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Blackmagic also jumps on the Apple Vision Pro bandwagon with the world’s first camera system designed for Apple Immersive Video

✇Photo Rumors
PR admin


In addition to the new Canon lens designed for Apple Vision Pro video, Blackmagic also jumped on the Vision Pro bandwagon with the world’s first camera system and editing software for Apple Immersive Video. The new camera can capture content for Apple Vision Pro with 8160 x 7200 resolution for each eye. Here are the new camera 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 synchronization.
  • Massive 16 stops of dynamic range.
  • Lightweight, robust camera body with industry standard connections.
  • Generation 5 Color 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.

Additional information:

Blackmagic Design Announces the World’s First Commercial Camera System and Editing Software for Apple Immersive Video on Apple Vision Pro

Cupertino, CA, USA, June 10th, 2024 - Blackmagic Design today announced an end to end workflow for producing cinematic Apple Immersive Video for Apple Vision Pro. Blackmagic URSA Cine Immersive is the world’s first commercial camera system designed to capture Apple Immersive Video. Apple Immersive Video is a brand-new storytelling format that leverages 8K, 3D video with a 180-degree field of view, and Spatial Audio to transport viewers to the center of the action. Blackmagic Design also announced updates to DaVinci Resolve, the industry-leading post-production software, that will give professional filmmakers the ability to edit Apple Immersive Video for the first time. Blackmagic URSA Cine Immersive and a new version of DaVinci Resolve that supports Apple Immersive Video for Apple Vision Pro will be released later this year.

“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. With this innovative system, filmmakers can record remarkable moments like action-packed scenes, unique perspectives, stunning landscapes, intimate performances, and more, all with incredible fidelity, offering viewers an unparalleled sense of realism and immersion.”

The World’s First Commercial Camera System for Apple Immersive Video

Blackmagic URSA Cine Immersive features a fixed, custom lens system pre-installed on the body, which is designed specifically for Apple Immersive Video. The sensor delivers 8160 x 7200 resolution per eye with pixel level synchronization and an incredible 16 stops of dynamic range, so cinematographers can shoot 90fps stereoscopic 3D immersive cinema content to a single file. 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.

The World’s First Editing Software for Apple Immersive Video

An updated version of DaVinci Resolve will introduce powerful new features to create a comprehensive workflow for immersive video on Apple Vision Pro. 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.

URSA Cine Immersive is Designed to Meet the Demands of Any High End Production

The evenly weighted camera body is built with a robust magnesium alloy chassis and lightweight carbon fiber polycarbonate composite skin to help filmmakers move quickly on set. Customers also get 12G‑SDI out, 10G Ethernet, USB-C, XLR audio, and more. The fold out monitor has a large 5″ HDR touchscreen on one side and an external color status LCD on the other. The right side of the camera features a dedicated assist station with a second 5″ HDR touchscreen that allows crew to work around the camera without needing external monitors.

An 8-pin Lemo power connector at the back of the camera works with 24V and 12V power supplies, making it easy to use the camera with existing power supplies, batteries, and accessories. Blackmagic URSA Cine Immersive comes with a massive 250W power supply and B mount battery plate, so customers can use a wide range of high voltage batteries from manufacturers such as IDX, Blueshape, Core SWX, BEBOB, and more. Customers will also receive a top handle, antennas for high speed Wi-Fi, baseplate, 24V power supply and high voltage B mount battery plate for quick set up.

Blackmagic URSA Cine Immersive comes with 8TB of high performance network storage built in, which records directly to the included Blackmagic Media Module, and can be synced to Blackmagic Cloud and DaVinci Resolve media bins in real time. This means customers can capture over 2 hours of Blackmagic RAW in 8K stereoscopic 3D immersive, and editors can work on shots from remote locations worldwide as the shoot is happening.

The new Blackmagic RAW Immersive file format is designed to make it simple and easy to work with immersive video within the whole post production workflow, and includes support for Blackmagic global media sync. Blackmagic RAW files store camera metadata, lens data, white balance, digital slate information and custom LUTs to ensure consistency of image on set and through post production.

Blackmagic URSA Cine Immersive is the first commercial, digital film camera with ultra fast high capability Cloud Store technology built in. The high speed storage lets customers record at the highest resolutions and frame rates for hours and access their files directly over high speed 10G Ethernet. The camera also supports creating a small H.264 proxy file, in addition to the camera original media when recording. This means the small proxy file can be uploaded to Blackmagic Cloud in seconds, so media is available back at the studio in real time.

Blackmagic Media Dock accelerates post production workflow by making it faster and simpler to start editing and performing color correction. Customers can mount up to three Blackmagic Media Modules for high speed access to media from multiple URSA Cine Immersive cameras all at the same time. The four high speed 10G Ethernet ports allow up to four separate edit workstations to connect directly and is extremely fast, even when a lot of users are connected at the same time.

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 synchronization.
  • Massive 16 stops of dynamic range.
  • Lightweight, robust camera body with industry standard connections.
  • Generation 5 Color 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 from selected Blackmagic Design resellers worldwide.


The post Blackmagic also jumps on the Apple Vision Pro bandwagon with the world’s first camera system designed for Apple Immersive Video appeared first on Photo Rumors.

Canon announces compact dual fisheye lens for VR content creation

✇News: Digital Photography Review (dpreview.com)
When you use DPReview links to buy products, the site may earn a commission.
Image: Canon

Canon has announced the new RF-S 3.9mm F3.5 STM Dual Fisheye, an APS-C lens for VR (virtual reality) content production.

The compact, stereoscopic lens captures a 144º field of view and is the first non-L series lens to feature Canon's Air Sphere Coating. Its optical formula consists of 11 elements in eight groups, including two UD glass elements. The interpupillary distance (the distance between the left and right lens centers) is 60mm, which approximates human vision.

This is the second VR lens for the RF mount. Canon previously announced the RF 5.2mm F2.8 L Dual Fisheye, a VR mount for full-frame cameras. The new 3.9mm lens appears to be aimed primarily at social media creators, with Canon emphasizing the lens' affordability and usability for creating vlog-style VR content.

The new lens works with the EOS R7, though a firmware update will be required.

Image: Canon

Canon has previously indicated its interest in the VR, AR (augmented reality) and XR (extended reality) markets. In fact, during an exclusive interview earlier this year in Japan, Canon executives told us they believe the company is uniquely positioned to provide production tools for these markets.

The APS-C lens is compatible with the Canon EOS R7 camera, though a firmware update will be required for compatibility with the new lens.

Pricing and availability

The RF-S 3.9mm F3.5 STM Dual Fisheye has a suggested retail price of $1,099 and will be available in June

Press release:

Canon unveils the future of everyday VR content creation with new dual fisheye lens

MELVILLE, NY, June 10, 2024 – Canon U.S.A., Inc., a leader in digital imaging solutions, has announced the new RF-S3.9mm F3.5 STM Dual Fisheye lens, bringing ease, affordability and quality for social media creators interested in exploring VR content creation. The RF-S3.9mm F3.5 STM Dual Fisheye lens is compatible with the EOS R7 camera* and will be
available in June 2024.

The new RF-S3.9mm F3.5 STM Dual Fisheye lens makes VR content creation with a mirrorless camera more accessible and efficient than ever. Engineered to empower creators of all types, this lens offers a perfect balance between clarity and usability for vlog-style VR creation. This APS- C Stereoscopic VR lens’ ability to achieve a 144º wide-angle view and utilize equidistant projection makes it ideally suited for every day, virtually hassle-free VR production. Also designed for versatility, this lens permits multiple methods of camera handling, from hand-holding, mounting on a gimbal, or tripod-mounting. Canon’s available EOS VR Utility software (separately available with a paid subscription) is designed for a smooth editing process.

"The RF-S3.9mm F3.5 STM Dual Fisheye lens offers a solution to the growing demand for more affordable and accessible tools in the VR market,” said Brian Mahar, senior vice president and general manager, Canon U.S.A., Inc. “Whether you’re a social creator looking to expand your content into VR, or a filmmaker interested in making the jump from 2D to 3D content, this lens enables creators of all levels to comfortably explore VR content creation and generate amazing content.”

Get to know the RF-S3.9mm F3.5 STM Dual Fisheye lens:

  • One-shot AF and Left/Right focus Adjustment with Focus ring, helping to create effortless and precise shooting in virtually any environment.
  • An Air Sphere Coating (ASC) is a first for Canon non-L Series lenses and helps to minimize ghosting and facilitate pristine image quality.
  • Rear filter holder that accommodates both 30.5mm screw-on filters and sheet-type filters, i.e. gelatin or polyester filters.

Pricing and Availability

The Canon RF-S3.9mm F3.5 STM Dual Fisheye lens is scheduled to be available in June 2024 for an estimated retail price of $1,099.00

Sigma 28-45mm F1.8 DG DN Art specifications

Principal specifications
Lens typePrime lens
Max Format sizeAPS-C / DX
Focal length3.9 mm
Image stabilizationNo
Lens mountCanon RF
Aperture
Maximum apertureF3.5
Minimum apertureF16
Aperture ringNo
Number of diaphragm blades7
Optics
Elements11
Groups8
Special elements / coatingsTwo UD glass elements
Focus
Minimum focus0.20 m (7.87″)
Maximum magnification0.03×
AutofocusYes
Motor typeStepper motor
Full time manualYes
Focus methodInternal
Distance scaleNo
DoF scaleNo
Physical
Weight290 g (0.64 lb)
Diameter112 mm (4.41″)
Length55 mm (2.15″)
Filter thread30.5 mm
Filter notesSupports 30.5mm screw-type filter (rear lens mount) or rear-mounted gelatin filter.
Hood suppliedNo
Tripod collarNo

Nikon teases June 17 launch of Nikon Z6 III

✇News: Digital Photography Review (dpreview.com)

Nikon has released a teaser, promoting the upcoming launch of the Nikon Z6 III. A countdown indicates that the new camera will be revealed on Monday 17th June.

The name implies the long-awaited successor to the Z6 II, itself a relatively minor refresh of the company's original mid-level full-frame mirrorless camera.

Click here to see the Nikon USA teaser

There are plenty of rumors swirling around, promising impressive specs, particularly on the video side of things, but at least we now know for sure that we've only got a week to wait. We'll bring you all the details as soon as we can.

Luminar’s upcoming photo tour to Iceland: get $500 off

✇Photo Rumors
PR admin




In addition to the popular photo editing tool, Luminar is also offering photo tours. Their next destination is Iceland:

  • Aug 17 - Aug 23, 2024
  • Activity level: easy
  • 7-day adventure through Iceland's diverse landscapes
  • Original price: $6,000 ($500 off if you mention the code rumors)

If you compare other photo tours to Iceland, the price is pretty decent. If you mention the code RUMORS when you sign up, you can get $500 off the original price of $6,000 (the final price will be $5,500).

Tour description:

"From dramatic waterfalls to volcanic lakes and mountains, our Iceland excursion promises an unforgettable experience for photography enthusiasts. Organized in collaboration with the local tour operator and led by professional photographers, this tour offers unique opportunities to elevate your photography skills and take breathtaking shots you’ll want to frame on the wall. Organized in partnership with Europe's leading tour operator Iceland Photo Workshops ehf."

Additional information can be found here:


Luminar Neo summer sale: up to 80% off

The post Luminar’s upcoming photo tour to Iceland: get $500 off appeared first on Photo Rumors.

A nature photography tour of Madagascar, Part 4: The Long Way to Isalo

✇News: Digital Photography Review (dpreview.com)

In the last three articles in this series, I talked about my visits to Andasibe NP, where I shot lemurs and chameleons, and to Tsingy Rouge NP, where I shot beautiful formations made by erosion. I also talked about shooting sifaka lemurs and baobab trees in the Kirindy Forest reserve. This time, instead of discussing one spot, I'll present a series of locations I briefly visited on my way along the west coast of Madagascar.

Once finished in Kirindy, I took an extremely bumpy ride north to the famous Tsingy De Bemaraha National Park. Unfortunately, I didn't have too much time to stick around and explore the vast expanses of karstic formations in the park, but I did devote some hours to shooting some more beautiful lemur species in the forest next to those formations.

Female red-fronted brown lemur at Tsingy De Bemaraha National Park. These medium-sized lemurs with reddish-brown fur are commonly found in the forested areas of the reserve. They are very agile, but when relaxed, they're comfortable resting on branches for long periods, making them relatively easy to shoot.

Canon 5D4, Sigma 150-600mm F5-6.3
293mm | 1/200 sec | 5.6 | ISO 800

This sportive lemur was looking (and acting) like a truck driver when looking down at me from its tree house. Talk about crazy eyes!

Canon 5D4, Canon 70-300mm F4-5.6
300mm | 1/125 sec | F5.6 | ISO 800

Red-fronted lemurs are sexually dichromatic, meaning that males and females have different fur patterns; males are gray to gray-brown, and females are reddish brown. In this shot, you can see the limitations of high-ISO photography, as the quality isn't as good as one would hope.

Canon 5D4, Sigma 150-600mm F5-6.3
388mm | 1/160 sec | F8 | ISO 3200

My favorite lemur family is the Sifakas. After shooting the Diademed sifakas in Andasibe and the Verreaux sifaka in Kirindy, I was keen to shoot another species in the family: the beautiful Decken's sifaka. This species is especially fluffy and features all-creamy-white fur, which accentuates its red eyes.

The Y-shaped branch contributed a great deal to the composition. I don't even hate the fact that the background is blue sky - I think it compliments the sifaka's creamy-white fur.

Canon 5D4, Sigma 150-600mm F5-6.3
275mm | 1/640 sec | F5.6 | ISO 400

I spent one afternoon shooting the Tsingy themselves, but felt unable to achieve many good compositions. Movement is extremely slow and difficult on these sharp formations, and one often needs to wear a harness and climb to get to the viewing platforms. The view is astounding for sure, and I wished I spent more time exploring the area. Leaving after one afternoon was an unfortunate scheduling necessity.

Backlit trees and rock formations in Tsingy De Bemaraha.

Canon 5D4, Canon 11-24mm F4
18mm | F1/125 sec | F13 | ISO 400

After Tsingy De Bemaraha NP, I returned to the city of Morondava and, before starting a long drive south, stopped by the famous Baobab Alley. This is an over-crowded location, as I quickly found out on an afternoon visit, but it's both empty of people and often foggy during sunrise. It's a nice place, but honestly, it's way overshot. There are beautiful baobabs all over Madagascar (as you saw in the article about Kirindy), where you can get more original compositions and avoid the masses.

Baobab Alley. I would only go there to shoot if it's on your way and if you can go at sunrise. If you do go, make sure you try the baobab fruit juice in the cafe!

Canon 5D4, Tamron 24-70mm F2.8
24mm | 1/40 sec | F7.1 | ISO 400

Then began the long, long journey south – a two-day drive that I didn't know whether it was more boring or more grueling. The worst dirt roads you can imagine had us going at a snail's pace. We did stop at a few locations along the way, and I took a few shots of less-photographed subjects. One of those was the forest of fat baobabs close to Andavadoaka, a beautiful place in its own right but also one that is way off the tourist path.

The fat baobabs are shorter than the famous ones you have in mind, but in my opinion, they are much more interesting photographically. They are also usually grouped close together, which, while making them harder to shoot, also allows for more interesting compositions. They also kinda look like turnips, don't they?

Post-sunset glow is the perfect time to shoot the fat baobabs. The red light accentuates their natural reddish hues against the purple sky. The close grouping of the trees allowed me to create a more interesting near-far composition.

Canon 5D4, Canon 11-24mm F4
15mm | 6 sec | F13 | ISO 100

To shoot this image, I had to focus stack three images to get both the closer and more distant trees in focus (the camera was positioned only tens of cm from the tree on the left).

Canon 5D4, Canon 11-24mm F4
11mm | 5 sec | F8 | ISO 400

Fat baobabs also have a type of fungus growing on them that creates absolutely astonishing natural patterns. By the way, if you do visit them, make sure you put on lots and lots of mosquito spray. I was viciously attacked when I first arrived and had to retreat to the car for a proper slather.

Fungus patterns on a fat baobab.

Canon 5D4, Canon 70-300mm F4-5.6
300mm | 1/40 sec | F5.6 | ISO 1600
Canon 5D4, Canon 70-300mm F4-5.6
221mm | 1/80 sec | F11 | ISO 200

The most fungus-ridden baobab I saw was further south. It was completely covered in amazing patterns that looked like they were painted by graffiti artists.

The sun star sparkles through the branches of a fungus-ridden baobab.

Canon 5D4, Canon 11-24mm F4
11mm | 1/160 sec | F14 | ISO 200

We continued our two-day drive, passing beautiful views of the Mozambique Channel. The whitest sands I've ever seen were washed by resplendent turquoise waters when we had to turn east, inland, toward Isalo National Park – the subject of the next article in this series.

Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates and to his YouTube channel.

If you'd like to experience and shoot some of the world's most fascinating landscapes and wildlife with Erez as your guide, take a look at his unique photography workshops in Madagascar, Greenland, the Lofoten Islands, Namibia and Vietnam.

Erez also offers video tutorials discussing his images and explaining how he achieved them.

More in this Series:

Selected Articles by Erez Marom:

Leica’s new LUX iPhone app seeks to build a new generation of brand fans

✇News: Digital Photography Review (dpreview.com)
Photo: Tucker Bowe

Leica has launched a new LUX app for iOS that's ostensibly intended to reach longstanding fans of the brand and endear a new generation of shooters to the photographic aesthetic of the iconic German camera company – or at least a digital approximation of it.

The app's proprietary image processing engine can apply film emulation presets to existing photos in a similar fashion to Fujifilm's popular offerings. Eleven so-called "Leica Looks" are included in the app at launch, such as Leica Standard, Leica Classic, Leica Contemporary, and Leica Black and White. However, the company says that new looks will be added every month.

Though now available to a much broader potential set of consumers, Leica Look filters technically aren't new for the brand. The feature initially appeared in the company's Fotos app for owners of newer Leica digital cameras.

Like other fully-featured third-party camera apps such as Halide, iPhone photographers can also use the LUX app's automatic mode, "Aperture Mode," and manual control modes to capture photos.

Photo: Leica

Aperture Mode is the most unique selling point of the new app. Seemingly like Apple's own Portrait Mode on steroids, the feature leverages Leica's image engine to emulate the bokeh and color of the brand's iconic – and for many, unobtainable – premier lenses, such as the Leica Summilux-M 28mm F1.4 ASPH, Summilux-M 35mm F1.4 ASPH, and Noctilux-M 50mm F1.2 ASPH. iPhone 15 Pro (Max) users can also access an APO-Telyt-M 135mm F3.4 emulation thanks to the phone's telephoto lens.

There's also a pro manual mode, which allows advanced users to control settings, including exposure compensation, shutter speeds, ISO, white balance, manual focus, and Raw/ProRaw capture settings. You can also see a live histogram.

While we haven't tested the app yet ourselves, at least some journalists, such as Antonia G. Di Benedetto at The Verge, who have had access to early beta versions, describe the app's processing features as hit-or-miss and the color filters in some cases as heavy-handed, at least for now. Like the built-in portrait modes on many premium smartphones, Leica's efforts to simulate bokeh and depth of field via software seem to struggle to produce realistic results under certain conditions.

A free version of Leica’s LUX App is available from the Apple App Store with limited features, including access to five looks. Paying a monthly subscription fee of $6.99 or an annual fee of $69.99 unlocks all of the app's capabilities. Leica recommends using the app with an iPhone Pro 12 or newer.

Last chance to get the Contax G45 f/2 lens for Leica M (conversion by Funleader)

✇Photo Rumors
PR admin



   
Funleader will have one last batch of the Contax G45 f/2 lens for Leica M conversion next month. This will be their final restock of this lens. Pre-orders are now open at a discounted price of $999 instead of the original $1199. You can use code LEICARUMORS for an additional 5% off:


Pre-orders will ship in early July. A limited number of silver G45 lenses are still available. The last batch of G45 lenses will be only in black. Keep in mind that for $999, you will get the complete functioning lens. The conversion kit is also available (without the optics) for $489, where you have to source your original lens and convert it (check the product page for instructions).

Converted Contax G 45mm f/2 lens for Leica M-mount by Funleader

Leica M9 + Contax G 45mm f/2 lens (converted by Funleader) sample photos

Now available: DIY Funleader Helicoid for Contax G45 f/2 lens to Leica M-mount conversion

Sample photos from the new Contax Zeiss Planar T* 45mm f/2 G lens conversion for Leica M-mount by Funleader

Just announced: new Funleader Contax G45 f/2 converted lens for Leica M-mount

Last chance to get one: restock of the Contax G45 f/2 lens for Leica M conversion by Funleader



Via LeicaRumors

The post Last chance to get the Contax G45 f/2 lens for Leica M (conversion by Funleader) appeared first on Photo Rumors.

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