Canon and Sony News for Apr 2017 (Page 2)
Just posted: Canon EOS 77D Review.
It's a great little camera. The biggest surprise to me? A significantly deeper grip that allows me to hold the camera and up to a medium-sized lens with only the three fingers.
The Canon EOS 77D is in stock at B&H | Amazon | Adorama.
From DJI:
Redesigned Three-Axis Stabilized Gimbal System Lets Professionals Capture Smooth, Steady Footage in Every Situation
DJI, the world’s leader in creative camera technology, today introduced Ronin 2, the three-axis camera stabilizer redesigned to give filmmakers the freedom to capture any scene they can imagine. Based on DJI’s transformative gimbal technology, Ronin 2 has more power and torque to carry larger cameras, is more versatile to be used in every situation, and has more intelligent features to allow for unprecedented camera moves that help realize every creative vision.
“Ronin 2 dramatically improves every aspect of the camera operating experience and is the best stabilizer we have ever made,” said Paul Pan, DJI Senior Product Manager. “Completely redesigned to meet the needs of today’s camera professionals, Ronin 2 makes it easier than ever to capture stunning cinematic footage under the widest variety of situations.”
A Powerful Platform For Creative Freedom
Ronin 2 gives filmmakers complete freedom to select the right camera for the shot. An enlarged camera cage and 50mm extendable arms support everything from DSLRs to full cinematic cameras and lenses. Powerful gimbal motors ensure sufficient torque to handle payloads up to 30 pounds. Aided by onboard GPS, the powerful encoded motors let Ronin 2 travel at speeds of up to 75 mph while delivering the same 0.02 degrees of sub-pixel level precision that Ronin users have come to expect.
Versatile Mounts and Movements
With a new design and detachable Grip, Ronin 2 brings custom stabilization to the full range of camera mounts that directors rely on. From basic handheld and jib configurations to Ready Rig, plus cable cams, vehicles and drones, Ronin 2 provides a wide range of creative flexibility. A new two-axis operation mode for mounting to Steadicams offers unique and creative movements that were once impossible to perform. The quick release mount makes it easy to transfer seamlessly from one scene to the next, giving filmmakers new freedom to explore every perspective with stability and control. A redesigned dual band 2.4/5.8 GHz remote allows minimized interference for full control during remote and two-person operation at a range of nearly 1.5 kilometers.
Faster To Set Up and Easier To Use
Every detail of Ronin 2 has been improved for quick setup and easy operation. New axis locking levers and fine tuning knobs deliver faster and more precise balancing, while the Auto Tune Stability feature intelligently adjusts motor parameters for optimal use in seconds. A new integrated touch screen with 1,000 nits of brightness lets professionals directly configure the gimbal settings for on-the-fly adjustments and for full control of mounted RED cameras.
Redesigned Frame with Centralized Power
Ronin 2 features a redesigned carbon fiber monocoque style frame, providing the highest quality manufacturing ever in a handheld stabilized camera rig while making the platform durable, lightweight and easy to carry. New fold-away feet enable the operator to set the platform down during handheld filming without the need for a separate stand. A splash-proof enclosed motor design with internally routed power, SDI and data cabling enables worry-free shooting in the most demanding environments.
Integrated power and data ports make Ronin 2 a centralized system for cameras and all accessories without the need for multiple power systems. It features four 14.4-volt (8 amps total) ports near the camera cage, two 12.6-volt (4 amps total) ports near the pan motor, and one P-Tap 12.6-volt (4 amps) outlet on the battery mount.
Dual hot-swappable batteries provide continuous uptime without ever powering down. They are capable of operating simultaneously and independently to provide 2.5 hours of runtime to power the gimbal and a RED Dragon camera. Ronin 2 uses the same ultra-fast charging, high-capacity, self-heating batteries as the DJI Inspire 2, simplifying battery management and guaranteeing reliable power in extreme cold temperatures down to -4 degrees Fahrenheit. The battery system is fully detachable to provide a portable power supply for any 12-volt P-Tap powered camera or accessory.
Enhanced Intelligent Features
The completely updated DJI gimbal assistant mobile app provides a more intuitive and easier-to-use interface for bringing a cinematic vision to life. It includes new studio-oriented functions to easily capture complicated camera moves that once required specialized expertise or additional equipment.
The new Panorama mode automatically controls Ronin 2 to create still image panoramas that account for the camera sensor type and lens focal length as well as the user-defined overlap rate. Its new Timelapse mode can program multiple movements and camera actions at different points along a route, and view progress in real time. And the new CamAnchor mode lets operators quickly record a preferred gimbal orientation at particular locations, then revisit them with a simple touch as the camera moves from point to point.
The intelligent SmoothTrack system that provides stable images while the camera is on the move has been enhanced with an updated algorithm for keeping Ronin 2 in sync with the operator’s movements. For every scenario encountered by a professional camera, Ronin 2 users can fine-tune how their rig responds to new movements along all three axes.
Availability
Ronin 2 will be available in the second quarter of 2017 from DJI Authorized Retail Stores and DJI Resellers worldwide. Pricing will be announced prior to availability.
Update: The DJI Ronin 2 is available at B&H.
From Sigma:
The SIGMA Corporation is pleased to announce that the ultra-wide-angle zoom lens "SIGMA 12-24mm F4 DG HSM | Art" and the ultimate lens for portraits and more "SIGMA 85mm F1.4 DG HSM | Art" have won TIPA Awards 2017.
BEST DSLR WIDE ANGLE ZOOM LENS: SIGMA 12-24mm F4 DG HSM | Art
Constructed with 16 elements in 11 groups, with FLD glass elements, an updated Hyper Sonic Motor with 1.3X torque for fast AF, and use of “the largest aspherical element in the industry”, this constant aperture wide angle zoom is designed for full-frame DSLRs but can also be used with APS-C sensor cameras to deliver a still impressive 18-36mm field of view (approximate, depending on camera model). With a minimum aperture of f/22 and close-focusing capability of 9.4 inches (24cm) at the 24mm focal length range, photographers can create unique images with startling depth of field, while the constant f/4 aperture and 9-bladed rounded diaphragm allows for outstanding bokeh effects.
BEST DSLR PRIME LENS: SIGMA 85mm F1.4 DG HSM | Art
Aimed at portrait photographers and those who want to create dramatic shallow depth of field effects, this full-frame 85mm lens in SIGMA’s Art series employs SLD (Special Low Dispersion Glass) and one element with a high rate of anomalous partial dispersion and a high index of refraction. The lens contains a 9-bladed electronically controlled diaphragm, a hypersonic (HSM) motor for rapid and silent AF, and an AF system with 1.3X torque boost. Quality build features include a durable brass mount and a composite TSC barrel, a material known to provide consistent performance at extreme temperatures and is considerable lighter than other materials that would yield similar benefits.
B&H carries the Sigma 12-24mm f/4 DG HSM Art and Sigma 85mm f/1.4 DG HSM Art lenses.
Image quality results have been added to the Tamron 10-24mm f/3.5-4.5 Di II VC HLD Lens review page.
While the Vibration Control feature alone is going to be upgrade-worthy to anyone using the previous Tamron 10-22mm Lens, the dramatically improved image quality over the copy we previously tested sends an even much stronger signal.
Following are a number of additional comparisons. Not all testing utilized the same camera, but visually accounting for the differences provides relevant comparisons nonetheless.
Tamron 10-24mm VC vs. Canon EF-S 10-22mm Lens
Tamron 10-24mm VC vs. Canon EF-S 10-18mm Lens
Tamron 10-24mm VC vs. Sigma 10-20mm f/3.5 Lens
Tamron 10-24mm VC vs. Sigma 10-20mm f/4-5.6 Lens
Tamron 10-24mm VC vs. Nikon 10-24mm Lens
The Tamron 10-24mm f/3.5-4.5 Di II VC HLD Lens is in stock at B&H | Amazon | Adorama.
From Nikon Europe:
'One telephone call changed the history of optics in Japan for sure.' Celebrated photographer, David Douglas Duncan, who turned 100 on Jan. 23, 2016, is one of the first photographers we've approached to share his experience with Nikon. Here, he shares how he first came across Nikon and this encounter played a crucial role in establishing Nikon's cameras and lenses worldwide.
'From his coverage of the Korean War, which gave birth to the celebrated book "This Is War!", to his intimate documentation of Pablo Picasso, Duncan has influenced generations of photographers.' (source)
When planning for a big photo daytrip, I usually have a packed-full itinerary carefully planned out and select the day based on the desired weather matching the forecast along with various other factors. But, sometimes even very careful planning does not work out.
This particular day had set up perfectly and I executed the plan, making the roughly 6-hour round trip drive to Philadelphia.
Upon arrival, I immediately discovered that preparations for the NFL Draft ceremonies, including installation of multiple enormous covered stages, had completely taken over the art museum, including the parking area I was planning to use. The backup plan was implemented for parking and the art museum, one of my intended subjects, quickly hit the questionable list.
The morning and early afternoon were forecasted to be cloudy and I drove in rain during much of the trip into the city. While that might not sound like the ideal forecast for city photography, the cloudy skies were going to provide ideal light for interior photography at a large church. Soft light coming in the windows would add life to the interior, but direct sunlight burning highlights into an image would be avoided.
Upon arrival at the church, I found the doors ... locked. The church's website said it would be open. The city employees watching over the area contacted their superiors and were told that the church was supposed to be open. Some church employees were even trying unsuccessfully to get in. About two hours later, the church was still locked and I gave up the wait, moving on to scout for later opportunities.
A blue hour ultra-wide angle view of the art museum entrance was on my to-photograph list for the day, so this was the next shot to be scouted/planned for. Because this view faces somewhat into the setting sun, the ideal blue hour timing was slightly later than another blue hour photo I had planned. I worked through the NFL Draft construction project and a security worker permitted me to go to the top of the art museum steps (the ones "Rocky" climbed) behind the main NFL Draft stage. Unfortunately, upon arriving at the top of the steps, I discovered more large tents covering most of the main entrance. Scratch primary photo #2 from the list.
Scouting the view from the Spring Garden Street Bridge was next on the list. The goal was to photograph the downtown skyscrapers bathed in the warm late day light and a clear sky to the west was needed for that. The skies were forecasted to clear in the afternoon but I was not optimistic of the clearing happening in time. Finally, in late afternoon, the heavy clouds quickly moved past, showing a beautiful blue sky.
I arrived at this location quite early and set up two tripods with a pair of Canon EOS 5Ds R cameras with Canon EF 24-70mm f/2.8L II and Canon EF 70-200mm f/2.8L IS II lenses mounted. I waited, watching the perfectly clear sky with highly anticipated success, but alas, just minutes before the sweet light happened, a cloud bank rolled in and shut down the light, erasing major photo goal #3.
With three of five planned image series already failed, the day was not shaping up well, but two photo goals remained. Fortunately, the cloud bank that shut down the city-in-sweet-light image did not make it past the city before darkness and photo opportunity #4, the image shared here, was a home run.
The ideal blue hour light only lasts a few minutes and the ideal time is often easier to best-determine when reviewing the images on a computer at home, so I simply shoot constantly through that short time window. However, a clue to when the time is ideal is when proper f/16 exposures are between 15 and 30 seconds.
Why f/16? Live View with DOF preview showed that I had enough depth of field at f/8 and the images would have been sharper if captured at that aperture, but ... I like the star effect that a narrow aperture creates from the city lights. The straight lines from the city buildings sharpen nicely even at f/16 and I seldom regret this aperture choice for this purpose.
Because I was shooting from an elevated bridge, the camera was able to be leveled (for both pitch and roll), a requirement if keeping the edges of the buildings vertically straight is desired. Another takeaway from this image is that telephoto lenses are great for cityscape photography. Telephoto focal lengths keep distant subjects large in the frame and the city skyscrapers were a primary subject, so keeping them large was desirable.
With the blue hour past and a good set of images captured on two cameras, it was time to make photo #5 happen. The goal was a nighttime photo of City Hall from the center of S. Broad St. and getting there required a 1.6 mi (2.6km) walk. I had been carrying a heavily-loaded MindShift Gear BackLight 26L (including two tripods) all day, but ... whatever it takes is the motto of many photographers. I could rest on the drive back home.
Upon arriving at City Hall, I discovered huge – you guessed it – NFL Draft banners adorning each side of City Hall. While a photo with the banner may have been good for memories of the event happening in this city, it was not what I wanted. I was tired and opted to simply walk back to car.
So, out of 5 potentially great series of photos, I brought only one home with me. While that batting average is not very good, I'm happy with the images I did get and another positive spin is that ... I will not need to do much research to make another day-filled photo itinerary for this city with a hopefully-more-productive result. Alas, the NFL Draft will forever be a memory as there it is, advertised on the large blue billboard near the center of every frame I captured here.
A larger version of this image is available on BryanCarnathan.com, Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.
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Sony's a9 Mirrorless Camera aimed at sports photographers is now available for preorder. The Sony FE 100-400mm f/4.5-5.6 GM OSS lens is now also available for preorder.
Product Highlights
- 24.2MP Full-Frame Stacked CMOS Sensor
- BIONZ X Image Processor & Front-End LSI
- 693-Point AF System & 20 fps Shooting
- Blackout-Free Quad-VGA 3.7m-Dot OLED EVF
- Internal UHD 4K Video Recording
- 5-Axis SteadyShot INSIDE Stabilization
- 3.0" 1.44m-Dot Tilting Touchscreen LCD
- ISO 204,800, Silent Electronic Shutter
- Built-In Wi-Fi/Bluetooth, Dual SD Slots
- Integrated LAN and PC Sync Terminals
Preorders
Sony a9 Mirrorless Camera - B&H | Adorama | Amazon | Wex Photographic
Sony FE 100-400mm f/4.5-5.6 GM OSS - B&H | Adorama | Amazon | Wex Photographic
Noise and resolution test results have been added to the Canon EOS 77D, Rebel T7i and M6 review pages.
Note that the 77D results were copied to create the Rebel T7i results. These two cameras are very similar and the image quality they deliver is the same. Thus, it did not make sense to invest the time needed to test both. Here are some observations:
The lighting on the color chart used for the noise level evaluation is measured for consistency using a Sekonic L-478DR Light Meter. Manual exposure mode is used for test image capture with prescribed exposure settings for each ISO setting and all RAW images are identically processed for the standard results. Interesting is that 77D results are identical to the 80D in brightness, but the images from this copy of the M6, captured immediately after the 77D results, are slightly brighter (by about .25 stops). A set of -.25 EV adjusted results are provided for an equalized brightness.
For the best image quality, should I get the Canon EOS 80D, Canon EOS 77D, Rebel T7i, M5 or M6? The answer to that question is ... it doesn't matter. While there are many feature differences between these models, it would be hard to argue that one delivers better image quality than the others.
The Canon EOS 77D is in stock at B&H | Amazon | Adorama.
Get the Canon EOS Rebel T7i at B&H | Amazon | Adorama.
Find the Canon EOS M6 at B&H | Amazon | Adorama.
April 21st, 2017, Seoul, South Korea – Global optics brand, Samyang Optics announce a new 16mm T2.6 cine lens, designed specifically for video shooting with uncoupled gear rings with T numbers. This launch adds one more lens to the existing 18 cine lenses for DSLR and mirrorless cameras.
Since 2012, Samyang Optics has released its cine lenses based on the needs of professional videographers. Satisfied with the image quality of Samyang lenses, videographers continuously requested for cine lenses and as an answer, Samyang launched cine lens line up.
This new launch expands the cine lens line up to a total of 19 lenses: 13 for DSLR cameras varying from 8mm fisheye to 135mm telephoto and 6 for mirrorless cameras varying from 8mm to 50mm.
Inheriting the renowned image quality of Samyang’s wide-angle lenses, the 16mm angle of view is commonly used by directors of photography around the globe for its versatile usage for wide-angled emotional scenes in film and videos. Along with the existing 14mm, 20mm and 24mm, this new lens will realise the delicate changes in the scenes.
As a ‘Total Imaging Solution’ optics brand, Samyang Optics now offers 51 lenses: 2 premium XP photo lenses, 2 autofocus lenses, 19 manual focus photo lenses, 19 cine lenses and 9 professional cinema lenses specifically under XEEN brand.
Launched to complete the Samyang cine lens line up, this new 16mm T2.6 will be available globally from June and will carry a suggested retail price of EUR 599.00. For more information, visit the Samyang social media channels.
From the Nikkei Asian Review:
TOKYO -- Canon probably saw its group operating profit roughly double on the year in the January-March quarter to about 80 billion yen ($733 million), thanks to successful acquisitions and strong overseas sales of cameras and printers.Read the entire article on the Nikkei Asian Review.Sales apparently grew 20% to just over 950 billion yen. Official quarterly results are due out Wednesday.
Toshiba Medical Systems, which Canon bought last year for 665.5 billion yen, is believed to be responsible for about 70% of the profit boost. Past acquisitions, including commercial printer and surveillance camera makers in Europe, probably also posted strong results.
From Canon USA:
New Firmware Delivers Enhanced Digital Cinema Camera Connectivity and Improved Shooting-Assist Functions for HDR Video
MELVILLE, N.Y., April 20, 2017 – Demonstrating Canon’s continued commitment to supporting the digital cinema and television broadcasting industries, Canon U.S.A. Inc., a leader in digital imaging solutions, today announced that its parent company, Canon Inc. and Canon Marketing Japan Inc., will make available free firmware upgrades for three of its professional 4K displays—the DP-V1710, DP-V2410 and DP-V2420 in June 2017.
New features include:
- Enhanced connectivity with Canon digital cinema cameras
The new firmware updates permit 4K RAW video captured using the EOS C700 or the EOS C700 GS PL (scheduled to be released July 2017) to be viewed directly on the display using only a 3G-SDI cable, without the need for an external transitional device. The firmware also makes possible the acquisition of all image data from video captured using the EOS C700, EOS C700 GS PL as well as the EOS C300 Mark II, enabling the display of image setting values from the connected camera and metadata.
Furthermore, these updates enable the display of the cinema aspect ratio 2.39:1 for specialized shooting using a digital cinema camera equipped with an anamorphic lens. The addition of these new features delivers enhanced user convenience when confirming images during shooting
- Improved connectivity with ARRI digital cinema cameras
Thanks to these new firmware updates, users can simply connect an ARRI digital cinema camera to the DP-V1710, DP-V2410 or DP-V2420 4K Professional Display Models and view LOG C video in HDR. It is also no longer necessary to add an LUT to confirm video, for improved ease of use.
- Expanded shooting-assist functions for HDR video
The new updates make possible the display of 4K video in both HDR and SDR (Standard Dynamic Range) simultaneously, using a vertical split-screen mode. What’s more, the updates make possible the downscaling and parallel display of 4K video as two separate images, enabling side-by-side comparisons of HDR and SDR images or HDR images and images with HDR shooting-assist functions applied.
Additionally, colors can now be overlaid on HDR video, with the color depending on the actual luminance of the video area, allowing for the visual confirmation of luminance distribution.
B&H carries the Canon DP-V1710, DP-V2410 and DP-V2420 4K displays.
From Tamron USA:
April 20, 2017, Commack, NY- Tamron Co., Ltd. (President & CEO: Shiro Ajisaka), a leading manufacturer of precision optics, has announced that its SP 150-600mm f/5-6.3 Di VC USD G2 (Model A022) has been awarded with the "TIPA Awards 2017/ BEST DSLR TELEPHOTO ZOOM LENS" hosted by the TIPA (Technical Image Press Association).
Award Citation Excerpt
This long-range zoom is built for full-frame DSLRs but can also be used on APS-C DSLRs to deliver an incredible 225-900mm focal length range (approximate, depending on camera). Tamron's improved VC (vibration compensation) offers a 4.5 stop advantage with three modes for a variety of shooting scenarios. The lens incorporates three low dispersion elements to aid in the elimination of chromatic aberrations and is constructed with 21 elements in 13 groups, with a minimum focusing distance of 86.6 inches (220cm). Other features include eBAND and BBAR coating to help reduce ghosting and flare, a fast ultrasonic silent drive ring-type motor, and leak-proof seals on the metal barrel.
B&H carries the Tamron SP 150-600mm f/5-6.3 Di VC USD G2 Lens (review).
From Canon USA:
MELVILLE, N.Y., April 20, 2017 – In a move to help meet the demands of professional filmmakers, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the availability of a feature upgrade for the EOS 5D Mark IV DSLR camera that will add the ability to record with Canon Log. With this upgrade, the EOS 5D Mark IV can achieve a cinematic look similar to what can be achieved using Cinema EOS cameras, allowing it to serve as a second camera on a Cinema EOS shoot or to stand alone as a cinema camera. Current EOS 5D Mark IV camera owners can have the Canon Log feature upgrade installed for $99 at any of the Canon service centers across the U.S. starting in July. The camera will also be available for sale (body only) with the feature upgrade pre-installed starting in July, with an estimated retail price of $3,599.00*.
Canon Log uses the image sensor’s characteristics in a way that allows for a wide dynamic range, minimal loss of detail in shadows and highlight areas and an increased range of choices when color grading. Color grading options available with Canon Log include optimized color saturation, accurate colors with minor color bias, visual continuity and accurate skin tones.
Canon Log also works with and complements several EOS 5D Mark IV camera features including 4K shooting, Dual Pixel CMOS AF, high speed 119.9p shooting in HD and 59.94p shooting in Full HD. Additional features include Movie Servo AF allowing the camera to focus on a subject even when the shutter button is not used, the ability to register custom shooting modes in Canon Log and movie shooting in Canon Log on a compatible iOS or Android device using the free Canon Camera Connect app.
To learn more about the feature upgrade and how to get it installed, please visit usa.canon.com/canonlog5d4.
B&H carries the Canon EOS 5D Mark IV.
From Canon:
Workaround for Malfunction During Use of VPG130 CFast Card
Thank you for using Canon products.
For EOS C300 Mark II/EOS C300 Mark II PL Digital Cinema Cameras equipped with firmware Version 1.0.6.1.00, we have confirmed a phenomenon in which, depending upon the usage conditions, the camera freezes when a VPG 130 CFast card is used simultaneously with a non VPG130 CFast card.
We are currently making preparations to correct this phenomenon with the release of a firmware update in mid-May. In the meantime, please use the method described in the workaround below.
We sincerely apologize for the inconvenience caused to customers, and we ask for your ongoing patience.
Phenomenon
When a VPG130 CFast card is used simultaneously with a non VPG130 CFast card the camera may freeze. If the camera freezes, even if the live view image is displayed, all buttons and switches, including the POWER switch, will no longer respond, and the footage will not be recorded on the cards. (The time code and the recording indicator may continue to work.)
The camera can be released from the freeze condition by detaching it from the power supply (or removing the battery)
Workaround
If you experience this phenomenon please follow the steps below:
- Detach the camera from the power supply or remove the battery.
- Remove both CFast cards from the card slots.
- Use two of the same type of CFast cards: Either VPG130 or non VPG130.
Affected Products
EOS C300 Mark II/EOS C300 Mark II PL Digital Cinema Cameras (with Firmware V1.0.6.1.00).
Support
We are planning to release updated firmware in mid-May 2017.
If you have not already done so, please register the EOS C300 Mark II and EOS C300 Mark II PL. By registering, we will be able to notify you via email about future announcements.
This information is for residents of the United States and its five territories only. If you do not reside in the USA or its five territories, please contact the Canon Customer Support Center in your region.
Thank You,
Customer Support Operations
Canon U.S.A., Inc
From the B&H YouTube Channel:
In this video, we take our first look at Canon's latest addition to the compact servo lineup. The new 70-200mm T4.4 Lens keeps cinematographers and ENG videographers in mind with servo compatibility, full manual control, and parfocality. With color-matching to the existing cinema EF line, and gear-matching to Canon's previous 18-80mm lens, the 70-200mm T4.4 brings a classic zoom range into new, versatile form.
B&H will carry the Canon 70-200mm T4.4 Cine Zoom Lens.
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