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Panasonic Lumix DC-GH5 II initial review

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Panasonic Lumix DC-GH5 II initial review

The Panasonic Lumix DC-GH5 Mark II is an updated version of the company’s most video-focused Micro Four Thirds camera; the GH5. It offers increased capabilities over the original model and will eventually sell alongside a higher-end GH6 model, whose development was announced at the same time.

The GH5 II gains an updated ‘Venus’ processing engine from the full-frame S1H, allowing it to capture 10-bit 4K footage at 50 or 60 frames per second and promises improved autofocus. It retains the same sensor as before but now with an anti-reflective coating to better control flare.

Key Specifications

  • UHD or DCI 4K 10-bit 4:2:0 capture at up to 60p with no crop
  • UHD or DCI 4K 10-bit 4:2:2 capture at up to 30p with no crop
  • Image stabilization rated at up to 6.5 stops
  • V-Log L included as standard
  • 3.0″ 1.84M-dot rear touchscreen
  • 3.68M-dot EVF, with 0.76x magnification and up to 120Hz refresh
  • Live streaming options via Wi-Fi or smartphone (Full HD)
  • Anamorphic capture and support tools
  • Improved AF with face/eye/body detection
  • USB-C socket with PD-compatible power and charging

As in previous instances, Panasonic is using the ‘Mark II’ nomenclature to indicate that this is a refreshed version of the GH5, not a completely new camera in the same range. The company believes that not everyone will need the added capabilities of the more expensive GH6, and that an updated GH5 will continue to make sense for some users.

The GH5 II will be launched with an MSRP of $1699: $300 lower than the original GH5.



What’s new

Autofocus

The use of a more powerful processor allows the GH5 II to offer the same face/eye/body and animal recognition AF capabilities as Panasonic’s latest cameras. But, in addition to more sophisticated recognition algorithms, the camera can also read-out its sensor faster, meaning it can run its AF system at 48 frames per second when shooting 24p footage. This means the AF system gets more frequent updates from the scene, something that its Depth-from-Defocus system benefits from significantly.

Enhanced video capabilities

The new processor also extends the video modes the GH5 II can offer, opening up the option to shoot 10-bit 4:2:0 4K 50/60p footage (the original GH5 could only capture 60p footage in 8-bit precision), making it much more usable for Log shooting. The higher frame-rate 10-bit footage is recorded using the H.265 codec.

In addition to 10-bit capture of faster frame-rates, the GH5 II also gains All-I capture for 29.97p and 23.98p, previously only possible for 24.00p. ‘4K’ Anamorphic footage, shot using the full sensor region is now available at up to 50p.

In addition to the expanded video spec, the GH5 II also gains the video tools Panasonic has developed for its more recent models, including a red frame around the screen while recording, a wider choice of aspect ratio guides and the ability to shoot portrait orientation video.

The Luminance Spot Meter is the smaller square on the display and lets you assess the exposure of the element underneath it.

The GH5 II also gets the S1H’s Luminance Spot Meter, which gives you an exposure rating in % IRE for a small, selectable region in the scene, or a rating relative to middle grey (42 IRE) in stops, if you’re in V-Log L mode.

Live streaming

The GH5 II includes more advanced live streaming options, allowing live broadcast over the web, either across Wi-Fi or – following a future firmware update – using a USB connection to a smartphone or wired LAN connection.

The camera can stream via Wi-Fi through a smartphone using the Lumix Sync app. Alternatively, you can use the Lumix Network Settings software for Mac or Windows to write the streaming settings to an SD card, which then allows the camera to connect and stream directly over a Wi-Fi network without going through a PC or smartphone, up to 1080/60p.

Doing so uses the RTMP/RTMPS standard, so the camera can stream directly to YouTube, Facebook or any other service that supports this protocol. It also means that continued support isn’t reliant on Panasonic’s own software. Unlike many camera-as-webcam applications, this approach also includes camera audio.

A pre-announced firmware update will add support for wired connections to facilitate more stable, higher quality connections, including the ability to tether directly to a smartphone over USB (Android only, at first). The camera will also be able to connect directly to a PC over a wired LAN using RTP/RTSP protocols. Panasonic says this update should arrive by the end of 2021.

Improved IS

The GH5 II’s in-body stabilization system is rated as delivering up to 6.5EV of compensation, when measured using the CIPA standard test. This is 1.5EV more than the original GH5. Panasonic says this figure is maintained for longer focal length lenses with Dual IS 2 that synchronizes with the in-body system.

New color modes

Panasonic has added two new color modes to the GH5 II: L.ClassicNeo, a ‘nostalgic’ profile with subtle saturation and contrast, and L.Monochrome S, a subtle monochrome mode that Panasonic says should suit portraiture.

The GH5 II also gains Cinelike D2 and Cinelike V2, the updated low-contrast and ready-for-use cine-style color modes (the GH5 has the original versions of both). What’s noticeable, though, is that these don’t result in an increase in base ISO, as they do on the full-frame ‘S’ series Panasonics, which suggests they aren’t the versions designed to accommodate extra dynamic range.

V-Log L

Interestingly, the GH5 II does not get the expanded, 13-stop version of V-Log L we saw in BGH1 box camera module.

Difference Panasonic cameras use different regions of the V-Log curve (red). The GH5 II uses the blue region, which sees it branded as V-Log L; matching the GH5 and 5S. But the it would still be cross-compatible if it used the larger region used by the BGH1.

The whole design (and some of the potential drawbacks) of the V-Log system is based on the use of different portions of the same Log curve, depending on how much usable dynamic range the camera can record. This means you can use the same LUTs across multiple cameras, the main thing that changes is the point at which the highlights clip.

However, despite this by-design cross-compatibility, and the increased DR (ie: lower noise) that the new processing enables in the GH5 II, it has been given the 12-stop version of V-Log L, to ensure the GH5 and GH5 II behave consistently if shot side-by-side.

No Raw video output

Another interesting omission is the decision not to include Raw output from the GH5 II. Panasonic says that stripping out all the processing that usually goes into the cameras footage means that you’d have to do a fair amount of work to the Raw footage, just to bring it up to the same standard, and that there’d be little to gain even if you did.

There’s plenty of reason to believe this is true: even the 12-stop version of V-Log L will encode most of the sensor’s DR (10-bit Log encoding is much more efficient than 12-bit linear, so is unlikely to result in any significant loss of tonal precision), so is it really worth the additional work, if you mainly just gain the ability to make greater corrections to white balance?


How it compares

The updates in the GH5 II push it back into the position of being probably the best-specced crop sensor stills/video hybrid on the market. While its headline specs don’t look radically different to the Fujifilm X-T4 (which also has stabilization and a fully articulated screen), the distinctions start to reveal themselves when you look at the details of what support tools are provided and how long each camera can be expected to shoot for.

Panasonic DC-GH5 II Panasonic DC-GH5 Panasonic DC-GH5S Fujifilm X-T4
MSRP at launch $1699 $1999 $2499 $1699
Sensor size Four Thirds Four Thirds Four Thirds
Dual Gain
APS-C
Dual Gain
Pixel count 20MP 20MP 10MP 26MP
Viewfinder 3.68M-dot
0.76x mag
Up to 120Hz
3.68M-dot
0.76x mag
3.68M-dot
0.76x mag
3.68M-dot
0.75x mag
Up to 100Hz
Rear screen 3.0″ 1.84M-dot
Fully articulated
3.2″ 1.62M-dot
Fully articulated
3.2″ 1.62M-dot
Fully articulated
3.0″ 1.62M-dot
Fully articulated
Image stabilization Up to 6.5EV
Lens Sync
Up to 5.0EV None Up to 6.5EV
Highest res 10-bit video DCI/UHD 4K 60p, 4:2:0
DCI/UHD 4K
30, 4:2:2
(60p 4:2:2 over HDMI)
DCI/UHD 4K
30, 4:2:2
(60p 4:2:2 over HDMI)
DCI/UHD 4K
30, 4:2:2
(60p 4:2:2 over HDMI)
DCI/UHD 4K 60p 4:2:0
Approx rec limits 20 min (4K/60)
30 min (4K/30)
Log support V-Log L (12-stop) V-Log L (12-stop)
Paid upgrade
V-Log L (12-stop) F-Log
Anamorphic support ‘4K’ up to 50p
‘6K’ up to 30p
‘6K’ up to 30p ‘4K’ up to 30p No
Video tools Zebras (x2)
Focus Peaking
Waveforms
Vectorscope
Lum spot meter
B/cast safe rec
Shutter angle
Synchro scan
Corrected Log display (w/ LUT upload)
Zebras
Focus Peaking
Waveforms
Vectorscope
B/cast safe rec
Shutter angle
Synchro scan
Corrected Log display (w/ LUT upload)
Zebras
Focus Peaking
Waveforms
Vectorscope
B/cast safe rec
Shutter angle
Synchro scan
Corrected Log display (w/ LUT upload)
Zebras
Focus Peaking
Synchro scan
Corrected Log display
HDMI port Full size Full size Full size Micro
Battery life
EVF/LCD (CIPA)
410/410 400/410 410/440 – / 500
Weight 727g 725g 660g 607g
Dimensions 139 x 98 x 87mm 139 x 98 x 87mm 139 x 98 x 87mm 135 x 93 x 64mm

The camera we can’t yet compare the GH5 II to is the forthcoming GH6. Panasonic has made clear that the range-topping model will shoot 4K at up to 120p and 10-bit 4:2:2 footage at up to 60p, with a 5.7K/60p capture option, but we don’t have any further detail, beyond the fact it will cost around $2500 at launch. This means the GH5 II is being repositioned as a more affordable option in the lineup.


Body and controls

The GH5 II’s body is essentially unchanged from that of the GH5S, which itself is very similar to previous GH models. There’s a large red [REC] button on the top of the camera, along with dedicated (but customizable) buttons for WB, ISO, Exposure Comp and now Photo Style. There’s an AF joystick on the back of the camera and an AF drive mode switch surrounds a well-placed AF-On button.

As usual, the body feels solid and is designed to be dust and moisture resistant. Like the GH5S, the twin card slots on the camera’s side can now make full use of V90 UHS-II SD cards.

Screen

The GH5 II has a slightly smaller rear screen than its predecessor: it’s a 3.0″ panel rather than 3.2″. It’s still a 3:2 aspect ratio and has slightly increased resolution. The most significant difference, though, is that it can be made brighter than the older screen, which makes it easier to operate the camera outdoors.

There’s a slight overlap between the screen’s articulation and the headphone socket, so it’s worth positioning the screen before plugging-in, especially if the connector in your chosen cans is of the larger type.

Viewfinder

There’s a similarly subtle change to the viewfinder. It’s still a 3.68M dot OLED display and is mounted behind the same optics, so still offers 0.76X magnification. However, the increased speed of the camera allows it to be refreshed at up to 120Hz, for a smoother, more responsive view.

Menus and displays

The GH5 II gains the ARRI/Varicam style info display, as well as updated menus

The GH5 II gets the updated menu system introduced on the GH5S. It’s a well-arranged series of tabs with icons to hint and remind you where to find the option you’re looking for. It also includes the ability to create a filtered list of video modes, to make it quick to access the ones you plan to use and to reduce the risk of selecting one you hadn’t.

The GH5 II also gains the ARRI-style information panel display, first introduced in the GH5S. These changes to the interface and menus make it much easier to use a GH5 II in conjunction with a GH5S or S1H.

Battery

The GH5 II uses a new, more powerful battery: the DMW-BLK22. This is now rated at 2200mAh, giving 16Wh of capacity. Despite the increased capacity, Panasonic quotes essentially the same 410 shot-per-charge battery life figures (per CIPA) as the original GH5.

The camera comes with an external drop-in charger that accepts both the new BLK22 and the older BLF19 packs from the GH5 and those batteries will still work in the Mark II, just not for as long. Alternatively, the GH5 II can be charged or powered over its USB-C socket, if the power source is USB PD compatible.


First impressions

The GH5 II (left) is a refresh, rather than a radical reworking, of the GH5 (right)

How you react to the GH5 II probably depends on what you think ‘Mark II’ should denote. If you’re expecting a Canon-esque complete reworking of the camera, it might seem a little undercooked. But if you see it as a genuine mid-life refresh, with a few spec enhancements and enough processing power to leave room for further firmware updates, then it looks pretty competent.

Pricing it $300 below the original list price of the GH5 lends weight to the second interpretation. Yes, the street price of the first-gen GH5 has dropped since launch, but the decision to introduce a new version down at that price means it’ll sell for less than the original GH5 for most of its time on the market. Panasonic’s suggestion that the GH6 will launch at around $2500 suggests the GH5 II is destined to be the ‘affordable’ GH in a multiple camera range.

The GH5 II doesn’t represent some ambitious moon shot for Panasonic, but it’s more than a small step forward.
ISO 200 | 1/800sec | F4.0 | Panasonic Leica 50-200mm F2.8-4.0 @ 200mm
Photo by Richard Butler

And this makes sense: the GH5 was the only mainstream stills/video camera hybrid to offer 4K/60p when it was launched, whereas now it’s a feature available on Fujifilm’s X-T4, Canon’s EOS R6 and various high-end Sonys. As such, the GH5 II isn’t nearly as far ahead of the market as the original version was. In fact even the addition of 10-bit 4K/60p isn’t enough to make it unique.

However, what is still unusual is the level of support tools and features that are included. Few of the other cameras that can match the GH5 II’s video modes are as video-focused in their execution as the Panasonic. Dual Zebras and Luminance Spot Meter make it easier to set exposure correctly. The option to set exposure time in shutter angle is still a valuable rarity in mass-market cameras.

The ability to create a custom list of the modes you intend to use on a project, and control exposure in shutter angle (which you don’t need to adjust when switching from 24 to 60p capture), makes the GH5 II much quicker and easier to shoot.

The GH5 II is one of the least expensive cameras to offer the option of an XLR audio input module or control over whether the camera restricts its recording to ‘broadcast safe’ values or offer two levels of input gain for external microphones: its video prowess runs deeper than a simple consideration of frame rate and bit-depth.

In some respects its closest rival is its full-frame cousin, the Lumix DC-S5. It doesn’t offer the GH5 II’s full range of video tools, nor its full-width oversampled 60p capture, but it still includes a lot of similar know-how for a fairly similar amount of money, with the low-light and shallow depth-of-field capabilities it’s hard for the GH5 II to match.

There aren’t many other sub-$2000 cameras that will shoot high-quality 10-bit 4K with the option of XLR audio inputs.

Then, of course, there’s the autofocus. Chris and Jordan’s tests so far suggest it does well in 60p mode, but that 24p still lags behind the best of the competition. We’ll try to get a sense of how usable it is for casual shooting as part of our review.

But, while the GH5 II doesn’t push the market forward in the way its predecessor did, it still looks to offer a compact, high-quality, stabilized video platform at a competitive price.


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Tamron announces 28-75mm F2.8 Di III VXD G2 for Nikon Z mount

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Tamron announces 28-75mm F2.8 Di III VXD G2 for Nikon Z mount


Image: Tamron

Tamron has announced it will release its popular 28-75mm F2.8 Di III VXD G2 fast standard zoom for Nikon’s Z-mount.

Nikon already sells a 28-75mm F2.8 with an optical formula and calculated MTF charts that are a match for Tamron’s original, stepper-motor driven 28-75mm F2.8 Di III RXD. The newer, linear-motor-driven G2 model features improved optical performance.


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The G2 uses a more complex 17 element / 15 group design and has a fractionally shorter minimum focus distance (18cm/7.1″ vs 19cm/7.5″) to deliver very slightly increased maximum magnification. The G2 is also a fraction lighter than the Nikon-branded 28-75mm, weighing 550g (19.4oz), rather than 565g (19.9oz). On the E-mount versions, Tamron claimed the VXD linear motor design was twice as fast as the RXD version.

The focal length range makes the 28-75mm a wide to short-telephoto lens for Nikon’s full-frame Z-mount cameras but could, in principle, be used as a 42-113mm equivalent on DX APS-C bodies, if you wished.

Click here to see the Tamron 28-75mm F2.8 G2 gallery shot on Sony E-mount

The announcement adds a more affordable option for Nikon’s Z-mount users, but the hope has to be that, letting Tamron compete against its own-brand lenses, might also indicate some relaxation of Nikon’s restrictions around the mount. As the footnotes make clear, this lens is “developed, manufactured and sold under the license agreement with Nikon Corporation.”

The Tamron 28-75mm F2.8 Di III VXD will be available from April 18th at an MSRP of $999. This is $100 more than the E-mount version and a match for the current price of the Nikkor Z 28-75mm F2.8. It’s $200 below Nikon’s launch price for the Nikkor version.

TAMRON announces the launch of fast-aperture standard zoom lens for “Nikon Z mount system”

28-75mm F/2.8 Di III VXD G2 (Model A063) for Nikon Z mount

March 27, 2024, 11pm ET / 8PM PT, Commack, NY – Tamron announces the launch of the 28-75mm F/2.8 Di III VXD G2 (Model A063), a fast-aperture standard zoom lens, for Nikon Z mount full-frame mirrorless cameras1. The lens will be available April 18, 2024, at $999 USD / $1399 CAD.

The 28-75mm F2.8 G2 is compact and easy to use yet has excellent optical performance and is compatible with the latest digital cameras with increasingly high pixel resolution. The AF drive uses a linear motor focus mechanism VXD (Voice-coil eXtreme-torque Drive) that is fast, highly accurate and quiet. The lens also excels at close-up shooting, achieving an MOD (Minimum Object Distance) of 7.1” (0.18m) at the wide end and a maximum magnification ratio of 1:2.7. Additionally, the lens design takes operability into consideration by including a coating with excellent scratch resistance on the barrel of the lens and a rubber focusing ring for a comfortable, secure grip among other features.

TAMRON pioneered the category of compact fast-aperture standard zoom lenses for mirrorless models. Now the 28-75mm F2.8 G2 will be available for Nikon Z mount as the ideal everyday lens for Nikon full-frame mirrorless camera users.

Product highlights

1. Best image quality in the standard zoom lens class

The new zoom leverages the latest design expertise and comprises an optical construction with 17 elements in 15 groups. Two optimally arranged LD (Low Dispersion) and GM (Glass Molded Aspherical) lens elements control optical aberrations to the highest degree. The lens provides high-resolution performance from edge-to-edge and corner-to-corner over the entire zoom range, even at wide open aperture. In addition, the soft, beautiful, round bokeh that can be achieved with a fast-aperture lens adds a distinctive dimension, especially to portraits. The overall compact size and high performance can be used advantageously with top-class, ultra-high-resolution mirrorless cameras.

2. Fast, quiet VXD linear motor for high-speed and high precision autofocus

The AF drive system employs TAMRON’s VXD linear motor focus mechanism. The high-speed, high-precision AF is exceedingly responsive and provides dependable and accurate focusing performance from MOD to infinity, despite the fast F2.8 aperture. The lens delivers excellent focus tracking of moving objects, so you are always ready for fast action. Additionally, the focus motor is quiet, so it’s ideal for shooting both still images and video in situations that demand low noise.

3. Lightweight and compact

The 28-75mm F2.8 G2 is a fast-aperture standard zoom lens with a remarkably compact and lightweight design, just 4.7” (119.8mm) long. The maximum diameter is 75.8mm and it weighs only 19.4 oz. (550g). Filter size is 67mm. With a size that’s easy to carry and a light weight that’s well-suited for handheld shooting for extended periods, the 28-75mm F2.8 G2 will surely become your favorite zoom for travel, street shooting, everyday carry, and spontaneous photo opportunities.

4. MOD of 7.1” (0.18m) at the wide end and a maximum magnification ratio of 1:2.7 for creative close-ups

The 28-75mm F2.8 G2 features an MOD of 7.1” (0.18m) at the wide end. The working distance shrinks to around 1.7” (4.4cm) when used at MOD. Because the maximum magnification ratio is 1:2.7, you can get close to your subject for wide macro photography, enabling powerful visual impact with the subject positioned large in the frame while keeping a wide view of the background.

5. TAMRON Lens Utility™ expands the possibilities of still photography and video shooting

The 28-75mm F2.8 G2 is compatible with the dedicated TAMRON Lens Utility software developed in-house by TAMRON that empowers users to easily update the lens to the latest firmware without going through the camera2 and includes functions to support focusing operations and other actions when shooting still images or video. By utilizing a wide range of functions3, users can expand the breadth of expression in still images and video. For example, A-B Focus allows users to limit focusing to two pre-selected focus points, shifting focus from one subject to the other with just a click of the Focus Set Button. Users can also choose between Linear and Non-Linear, which affects how the focus shifts during manual focusing.

6. Enhanced overall lens design for user-friendly operation

Every individual part of the lens has been carefully scrutinized, right down to the fine details, resulting in an enhanced design that optimizes both operability and ergonomics. The surface of the lens exterior is glossy black. Improved abrasion resistance makes the lens barrel harder to scratch and resists fingerprints. Additionally, the grip performance has been improved. The smoothly curved, elegant surface of the brand ring creates a dignified appearance with a design that signifies functional beauty and high quality.

7. Moisture-Resistant Construction and Fluorine Coating provide extra protection

1. The lens for Sony E-mount previously launched on October 28, 2021.

2. To connect your PC and lens, use the TAMRON Connection Cable (USB Type-A to Type-C/ Model CC-150, or USB Type-C to Type-C/ Model CC-350) sold separately. To connect your smartphone and lens, use the TAMRON Connection Cable (USB Type-C to Type-C/ Model CC-350) sold separately. Lens firmware updates are not supported with the Mobile version. Performing firmware updates requires the TAMRON Lens Utility for PC and a computer.

3. The ring function (Focus/Aperture) is not supported for Nikon Z mount.

Tamron 28-75mm F2.8 Di III VXD G2 specifications

(Length and weight refer to E-mount version)



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Sony announces major firmware upgrades for a1, a9 III, a7S III and a7 IV

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Sony announces major firmware upgrades for a1, a9 III, a7S III and a7 IV


Photo: Dan Bracaglia

Sony has announced major firmware updates for four of its current full-frame range, bringing many features and behaviors up to its latest standards and adding C2PA authenticity verification capabilities.

Sony a1 f/w v2.00

Firmware v2.00 for the Sony a1 is perhaps the most extensive, adding features that have appeared in other models in the three-and-a-bit years since it was launched, such as the lens breathing compensation function. It also adds a handful of new features and modifications of behavior, including an option to ensure the EVF remains on, regardless of the LCD position, and relay playback of images across multiple media. Among the extensive list of additions an updates are features such as Timecode Sync, previously only available in Sony’s Cinema Line cameras.

A series of FTP options, including SFTP support are also added.

The firmware doesn’t activate the C2PA function – which not only authenticates the camera and date/time but also that the photo is of a 3D subject, not a photo of a photo – but instead adds the capability to the camera. Once installed, users need to activate a separate license via the Creators’ App to use the function.

Sony a7S III f/w v3.00

Firmware v3.00 brings many of the updates seen in the a1, including Timecode Sync, breathing compensation and relay playback. It also adds the ability to close the mechanical shutter when the camera is turned off, to mitigate dust ingress, and the ability to transfer Raw files to smartphones.

In addition to the C2PA capability, firmware v3.00 includes the ability to add DCI 4K 24p shooting. Again a license needs to be downloaded to a camera running the new firmware to actually activate the function.

Sony a7 IV f/w v3.00

As one of the most recently updated cameras on this list, the a7 IV gains fewer features than the other cameras here. But in addition to C2PA capability, it adds network streaming, direct cloud upload support and an expansion of the features accessible via software development kit (SDK).

Sony a9 III f/w v2.00 [Expected April 9th]

As the newest of the cameras here, the a9 III receives fewer additions and updates than the a1 and a7S III, as in many instances they are gaining the features that the latest a9 introduced. However, in addition to details such as outputting lens names in video file metadata, the a9 III gains the promised ability to use the camera’s full shutter speed range when continuous shooting. But beyond this, the a9 III gains a small array of feature expansions and refinements being added across the four cameras, including the ability to extract stills from video capture, to take advantage of its lack of rolling shutter.

{PressRelease}

Sony Electronics Delivers Firmware Updates including C2PA Compliancy as a Next Step to Ensure Authenticity of Images

SAN DIEGO, March 27, 2024 – Today, Sony Electronics delivers the highly anticipated firmware updates for the Alpha 1 (Ver. 2.00), Alpha 7S III (Ver. 3.00), Alpha 7 IV (Ver. 3.00), and after April 2024, the Alpha 9 III (Ver.2.00). The update contains some of Sony’s most impactful technology, including Camera Authenticity Solution, the proprietary in-camera digital signature and C2PA (Coalition for Content Provenance and Authenticity) format support1. Together, these tools will make it possible for news agencies to ensure the authenticity of images, contributing to industry efforts to protect creators, and society from fake imagery.

Additionally, the firmware updates include many requested features to improve everyday use. The update evolves shooting functions and post-shooting workflow and brings advanced movie features like breathing compensation. It also includes new remote-control capabilities, new features for professional applications, and expanded access to cloud services applications.

“There is nothing more core to our mission than listening to the voices of the photographers, videographers, and filmmakers who shoot with Sony Alpha cameras. We know this community has been asking for these updates, and we’re happy to deliver. Each of these updates are designed to promote ease of use for our creators and allow them to maximize the strengths of their cameras,” says Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “We’re especially pleased to deliver C2PA compliancy with this update. This compliancy paired with our unique digital signature technology, allows us to offer the most secure and comprehensive solution to protect professional photographers, news agencies, and society from manipulated imagery.”

Camera Authenticity Solution

Last year, Sony announced its commitment to developing technology in its cameras to aid in the fight against manipulated imagery and AI-generated fakes. The severity of this issue is only increasing and it’s a complex problem that requires the focus and attention of our entire industry.

One critical part of the solution is making more Sony cameras C2PA compliant. C2PA is a Joint Development Foundation project, where Sony is a steering committee member. C2PA aims to develop an end-to-end open technical standard to provide publishers, creators and consumers with opt-in, flexible ways to understand the authenticity, and provenance of different types of media. The C2PA is a standards-setting body that will develop technical specifications on content provenance and authentication by certifying the source and history of media content. With this firmware update, the authenticity information embedded on images from Alpha 1, Alpha 9 III, Alpha 7S III, and Alpha 7 IV can be maintained from capture through publication. This provides professional photographers with the ability to preserve their digital signature from the camera, while tracking the editing history throughout revisions.

Another critical component of the solution is Sony’s in-camera digital signature technology2 that signs images in real-time. This new feature certifies the authenticity of an image at the point of capture and creates a ‘digital birth certificate’ that is retained throughout revisions. The signature contains metadata including 3D-depth information captured through the proprietary technology in the image sensor developed by Sony. This depth information can show if the image captured was of an actual 3D object, vs a photograph of an image or video, providing an extra level of protection and even more assurance of the content’s authenticity, and making Sony’s solution especially unique for photojournalists and news agencies.

Sony’s solution also helps protect the authenticity of content by including an Image Validation Site, which verifies the image even after edits have been made by C2PA-compliant editing software. This service confirms the authenticity of the photo was taken by a specific camera and that the object of the photo is 3D. This service will initially be offered to select news media agencies, expanding to other agencies at a later date.

Sony’s Camera Authenticity Solution overview diagram
Example image of 3D Image verification

Shooting and Playback Updates

The firmware updates include over 10 new features, as well as improvements to existing features, designed to improve the user’s overall shooting experience. These improved capabilities showcase Sony’s commitment to continuing to evolve the functionality of Sony’s existing camera models. A few highlights of the firmware update functions include:

  • Relay Playback: Enables seamless sequential playback from one memory card slot to another on the Alpha 1, Alpha 7S III, and Alpha 9 III.
  • Playback Filter Condition: Lets users categorize image playback based on select criteria including date, folder, file format, and more on the Alpha 1 and Alpha 7S III
  • Breathing Compensation: The highly requested Breathing Compensation function3 is now available on the Alpha 1 and Alpha 7S III.
  • Upgrade DCI 4K / 24.00p Upgrade License on Alpha 7S III: via a free downloadable license through Creators’ Cloud4.
  • Sync Release function: Enables simultaneous shutter release with two or more multiple cameras connected to the main camera5 on the Alpha 1 and Alpha 9 III.
  • Focus frame display: Focus frame will be displayed on the Remote Camera Tool screeniii on the Alpha 1 and Alpha 9 III.
  • Enhanced image stabilization: The camera body and lens effectively work together to correct larger blurs6 on the Alpha 1.
  • Increased upper limit of recordable images in a folder from 4,000 to 9,999 on the Alpha 1, Alpha 7S III, A7 IV, and Alpha 9 III.
  • Matching the time code with other devices is now possible with a dedicated adapter cable (sold separately)7 on the Alpha 1 and Alpha 7S III.
  • Up to 20 IPTC presets can be on the Alpha 1 and Alpha 7S III.
  • Custom Grid Line is available as a paid license basis for some models8.

File Transfer and Network Connectivity

Additional updates aimed to optimize the post-production workflow efficiency include improvements to International Press Telecommunications Council (IPTC) preset and File Transfer Protocol (FTP) transfer operability. To streamline processes for users, expanded cloud upload and application services will be available. Key updates include:

  • Cloud upload (camera direct) function allows users to upload images directly to the Sony’s Creators’ Cloud9. Key additional features include simplified camera software updates, direct camera registration to the Creators’ Cloud, and a flexible system for uploading, storing, and sharing content. Additionally, the capability to manage video and LUT files via mobile apps, along with the transfer of RAW files to smartphones, optimizes the creative process in fast-paced environments.
  • FTP Transfer Improvements: A “Protected Images Only” option for the Auto FTP Transfer and a “Protect Image in FTP Transfer” option for the FTP transfer function have been added. Available on the Alpha 1, Alpha 7S III, and Alpha 9 III.
  • Support for USB streaming10 on the Alpha 1.
  • Secure File Transfer Protocol (SFTP) has been added to secure protocol on the Alpha 1, Alpha 7S III, and Alpha 9 III and WPA3-SAE is now supported for wireless LAN on the Alpha 1 and Alpha 7S III.
  • Network streaming enables direct live streaming from the Alpha 7 IV to a streaming sitevii.
  • Expansion of app support with Creators’ App and Monitor & Control app now supported with the Alpha 1 and Alpha 7S III.

Many of these updates are applicable to multiple cameras, however for a list of each body’s specific update please check the Sony website.

Exclusive stories and exciting new content shot with Sony’s imaging products can be found at www.alphauniverse.com, a site created to educate and inspire all fans and customers of Sony α – Alpha brand.

1. This feature is available to some news organizations at the press release timing.
2. Both Sony’s in-camera digital signature technology and C2PA compliancy are currently available through a separate upgrade license.
3. For compatible lens information, please refer to the support page (https://www.sony.net/dics/breathing/)
4. For regional app/service availability, check here. To use this service, it is necessary to download and install the upgrade license.
5. Remote Camera Tool Version 4.1.0 is required to activate the function.
6. For compatible lens information, please refer to the support page (https://www.sony.net/dics/func1002/)
7. A dedicated adapter cable, which is sold separately, is required to connect to the timecode source equipment.
8. Availability varies depending on country and region. Available through the Upgrade and License Management Suite at https://ulms.sony.net.
9. For regional app/service availability, check here. Creators’ App Ver.2.3.1 or later is necessary. Settings must be made in the Creators’ App in advance. For more information, please visit the Creators’ App support website (https://www.sony.net/ca/help/opr/)

10. When connecting to a device with a USB Type-C port, please use a commercially available USB cable or a conversion adapter.

{/PressRelease}



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Ricoh creates GR III HDF and GR IIIx HDF with highlight diffusion filters

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Ricoh creates GR III HDF and GR IIIx HDF with highlight diffusion filters


Image: Ricoh

The Ricoh GR III HDF and GR IIIx HDF are variants of the company’s existing fixed-lens APS-C premium compacts. They feature a unique “highlight diffusion filter” instead of the ND filter fitted in the standard versions of both cameras.

Ricoh says the HDF has been developed using its inkjet technology and adds a diffusion effect to the images, particularly visible in highlight areas, comparable with a ‘black mist‘ filter. This, it says gives images “resembling those captured in film photography or vintage movies.”

By replacing the switchable ND filter in the optical path, the HDF effect can be turned on or off, depending on what you’re trying to achieve in each shot. By default, the Fn button will be set to engage and disengage the HDF fitler.

Other than the filter, the cameras gain more customization around white balance (which will come to the standard GR III and GR IIIx in a forthcoming firmware update). There’s also a Zone Select AF feature that lets you select a zone within which the camera narrows down when focusing.

The shutter buttons of the HDF versions of the cameras are dark silver, rather than black, to denote the difference, in every other respect, the HDF versions of the cameras are identical to their conventional versions.

Ricoh announces GR series cameras featuring built-in highlight diffusion filter

PARSIPPANY, NJ, March 27, 2024 — Ricoh Imaging Americas Corporation today announced the RICOH GR III HDF and RICOH GR IIIx HDF premium digital compact cameras. These new versions of the acclaimed RICOH GR III and RICOH GR IIIx cameras feature a newly-developed Highlight Diffusion Filter (HDF) that diffuses highlights for softer light, creating more expressive images with a sense of depth and emotion. The HDF, which can be turned on and off in a single action, allows the user to add a totally different kind of visual expression to captured images.

Developed using RICOH’s advanced inkjet technology cultivated over the years, this special- effect filter diffuses highlight areas and creates a blurred effect along the image’s edges, making it possible to produce images resembling those captured in film photography or vintage movies. Since the HDF can be instantly switched on and off with a single action, it lets the user effortlessly alternate between two completely different visual expressions — clear, sharply focused images characteristic of the RICOH GR series, and softer light, more expressive images captured by the HDF — depending on the subject or creative intention.

“The RICOH GR III HDF and RICOH GR IIIx HDF inherit the fundamental merits of our GR series – exceptional image quality, flawless point-and-shoot operation and outstanding portability,” said Ken Curry, president, Ricoh Imaging Americas Corporation. “The new GR HDF models give users a new creative option that expands the visual boundaries of snapshot photography.”

| Pricing and Availability |

The RICOH GR III HDF and RICOH GR IIIx HDF will be available in April at www.us.ricoh- imaging.com as well as at Ricoh Imaging-authorized retail outlets at a manufacturer’s suggested retail price of $1,069.95 for the RICOH GR III HDF and $1,149.95 for the RICOH GR IIIx HDF.

| Main features of the new RICOH GR III HDF and RICOH GR IIIx HDF |

  • Single-action switching to the new, built-in HDF to create softer light, more expressive images:
    The new GR HDF versions incorporate the newly developed HDF (Highlight Diffusion Filter) to emphasize highlights and produce softer light and more expressive images. Developed using RICOH’s advanced inkjet technology cultivated over the years, this special-effect filter diffuses highlight areas and creates a blurred effect along the image’s edges, making it possible to capture images resembling those captured in film photography or vintage movies. Since the Highlight Diffusion Filter can be instantly switched on and off with a single action, it lets the user effortlessly alternate between two completely different visual expressions — clear, sharply focused images characteristic of the RICOH GR series, and softer light, more expressive images captured by the HDF — depending on the subject or creative intention. This creative versatility expands the visual boundaries of snapshot photography.
  • The color of the shutter-release button has been changed to dark silver to subtly differentiate the HDF models from other GR series models and to symbolize the effortless shift of visual expression. The default setting of the Fn (Function) button has also been changed to the ON/OFF switching of the HDF,* allowing the user to quickly engage the HDF with a press of a button.
  • The user can pre-program up to three white-balance settings as the base white balance.** It is also possible to couple the base white balance with the White-balance Fine Adjustment function.
  • The new models feature Zone Select AF,*** which automatically sets the focus at the most appropriate point within the image area after the user shifts the 3X3 focus area to the desired zone.

* The user can also select another function as the default setting of the Fn button.
** This function can be added to all RICOH GR III- and GR IIIx-series models using function- expansion firmware, which is scheduled to be released along with the market launch of these new models.
*** The 3X3 focus area is identical in size to that of the Auto-area AF (Center) mode.



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