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iPhone 14 Pro introduces 48 MP sensor – camera changes explained

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Apple announced four new iPhones today (iPhone 14 | iPhone 14 Plus | iPhone 14 Pro | iPhone 14 Pro Max) but as always it’s the cameras that grab the attention of Image Matrix Tech – so this story is all about the pro line. The iPhone 14 Pro breaks free from the 12MP tradition in the main camera for the first time. Apple has long held firm on tweaking its 12MP sensors – with great results mind you – but this is a big move that will see more changes in coming devices .. hopefully a periscope zoom.

MAIN CAMERA

The 48MP main camera is 65% larger than last year’s iPhone 13 Pro and features second-generation sensor-shift optical image stabilisation. It’s a 24mm (full frame equivalent) which is wider still than the iPhone 13 Pro at 26mm. The new lens is slighter slower at ƒ/1.78 (iPhone 13 Pro is f/1.5) but the net gain should be greater when all camera systems are taken into account. And that’s what Apple does best – combine software and hardware to produce the goods.

For most users you’ll still get a 12MP photo as the ‘quad-pixel’ sensor combines every four pixels into one large quad pixel equivalent to 2.44 µm. This is great for improving low-light capture as well. We now have a 2x zoom in the shooting menu which uses a crop on the main camera to give us, what should be, a sharp 12MP/48mm result.

48MP PRORAW

So we’re still getting 12MP photos unless you use ProRAW. From a stills perspective, I’m looking forward to trying out ProRAW 48MP. I think this new, larger sensor will unlock more of the ProRAW potential with greater editing freedom. A big reason for increased excitement is the iPhone’s computational photography muscle. ‘Photonic Engine’ will give mid- to low-light performance a boost through deep integration of hardware and software. Photonic Engine does this by applying Deep Fusion earlier in the imaging process to deliver better detail, preserving subtle textures, better colour and retaining more image data.

TELEPHOTO 3X

I was hoping for a big update to the 12MP 3X telephoto because it’s my favourite lens. It’s still great so no real issues there. It’s the one I use most for portraits as it’s a 77mm full frame equivalent. Although the 3X is essentially the same as the 13 Pro, the under-the-bonnet 14 Pro improvements will lead to better results. Seriously, the next time you take a portrait of a friend or family member, try out the 3X optical zoom. You’ll need to stand back further but I guarantee, in good light, you’ll get a professional looking shot.

ULTRA-WIDE 0.5

The ultra-wide 0.5X has a new, larger sensor with 1.4 µm pixels but it’s still 12MP and 13mm. Again, the aperture is wider on the 13 Pro at f/1.8 but the ƒ/2.2 will still offer a net improvement especially as the 14 Pro ultra-wide lens is sharper. Apple showed off some macro shots and they look impressive.

FLASH

Although long-exposure, low-light photography is very good on the iPhone and many competing flagships, a flash can improve many shots that aren’t suited to night mode. If you want sharper, punchier, more colourful shots, then flash is the only way to go. The Adaptive True Tone flash has been completely redesigned with an array of nine LEDs that change pattern based on the chosen focal length.

So it’s a beefed up back for iPhone 14 Pro and to be fair that’s no different to previous models each year. But what about the front facing-camera?

FRONT CAMERA

The front-facing camera is the one most people use to take selfies but it’s never been close to the quality of the rear camera module. The iPhone 14 Pro is a big improvement when it comes to selfies. A new front TrueDepth camera with an ƒ/1.9 aperture enables better low-light performance for photos and video.

Using autofocus for the first time, it can focus even faster in low light and capture group shots from farther away. It’s also hiding in Apple’s funky new ‘Dynamic Island’ where the notch used to be. This is a very cool way to make use of the camera cutout.

VIDEO

This iPhone remains king of video with this latest update. Samsung is knocking at the door and I would say has an advantage in stabilised zoom video. But overall iPhone still rules with broadcast friendly settings and quality. I mean .. it shoots in ProRes and Dolby Vision HDR!

All the improvements above also enhance the video capture on iPhone 14 Pro. There’s a new action mode to overcome the need for a gimbal. It crops in to offer a smoother video recording at 2.8K 60p. iPhone filmmakers can rejoice because Cinematic mode is now available in 4K 24fps and 4K 30fps.

A16 CHIP

All of this photographic improvement in the Pro line is made possible by the A16 Bionic chip. It has two high-performance cores and four high-efficiency cores. Apple says the new 6-core CPU is up to 40 per cent faster than the competition and an accelerated 5-core GPU with 50 per cent more memory bandwidth is ideal for graphics-intensive games and apps. The new 16-core Neural Engine is capable of nearly 17 trillion operations per second. The CPU, GPU, Neural Engine and image signal processor seamlessly work together to support the new camera hardware and perform up to 4 trillion operations per photo.

DISPLAY

And what’s the good of a great camera if you can’t see the image properly? Apple has the answer with its iPhone 14 Pro 6.1 inch and 14 Pro Max 6.7 inch displays. Both models include a new Super Retina XDR display with ProMotion that features the Always-On display for the first time ever on iPhones.

This is possible thanks to a new 1Hz refresh rate and power-efficient tech. Not new to many Android users but it’s great to see it on an iPhone. The really great news is the brightness capabilities of iPhone 14. It has the same peak HDR brightness level as Pro Display XDR and the highest outdoor peak brightness in a smartphone: up to 2000 nits, which is twice as bright as iPhone 13 Pro. Wow.

Of course the proof is in the pudding and Image Matrix Tech can’t wait to give this new iPhone 14 Pro Max a thorough camera test.

Prices and availability – Australia

iPhone 14 Pro will be available on Sept 16th in 128GB, 256GB, 512GB and 1TB models, and starts from A$1749 inc GST. Colours include Space Black, Silver, Gold and Deep Purple.

iPhone 14 Pro Max will be available on Sept 16th in 128GB, 256GB, 512GB and 1TB models, and starts from A$1899 inc GST. Colours include Space Black, Silver, Gold and Deep Purple.

More coverage to come on iPhone 14, Apple Watch and AirPods Pro.

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4 Comments

4 Comments

  1. Nikki Holmes

    September 8, 2022 at 6:39 am

    Best review I have read all day. Thank you

  2. Nikki Holmes

    September 8, 2022 at 6:39 am

    Best review I have read all day. Thank you

  3. Djuro Sen

    September 9, 2022 at 12:30 am

    Thanks Nikki – total respect!

  4. Djuro Sen

    September 9, 2022 at 12:30 am

    Thanks Nikki – total respect!

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Apple

WWDC 2024: Canon and Blackmagic Design to Help Push Apple Vision Pro Sales

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Content is king and that’s why Apple needs Canon and Blackmagic Design cameras to capture high quality spatial and immersive video to wow potential buyers of Vision Pro headsets. We’ve been able to shoot Vision Pro spatial video for some time on the iPhone but soon professionals and expert amateurs will be able to capture better quality images, specifically for Apple’s premium device.

At WWDC Apple announced that Vision Pro will soon be selling in Australia, China, Hong Kong, Japan, Singapore, Canada, France, Germany, and the U.K. More markets means more content.

At a RRP of A$5,999, the Vision Pro needs to blow you away. Fortunately there will be more ways to gather stunning content thanks to Canon and Blackmagic Design. One for the enthusiasts and the other for pros only.

CANON RF-S7.8mm F4 STM DUAL lens for EOS R7

The lens shown by Apple in its keynote is the Canon RF-S7.8mm F4 STM DUAL lens for its popular APS-C R7 camera. It’s under development specifically for Apple Vision Pro spatial content. The new DUAL lens will be available between September and December this year.

The RF-S7.8mm F4 STM DUAL lens features a field angle that is similar to a person’s field of view and it’s equipped with a high-speed autofocus mechanism.

If you can’t wait for the Apple specific lens then try the one below.

CANON RF-S 3.9mm F3.5 STM DUAL FISHEYE

The lens above is the (soon-to-be-released) RF-S 3.9mm F3.5 STM DUAL FISHEYE. It’s an APS-C (VR) lens and joins the RF 5.2mm F2.8L DUAL FISHEYE in the EOS mirrorless lineup.  

The lens will only be compatible with the EOS R7 camera at launch. The recording angle is 144-degrees but it results in a natural, forward-facing view of the world. It’s also the first 3D lens with Autofocus (AF) from Canon, with a One Shot Autofocus (AF). This helps a lot. You’ll also find a rear mounted filter holder for both screw-on and gelatin filters.  

The RF-S 3.9mm F3.5 STM DUAL FISHEYE is priced at A$1,999 RRP and should be available late June.

I’ve shot immersive 180 degree videos with Canon’s super-fast dual fisheye lens and although impressive, I really didn’t have anywhere to show them off. Although I tried my best in the Sky News segment below.

The Canon RF 5.2mm f/2.8L Dual Fisheye lens was the world’s first lens for digital interchangeable lens cameras enabling 180° VR shooting to a single sensor. Using a Canon R5 you could record 8K 30p. Resolution is extremely important when it comes to video on VR/AR headsets. The higher the better.

Apple Vision Pro’s ultra-high-resolution display system uses micro-OLED technology to squeeze 23 million pixels into two displays. Each one is the size of a postage stamp, delivering more pixels than a 4K TV to each eye.

That’s where Blackmagic Design’s URSA Cine Immersive camera system is set to reach new standards in immersive video quality on the Apple Vision Pro.

BLACKMAGIC URSA CINE IMMERSIVE

“We are thrilled to announce the first-ever commercial camera system and post-production software that supports Apple Immersive Video, giving professional filmmakers the tools to create remarkable stories with this powerful new format pioneered by Apple,” said Grant Petty, Blackmagic Design CEO.

“Built on the new URSA Cine platform, URSA Cine Immersive features a fixed, custom, stereoscopic 3D lens system with dual 8K image sensors that can capture 16 stops of dynamic range.”

Blackmagic URSA Cine Immersive uses a fixed, custom lens system pre-installed on the body, which is designed specifically for Apple Immersive Video. The sensor delivers a jaw-dropping 8160 x 7200 resolution per eye with pixel level synchronisation.

The custom lens system is designed specifically for URSA Cine’s large format image sensor with extremely accurate positional data that’s read and stored at time of manufacturing. This immersive lens data — which is mapped, calibrated and stored per eye — then travels through post production in the Blackmagic RAW file itself.

Cinematographers can shoot 90fps stereoscopic 3D immersive cinema content to a single file.

The camera comes with 8TB of high performance network storage built in. It records directly to the included Blackmagic Media Module, and can be synced to Blackmagic Cloud and DaVinci Resolve media bins in real time. This gives over 2 hours of Blackmagic RAW in 8K stereoscopic 3D immersive.

DaVinci Resolve with Apple Immersive video support for Apple Vision Pro will be released later this year. Blackmagic customers will be able to edit Apple Immersive Video shot on the URSA Cine Immersive camera. A new immersive video viewer will let editors pan, tilt and roll clips for viewing on 2D monitors or on Apple Vision Pro for an even more immersive editing experience.

Transitions rendered by Apple Vision Pro will also be able to be bypassed using FCP XML metadata, giving editors clean master files. Export presets will enable quick output into a package which can be viewed directly on Apple Vision Pro.

Blackmagic URSA Cine Immersive Features

  • Dual custom lens system for shooting Apple Immersive Video for Apple Vision Pro.
  • 8K stereoscopic 3D immersive image capture.
  • 8160 x 7200 resolution per eye with pixel level synchronisation.
  • Massive 16 stops of dynamic range.
  • Lightweight, robust camera body with industry standard connections.
  • Generation 5 Colour Science with new film curve.
  • Dual 90 fps capture to a single Blackmagic RAW file.
  • Includes high performance Blackmagic Media Module 8TB for recording.
  • High speed Wi-Fi, 10G Ethernet or mobile data for network connections.
  • Optional Blackmagic URSA Cine EVF.
  • Includes DaVinci Resolve Studio for post production.

DaVinci Resolve Immersive Features

  • Support for monitoring on Apple Vision Pro from the DaVinci Resolve timeline.
  • Ability to edit Blackmagic RAW Immersive video shot on Blackmagic URSA Cine Immersive.
  • Immersive video viewer for pan, tilt and roll.
  • Automatic recognition of Apple Immersive Video (left and right eye) for dual file stereo immersive content.
  • Option to bypass transitions rendered by Apple Vision Pro.
  • Export and deliver native files for viewing on Apple Vision Pro.

Availability and Price

Blackmagic URSA Cine Immersive and the update to DaVinci Resolve will be available later this year.

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Triple Base ISO and More: Canon Throws the C400 into the Cinema Mix

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Canon has just announced the C400. It’s a full-frame 6K cinema camera with RF mount and triple native ISO. The new CMOS sensor is backside-illuminated and it can record up to 6K/60p Cinema RAW Light. And there’s a lot more to brag about but is it enough?

It’s certainly a camera that will keep many shooters in Canon’s wheelhouse and might even tempt Sony users to jump ship. It certainly resembles the much older FX6, and although the Sony model is much cheaper, it’s missing a lot of specs and horsepower the C400 boasts.

EOS C400: A$13,500.00 RRP (A$12,999.00 general price)

SONY FX6: A$8,199.00 (general price)

The C400 works a cinema camera or ENG/live broadcast shooter. Despite its size, it packs a lot of options for TV and/or filmmaking into that tiny body.

THE GAME CHANGER – TRIPLE NATIVE ISO

Shooting documentaries in various lighting conditions can be challenging even with dual native ISO. Sometimes 12800 is too much and that’s where the C400 has you covered with triple ISO levels of 800, 3,200 and 12,800. This is available when shooting in Canon Log. To avoid ‘chasing’ low light settings, Canon also has an automatic switching mode that detects ambient lighting and adjusts the base ISO level to match.

THE SENSOR

At the heart of the EOS C400 is a new 26.7MP 6K full frame backside-illuminated, stacked CMOS sensor (BSI), connected to a DIGIC DV7 processor. Rolling shutter isn’t a real concern with faster readout from the sensor. You’ll also get a sharp image from the 6K oversampling for 4K and plenty of post production flexibility with 16 stops of dynamic range.

Super 35mm and Super 16mm are also options – cropped.

AUTOFOCUS

Canon is bringing its Dual Pixel CMOS AF II to its cinema EOS system with virtually 100% coverage across the sensor. C400 users will be able to select face | eye | body and animal detection and tracking. This is a bonus for solo shooters.

ND FILTER

The C400 has a mechanical ND filter with (2 / 4 / 6 / 8* / 10 stops*) * with extender.

RF MOUNT

The EOS C400 is the first high-end RF mount cinema EOS camera, although the R5C and C70 were also options. The RF lens options include integration with RF prime, zoom, hybrid, cinema and VR lenses. For more flexibility you can use EF-EOS R mount adapters as well as the new PL-RF mount adaptor. A 12-pin lens terminal gives greater control over lens operations.

RECORDING FORMATS

It’s all about RAW, in particular, Cinema RAW Light. Canon’s scalable 12-bit Cinema RAW Light is available in LT/ ST/ HQ. If you don’t need to use RAW then 4:2:2 10-bit XF-AVC and all-new MP4 based XF-AVC S and XF-HEVC S formats are also options.

The best of the best for PAL regions is: 6K 12bit Cinema RAW light 1780Mbps (50.00P ST).

You can download a full list of codecs and frame rates here.

DESIGN AND CONNECTIONS

The box design makes the C400 pretty flexible. It’s easy to build out for a film set tripod rig or strip it down for use on a gimbal. The camera weighs 1550g, 12% lighter than the EOS C500 Mark II.

The side handle grip is connected via USB-C with mappable buttons. The top handle connects to the multifunction shoe and duplicates it at the top. This is where you’ll find the monitor which you can mount directly to the body if you don’t want the handle attached. The display is a 3.5-inch LCD 2.76 million dots, touch panel.

There’s plenty of I/O in the C400, including built in Wi-Fi, G-LOCK/SYNC/RET terminal, ethernet terminal, SDI output, MON output and multiple input terminals. The G-LOCK/SYNC/RET and Ethernet terminals are located on the camera body. Just like the C70 the C400 has two mini XLR audio inputs.

Pricing and availability

The EOS C400 will be available in Australia this September for a RRP of A$13,500 RRP. But as stated above, you’ll find it available for pre-order at A$12,999.00 or less.

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BURANO Firmware Plans Revealed

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Sony has announced the BURANO is receiving two new firmware updates over the next year. The updates will include additional recording modes and support for live event production.

The firmware updates – BURANO Version 1.1 and Version 2.0, – will include more recording formats, new de-squeeze options and monitoring updates. Features requested from users have also been included.

The BURANO is the latest addition to the CineAlta family of digital cinema cameras.

BURANO Version 1.1 (late June 2024)

BURANO Version 1.1 includes new features for live event production and the addition of 1.5x de-squeeze display for anamorphic lenses.

It adds S700 Protocol over Etherneti which enables remote control of a BURANO using an RCP (remote control panel). Controllable settings include exposure, white balance, paint, and others (depending on the RCP model).

There’s also support for Multi Matrix Area Indication. This feature allows users to adjust targeted colours during Multi Matrix operation.

It will also allow support for Sony’s Monitor & Control appii version 2.0.0 which enables in demand features such as Multi-Camera Monitoring function for iPadOS. This allows feeds for up to four cameras and precise exposure monitoring including waveform, histogram, false colour and zebra.

Other features: Intuitive focus control and frequently used functions’ control – a similar operation to Sony’s CineAlta cameras using a mobile device such as frame rate, ND filter, sensitivity, look, shutter speed and white balance.

Sony’s Monitor & Control app is free and available for iOS and Android devicesiii.

BURANO Version 2.0 (March 2025 or later)

BURANO Version 2.0 user requests like new recording formats, new 1.8x de-squeeze, and monitoring improvements.

It includes a new 3.8K Full Frame crop that uses nearly the entire sensor and can shoot up to 120 fps. Other new recording formats include 24.00 fps to X-OCN 16:9 imager modes and the following below.

Full Frame3.8K 16:9 ModeUp to 120 fps
Super 354.3K 4:3 Mode (for Anamorphic)Up to 60 fps
Super 351.9K 16:9 ModeUp to 240 fps

Version 2.0 will also add 1.8x de-squeeze setting as well as additional high frame rate (S & Q) modes including 66, 72, 75, 88, 90, 96, 110 fps.

You’ll get monitoring improvements like standardised SDI video output for monitoring across X-OCN and XAVC and an improved on-screen display which places camera status information outside of the image. There’s also View Finder Gamma Display Assist while using S-Log3 for monitoring.

Additional exposure tools are coming – (High/Low Key) derived from the flagship VENICE camera system. There’s expanded white balance memory presets from 3 to 8 and support Active/High Image Stabilisation in Full-Frame 6K and Super 35 1.9K 16:9 imager modes.

And there’ll be breathing compensation plus image stabilisation metadata in X-OCN.

For more details head to the BURANO downloads page at Sony.

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