CAME-TV goes for the last product release of 2019 with a new 4K 17″ monitor that is built inside a road case. The monitor looks to be designed for on-set use with V-Lock plate also inside the case. On the bottom is a cheese plate for mounting options. The monitor isnt very bright at only … Continued
The Art of the Cut podcast brings the fantastic conversations that Steve Hullfish has with world renowned editors into your car, living room, editing suite and beyond. In each episode, Steve talks with editors ranging from emerging stars to Oscar and Emmy winners. Hear from the top editors of today about their careers, editing workflows and about their work on some of the biggest films and TV shows of the year.
For our last episode of 2019 Steve spoke with Maryann Brandon, ACE about editing “Star Wars: The Rise of Skywalker.” Steve has talked with Maryann a few times for the Art of the Cut for her work on “Star Wars: Force Awakens” & “Passengers.” Maryann is a multiple ACE Eddie nominee and was also nominated for an Oscar. You can listen to the full episode below:
This weeks episode of the Art of the Cut Podcast is brought to you by LaCie. As a leading media storage company, Lacie consistently brings innovative ideas to the market. Make sure to listen to the above interview for a special offer from LaCie when you shop on Filmtools.com!
Using Lightroom to remove spots caused by sensor dust is a pretty straight forward process: just click “Visualize Spots” and use the Spot Removal tool, right? Well, photographer Anthony Morganti thinks that he’s discovered a better way, and in the video above he shows you a “hidden” Lightroom trick that makes it easy to systematically search your images for sensor spots… or anything else for that matter.
The key word above is “systematic.” The “trick” isn’t some sort of special hidden feature baked into Lightroom Classic, but a keyboard shortcut that allows you to zoom into your photo at 100% and search it, block by block, without missing or overlapping a single pixel. It’s like an infinitely more optimal version of dragging your image around manually.
Here’s how it works:
After clicking on the image to zoom in to 100%, you click the “Home” button (or Function > Left Arrow if you don’t have a Home button) to automatically place your zoom window in the top left corner of the image.
Then you click Page Down (Function > Down Arrow if that key doesn’t exist on your keybaord) over and over again to, block-by-block, scan your image without any wasted pixels.
Credit where credit is due, even if you’ve used Lightroom for years, you may never have known about this simple-but-useful shortcut, and we could see this coming in very handy in certain situations. In a few keystrokes you can systematically comb over every single pixel in your image, ensuring that you’re not missing anything the way you might if you’re just dragging the photograph around.
Check out the full video up top to see how it works and how Morganti uses it to remove sensor dust. And if you appreciate this tip, drop your own “deceptively simple” post-processing trick in the comments.
Self-described “maker” and YouTuber Sean Hodgins of Idle Hands Development recently took on a DIY project that’s way beyond most of us mere mortals: he built his very own, working, 1-Kilopixel image sensor. Take that Sony!
“This project isn’t really cheap, or easy. But if you’re looking for a challenge and a way to learn about how digital cameras work, this is definitely for you!” he writes. “You will need to be able to 3D print parts, solder circuit boards, program Arduinos, and have a basic understanding of how cameras work.”
What he actually built was a DIY Image Sensor and Digital Camera, complete with a makeshift lens that’s really just the front element of a broken Canon 35-105mm f/4.5-5.6.
The camera and lens are more straightforward 3D printing and assembly DIY projects, while the microcontroller and Arduino programming should be familiar for anybody who has been following these kinds of DIY projects on PetaPixel for some time. Where this gets really interesting is the image sensor.
In order to create it, he purchased an Image Sensor Circuit Board with a matrix of 32 x 32 photo cells, giving him just over 1,000 pixels to work with total. Every single component on this circuit board had to be soldered on and placed by hand, which took Hodgins about 2.5 hours of non-stop work, despite the fact that he’s very skilled at this. Don’t expect to escape with your neck and back fully intact.
It takes this much work:
To go from this:
As for the final product? Once the sensor is done, the camera is printed, the lens is attached, the microcontroller circuit board is complete, and the Arduino is programmed, here’s the kind of image you can expect to capture with your homebrew 1-Kilopixel camera:
Clearly he should have put a Zeiss OTUS lens on there to really maximize his microcontrast… rookie mistake.
If you want to learn more about this project, or you’re brave enough to take it out for yourself, head over to Hodgins’ Instructables page here. True, you won’t be winning any awards with the images this thing can capture, but the project will definitely give you a deeper appreciation for just how amazing our modern-day digital image sensors really are. It seems Sony has nothing to worry about… for now.
Image Credits: All photos by Sean Hodgins, CC BY-NC-SA 4.0.
At the end of 2008, the Wall Street-generated economic collapse blew a deflating hole in the Film Indie cash cow. 2009 saw the consequent slashing of staff at the mini-majors, the closing of many companies and a pullback by the content-clueless hedge funders. The result was a low output of indies in 2009, although what films were made were made for the right reasons rather than simply a desire to make another faux-indie TV movie to satisfy desperate distributors. So the decade started there, at a solemn hushed, funeral-like Sundance 2010, one that was also a refreshing, offbeat event for […]
Nikon’s got a big splash planned for CES. In a tweet that confirms the report we shared late last week, Nokishita is reporting that two new Nikon cameras and lenses have been added to the company’s product list, with an official announcement expected on January 7th at CES.
The four products named by Nokishita are the Nikon D780 DSLR, the 120-300mm f/2.8 F-mount lens, the 70-200mm f/2.8 Z-mount lens, and the Coolpix P950 superzoom bridge camera. Here’s the Tweet in question:
In addition to this confirmation that the cameras and lenses we were expecting are almost certainly going to arrive on schedule at CES 2020, Nikon Rumors has published an updated list of specs for the much-anticipated D780 DSLR, complete with an expected price tag.
As previously reported, the camera will feature a 24MP BSI CMOS sensor, better low-light capability, a much-improved image processor, dual UHS-II SD card slots, the ability to shoot 4K/30p and 1080/120p video, built-in WiFi and Bluetooth, and more. The updated specs include four important updates:
In “classic” mode, the camera will feature the same 51-point AF system found in the D7500
When shooting with the mirror up, the camera will use the same 273-point on-sensor PDAF system as the mirrorless Nikon Z6
The camera will not feature a pop-up flash (expected) and no pins for a proper battery grip (disappointing)
Price tag between $2,000 and $2,200
In short, the Nikon D780 looks to be a DSLR version of the Nikon Z6, or a full-frame version of the Nikon D7500. Either way: a big improvement over the current Nikon D750, which is now over 5 years old and in desperate need of a refresh.
In addition to the Nikon D780, the company is reportedly also planning to officially reveal the AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR F-mount lens, the NIKKOR Z 70-200mm f/2.8 S Z-mount lens, and the Nikon P950 superzoom. The 120-300mm lens was already teased alongside the Nikon D6 in September, while the 70-200mm Z-mount lens has been on the roadmap for 2019 (oops) since the beginning of the year, so neither of these come as a surprise.
The Nikon P950, meanwhile, will likely replace the P900, and slot into the Coolpix lineup just below the monstrous Nikon P1000 with its 125x optical zoom lens. This might seem confusing, but Nikon has maintained from the beginning that the P1000 was not a follow-up to the P900, but a separate camera line entirely.
Odd naming decisions aside (why D780?…) it looks like Nikon has a lot planned for CES so expect the year to start off with a bang in about 7 days’ time. Stay tuned.
Image credits: Header photo by Taylor Hatmaker, CC BY 2.0.
Every camera made today is great. This is a statement I have stood behind for several years now because it’s true. It’s hard to go wrong with any camera made today because the technology gap has narrowed considerably. But even so, each year there are cameras that stand out from the rest and deserve praise.
This year, I’d like to recognize these cameras for their excellence despite heavy competition in a crowded market. These are the best cameras of 2019.
Bronze Medal: Panasonic Lumix S1
Even mentioning Panasonic in conversation with camera enthusiasts feels like a taboo for some reason, but I stand firmly in the belief that what they have done with not only the L-Mount Alliance but specifically with their first full-frame cameras deserves praise. The Panasonic S1, S1R, and S1H are all spectacular cameras even when you ignore that these were their first forays into full-frame mirrorless.
Of those three, however, I feel the S1 balances the needs of the most professionals into one excellent hybrid camera. Nearly everything about the S1 feels great to use, from the excellent ergonomics, the well-designed rear touch LCD, the industry-leading IBIS, the easy to understand and navigable menu, the ISO performance, and the photo and video quality all deserve praise. This is a workhorse of a camera that can handle nearly any task thrown at it.
I say nearly because the reason the Lumix S1 only claims the bronze medal is due to its less-than-perfect autofocus system. As good as Depth by Defocus is, I am still not convinced that contrast-based autofocus alone is going to be enough to compete with a hybrid autofocus of phase detection and contrast detection.
That said, the Lumix S1 has already seen dramatic autofocus performance improvements since launch thanks to Panasonic’s dedication to firmware updates. Is it good enough to compete with Sony? Not yet. It is, however, definitely good enough to perform in most professional photography situations.
It thrives in a studio setting and has held its own for events and editorial work as well. Seeing the jumps in performance from update to update is enough to keep me interested and watching closely to what Panasonic does with the Lumix S line going forward. What’s clear is that things are only going to get better, and I’m happy to be along for the ride.
Silver Medal: Fujifilm GFX 100
There is something to be said about giving medium format and high resolution to the masses, and Fujifilm has done their utmost to realize this ambition. Though still expensive, Fujifilm’s GFX 100 is an insane 102 megapixel 43.8×32.9mm BSI CMOS sensor packed into a $10,000 body, something that was completely unthinkable just a few short years ago.
And the photos you can get with the GFX 100 are truly breathtaking. Though technically a crop on a true medium format sensor’s physical size, the GFX 100 has all the benefits one would expect from a sensor of such magnitude. The dynamic range is outstanding, the detail that this camera can capture is top tier, and the ISO performance is surprisingly good even with 100 megapixels to work with.
There are some downsides, however. It’s not the fastest focusing camera, it’s not the fastest operating camera, and it certainly isn’t the most well-built camera. In fact, my biggest gripes with the GFX 100 come down to the quality of the body construction, which feels somewhat shoddy and fragile. I would say it feels cheap, but that’s not entirely fair because, well, it is cheap!
You get what you pay for in some regards, but if you’re willing to look past these admittedly minor complaints about the camera body, you’ll be rewarded with a truly outstanding image capture machine.
Without a doubt, I think it is fair to award the GFX 100 because of what it was able to do, instead of punishing it for any corners it may have cut. The fact of the matter is, this is a really good camera that comes in at an insanely good price point. It’s not perfect, but it’s worthy of significant praise.
Gold Medal: Sony a7R IV
As much as I talk about how much I enjoy the new Lumix cameras, how good of a job Fujifilm is doing with their medium format, or even how much I enjoy Canon or Nikon cameras when I use them, honestly the fight for top dog in this industry still isn’t close.
It’s Sony. It’s been Sony for all of my recent memory, and it will continue to be Sony until someone proves otherwise. Thus far, no other company has yet.
When it comes to feedback to the shooter, pure photo quality, the size of a lens library, and the reliability of autofocus, no company is even close to what Sony was able to do in the Sony a7R IV. The only other camera I could argue may come close is another Sony product: the a9 II. The a7R IV is by no means a perfect camera, but it is far and away the most complete product on the market today that will appeal to a range of professionals.
I like the a7R IV because as a landscape photographer and timelapser, I’m given a huge amount of range with the files. I can print at nearly any size with my landscapes, and with timelapse I am pretty much future-proofed for years thanks to beyond 8K resolution.
On the flip side, my friend Ryan Mense is an avid nature photographer, namely shooting birds. He loves the a7R IV because of the throw it can give him either in post or with the APS-C mode in-camera. Combining 400mm lenses with the insane resolution means he can get closer to birds and animals than he ever could before.
It’s very rare to find a camera that can appeal to both landscape and wildlife disciplines, but Sony managed to do it by combining huge resolution with wildly fast and accurate autofocus performance.
Eye tracking, even with animals, along with object tracking makes capturing tack sharp photos ridiculously easy. For the photographer, being able to think only about your environment and your framing and letting the camera do the focus work is a gigantic burden lifted, and for many will allow them to get markedly better images.
I’ve said in the past that the a7R IV isn’t for everyone, and I stand by that. There are still those who will find this amount of resolution overwhelming for various reasons, but that fact doesn’t detract from the accomplishment that the a7R IV is. It may be a boring pick, and it may be a predictable pick, but it’s the right pick. The Sony a7R IV deserves the moniker of the best camera of the year and gets my gold medal for 2019.
I get weird looks from folks when I gush about how much I like the Leica SL2, and that comes mainly from the crowd who just doesn’t like the idea of how Leica does business. Namely, the idea that charging a fortune for fashion statement re-skins just rubs them the wrong way. Hey, I get that. I totally understand.
But the Leica SL2 isn’t a fashion statement re-skin, it’s a standalone camera that does so, so much right. It’s a great photo camera, probably my favorite of the year in terms of image quality in the full-frame market. It is a great video camera, with some excellent features not found in the majority of hybrid cameras on the market today.
It has excellent IBIS, ISO performance and ergonomics. It just feels good to shoot. On top of all that, it’s just a beautiful camera to behold. I feel like this is a factor that gets ignored in today’s market, which is a shame. You should be proud of your equipment, and holding the SL2 gives me a sense of pride.
Aside from what feels like dated autofocus, it’s otherwise impeccable. That autofocus is a problem though, and I can’t ignore it. Though manageable, it’s clearly a few steps behind what Sony and Canon have been doing and somehow even behind Panasonic.
Additionally, the price point scares many away, and the “luxury” nature of the brand will keep a majority of people from taking this camera seriously. That’s too bad, honestly. I think everyone should consider the SL2 in the full-frame mirrorless game, and though it’s not quite up there with my top three cameras of 2019, it’s strongly in the top five.
Sony a9 II
Though not dramatically better than its predecessor, the a9 II does still make improvements on one of the best sports cameras ever produced which should merit some recognition if you ask me. And honestly, just like with the a7R IV, Sony is so gosh-darned far ahead that even making small, maybe even unnoticeable to most, tweaks to existing gear is really all they had to do.
No one else offers the high frame rates with zero blackout that the a9 or a9 II has – that’s a wholly unique Sony experience. And while I wish they updated a few things like the EVF on the a9 II, I think that overall this camera is very, very good. Is Sony reaching the edge of what is possible? Maybe, but they’re a lot closer than anyone else at this point.
It’ll be interesting to see how Canon and Nikon stack up with their impending DSLRs for next year’s Olympics. Is Sony offering enough to get more Olympic shooters to jump ship? We’ll see.