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Pitaka MagHive Release Date, Price and Specs - CNET

CNET Reviews - Tue, 01/09/2018 - 06:00
Pitaka says its MagHive sensors not only track your stuff -- they keep you from forgetting it in the first place.
Categories: Photo News

Frigidaire Gallery FGID2468 with Dual OrbitClean Release Date, Price and Specs - CNET

CNET Reviews - Tue, 01/09/2018 - 06:00
With two wheels of jets, the latest models from Electrolux and Frigidaire will aim every which way to get your dishes clean.
Categories: Photo News

Ooma Butterfleye Release Date, Price and Specs - CNET

CNET Reviews - Mon, 01/08/2018 - 20:49
Ooma adds a next-generation camera, a siren and a smoke detector to its home security lineup.
Categories: Photo News

TrackNet Tabs Release Date, Price and Specs - CNET

CNET Reviews - Mon, 01/08/2018 - 20:35
Tabs sensors merge home security and personal safety into one tidy package.
Categories: Photo News

Ezviz Lookout Release Date, Price and Specs - CNET

CNET Reviews - Mon, 01/08/2018 - 20:32
The Ezviz Lookout Smart Door Viewer can apparently tell you who's at your front door using facial recognition tech.
Categories: Photo News

Nokia Sleep Release Date, Price and Specs - CNET

CNET Reviews - Mon, 01/08/2018 - 20:20
The Nokia Sleep pad goes under your mattress and tells you about your slumber.
Categories: Photo News

Lenovo ThinkPad X1 Tablet (2018) Release Date, Price and Specs - CNET

CNET Reviews - Mon, 01/08/2018 - 18:23
The new model, which comes with the keyboard and stylus accessories, features a bigger 13-inch screen.
Categories: Photo News

Nikon's 180-400mm F4E TC1.4 FL ED VR lens features built-in teleconverter

DP Review Latest news - Mon, 01/08/2018 - 18:00
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Nikon has announced a new full-frame lens with one of the longest names we've ever seen: the AF-S Nikkor 180-400mm F4E TC1.4 FL ED VR.

Besides its impressive range, the highlight of this hulking lens is its built-in 1.4x teleconverter. Taking a leaf out of Canon's book, the built-in converter boosts the focal range to 252-560mm with a corresponding 1-stop reduction in maximum aperture. If you're using this $12,000+ lens on an APS-C body, the equivalent focal range becomes 270-600mm without the TC and 378-840mm with it.

The lens features 1 fluorite and 8 extra-low-dispersion elements plus fluorine, Nano Crystal and Super Integrated coatings. It has 9 rounded aperture blades, a Vibration Reduction system that reduces shake by up to 4 stops and a minimum focus distance of 2 meters. As you'd expect, this magnesium alloy lens (that weighs almost 8 pounds / 3500 grams) is weather-sealed. Drop-in 40.5mm filters are supported.

As an added bonus, if you're using a camera with a 153-point AF system (D5, D500, D850) the outer row of AF points become cross-type sensors for improved coverage. A firmware update will be required in order for cameras to take advantage of this feature.

The AF-S Nikkor 180-400mm F4E TC1.4 FL ED VR will be available in March for a whopping (but unsurprising) MSRP of $12,399.

Press Release

NIKON ANNOUNCES NEW AF-S NIKKOR 180-400mm F/4E TC1.4 FL ED VR SUPER TELEPHOTO ZOOM LENS AT CES 2018

LAS VEGAS -- CES BOOTH #14018 (January 8, 2018) – Today at the Consumer Electronics Show (CES), Nikon Inc. announced the new AF-S NIKKOR 180-400mm f/4E TC1.4 FL ED VR super-telephoto zoom lens, which is ideally suited for photographing sports and wildlife with astounding speed and clarity. This professional level FX-format lens is more versatile than ever, and has been updated with the newest NIKKOR lens technologies including Nikon’s first ever built-in teleconverter and an advanced optical formula to enhance performance and minimize weight.

“This lens is a great example of how Nikon continues to push the boundaries of innovation and what’s possible with pro-level optics and high-end imaging equipment,” said Kosuke Kawaura, Director of Marketing and Planning, Nikon Inc.

Popular Pro-Level Lens Gets Even More Versatile

This new NIKKOR lens is a professional super-telephoto zoom lens, which is even more versatile with an extended wide range of 180-400mm, and a constant f/4 aperture to easily isolate a subject from the sidelines, even in challenging light. This is also the first NIKKOR lens to include a built-in 1.4X teleconverter, allowing photographers to seamlessly swap to a 252-560mm1 (FX-format) focal range. The teleconverter is engaged at the flick of a switch, and is easily operated with a single finger while looking through the viewfinder. When used on the Nikon D500 and other DX-format DSLRs, the focal length is the equivalent of 270-600mm (378-840mm with teleconverter engaged).

Whether capturing fast-moving winter sports on the slopes or elusive wildlife at a distance, photographers can shoot with confidence from this high performance NIKKOR lens. The new 180-400mm f/4 is optimized for high-speed capture, and features an electromagnetic diaphragm, helping to create smooth and consistent exposures while shooting high-speed bursts of images. What’s more, the AF tracking algorithm controlling the motor drive has been enhanced to increase tracking performance of fast moving subjects. When using cameras equipped with Nikon’s advanced 153-point AF system (D5, D500, D850), the outer row of AF points are activated as cross-type sensors to significantly enhance the AF coverage throughout the frame.2

Enhanced Performance with the Addition of New Technology

The lens now uses a fluorite element, which contributes to improved balance while minimizing weight. To further enhance handling and agility, the lens has adopted a new ball-bearing tripod collar ring to create a seamless transition from shooting horizontal to vertical composition. The VR mechanism offers a normal and sports mode, with up to four stops3 of compensation to help create sharp images, even when handheld.

The lens construction includes the use of durable magnesium alloy for weight reduction, while the lens is also sealed against dust and moisture. A fluorine coating is also used to help repel water droplets and dirt.

The optical formula of the lens uses eight Extra Low Dispersion (ED) elements, doubling the amount of ED elements used by its predecessor, the NIKKOR 200-400mm. These help to provide extremely sharp and detailed images and 4K UHD / 1080p video, and is ideally mated to high resolution Nikon DSLR cameras. Nikon’s exclusive Nano Crystal Coat is used to effectively suppress instances of ghosting and flare.

Price and Availability

The AF-S NIKKOR 180-400mm f/4E TC1.4 FL ED VR lens will be available in March 2018 for a suggested retail price of $12,399.954. For more information on this NIKKOR lens and other Nikon products, please visit www.nikonusa.com.

1. When the built-in or an external teleconverter is used, the focal length may not be displayed correctly in shooting information / Image data.
2. This feature will be available with a firmware upgrade for the D5, D850 and D500 as of March 2018
3. Based on CIPA Standard. This value is achieved when FX-format compatible lenses are attached to a FX-format digital SLR camera and zoom lenses are set at the maximum telephoto position.

Nikon AF-S Nikkor 180-400mm F4E TC1.4 FL ED VR specifications Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length180–400 mmImage stabilizationYesCIPA Image stabilization rating4 stop(s)Lens mountNikon F (FX)ApertureMaximum apertureF4Minimum apertureF32Aperture ringNoNumber of diaphragm blades9OpticsElements27Groups19Special elements / coatings1 fluorite + 8 ED elements and Nano Crystal + Super Intergrated + fluorine coatingsFocusMinimum focus2.00 m (78.74″)Maximum magnification0.25×AutofocusYesMotor typeRing-type ultrasonicFull time manualYesFocus methodInternalDistance scaleYesDoF scaleNoFocus distance limiterYesPhysicalWeight3500 g (7.72 lb)Diameter128 mm (5.04″)Length363 mm (14.29″)MaterialsMagnesium alloySealingYesColourBlackZoom methodRotary (extending)Power zoomNoZoom lockYesFilter thread40.5 mmFilter notesUses drop-in filtersHood suppliedYesTripod collarYesOtherNotesHas a built-in 1.4x teleconverter
Categories: Photo News

JBL Link View Release Date, Price and Specs - CNET

CNET Reviews - Mon, 01/08/2018 - 17:06
The JBL Link View focuses on sound quality with an 8-inch screen imbued with Google Assistant's smarts.
Categories: Photo News

Lenovo ThinkPad X1 Carbon (2018) Release Date, Price and Specs - CNET

CNET Reviews - Mon, 01/08/2018 - 17:00
Debuting at CES 2018, the premium X1 Carbon and X1 Yoga will support Dolby Vision high dynamic range imaging -- a PC first.
Categories: Photo News

Lenovo Smart Display Release Date, Price and Specs - CNET

CNET Reviews - Mon, 01/08/2018 - 17:00
The Lenovo Smart Display fits Google Assistant into an Echo Show competitor.
Categories: Photo News

Lenovo Miix 630 Release Date, Price and Specs - CNET

CNET Reviews - Mon, 01/08/2018 - 17:00
This 2-in-1 is part of a new breed of PCs at CES 2018 with Snapdragon processors and always-on LTE.
Categories: Photo News

Sony announces Camera Control Box CCB-WD1 for wired RX0 control

DP Review Latest news - Mon, 01/08/2018 - 17:00

The wired control accessory that Sony promised for the RX0 has arrived, as well as PlayMemories Mobile app update to enable more wireless control options. The CCB-WD1 Camera Control Box allows for more precise synchronization of multi-camera setups ideal for VR capture, and can be used to create effects like 'bullet time.'

The Camera Control Box offers Video Sync for frame-by-frame synchronization between cameras, as well as Time Code sync. Computers running Windows 7/8.1/10 and Macs running OS X 10.11/10.12-10.13 can connect to the Control Box via a web browser where cameras can be named and monitored, and settings can be adjusted. Filenames can be modified to include the camera name which should help streamline post-processing workflow and avoid overwritten files. Multiple pairs of RX0 cameras and Camera Control Boxes allow for up to 100 units in total.

The PlayMemories Mobile v6.2 update allows 'up to 50' RX0 units to be controlled wirelessly by way of a router. The new app version also provides a list view of all connected cameras, the ability to simultaneously turn all cameras on and off via Bluetooth, and the ability to control cameras by group.

PlayMemories Mobile 6.2 will be released on January 30th. Camera Control Box pre-sales start January 9th at 11am PT, and it will sell for $700.

Press Release

Sony Announces New Expanded Multi-View Shooting Capabilities for the Compact RX0 Camera

New Wired and Wireless Multi-Camera Solutions Enable More Flexibility and Creativity

LAS VEGAS, Jan 8, 2018 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today announced new wired and wireless multi-camera solutions for the versatile RX0 that enable more flexibility, creativity and operability for today’s creators.

The RX0, introduced late this past fall, brings the advanced imaging quality of Sony’s acclaimed RX camera lineup to a robust, waterproof1, ultra-compact body measuring approximately 2 3/8 in. x 1.5/8 in x 1 3/16 in (WxHxD) 2 and weighing just 3.9 oz3. The miniature dimensions and all-around versatility of the new camera make it a powerful tool when used either as a single unit or when combined together with additional RX0 cameras in multi-angle, multi-view shooting situations. For flexible mounting options in tight spaces, the camera features a complete symmetrical lens position and an image flip function, adding to its wide range of creative potential.

The compact RX0 camera offers two different types of solutions for multiple camera shooting and control, including a wired solution for precisely accurate camera synchronization and control, and a wireless solution for added convenience and flexibility.

New RX0 Wired Multi-View Shooting with Camera Control Box

Sony has announced a new accessory Camera Control Box (model CCB-WD1) that connects to the RX04 and enables PC control with web browser5 via wired IP (internet protocol) connection. By converting control signal to IP, camera settings can be reliably controlled6 from a single PC from any location. A wired connection also allows for much seamless control and synchronization of multiple pairs of RX0 cameras and Camera Control Boxes – up to 100 units7 in total – enabling creators to produce high quality movie effects like “bullet-time” or virtual reality, or to shoot high profile events from unique angles.

When using multiple pairs of RX0 cameras and camera control boxes, settings of all connected cameras can be changed simultaneously, and can be triggered to all start/stop recording at the same time. Additionally, a video sync function is also available, allowing frame timing to be synchronized between all connected cameras. This reduces any time gaps between cameras and supports the process of stitching multiple images together to create special effects.

Files can also be transferred directly to the connected PC8, with the ability to assign and change file names to avoid any confusion when dealing with multiple cameras. In total, up to 1007 separate RX0 cameras and CCB-WD1 Camera Control Boxes can be linked together for a live-view multi-camera feed. Additionally, via Camera Control Box, shooting settings and modes for all connected cameras can be easily programmed by the user.

The new CCB-WD1 Camera Control Box will ship next month for about $700 US or $900 CA.

Improved Wireless Multi-View Shooting with New PlayMemories Mobile Application

Sony’s latest version 6.2 of its PlayMemories Mobile application expands the multi-camera control capabilities when paired with the RX04. With the new version of the mobile application, users will be able to link their smartphone or tablet to up to 50 RX0 cameras via an access point9 to control them simultaneously10. In addition to the current ability to change key camera settings, all connected cameras can be turned ON/OFF together11, and users have the ability to control and shoot by separately assigned camera ‘groups’.

The new PlayMemories Mobile application version 6.2 will be available this month.

1. Compliant with JIS/IEC protection levels (based on Sony tests). Shooting in depths of up to 10 meters (33 ft) is possible for up to 60 minutes (JIS: Japan Industrial Standards; IEC: International Electrotechnical Commission). Depending on usage conditions and circumstances, no guarantee is made regarding damage to, malfunction of, or waterproof performance of this camera

2. Approximate dimensions

3. Approximate weight with battery and media included

4. System software update for RX0 (scheduled in January 2018) is required

5. Recommended computer environment
OS: Windows 7/Windows 8.1/Windows 10, Mac OS X 10.11/macOS 10.12-10.13
Web browser: Google Chrome, Internet Explorer, Safari

6. Use only in a network environment with security measures

7. Depending on the specifications of the equipment to be used, the number of devices that can be connected will change. Up to 100 units connection have been tested (based on Sony tests)

8. Up to 4 GB per file can be transferred

9. Depending on the specifications of the access point, smartphone, tablet to be used, the radio wave environment of the installation location, the number of devices that can be connected will change. Up to 50 units connection have been tested (based on Sony tests)

10. Use only on Wi-Fi connection with security measures

11. Bluetooth connection required. Depending on the specifications of smartphone, tablet to be used, the number of devices that can be controlled will change.

Categories: Photo News

Creative Super X-Fi Release Date, Price and Specs - CNET

CNET Reviews - Mon, 01/08/2018 - 16:00
The audio company has developed Super X-Fi, a technology it says allows you to carry 3D sound around in your pocket.
Categories: Photo News

Insta360 unveils new, 4K capable Nano S 360-degree camera for iPhone

DP Review Latest news - Mon, 01/08/2018 - 12:49

Insta360 is a company known for its affordable, consumer 360-degree camera dongles. The Insta360 One and Air are its current models for iPhone and Android, respectively, but the camera started out with the iPhone-only Nano in 2016. For CES, Insta360 has now launched an upgraded Nano S that keeps the original model's form factor, so accessories can still be used, but comes with upgraded interior components.

Compared to the original Nano, video capture has been bumped from 3K to 4K resolution and stills are now captured at a whopping 20MP, a nice step up from the previous 4.6MP stills. In addition, you can now choose between a matte black and silver version.

The Nano S doesn't just provide higher resolution recording, though, it also comes with a couple of new features. MultiView Shooting allows you to output conventional video footage with two or three camera angles, and 360-degree Video Chat gives any recipient a live 360-degree spherical view of the caller's location, even without using the Insta360 app, the caller simply needs to share a link.

A foldable stand for easy video calls or 360-degree selfies comes included in the package.

The Insta 360 Nano S is available order now for $240. To learn more, head over to the Insta360 website or check out the intro video above.

Categories: Photo News

Report: GoPro is looking for a buyer

DP Review Latest news - Mon, 01/08/2018 - 12:30
Photo by Fabrizio Verrecchia

Just hours after GoPro's disappointing Q4 2017 report—in which the company outlined a cost-cutting plan and announced that it would no longer be making drones—CNBC is reporting that the action cam giant has "put itself up for sale."

The report cites "people familiar with the matter" who asked not to be named, but who told the network that GoPro hired J.P. Morgan Chase "some months ago" to find a buyer. The sources claim no buyer has come forward as of yet, but GoPro CEO Nick Woodman himself confirmed that the company would be open to a partnership or buyout.

Speaking to CNBC earlier today, Woodman said:

If there are opportunities for us to unite with a bigger parent company to scale GoPro even bigger, that is something that we would look at.

GoPro has suffered setback after setback since it went public in 2014, with lackluster action cam sales due at least in part to increased competition from smaller manufacturers, a disastrous launch (and recall) of the Karma drone, multiple rounds of layoffs, and its unceremonious exit from the drone market today. The stock price chart is... not pretty:

Chart via Google Finance

Interestingly enough, after taking a dive on the Q4 report, GoPro's stock actually recovered a bit on news that the company was seeking a sale.

Still, despite a market cap of a little over $1 billion, you can bet that any potential buyer will be eyeing a price well below that mark unless the company's plan to "[turn] the business around in 2018" starts to show some results.

Categories: Photo News

Panasonic Lumix DC-GH5S First Impressions Review

DP Review Latest news - Mon, 01/08/2018 - 10:45

The Panasonic GH5S is a video-focused Micro Four Thirds camera built around what the company markets as a 10.2MP sensor. It's best understood as an even more video-centric variant of the GH5: it can shoot either DCI or UHD 4K footage natively (one capture pixel = one output pixel) at up to 60p.

Panasonic wasn't the first company to introduce high quality video to what was otherwise a still camera, but with its GH series it has been constantly expanding the range of professional video features appearing in consumer stills/video cameras. The GH5S takes this logic one step further, by lowering the sensor resolution and omitting image stabilization to make a more single-minded video tool, rather than an hybrid intended to be similarly capable at both disciplines.

The ability to shoot DCI 4K at up to 60p with no crop is the most obvious distinction between this and the standard GH5, but the differences run deeper:

Key specifications
  • Oversized 'Multi Aspect' sensor with dual gain design
  • 10.2MP maximum usable area from at around 12.5MP total
  • DCI or UHD 4K at up to 60p
  • 10-bit 4:2:2 internal capture at up to 30p
  • 8-bit 4:2:0 internal 60p or 10-bit 4:2:2 output over HDMI
  • 1080 footage at up to 240p (with additional crop above 200p)
  • Hybrid Log Gamma mode
  • ISO 160 - 51,200 (80 - 204,800 extended)
  • AF rated down to –5EV (with F2 lens)
  • 3.68M-dot (1280 x 960 pixel) OLED viewfinder with 0.76x magnification
  • 1.62M-dot (900 x 600 pixel) fully articulated LCD
  • 14-bit Raw stills
  • 11 fps (7 with AFC) or 1 fps faster in 12-bit mode
  • USB 3.1 with Type C connector

As well as the ability to shoot DCI 4K at higher frame rates, Panasonic also claims the GH5S's larger pixels and 'Dual Native ISO' sensor will mean it shoots significantly better footage in low light.

Differences vs GH5
  • "10.2" megapixel oversized sensor (vs 20.2MP Four Thirds sized sensor)
  • Dual-gain sensor design with two read-out circuits
  • Fixed sensor (no internal stabilization) for use with pro stabilization systems
  • DCI 4K available in 59.94, 50, 29.97 and 25p (GH5 is 23.98 / 24p only)
  • 1080 mode
  • AF rated to work in lower light (–5EV vs –4EV)
  • 14-bit Raw available
  • VLog-L enabled out-of-the-box
  • Time code in/out
  • 'Like709' and 'V-LogL' color profiles available in stills shooting
  • Mic socket offers Phantom Power and Line-level In options
  • LUT-corrected display available in playback as well as capture
  • 120fps viewfinder mode

Beyond these changes, the GH5S keeps the rest of the GH5's capabilities, with matching codec options and the same support tools, such as vectorscopes, wave forms and preview modes for anamorphic, Log and Hybrid Log Gamma shooting, for instance.

As on the GH5, Panasonic recommends the use of V60 rated cards or faster for shooting 400Mbps video. However, the V60 standard itself seems to be vague enough that even some nominally V60-compliant cards are still not fast enough. The company says to use either its own brand V60 or V90 cards or to stick to well-known manufacturers with a proven history of producing fast cards (and, ideally, to buy from a source with a good return policy).

Multi-aspect sensor

The GH5S uses a chip that natively shoots DCI or UHD 4K, meaning one pixel on the sensor is used to produce each pixel in the final footage. The sensor, like that on the GH1 and GH2, is oversized. This means it can shoot different aspect ratios using the full extent of the imaging circle projected by the lens, rather than simply cropping down from the 4:3 region.

As well as using the maximum amount of pixels and silicon for each aspect ratio (with consequent image quality benefits), this also means that the diagonal angle of view is preserved, whether you shoot 4:3, 3:2, 16:9 or in DCI 4K's roughly 17:9 aspect ratio.

It also means that the GH5S should offer a fractionally wider angle-of-view than the GH5 when shooting video, especially when capturing DCI footage.

Dual Gain

Panasonic describes the GH5S as having 'Dual Native ISO,' which is standard video terminology for a dual gain sensor design. Such chips have two read-out circuits, one that maximises dynamic range at low sensitivity settings and a second designed to minimize noise but at the cost of dynamic range, at higher settings. It's something we first encountered in Nikon's 1 Series cameras but that's become increasingly common over the past few years, resulting in visible improvements at high ISO settings.

The only difference we can see between the approach taken by Panasonic is that it lets you limit the camera to either one of the sensor's modes, whereas other brands just change mode in the background, without the user ever knowing.

One of the only concepts fuzzier than 'ISO' sensitivity itself is the videography term
'Native ISO'

From a stills point of view, the two circuits are used from ISO 160 - 640 and from ISO 800 and upwards, respectively. You'll see talk of the camera having 'Native ISO's of 400 and 2500' but this is perhaps best completely ignored.

One of the only concepts fuzzier than 'ISO' sensitivity itself is the videography term 'Native ISO,' which essentially appears to mean 'setting at which the quality is good but that gives room to move either up or down from.' This should not be confused with the idea of base ISO, which is the setting with the minimal amount of amplification, which usually results in the widest dynamic range.

Lower pixel count

The other thing Panasonic says contributes to giving the GH5S a performance boost in low light is the adoption of fewer and therefore larger pixels.

In general terms, there's no significant advantage to large pixels over small ones: individually they have access to more light (which usually means less noise when viewed 1:1) but once you scale things to a common size, the noise and dynamic range levels tend to be similar. Instead, using more but smaller pixels can have a resolution benefit, even if you then downsize. This is because pixelated systems can only capture a certain percentage of their nominal resolution, but sampling at a higher resolution then downsizing (oversampling) can preserve some of the higher frequency detail it initially captures.

By concentrating on video capture, Panasonic is able to pick sides in this struggle

However, readout speed and processing/heat constraints mean very few cameras currently offer oversampled video, instead sub-sampling their sensors to find the ~8.5MP needed to capture 4K footage. This creates a tension between the needs of high-res stills photographer and lower-resolution of video capture. By concentrating on video capture, Panasonic is able to pick sides in this struggle.

The most obvious benefit is that it's quicker to read out fewer pixels. So, while the latest processors are fast enough to generate oversampled footage from high pixel counts, the sensor read-out rate risks creating significant rolling shutter. Having fewer pixels means the GH5S should have less rolling shutter than the GH5.

Having a lower pixel count also means the GH5S is also able to include an anti-aliasing filter that reduces the risk of video moiré, without having to worry about limiting the stills resolution.

Just as we expect to see better pixel-level noise from larger pixels, logic would also lead you to expect greater pixel-level dynamic range (even though again, this advantage tends to disappear when you compare images at the same size). This additional pixel-level dynamic range is the reason the GH5S needs to offer 14-bit Raw files: because you need the extra bit-depth to provide room for that additional dynamic range.

No stabilization

From a photographic perspective it may seem odd to remove image stabilization from the camera but for high-end video shooting, it makes sense. Sensor-shift IS systems operate by 'floating' the sensor using a series of electromagnets. Even when they're 'off' they're not locked in place, they're simply set so that the electromagnets aren't attempting to correct for movement. This has the side-effect that, which mounted on a professional stabilization rig, there's a risk of the sensor being shaken around.

For high-end video work, Panasonic says its users would prefer to use dedicated gimbals and dollies, rather than internal stabilization, and that means physically locking the sensor in place to avoid unwanted interactions between these systems and a floating sensor.

Categories: Photo News

Panasonic announces Lumix DC-GH5S, an even more video-focused GH5

DP Review Latest news - Mon, 01/08/2018 - 10:45
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Panasonic has unveiled the Lumix DC-GH5S, an even more video-centric variant of the company's GH5 hybrid stills/video camera. Aside from some minor cosmetic differences the two cameras are identical, however the GH5S has been designed to maximize low-light sensitivity and provides a deep feature set tailored to video shooters' needs.

The GH5S uses a slightly larger, but lower resolution 12.5MP sensor whose 'multi-aspect' design offers a series of ~10.2MP crops with the same angle of view. It gains the ability to shoot the wider-angle DCI 4K format at up to 60p, whereas the GH5 tops out at 24p. Both cameras can shoot UHD 4K at up to 60p.

The sensor features a "dual gain" design that Panasonic calls "Dual Native ISO." This uses two separate sensor read-out circuits – one that maximizes dynamic range at lower sensitivities, and one that prioritizes noise reduction at a dynamic range cost. Unusually, Panasonic lets you limit its camera to one of these modes.

Despite the outward similarities, the GH5S' list of changes compared to the GH5 is a long one. Image stabilization has been removed to avoid unwanted interactions between a floating sensor and the dollies and gimbals pro shooters tend to favor. VLog-L, offered as an paid upgrade on the GH5, is included as standard. Autofocus is rated down to –5 EV compared to –4EV in the GH5.

The list of differences also includes up to 240fps framerate in 1080p "Variable Frame Rate" mode, a 120fps refresh rate in the electronic viewfinder, 14-bit Raw stills shooting, time code in/out functionality, and LUT-corrected display in playback as well as capture. For a detailed look at the GH5S' additional capabilities, head to our first impressions review.

The Panasonic Lumix DC-GH5S will be available February 2nd for $2499 body-only.

Panasonic Announces the Ultimate Hybrid DSLM with a newly developed 10.2MP High Sensitivity MOS sensor

Introducing the LUMIX GH5S: Exceptional Mirrorless Videography and Photography, designed and developed for professional filmmakers

  • Introducing a newly developed 10.2MP High Sensitivity MOS sensor for enhanced image quality in low light: Allowing up to 51,200 ISO recording without extended ISO.
  • Time Code IN/OUT for easy synchronization of multiple cameras and Dual Native ISO, providing low range (400) and high range (2,500) ISO environments.
  • True “Multi-Aspect Ratio” Function in Both Photo and Video

Las Vegas, NV (January 8, 2018) - Panasonic is proud to introduce the new hybrid Digital Single Lens Mirrorless Camera LUMIX GH5S with expanded video recording capability and enhanced image quality. Designed and developed for professional filmmakers, the LUMIX GH5S achieves highest-ever image sensitivity and video image quality in the history of LUMIX cameras, especially in low-light situations.

Packed with big features to satisfy demanding photographers and videographers alike
The new 10.2-megapixel Digital MOS Sensor with Dual Native ISO Technology and Venus Engine 10 faithfully reproduce even dark parts of the image, allowing high ISO capture when the use of supplemental lighting may not be possible. This sensor is a multi-aspect type with a sufficient margin for realizing the same angle of view in 4:3,17:9,16:9 and 3:2 aspect ratios. The sensor also enables photo shooting in 14-bit RAW format, providing higher flexibility for professional RAW stills development workflows. When shooting in dark environments, videographers can now focus on filming that perfect shot as they no longer need to worry about noise which often results from having to use higher ISOs. The Dual Native ISO Technology suppresses noise to produce cleaner footage when taken in all light. Both videographers and photographers can now enjoy the same diagonal field of view across all aspect ratios with the True “Multi-Aspect Ratio” Function. This feature means you can easily swap between difference aspect ratios giving you the accuracy you want from your lenses, and making the process easier while producing and editing in post-production. The LUMIX GH5S is compatible with Time Code IN and OUT, like the professional camcorders, which is easy to set using the flash sync terminal and bundled conversion cable for a standard BNC terminal. This is especially important for “lip synchronization” when using multiple cameras. The LUMIX GH5S can be used as Time Code generator for other GH5S cameras and professional camcorders. The Time Code IN/OUT functionality makes a production teams job pain-free as it provides synchronization for both video and audio devices used on multi-cam productions.

The LUMIX GH5 achieved 4KUHD 60p video recording for the first time as a digital mirrorless camera in 2017.2 The new LUMIX GH5S establishes a new milestone by realizing the world’s first 4K 60p video recording in Cinema 4K (4096x2160), 3 capable of internal 4:2:2 10-bit video recording up to Cinema 4K30p and internal 4:2:0 8-bit Cinema 4K60p. subsampling commonly used for film production, for even more faithful color reproduction.4 The LUMIX GH5S also records 4:2:2 10-bit 400-Mbps All-Intra in 4K 30p/25p/24p and 200- Mbps All-Intra in Full-HD.

Continuing the LUMIX GH tradition, there is no time limit for both Full-HD and 4K video recording. The LUMIX GH5S complies with 4K HDR video with Hybrid Log Gamma (HLG) mode in Photo Style. A low-bit-rate recording mode, 4K HEVC for HLG, is available. This enables playback on AV equipment compatible with the HLG Display format, such as Panasonic 4K HDR TVs.

The VFR (Variable Frame Rate) function lets users record overcranked (time-lapse) and undercranked (slo-mo) video in C4K/4K (60 fps, maximum 2.5x slower) and FHD (240 fps, maximum 10x slower). A V-LogL and Rec.709 LUT (Look Up Table) are pre-installed in the camera, so users can play videos recorded in V-LogL without having to separately purchase a Software Upgrade Key. Four additional LUTs can be installed using the Panasonic Varicam (.VLT) file format.

DFD (Depth From Defocus) technology and ultra-high-speed digital signal processing achieve fast auto focusing of approximately 0.07 sec 6 with 12 fps (AFS) / 8 fps (AFC) in 12- bit RAW and 10 (AFS) / 7 (AFC) fps in 14-bit RAW high-speed burst shooting. In addition to a total of 225 focus areas, The options for Face/Eye Recognition, Tracking AF, 1-area AF and Pinpoint AF are available for precise focusing. The 4K PHOTO enables 60 fps high-speed capture in approximately 8-megapixel equivalent resolution.

Achieve outstanding footage in any environment, especially in low light
As a camera that excels in shooting in low light, the LUMIX GH5S boasts -5EV luminance detection performance with Low Light AF thanks to the higher sensitivity and optimized tuning of the sensor. Live Boost is another practical feature that makes it possible to check the composition even in total darkness, by boosting the sensitivity just for Live View. The magnification ratio in MF assist is increased from conventional 10x to 20x, which is convenient especially for astronomical photography. An AF Point Scope function, first introduced in the Lumix G9 and Night mode are also integrated.

In order to make the GH5S tough enough to withstand even heavy field use, it is composed of a magnesium alloy full die-cast front, rear and top frame that is not only splashproof7 and dustproof but also freezeproof down to -10 degrees Celsius. The GH5S is equipped with a double SD Memory Card slot, compatible with the high-speed, high-capacity UHS-II and Video Speed Class 90. Users can flexibly choose the recording method from Relay Recording, Backup Recording or Allocation Recording. The HDMI Type A terminal is provided, along with the USB-C Gen1 interface.

Exceptional image capture without concern
The GH5S has a large LVF (Live View Finder) with a stunningly high magnification ratio of approximately 1.52x/0.76x (35mm camera equivalent) providing smooth display at 120 fps. A high-precision, high-speed OLED (Organic Light-Emitting Diode) display features 3,680K-dot resolution and 100% field of view. In addition to dual dials, an omni-directional joystick enables more intuitive and flexible operation.

The GH5S includes Bluetooth and Wi-Fi® connectivity to offer a more flexible shooting experience and instant image sharing with easy operation. Compatibility with Bluetooth 4.2 (called BLE: Bluetooth Low Energy) enables constant connection with a smartphone/tablet with minimum power consumption. For Wi-Fi, 5 GHz (IEEE802.11ac)8 can be selected in addition to the conventional 2.4 GHz (IEEE 802.11b/g/n) for an even more secure and stable connection.

For extended battery life and a more stable hold, the new Battery Grip DMW-BGGH5 (sold separately) is available. The XLR Microphone Adaptor DMW-XLR1 (sold separately) allows high-res sound recording with an external XLR microphone.9

The Panasonic LUMIX GH5s will be available from end of February 2 and will retail for $2499 (body only).

*1 RAW files are in 14-bit even when 12-bit is selected.
*2 4K 60p/50p(for a Digital Single Lens Mirrorless Camera), 4:2:2 10-bit (for a digital interchangeable lens camera) as of 4 January, 2017
*3 As of January 8, 2018 as a Digital Single Lens Mirrorless camera that complies with 4K (4096x2160) resolution defined by Digital Cinema Initiatives(DCI). According to a Panasonic study.
*4 4:2:0 8-bit in C4K 60p and 4K 60p recording on an SD Memory Card.
*5 Contrast AF with DFD Technology works only with Panasonic Micro Four Thirds lenses. *6 In AFS, at wide-end with H-ES12060 (CIPA) when LVF display speed is set to 120fps.
*7 Splash Proof is a term used to describe an extra level of protection this camera offers against exposure to a minimal amount of moisture, water or dust. Splash Proof does not guarantee that damage will not occur if this camera is subjected to direct contact with water.
*8 5GHz Wi-Fi is not available in some countries.
*9 In MOV only

Panasonic Lumix DC-GH5S specifications PriceMSRP$2499Body typeBody typeSLR-style mirrorlessBody materialMagnesium alloySensorMax resolution3680 x 2760Other resolutions3:2 (3840 x 2560), 16:9 (4016 x 2256), 1:1 (2752 x 2752)Image ratio w:h1:1, 4:3, 3:2, 16:9Effective pixels10 megapixelsSensor photo detectors12 megapixelsSensor sizeFour Thirds (17.3 x 13 mm)Sensor typeCMOSProcessorVenus Engine 10Color spacesRGB, Adobe RGBColor filter arrayPrimary color filterImageISOAuto, 160-51200 (expands to 80-204800)Boosted ISO (minimum)80Boosted ISO (maximum)204800White balance presets5Custom white balanceYes (4 slots)Image stabilizationNoUncompressed formatRAWJPEG quality levelsFine, standardFile format
  • JPEG (Exif v2.31)
  • Raw (Panasonic ARW, 12/14-bit)
Optics & FocusAutofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lampYesDigital zoomYes (2x-4x)Manual focusYesNumber of focus points225Lens mountMicro Four ThirdsFocal length multiplier2×Screen / viewfinderArticulated LCDFully articulatedScreen size3.2″Screen dots1,620,000Touch screenYesScreen typeTFT LCDLive viewYesViewfinder typeElectronicViewfinder coverage100%Viewfinder magnification1.52× (0.76× 35mm equiv.)Viewfinder resolution3,680,000Photography featuresMinimum shutter speed60 secMaximum shutter speed1/8000 secMaximum shutter speed (electronic)1/16000 secExposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flashNoExternal flashYes (via hot shoe or flash sync port)Flash modesAuto, Auto/Red-eye Reduction, Forced On, Forced On/Red-eye Reduction, Slow Sync., Slow Sync./Red-eye Reduction, Forced OffFlash X sync speed1/250 secDrive modes
  • Single
  • Continuous
  • 4K Photo
  • Focus Stacking
  • Self-timer
Continuous drive12.0 fpsSelf-timerYes (2 or 10 secs, 10 secs w/3 images)Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation±5 (at 1/3 EV steps)AE Bracketing±3 (3, 5, 7 frames at 1/3 EV, 2/3 EV, 1 EV steps)WB BracketingYesVideography featuresFormatMPEG-4, H.264, H.265Modes
  • 4096 x 2060 @ 60p / 150 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 50p / 150 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 30p / 150 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 30p / 100 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 25p / 150 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 24p / 400 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 24p / 150 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 24p / 100 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 23.98p / 400 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 23.98p / 150 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 60p / 150 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 50p / 150 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 30p / 150 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 30p / 100 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 400 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 150 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 100 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 400 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 150 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 100 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p / 150 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 100 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 100 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 100 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 100 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2060 @ 60p / 150 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 50p / 150 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 30p / 150 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 30p / 100 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 25p / 150 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 25p / 100 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 24p / 400 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 24p / 150 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 24p / 100 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 23.98p / 400 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 23.98p / 150 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2060 @ 23.98p / 100 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 60p / 150 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 50p / 150 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 30p / 400 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 30p / 150 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 30p / 100 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 30p / 72 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 400 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 150 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 100 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 72 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 400 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 150 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 100 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p / 400 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p / 150 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p / 100 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p / 72 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 200 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 100 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 50p / 200 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 100 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 28 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 30p / 200 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 100 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 20 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 25p / 200 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 100 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 20 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 24p / 200 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 100 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 24 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 23.98p / 200 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p / 100 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p / 24 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 60p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 60i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 60i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 50p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 50i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 50i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 23.98p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
MicrophoneStereoSpeakerMonoStorageStorage typesDual SD/SDHC/SDXC cards (UHS-II V60 cards supported)ConnectivityUSB USB 3.1 Gen 1(5 GBit/sec)USB chargingNoHDMIYes (Up to 4:2:2 10-bit output)Microphone portYesHeadphone portYesWirelessBuilt-InWireless notes802.11b/g/n + Bluetooth 4.2 LERemote controlYes (wired or smartphone)PhysicalEnvironmentally sealedYesBatteryBattery PackBattery descriptionDMW-BLF19 lithium-ion battery & chargerBattery Life (CIPA)440Weight (inc. batteries)660 g (1.46 lb / 23.28 oz)Dimensions139 x 98 x 87 mm (5.47 x 3.86 x 3.43″)Other featuresOrientation sensorYesTimelapse recordingNoGPSNone
Categories: Photo News

Panasonic Lumix DC-GH5S vs Sony a7S II low light shootout

DP Review Latest news - Mon, 01/08/2018 - 10:45

We shot the Panasonic GH5S against the Sony a7S II to see whether the video-centric Lumix can wrest the low-light crown away from its full frame rival. We'll let you draw your own conclusions, but our initial assessment is that the Panasonic comes closer than we expected, and outperforms the Sony when you need to maintain a certain depth-of-field or when you shoot in Log.

Click here to download a ProRes version of the video (8.0GB) Notes:

We shot both cameras side-by-side, which explains the slight perspective difference. The GH5S's oversized 'multi aspect' ratio sensor means it also offers a wider field of view even when using equivalent focal lengths.

We shot at a range of ISOs in both the camera's REC709 modes and their respective Log gamma modes, then matched the footage up alongside one another. We've kept all post-processing to a minimum, with only very minor color and brightness adjustments applied to provide consistency between the two cameras.

We felt Panasonic's noise reduction is significantly more effective than Sony's

Most sequences were shot so that both cameras had the same exposure settings. These are marked as 'Exposure Matched' in the video. However, there are times when you need to achieve a certain depth-of-field. These clips, which required us to stop the Sony down by two stops, are indicated as 'Depth-of-Field Matched.'

We felt Panasonic's noise reduction is significantly more effective than Sony's and, especially when combined with its ability to shoot 10-bit 4:2:2 footage, helps it perform well when compared with the Sony, especially below ISO 12,800 and when shooting in Log. However, it's also worth noting the yellow blocking that can infest high ISO footage from the GH5S.

For a more detailed assessment, head to our first impressions review.

Read our Panasonic Lumix DC GH5S
First Impressions Review

Categories: Photo News

DxOMark splits from DxO Labs, is now an independent privately-owned company

DP Review Latest news - Mon, 01/08/2018 - 09:48

In an email distributed late last month, DxOMark Image Labs announced that it has been spun-off from DxO Labs. DxOMark now exists as its own privately-owned independent company, which will continue to "pursue the development and commercialization of image quality solutions and services."

DxO Labs, meanwhile, continues to develop its photo editing software, DxO PhotoLab, as well as the DxO One smartphone camera attachment. We'll also keep a close eye on what DxO plans to do with the Nik Software Collection, which it recently acquired from Google and promises to update in early 2018.

The business change happened back in September, according to the email, which didn't go into further detail about the matter. The full note reads:

We’ve had an important internal change as well: In September, DxOMark Image Labs was spun off from DxO Labs. DxOMark Image Labs is now a privately-owned, independent company. As such, we continue to pursue the development and commercialization of image quality solutions and services that support our customers in designing the best-quality camera systems for a range of markets, including smartphones, DSC/DSLRs, drones, action cams, surveillance, and automotive.

Categories: Photo News

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