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DJI Mavic 3 Pro/Pro Cine: Triple camera system

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DJI has added a triple camera system to the Mavic Pro that unlocks the long lens compression look many of us are looking for in a travel friendly professional drone. The 4/3 CMOS Hasselblad Camera combines with an upgraded 166mm tele camera and an all-new 70mm f/2.8 medium tele camera. 

The DJI Mavic 3 Pro Hasselblad camera with 12-bit RAW photos and a native dynamic range of up to 12.8 stops will produce stunning stills. When in comes to video, you’ll get up to 5.1K/50fps and 10-bit D-Log. Mavic 3 Pro is also intelligent with features like FocusTrack to keep your shot locked-on to your subject, the omnidirectional obstacle avoidance or the DJI O3+ video transmission up to 15km.

“At DJI we are constantly evolving our products to help capture fascinating scenery and explore visual storytelling through both video and stills,” said Ferdinand Wolf, Creative Director at DJI.

“The Mavic 3 Pro’s triple camera combination gives users the ability to switch between shot composition with just one tap, allowing content creators a wider variety of shots in less time than ever before.  We can’t wait to see the end result of how people use the drone to alter the viewers’ perception of space and distance.”

DJI MAVIC 3 PRO AUSTRALIAN PRICES

  • DJI Mavic 3 Pro (DJI RC): AUD $3,099
  • DJI Mavic 3 Pro Fly More Combo (DJI RC): AUD $4,199
  • DJI Mavic 3 Pro Fly More Combo (DJI RC Pro): AUD $5,329
  • DJI Mavic 3 Pro Cine Premium Combo (DJI RC Pro): AUD $6,939
  • DJI Goggles 2 Motion Combo: AUD $1,299 (Goggles 2 and RC Motion 2 are compatible with all DJI Mavic 3 series drones)
  • DJI Goggles Integra Motion Combo: AUD $999 (Goggles Integra are compatible with all DJI Mavic 3 series drones)

The new 10-bit D-Log M colour mode supports recording up to one billion colours. D-Log M mode reduces the difficulty of coluor grading, allowing an efficient post-production without losing quality or image clarity.

For those looking to push the Mavic 3 Pro’s image quality to its limits, Mavic 3 Pro Cine provides extensive options for professional creators. All three cameras support Apple ProRes 422 HQ, Apple ProRes 422, and Apple ProRes 422 LT encoding. It also has a built-in 1TB SSD and a 10Gbps lightspeed data cable to help facilitate the professional workflow.

The medium tele camera (70mm format equivalent) is suitable in a range of different scenarios from framing intriguing buildings to cars in commercial shoots.  With its 1/1.3″ CMOS sensor and 3x optical zoom, it is capable of 48MP/12MP photos, 4K/60fps video, and supports the new D-log M.  It compresses the depth of field and depth of focus to highlight the subject and give a unique sense of depth and space. 

By enhancing the Mavic 3’s tele camera the Mavic 3 Pro features a camera with increased resolution, aperture (from f4.4 to f3.4), and video frame rate. It supports shooting 4K/60fps video with 7x optical zoom and 12MP photos. The hybrid zoom reaches up to 28x.

The Mavic 3 Pro allows up to 43 minutes of flight time giving creators more time to consider their shot composition and less time worrying about battery life.  Further peace of mind is provided by Omnidirectional Sensing and APAS 5.0.  Eight wide-angle vision sensors work seamlessly with a high-performance vision computing engine to precisely sense obstacles in all directions and plan a safe flight route to avoid them.

The drones DJI O3+ transmission system presents a stable, clear camera view and can transmit a 1080p/60fps HD live feed at high frame rates at a distance of up to 15 km.  Transmission distance is a proxy for signal strength, and Mavic 3 Pro should always be flown within the pilot’s line of sight.

Additional features such as Waypoint Flight, Cruise Control and Advanced RTH elevate the automated flight experience.

Waypoint Flight: Automatically plans a flight route based on the user’s preset waypoints and can precisely repeat routes.

Cruise Control: Set Mavic 3 Pro to fly in any direction without continually pressing the control sticks for smoother camera movement during long-distance manual control.

Advanced RTH: Automatically determines a safe and efficient flight route back to its home point, easily bypassing obstacles on the RTH path.

INTELLIGENT FEATURES

  • FocusTrack: The Hasselblad camera and the medium tele camera of Mavic 3 Pro support FocusTrack, which includes ActiveTrack 5.0, Spotlight, and Point of Interest, enabling stable tracking shots in multiple directions.
  • MasterShots: MasterShots are enabled with just one tap and the drone will automatically shoot, edit, add soundtracks to automatically generate cinematic footage.
  • QuickShots: Perform diverse camera movements like Dronie, Rocket, Circle, and Helix.
  • Panorama:compose a 100MP lossless panorama photo to capture a more extensive and magnificent landscape.

Specs

Aircraft

  • Takeoff Weight
  • Mavic 3 Pro: 958 g
    Mavic 3 Pro Cine: 963 g
  • Dimensions
  • Folded (without propellers): 231.1×98×95.4 mm (L×W×H)
    Unfolded (without propellers): 347.5×290.8×107.7 mm (L×W×H)
  • Max Ascent Speed
  • 8 m/s
  • Max Descent Speed
  • 6 m/s
  • Max Horizontal Speed (at sea level, no wind)
  • 21 m/s
  • Max Takeoff Altitude
  • 6000 m
  • Max Flight Time
  • 43 minutes
    Measured in a controlled test environment. Specific test conditions are as follows: flying at a constant speed of 32.4 kph in a windless environment at sea level, with APAS off, AirSense off, camera parameters set to 1080p/24fps, video mode off, and from 100% battery level until 0%. Results may vary depending on the environment, actual use, and firmware version.
  • Max Hovering Time
  • 37 minutes
    Measured in a controlled test environment. Specific test conditions are as follows: hovering in a windless environment at sea level, with APAS off, AirSense off, camera parameters set to 1080p/24fps, video mode off, and from 100% battery level until 0%. Results may vary depending on the environment, actual use, and firmware version.
  • Max Flight Distance
  • 28 km
  • Max Wind Speed Resistance
  • 12 m/s
  • Max Tilt Angle
  • 35°
  • Operating Temperature
  • -10° to 40° C (14° to 104° F)
  • Global Navigation Satellite System
  • GPS + Galileo + BeiDou
  • Hovering Accuracy Range
  • Vertical:
    ±0.1 m (with vision positioning)
    ±0.5 m (with GNSS positioning)Horizontal:
    ±0.3 m (with vision positioning)
    ±0.5 m (with high-precision positioning system)
  • Internal Storage
  • Mavic 3 Pro: 8 GB (approx. 7.9GB available space)
    Mavic 3 Pro Cine: 1 TB (approx. 934.8GB available space)

Camera

  • Image Sensor
  • Hasselblad Camera: 4/3 CMOS, Effective Pixels: 20 MP
    Medium Tele Camera: 1/1.3-inch CMOS, Effective Pixels: 48 MP
    Tele Camera: 1/2-inch CMOS, Effective Pixels: 12 MP
  • Lens
  • Hasselblad Camera
    FOV: 84°
    Format Equivalent: 24mm
    Aperture: f/2.8-f/11
    Focus: 1 m to ∞Medium Tele Camera
    FOV: 35°
    Format Equivalent: 70mm
    Aperture: f/2.8
    Focus: 3 m to ∞Tele Camera
    FOV: 15°
    Format Equivalent: 166mm
    Aperture: f/3.4
    Focus: 3 m to ∞
  • ISO Range
  • Video
    Normal and Slow Motion:
    100-6400 (Normal)
    400-1600 (D-Log)
    100-1600 (D-Log M)
    100-1600 (HLG)Night:
    800-12800 (Normal)Photo
    100-6400
  • Shutter Speed
  • Hasselblad Camera: 8-1/8000 s
    Medium Tele Camera: 2-1/8000 s
    Tele Camera: 2-1/8000 s
  • Max Image Size
  • Hasselblad Camera: 5280×3956
    Medium Tele Camera: 8064×6048
    Tele Camera: 4000×3000
  • Still Photography Modes
  • Hasselblad Camera
    Single Shot: 20 MP
    Burst Shooting: 20 MP, 3/5/7 frames
    Automatic Exposure Bracketing (AEB): 20 MP, 3/5 frames at 0.7 EV step
    Timed: 20 MP, 2/3/5/7/10/15/20/30/60 sMedium Tele Camera
    Single Shot: 12 MP or 48 MP
    Burst Shooting: 12 MP or 48 MP, 3/5/7 frames
    Automatic Exposure Bracketing (AEB): 12 MP or 48 MP, 3/5 frames at 0.7 EV step
    Timed:
    12 MP: 2/3/5/7/10/15/20/30/60 s
    48 MP: 7/10/15/20/30/60 sTele Camera
    Single Shot: 12 MP
    Burst Shooting: 12 MP, 3/5/7 frames
    Automatic Exposure Bracketing (AEB): 12 MP, 3/5 frames at 0.7 EV step
    Timed: 12 MP, 2/3/5/7/10/15/20/30/60 s
  • Photo Format
  • JPEG/DNG (RAW)
  • Video Resolution
  • Hasselblad Camera
    Apple ProRes 422 HQ
    Apple ProRes 422
    Apple ProRes 422 LT
    5.1K: 5120×2700@24/25/30/48/50fps
    DCI 4K: 4096×2160@24/25/30/48/50/60/120*fps
    4K: 3840×2160@24/25/30/48/50/60/120*fpsH.264/H.265
    5.1K: 5120×2700@24/25/30/48/50fps
    DCI 4K: 4096×2160@24/25/30/48/50/60/120*fps
    4K: 3840×2160@24/25/30/48/50/60/120*fps
    FHD: 1920×1080@24/25/30/48/50/60/120*/200*fps
    * Recording frame rates. The corresponding video plays as slow-motion video.Medium Tele Camera
    Apple ProRes 422 HQ
    Apple ProRes 422
    Apple ProRes 422 LT
    4K: 3840×2160@24/25/30/48/50/60fpsH.264/H.265
    4K: 3840×2160@24/25/30/48/50/60fps
    FHD: 1920×1080@24/25/30/48/50/60fpsTele Camera
    Apple ProRes 422 HQ
    Apple ProRes 422
    Apple ProRes 422 LT
    4K: 3840×2160@24/25/30/48/50/60fpsH.264/H.265
    4K: 3840×2160@24/25/30/50/60fps
    FHD: 1920×1080@24/25/30/50/60fps
  • Video Format
  • MP4/MOV (MPEG-4 AVC/H.264, HEVC/H.265)
    MOV (Apple ProRes 422 HQ/422/422 LT)
  • Max Video Bitrate
  • H.264/H.265: 200 Mbps
    Apple ProRes 422 HQ: 3772 Mbps
    Apple ProRes 422: 2514 Mbps
    Apple ProRes 422 LT: 1750 Mbps
  • Supported File System
  • exFAT
  • Color Mode and Sampling Method
  • Hasselblad Camera
    Normal:
    10-bit 4:2:2 (Apple ProRes 422 HQ/422/422 LT)
    8-bit 4:2:0 (H.264/H.265)
    D-Log:
    10-bit 4:2:2 (Apple ProRes 422 HQ/422/422 LT)
    10-bit 4:2:0 (H.264/H.265)
    HLG/D-Log M:
    10-bit 4:2:2 (Apple ProRes 422 HQ/422/422 LT)
    10-bit 4:2:0 (H.265)Medium Tele Camera
    Normal:
    10-bit 4:2:2 (Apple ProRes 422 HQ/422/422 LT)
    8-bit 4:2:0 (H.264/H.265)
    HLG/D-Log M:
    10-bit 4:2:2 (Apple ProRes 422 HQ/422/422 LT)
    10-bit 4:2:0 (H.265)Tele Camera
    Normal:
    10-bit 4:2:2 (Apple ProRes 422 HQ/422/422 LT)
    8-bit 4:2:0 (H.264/H.265)
  • Digital Zoom (only in Normal Video Mode and Explore Mode)
  • Hasselblad Camera: 1-3x
    Medium Tele Camera: 3-7x
    Tele Camera: 7-28x

Gimbal

  • Stabilization
  • 3-axis mechanical gimbal (tilt, roll, pan)
  • Mechanical Range
  • Tilt: -140° to 50°
    Roll: -50° to 50°
    Pan: -23° to 23°
  • Controllable Range
  • Tilt: -90° to 35°
    Pan: -5° to 5°
  • Max Control Speed (tilt)
  • 100°/s
  • Angular Vibration Range
  • Hovering Without Wind: ±0.001°
    Normal Mode: ±0.003°
    Sport Mode: ±0.005°

Sensing

  • Sensing Type
  • Omnidirectional binocular vision system, supplemented with an infrared sensor at the bottom of the aircraft
  • Forward
  • Measurement Range:
    0.5-20 m
    Detection Range:
    0.5-200 m
    Effective Sensing Speed:
    Flight Speed ≤ 15 m/s
    FOV:
    Horizontal 90°, Vertical 103°
  • Backward
  • Measurement Range:
    0.5-16 m
    Effective Sensing Speed:
    Flight Speed ≤ 12 m/s
    FOV:
    Horizontal 90°, Vertical 103°
  • Lateral
  • Measurement Range:
    0.5-25 m
    Effective Sensing Speed:
    Flight Speed ≤ 15 m/s
    FOV:
    Horizontal 90°, Vertical 85°
  • Upward
  • Measurement Range:
    0.2-10 m
    Effective Sensing Speed:
    Flight Speed ≤ 6 m/s
    FOV:
    Front and Back 100°, Left and Right 90°
  • Downward
  • Measurement Range:
    0.3-18 m
    Effective Sensing Speed:
    Flight Speed ≤ 6 m/s
    FOV:
    Front and Back 130°, Left and Right 160°
  • Operating Environment
  • Forward, Backward, Left, Right, and Upward:
    surfaces with discernible patterns and adequate lighting (lux > 15)
    Downward:
    surfaces with discernible patterns, diffuse reflectivity > 20% (e.g. walls, trees, people), and adequate lighting (lux > 15)

Video Transmission

  • Video Transmission System
  • O3+
  • Live View Quality
  • Remote Controller:
    1080p/30fps, 1080p/60fps
  • Operating Frequency
  • 2.400-2.4835 GHz
    5.725-5.850 GHz
  • Transmitter Power (EIRP)
  • 2.4 GHz:
    < 33 dBm (FCC)
    < 20 dBm (CE/SRRC/MIC)5.8 GHz:
    < 33 dBm (FCC)
    < 30 dBm (SRRC)
    < 14 dBm (CE)
  • Max Transmission Distance (unobstructed, free of interference)
  • FCC: 15 km
    CE: 8 km
    SRRC: 8 km
    MIC: 8 km
    Measured in an unobstructed outdoor environment free of interference. The above data shows the farthest communication range for one-way, non-return flights under each standard. During your flight, please pay attention to RTH reminders in the DJI Fly app.
  • Max Transmission Distance (unobstructed, with interference)
  • Strong Interference: Urban landscape, approx. 1.5-3 km
    Medium Interference: Suburban landscape, approx. 3-9 km
    Low Interference: Suburb/seaside, approx. 9-15 km
    Data tested under FCC standard in unobstructed environments with typical interference. Used for reference purposes only and provides no guarantee for actual transmission distance.
  • Max Transmission Distance (obstructed, with interference)
  • Low Interference and Obstructed by Buildings: approx. 0-0.5 km
    Low Interference and Obstructed by Trees: approx. 0.5-3 km
    Data tested under FCC standard in environments with typical low interference. Used for reference purposes only and provides no guarantee for actual transmission distance.
  • Max Download Speed
  • O3+:
    5.5 MB/s (with DJI RC-N1 Remote Controller)
    15 MB/s (with DJI RC Pro)
    5.5 MB/s (with DJI RC)Wi-Fi 6: 80 MB/s*
    * Measured in a laboratory environment with little interference in countries/regions that support both 2.4 GHz and 5.8 GHz, with footage saved to the internal storage. Download speeds may vary depending on the actual conditions.
  • Lowest Latency
  • 130 ms (with DJI RC-N1 Remote Controller)
    120 ms (with DJI RC Pro)
    130 ms (with DJI RC)
    Depending on the actual environment and mobile device.
  • Antenna
  • 4 antennas, 2T4R

Battery

  • Capacity
  • 5000 mAh
  • Weight
  • 335.5 g
  • Nominal Voltage
  • 15.4 V
  • Max Charging Voltage
  • 17.6 V
  • Type
  • Li-ion 4S
  • Energy
  • 77 Wh
  • Charging Temperature
  • 5° to 40° C (41° to 104° F)
  • Charging Time
  • Approx. 96 minutes
    Use the included data cable of the DJI 65W Portable Charger.Approx. 70 minutes
    Use the DJI 100W USB-C Power Adapter and DJI Mavic 3 Series 100W Battery Charging Hub.

Charger

  • Input
  • DJI 65W Portable Charger:
    100-240 V (AC), 50-60 Hz, 2 ADJI 100W USB-C Power Adapter:
    100-240 V (AC), 50-60 Hz, 2.5 A
  • Output
  • DJI 65W Portable Charger:
    USB-C:
    5 V, 5 A
    9 V, 5 A
    12 V, 5 A
    15 V, 4.3 A
    20 V, 3.25 A
    5-20 V, 3.25 AUSB-A:
    5 V, 2 ADJI 100W USB-C Power Adapter:
    Max 100 W (total)
    When both ports are used, the max output power of one port is 82 W, and the charger will dynamically allocate the output power of the two ports according to the power load.
  • Rated Power
  • DJI 65W Portable Charger: 65 W
    DJI 100W USB-C Power Adapter: 100 W

Battery Charging Hub

  • Input
  • USB-C: 5-20 V, max 5 A
  • Output
  • Battery Port: 12-17.6 V, max 5 A
  • Rated Power
  • Battery Charging Hub: 65 W
    Battery Charging Hub (100W): 100 W
  • Charging Type
  • Three batteries charged in sequence.
  • Compatibility
  • DJI Mavic 3 Intelligent Flight Battery

Car Charger

  • Input
  • Car Power Input:
    12.7-16 V, 6.5 A, rated voltage 14 V (DC)
  • Output
  • USB-C:
    5 V, 5 A
    9 V, 5 A
    12 V, 5 A
    15 V, 4.3 A
    20 V, 3.25 A
    5-20 V, 3.25 AUSB-A:
    5 V, 2 A
  • Rated Power
  • 65 W
  • Charging Temperature
  • 5° to 40° C (41° to 104° F)

Storage

  • Recommended microSD Cards
  • Lexar 1066x 64GB V30 A2 microSDXC
    Lexar 1066x 128GB V30 A2 microSDXC
    Lexar 1066x 256GB V30 A2 microSDXC
    Lexar 1066x 512GB V30 A2 microSDXC
    SanDisk High Endurance 64GB V30 microSDXC
    SanDisk High Endurance 128GB V30 microSDXC
    SanDisk High Endurance 256GB V30 microSDXC
    Kingston Canvas Go! Plus 64GB V30 A2 microSDXC
    Kingston Canvas Go! Plus 128GB V30 A2 microSDXC
    Kingston Canvas Go! Plus 256GB V30 A2 microSDXC
    Kingston Canvas Go! Plus 512GB V30 A2 microSDXC
    Samsung EVO Plus 512GB V30 A2 microSDXC
    Samsung PRO Plus 256GB V30 A2 microSDXC
    Samsung PRO Plus 512GB V30 A2 microSDXC
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Cameras

EOS R1 will be Tested at Olympics as Canon Also Confirms R5 Mark II

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Canon has confirmed the specifications and features of its new flagship, the EOS R1 mirrorless professional camera. The company also announced an update to the R5, the EOS R5 Mark II.

Both cameras have two processors – the DIGIC Accelerator and the high-performance DIGIC X image processor. As you can see by the table below the new cameras share a lot of technologies but they are very different beasts.

Camera Specifications

Key Specifications

Specification EOS R1 EOS R5 Mark II
Sensor 24.2 MP full frame back-illuminated stacked sensor 45 MP full frame back-illuminated stacked sensor
Pre-continuous shooting Up to 20 frames Up to 15 frames
Continuous shooting rate 40fps 30fps
Customisable continuous shooting speed Yes Yes
Blackout-free EVF 9.44M dots 5.76M dots
Processor New processor DIGIC Accelerator and Accelerated Capture New processor DIGIC Accelerator and Accelerated Capture
Image and Noise Reduction In-camera upscaling and Neural Network Noise Reduction In-camera upscaling and Neural Network Noise Reduction
Grip Integrated vertical grip Optional grips available
Design Compact and lightweight Compact and lightweight
Auto Focus Dual Pixel Intelligent AF
Registered people priority
Action priority
Enhanced eye-control AF performance
Focus down to -7.5EV
Cross AF
2-Stage AF-ON button
Dual Pixel Intelligent AF
Registered people priority
Action priority
Enhanced eye-control AF performance
Focus down to -6.5EV
Image Stabilisation Up to 8.5 stops of Image Stabilisation Up to 8.5 stops of Image Stabilisation
Video 6K 60p RAW with 4K video at up to 120p and 60p oversampled from 6K 8K 60p RAW with 4K video at up to 120p and 60p oversampled from 8K
Compatibility Extra compatibility with EOS VR System Extra compatibility with EOS VR System
Picture Support Custom Picture support
XF-HEVC S/XF-AVC S
Canon Log 2/Log 3
LPCM/24bit/4CH audio
Dual shooting (still and movie)
Proxy movie support
Custom Picture support
XF-HEVC S/XF-AVC S
Canon Log 2/Log 3
LPCM/24bit/4CH audio
Dual shooting (still and movie)
Proxy movie support
Monitor Waveform monitor Waveform monitor
Connectivity Wi-Fi 6E
2.5Gbps Ethernet in-camera
Dual threaded FTP transfer
Wi-Fi 6E
Dual threaded FTP transfer

The R1 is all about nailing the shot. It’s squarely aimed at sports, news and wildlife photographers. That’s why it ‘only’ has a 24.2 MP full frame back-illuminated stacked sensor and not 32 MP plus.

“The R1 is all about nailing the shot”

When you shoot subjects like sport, news and wildlife, you only get one chance to nail the shot. I wish the R1 had a global shutter and I wish it had more megapixels but in the end it’s about locking onto your subject and not letting go.

The R1 has a new Cross Type AF system that excels when shooting through a tennis net, picking out smaller subjects and locking on to vertical detail in situations where horizontal detail is missing from the subject under the AF area.

Its first big test will be at the upcoming Paris Olympic Games.

I think it’s fair to say the R1 should have been called the R3 Mark II. It makes sense given the logical improvements. But having used it – it absolutely feels like a Canon flagship in the hand. You can blast away for ten seconds before hitting a bottleneck.

I’m not here to defend Canon but I’ve seen some of the commentary about the R1 and it’s way off base. This camera is for pros and it’s built like a tank. It’s 24 MP for a reason and that’s performance.

“It’s 24 MP for a reason and that’s performance”

During the preview session at URBNSURF SYDNEY we got to test just how accurate the autofocus and subject tracking is on the R1. The new Canon flagship can rattle off 40 frames per second with electronic shutter active and up to 20 frames of pre-continuous shooting.

Although we were given pre-production models to play with the R1’s insanely fast autofocus and sticky subject tracking nailed every single shot. There wasn’t much time to dig into the settings so for the most part it was spray and pray.

We were restricted to JPEGs as RAW compatibility is not yet available. However, I did capture RAW shots simultaneously to see how well the camera handled the data stream. It had no problem.

Here are some R1 examples.

CREDIT: DJURO SEN – CANON R1 + RF 600MM F4 :: 1/3200 – f/4 – ISO 200

CREDIT: DJURO SEN – CANON R1 + RF 600MM F4 :: 1/3200 – f/4 – ISO 250

CREDIT: DJURO SEN – CANON R1 + RF 400MM F2.8 :: 1/2000 – f/2.8 – ISO 100

CREDIT: DJURO SEN – CANON R1 + RF 600MM F4 :: 1/2500 – f/4.5 – ISO 200

The R1 shots above are either as framed or cropped slightly. Keep in mind you only have 6000 x 4000 pixels to play with so it’s best to nail the frame in the moment. However, there will be times when you have to crop in substantially.

Users can also crop and upscale in-camera making it that much easier to send out photos without editing via separate applications.

But even when doing a standard crop in post, the results are excellent. The examples below show the full frame and the crop. I was pretty happy with the way they held up. If it was a breaking news story you wouldn’t even notice. Just drag the slider to compare.

CREDIT: DJURO SEN – CANON R1 + RF 600MM F4 :: 1/3200 – f/4.5 – ISO 320

The next shot comparison also demonstrates that it’s pretty much impossible to shoot your subject out of focus. The water was closing in and the surfer was facing away from the camera. This is what matters – not super high resolution.

CREDIT: DJURO SEN – CANON R1 + RF 600MM F4 :: 1/2500 – f/4.5 – ISO 160

Both cameras feature the latest version of Dual Pixel CMOS – Dual Pixel Intelligent AF. It has the ability to more accurately track subjects, by identifying the face and upper bodies of players and avoiding obstacles or other players. The videos below show how the new features work.

REGISTER PEOPLE PRIORITY

On top of that, a photographer can register specific faces so the camera can track and give priority to players in a football game for example. You can list up to 10 faces.

ACTION PRIORITY is a new mode that automatically identifies common action poses in basketball, soccer and volleyball.

ACTION PRIORITY

Canon MUST expand this to other sports. It ensures during the chaotic action on the pitch, the camera will lock onto the player most relevant to the ball. Believe me, this is incredible.

“Canon MUST expand this to other sports”

This is hands down the best new feature on the R1 and R5 II.

ACTION PRIORITY

EYE-CONTROL AF has been improved from the R3 and is available in both of the new models. A higher pixel count sensor, enhanced LEDs, a larger eye detection area, and an updated detection algorithm all combined for a more manageable way to select a subject.

EYE-CONTROL AF

THE SENSORS on the R1 and R5 II offer faster shooting speeds and faster sensor readout with a 40% reduction of rolling shutter compared with the R3. This puts the R1 on the same level as the mechanical shutter in the EOS-1D X Mark III. The R5 II has a massive 60% reduction in rolling shutter compared with the original R5.

The cameras feature a pre-continuous shooting function offering up to 20 frames (for EOS R1) and 15 frames (for EOS R5 Mark II) to be captured in HEIF/JPEG or RAW format at any frame rate before the shutter is pressed.

The viewfinders are big and bright. The R1 has the highest resolution at a staggering 9.44M dots and the EOS R5 Mark II is twice as bright as the R5. When I first picked up the R5 II it was very noticeable.

Both cameras feature up to 8.5 stops of image stabilisation performance in the centre and 7.5 stops at peripheral.

When it comes to the R5 II you have plenty of resolution to play with thanks to a 45 MP full frame back-illuminated stacked sensor. Take a look at this static shot below and just how good the crop turns out.

EOS R5 II OFFERS OUTSTANDING CLARITY WHEN CROPPING THANKS TO ITS 45 MP SENSOR

VIDEO

The R1 and R5 II can also support Canon’s cinema line with the R1 able to shoot
Canon Log 2 & Canon Log 3. Canon Log 2 enables shooting with dynamic range of up to 16 stops. The R1 shoots at 6K 60fps or 4K at 120fps, along with Full HD at 240fps.

Recording Specifications

R1 Recording Specifications

Specification Details
Format XF-HEVC S / XF-AVC S
Recording format RAW: Yes
HEVC: YCC422 10 bit / YCC420 10 bit
AVC: YCC422 10 bit / YCC420 8 bit
Movie recording size Resolution: RAW / SRAW / 4K-D / 4K-U / 2K-D / Full HD
Frame rate (fps) 236.76 / 200.00 / 119.88 / 100.00 / 59.94 / 50.00 / 29.97 / 25.00 / 24.00 / 23.98
RAW format Standard RAW / Light RAW
Compression method High Quality Intra / Standard Intra / Light Intra / Standard LGOP / Light LGOP
Image quality Fine / Normal
High Frame Rate movies Yes
Movie cropping Yes
HDR movies No
Time-lapse movies No
Custom Picture Yes
Audio format LPCM / 24bit / 4CH; AAC / 16bit / 2CH
Built-in microphone Monaural
Pre-recording Yes
Tally lamp Yes
Max. recording time per recording Normal movies: 6 hr. (59.94 fps or less)
HDMI RAW output Yes
Dual shooting (still & movie) Yes

If video is a major part of your work than the R5 II is the camera for you. Check out the 8K video below shot handheld with the RF 70-200mm zoom lens.

8K/25p Video from the r5 ii SHOT HANDHELD WITH RF 70-200MM :: CREDIT: DJURO SEN

Again, the inclusion of Canon Log 2 & Canon Log 3 is a massive deal for videographers. The R5 II really makes the case at the ultimate all rounder.

With its larger megapixel count and excellent video capabilities, it’s going to sell very well. It can shoot 8K/60p from the full width of the sensor and 12-bit RAW recording internally, along with 4K video at up to 120p with sound.

R5 MARK II 4K/100P SLOWMO VIDEO SHOT HANDHELD AND WITH MONOPOD

There’s also the possibility to record video proxies, industry-standard file naming, and structured folders to enhance post-production workflows. Shooting footage for immersive video is also made easier with enhanced preview and playback navigation.

Recording Specifications

R5 II Recording Specifications

Specification Details
Format XF / HEVC S / XF AVC S
Recording format RAW: Yes
HEVC: YCC422 10 bit / YCC420 10 bit
AVC: YCC422 10 bit / YCC420 8 bit
Movie recording size Resolution: RAW / SRAW / 8K D / 8K U / 4K D / 4K U / 2K D / Full HD
Frame rate (fps) 236.76 / 200.00 / 119.88 / 100.00 / 59.94 / 50.00 / 29.97 / 25.00 / 24.00 / 23.98
RAW format Standard RAW / Light RAW
Compression method High Quality Intra / Standard Intra / Light Intra / Standard LGOP / Light LGOP
Image quality Fine / Normal
High Frame Rate movies With audio: Yes
Without audio: Yes
Movie cropping Yes
HDR movies Yes (HDR movie mode)
Time-lapse movies Yes
Custom Picture Yes
Audio format LPCM / 24bit / 4CH, AAC / 16bit / 2CH
Built-in microphone Monaural
Pre-recording Yes
Tally lamp Yes
Cooling fan setting Yes
Max. recording time per recording Normal movies: 6 hr. (59.94 fps or less)
HDMI RAW output Yes
Dual shooting (still & movie) Yes

There’s a new higher performance LP-E6P battery to handle the extra workload. To combat overheating a Cooling Fan Grip has been specifically designed to extend shooting periods. That’s a separate purchase.

PRICE AND AVAILABILITY

EOS R1 is priced at A$10,999 RRP (including GST)

The EOS R1 is scheduled to be available in Australia from November 2024.

EOS R5 Mark II at A$6,699 RRP (including GST).

EOS R5 Mark II from August 2024.

Looking around, dealers are already offering A$500 discounts.

This is the first of several reports on the R1and R5 Mark II so stay tuned.

FULL SPECS FOR BOTH CAMERAS BELOW

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Move on From a Smartphone with the Sony ZV-E10 II

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Sony’s second generation ZV-E10, the logically named Sony ZV-E10 II, will be available in August for A$1688 (discounted from $1,849). It’s a massive update to a very popular vlogging camera that makes a lot of sense for creators that want to ‘graduate’ from a smartphone.

Think about the numbers.

Say you add the just announced E PZ 16-50mm F3.5-5.6 OSS II lens for A$599, you’re pretty close to the iPhone 15 Pro Max in price, which starts at A$2,199. The triple camera is very good on the iPhone but it won’t deliver images as good as the Sony.

The new camera has an upgraded 26 megapixel (MP) (approx. effective) Exmor R CMOS sensor and adoption of Sony’s latest BIONZ XR image processing engine. Other updates include improved autofocus and video capturing capabilities like Cinematic Vlog Setting and a new vertical format user interface (UI). So if your content is destined for a 9:16 device, then the Mark II makes it a lot easier to capture that way at the time of recording. The menu will shift to a vertical orientation to save you tilting your head.

One excellent upgrade is the battery. The ZV-E10 II now accepts the larger-capacity Sony Z battery. If you’re in the Sony universe you’ll love this change.

But other extremely important upgrade – is 10-bit recording. It can capture 4K 60P at 4:2:2 ALL I. This makes this camera extremely enticing when compared with the previous model. The bump to 10-bit means way more flexibility in post production. You will notice the difference, especially when there’s a lot of blue sky.

The light APS-C body is a huge advantage when keeping a low profile on the streets and other busy locations. The ZV-E10 II maintains all the features creators enjoyed about the original, including Product Showcase Setting, Background Defocus and the vari-angle flip screen. When shooting videos and still images, users can instantly enhance their images by selecting from ten Creative Look options:

Standard (ST), Portrait (PT), Neutral (NT), Vivid (VV), Vivid 2 (VV2), Film (FL), Instant (IN), Soft Highkey (SH), Black & White (BW), and Sepia (SE).

With a single touch using the Cinematic Vlog Setting, the user can automatically adjust the aspect ratio, frame rate, and AF transition speed to optimal settings for cinematic video capture.

Sony’s iconic S-Cinetone picture profile is also included. This profile is absolutely gorgeous but you do have to nail the exposure in camera. It produces beautiful natural colours while also rendering a gentle highlight rolloff.

Like all cameras, the ZV-E10 II isn’t perfect. There’s no IBIS (In Body Image Stabilisation) but it does have electronic stabilisation. Although this is very good, it does crop your image. It also lacks an EVF (Electronic Viewfinder) but that’s completely understandable. Rolling shutter can be an issue too because there’s no mechanical shutter. It also doesn’t have 4K/120p but at this price, it’s not a concern.

Overall though, this is a fantastic camera for anyone who wants to up their vlogging game or pros that want a B camera that’s a Sony.

PRICE AND AVAILABILITY

The new ZV-E10 II will be available in Australia from August 2024 for $1688 (discounted from A$1,849).

The E PZ 16-50mm F3.5-5.6 OSS II in black will be available in Australia from September 2024 for A$599. 

Camera Specifications
Specification Details
Model ZV-E10M2
Colors White, Black
Type Interchangeable lens digital camera
Mount E-mount
Sensor APS-C type (23.3 x 15.5 mm), Exmor R CMOS sensor
Number of Pixels (TOTAL) Approx. 27.0 megapixels
Number of Pixels (EFFECTIVE) Still images: Approx. 26.0 megapixels max.
Movies: Approx. 19.9 megapixels max.
Color Temperature 2500 K – 9900 K
File Formats JPEG (DCF Ver. 2.0, Exif Ver. 2.32, MPF Baseline compliant), HEIF (MPEG-A MIAF compliant), RAW (Sony ARW 5.0 format compliant)
Image Resolution APS-C L: 6192 x 4128 (26 M), M: 4384 x 2920 (13 M), S: 3104 x 2064 (6.4 M)
Video Format XAVC S: MPEG-4 AVC/H.264, XAVC HS: MPEG-H HEVC/H.265
Audio Recording LPCM 2ch (48 kHz 16 bit), LPCM 2ch (48 kHz 24 bit), LPCM 4ch (48 kHz 24 bit)
Video Resolution 3840 x 2160 (4:2:0, 10bit): 59.94p, 50p, 23.98p
3840 x 2160 (4:2:2, 10bit): 59.94p, 50p, 23.98p
1920 x 1080 (4:2:0, 8bit): 119.88p, 100p, 59.94p, 50p, 29.97p, 25p, 23.98p
1920 x 1080 (4:2:2, 10bit): 59.94p, 50p, 29.97p, 25p, 23.98p
Real-Time Tracking Yes
Real-Time Eye AF Yes
Hybrid AF Fast Hybrid AF (phase-detection AF / contrast-detection AF)
AF Points Still images: Max. 759 points (phase-detection AF)
Movies: Max. 495 points (phase-detection AF)
AF Sensitivity EV-3 to EV20 (ISO100 equivalent with F2.0 lens attached)
Subject Detection Human, Animal, Bird
AF Modes AF Level for Crossing (Still), AF Track for Speed Changes (Still), AF Subj. Shift Sensitivity (Movie), AF Transition Speed (Movie), Switch V/H AF Area, AF Area Regist., Circ. of Focus Point, Focus Map (Movie), AF Assist (Movie)
Metering Mode 1200-zone evaluative metering
Metering Sensitivity EV-3 to EV20 (ISO100 equivalent with F2.0 lens attached)
Exposure Compensation +/- 5.0 EV (1/3 EV, 1/2 EV steps selectable)
ISO Sensitivity Still images: ISO 100 – 32000 (expandable to ISO 50 – 102400), AUTO (ISO 100 – 6400, selectable lower limit and upper limit)
Movies: ISO 100 – 32000 equivalent, AUTO (ISO 100 – 6400, selectable lower limit and upper limit)
LCD Screen 7.5 cm (3.0-type) type TFT
LCD Resolution 1 036 800 dots
LCD Adjustments Opening Angle: Approx. 176 °, Rotation Angle: Approx. 270 °
Creative Modes Product Showcase Set, Background Defocus, Soft Skin Effect, Creative Look, Custom function, Picture Profile, Time-lapse, Cinematic Vlog Setting, My Image Style, Vertical Display
Clear Image Zoom Approx. 2x
Zoom Magnification Approx. 1.5x (4K), Approx. 2x (HD)
Shutter Type Electronic shutter
Shutter Speed Still images (Electronic shutter): 1/8000 to 30 s
Movies: 1/8000 to 1 s
Minimum Shutter Speed 1/30 s
Image Stabilization Still images: Image stabilization supported on lens
Movie: Image stabilization supported on lens (Standard Mode) / Electronic (Active Mode)
Flash Modes Pre-flash TTL
Flash Compensation +/- 3.0 EV (switchable between 1/3 and 1/2 EV steps)
Flash Compatibility Sony α System Flash compatible with Multi Interface Shoe, attach the shoe adaptor for flash compatible with Auto-lock accessory shoe
Continuous Shooting Hi+: 11 fps
Max. Frames in Continuous Shooting JPEG Extra fine L: 143 frames, JPEG Fine L: over 1000 frames, JPEG Standard L: over 1000 frames, RAW: 59 frames, RAW & JPG: 44 frames, RAW (Lossless Compressed): 22 frames, RAW (Lossless Compressed) & JPEG: 17 frames
Playback Functions Enlarg ed display mode, Protect, Rating, Shot Mark (Movie), Divider Frame, Crop, Photo Capture
Screen Reader Yes
Focus Assist Focus Magnifier, Focus Map (Movie), Peaking Display, Subject Recognition in AF, Touch Focus, Touch Tracking, Touch Shutter, Touch AE, Vari-angle LCD screen, Custom function, Enlarge Menu Screen
USB Connection Mass-storage / MTP
USB Speed Yes (SuperSpeed USB 5 Gbps (USB 3.2) compatible)
Wi-Fi Yes (Wi-Fi Compatible, IEEE 802.11a/b/g/n/ac (2.4 GHz band/5 GHz band))
Bluetooth Yes (Bluetooth Standard Ver. 4.2 (2.4 GHz band))
HDMI Output HDMI micro connector (Type-D), 3840 x 2160 (59.94p / 50p / 29.97p / 25p / 23.98p) / 1920 x 1080 (59.94p / 50p / 23.98p) / 1920 x 1080 (59.94i / 50i), YCbCr 4:2:2 10bit / RGB 8bit
Audio Interface Yes (with Digital Audio Interface)
Microphone Input Yes (3.5 mm Stereo minijack)
Headphone Output Yes (3.5 mm Stereo minijack)
Bluetooth Remote Control Yes
Remote Control via Smartphone Send to smartphone, Remote control via smartphone, Remote Shooting
Streaming Codec MJPEG, YUV420
Streaming Resolution 3840 x 2160 (15p / 30p), 3840 x 2160 (12.5p / 25p), 1920 x 1080 (30p / 60p), 1920 x 1080 (25p / 50p), 1280 x 720 (30p), 1280 x 720 (25p)
Streaming Audio LPCM 2ch (16bit 48 kHz)
Streaming Video Codec MPEG-4 AVC/H.264, MPEG-H HEVC/H.265
Live Streaming Resolution 3840 x 2160 (30p), 3840 x 2160 (25p), 2560 x 1440 (30p), 2560 x 1440 (25p), 1920 x 1080 (30p / 60p), 1920 x 1080 (25p / 50p), 1280 x 720 (30p / 60p), 1280 x 720 (25p / 50p)
Live Streaming Audio AAC-LC 2ch (16bit 48 kHz)
Live Streaming Protocols RTMP, RTMPS, SRT
Built-in Microphone Built-in, stereo
Built-in Speaker Built-in, monaural
Lens Correction Shading, Chromatic Aberration, Distortion, Breathing (Movie)
Battery Type One rechargeable battery pack NP-FZ100
Battery Life (Stills) Approx. 610 shots (LCD monitor) (CIPA standard)
Battery Life (Movies) Approx. 130 min (LCD monitor) (CIPA standard)
USB Power Supply Yes (Available with USB Type-C Terminal. USB Power Delivery compatible)
USB Charging Yes (Available with USB Type-C Terminal. USB Power Delivery compatible)
Power Consumption Still images: Approx. 3.2 W (with E PZ 16-50mm F3.5-5.6 OSS II lens attached)
Movies: Approx. 5.0 W (with E PZ 16-50mm F3.5-5.6 OSS II lens attached)
Weight Approx. 292 g / Approx. 10.3 oz
Dimensions Approx. 114.8 x 67.5 x 54.2 mm (from grip to monitor)
Approx. 4 5/8 x 2 3/4 x 2 1/4 inches (from grip to monitor)
Operating Temperature 0 – 40 ℃ / 32 – 104 °F
Included Accessories Rechargeable Battery NP-FZ100, Shoulder strap, Wind Screen, Wind Screen Adaptor, Body cap
Lens Kit Body + 16-50mm Power Zoom Lens (SELP16502)
Lens Kit Model ZV-E10M2K
Kit Accessories SELP16502, Rechargeable Battery NP-FZ100, Shoulder strap, Wind Screen, Wind Screen Adaptor, Lens cap

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Remodelled Fujifilm House of Photography Opens in New Sydney Location

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Fujifilm Australia has moved and improved its experience store in Sydney. Now located at 263 George Street, Fujifilm House of Photography, is far more visible to walk in street traffic than it was near Town Hall.

There are only three Fujifilm House of Photography locations worldwide.

“Opening Australia’s flagship Fujifilm House of Photography in a new and improved location marks an exciting milestone for not only us, but also the creator community in Sydney,” said Ryuichi Matoba, CEO of Fujifilm Australia.

“Witnessing the phenomenal response to our original brand experience centre underscores the desire for consumers to explore the world of photography and we’re delighted that this growth has led to the opening of a significantly larger interactive hub. We look forward to welcoming creatives to our new brand experience centre in Sydney soon – and are excited to help capture their moments and imaginations, one frame at a time.”

Image Matrix Tech was on hand for the launch last night and it’s a massive improvement over the previous location. It feels more like a place where you can not only check out the latest gear, you can actually get things done.

If your’e a city-based business, the hireable studio could be the ideal solution for quick shoots.

It offers:

  • Hire by the hour (minimum two (2) hour hire)
  • Corner cyclorama for seamless backgrounds
  • Latest Fujifilm X Series and GFX System products also available for studio hire usage
  • Premium strobe lighting solutions
  • Product display stands and tripods
  • Consumers can try out Fujifilm cameras and FUJINON lenses in a studio environment.
  • Exclusive student discounts
  • Professional headshot service

The new Fujifilm House of Photography includes a new dedicated print room. Consumers are invited to explore the wide range of printing possibilities, including UV printer and photo gifting products. The Printing and Personalisation station features two photo printing kiosks with same-day printing and an extensive range of personalised products to order for delivery to home.

There’s also a dedicated events space and community hub where consumers can attend exclusive events, workshops, photowalks and collaborations with X-Photographers and influencers. The hub will also showcase new product launches, demonstrations, and presentations.

The new Fujifilm House of Photography is open for business from today 3 July, 2024 – 263 George St, Sydney NSW 2000. 

Opening hours:

  • Monday – Wednesday 10am – 6pm
  • Thursday 10am – 9pm
  • Friday 10am – 6pm
  • Saturday 10am – 6pm
  • Sunday 10am – 5pm

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