per second.
  • 3D LUTs can be applied for both monitoring and recording.
  • Blackmagic OS as used in URSA Mini and URSA Broadcast cameras.
  • 4th generation Blackmagic color science.
  • Supports remote camera control via Bluetooth.
  • Includes full license for DaVinci Resolve Studio editing, color, visual effects and audio post production.

Availability and Price

Blackmagic Pocket Cinema Camera 4K will be available later this year for US$1,295 from Blackmagic Design resellers worldwide.

Categories: Equipment

Atomos unveils the Ninja V: A 5.2-inch 4K/60p external monitor and recorder

DPReview.com - Latest News - Mon, 04/09/2018 - 5:49pm

For filmmakers who want an Atomos external monitor/recorder but feel like the 7-inch Atomos Ninja and Shogun recorders are a bit too big, Atomos has released something just for you. The Atomos Ninja V packs many of the same features into a smaller 5.2-inch form factor that the company says is "perfect for mirrorless cameras, DSLRs and gaming."

We're not sure about (and not interested in) the gaming bit, but for video shooters who prefer a DSLR or mirrorless system, a smaller external recorder could be exactly what they've been waiting for.

The Ninja V sports a 5.2-inch HDR screen with 1000nits brightness and anti-reflection finish for easy daylight recording, and can record up to 4K/60p 10-bit video over HDMI 2 in either Apple ProRes or Avid DNxHR. And since portability is one of its main features, the whole thing is 1-inch (2.5cm) thick and weighs just 11oz (320g).

Feature-wise, you get most of the things you've come to expect from an Atomos recorder: histogram, false color, focus peaking, movable 1-1 and 2-1 pixel magnification, waveform, RGB parade, Vector scope, 8 channel audio level meters, and the ability to load creative LUTs, for a start. And the Atom HDR engine promises to show you 10+ stops of dynamic range on the LCD in real time from your camera's Log/PQ/HLG signals.

Finally, the Atomos Ninja V also features the company's modular expansion slot, which will allow you to dock "expansion modules" into the battery slot and add advanced features like bi-directional high speed video, audio and continuous power.

The Atomos Ninja V is available now for $695. To learn more about the new monitor/recorder, check out the full press release below or head over to the Atomos website.

Press Release

Atomos introduces Ninja V – a stealthy 5.2” 4Kp60 HDR daylight-viewable 1000nit monitor/recorder

Melbourne, Australia – 9 April 2018 – The latest incarnation of the famous Atomos Ninja line is here. Seven years after the world's most popular portable Apple ProRes recorders burst onto the scene, Atomos is delighted to introduce Ninja V - an all new compact 5.2" 1000nit high bright HDR monitor/recorder with unrivalled advanced features. It has a sleek modern design and weighs just over 11oz (320g) - perfect for mirrorless cameras, DSLRs and gaming.

The perfect small monitor

The near edge-to-edge high bright 5.2 inch screen has a stunning 1000nits of output coupled with an anti-reflection finish - allowing users to clearly see their images even in daylight. Use the color-accurate display with AtomHDR to see in High Dynamic Range, or load creative LUTs at the touch of a button. Ninja V gives you all the critical monitoring tools you need - histogram, false color, peaking, movable 1-1 and 2-1 pixel magnification, waveform, RGB parade, Vector scope, 8ch audio level meters and more!

Perfect 1" thin recorder

Record up to 4Kp60 10-bit video over HDMI 2.0 in edit-ready Apple ProRes or Avid DNxHR direct to affordable SSD drives. The Ninja V's sleek 1" (2.5cm) deep aluminium body is crafted for maximum portability and durability, stealthily attaching to any camera. A truly beautiful design.

HDR perfection every time

The AtomHDR engine ensures perfect exposures when shooting HDR. It delivers a stunning 10+ stops of dynamic range to the LCD in real time from Log/ PQ/HLG camera signals. Playout Log as PQ or HLG to a larger HDR-compatible screen. The display can be calibrated to maintain perfect color accuracy over time.

Long records on affordable storage

Record direct from your camera's sensor and bypass the internal compression quality and recording time limits. It runs from a single Sony-type battery for hours. The new compact AtomX Drive SSD offer robust affordable storage. Available from Angelbird, G-Technology and now also Sony Storage Media Solutions, who join as our newest licensed drive partner. Ninja V also works with Master Caddy II.

Designed for your camera!

Atomos HDMI control protocols allow recording to be automatically triggered, timecode matched and HDR metadata set by a wide variety of cameras. Realtime Log-to-HDR profiles allow users to take away the exposure guesswork in HDR production.

Audio inputs

Audio can be input directly from the camera digitally via HDMI, or fed in analogue via a stereo 3.5mm line/mic socket - especially useful for cameras that do not have a mic input.

Endless open expansion!

Enhance the capabilities of the Ninja V through the ingenious modular expansion slot breaking out connectivity for high speed video, audio and power. Expansion modules will dock onto the battery slot of the unit and offer advanced features such as continuous power modules. Atomos and third party accessories will be available in the future.

Atomos CEO Jeromy Young explains: "Ninja V is the result of years of development and expertise. It combines the best of what we do at Atomos and squeezes it into one small box. It sits stealthily on your mirrorless camera, yet it is packed with power. It's what everyone wants! Small, sleek 5" and future proofed with AtomOS and the modular expansion slot - at $695 it's a no brainer. Put simply, Ninja V is the most versatile outdoor monitor and portable ProRes recorder ever. We can't wait to see how it unlocks creativity for our users."

Come and see Ninja V for yourself at NAB 2018, Atomos booth C9425.

Categories: Equipment

Western Digital debuts new G-Drive and G-Speed professional grade SSDs

DPReview.com - Latest News - Mon, 04/09/2018 - 1:37pm

Western Digital just revealed its new lineup of G-Technology G-DRIVE and G-SPEED external solid state drives at NAB 2018, and as you might expect, they're built to handle ultra-high resolution video. In fact, WD claims these Thunderbolt 3 drives enable "real-time 4K and 8K workflows" for professionals who need serious speed, capacity, and reliability.

There are three new drives in all: the G-DRIVE Mobile Pro SSD, the G-DRIVE Pro SSD, and the G-SPEED Shuttle SSD.

G-DRIVE Mobile Pro SSD

The G-Drive Mobile Pro SSD aims to be one of the fastest mobile storage solutions you can bring with you in the field. Available in 500GB and 1TB configurations, this Thunderbolt 3 drive boasts read speeds up to 2800MB/s that should let you "edit multi-stream 8K footage at full frame rate, quickly render projects and experience them at full resolution, and transfer as much as a terabyte of media in seven minutes."

The most portable of today's announcements, the drive has also been built to be rugged. The derive uses "specially engineered components" for its shock-resistant design, and the aluminum core is meant to prevent overheating.

To learn more about the G-DRIVE Mobile Pro SSD, head over to the G-Technology website. Both 500GB and 1TB capacity drives will be available in the US starting this summer for $660 and $1,050, respectively.


The G-DRIVE Pro SSD, as the name suggests, is the Mobile Pro's big brother. Like its younger sibling, it features a Thunderbolt 3 connection (actually two of them) and can transfer data at up to 2800MB/s. Thanks to the dual-connection, however, you can daisy chain up to 6 of these bad-boys together and stack them on your desk like Jenga pieces.

Since this is a desktop solution, it's not built with the same shock-proof design as the Mobile Pro, but the G-DRIVE Pro SSDs do boast enterprise-class solid state drives with an endurance rating of one drive write per day.

These drives will be available to US consumers starting in May, and will come in capacities of 960GB, 1.92TB, 3.84TB, and 7.68TB for $1,400, $2,100, $4,100, and $7,600, respectively. Just for fun we did the math: if you daisy chain six of the 7.68TB drives together, you will have spent $45,600 for 46.08TB of solid state storage.

You can learn more about the G-DRIVE Pro SSD on the G-Technology website.


Finally, the biggest and baddest of the drives released today (if you can call this a "drive") is the G-SPEED Shuttle SSD: an enclosure that comes with eight removable SSDs pre-loaded and configured in RAID 5. This is meant for "ultra-demanding" workflows like multi-stream HD, 4K, 8K, VR and VFX backup and editing.

The G-SPEED Shuttle SSD comes with up to 16TB of storage (eight, 2TB drives pre-loaded) and can be configured to run hardware RAID 0, 1, 5, 10, and 50. And, like the G-DRIVE Pro SSD, the G-SPEED features two Thunderbolt 3 connection that max out at 2800MB/s and can be daisy chained with up to five additional devices.

The G-SPEED Shuttle SSD will arrive on store shelves in the US this month, and can be purchased in either 8TB or 16TB configurations for $5,100 and $7,600, respectively. That means the same $45,600 mentioned above will buy you 96TB of solid state storage if you go with the G-SPEED Shuttle.

To learn more or order yours, visit the G-Technology website.

Press Release

Access, Edit and Share Massive 4K and 8K RAW Video from Multi Camera Shoots in Real Time with the Fast and Reliable Western Digital Thunderbolt 3 SSD Solutions

Award-Winning G-Technology® G-DRIVE® and G-SPEED® Families Enable Creative Professionals to Access and Work With Data Quickly

Las Vegas, 2018 NAB SHOW, Apr. 9, 2018Western Digital Corporation (NASDAQ: WDC) is meeting the escalating fast-transfer and high-capacity demands of professional content creators by enabling real-time 4K and 8K workflows with three new professional-grade ultra-fast solutions in its powerful G-Technology® G-DRIVE® and G-SPEED® Shuttle product families.

Working with large 4K and 8K RAW video means massive file sizes and is undoubtedly one of the largest pain points for content editors. With new cameras capable of capturing over 400 MB/s of RAW data, there is an opportunity for content professionals to create incredibly high-resolution footage and ever-more immersive viewer experiences. It is not uncommon for a production crew to be on-location for two or three months recording three to four terabytes per day of footage from multiple cameras. With this expansion of data capture, comes a potential bottleneck in maintaining a real-time workflow on location – until now.

“Saving time means getting more done, which means booking more jobs over the course of a year,” said Scott Vouri, Vice President of Strategy and Business Development, Western Digital. “Creative professionals need to know that their drives will keep up with the growing demands of their workflows. To capitalize on these opportunities, the right tools are crucial. When working in the field, production teams need a fast solution that can handle demanding workflows of 4K and 8K content with the ability to quickly collect that valuable footage and be able to edit on the spot. With the power of Thunderbolt 3*, and transfer rates up to 2800MB/s**, the the new G-Technology Pro SSDs offer an ultra-fast, super-reliable solution for any creative project team.”

G-DRIVE Mobile Pro SSD

With storage running at 2800MB/s, the G-DRIVE mobile Pro SSD (Up to 1TB of capacity) lets you edit multi-stream 8K footage at full frame rate, quickly render projects and experience them at full resolution, and transfer as much as a terabyte of media in seven minutes or less (for capacities 1TB or larger) wherever you are. A durable, shock-resistant design uses specially engineered components to endure traveling, while a single Thunderbolt™ 3 port lets you instantly edit footage on the go with incredible speed without the need for wall power. An aluminum core prevents overheating and maintains a consistent high performance, and with a trusted 5-year limited warranty, you get durable, fast solutions. The G-DRIVE mobile Pro SSD solution with Thunderbolt 3 is available in the U.S. Summer of 2018 in capacities of 500GB ($659.95) and 1TB ($1,049.95) USD.


Equipped with scorching fast transfer rates of up to 2800MB/s, the G-DRIVE Pro SSD solution (up to 7.68TB of capacity) with Thunderbolt 3 technology enables a filmmaker to edit multi-stream 8K footage at full frame rate, quickly render projects and experience them at full resolution, and transfer as much as a terabyte of content in seven minutes or less (for capacities 1TB or larger). Dual Thunderbolt 3 ports are ready to daisy-chain up to five additional devices, while a stackable, rugged aluminum enclosure offers a durable way to help keep your workplace tidy. Combined with Enterprise-class solid state drives, an endurance rating of one drive write per day (DW/D) endurance rating, and a trusted 5-year limited warranty, the G-DRIVE Pro SSD delivers reliable, high-performance desktop storage you can rely on. The G-DRIVE Pro SSD solution with Thunderbolt 3 is available in the U.S. May of 2018 in capacities of 960GB1 ($1,399.95), 1.92TB ($2,099.95), 3.84TB ($4,099.95) and 7.68TB ($7,599.95) USD.


With up to 16TB of SSD capacity, the G-SPEED Shuttle SSD with Thunderbolt 3 is optimized to support multi-stream HD, 4K, 8K, VR and VFX workflows. Equipped with transfer rates up to 2800MB/s, hardware RAID 0, 1, 5, 10, 50, and eight removable SSDs pre-loaded and configured in RAID 5, it is built for ultra-demanding production workflows. The G-SPEED Shuttle SSD is available in the U.S. this month in capacities of 8TB ($5,099.95) and 16TB ($7,599.95).

*Backward compatible with Thunderbolt 2 using Thunderbolt 3 to Thunderbolt 2 adapter

**Based on read speed. As used for transfer rate, megabyte per second (MB/s) = one million bytes per second. Performance will vary depending on your hardware and software components and configurations.

1As used for storage capacity, one terabyte (TB) = one trillion bytes. Total accessible capacity varies depending on operating environment.

Categories: Equipment

Eizo unveils ColorEdge CG319X DCI-4K HDR monitor for high-end video and photo editing

DPReview.com - Latest News - Mon, 04/09/2018 - 12:24pm

High-end monitor maker Eizo has just unveiled the ColorEdge CG319X: a 31.1-inch DCI-4K HDR display with a 4096 x 2160 resolution, built-in calibration sensor, and 98% DCI-P3 coverage. The new ColorEdge model builds upon the previously launched CG318-4K, adding multiple new features including hybrid log-gamma (HLG) support and a perceptual quantization (PQ) curve for HDR video editing.

According to the company, the CG319X's panel offers images that "appear more true to how the human eye perceives the real world."

The new ColorEdge model is targeted at pro-tier post-production work, offering a variety of features beyond what is available on typical consumer displays. For one, the CG319X has an integrated calibration sensor that has been upgraded so that it can recalibrate your monitor even while you're using it. To facilitate this, the user selects a time during which the sensor will swing onto the screen, using up "minimal space" so that work can continue.

The CG319X comes with this built-in calibration sensor, which has been updated so it can recalibrate your display even if the monitor is in use.

This model also offers 98% DCI-P3 color space reproduction, a 1500:1 contrast ratio, and a retardation film that maintains tone depth when viewing the monitor from an angle. Finally, because temperature changes can affect an LCD's brightness and color, Eizo has built a temperature sensor into the CG319X, which allows the display to adjust as necessary when the ambient temperature of the room changes.

The ColorEdge CG319X also features two HDMI ports, two DisplayPort inputs, DCI-4K/60Hz using HDMI or DisplayPort 1.2, 3D LUT, 10-bit simultaneous display from 24-bit LUT, 4K zoom, aspect ratio markers, luminance warning, an ergonomic stand, light-shield hood, built-in carrying handle, 5-year manufacturer's warning, and support for the following cinema and broadcast preset modes:

  • EBU
  • Rec. 2020
  • Rec. 709
  • DCI
  • PQ
  • HLG

Eizo will start shipping the ColorEdge CG319X monitor next month in some regions; US shipments start in June. Price is still TBD.

Press Release

EIZO Releases 31.1" DCI-4K Monitor with HDR Gamma Support for Media and Entertainment

Hakusan, Japan, April 5, 2018 – EIZO Corporation (TSE: 6737) today announced the new ColorEdge CG319X – a 31.1-inch monitor with DCI-4K resolution (4096 x 2160) and HDR gamma support for the professional post production workflow. It is the successor model to the CG318-4K with several upgraded features.

Distinguishing it from its predecessor, the ColorEdge CG319X comes equipped with HLG (hybrid log-gamma) and the PQ (perceptual quantization) curve for displaying and editing HDR (high dynamic range) video content. The optimized gamma curves render images to appear more true to how the human eye perceives the real world compared to SDR (standard dynamic range). Having a monitor equipped with HDR gamma support ensures professional creators can reliably display HDR content during the editing process so it is ready for color grading at the end of the workflow.

ColorEdge CG319X is equipped with an upgraded built-in calibration sensor, which allows the user to continue to operate the monitor even during recalibration. The sensor swings onto the screen at a time designated by the user and takes up minimal space so work remains uninterrupted.1 A built-in sensor eliminates the need for a third-party calibration device and ensures the screen stays color-accurate.

The monitor’s wide color gamut reproduces 98% of the DCI-P3 color space used in the media and entertainment industry. In compliance with the DCI standard, the ColorEdge CG319X offers a high contrast ratio of 1500:1 for producing true blacks that are otherwise difficult to display on a typical LCD monitor. In addition, it is equipped with a retardation film which allows tones to retain their depth even when viewed from an angle.

The color and brightness of an LCD monitor can be affected by changes in ambient temperature of the monitor itself. The ColorEdge CG319X is equipped with an internal temperature sensor which detects those changes and adjusts the monitor so gradations, color, brightness, and other characteristics continue to be displayed accurately. The algorithm used in the AI (artificial intelligence) 2 of the monitor allows it to perform this temperature detection and adjustment even at high brightness levels for providing a truly accurate viewing environment. In addition, EIZO’s patented digital uniformity equalizer (DUE) technology also counterbalances the influences that a fluctuating temperature may have on color temperature and brightness for stable image display across the entire screen. The monitor also provides noiseless, fanless operation while still maintaining low heat output without impacting performance.

Additional Features

  • 3D LUT for individual color adjustment on an RGB cubic table
  • 10-bit simultaneous display from a 24-bit LUT for smooth color gradations 3
  • DCI-4K resolution at 60 Hz via DisplayPort 1.2 or HDMI input
  • Broadcast and cinema preset modes: EBU, Rec. 2020, Rec. 709, SMPTE-C, DCI, PQ, and HLG
  • Two DisplayPort and two HDMI inputs
  • Ergonomic stand which meets IEC/EN 62368-1
  • Light-shielding hood included
  • 5-year manufacturer’s warranty 4

EIZO will be showing the ColorEdge CG319X for the first time at the NAB Show 2018 in Las Vegas, USA from April 9 – 12. Visit Booth SL15713 to see the product.

Product Information


The ColorEdge CG319X will begin shipping in May, 2018. Date of availability varies by country so contact the EIZO group company or distributor in your country for details.

Categories: Equipment

ProGrade demonstrates first ever 1TB CFexpress card with 1,400MB/s read speed

DPReview.com - Latest News - Mon, 04/09/2018 - 10:35am

Memory card manufacturer ProGrade claims to have shown off the first public demonstration of a CFexpress Type B card with 1TB capacity at NAB 2018 in Las Vegas. The card, which is backwards compatible with XQD formats, makes the most of the CFexpress specifications with blistering read/write speeds of 1,400MB/s and 1,000MB/s, respectively.

CFExpress is the latest standard from the CompactFlash Association, and is seen by many as the natural successor to the CFast and XQD formats. It was first announced in September of 2016, and the final specifications for version 1.0 were published in April of 2017. According to the specification list, version 1.0 of CFexpress Type B cards has a maximum transfer speed of 1970MB/s—roughly twice the maximum speed of XQD 2.0 cards—so ProGrade isn't leaving much on the table with its debut version.

In its statement to DPReview last month, ProGrade said, "XQD cards [can] be upgraded to operate with the new CFexpress Type B cards if the original equipment manufacturer (OEM) chooses to update firmware in those devices." This puts the onus on camera manufacturers such as Nikon and Sony to upgrade the firmware in its cameras with XQD card slots so CFexpress cards can be used.

ProGrade says its CFexpress cards will be available in 256GB, 512GB and 1TB capacities when they're released later this year. We have reached out to Nikon and Sony regarding whether or not they plan to support CFexpress cards in the future, and will update this article accordingly when we hear back.

In addition to teasing its upcoming CFexpress cards, ProGrade also launched a collection of V90-rated SD cards with maximum read/write speeds of 250MB/s and 200MB/s, respectively. The cards will be available in early May in 64Gb, 128GB, and 256GB capacities for $100, $190, and $380, respectively.

ProGrade Digital is First To Publicly Demonstrate CFexpress™ 1.0 Technology in 1TB Capacity

1,400MB/Second Data Transfer Speed Reaches New Milestone

NAB, LAS VEGAS, NV – April 8, 2018 1:00 am Pacific—ProGrade Digital, founded with a mission to provide the highest quality professional grade digital memory cards and workflow solutions, has become the first company to publicly demonstrate the CFexpress™ 1.0 technology with 1TB of capacity. Debut of this important next generation digital memory card form factor, presented by CEO Wes Brewer and VP of Marketing Mark Lewis at NAB in Las Vegas, provides solid proof that the industry is moving toward productization of this new standard.

“The CFexpress standard has been evolving for several years within the CompactFlash Association as a successor to both CFast™ and XQD™ formats. We are pleased to be working within the CFA and aside device manufacturers to bring to market this next generation removable storage standard,” said Brewer. “Industry adoption of CFexpress will allow for much higher resolution and higher bit rate image capture than ever before in many still image and video capture devices. Faster offload speeds will also greatly benefit the post-capture workflow through the extremely high read speeds it provides. With our demonstration today, we’ve also been able to show compatibility for the CFexpress Type B form factor with XQD memory cards–showing operation of both card standards in a common Thunderbolt™ 3 reader.”

ProGrade Digital demonstrated performance benchmark speeds exceeding 1,400MB/second and burst write speeds of greater than 1,000MB/second–nearly three times faster than CFast memory cards and more than four times those for SDXC™ UHS-II.

CFexpress 1.0 Demonstrated Technology Key Features:

  • Industry-leading speeds
  • Greater than 1,400MB/second read
  • Greater than 1,000MB/second burst write
  • CFexpress Type B format factor with two lanes of PCIe® and NVM Express® support
  • XQD form factor interoperability
  • Dimensions: 29.6 mm x 38.5 mm x 3.8 mm

The founders of ProGrade Digital are industry veterans in the removable storage and digital photography industries. Each, having spent time at leading companies such as Lexar and SanDisk, brings extensive expertise in the design, development and manufacture of digital storage products, plus longstanding relationships with key manufacturing and supply chain partners. The company focuses exclusively on development of memory cards, card readers and workflow software for professional imaging markets. Flagship products, ProGrade Digital CFast 2.0 and ProGrade Digital SDXC UHS-II, are optimized to render maximum performance when paired with high-end DSLR, mirrorless, ­­­camcorder and digital cinema cameras from manufacturers such as Canon, Nikon, Panasonic, Sony and Blackmagic. ProGrade Digital memory cards expand the creative visions of cinema and photography professionals around the world.

Categories: Equipment

Leica unveils Super-Vario-Elmar-SL 16-35mm F3.5-4.5 ASPH zoom lens for the SL system

DPReview.com - Latest News - Mon, 04/09/2018 - 10:21am
Credit: Leica

In the midst of all the NAB video news, Leica has unveiled a little something for the photography crowd. Meet the Leica Super-Vario-Elmar-SL 16-35mm F3.5-4.5 ASPH lens, an ultra-wide angle zoom lens that promises "performance and versatility, coupled with quick and quiet autofocus" for users of Leica's full-frame mirrorless Leica SL.

Leica hopes the Super-Vario-Elmar-SL 16-35 will be a "go-to" lens for a variety of uses: from landscapes and architecture, to weddings, concerts, and even reportage and documentary photography.

Inside the lens barrel you'll find 18 elements in 12 groups, including two aspherical elements and three elements "made from glass with anomalous partial dispersion." This optical formula is paired with a specially developed focusing drive with stepping motor and linear positioning that, paired with a single dedicated focusing element, promises to deliver fast and quiet autofocus.

Here's a closer look at the lens from all angles:

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The Super-Vario-Elmar-SL 16-35mm F3.5-4.5 ASPH joins two other zoom lenses in the Leica SL system—the Vario-Elmarit–SL 24-90mm F2.8-4 ASPH and the APO-Vario-Elmarit-SL 90-280mm F2.8-4—which now cover a combined focal range of 16mm to 280mm. The lens will be available at Leica stores, boutiques, and dealers worldwide starting April 23rd for $5,495.00.

Press Release

Leica Camera Announces Expansion of SL-System with an Ultra-Wide Angle Lens

The highly-anticipated Super-Vario-Elmar-SL 16–35/3.5–4.5 ASPH provides unparalleled imaging performance and versatility, coupled with supremely quick and quiet autofocus

April 9, 2018 - Leica’s new Super-Vario-Elmar-SL 16–35/3.5–4.5 ASPH. ultra-wide angle zoom lens perfectly rounds out the current zoom lens portfolio for the Leica SL, offering what is sure to be a go-to lens in the full-frame mirrorless Leica SL-System kit. While this ultra-wide angle lens is well-versed at capturing everything in a scene, its range of focal lengths makes it ideal for a diversity of uses, including landscape and architectural photography, wedding, event, and concert photography to reportage and documentary photography. The lens’s versatility and ability to capture not only wide scenarios, but also zoom in on a subject’s details, make it the most accessible, easy-to-use wide-angle lens in all of Leica’s impressive line-up.

In addition to excellent imaging quality throughout the entire range of focal lengths and at all apertures, the high-performance lens also offers simultaneously fast and quiet autofocus. This is driven by a specially developed focusing drive including a stepping motor and linear positioning. In combination, this moves a single, dedicated glass focusing element that, due to its low weight, allows for a very quick autofocus.

The camera is also crafted to perform well in challenging situations. The lens features protected construction and special AquaDura® front lens coating that can withstand adverse weather conditions. Additionally, the lens’s barrel does not extend when zooming, which further helps the lens endure more rugged scenarios.

The newly designed optical system of the Super-Vario-Elmar-SL 16–35/3.5–4.5 ASPH. contains a total of 18 elements in 12 groups that work to control distortion incredibly well. These elements include two asphericals for the correction of monochromatic aberrations and three elements made from glass with anomalous partial dispersion correct chromatic aberration. An improved mount geometry and high-quality coating ensure optimum suppression of reflections and stray light within the optical system.

With the addition of the Super-Vario-Elmar-SL 16–35/3.5–4.5 ASPH., the portfolio of zoom lenses for the Leica SL now covers a range of focal lengths from 16 to 280 mm. Together with the Vario-Elmarit–SL 24–90/2.8–4 ASPH. and the APO-Vario-Elmarit-SL 90–280 f/2.8–4, this trio of exceptional lenses are able to expertly capture all genres of photography and enables photographers a high degree of flexibility and versatility with their craft and creativity.

The Super-Vario-Elmar-SL 16–35/3.5–4.5 ASPH. will be priced at $5,495.00 and available worldwide in Leica Stores, Boutiques and Dealers starting April 23.

A new firmware update for the Leica SL, Version 3.2, will also be released April 23rd to address improvements specifically requested by Leica SL photographers:

  • The joystick can now be deactivated from the menu to prevent inadvertent changes to settings while the camera is in use
  • Eco Mode can be set to reduce the power consumption of the camera
  • The standard white balance value for daylight has been changed from 6600 K to 6500 K
  • Various improvements have been made for entering text and numbers (e.g. at WiFi password)
  • Compatibility with the Leica SF 60 System Flash and the SF C1 wireless flash controller
  • Other bug fixes

Technical Data:

Lens: Super-Vario-Elmar-SL 16-35/3.5-4.5 ASPH.

Field angle (diagonal, horizontal, vertical)

  • Focal length 16mm: 105,6°/ 95,3°/ 72°
  • Focal length 24mm: 84,7°/ 74,4°/ 53,7°
  • Focal length 35mm: 64,6°/ 55,5°/ 38,7°

Optical Design

Number of lenses/groups: 18/12

Number of aspherical lenses: 2

Entrance pupil position:

  • Focal length 16mm: 105,9mm
  • Focal length 24mm: 101,5mm
  • Focal length 35mm: 105,0mm

Distance setting

Working range: 250mm to infinity

Smallest object field: Focal length 35mm – 90 x 135 mm

Largest reproduction ratio

  • Focal length 16mm: 1:7,7
  • Focal length 35mm: 1:3,7


Setting/function: Electronically controlled aperture, set using turn/push wheel on camera, including half values

Aperture setting range

  • Focal length 16mm: 3,5-22
  • Focal length 35mm: 4,5-22

Lowest value: 22

Bayonet/sensor format: Leica L bayonet, full-frame 35mm format

Filter mount: E82

Dimensions and weight

Length to bayonet mount: 123mm (without lens hood)

Largest diameter: 88mm

Weight: 990g

Categories: Equipment

Pentax K-1 II's hand-held 'Dynamic' Pixel Shift mode is not quite what you think it is

DPReview.com - Latest News - Mon, 04/09/2018 - 9:00am
A sample photo taken using the new Dynamic Pixel Shift Resolution mode. It can be difficult to put down a tripod in the busy Pike Place Market. Fortunately this new mode is meant to be used hand-held, capturing and combining four images for better detail and noise performance than a standalone image.

The Pentax K-1 II features a new Pixel Shift mode called 'Dynamic Pixel Shift Resolution' which doesn't require the use of a tripod. This hand-held mode works differently than traditional Pentax Pixel Shift mode, though it still combines up to a total of four images into one. We set out to give it a try and see how it stacks up.

Dynamic Pixel Shift Resolution explained

When using Dynamic Pixel Shift, image stabilization is switched on by default (a giveaway that it isn't doing single pixel shifts like its tripod-mounted counterpart) and the camera relies on the natural movement or shake of the photographer for four slightly different images. Stabilization remains on to ensure there is not too much of a framing difference between shots. The four files are then aligned and combined to produce one 'super resolution' image with increased detail, dynamic range and lower noise. Without getting into too much detail, sampling a scene multiple times with slight shifts to the image allows details to be localized with sub-pixel precision (since shifts are unlikely to be perfect multiples of one pixel).

Calling this mode 'Pixel Shift' is a bit of a stretch, though. In fact, Dynamic Pixel Shift Resolution is likely more similar to the multi-frame image stacking methods employed by smartphone manufacturers. By contrast, traditional Pixel Shift uses the IS system to shift the sensor four times by exact one pixel increments, combining them into a file that not only increases sharpness and noise performance, but also effectively cancels out the Bayer color filter array. Each of the original pixel positions gets sampled by a red, a blue and two green pixels, something that doesn't appear to happen when using Dynamic Pixel Shift. This cancellation of the CFA eliminates color aliasing and artifacts, and removes the need to demosaic – a major advantage.

Comparing pixel shift modes

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The above widget shows the following:

  • Tripod PS (MC off): Standard Pixel Shift shot on a tripod with Motion Correction off
  • Handheld PS (handheld mode): Dynamic Pixel Shift shot handheld
  • Standard Electronic Shutter (No PS): Non-Pixel Shift shot
  • Tripod PS (handheld mode): Dynamic Pixel Shift shot on a tripod

When comparing the output of these two modes in our widget above, it's clear traditional Pixel Shift results in better detail capture than its hand-held counterpart – this is visible throughout our scene$(document).ready(function() { $("#icl-3967--848122397").click(function() { ImageComparisonWidgetLink(3967); }); }). The former also displays no color moire$(document).ready(function() { $("#icl-3961--1555832239").click(function() { ImageComparisonWidgetLink(3961); }); }), unlike hand-held mode. You can also see an example of this in our real world scene$(document).ready(function() { $("#icl-3962--421321298").click(function() { ImageComparisonWidgetLink(3962); }); }).

Dynamic Pixel Shift Resolution can result in more detail capture than a standard image file [but] it comes at the cost of having random artifacts

And while Dynamic Pixel Shift Resolution can result in more detail capture than a standard image file, it comes at the cost of having random artifacts$(document).ready(function() { $("#icl-3960--2039500802").click(function() { ImageComparisonWidgetLink(3960); }); }) in the image, manifesting as dotted artifacts in (seemingly) random portions of the image. You can also see these artifacts$(document).ready(function() { $("#icl-3963--1603032030").click(function() { ImageComparisonWidgetLink(3963); }); }) in the tile work on the roof.

Takeaways and notes from the field

Note: Standard Pixel Shift mode with or without Motion Correction turned on (the former for this image) uses the electronic shutter, which can resulting in banding with artificial light sources, as seen above. This is due to the very slow shutter readout speed.

A few field notes before we wrap this up: When shooting in Dynamic Pixel Shift Resolution mode the camera uses the mechanical shutter, so we recommend using a high shutter speed to avoid any potential shutter shock or hand shake. By comparison, traditional Pixel Shift mode, whether using the motion correction option or not, relies on the electronic shutter. Under certain artificial lighting this can result in significant banding but, on the other hand, the electronic shutter guarantees sensor stability for the precise, one pixel increments needed to cancel out the effects of the Bayer CFA.

Ultimately Dynamic Pixel Shift Resolution mode can be useful for capturing more detailed images than a standard JPEG or DNG, but the potential for artifacts limits its appeal. And it simply cannot match the image quality output of the standard Pixel Shift mode, which we still recommend for the absolute best files out of the Pentax K-1 II.

Real world samples

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This gallery includes real world examples comparing The Pentax K-1 II's traditional Pixel Shift mode to the new hand-held Dynamic Pixel Shift Resolution as well as standard image files. The mode used is noted in the image captions.

Video Demo

The above demonstration shows the workflow and average in-camera processing time when using Dynamic Pixel Shift Resolution mode.

Categories: Equipment

Fujifilm will discontinue ACROS 100 black & white film in October

DPReview.com - Latest News - Mon, 04/09/2018 - 8:50am

Fujifilm has revealed plans to discontinue several film products this year, starting with the popular B&W ACROS 100 stock. A leak about the plan surfaced last month on Casual Photophile, where it was correctly reported that ACROS 100 would be discontinued in October of 2018. In confirming the news, Fujifilm also provided a timeline for discontinuing its B&W photographic paper products.

According to Fujifilm's released timeline, the company will discontinue select lines of black-and-white photographic paper in March of 2019, October of 2019, and March of 2020. The company cites low demand as the reason for its decision, explaining that despite using measures to help absorb the costs associated with the product, sales are no longer sufficient to continue production.

The paper discontinuation timeline is provided below:

  • Fujibro WP KM 3 (4-inch): October 2018
  • Fujibro WP FM No. 2: October 2019
  • Fujibro WP KM 2: October 2019
  • Fujibro WP KM 4: March 2019
  • Fujibro WP KM 3 (6-inch, Kabinet, LG Kabinet): March 2020

Fuji ACROS 100 film is still available to purchase (for now) from online retailers, but expect stock to dwindle once it's officially discontinued in October.

Categories: Equipment

CP+ 2018 interviews: The reign of the DSLR is almost over...

DPReview.com - Latest News - Sun, 04/08/2018 - 9:00am
Canon executives (L-R) Yoshiyuki Mizoguchi, Go Tokura, and Naoya Kaneda. Will Canon announce a full-frame mirrorless camera this year? The signs are looking increasingly positive. Read the full interview

At DPReview, we’re in touch with the companies that make your favorite cameras and lenses all year-round. Our best opportunity to really tap into how the leaders of those companies are thinking though comes once a year, at the CP+ show in Yokohama Japan.

Senior executives from all of the major camera and lens manufacturers are present at CP+ and we try our best to speak to as many of them as possible. This year we sat down with leaders from (in alphabetical order) Canon, Fujifilm, Olympus, Panasonic, Ricoh, Sigma, Sony and Tamron to learn more about how they see the market, and to get an indication of what might be coming down the road.

Full-frame mirrorless will become the norm, and it will happen pretty soon

This year, almost all the executives we spoke to seemed to agree on one thing: full-frame mirrorless will become the norm, and it will happen pretty soon. Kenji Tanaka of Sony even put a date on it, saying that in his opinion, Canon and Nikon would join Sony in the full-frame mirrorless space within a year. Executives from Sigma and Tamron were similarly confident, and even Go Tokura of Canon dropped a couple of fairly heavy hints that the move to mirrorless is imminent.

Kenji Tanaka of Sony thinks that it won't be long before Sony has some company in the full-frame mirrorless market, but must be hoping that products like the A7 III will increase his company's share of the full-frame market in the meantime. Read the full interview

It certainly makes sense, and honestly, I’m surprised that it’s even taken this long. For quite a while now, I’ve had the feeling that DPReview has been reporting on two camera markets. One is the mirrorless market: new, energetic, and increasingly packed with advanced autofocus systems and high-end video features. And the other is the DSLR market, dominated by increasingly non-essential iterative updates at the low-end, solid money-makers in the middle, and tough but conventional flagships at the top. There are some exciting and innovative DSLRs still being released, no doubt, but they’re starting to look less and less like products of the technology's continuing evolution and more like its ultimate expression.

At a certain point, the mirror and prism will become barriers to further innovation

It’s hard to imagine, for example, how much more advanced Nikon’s DSLR platform can get, following the release of the D5 and D850. At a certain point, the mirror and prism will become barriers to further innovation, and if we haven't already reached that point already, surely we must be getting close?

We spent some time at CP+ talking with senior executives from Fujifilm about the runaway success of the GFX system, and how the company is moving into video.

Read the full interview

Canon already has a mirrorless lineup, albeit one that up to now has been primarily aimed at entry-level customers. They've been quietly laying the groundwork for high-end mirrorless for a while now though, with key technologies like Dual Pixel CMOS autofocus and a small system of compact EF-M lenses that are optimized for the short flange-back of the M-mount. As Mr. Tokura and his fellow executives told us when we spoke to them in Japan, ‘we have the technology’ - they just need to put it all together. Nikon's 1 System (it's not dead, it's just sleeping...) likewise introduced some important technologies that Nikon could presumably incorporate into a larger-format system when it feels the time is right.

When we spoke to the head of Olympus's imaging business unit, Shigemi Sugimoto, he told us that he hopes to grow his company's market share after "a painful period".

Read the full interview

I think that the time is close at hand. It's hard to argue with Mr. Tanaka of Sony that "if cameras are going to develop […] manufacturers have to develop mirrorless technologies". Consider features like face / eye-detection AF, full-frame autofocus coverage and 4K video. All work best with the mirror up, even when it might not technically be a prerequisite.

With a lens like its new 28-75mm, Tamron is not just betting on Sony, but on full-frame mirrorless in general

Sigma and Tamron both announced full-frame Sony E-mount lenses at CP+, and appear committed to further development in the future. Takashi Sawao of Tamron confirmed something that we already suspected - lenses like its upcoming 28-75mm F2.8 for Sony have the potential to be adapted relatively easily for future - new - mirrorless mounts. The not-so-subtle message here is that with a lens like the 28-75mm, his company is betting not just on Sony, but on full-frame mirrorless in general. Sigma isn't quite there yet (although Sigma has several native FE lenses on the market, they're based on existing DSLR designs) but CEO Mr. Yamaki told us that his company's announcement of E-mount versions of some Art-series lenses is 'just the beginning'.

Among the topics covered in our conversation with Sigma CEO Kazuto Yamaki were his determination to make more native Sony E-Mount lenses for mirrorless cameras. Read the full interview

Technically speaking, there are plenty of advantages to making lenses for full-frame mirrorless systems from scratch. Mr. Yamaki explained that for wideangle optics especially, the lenses can be made substantially smaller. They can also take advantage of in-camera optical corrections. If and when Canon and Nikon fully commit to full-frame mirrorless, I predict a flood of new lenses, as well as cameras. Nobody is expecting a return to the salad days of the early and mid-2000s, but wouldn't it be nice to have a little more competition in a market with a few more new products in it? I'm asking for a friend...

Our conversation with Tamron executives covered various topics, including the move to new native mirrorless designs and the decline in DSLR lens sales.

Read the full interview

Sony and Fujifilm both told us that they would welcome Canon and Nikon’s eventual contributions to the high-end mirrorless marketplace, and I believe them - although Sony’s rapid release cycle of full-frame a7 and a9 bodies in the past 18 months certainly looks like an attempt to grab as much market share as possible in the meantime.

Olympus’ Shigemi Sugimoto seems to be looking forward to some growth, after “a painful period” which saw his company's imaging products lineup shrink. He's new to his job, but appears confident that his company’s high-performance Micro Four Thirds cameras can compete thanks to their attractive combination of small size and market-leading image stabilization.

Meanwhile, Panasonic also hinted at further development of its stills-focused ILCs, after a period when the company has seemed more focused on meeting the needs of professional and enthusiast videographers. For its part, Fujifilm has made a bold move in the other direction with its new flagship X-H1, explicitly courting video creators for the first time.

Panasonic executives told us that the company is hoping to 're-brand' its stills photography offerings, after a period of investment in video users. Read the full interview

The only manufacturer we spoke to in Japan that appeared uninterested in talking about mirrorless development was Ricoh. I suspect that this is partly strategic and partly also driven by necessity. The R&D resources required to tool up and launch a new system into (presumably, before too long) a crowded market may simply be prohibitive - especially given that the company has only recently started to dip its toes into full-frame digital.

At least for now, it looks as if we can expect little more from Ricoh than consolidation of the existing K-series DSLR lineup and probably a GR II successor of some kind, at some point in the future. A proportion of die-hard Pentax fans will be disappointed by this, but I expect that many simply won’t care. The K-1 II and the imminent arrival of a new 50mm F1.4 represent (at least) a continued investment in the company’s core user-base, and that's probably enough to keep the loyalists happy for now.

Takashi Arai of Ricoh told us that we can expect new K-series products and possibly also a GR II successor soon, but it seems unlikely that we'll see any Pentax-branded mirrorless cameras in the near future.

Read the full interview

So what’s coming around the corner? If you’ll indulge some informed guesswork, I’m expecting the announcement of 4K-capable full-frame mirrorless cameras from at least one if not both of the major DSLR manufacturers by late summer, ahead of Photokina in September. That would fit the historical pattern of major product launches from both manufacturers. I don’t think that either Canon or Nikon will attack the professional market straight out of the gate - instead, it's probably more likely they'll kick things off with EOS 6D / D600-type products.

I expect flagship professional mirrorless ILCs to be launched ahead of Tokyo 2020 from Canon, Nikon and Sony

A slow build-up of core lenses (alongside the necessary legacy EF and F-mount adapters) will naturally follow, and development will ramp up as we get close to the Olympic Games in 2020. We know from speaking to executives at CP+ that Tokyo 2020 is going to be a big deal for Canon, and I'd expect it also to be used as a showcase for flagship professional mirrorless ILCs from the other two manufacturers in the ‘big three’ – Nikon and Sony.

By then, it would make sense for both Canon and Nikon to have replicated their most important tele primes and wide-aperture zoom lenses in their new native mirrorless mounts, and for Sigma and Tamron to be offering their own lower-cost alternatives. I don't want to guess at exactly what those alternatives will look like, but it's a safe bet that Sigma's will be larger.

What do you think? Will Fujifilm or Panasonic be competing with the big three in the photographers stands at Tokyo 2020? Will Ricoh ever make another mirrorless ILC? Will Canon's concept cameras transform how we think about capturing images? Will we manage to book an interview with Nikon next year?

Have your say in the comments.

Categories: Equipment

Panasonic Lumix ZS200 sample gallery updated

DPReview.com - Latest News - Sat, 04/07/2018 - 9:00am
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With spring rolling around, the Panasonic ZS200 / TZ200 is likely catching the eyes of photography-minded travelers planning for upcoming trips. Our testing is underway, and in the meantime we've added another batch of sample images to our gallery along with some Raw files and conversions.

See our Panasonic Lumix ZS200
Sample Gallery

Categories: Equipment

1969 US Geological Survey photo of a massive lava 'bubble' goes viral

DPReview.com - Latest News - Fri, 04/06/2018 - 6:18pm
Photo by JB Judd/USGS

A photograph captured by US Geological Survey (USGS) photographer JB Judd in 1969 is 'going viral' online this week. The photo shows a massive, symmetrical lava dome fountain that was captured during a 5-year-long eruption of the Kilauea volcano's Mauna Ulu cone between 1969 and 1974.

The so-called lava "bubble" measured approximately 65ft / 20m in height, and it owes its Internet fame to this "Throwback Thursday" tweet by the USGS:

Dome fountain of episode 10, October 10–13, 1969, eruption of Kilauea Volcano. This dome fountain is about 20 m (65 ft) high. Symmetrical dome fountains such as this are rare. #Tbt #HI @Volcanoes_NPS pic.twitter.com/sKSQaVINKs

— USGS (@USGS) March 29, 2018

After a bit of digging, the internet managed to unearth Judd's original photograph of the lava bubble, which seems to have been flipped horizontally, straightened, and edited to produce the image shared on Twitter. The USGS photo page lists the estimated height of the bubble as 50 to 75 meters, or approximately 164 to 246 feet, and describes symmetrical dome fountains such as these as "rare."

The image is one of many public domain photos in the USGS photo archive. To see more, head over to the USGS website where you can browse the full collection.

Categories: Equipment

The SELDI 7-in-1 wearable video rig simplifies recording POV footage

DPReview.com - Latest News - Fri, 04/06/2018 - 5:21pm

Meet SELDI, the newest gadget to hit up the photo community for some crowdfunding. This odd contraption is a 7-in-1 wearable video rig designed for action cameras, smartphones, 360-degree cameras, and compact digital cameras. The rig loops over the wearer’s head and rests on their shoulders, though the design also enables it to be used as a handheld mount, to rest on surfaces like a tripod, and to hang from any item it can be looped over, such as a fence post.

SELDI claims its 7-in-1 rig replaces five accessories: hand grip, mini tripod, selfie stick, stabilizer, and chest mount. A pair of hinges on each side of SELDI are key to its flexibility, enabling users to adjust the camera angle based on need. By doing so, SELDI’s rig offers six shooting “modes” total, including the five performed by the accessories above, plus “multi-mount” mode, which involves placing the rig anywhere it can fit, such as on top of a door frame.

The team behind the 7-in-1 rig also present it as an entertainment device, suggesting that owners can use it as a smartphone and tablet holder for hands-free usage to, for example, watch a movie. The device supports 1/4”-20 mounts that weigh less than 500g / 1.1lbs. Additional accessories—such as microphones and lights—can also be attached, and tools aren’t required to make adjustments.

SELDI is offering various rewards to Kickstarter backers who are willing to fund the 7-in-1 wearable, including a super-early-bird “Pro Package” for pledges of at least $77 USD. The Pro Package includes a body strap, GoPro mount, mini ball head, hand grip, smartphone holder, smartphone GoPro adapter, super bolt, and the SELDI itself.

To learn more or put down a pledge of your own, head over to Kickstarter where the SELDI is already nearly half-way to its $10,000 goal with 32 days to go. If the funding campaign is successful, shipping to backers is expected to start globally in June.

Categories: Equipment

Snapchat launches more realistic AR face masks for iPhone X users

DPReview.com - Latest News - Fri, 04/06/2018 - 5:09pm

It looks like more and more third party developers are starting to make use of the iPhone X's TrueDepth front camera that was originally implemented on the device for Apple's FaceID unlocking feature. Yesterday, Bellus3D launched a 3D face scanning app for the iPhone X. Today, Snapchat has delivered an update to its iOS app which lets iPhone X users decorate their selfie images with augmented reality masks that take advantage of Apple's advanced facial mapping technology.

Apple's TrueDepth front camera will help the masks more realistically superimpose onto the user's face, and face motion will be tracked more precisely than for Snapchat users with other mobile devices. To start with, there are three Snapchat lenses that utilize the TrueDepth technology: a Mardi Gras-style mask, a Day of the Dead skull, and a gold-plated eye cover. More masks are expected to be made available in the near future.

The TrueDepth camera also allows for DSLR-style blurring of the background, and more accurate application of small details and 3D objects that reflect and react to ambient light in the image.

If you happen to own the iPhone X, let us know in the comments how the new feature works for you. With similar technologies being adopted by other smartphone makers, we'd hope the new Snapchat masks make it to Android devices (at least high-end ones) in the nearer future as well. Snapchat for iOS can be downloaded free of charge from the App Store.

Categories: Equipment

WD's new blazing fast gaming SSD is perfect for 4K video editing

DPReview.com - Latest News - Fri, 04/06/2018 - 5:00pm

Western Digital has unveiled a new line of solid state drives in 250GB, 500GB, and 1TB capacities. Called the Black 3D NVMe, this new model is designed for gaming but is ideal for video production as well, due to its key selling point: the ability to rapidly and seamlessly handle 4K/UHD graphics.

The 500GB and 1TB 3D Black NVMe drives have a sequential read speed up to 3,400MB/s, while the 1TB drive exclusively has a read speed up to 2,800MB/s. Additionally, the new SSD is capable of up to 500,000 random-read IOPs for what Western Digital calls “extreme throughput.” That, the company explains, makes its new NVMe drives particularly ideal for multitasking environments that are data-intensive, as well as multi-threaded applications.

"With our new architecture and controller, the Western Digital Black SSD integrates our 3D NAND technology with the NVMe interface to enable new levels of performance," says Mark Grace, senior vice president of WD's Devices Business Unit. "Whether it’s a new gaming rig or a video-editing workstation, our innovative NVMe drives will power many existing and future environments that enable data to thrive.”

The drives will be available in the US by the end of the month for $120, $230, and $450 for the 250GB, 500GB, and 1TB chips, respectively.

Press Release

Western Digital Ups the Game with Powerful New Gaming SSD with NVMe Performance

PC gaming is increasingly immersive, with richer and more intense visual content than ever before, and gamers are faced with making technology choices to maximize their experience. To push leading-edge performance, lower power consumption and extended durability for PC gaming systems, Western Digital Corporation(NASDAQ: WDC) today introduced a high-performance Western Digital® Black 3D NVMe™ SSD featuring the company’s own SSD architecture and controller. The drive accelerates data for PC applications to enable users to quickly, access, engage and capture today’s high-resolution video, audio and gaming content.

With growing demand for rich content, PCs must have the capability to run intensive applications and enable the 4K/Ultra HD graphics and video content experiences. To move this immense amount of data quickly and seamlessly, Western Digital developed a new breed of SSDs to help remove the traditional storage bottleneck. This M.2 drive features a new NVMe architecture and controller, which optimally integrates with Western Digital 3D NAND. Western Digital’s new vertically integrated SSD platform was engineered from the ground up, specifically architected to help maximize performance for NVMe SSDs, with advanced power management, durability and endurance for the growing range of applications benefiting from NVMe technology.

“Today’s gaming applications require increasing capability from their PCs, and this will only continue to advance. With our new architecture and controller, the Western Digital Black SSD integrates our 3D NAND technology with the NVMe interface to enable new levels of performance. Whether it’s a new gaming rig or a video-editing workstation, our innovative NVMe drives will power many existing and future environments that enable data to thrive,” said, Mark Grace, senior vice president, Devices Business Unit, Western Digital.

Western Digital Black 3D NVMe SSD – Built to Boost Gaming Systems

With exceptional sequential read (up to 3,400 MB/s for 1TB and 500GB model) and write performance (up to 2,8001MB/s* for 1TB model) combined with up to 1TB capacities, the new drive is ideal for enhancing user experiences in gaming environments that benefit from acceleration of intensive fast data. Additionally, the drives feature up to 500,000 random-read IOPs (for 1TB model) to deliver extreme throughput, which is ideal for multi-threaded applications and data-intensive multitasking environments. The drive offers a five-year limited warranty with up to 600TBW endurance (for 1TB model). The Western Digital Black 3D NVMe SSD is available in the U.S. in capacities of 250GB ($119.99 USD), 500GB ($229.99 USD) and 1TB ($449.99 USD). The new drives will be available by late April 2018 in select Western Digital retailers, e-tailers, resellers, system integrators and distributors globally.

Enabling the possibilities of data, Western Digital offers the industry’s broadest portfolio of products and solutions to help people capture, preserve, access and transform their content. For more information, visit our website: Western Digital.

Categories: Equipment

NiSi jumps into lens game, unveils five full-frame cinema prime lenses

DPReview.com - Latest News - Fri, 04/06/2018 - 12:26pm
Credit: NiSi

With NAB 2018 just a few days away, the video gear news is coming fast and furious. Atomos shared some exciting news for Panasonic EVA1 shooters, Apple revealed the new ProRes RAW format, Adobe's video apps got some major updates, and now the more unexpected of them all: NiSi, the camera filter company, has released a set of cinema primes.

If this news had come out on April 1st, it would have been suspect. Alas, it's April 6th, and the new NiSi F3 cinema lenses are very much real.

Designed to cover full-frame sensors, the NiSi F3 lenses will come with interchangeable PL, Canon EF, and Sony E mounts. There are five lenses in all—25mm T2.1, 35mm T2, 50mm T2, 75mm T2, and 100mm T2—and each is built within an identical housing for maximum convenience when fitting lens accessories. NiSi plans to add an 18mm lens to the lineup in mid-2018, but here's a closer look at current lineup, followed by a detailed spec breakdown:

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Regarding the F3 lens line's performance, NiSi promises that the lenses' "apochromatic optical design [...] results in excellent Axial aberration and Transverse aberration performance. It gives a natural and pure color with almost no purple/green fringing both within focus and in bokeh."

The company also claims "the lenses contain a unique optical coating design which controls dispersion perfectly while retaining rich details." This allegedly results in "stylized flare and contrast enhancement."

Credit: NiSi

The lenses are currently live for pre-order on the NiSi website, where you'll need to put in a deposit of $1,000 per lens. Shipping is expected to start on June 1st, and you can see the retail prices listed below:

  • NiSi F3 25mm T2.1 – $3,000
  • NiSi F3 35mm T2 – $2,500
  • NiSi F3 50mm T2 – $2,500
  • NiSi F3 75mm T2 – $2,500
  • NiSi F3 100mm T2 – $3,000
  • Full Set of Five Lenses – $12,000

Note that if you pre-order before April 30th, you can take advantage of a $500 discount on each individual lens, or the full set of five. That means that, for the next 24 days, it's actually cheaper to buy all five lenses individually because of the $2,500 in total discounts you'd be getting.

To learn more about the Nisi F3 cinema prime lenses or pre-order a set for yourself, head over to the NiSi website.

Categories: Equipment

Video: This is the story behind Canon's $78,000 CINE-SERVO 50-1000mm lens

DPReview.com - Latest News - Fri, 04/06/2018 - 10:59am

This short video released by Canon USA just a couple of days ago tells the story behind one of Canon's most impressive optical achievements: the $78,000 Canon CINE-SERVO 50-1000mm T5.0-8.9 CN20x 50 IAS H/P1 lens introduced in 2014. We don't cover much broadcast equipment here on DPReview, but even we couldn't help taking note of this impressive lens when it was first announced.

As Canon USA Senior Fellow Larry Thorpe explains in the video, this lens was the result of a challenge posed to Canon by wildlife filmmaker Ivo Nörenberg in 2010. Nörenberg asked Canon to produce a long zoom 4K Super 35mm lens that would allow him to capture a seemingly impossible zoom range.

Zoomed all the way in, Nörenberg needed this lens to be able to "fully frame a subject of 4-5 feet (1.2-1.5 meters) in height from a distance of 300-350 feet." Then, without changing lenses, he wanted to zoom back out and capture "great outdoor vistas." And as if that's not difficult enough, Nörenberg also asked Canon to keep the lens size manageable: no more than 15lbs (~6.8Kg) and no longer than 16 inches (~40cm).

It took four years, but this is what Canon came up with:

Credit: Canon

It wasn't easy. Thorpe calls this lens "the most challenging project ever undertaken by the Canon optical design team." But in the end, Nörenberg says Canon delivered 100% of his specifications and ideas. Not only that, Canon also built a 1.5x teleconverter right into the lens, giving the CINE-SERVO lens an extended range of 50-1500mm.

Check out the full video above to hear the story from Thorpe and see the lens in action capturing footage of wolves in arctic Canada, only 1,000Km (~620 miles) away from the North Pole.

Categories: Equipment

Report: Apple won't release the next Mac Pro until 2019

DPReview.com - Latest News - Fri, 04/06/2018 - 10:19am
Credit: Apple

Apple delivered some slightly disappointing news to professional users in an interview with TechCrunch this week. Speaking with the tech publication, Senior director of Mac Hardware Product Marketing Tom Boger revealed that the next version of the Mac Pro is not coming in 2018. It will be a 2019 product.

The current Mac Pro—colloquially referred to as the trash can Mac Pro because of its form factor—was released all the way back in 2013, and even Apple admitted that the design was a mistake. In April of 2017, Apple executive Craig Federighi told BuzzFeed News that the company had "designed ourselves into a bit of a corner" with the circular form-factor, and Phil Schiller promised users that Apple was "completely rethinking the Mac Pro" for the next generation.

Since then, we haven't heard much, and professional users not content with the all-in-one form-factor of the powerful new iMac Pro were holding out purchasing it in the hopes that the next Mac Pro was right around the corner. It sounds like Apple knows this, and decided to be un-characteristically candid with the professional community through this TechCrunch interview:

"We want to be transparent and communicate openly with our pro community, so we want them to know that the Mac Pro is a 2019 product," says Boger. "We know that there’s a lot of customers today that are making purchase decisions on the iMac Pro and whether or not they should wait for the Mac Pro."

Professional creatives who are married to the Apple ecosystem—particularly high-end video producers—still have a choice to make: purchase an iMac Pro now, or wait a year (or more) for the next generation Mac Pro? But at least now they won't have to worry that a new Mac Pro will come out a few days or weeks after they pull the trigger on their iMac purchase.

To find out more about Apple's Mac Pro plans—including some interesting tidbits about the company's secretive "Pro Workflow Team"—head over to TechCrunch to read the full interview.

Categories: Equipment

Lomography adds ultra-wide Naiad 15mm F3.8 front lens to the Neptune system

DPReview.com - Latest News - Thu, 04/05/2018 - 7:05pm
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Following its successful campaign for the Neptune Convertible Art Lens System, Lomography has added the new ultra-wide 15mm F3.8 front lens to the lineup. The so-called Naiad 15mm Art Lens has a 135° FOV and is designed to capture sharp images up to 1cm away from the subject. It also features a lens hood that doubles as a filter mount.

The Naiad 15mm front lens features 9 elements in 7 groups, 100mm filter compatibility, a multi-colored lens coating, and support for Canon EF, Nikon F, and Pentax K mounts via the Lens Base. Though Naiad was made for full-frame systems, Lomography says the lens is suitable for crop sensors as well, with a 24mm equivalent focal length on APS-C cameras and 30mm on M43 systems.

Images captured with Naiad feature bright, highly saturated colors and "punchy contrast," according Lomography. And the integrated lens hood—which can rotate 360-degrees—supports rectangular filters with thickness up to 2mm so you can further customize your results.

Here are a few sample images captured with the Naiad 15mm:

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The Naiad 15mm can be purchased from Lomography's website now for $450 USD by itself, $700 USD with the Lens Base, and $800 USD with a full filter set. Lomography is also offering the full Neptune Convertible Art Lens system, with Naiad, for $1,140; of you can buy the full set, plus Naiad, plus the full range of Naiad filters, for $1,250.

Press Release

Naiad 3.8/15 Art Lens: A 15mm Front Lens for the Neptune Convertible Art Lens System

Open Up Your World — Capture Ultra-Wide Shots Steeped in Saturated Colors and Punchy Contrasts

  • A Brand New, Ultra-Wide 15mm Front Lens – After the success of the Neptune Convertible Art Lens System on Kickstarter just nine months ago, Lomography got to work on a ultra-wide 15mm front lens: Naiad.
  • With a 135° Field of View to Fill with Punchy, Saturated Colors – Stretching your field of view, Naiad pushes you to shoot fuller frames steeped in the saturated colors and punchy color contrasts that define the Lomo look.
  • Shoot Super Sharp Shots from as Close as 1cm – Get outstandingly near to your subject and use Naiad to dramatize the crispest details up close.
  • Finetune Your Shots with a Range of Fantastic Filters – Naiad’s lens hood doubles as a filter holder so you can balance your shading and stop stray light from entering your shots.
  • An Expandable System to Grow With Your Creativity – The latest front lens to be added to the Neptune Convertible Art Lens System, Naiad is now available in the Lomography Online Shop and Gallery Stores worldwide. Pick up up yours with a Lens Base for as little as $699 USD.

A Brand New, Ultra-Wide 15mm Front Lens

The Neptune Convertible Art Lens System offers unlimited stylistic possibilities to a whole new generation of photographers. Lomography is proud to present a new star in the system: Naiad. Built for ultra-wide eyed explorers, this brand new 15mm lens will jolt you on a journey of extraordinary angles. Simply attach it onto the Lens Base and you’re ready to jump into a world of sensational, sweeping vistas. Designed for full frame shots but suitable for crop sensor cameras too, Naiad works with Canon EF and Nikon F mount and is available now in the Lomography Online Shop and Gallery Stores worldwide.

With a 135° Field of View to Fill with Punchy, Saturated Colors

Exemplifying the very best of mind-bending modern optics, Naiad’s panoramic capability lets light enter and curve. Straight lines appear to bend, and the further away they are from the optical centre, the greater the barrel-like distortion—ideal for street scenes as well as pronounce portraits. Filling each and every frame with strong, saturated colors and punchy contrasts that define Lomography's signature look, Naiad will drive your shots to ever-more epic proportions.

Shoot Super Sharp Shots from as Close as 1cm

Using its impressive closest focusing distance of 0.01m, Naiad invites you to take a step closer towards your subject, blur the background and plunge into the foreground. Play around and magnify portraits, exaggerate tiny features and puff up personalities. Watch the foreground dilate and the background contract as you amplify the world around you.

Finetune Your Shots with a Range of Fantastic Filters

Naiad’s integrated lens hood doubles as a filter holder so that you can master the shading in your shot. Compatible with rectilinear filters with a maximum thickness of 2mm, Naiad’s lens hood rotates a full 360° to give you complete creative freedom. Control the amount of light that falls onto your raw images with a Neutral Density Filter, bring out the subtleties in skies with a Neutral Density Graduated Filter, and use orange and blue Temperature Filter Set to give shots a light, sunny glow or a cool, cinematic feel.

An Expandable System to Grow With Your Creativity

The Neptune Convertible Art Lens System is comprised of three interchangeable lenses, each of which can be attached to the Lens Base to shoot at a fixed focal length of 3.5/35mm for Thalassa, 2.8/50mm for Despina, or 4/80mm for Proteus. And now, Naiad promises to be yet another portal to an even more powerful wide-angle perspective with a fixed focal length of 3.8/15mm. Now available in the Lomography Online Shop and Gallery Stores worldwide.

Price List

  • Naiad with Lens Base for just $699 USD.
  • Naiad with full range of filters for $799 USD.
  • Complete Neptune Convertible Art Lens System (including Naiad) for $1139 USD.
  • Neptune Convertible Art Lens System (including Naiad) with full range of Naiad filters for $1249 USD.

Technical Information


  • Focal Length: 15mm
  • Aperture Range: f/3.8 - f/22
  • Closest Focusing Distance: 0.01m, or 0.4 inches
  • Field of View: 135°
  • Convertible Lens Base Mounts: Canon EF, Nikon F or Pentax K
  • Multi-Scaled Diaphragm Aperture: f/3.8 - f/22
  • Lens Construction: 9 elements in 7 groups
  • Filter Compatibility: 100mm (width) x ≥10mm (length) x 2mm (depth) rectangular filters
  • Lens Coating: Multi-coated
  • Electronic Contacts: No

Designed for full frame but suitable for crop sensors.
Equivalent focal length on APS-C: 24mm
Equivalent focal length on M43: 30mm

Neptune Convertible Art Lens System

  • Focal Length: 35mm, 50mm, 80mm, front element group convertible
  • Aperture: Dual aperture system
    Multi-scaled diaphragm aperture: 35mm: extended, f/3.5 - f/22 , 50mm: f/2.8 - f/22, 80mm: extended, f/4 - f/22
    Drop-in aperture plates
  • Field of View: 35mm: 63°, 50mm: 46°, 80mm: 30°
  • Lens Mounting Profile: Canon EF, Nikon F or Pentax K
  • Closest Focusing Distance: 35mm: 0.25m , 50mm: 0.4m, 80mm: 0.8m
  • Lens Construction:
    Front Lens: 4 elements in 4 groups for each focal length
    Lens Base: 3 elements in 3 groups
  • Filter Thread: 52mm
  • Lens Coating: Multi-coated
  • Electronic Contacts: No
  • Focusing Mechanism: Helicoid
Categories: Equipment

Apple introduces new ProRes RAW video format with Final Cut Pro X update

DPReview.com - Latest News - Thu, 04/05/2018 - 3:33pm
Credit: Apple

In a surprise update ahead of NAB, Apple has introduced a brand new video format called ProRes RAW. The format was introduced alongside an update to Final Cut Pro X, which also added advanced closed captioning tools for professional filmmakers.

The captioning tools are neat—they allow video editors to create, view, edit, and deliver captions, with support for the CEA-608 and iTT formats—but this feature will no doubt be overshadowed by the much bigger news: the introduction of ProRes RAW.

As the name suggests, ProRes RAW is an evolution of the Apple ProRes video codec. Apple claims that ProRes RAW "combines the visual and workflow benefits of RAW video with the stunning performance of ProRes." Since you're pulling RAW data from the sensor, video editors will have a lot more dynamic range flexibility—important as more and more displays, including Apple's own iPhone X, become capable of displaying true HDR—all while taking up less space than ProRes 4444 files.

And since it's Apple's format, it has been performance optimized for macOS so that you can play full-quality 4K ProRes RAW files on your current MacBook Pro or iMac in real time without rendering.

Credit: Apple

The format drops today, and already Apple has made inroads into the professional community with Atomos and DJI. ProRes RAW compatibility will be made available as a free update for Atomos Shogun Inferno and Sumo19 users, and as "a free update for users with the RAW activation package" for the DJI Inspire 2 Drone and Zenmuse X7 camera.

Once updated, Final Cut Pro users will be able to work natively with ProRes RAW and the ProRes RAW HQ files created by the two Atomos external recorders mentioned above.

To learn more, check out the full press release below; or, if you're feeling exceptionally brave and nerdy, you can read Apple's full white paper on the new format here. Version 10.4.1 will be available as a free update to current users ($300 USD for new users) starting April 9th.

Press Release

Final Cut Pro X update introduces ProRes RAW and advanced closed captioning

Apple is introducing a new update to Final Cut Pro X, the most popular version of its professional video editing software, with more than 2.5 million seats. Final Cut Pro 10.4.1 introduces a groundbreaking format from Apple, ProRes RAW, which combines the visual and workflow benefits of RAW video with the performance of ProRes. The update also adds advanced closed captioning tools that allow video editors to easily view, edit and deliver captions from right within the app. Apple is also adding complementary new features to Final Cut Pro companion apps, Motion and Compressor.

ProRes RAW

ProRes RAW is a new format from Apple that offers the quality and workflow advantages of RAW with the stunning performance of ProRes. With ProRes RAW, editors can import, edit and grade pristine footage with RAW data from the camera sensor, providing ultimate flexibility when adjusting highlights and shadows — ideal for HDR workflows. And with performance optimized for macOS, editors can play full-quality 4K ProRes RAW files on MacBook Pro and iMac systems in real time without rendering. ProRes RAW files are even smaller than ProRes 4444 files, allowing editors to make better use of storage while providing an excellent format for archiving.

Final Cut Pro editors can work natively with ProRes RAW and ProRes RAW HQ files created by Atomos recorders. The format will be available as a free update for owners of Atomos Sumo 19 and Shogun Inferno devices. The format will also be available as part of a forthcoming upgrade package to users of the DJI Inspire 2 drone and Zenmuse X7 Super 35mm camera system designed for aerial cinematography.

Closed Captioning Tools

As closed captioning becomes increasingly important around the world, Final Cut Pro now includes powerful closed captioning tools for professional filmmakers, YouTubers and students looking to add captions to their projects without the need for expensive third-party software or services. Users can import closed caption files directly into their project or create them from scratch. Captions appear in the viewer during playback and can be attached to video or audio clips in the timeline, so they automatically move with the clips to which they’re connected. An all-new captions inspector makes it simple to adjust caption text, color, alignment, location and more. Users can even create captions in multiple languages within the same timeline and easily share captioned videos to YouTube and Vimeo. And in the share window, a new Roles tab displays titles, video and audio roles in a single consolidated interface, making it easy to configure roles and closed captions when sharing.

Motion 5.4.1 and ProRes RAW enable motion graphics artists to take full advantage of RAW image quality with superb performance and flexibility when designing graphics and effects. Compressor 4.4.1 gains support for closed captioning with comprehensive controls to view, adjust and deliver captions as part of a batch or iTunes Store package.

Pricing and Availability

Final Cut Pro 10.4.1 will be available on April 9 as a free update for existing users, and for $299.99 (US) for new users on the Mac App Store. Motion 5.4.1 and Compressor 4.4.1 will also be available on April 9 as free updates for existing users, and for $49.99 (US) each for new users on the Mac App Store. Education customers can purchase the Pro Apps Bundle for Education for $199.99 (US). For more information, please visit: apple.com/final-cut-pro.

Categories: Equipment

Olympus PEN E-PL9 headed to the US and Canada

DPReview.com - Latest News - Thu, 04/05/2018 - 1:00pm
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The Olympus PEN E-PL9, the company's entry-level mirrorless camera, is coming to North America two months after launching everywhere else. The E-PL9 features a 16MP Four Thirds sensor, 3-axis image stabilization, a tilting LCD, 4K/30p video capture and Bluetooth support.

The camera is available immediately for $599 USD / $699 CAD body only and $699 USD / $899 CAD with a 14-42mm F3.5-5.6 EZ lens, custom bag and strap and a 16GB memory card. It will initially ship in three colors: Pearl White, Onyx Black and Honey Brown. A limited edition blue model is expected in early summer.

View our E-PL9 sample gallery

Press Release


New PEN Is a Compact, Lightweight Interchangeable Lens Camera That Delivers Outstanding Image Quality and Creativity for the Trendy Shooter

CENTER VALLEY, Pa., April 5, 2018 — Olympus introduces the Olympus PEN® E-PL9, a compact, lightweight interchangeable lens camera packed with features to enhance your photography with stunning image quality and sophisticated design. The PEN E-PL9 is the newest model in the award-winning PEN lineup and combines Olympus’ latest touchscreen controls with an array of interchangeable lens options to go beyond smartphone photography, perfect for those looking to capture and share their lifestyle in attention-grabbing detail with friends and followers.

The Olympus PEN E-PL9’s sophisticated design is bolstered by aluminum accents, metal dials, and leather grain that perfectly complements each color option to match your personal style — Pearl White, Onyx Black, and Honey Brown. The 180-degree flip-touch LCD monitor simplifies selfie stills and videos with an easy-to-use interface that automatically switches the camera to Selfie Mode when the monitor is flipped downward to its front-facing position.

In-body image stabilization delivers sharp images and smooth 4K video even in low light environments or when using a telephoto lens. The latest Olympus TruePicTM VIII Image Processor, the same processor included on the Olympus flagship OM-D™ E-M1 Mark II, improves image quality and responsiveness. Built-in Bluetooth® and Wi-Fi™ allow you to easily connect your PEN E-PL9 to your smartphone to wirelessly transfer images and upload to social channels.

With the PEN E-PL9’s Auto Mode, the camera instantly detects a scene and chooses the best settings. Scene Modes let you choose from preset scenarios like People, Motion, Indoors, Nightscapes, Scenery, or Close-ups for easy setting customization. Advanced Photo Modes are readily available using the touch LCD monitor and facilitate high-end photo techniques such as nighttime Live Composite and multi-exposure shooting, so anyone can capture stunning images without worrying about difficult settings.

U.S. Pricing and Availability
The Olympus PEN E-PL9 will be available in Pearl White, Onyx Black, and Honey Brown beginning on April 5, 2018 for a street price of $599.99 USD / $699.99 CAD for the camera body and $699.99 USD / $899.99 CAD for the one lens kit. The one lens kit includes the PEN E-PL9 camera body, M.Zuiko 14-42mm F3.5-5.6 EZ lens, custom camera bag, custom camera strap, 16GB memory card, Quick Tip Card, and Quick Start Guide.

For a complete list of specifications, visit the Olympus website: http://www.getolympus.com/digitalcameras/pen/e-pl9.html

Olympus PEN E-PL9 specifications

MSRP£579/€549 (body only), £679/€699 (with 14-42mm EZ lens)
Body type
Body typeRangefinder-style mirrorless
Body materialComposite
Max resolution4608 x 3456
Image ratio w:h1:1, 4:3, 3:2, 16:9
Effective pixels16 megapixels
Sensor photo detectors17 megapixels
Sensor sizeFour Thirds (17.3 x 13 mm)
Sensor typeCMOS
ProcessorTruePic VIII
Color spacesRGB
Color filter arrayPrimary color filter
ISOAuto, 200-6400 (expandable to 100-25600)
Boosted ISO (minimum)100
Boosted ISO (maximum)25600
White balance presets6
Custom white balanceYes (4 slots)
Image stabilizationSensor-shift
Image stabilization notes3-axis
CIPA image stabilization rating3.5 stop(s)
Uncompressed formatRAW
JPEG quality levelsSuper fine, fine, normal
File format
  • JPEG (Exif v2.3)
  • Raw (Olympus 12-bit ORF)
Optics & Focus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lampYes
Manual focusYes
Number of focus points121
Lens mountMicro Four Thirds
Focal length multiplier
Screen / viewfinder
Articulated LCDTilting
Screen size3″
Screen dots1,040,000
Touch screenYes
Screen typeTFT LCD
Live viewYes
Viewfinder typeNone
Photography features
Minimum shutter speed60 sec
Maximum shutter speed1/4000 sec
Maximum shutter speed (electronic)1/16000 sec
Exposure modes
  • Auto
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Scene modes
  • Portrait
  • e-Portrait
  • Landscape with Portrait
  • Night Scene with portrait
  • Children
  • Hand-held Starlight
  • Night Scene
  • Fireworks
  • Light trails
  • Sports
  • Panning
  • Landscape
  • Sunset
  • Beach and Snow
  • Backlight HDR
  • Panorama
  • Candle
  • Silent mode
  • Macro
  • Nature Macro
  • Documents
  • Multi Focus
Built-in flashYes
Flash range7.60 m (at ISO 200)
External flashYes
Flash modesAuto, manual, redeye reduction, slow sync w/redeye reduction, slow sync , slow sync 2nd-curtain, fill-in, off
Flash X sync speed1/250 sec
Drive modes
  • Single
  • Sequential
  • Self-timer
  • Bracketing
Continuous drive8.6 fps
Self-timerYes (2 or 12 secs, custom)
Metering modes
  • Multi
  • Center-weighted
  • Highlight-weighted
  • Spot
Exposure compensation±5 (at 1/3 EV, 1/2 EV, 1 EV steps)
AE Bracketing±5 (3, 5 frames at 2/3 EV, 1 EV steps)
WB BracketingNo
Videography features
FormatMPEG-4, H.264
  • 3840 x 2160 @ 30p / 102 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 102 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 102 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 52 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 52 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 52 Mbps, MOV, H.264, Linear PCM
  • 1280 x 720 @ 120p, MOV, H.264, Linear PCM
Storage typesSD/SDHC/SDXC card (UHS-I supported)
USB USB 2.0 (480 Mbit/sec)
USB chargingNo
HDMIYes (micro HDMI)
Microphone portNo
Headphone portNo
Wireless notes802.11b/g/n + Bluetooth 4.0 LE
Remote controlYes (via smartphone)
Environmentally sealedNo
BatteryBattery Pack
Battery descriptionBLS-50 lithium-ion battery & charger
Battery Life (CIPA)350
Weight (inc. batteries)380 g (0.84 lb / 13.40 oz)
Dimensions117 x 68 x 39 mm (4.61 x 2.68 x 1.54″)
Other features
Orientation sensorYes
Timelapse recordingYes (Video up to 4K)
Categories: Equipment