Sample gallery: Nikon 180-400mm F4E TC1.4 FL ED VR

Announced just in time for the 2018 Winter Olympics, the Nikon 180-400mm F4E TC1.4 FL VR has a built in 1.4x teleconverter – when engaged it provides a 252-560mm focal range with an F5.6 max aperture. Similar in design to Canon’s EF 200-400mm F4L IS USM Extender 1.4x, we expect this $12,000 lens to mostly find its way into the hands of working sports, action and wildlife photographers.

Though we at DPReview are none of the above, we also weren’t going to pass up an opportunity to give it a try. An exhibition soccer (football) match between two local Seattle colleges provided the perfect chance to shoot with it mounted on the Nikon D5.

Set up at the midfield line, the 180-400mm range was enough to effectively cover most game play. But the extra bit of reached provided by the teleconverter allowed me to occasionally punch in on the action when I felt comfortable. And engaging the teleconverter is as simple as flipping a switch near its base – a satisfying quiet ‘thunk’ sound lets you know it’s in place. By halftime, I’d mastered the art of flipping it on and off with my eye to the finder.

Weighing about 9 pounds, a monopod is a must when using this lens.
ISO 560 | 1/1000 sec | F4 | 180mm

As you might hope from a camera and lens combination costing almost $20,000, the autofocus hit-rate from the soccer match was nearly perfect. A majority of the images were shot with the camera set to its Auto area mode, which for the most part locked on to my intended subject.

Once back in the office, with the images up on a computer, I was impressed by the lens’s sharpness, even with the → continue…

From:: DPreview

Vegas, Slot Canyons and Venice.

By alisterchapman

day1-3 Vegas, Slot Canyons and Venice.

I’m writing this from a hotel room in Page, Arizona. Half way through a shoot covering everything from the city lights of Las Vegas to the Slot Canyons of Arizona. I’m using a Sony Venice to shoot most of the material, but I also have an FS5 recording to ProRes Raw on a gimbal for some shots.

It’s been an interesting shoot with many challenges. Some of the locations have been a long way from our vehicles, so we have had to lug the kit cross country by hand.

Lugging the camera kit to the Slot Canyon. Thankful that the Miller CX18 tripod is nice and light.
Shooting with Venice in the Slot Canyon.

Almost everything is being shot at 60fps with some 120fps from the FS5. We also had a Phantom Flex for a couple of days for some 1000fps footage. For some of the really big panoramic scenes we have used the 4:3 6K mode on the Venice (at 24fps).

JS_1983 Vegas, Slot Canyons and Venice.
FS5 on a gimbal shooting ProRes Raw via an Atomos Inferno.

Our main lenses are a set of full frame T1.5 Sigma primes. These are absolutely amazing lenses and when paired with the Venice camera, it’s hard to produce a poor image. Our Venice has a beta of the dual ISO firmware which has been an absolute godsend as the bottoms of the deep slot canyons are very dark, even in the middle of the day. So being able to shoot at 2500 ISO has been a huge help.

I will write up this project in more detail once the shoot is over. I can’t share any footage yet, but once my client releases the film I will be able to let → continue…


You can own the world’s first single shot 8×10 digital camera for $106,000

If you’re shooting digital, the largest image sensor you will find at your local camera store is the 53.4mm x 40.1mm medium format sensors inside something like the Phase One IQ3. But if that is just not enough for you… there is one, much larger option. Meet the $106,000 LargeSense LS911: a large format digital camera and purportedly the “world’s first 8×10 digital single shot camera for sale.”

The LS911 is the passion project of Bill Charbonnet, who left his desk job in 2014 to start LargeSense LLC and built these large-format digital cameras. Four years later, the LS911 is his first shipping product.

According to the press materials, LS911 features a 12-megapixel 9×11-inch monochrome CMOS sensor (that translates into massive 75 micron pixels), ISO that can be set at either 2100 or 6400, 900GB of internal storage, and the ability to output files to DNG, 16-bit TIFF, 32-bit TIFF, RAW and JPEG formats. There is no CFA, but the monochrome sensor can be used to produce color images (of non-moving subjects) using an in-built 3-shot system and color filters.

Oh, and the thing can also apparently shoot 4K, 3840 × 2160 video at 26fps using its electronic shutter.

Here is a video of the LS911 in action:

And here is how the size of the LargeSense LS911 sensor compares to some of the other image sensors out there:

Note: the LargeSense LS45 is a 4×5-inch digital back Charbonnet is working on, but has yet to release.

If the LS911 seems a bit bonkers, honestly, that’s because it is. We’ve been discussing it in the office for the past couple of days, trying to figure out how to put this camera in context for our readers, and here’s our take: it’s cool, but → continue…

From:: DPreview

The Xperia XZ2 Premium is Sony’s first dual camera smartphone

Most high-end smartphones these days come equipped with dual-cameras and in many cases the cameras are built around Sony image sensors. An yet, Sony’s own Xperia range had no dual-camera models to speak of… until now. At the Mobile World Congress, the Japanese manufacturer displayed a demo model of a high-sensitivity dual-camera setup, and this technology will soon be available in a production model announced today: the Sony Xperia XZ Premium.

Sony’s new top-range device combines two 1/2.3″ sensors in its camera—a 3-layer stacked 19MP RGB unit, and a 12MP monochrome imager. Image data from both chips is merged by the AUBE Fusion image signal processor in order to optimize dynamic range, noise and detail. Sony claims outstanding low-light performance with a maximum ISO value of 51200.

Like Huawei’s high-end phones, the Sony offers a native black-and-white mode, and a background-blurring bokeh-effect is available as well. The 7-element G lenses come with F1.8 and F1.6 apertures respectively. On the video side of things, the Xperia XZ2 is capable of recording HDR footage at 4K resolution, and offers the same Motion Eye 1080p/960fps slow-motion mode as the standard Xperia XZ2.

All non-camera specifications are worthy of a flagship smartphone, as well. The Android Oreo OS will be powered by a Snapdragon 845 SoC and 6GB of RAM. And the 5.8-inch TRILUMINOS display offers a 2160 x 3840 pixel resolution and is covered by 2.5D Gorilla Glass.

The Sony Xperia XZ2 Premium will be available starting this summer in Chrome Black or Chrome Silver. Pricing is yet to be announced. More details on the Xperia XZ2 and its dual camera are available on the Sony website.

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From:: DPreview

Opinion: the Sony a7 III could be the new Nikon D750

For the past few years, I’ve been recommending the Nikon D750 to enthusiasts and semi-professionals needing a reliable DSLR to grow in to – probably more than any other ILC on the market. It was even my Gear of the Year in 2015 for its excellent feature set to price ratio.

Though it debuted in late 2014, the D750 remains a relevant and reliable workhorse years later. 24MP of resolution on a full frame sensor is a sweet spot for a lot of shooters, and the D750 still offers competitive dynamic range and excellent high ISO performance. It also has terrific autofocus, with Nikon’s reliable 3D Tracking.

The D750 has proven to be among the most future-proof full frame DSLRs in recent memory

And as far as full frame DSLRs go, it’s among the lightest ever made. But it’s also a camera we know will likely stand the test of time thanks to aggressive weather-sealing and sturdy construction. In short, the D750 has proven to be among the most future-proof full frame DSLRs in recent memory. Even today it’s still priced aggressively enough – with technology that is relevant – to warrant my recommendation, not to mention the recommendation of the DPReview staff in our Best Camera Under $2000 roundup.

Time for a new recommendation?

I swapped out my Nikon D750 to shoot a show with the Sony a7 III: the combination of excellent AF coverage and good low light IQ left me questioning whether it’s time to recommend this Sony over the Nikon I’ve come to love.
ISO 12800 | 1/400 sec | F4 | Shot on Sony FE 35mm F1.4 ZA | Edited to taste in ACR

But → continue…

From:: DPreview

Best 4K 60 fps Cinema Camera under $2,500? A Fun Comparison between the Blackmagic Design Pocket Camera 4K, Panasonic GH5 and GH5s, and the Z CAM E2

By Sareesh

This article is a comparison of the specifications of the following low budget 4K cameras under $2,500 that shoots 60 fps or more:

Important: Some of the information is unverified. Some are just rumors. Therefore, don’t take this comparison seriously. Don’t take the prices or the specifications seriously either. For accurate information please consult manufacturers’ websites and data. Don’t take any decisions based on this comparison.

The basics

Let’s start with the camera bodies:

Camera Price of body What you get Warranty Notes
GH5 $1,998 Battery, charger, body cap, USB cable, shoulder strap, cable holder 12 Could have added V-Log
GH5s $2,498 Battery, charger, body cap, USB cable, shoulder strap, cable holder, BNC cable 12 N/A
Pocket Camera 4K $1,295 DaVinci Resolve Studio ($299), AC Power supply, dust cap 12 Could have added a battery
Z CAM E2 $1,999 Unknown 12 Huge price jump from the E1

The Blackmagic Design Pocket Camera 4K (Amazon, B&H) is definitely looking good here. Not only is it the cheapest, but you also get the full version of Davinci Resolve ($299). But we’re just getting started.

Comparison of sensors

Here’s how the camera sensors compare:

Camera Sensor Size (mm) Native Aspect Ratio Maximum Resolution ISO Range Notes
GH5 17.3 x 13 mm 4:3 4992 x 3744 200-25600 18% larger sensor
GH5s 4:3 4096 x 2160 160-51200 (Dual Native) Best low light
Pocket Camera 4K 18.96 x 10 mm 1.89:1 4096 x 2160 Up to 25600 (Dual Native) UHD might be cropped to 17.7 x 10mm
Z CAM E2 17.3 x 13 mm 4:3 4096 x 2160 100-6400

The Pocket Camera 4K is slightly wider, which is good. But on the other hand, the other cameras have a native 4:3 sensor so it gives you extra options. With the GH5, you can almost shoot in 5K in 4:3 mode, which is a great advantage.

The GH5S has great low light ability, which is its USP. The Pocket Camera 4K also has dual native ISO, though it → continue…

From:: Wolfcrow

iFixit teardown reveals OIS on all three cameras in the Huawei P20 Pro

Credit: iFixit

The team at iFixit has performed its usual teardown on the new Huawei P20 Pro triple-cam equipped smartphone to assess the device’s repairability. The score for the latter is 4/10—which means it’s probably advisable to leave repairs to trained service personnel—but far more interesting to us photographers is the detailed look iFixit got at the Huawei triple-camera setup.

You can see the full teardown here, but the main and most pleasant surprise is that Huawei actually built in more stabilization than their specs revealed.

In the official Huawei specifications, only the tele-lens with 80mm equivalent focal length is listed as optically stabilized, while the RGB main camera and the the monochrome secondary unit rely on the Kirin chipset’s neural processing unit for ensuring sharp images. However, according to the iFixit engineers, all three cameras come equipped with OIS hardware, which makes us wonder if there are plans to activate this hardware via a firmware update at some point in the future.

Credit: iFixit

The image above shows the triple-camera in all its glory. The primary RGB camera is placed at the center of the setup and uses a large 40MP 1/1.7 inch sensor with an F1.8 aperture and a maximum ISO setting of 102,400, on the left you can see the 20 MP monochrome camera with F/1.6 aperture, and the 8MP/F2.4 telephoto is on the right. Next to the triple-camera the engineers have placed the 24MP front unit.

For more information and images, as well a video showing the OIS hardware, check out the full report on

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From:: DPreview

Sony FS5 II, Canon C700 FF, Pocket Cam 4K, Fuji X-H1 + More From Day 1 At NAB

By Noam Kroll

I just got back from an exhausting day on the floor at NAB, but wanted to share some quick thoughts and first impressions while everything is still fresh. I’ll be rolling out more NAB content throughout the week, delving into a lot more detail on all the big news and announcements, but for now here are some first impressions –

Let’s start with Blackmagic’s announcement of the Pocket Camera 4K, which undeniably made the biggest splash when it was unveiled earlier today. This was no surprise, as filmmakers have been clamoring for an update to the original Pocket Camera for years, and today that wish came true.

The new Pocket Camera not only shoots 4K, but has a larger sensor (Four Thirds), an MFT mount, Mini-XLR input, CFast/SD slots + the ability to record externally via USB-C to hard drives, dual ISO settings for incredible low-light performance, a 5″ touchscreen monitor, and much more. It’s also a much larger camera, resembling a DSLR more than the previous Pocket Camera.

I think the body style of the camera is actually ideal, as many Pocket Camera shooters are working on guerrilla productions, and the DSLR-style form factor when paired with stills lenses will likely help filmmakers fly under the radar when shooting in public. For $1295, it looks like this camera will be a steal.

Another announcement that caught my attention was the FS5 II from Sony, priced at $4750. The new version mainly brings incremental changes to the camera, and if it weren’t for one specific feature update I probably wouldn’t be highlighting it here today… But Sony revealed they have integrated the color science from their high end Venice cinema camera into the new → continue…

From:: Noam Kroll

Blackmagic Design announces Pocket Cinema Camera 4K

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

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

The Pocket Cinema Camera 4K is built around a Micro Four Thirds sensor with dual native ISO and a native DCI 4K (4096×2160) resolution. Although we don’t have any technical information on the sensor, this sounds suspiciously similar to the one used in Panasonic’s GH5S. Blackmagic claims the sensor can capture 13 stops of dynamic range.

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

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

What’s potentially more interesting, however, is the option to record externally using the camera’s USB-C port. Blackmagic claims it’s the first camera that will let users connect media, like an SSD, directly to the camera’s USB-C port for direct external recording. This means it should be possible to go directly from shooting to working on your computer without transferring data from → continue…

From:: DPreview

Industry News: Blackmagic Design Announces Blackmagic Pocket Cinema Camera 4K for Just $1295

By Canon Rumors Next generation 4K camera features dual native ISO, full 4/3 HDR sensor, 13 stops of dynamic range, and ProRes or RAW recording to internal SD/UHS-II and CFast cards, or even external USB‑C drives! NAB 2018, Las Vegas, USA – April 9, 2018 – Blackmagic Design today announced the all new Blackmagic Pocket Cinema Camera 4K, a handheld digital … → continue…

From:: Canon Rumors

NAB 2018, Blackmagic Design presenta Blackmagic Pocket Cinema Camera 4K con doppio ISO nativo e RAW

By News

Al NAB 2018, è stata presentata la tanto attesa cinepresa compatta digital Pocket Cinema Camera 4K di Blackmagic Design con doppio ISO nativo, sensore HDR 4/3 a pieno formato, 13 stop di gamma dinamica e registrazione in ProRes o RAW su schede interne SD/UHS II e CFast o su dischi USB C esterni.Blackmagic Pocket Cinema Camera

The post NAB 2018, Blackmagic Design presenta Blackmagic Pocket Cinema Camera 4K con doppio ISO nativo e RAW appeared first on ProAV News e informazioni Foto, Cine Video .

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From:: Pro Video Coalition

The Blackmagic Pocket Cinema Camera 4K Has Dual ISO, HDR, And Much More For $1295

By Noam Kroll

I’m currently at Blackmagic’s press conference at NAB 2018, waiting for all of the official new announcements to be made momentarily. As expected, the new Blackmagic Pocket Cinema Camera 4K is about to be unveiled, and based on the description and pricing of the product, there is a lot to be excited about.

&1295 for a MFT cinema camera that has dual ISO (up to ISO 25,600) to CFast or SD cards, sounds pretty amazing. The built in 5” monitor tells us the camera body will be larger than the previous pocket cam, which shouldn’t be too much of a surprise to anyone, especially given the larger sensor size in this camera too. I have to wonder if it’s a similar sensor to the original BMCC, as the sensor size and dynamic range (13 stops) sounds quite familiar.

I will be sure to post an update later today, after the show with further info and pictures of the camera once it’s officially unveiled.

Check back soon for more updates!

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From:: Noam Kroll

RED Gemini Real World Test “iPhone Only” ;)

By Vincent Laforet

So – what does the #Gemini look like at high ISO in the wild?
i.e. in “real world” use – vs a studio test?

That’s likely what every RED Digital Cinema​ user, filmmaker and DP is asking right now, especially a few days before #NAB2018

I too was curious … so much so that I took the fresh off the assembly line body with me to Sedona, AZ and the Grand Canyon during spring break with the kids… and natch: I put everyone to work. (Thanks to Bruce Dorn​ for being such a wonderful champ, guide, model!)

In many ways this video re-defines the “iPhone Only” term to some small degree – as a series of scenes is shot purely with iPhones … which I thought said everything one needs to know about the Gemini.

The fact that this was shot POST sunset for the most part – and in the 30-90 minute + range is what is exceptional to me specifically. That’s something I’m only used to when I shoot time lapses on DSLRs. Until now. (And we had to turn the iPhone screen brightness levels down!)

Filmmakers, TV shooters, doc, and pretty much everyone will be pleased with the excellent low light performance of this body as well as the smaller 5K size. I noticed I was filling up those SSDs much more slowly than in 8K… I was able to fill 5 days of footage on two of the new tiny G-Technology Europe​ 2TB SSDs and filled them each only 60%. That’s cool!

The results are incredible to me. I think the body easily sees 1.5 to 2.5 stops more into the shadows than any RED I’ve used to date and any 4K or above camera that I’ve used → continue…

From:: Vincent Laforet

Why Apple ProRes RAW Is A Huge Deal + How It Will Effect The Post-Production Landscape

By Noam Kroll

As some of you may have already heard, a few days ago Apple announced ProRes RAW – the next evolution in their ProRes codec lineup. For years ProRes has been the industry standard acquisition and editing format, followed by Avid’s DNxHD.

A decade or so ago when ProRes first hit the scene, it was big news. Post-houses that were used to working with cumbersome Uncompressed HD files were now able to work with a format that was visually identical, but offered smaller file sizes and far more efficient editing. And of course, the codec eventually made it’s way onto countless cameras, software platforms, and external recorders.

Things have changed over the years though, and RAW recording – which was once a luxury reserved only for the highest end productions – is now common even on prosumer level gear. Cameras like the Blackmagic Pocket or Canon C200 have put RAW in the hands of the lower budget/indie filmmaker, which has been incredible, but also has created workflow challenges for many filmmakers and editors.

RAW poses many of the same issues that Uncompressed HD did all those years ago – namely huge files and clunky post-production workflows.

This is where Apple ProRes RAW comes in.

The basic idea behind the format is to allow filmmakers to maintain small file sizes without having to sacrifice the ability to color grade using RAW. This is truly a win-win, as many filmmakers have reverted back to shooting compressed formats on many projects, as RAW can often be overkill for smaller jobs. But ProRes RAW will allow filmmakers to keep their workflow exactly the same as if they were shooting compressed, but will open the door for true RAW functionality, like white balance and ISO adjustments.

When you look at the graph below, which shows relative file sizes next to Uncompressed 12-bit → continue…

From:: Noam Kroll

Canon unveils staggeringly low light 100fps CMOS sensor

By (Adrian Pennington)

Canon reasserts itself as the masters of low light imagery

When the Canon ME20F-SH was unveiled it wowed us with its incredible low light abilities. Now Canon has gone one step further and increased the ISO of the chip and given it the ability to record at 100fps. Low light shooting never looked so good!

  • Canon
  • ME20FSH
  • low light
  • ISO 4 million
  • 100fps

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    From:: RedShark News