Sony users have been waiting a long time for the successor to the Sony a7S II. But according to the most recent report from a source who actually used a prototype of the a7S III, the wait might actually be worth it.
The report comes from Sony Alpha Rumors, who claims “a reliable source” told them Sony is planning to release an a7S II successor with a built-in fan and the ability to shoot 4K/120p video. Everyone is expecting 4K/60p, but if Sony could pull this off, video shooters would be very interested indeed. The source also said the camera does not record 8K, but with the ability to shoot 4K/120p, we speculate 6K/24p might not be out of the question.
Notably, Sony wouldn’t be the first to put active cooling into a full-frame mirrorless camera for the purposes of shooting ultra-high quality video. Panasonic already did this with its S1H (photo above), which can shoot 6K/24p and 4K/60p video in 10-bit 4:2:0—but not even the S1H has managed to crack 4K/120p.
Originally rumored to be released last year, it seems like Sony put the brakes on the Sony a7S III in order to ensure they could outperform the full-frame mirrorless cameras from Nikon, Canon and Panasonic. Well, they’ve seen all there is to see; all that’s left is to respond.
Granted, the prototype that SAR’s source claims to have seen some months ago may have changed two or three times by now, but it sounds like Sony’s goal is to release the next hybrid camera king, and they’re willing to make their users wait for it.
If they do manage to pack 4K/120p video into this camera—alongside some other tantalizing low-light photography features and ultra-high-end video specs—will the wait be worth it? Let us know in the comments.
Around this time last year we reported on Music Vine’s unveiling of a complete interface overhaul. Catapulting the service into a more current design language while also improving on search and filtering, the service had massively improved on a front very much at the centre of the problem all online music licensing services face: discovery of relevant content.
Now, Music Vine is expanding its very broad and versatile licensing system with subscription pricing. The two new branches of Music Vine’s subscription pricing, aptly named Pro and Creator, are to make the service’s content more attainable to a wider range of video pros and creators.
Pro and Creator
The Pro branch of Music Vine’s subscription pricing is targeting businesses, video professionals, filmmakers, production companies and freelancers. Within the Pro branch there will be a “Pro Lite” tier, probably more suited to the one-man-band or similar setups, creating corporate videos, wedding films, content marketing material or smaller indie film productions with the fitting licensing models. The “Pro Standard” tier of Music Vine’s subscription pricing on the other hand would probably be suited to commercial or larger scale productions, requiring all media clearances and the like. We don’t have any detailed information on the minutia of the licensing models, but what we do have is an indication of total cost: the “Pro Lite” tier would come in at $ 19.99 / month, with the “Pro Standard” tier amounting to $ 35.99 / month, given annual billing without VAT.
The Creator branch of Music Vine’s subscription pricing model would of course target a slightly different audience, at a slightly lower level of cost. Aimed at Youtubers, all kinds of personal social media creators its two tiers, called “Creator Ambassador” and “Creator Standard” would respectively come in at $13.99 / month and $ 19.99 / month.
Why Turn to a Subscription Model Now?
Music Vine has been around for quite a while and has seen a slew of competitors become quite successful on a subscription pricing model while evading that model themselves. Now Music Vine CEO Lewis Foster concedes that the demand for a subscription-based pricing model was indeed very large and that the production music business might be shifting in this direction as a whole. “The challenge for us has been to build a solution that is practical and attractive for filmmakers and video creators, while ensuring our artists get paid appropriately for usages of various scales, and enabling us to continue attracting the top musical talent”. Foster says.
Music Vine claims that this expansion of pricing models will coincide with a period of rapid expansion of its already large library over the coming twelve months.
Music Vine’s subscription pricing is set to launch in October 2019, next month. If you want to get notified about the launch, head on over to Music Vine’s notification page, or just keep reading cinema5D.
Full disclaimer: cinema5D is proudly using Music Vine’s music in all of its review and hand-on videos.
What do you think about Music Vine’s subscription pricing models? Are you already using their service? Will this change make you try Music Vine for the very first time? Let us know in the comments!
Make no mistake, the new iPhone 11 Pro and Pro Max smartphones from Apple are all about the camera system. From the new ultra-wide angel camera, to better Smart HDR, to Night Mode and beyond, Apple has gone to great lengths to catch up with the Google Pixel, and photographer Austin Mann thinks they’ve done it… and then some.
Mann is an incredibly talented and successful photographer whose clients include Apple, Condé Nast, Nat Geo Traveler, Nike, and many more. So when he got his hands on a brand new iPhone 11 Pro, he put it through its paces while traveling on assignment, and published a detailed review of the new phone’s pros and cons.
The most interesting part of Mann’s review was about Apple’s approach to Night Mode, which seems to have leap-frogged Google in a single bound. How? According to Austin, it’s all about balancing technological advancement with artistry.
“One thing I love about Apple’s approach to Night mode is the strategic balance of solving a technical problem while also caring deeply about artistic expression,” explains Mann. “When you look at the image above, it’s clear their team didn’t take the let’s-make-night-look-like-day approach, as some of their competitors have. Instead, it feels more like an embrace of what it actually is (night) while asking, “How do we capture the feel of this scene in a beautiful way?”
We’ve seen the same assessment in other reviews. In his review, The Verge Editor in Chief Nilay Patel showed how the iPhone took greater care to preserve the “feeling” of a night scene, whereas the Google Pixel 3’s Night Sight just brightened everything as much as possible.
Mann’s sample images tell the same story, and he expresses this same point again in his conclusion.
“Instead of just trying to maximize available light and make it as bright as possible, the Apple team asked, ‘How do we maintain the feel of a night scene while keeping it sharp and color accurate?’” writes Mann. “It’s clear their camera team has been exceedingly thoughtful in their balance of technology and art — it really shows in the final images.”
To read Mann’s full camera review of the iPhone 11 Pro and see many more impressive sample shots, head over to his website. Night mode is just one of the ways Austin tested the phone’s new triple camera and Smart HDR technology, and all of the results were very promising.
Image credits: All images by Austin Mann and used with permission.
Last week, Apple debuted its new iPhone 11 devices, all three of which feature an ultra-wide camera module. This marks the first time Apple has put an ultra-wide camera in an iOS device and with the new camera comes all-new capabilities and shooting modes.
Not all of the cameras are made equal though. In addition to not having optical image stabilization, it’s been revealed the ultra-wide camera unit on all three models isn’t yet capable of capturing Raw image data or manual focus, unlike the wide-angle camera (and telephoto camera on the iPhone 11 Pro models).
Revealed by Halide developer Ben Sandofsky, the ultra-wide camera has a fixed-focus lens and doesn’t offer any Raw photo output. The reasoning isn’t yet known, but as noted by a number of responses to Sandofsky’s tweet, it’s possible the reason for not offering Raw output from the ultra-wide camera is due to the barrel distortion present in the uncorrected images from the ultra-wide camera. If not corrected, the distortion would be dramatic considering the 13mm (35mm equivalent) focal length, and without having iOS apps with that correction built-in it would result in rather distorted images.
It’s possible Apple could turn on Raw support in a later iOS update, but for now, Raw capture is limited to the other two camera modules.
Adam Savage’s Tested VR is a FREE app that gives you a fantastic experience of what VR and VR180 can be, but it also served as the testbed for the VR180 camera rig assembled to shoot the 8 episodes.
Inspired by Adam Savage’s Tested One Day Builds, Adam Savage’s Tested VR takes audiences on a journey inside the creative workspaces of incredible makers, bringing their processes to life, from ideation to creation. The free experience (you can call it documentary) launched this month for Oculus Quest and Go, takes the public to the workshops of eight different artists:
The voyage you’re invited to requires a Virtual Reality headset from Oculus to discover this eclectic roster of creators including a Broadway and TV puppeteer and a cosplay animatronic wings designer. The eight episodes put viewers inside their workshops for an intimate look at their builds, and the whole experience sounds a lot like going behind-the-scenes to visit the workshops of artists working for movie and TV production, because so much of what is presented is related to the art of make believe.
Mixing Virtual Reality with 3D VR180
There is another aspect to Adam Savage’s Tested VR that attracted my attention. Besides the solutions used to film the episodes and show details of the action, you’re also given a chance to see some of the “behind-the scenes”, with takes that show aspects of the production work, and entice you to explore how it all was done. The app is also interesting because it uses a mix of Virtual Reality, for the cardboard desk in a reproduction of Adam Savage’s Cave, where you can interact with a series of objects, to VR180, used here as the solution to film each episode.
The mix of VR for the interactive parts and VR180 for the documentaries works rather well. According to Oculus, the whole project started one year ago, “when Adam Savage and Norm Chan of Tested fame asked themselves a seemingly straightforward question: What would a one-day build video feel like in VR?” The result is Adam Savage’s Tested VR, 8 episodes filmed with 180-degree stereoscopic cameras that allow for an immersive look at the creative process like never before. Bonus footage includes Adam’s “Cave” workshop tours, which you can “open” from the map on the desk, in the Virtual Reality section that is used as interface.
A visual lesson in 3D VR180 production
The production of Adam Savage’s Tested VR was a learning experience for everyone involved. Adam Savage says that “what I noticed when we watched that first four-minute build video in VR was an entirely new level of intimacy and immediacy. Sitting virtually across from the maker was leagues more instructive, intuitive, and physical than just watching it in 2D on a screen. Seeing the movement of materials and the movement of the maker’s hands in three dimensions was thrilling! VR is a game changer when it comes to more deeply covering the skills, stories, and problem solving makers explore when they set out to make something. It allows the viewer a seat at the bench as it were.”
Arriving to the ideal solution was not easy, though. Over a series of months, the team worked closely with Tested Producer Joey Fameli to design the right visual language to tell maker-driven stories in VR. “The Tested team has spent years working together and crafting a specific way to shooting One-Day Builds, but this excursion took us farther than we thought possible,” Savage adds. “I know VR has been around for a while, but it’s hard not to feel like right now is the dawn of a brand new narrative medium.”
The intimate experience of 3D VR180
Watching the episodes with a VR headset, you’ll probably be disturbed by the sudden cut of the image, when you jump from the 360 degrees VR workshop recreation to the VR180 used to capture the artists. It does make complete sense, though, because VR180 centers on the action you need to watch, so it would not make sense to cover the whole environment around you, as the center of attention is placed in front of your eyes. It’s like watching a screen, with the difference that the image is 3D. You’ve to see it to fully appreciate the way it works.
“We love the look and feel of high resolution 180° video, especially for the kind of intimate, informative experiences Adam and the team create,” says Immersive Media Lead for Facebook AR/VR Eric Cheng. “We’re excited to see what people think and to help other creators experiment with this format.”
Norman Chan wrote on Tested website that “We filmed a pilot episode using a stereoscopic VR camera system with an ambisonic microphone for spatial audio recording; the system was compact and versatile enough to be set up around the shop to follow the pace of a build. We learned a lot of fascinating lessons about VR filmmaking along the way–which Joey will be sharing in an upcoming video–but the resulting footage was undeniably compelling. You really get a sense that you’re in the workshop with Adam, hanging out while he’s building a new prop.”
This app deserves the Oculus Rift
Adam Savage’s Tested VR is only available for Oculus Quest and Go now, but I sincerely hope it comes to the Oculus Rift S, as it makes no sense to keep such a good example of the potential of Virtual Reality for telling stories and showing documentaries limited to the less powerful headsets. The app really deserves the extra power available on the tethered Oculus Rift S to reveal the quality of the 5K 180-degree stereoscopic journey offered.
Tested Producer Joey Fameli was responsible for setting up the camera rig for Adam Savage’s Tested VR. He says that “while I’ve been exposed to VR from the early stages of development, I didn’t spend a whole lot of time in headset, with experiences. I’d check in on the tech, watch the improvements, and demo a few things, but most of what I saw was really angled towards the video game industry.” Joey Fameli also notes that “it always seemed like filmmakers were trying to retrofit their current production style to be viewed in a VR headset, instead of using new tools to complement the strengths of the platform”, an opinion I agree with, having seen some of the early production for VR. He adds that “I honestly didn’t think there was much room for live-action VR filmmaking before this” and it was only when he saw a demo of a 3D VR180 live-action experience that “the potential really clicked for me”.
The camera rig created for Adam Savage’s Tested VR
Having spent a large amount of time now in this production environment, Joey Fameli admits that “ he is excited to try new things and develop more material for it. Joey adds that “the normal videos we publish on our site are a wonderfully detailed look at the maker process, but there is something inspiring and exciting about being in the shop with a competent and talented maker. Tested VR does just that—it puts you in the maker’s space with them.”
While for the general public viewing the app is the most interesting part, filmmakers and anyone curious to know about the production process will want to know more about the rig used to capture the whole project. To coincide with the launch of Adam Savage’s Tested VR, the team published a 10 minute video on YouTube that shows what was used and how it was assembled.
In the video, Tested producer Joey Fameli takes us behind the scenes in the assembly of the team’s new VR180 camera rig. Using a off the shelf Z Cam K1 Pro – which records stereo video at high resolution -Joey shows how he rigs up the camera with spatial audio microphone, recorder, and battery pack for on-location filming. He ends saying: “This is how we made the videos in the just-launched Tested VR app.”
If the rumors and leaks pan out, we’re expecting a powerful little action camera with even better “HyperSmooth” stabilization, a mount that can be folded out of the way, and a “media module” that will allow you to attach some useful accessories like an additional screen and video lights.
There are a lot of great location scouting tools out there. But while PhotoPills and The Photographer’s Ephemeris do an amazing job and are packed full of useful features, photographer Tony Northrup explains why he prefers to use something else that’s completely free: Google Earth.
Northrup still uses PhotoPills and TPE, but as he explains at the beginning of the video above, he knows of no mobile application that can paint a complete picture when you’re location scouting. That’s why, when he’s doing some serious scouting ahead of a trip or photo shoot, the application he prefers is Google Earth for the Mac or PC.
Using the app’s ground-level view (not Street View) you can navigate a location, change your “focal length” by zooming in and out, and chart the location of the sun and milky way a specific days and times. You can even see the “eye altitude” in the bottom right-hand corner. In other words: you can fine-tune your exact composition, walking around a realistic 3D rendering of the spot you’re planning to shoot.
Check out the full video for a demo of Google Earth in action as a location scouting tool, or pick up a copy for yourself here. And if you have any additional location tips of your own to share, drop them in the comments!
How did you and Mavericks VFX get involved on this show?
I had been a fan of the comics… they are very dark, sure, but I also really like the take that if superheroes were real, they likely would be more like rock stars than benevolent saviors. I knew we’d be competing with shops 10 times our size, so we did a concept of « The Seven » headquarters that we ripped from the comic book. I was really happy with it. They ultimately went with a tower, for The Seven headquarters, but I think the concept showed that we had chops.
How was the collaboration with the show runners and VFX Supervisor Stephan Fleet?
Great. Stephan had us on set a few times, covering set when he was tied up with directing second unit, or supervising one of the other units. In post it was great, because he really knows his shit. Sometimes he’d just mock stuff up in Cinema 4d, Nuke, Photoshop, MS Paint (just kidding), to get his point across. It also felt like we were in the same boat… there was never a « you guys » etc, it was always a « we ».
We didn’t speak directly with the show runners very much, as it made sense for everything to go through Stephan. Stephan and Erik had worked together a number of times and there was really mutual understanding and respect.
What was their expectations and approach about the visual effects?
Expectations were high (as you can see in the finished product).
How did you organize the work with your VFX Producer?
Mike Kowalski was the Mavericks VFX Producer. We opted to split into teams. We were in charge of monitors and graphics, the Tower of Seven and crowds in episode 103. So each team had a lead and a few artists.
What are the sequences made by Mavericks VFX?
Monitors/Graphics, The 7 Tower and the crowds in the Race of the Century.
Can you explain in detail about the design and creation of 7 Tower?
The design was very well fleshed out by the art department. It was REALLY nice. So we just went about building it. We needed to get a few things ironed out first. Some of the physics of it didn’t quite line up. The base (which was Roy Thompson Hall in Toronto) was too small for a tower of that size. Additionally, some of the shots, like the tilt ups, wouldn’t frame up that nicely if we stuck to the 77 floors of the concept. It was a big and complex asset so we couldn’t really revise the model on a shot by shot basis. Stephan understood this and there was a lot of back and forth about the size of the tower. We settled on a height and then went about building it. We based a lot of our work on Zaha Hadid’s tower in Beijing.
In building it, we needed to have a few versions for different circumstances. The model was consistent, but the shading and texturing needed to be different depending on the situation. So we had a day version, a night version and a far away version. The day version was focussed on reflections, refractions and re-projection of the surrounding environment. The night version was mostly about the interior lights. We did need to reflect the surrounding environment on the tower, but could not find an HDRI of a city like New York at that height, at night. Lucky for us, there is a highway in the middle of downtown Toronto called the Gardiner Expressway that cuts through the central business district and is about 40 feet high. So we drove along the Gardiner, pulled over to the side and did an HDRI. My years of having first ADs yell at me to hurry up with the HDRI came in handy. The final version of the tower was for wide shots it would be a CG version of the tower that was then touched up in matte painting (modo and photoshop – to get the reflections moving properly).
For the exterior it was mostly shader work, as we had a very reflective surface. The trick was in getting the reflections to play in a realistic and believable way. We often rendered versions of the reflections with small changes in the geo. We also obsessively referenced high res stock footage we had found of buildings in New York and the Zaha Hadid building.
To get the interiors, which were only really seen in the night shots, we kit bashed offices out of previously made models. These were lit with practical seeming light sources on desks and lights in hallways. It may seem small, but those touches really helped sell the realism.
Can you elaborates about your work on the Graphic Montage for the Race of the Century?
We called it the « hype » reel. Editorial created the initial reel for timing and general imagery. Leo Bovell, Mavericks VFX supervisor, found some great ESPN hype reels. Erik and Stephan really liked the lens flarey, floating debris feel to it. We hired a compositor we’ve worked with a lot named Rob Del Ciancio who absolutely KILLS at this kind of stuff. He also barbecues really good ribs. Erik and Stephan really liked the early versions so we kept refining and sweetening it. But the initial presentation got it started off really well. The reel had some 3d in it, but it was a lot of elements and 2d cards.
How did you create and animate the crowd for the Race sequence?
So this was complicated… we looked at a number of crowd programs and settled on MiArmy. First, we had to build the stadium and the seats to put the 3D crowd in. It had to match perfectly, otherwise the crowd would look like they were floating. We used mocap data for the crowd animation. In a few cases, we key frame animated the crowd, but due to the size, we really needed a lot of variation. The mocap data needed to be ported into MiArmy and then we needed to run the simulation. Due to the complexity and extreme hardware demands of cacheing and rendering, we opted for very low res animation for approval. That ended up being problematic, because it can be a bit misleading if it is too low res. We were able to get timing approval this way. We would then take a small section and render that a little higher res for animation approval. Because the show was 4k and we were dealing with 30,000 agents, the cacheing was a nightmare. There were only a few workstations in the studio that could handle it. It wasn’t something we could outsource to the cloud either. I have to hand it to Leo Bovell and Josh Clark who either stay very late or come in at 3am to check in on and launch the caches. We did work with MiArmy to get the cache times down, and they were really great to work with, but you can’t fight reality. The reality being: these were large, complex scenes. There was no magic solution in this case, just brute force, late nights, diligence and care. Due to the cacheing and rendering timelines, we ended up making changes to the t-shirt colours with mattes and color correcting as opposed to re-rendering. The id mattes were pretty versatile and allowed us complete control.
Can you tell us more about your work on the monitor comps?
They were challenging because in addition to the monitor comps, we also needed to design and animate the lower thirds. That in itself is not tricky, but the show used the television and news as a method of delivering the exposition. So we needed to be aware of how we were delivering information. Things would also change a lot, late and tweaks were often made to language. It’s part of the process, though. As the edit starts to come together, changes need to be made to these comps in order to make sure the story flows. I actually really liked doing the monitor comps, as I like the story telling component to it. What can I say? I’m a nerd.
Which sequence or shot was the most challenging?
Is there something specific that gives you some really short nights?
What is your favorite shot or sequence?
What is your best memory on this show?
Not the crowds.
How long have you worked on this show?
We started in May 2018 and finished in February of 2019.
One of the tell-tale signs of a good composite versus a bad composite is the quality of the edges around the foreground layer. For example, it may contain some color contamination from the background it was originally shot against, which can prevent it from seamlessly melting into the new background you are trying to place it over.
A specialized After Effects plug-in that can help deal with this issue is Remove Color Matting. We demonstrate how to spot those bad fringes – as well as how to repair them – here:
Budget Japanese optics manufacturer Yasuhara has announced the Anthy 35mm F1.8 manual lens for full-frame mirrorless camera systems.
The Anthy 35mm F1.8 lens (translated) is constructed of nine elements in seven groups and features a nine-blade aperture diaphragm with an F1.8 to F16 range. The front filter thread is 52mm, it has a minimum focusing distance of 40cm (15.75in) and the lens weighs 409g (14.3oz).
The lens is entirely manual and doesn’t feature electrical contacts, meaning no metadata will be sent to the camera it’s attached to and, if applicable, the ‘release without lens’ setting will need to be turned on.
The lens is set for a fall 2019 release and will be available in Canon RF, Nikon Z and Sony E mounts. No pricing information has been given at this time. We have contacted Yasuhara and will update this article if we hear back about pricing information.
Below are three full-resolution sample images captured with the lens on a Canon EOS R:
We haven’t heard much about Yasuhara in the past and its lens lineup is rather limited, so we can’t attest to the image quality or durability of its lenses, but the company recently celebrated its seventh year in business. Yasuhara also has Anthy-branded 50mm and 85mm lenses in development (translated).
It looks like Nikon is preparing to enter the mirrorless APS-C market and take on Sony’s a6000 series cameras. According to a breaking report from this morning, Nikon is planning to release the “Z50” APS-C mirrorless camera and two lightweight DX-format mirrorless lenses “soon.”
The report, published by Nikon Rumors this morning, claims that the Nikon Z50 will feature a 20MP APS-C image sensor, 3-inch “pivoted” LCD, and the ability to shoot bursts up to 11fps. If accurate, it seems Nikon is adopting a Z”XX” naming convention for APS-C mirrorless, and Z”X” scheme for full-frame mirrorless.
Alongside the new camera, NR says Nikon will release two lightweight, collapsible kit zooms: a NIKKOR Z 16-55mm f/3.5-6.3 and a NIKKOR Z 50-250mm f/4.5-6.3. This might be the first Z lenses that will not be part of Nikon’s “S-Line” of “superior” mirrorless lenses.
That’s all we know for now, but the report claims the camera and lenses will be “officially announced soon” so we shouldn’t have to wait long for confirmation. In the meantime, let us know what you think of this move by Nikon. Should they be focusing on full-frame mirrorless, or is the plan to release Z-Mount APS-C cameras a smart move that could steal some market share from Canon’s EOS-M and Sony’s A6000 series?
Featuring 99% Adobe RGB color gamut, 100% sRGB color gamut, and 97% DCI P3 color gamut to deliver true-to-life color reproduction, the BenQ SW321C is a 4K UHD monitor for professional image editing.
First presented at NAB 2019, the BenQ SW270C is an evolution, in size and specifications, of the SW240 model introduced by BenQ in 2018 as a monitor for photographers. Color accuracy was and is a key selling point for the BenQ SW270C monitor, one of the first to receive the Pantone validated seal of approval. Now BenQ takes some of the characteristics of that model and presents the SW321C, which offers professionals a little more space to work.
Price and availability are not yet announced, but the key specifications of the new monitor are known, although things as hardware calibration seem to be missing (only software calibration available), as well as any reference to the “Pantone certified” seal of approval the BenQ SW270C monitor received. Still, the SW321C offers 99% Adobe RGB color gamut, 100% sRGB color gamut, and 97% DCI P3 color gamut, an indication that, if the numbers are correct, it is, as BenQ says, “the perfect companion for professional image editing.”
Some features are missing
Despite missing the “Pantone certified” and hardware calibration, the monitor offers, according to BenQ, “a range of new color management features” that “give you a wider range of color reproduction for blue and green, resulting in a more realistic representation of outdoor and wildlife photography.” The 4K UHD resolution enlarges your usable desktop and guarantees, says BenQ, “a remarkable clarity of the finest details and textures! This greatly facilitates the visually intensive screen work and creates a brilliant and comfortable working process for professional image processing.”
The extra space of this 81.28 cm / 32 inch monitor with 4K UHD resolution is, in fact, what may appeal to some. The IPS technology panel seems similar to the one present on the BenQ SW270C, with a 1000:1 contrast ratio, 300 cd/m2 brightness and 178/178 viewing angles, but if you compare other specifications of the monitor, you’ll find things as Black & White mode or GamutDuo, which allows you to simultaneously and comfortably compare videos side by side in different color spectrums, are missing.
A growing family
In terms of connections, the BenQ SW321C features USB 3.1 Type-A, USB Type-C, HDMI 2.0, DP 1.4 and a SD card reader. A Hotkey puck and a Light protection hood are included in ther package. With the Puck hotkey, the monitor proves true multi-functionality. In no time can be changed by pressing a button between the different modes. This allows the picture details to be accented differently and the editing becomes even more effective. The removable light protection hood reduces ambient light reflections on the display, ensuring excellent color accuracy for professional work. The anti-glare hood can be used in portrait or landscape format.
The BenQ SW321C joins a family of monitors that has grown in recent years. Users now have multiple choices, from the SW240, with a resolution of 1920 x 1200 (16:10) through the SW2700PT and SW270C, both with 2560 × 1440, the SW271 4K UHD and the SW320 4K UHD. When choosing, it is important to read through the specifications of these models, as you’ll discover that despite being all members of the same family, there are some key differences between some models offered by BenQ.
The 16-55mm F2.8 provides Sony APS-C shooters with a useful 24-82.5mm equivalent range and a bright, constant aperture. We put it on a6500 to see if Sony’s claims of excellent edge-to-edge sharpness hold up – take a look for yourself.