This Short Film Shows What DJI’s Zenmuse X7 is Capable Of

By Sponsored Content

The X7 shots blend seamlessly with cinema camera footage.

Last week, DJI unveiled the revolutionary Zenmuse X7, a first-of-its-kind cinema grade Super 35mm camera designed specifically for aerial cinematography. Today, we go behind the scenes with DJI and the making of the movie Riders. The goal of the project was to challenge the visual quality of the Zenmuse X7 by using it in production alongside a high-end cinema camera.

As the final product below shows, the integration was virtually seamless.

Creative director Ferdinand Wolf describes in the BTS video how the Super 35mm sensor provided beautifully shallow depth of field and high dynamic range even in challenging low-light situations. For smaller sensors, shooting in low light at ISO 1600 can produce noisy images but, as Wolf states in the video, the team at DJI was able to produce clean, sharp images shooting in low light at ISO 1600 at f/2.8.

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From:: No Film School

What you need to know: Canon G1 X Mark III

Canon PowerShot G1 X Mark III

Canon’s G1 X Mark III is, as the name implies, the third iteration in the company’s range-topping large-sensor enthusiast compact series. However, what the name doesn’t make clear is that it’s a significant departure from its predecessors, in terms of both size and capability.

Rather than mimicking one of the older G series modes, as the original G1 X did, the Mark III most closely resembles the 1″-sensored G5 X: a small, thin body with lots of direct control and a centrally mounted electronic viewfinder.

Sensor size difference

Unlike the G5 X, though, the G1 X III does not use a 1″-type sensor. Despite being packaged in a smaller body than its immediate predecessor, Canon has managed to fit a larger sensor into the camera. It’s a full APS-C-sized sensor or, at least, the Canon 1.6x crop version of that format. This makes it 27% larger than the chip in the G1 X I and 36% larger than the region of its sensor the Mark II could use.

This means, in equivalent terms, the new camera will receive over 1/3EV more total light, when shot at the same f-number and shutter speed. However, equivalence only tells us about the potential for one system to out-perform another. The actual difference depends on the specific technology used…

Sensor performance

And, from our experience with Canon’s 24MP Dual Pixel sensor, we know it’ll perform pretty well: better at high ISO sensitivities than the chip in the older G1 X models and with less noise at low ISO, giving more flexible files with greater usable dynamic range.

And that’s before we consider the additional utility of its Dual Pixel design: the → continue…

From:: DPreview

ICYMI: Canon 28mm F2.8 IS USM sample gallery

ISO 100 | 1/800 sec | F8

Canon’s 28mm F2.8 IS USM may not be the most exciting lens in the company’s lineup, but it’s reasonably affordable, lightweight and solid. As fall weather begins to hit Seattle, we find ourselves visiting the sunny images of this gallery and thinking fondly of summertime past. Take a look to see what this little lens can do.

See our Canon 28mm F2.8 IS USM sample gallery

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From:: DPreview

This week SAR readers photos selection

By SonyAlpha Admin

Yuri Afanasiev‎ Heat in Moscow. a7R II + SEL90M28G | 90mm/ƒ/11/1/125s/ISO 160 Model Masha. Details on My site: 1) Submit your picture with a message and picture here: or on the SonyAlphaForum image section. 2) Like and comment the pictures from other readers here: and on SonyAlphaForum. 3) A selection […]

The post This week SAR readers photos selection appeared first on sonyalpharumors.

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From:: Sony Alpha Rumors

DJI launches Zenmuse X7 Super 35mm camera module with Raw video capture

DJI has launched the Zenmuse X7, a Raw video capable Super 35 camera module. The camera/gimbal system which mounts to the company’s drones features a new, proprietary lens mount.

The camera can shoot 6K CinemaDNG Raw or 5.2K Apple ProRes footage at up to 30p or 3.9K CinemaDNG and 2.7K ProRes at up to 59.94p. The company claims 14 stops of dynamic range but, like all video manufacturers, doesn’t specify how this is assessed.

It uses the new “DJI Cinema Color System” based around a D-Log Curve and D-Gamut RGB color space.

The camera includes two exposure modes, one that varies amplification gain and an “EI” mode that always uses minimal amplification (~base ISO) with metadata tags to denote the intended final brightness, to preserve DR. This is increasingly common practice in the video sphere but has yet to make its way across to stills photography.

The previous model (the Zenmuse X5) was based around a Micro Four Thirds mount and came with a distinctly Panasonic-like 15mm F1.7 lens. Instead the Zenmuse X7 is based around the company’s own ‘DL’ mount.

Alongside the camera, the company is releasing 16mm, 24mm, 35mm and 50mm F2.8 lenses, the longest three of which will include mechanical shutters. The carbon fiber bodied lenses will cost $1,299 each, with the exception of the 50mm, which is $100 cheaper, though a camera bundled with all four lenses will cost just $4,299.

The camera on its own will cost around $2699 and will be available from November.

Press Release:

DJI Reveals Zenmuse X7, The World’s First Super 35 Digital Film Camera Optimized for Professional Aerial Cinematography

Superior Image Quality, Interchangeable Lenses, and a New Color System Deliver Complete Creative Freedom

October 11, 2017 – DJI, the world’s leader in civilian drones and aerial imaging technology, today introduced the Zenmuse X7, the world’s first Super 35 → continue…

From:: DPreview

Yashica launches Y35 digiFilm camera that uses digital ‘film’ cartriges

After a number of teasers over the past few weeks, Yashica has finally launched its ‘unprecedented camera’ on Kickstarter: meet the Y35 digiFilm camera. The description page does not offer an awful lot of technical detail, but it looks like the Y35 is relatively simple digital camera in a retro-style body that comes with a unique feature: interchangeable digital ‘film’ cartridges that Yashica calls digiFilm.

The camera doesn’t actually save any images on the digiFilm (it has an SD-card slot for that) but instead ISO, color and digital filter settings are controlled by inserting a digiFilm cartridges. How’s that for a gimmick?

To start with, Y35 users will be able to choose from an ISO1600 High Speed digiFilm for grainy images and shooting fast moving subjects, an ISO 400 Black & White digiFilm, an ISO 200 Ultra Fine digiFilm, and a ISO 200 “6 x 6” cartridge that makes the camera capture square images.

Given most settings are adjusted by inserting a digiFilm cartridge, the camera body itself doesn’t offer a great deal of control. There’s only a “winder” to set the camera up for the next capture, and a shutter speed dial. The rest of the specifications are in line with quite basic digital cameras: images are captured on a 1/3.2-inch 14MP sensor and the lens comes with a 35mm equivalent focal length and F2.8 aperture.

You can reserve an early bird Yashica Y35 digiFilm special for $124 on the Kickstarter page. This will get you the Yashica Y35 camera and the ISO 200 Ultra Fine digiFilm, plus a Yashica digiFilm post card. The package for $142 includes an additional digiFilm of your → continue…

From:: DPreview

Taking the Canon 28mm F2.8 IS USM to Big Sur, California

Big Sur, little lens

Standing alongside the Bixby Creek Bridge in Big Sur, California. Processed to taste from Raw.
ISO 125 | 1/160 sec | F11

By virtue of a considerable quantity of dumb luck, we had timed it perfectly.

Our belongings shifted gently to and fro in our rented cherry-red Hyundai Sonata as we zig-zagged freely along Highway 1 in California’s Big Sur region, a stretch of road that has been described as the ‘longest and most scenic stretch of undeveloped coastline in the contiguous United States.’*

We were visiting Big Sur just into the off-season, with Highway 1 subdivided by a massive landslide to the south and a bridge closure to the north. As a result, the road was remarkably unoccupied, devoid of the typically ubiquitous caravans of gawking tourists.

Although the extensive closures tacked on about six hours of additional driving onto our trip, the journey along the famous Nacimiento-Fergusson Road – the only way in and out of the region cut-off by the closures – was unforgettable. Unfortunately, thanks to the rampant switchbacks, it was also literally nauseating. Can’t have it all, I guess.

It was into this scenario that I brought Canon’s diminutive 28mm F2.8 IS USM lens attached to an EOS 5D Mark IV; my only photographic tools for the duration of our time in central California.

Fitting into the lineup

Photograph courtesy Jordan Stead

The Canon 28mm F2.8 IS USM is not a new lens by any means. So why write about it now? Well, for starters, we didn’t yet have a gallery on it here at DPReview. It also happens to be among the smallest and lightest full-frame Canon lenses around, and so a great way to (attempt to) minimize the bulk → continue…

From:: DPreview

The Nikon D850 is the best camera DxOMark has ever tested, first to hit score of 100

Forget all of those DxOMark Mobile scores, it’s time to talk about “real” cameras again. DxOMark just completed their review of the Nikon D850 and, not entirely surprising, it is officially the best camera DxOMark has ever tested. In fact, it’s the first camera ever to reach a score of 100, pushing the Sony a7R II into second place with its score of 98.

As it stands now, the camera rankings put the Nikon D850 and its predecessor, the D810, in the number 1 and 3 spots.

While the D850 isn’t the best camera DxO has tested across the board, it nevertheless put in top notch performance in every category. “The D850’s key strengths are its outstanding color and dynamic range at base ISO, where it again ranks as the number one among all commercially available cameras we’ve tested for these attributes,” explains DxOMark. If it falls even slightly short in any regard, it’s in the low-light ISO category where its higher resolution starts to sting.

That said, you can’t help but go wide-eyed reading DxOMark’s conclusion. As they say, this camera is “in a class of its own for image quality.”:

The introduction of the first BSI sensor in a full-frame Nikon DSLR with a super-high 45.7Mp resolution puts the Nikon D850’s image quality on par with, and often better than, medium-format cameras. The first DSLR to hit 100 points — rather apt for Nikon’s hundredth anniversary year — puts the Nikon D850 in a class of its own for image quality. At base ISO, it’s unrivaled for color in the DSLR class, and its headline dynamic range score is outstanding, too.

To read the full conclusion—the full review, for that matter—and see how the D850 compares to the → continue…

From:: DPreview

Hasselblad’s 100MP H6D-100c digital back is now available to buy on its own

Hasselblad has announced that its 100MP medium format H6D-100c digital back is now available as a standalone product. The H6D-100c, which was first announced in April 2016, offers a 100MP 53.4 x 40mm CMOS sensor capable of shooting up to 3840 x 2160p 4K/UHD footage with an ISO range from 64 to 12800. Joining that large sensor is a 3in 920k touch display, USB-C connector, mini HDMI, and both SD and CFast card slots.

Talking about the new launch, Hasselblad Product Manager Ove Bengtson said, “The launch of the H6D-100c digital back is an answer to photographers wanting to use the power of the 100c on third party technical cameras.” According to Hasselblad, the unit features an interface capable of working seamlessly with both large format and technical camera systems.

Other features include raw capture, 16-bit color, 15 stops of dynamic range, and support for both Windows (7 or higher) and macOS (10.11 and higher). The digital back is available now for EUR 22,000 / USD $26,495 / GBP 19,900 (not including VAT).

Via: Hasselblad

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From:: DPreview

Video: $6,000 full-frame vs $2,000 crop sensor portrait shootout

Photographer Manny Ortiz must be a glutton for punishment, because he’s taking on one of the most heated, ongoing, oh-my-god-will-this-ever-stop debates in the photo industry: full-frame vs crop-sensor.

You can read our more technical take on sensor size here

As usual, Manny’s take is a bit more down to earth and less tech-focused than we tend to go. He simply went out shooting with his wife/model Diana and two different Sony cameras—the full-frame Sony a9 and the crop sensor Sony a6500, both 24MP—to see if he could tell a significant quality difference between the two after a portrait shoot.

A few things we will not get into here:

  • Every comparison is a ‘real world’ comparison. Test charts and studio scenes do not exist in some alternate dimension where the laws of physics are suspended.
  • Full-frame has been arbitrarily defined as ‘a sensor the same size as a frame of 35mm film’. Most people agree on this definition and that’s good enough for our purposes, but by all means feel free to gripe about it.

Now that these two things are out of the way, click play up top to watch Ortiz’ “real-world comparison” between the full-frame A9 with an 85mm F1.4 G Master lens, and the APS-C sensor A6500 with a Zeiss 55mm F1.8. To try and match depth of field, Manny shot the A9 photos at F2.8, and the A6500 photos were taken wide open at F1.8, at least for the daytime photos.

When it came time to shoot at night, Manny had to change tactics a bit and shot the A9 photos with the G Master almost wide-open at F1.8 to avoid having to crank the ISO too high.

Here are the final photos, sans YouTube compression and in a higher resolution so you can compare → continue…

From:: DPreview

Hands-on With the Best Consumer 360 Camera for the Money-Xiaomi Mi Sphere 360

By Al Caudullo

This 360 camera has been around for a while, and it really wasn’t on my radar until the friendly people at Gearbest sent me one to test. The bonus was that they are offering is the LOWEST price that I’ve ever seen for this camera. Read on, and at the end, I’ll tell you how to get the Xiaomi Mi Sphere 360 for less than $200!

Let’s start with the cold, hard facts.


– Two 190-degree lenses

– f/2.0 aperture

– Photo resolution: up to 6912 x 3456 (23.88 mp*)

– Video resolution: up to 3456 x 1728 @ 30fps, or 2304 x 1152 @ 60fps.

– ISO: 50 to 1600

– Shutter speed: up to 32 seconds.

– Exposure modes: auto, manual, shutter priority, ISO priority

– IP67 water resistance

– 6-axis image stabilization

– Removable Micro SD up to 128GB

– Compatible with Android and iOS

But the specs don’t tell the whole story.

The box is a very stylish, although it was so tight that I had to shake the top off. Then the fun began.

The camera has a brushed black metal finish. It will get hot to the touch, but I have not seen any overheating shutdown problems in my testing.

Setting up the camera to work with your smartphone is easy and straightforward. This is by far the quickest setup that I have ever done with any 360 camera.

Charge up the camera with the supplied USB cable. It charges pretty quickly.

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From:: Student Filmmakers

Leica M10 added to the studio comparison tool

Released early this year, the M10 is Leica’s latest digital rangefinder, offering a slimmer design and refined controls. We’ve just been given a reviewable sample unit, and set it up in front of our studio scene to see what it can do.

Of particular note is a newly developed 24MP full-frame sensor. It’s claimed to be unique to the M10, and has not been developed by Sony, as with many of its 24MP competitors. In our own shooting and preliminary testing, we can see that the M10 is a good performer: with the right lens and proper focus, it is capable of incredibly sharp results when shooting Raw. Be aware that when paired with a sharp lens, the M10’s combination of a fairly modest (for full frame) pixel count and no AA filter can lead to moiré in your images.

Also, particularly enthusiastic viewers will note a slight reduction in sharpness with shutter speeds of 1/60 – 1/125 sec., indicating a smidgen of shutter shock. But due to the inherent tolerances of rangefinder focusing mechanisms among other factors, this is unlikely to ever be the most significant source of softness in real world images.

In terms of JPEG quality, we continue to find that colors (skin tones in particular) could use some attention, with yellowish greens and blue-tinged reds. Sharpening could be more sophisticated too, considering the crispness of the Raw output. In terms of high ISO quality, the M10 performs very well indeed, but it is still slightly outmatched by the best of the competition above ISO 6400.

But don’t just take our words for all this – check out the M10 in our studio comparison tool for yourself.

Check out the Leica M10 in our studio comparison tool

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From:: DPreview

Nikon D850 added to studio scene comparison

We’ve had some time to get to know the Nikon D850 and so far it’s safe to say we’ve been really impressed. Its low ISO dynamic range is class-leading, and it has proven so far to be a versatile tool for shooting everything from wedding receptions to white water rapid kayaking. We’ve also had a chance to put it in front of our standard studio test scene for your viewing pleasure – see how its 46 megapixels look side-by-side with its peers.

See the Nikon D850 in our studio scene comparison tool

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From:: DPreview

Throwback Thursday: Sigma SD1

The Sigma SD1 was an APS-C DSLR that featured the then-new 15MP (times three) Foveon X3 sensor. Previous models, such as the SD15, had 4.7x3MP sensors with a 1.7x crop, so this was a pretty big jump in resolution as well as a move to a more common sensor size. Foveon sensors capture color in a completely different way than Bayer sensors, with each 15MP layer capturing a primary color. Thus, 45MP of total data is captured at 15 million locations, to give what the company claimed was equivalent to a 30MP Bayer sensor.

Other features on this SA-mount camera include an 11-point ‘twin-cross’ AF system, 3″ 460k-dot LCD and a weather-sealed body. The SD1 was originally announced in 2010 with an MSRP of $9,700 but the company then emphasized that it expected it to have a ‘street price’ nearer $7,000 by the time it hit the market in mid 2011. Early the following year, the camera was renamed the SD1 Merrill and relaunched for a more down-to-earth $2,300.

As with all Foveon ‘X3’ sensors, while the SD1’s low ISO resolution was great, image quality fell apart quickly as the sensitivity climbed.

For those who wanted to carry around something a bit more ‘classy,’ Sigma released a model with a burl wood veneer, which was priced at €10,000, at least in Germany, where it was announced. The body was described as ’emphasizing the camera’s premium appeal by adding a casing made from Amboyna Burl, an expensive and decorative veneer taken from complex growths on a Southeast Asian tree. The case takes around 60 hours to cut, mill and polish.’ Wow.

Sample Gallery

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From:: DPreview

Enter to Win a $3000 Sony a6500 4K Camera Package from Shutterstock

By Sponsored Content

Need some new gear? Shutterstock wants to set you up with a Sony a6500 camera bundle worth $3000.

For its Fall Giveaway, Shutterstock is offering the perfect package for brand new filmmakers who are a little light in the gear bag. Starting now, you can enter to win a Sony a6500 4K camera package that is worth upwards of $3000, containing pretty much all of the gear you’ll need to get started making films, including lighting, monitoring, and audio recording solutions.

If you’re unfamiliar with the Sony a6500, this mirrorless camera comes with a 24.2MP APS-C Exmor CMOS sensor, internal 4K video and S-Log, 51200 extendable ISO, and built-in Wi-Fi. It also features 4D FOCUS, 5-axis internal stabilization, and S&Q (Slow & Quick) Motion, which allows users to capture frame rates ranging from 1-120 fps at full HD.

But the Sony a6500 is just one of the items included in Shutterstock’s prize package. Here’s the full list of all of the great gear that is included:

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From:: No Film School