At this NAB show, we caught up with Atomos’ Jeromy Young and he walks us through the brand new ProRes RAW format and everything there is to know about it. Let’s dive right in!
ProRes has always been the go-to standard (on a Mac, at least) when it comes to NLE-friendly postproduction workflows since it’s not only an aquisition codec but an intermediate and possibly a delivery codec as well. The all-new ProRes RAW is no exception, it’s RAW for the masses.
Apple ProRes RAW
Atomos and Apple have teamed up to develop this new format. It’s designed to simplify and streamline the sometimes cumberstone RAW workflow. Every camera manufacturer has its own RAW format and you’ll need to adapt to all kinds of workflows here. The only exception would be cinemaDNG here but that’s not a very NLE-friendly format, too. ProRes RAW, on the other hand, has usability right built-in. It is designed to cover everything from capturing straight to editing and grading. It gets you the usability of ProRes combined with the flexibility of RAW. But keep in mind: Only Apple FinalCut Pro X 10.4.1 supports this new format for the time being. Others will follow, that’s for sure.
Video cameras normally process the RAW sensor data (individual sensels in a Bayer pattern) internally and create RGB video pixels which are then being compressed to the recording codec. The processing is baked in and can not be manipulated afterwards. The ProRes RAW workflow on the other hand takes all the RAW data and records it straight to the ProRes RAW format. This enables you to manipulate the demosaicing within FinalCut Pro X. Since the ProRes format is NLE-friendly, no additional rendering or transcoding is needed. You can start editing, grading and fine-tuning right away.
In addition to the six other firmware updates released today, Fujifilm also released the previously announced upgrade to the X-T20. The most interesting features include:
- Improved AF tracking: the company says that the camera can track moving subjects at twice the speed of the previous firmware. The X-T20 can now track subjects 50% smaller than before.
- New touchscreen controls: Users can now move the AF area by touch when in ‘focus zoom’ mode. The Quick Menu can now be operated by touch, as well.
- Exposure improved with face detection
- RGB and highlight warnings now available
Version 2.00 of the X-T20 firmware can be downloaded here.
Here’s the full list of improvements:
The firmware update Ver.2.00 from Ver.1.11 incorporates the following issues:
1. New AF tracking algorithm for moving subjects
Thanks to the newly developed image recognition algorithm, the update enhances AF-C to track moving subjects twice as fast as previous firmware. In addition, the update also enhances tracking to be able to capture up to 50% smaller moving subjects than before.
2. Enhanced touch screen operation
The firmware update will add some of the touch screen operation features which are currently available on the FUJIFILM X-E3. These touch screen features include:
1) The Auto Focus area can be moved when in focus zoom with flick operation.
2) Pinch-in/out operation in playback mode will be updated to go from full-frame playback to multi-frame playback (Nine-frame view and Hundred-frame view)
3) Select the frame in multi-frame playback with tap or drag operation or return to full-frame playback by double-tapping
4) Q (Quick) menu selection
5) Input character with touch key-board (*1)
*1：Except for some functions. (ex. SSID input)
3. Support “FUJIFILM X RAW STUDIO”
After connecting a camera to a computer via USB cable, the “FUJIFILM X RAW STUDIO” enables users to convert RAW files with X Processor Pro. Fast batch processing → continue…
By Erik Naso
The Intellytech LC-160 LiteCloth 2’x2′ Foldable LED Mat is a nice light. I did a full hands-on review recently and was very pleased with the performance and light quality. Intellytech at NAB…
The post Intellytech goes RGB with the LiteCloth RGBW LC-160 2’x2′ Foldable LED Mat appeared first on Newsshooter.
From:: News Shooter
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.
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 filmmakers who want an Atomos external monitor/recorder but feel like the 7-inch Atomos Ninja and Shogun recorders are a bit too big, Atomos has released something just for you. The Atomos Ninja V packs many of the same features into a smaller 5.2-inch form factor that the company says is “perfect for mirrorless cameras, DSLRs and gaming.”
We’re not sure about (and not interested in) the gaming bit, but for video shooters who prefer a DSLR or mirrorless system, a smaller external recorder could be exactly what they’ve been waiting for.
The Ninja V sports a 5.2-inch HDR screen with 1000nits brightness and anti-reflection finish for easy daylight recording, and can record up to 4K/60p 10-bit video over HDMI 2 in either Apple ProRes or Avid DNxHR. And since portability is one of its main features, the whole thing is 1-inch (2.5cm) thick and weighs just 11oz (320g).
Feature-wise, you get most of the things you’ve come to expect from an Atomos recorder: histogram, false color, focus peaking, movable 1-1 and 2-1 pixel magnification, waveform, RGB parade, Vector scope, 8 channel audio level meters, and the ability to load creative LUTs, for a start. And the Atom HDR engine promises to show you 10+ stops of dynamic range on the LCD in real time from your camera’s Log/PQ/HLG signals.
Finally, the Atomos Ninja V also features the company’s modular expansion slot, which will allow you to dock “expansion modules” into the battery slot and add advanced features like bi-directional high speed video, audio and continuous power.
At CES 2018, Canon unveiled three specialized CMOS sensors: an ultra-high resolution 120MP APS-H sensor, a 5MP Global Shutter sensor, and a 19μm Full HD sensor capable of shooting 100fps Full HD in extremely low light. Each does something special—offering high resolution, global shutter, and high-sensitivity, respectively—and now, a few months later, Canon is showing off these sensors in a series of demo videos.
The first video featured the 120MXS sensor, which can shoot a mind-boggling 9.4fps at 120MP resolution. Now Canon USA has released the second video in the series, demoing its full-frame 19μm Full HD sensor made for shooting slow motion in extremely low light:
|The 35MMFHDXS CMOS sensor, capable of shooting 100fps Full HD in ‘exceptionally low-light environments.’|
The sensor is called the 35MMFHDXS, and in many ways it’s the polar opposite of the 120MXS. It only contains 2.2 effective megapixels, but each of those pixels is a whopping 19μm x 19μm in size, allowing them to capture a lot of light. This, combined with new pixel and readout circuitry that helps reduce noise, is what allows this full-frame sensor to capture Full HD at 100fps even when shooting in very little light.
You can see what this means in the video up top, or read Canon’s own description of the 19μm Full HD sensor below:
The 35MMFHDXS CMOS sensor delivers high-sensitivity, low-noise imaging performance, enabling the capture of Full HD video even in exceptionally low-light environments. The sensor’s pixels and readout circuitry employ new technologies that reduce noise, which tends to increase as pixel size increases. High sensitivity and increased well depth have been achieved through a larger pixel size of 19μm x 19μm (square) with proprietary device design technologies. The 35MMFHDXS CMOS sensor is available in RGB, → continue…
Full HD resolution video comes out to about 2-megapixels per frame. 4K UHD-1 closer to 8.3MP. Even 8K UHD, which hasn’t really hit the mainstream in any way yet, still only scratches the surface at about 33.2MP. Given all that, can you image capturing video at 120MP? Because Canon can, and has… sort of.
Canon’s 120MXS sensor—first introduced at CES in January—is a 120MP APS-H CMOS sensor that can capture “video” at 9.4fps. Of course, 9.4fps isn’t strictly video, but that hasn’t stopped Canon from showing off what this sensor can do in a side-by-side “video” test up top.
The video was published to YouTube earlier today, and it demonstrates this camera’s capability as a security or industrial cam. The ability to capture 120MP at 9.4fps might not make for smooth footage for filmmakers, but it gives you insane digital zoom capabilities if you’re trying to spot imperfections in a small gear mechanism, or identify suspicious subjects in a crowd:
|Screenshots from video. Click to enlarge.|
According to the video’s description, the sensor features a square pixel arrangement of 2.2µm x 2.2µm, with 122 million effective pixels, and the high-res readout is made possible by multiple signal output channels:
Ultra-high-resolution is made possible by parallel signal processing, which reads signals at high speed from multiple pixels. All pixel progressive reading of 9.4fps is made possible by 28 digital signal output channels. It is available in RGB or with twice the sensitivity, in monochrome
We don’t expect this sensor to pop up in any of Canon’s consumer cameras anytime soon, but it’s an interesting proof of concept… a technological feat that proves the megapixel war is far from over.