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Review: Nikon NX Studio answers our plea for a free, all-in-one editing app

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Review: Nikon NX Studio answers our plea for a free, all-in-one editing app

Introduction

Nikon NX Studio version 1.0.0’s user interface.

A few weeks ago, we published an article comparing Nikon’s free ViewNX-i and Capture NX-D utilities with their dominant payware alternative, Adobe Camera Raw, which also underlies the popular Adobe Lightroom Classic. In summary, I found both ViewNX-i and Capture NX-D to offer pretty decent image quality and good performance.

But one of my primary complaints with this duo was that neither app offered a complete feature set. ViewNX-i’s Raw processing capabilities were rather more limited in the interests of approachability, while Capture NX-D lacked features like support for geolocation, keywording, movies, slideshows and more. That left users having to switch back and forth between the pair for a full experience.

The newly released Nikon NX Studio definitively addresses this. It’s essentially a replacement for both applications, offering almost every feature of the pair in a single program. Capture NX-D and ViewNX-i will remain available for download, but are unlikely to be updated to add support for new cameras or compatibility with future operating system updates.

NX Studio replaces ViewNX-i if already installed, but can run alongside Capture NX-D, allowing you to try both in parallel should you want to. It comes bundled with a new version of Nikon Transfer 2 whose sole change is to add support for NX Studio itself. It also works with the same Message Center 2 and Picture Control Utility 2 apps as its predecessors.

It will support all Nikon DSLRs released since the D1 in 1999, as well as all of the company’s Z and 1-series mirrorless cameras, Coolpix compacts and KeyMission action cameras. (Although with that said, AVI-format movies from a couple of dozen Coolpix models released between 2009 and 2011 can’t be played back in the app.)

Key takeaways:

  • NX Studio comes with a modern, approachable UI
  • Keywording and GPS tagging are now supported
  • Allows for movie playback and light editing
  • Image quality and performance are broadly similar to predecessors; convenience in a single package is the reason to upgrade

A cleaner, friendlier, more modern user interface

The user interface is aesthetically similar to that of both earlier apps, but it’s now cleaner, friendlier and more standards compliant than before. Icons are monochromatic, with a bolder yellow accent color used to call attention to enabled options, rather than the more muted yellow of the Capture NX-D and ViewNX-i. And unlike both earlier apps, there are no drop shadows or gradient effects, giving NX Studio a cleaner, more modern look.

Alongside its predecessors, Capture NX-D (bottom left) and ViewNX-i (bottom right), Nikon NX Studio (top) has a cleaner, friendlier user interface that’s nevertheless familiar.

Compared to NX-D specifically, NX Studio is far more approachable. Adjustment panels are no longer hidden behind toggle buttons, expanding a new one no longer causes a previous one to vanish from the UI, and nor do conflicting variations of a single control appear in multiple places as in the earlier app. If you only use a subset of the controls on offer, you can also create a custom panel containing just those specific controls, which helps made them easier to find.

And unlike in Capture NX-D, Windows conventions are now properly followed, so you can tab or shift-tab to switch back and forth between fields when typing in values directly, saving some wrist strain in having to reach for your mouse or touchpad repeatedly. One slight shortcoming is that while keyboard shortcuts are supported – for example, the F key toggles full-screen mode – there’s no list of shortcuts to be found in the otherwise-excellent user manual, and nor are they listed in the app’s settings. We’ve sent a query over to Nikon about the keyboard shortcuts, and will update this article if and when we receive a response.


Few and minor drawbacks to the new interface

There are relatively few downsides to the new UI. You can no longer undock and float panels to place them wherever you like on the screen, nor can you dock them in different locations to their defaults, other than for the film strip. This defaults to a horizontal bar at the bottom of the screen, but can be switched to a vertical column at screen left instead

The navigation panel, folders and albums controls are all fixed at screen left, while the histogram, adjustments, EXIF information and keywording tools sit at the right of the screen. Both of these side panels can easily be resized, or hidden with a single click on their centrally-located arrow buttons. The film strip lacks a similar button to allow it to be hidden, but you can hide it by dragging downwards when resizing.


Keyword your images manually or based on location

Given that ViewNX-i had a rather abbreviated selection of editing controls, I’d wager most users will be migrating from Capture NX-D. In most respects, NX Studio’s editing controls are identical to that app, although it does add the Color Booster control from ViewNX-i alongside NX-D’s saturation tool, giving you access to other method.

NX Studio now includes support for XMP and IPTC keywording, including automatic address and Wikipedia data tagging based on geolocation info.

But what else do you gain by switching from NX-D? The most significant addition is probably the arrival of both XMP/IPTC keywording, allowing you to manually tag your images post-import, view existing tags and remove those which aren’t applicable.

If your images are geotagged, you can also add location-based tags semi-automatically, choosing from a list of app-selected location name suggestions, or even from place names suggested via Wikipedia. Confusingly, though, this functionality is available only when in map view, even though the ‘Set from location data’ button remains visible – albeit grayed out – in other views. I’d like to see Nikon correct that to be clickable regardless of your chosen view.


View your images and track logs on the map

Speaking of the map view, that’s another new addition, and it allows you to see geotagged images from your currently-selected folder or album on an interactive world map. You have a choice of map, satellite, hybrid or physical views provided by Google Maps.

The new Map view can pinpoint the location and capture direction of individual photos, show GPS track logs and automatically geotag your images from the tracks.

Each individual image shows up as a yellow pushpin on the map, with the currently selected image being shown in red. If your camera recorded a compass bearing at capture time, that direction is also indicated on its pushpin when selected as shown in the screenshot above left, but not otherwise.

If you have an NMEA or GPX track log recorded by the camera itself or a compatible device, these can be imported and shown as a red track line. And once imported, they can be used to approximately geotag selected images based on their capture time as compared to the times recorded in the track log.


Play movies and perform basic editing tasks

Another new addition is support for movies, both in terms of playback and basic editing. The editing functionality allows you to quickly trim the start and end of clips, or splice multiple files together.

You can also combine multiple movie clips and images to make a new file complete with titles, captions, and overlaid music. There are, however, only three transition effects, three still image durations (with optional motion effect), and three brief music samples provided. You can also add your own music in .WAV or .M4A formats, and process movie clips to remove autofocus noise.

You can now view and perform basic editing on movies in-app, but you’ll need a beefy processor and GPU if you want to do so with ultra high-def footage.

Unfortunately, you’ll need quite a beefy processor and GPU for smooth playback if you shoot in 4K, let alone editing. On my 2018 Dell XPS 15 9570 laptop running Windows 10 version 1909, I found 1080p clips from the Nikon Z5, for example, played smoothly but those at 4K resolution stuttered badly.

And that’s not down to the hardware, as VLC Media Player played them perfectly smoothly on the same computer, while Windows’ own Media Player and Photo apps only dropped a handful of frames.


Several smaller tweaks, too

Nikon NX Studio also includes a number of smaller tweaks compared to Capture NX-D. For one thing, you can now upload images and movies directly to Nikon’s Image Space service and YouTube, respectively. You can also view slideshows with optional, user-provided background music, and the new program adds support for more obscure file formats such as 3D Multi Picture Object files or voice notes recorded on older Coolpix cameras.

Support is included for uploading your creations to both Nikon Image Space and YouTube.

Really, I can only find a couple of omissions. As mentioned previously, you can no longer undock interface panels, nor can you change whether they appear in the left or right-side palettes. Other than that, I couldn’t find any other missing features this time around.


Image quality is indistinguishable from NX-D

Initially, I planned to compare Nikon NX Studio’s image quality to that of its predecessors and Adobe Camera Raw in detail. However, on testing the program I’ve found its results with identical settings to be visually indistinguishable from those of NX-D, even though precise file sizes do differ fractionally at the same compression level.

You can also play basic slideshows in-app, but there are only three transition types to choose from, and you’ll need to supply any background music yourself.

With that being the case, I’ll refer you to the second page of my earlier article, instead, for a more detailed analysis. NX Studio is capable of delivering good image quality with very pleasing color and impressive shadow recovery, but feel Adobe still has a slight edge when it comes to fine detail at low sensitivities, which increases at higher sensitivities thanks to significantly stronger noise reduction from Nikon.

The good news is that with no noticeable change in image quality, and with all the same controls on offer as in both predecessors, NX Studio will read and apply all the same tweaks as did either earlier application, meaning you can upgrade without fear of having to rework all of your adjustments.


Performance is similar to both predecessors

As for performance, which was already a strong point of Nikon’s software compared to that provided by most manufacturers, things are also pretty similar to before. Adobe still has a small but noticeable edge in the speed of final output processing, and a more substantial advantage in terms of preview performance.

NX Studio is a little faster than Capture NX-D, however. Using the same six comparison images as for my previous article, it took 28 seconds to complete the batch. That’s about two seconds faster than with NX-D, and two seconds slower than NX-i. By way of comparison, performance leader Adobe still holds the crown with a time of 19.5 seconds.


A few bugs, but that’s to be expected in a brand-new app

In my time with Nikon NX Studio, I’ve found it to be very stable, but that’s not to say it’s perfect, nor would I expect a brand-new app to be. I’ve run across a couple of bugs, although only one strikes me as particularly significant. (And both are related to issues I found with the previous apps, as well.)

Firstly, there’s still an issue with detecting dragging of the right-panel scroll bar, regardless of whether the program is running maximized or not. But where this only happened with my Dell Active Pen, it now also happens with both the touch screen and even when dragging with the mouse. Simply using the scroll wheel or a two-fingered touchpad swipe works around this, however.

The program also ignores Windows’ scaling settings entirely in mixed-resolution monitor setups when running on an ultra high-def screen. That makes it extremely difficult to use on a 4K display unless you either lower the resolution or disable your lower-res screen(s).

Image quality from NX Studio is broadly comparable to what you’d get from the Capture NX-D; check out how it compares with ACR here. Click or tap for the full-sized ACR version; here for CaptureNX-D version

The good news is that Nikon is aware of this problem and working on a fix. In the meantime, desktop users with mixed-resolution displays can work around it using a scaling setting built into NX Studio, but notebook users will find that they constantly have to change this setting – which also requires an app restart – every time they disconnect or reconnect a display of differing resolution.


NX Studio is a big step in the right direction

So what do I think of Nikon NX Studio? I have to say that it’s a big step in the right direction, giving photographers that Nikon cameras a powerful editing application where they can perform most of the edits they’d want to.

The most important thing here is that the new program provides basically everything of any significance from its two predecessors, allowing you to ditch one of them altogether. Its new interface is noticeably better and easier on the eye, and its performance and image quality are just as good as before.

I think this first iteration of NX Studio is a great replacement for Nikon’s earlier apps. If you’re using either ViewNX-i or Capture NX-D currently, I highly recommend you upgrade to the newer app, because I’m confident that you’ll agree.

What we like:

  • Available free with your Nikon camera
  • Includes almost every feature of Capture NX-D and ViewNX-i in a single app
  • Recognizes and retains edits made with Capture NX-D or ViewNX-i
  • Significantly friendlier interface than its predecessors, though with familiar controls
  • Realistic color with minimal effort
  • Impressive shadow recovery from Active D-Lighting and D-Lighting HS
  • Slightly faster than Capture NX-D, albeit still a fair bit slower than Adobe
  • A very generous editing feature-set

What we don’t:

  • No overall one-click auto control, although many individual controls have an auto setting
  • Noise reduction robs fine detail and, depending on your camera, there may not be much scope to fine-tune it
  • Interactions between controls can prove challenging
  • 4K video playback requires beefy hardware
  • Similar touch/pen issues to earlier apps, but they’re easily worked around

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Sigma I-series primes get a rework, including silver versions for L-mount

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Sigma I-series primes get a rework, including silver versions for L-mount


The Sigma 45mm F2.8 DG Contemporary, showing Sigma’s new typeface.

Rendering: Sigma

Sigma’s I-series prime lenses will become the first to adopt the company’s revised logo and branding, with updated versions of all nine lenses losing the ‘DN’ designation from their names.

All nine lenses retain their original optical formulae and change only in their external appearance. The exception to this rule is the original 45mm F2.8 DG Contemporary, which has now been made compatible with the magnetic lens caps used across the rest of the series.

Silver versions of the I-series lenses will also be available, to match the silver version of Sigma’s new BF mirrorless camera. Prices for all nine lenses remain unchanged.

New designation for Sigma’s I-series lenses: US MSRP:
  • Sigma 17mm F4 DG Contemporary
  • Sigma 20mm F2 DG Contemporary
  • Sigma 24mm F2 DG Contemporary
  • Sigma 24mm F3.5 DG Contemporary
  • Sigma 35mm F2 DG Contemporary
  • Sigma 45mm F2.8 DG Contemporary
  • Sigma 50mm F2 DG Contemporary
  • Sigma 65mm F2 DG Contemporary
  • Sigma 90mm F2.8 DG Contemporary
$599
$699
$639
$549
$639
$549
$639
$699
$639



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Sigma announces the ultra-telephoto 300-600mm F4 DG OS Sports lens

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Sigma announces the ultra-telephoto 300-600mm F4 DG OS Sports lens


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Image: Sigma

Sigma has announced the 300-600mm F4 DG OS Sports lens, designed specifically for applications like sports, action and wildlife photography.

Optically, the lens is built around 28 elements in 21 groups. It includes 6 FLD and 1 SLD element, anomalous dispersion glass, high refractive index glass, and a water and oil-repellent front coating. It’s designed to provide a high level of correction for chromatic aberration throughout the entire zoom range. Sigma claims the new zoom will deliver the same optical performance as a prime lens.

Autofocus is driven by a high-thrust HLA (high-response linear actuator) motor that drives a lightweight lens focus group located close to the camera body for good balance and fast and precise AF performance.

The image stabilization system provides 5.5 stops of stabilization at 600mm. It includes two stabilization modes: Mode 2 is designed to be widely used for most still and video applications and Mode 2 is designed specifically for panning shots in the horizontal, vertical or diagonal directions.

The lens barrel is constructed from magnesium alloy, and the lens hood is made of carbon to deliver a sturdy but lightweight design. It’s painted with thermal insulation paint to reduce heat absorption. The inner zoom mechanism is designed to minimize center of gravity fluctuations throughout the entire zoom range.

The lens also includes a newly added function ring that offers two modes. With the Focus Preset Mode, twisting the ring right or left will instantly shift to a pre-registered focus position. The Power Focus Mode is intended to make it easier to focus the lens at a constant speed for applications like video and supports two steps; focus speed can be changed in two steps, depending on how far the ring is turned.

Other controls include four AFL buttons, a focus mode switch, a focus limiter and OS mode switch and a custom mode switch. The L-mount version is also compatible with teleconverters.

There is a drop-in holder for 40.5mm filters. According to Sigma, it has developed a new drop-in circular polarizer and a variable ND filter with 7 stops of adjustment to use with the lens. Sigma says the lens is dust and splash-resistant.

The lens is 167mm (6.6″) in diameter by 467.9mm (18.4″) long. It weighs 3,985g (8.79lbs)

The Sigma 300-600mm F4 DG OS Sports lens will be available from April 2025 at a retail price of $6000.



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Sigma announces 16-300mm F3.5-6.7 DC OS, a lens with a huge 18.8x zoom ratio

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Sigma announces 16-300mm F3.5-6.7 DC OS, a lens with a huge 18.8x zoom ratio


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Image: Sigma

Sigma has announced the 16-300mm F3.5-6.7 DC OS Contemporary lens, a wide-angle to telephoto, image-stabilized zoom for APS-C cameras that provides a 24-450mm equivalent focal length. Sigma claims it’s the longest zoom ratio available in an APS-C lens and that it will be ideal for applications ranging from landscape to sports photography. It will be available in L-mount, E-mount, X-mount and RF-mount.

Optically, the lens comprises 20 elements in 14 groups and includes 1 FLD, 4 SLD and 4 aspherical elements. It contains one high refractive index glass element, which Sigma says has “significant thickness variation.”

The lens has a close focusing distance of 17cm (6.7″) at its widest angle and 105mm (41.4″) at the telephoto end. The maximum magnification of 1:2 occurs at 70mm and is 1:3 at 16mm, and 1:4 at 300mm. The front element includes a water and oil-repellent coating. According to Sigma, the lens is designed to suppress focus breathing, making it useful for video work and applications like focus stacking.

Sigma says the autofocus is driven by its high-response linear actuator motor to provide fast and smooth autofocus. Image stabilization is rated at 6 stops at the wide, and 4.5 stops at the telephoto setting. A zoom lock switch is included to prevent lens creep when mounted on a camera.

Physically, the lens is 73.8mm (2.9″) in diameter and 121.4mm (4.8″) long and includes threads for a 67mm filter. It weighs in at 615g (1.4 lbs). Sigma rates it as dust and splash-resistant.

The Sigma 16-300mm F3.5-6.7 DC OS Contemporary has a retail price of $700 and will be available beginning April 17.

Sigma presents the world’s first mirrorless lens with an approximate zoom ratio of 18.8x. Powerful yet portable, the 16-300mm F3.5-6.7 DC OS | Contemporary delivers outstanding results in any situation.

Ronkonkoma, New York – SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is pleased to announce the 16-300mm F3.5-6.7 DC OS | Contemporary lens for the US market. the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary features an 18.8x zoom ratio, the world’s largest*1 for an APS-C format mirrorless lens. Equivalent to 24-450mm in 35mm format, this portable lens covers everything from wide-angle for landscapes and interiors to super-telephoto for sports, wildlife and aviation. This extremely versatile lens brings the full range of photographic subjects within reach, from landscapes and portraits to wildlife and sports photography. The lens is available in L-Mount, Sony E-Mount, Fujifilm X Mount and Canon RF Mount and will retail for $699 through authorized US retailers.

Sigma presents the world’s first*1 mirrorless lens with an approximate zoom ratio of 18.8x. Powerful yet portable, the 16-300mm F3.5-6.7 DC OS | Contemporary delivers outstanding results in any situation.

The all-new Sigma 16-300mm F3.5-6.7 DC OS | Contemporary features an 18.8x zoom ratio, the world’s largest*1 for an APS-C format mirrorless lens. Covering the entire range from wide-angle to super-telephoto, this extremely versatile lens brings the full range of photographic subjects within reach, from landscapes and portraits to wildlife and sports photography.

With a maximum magnification ratio of 1:2, the 16-300mm F3.5-6.7 DC OS | Contemporary captures detailed close-ups with ease. Its HLA (High-response Linear Actuator) motor provides exceptionally fast, smooth and accurate autofocus – ideal for fast-moving subjects such as birds and aircraft. The lens offers 6 stops of image stabilization at the wide end and 4.5 stops*2 at the telephoto end, helping photographers achieve blur-free results even at longer focal lengths and in low light.

This ultra versatile all-in-one zoom is the perfect tool for creative photographers who want to work in a wide range of photographic genres.

*1 As an AF compatible interchangeable lens exclusively for mirrorless, as of February, 2025 by Sigma.
*2 Based on CIPA guidelines. (Measured at a focal length of 16mm and 300mm using an APS-C camera)

Wide-angle, super-telephoto and macro photography in one lens

The world’s first 18.8x zoom with a 16mm wide-angle setting

The Sigma 16-300mm F3.5-6.7 DC OS | Contemporary is the world’s first mirrorless lens with an 18.8x zoom ratio. Equivalent to 24-450mm* in 35mm format, this portable lens covers everything from wide-angle for landscapes and interiors to super-telephoto for sports, wildlife and aviation.
* Approximately 25.6-480mm for the Canon RF Mount version.

Maximum magnification ratio of 1:2 at 70mm for striking close-ups

With a maximum magnification ratio of 1:2 at 70mm, the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary provides excellent close-up performance, perfect for capturing flowers, insects and other small subjects in great detail. With a maximum magnification of 1:3 at the wide end and 1:4 at the telephoto end, photographers have access to a huge range of creative expression.

Small, lightweight and portable

Despite its impressive zoom range of 16-300mm, the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary prioritizes high portability, measuring just 73.8mm in diameter by 121.4mm in length and weighing just 615g*. This is achieved through advanced mechanical and optical design, including a high refractive index glass element with significant thickness variation and an aspherical lens element.
* The figures are for the L-Mount version.

High-speed autofocus and image stabilization for effortless shooting with reliable results

Accelerated AF speed and accuracy with HLA autofocus

To help photographers capture even the most fleeting moments, the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary uses a High-response Linear Actuator (HLA) to achieve high-speed autofocus functionality with excellent drive accuracy.

Outstanding optical stabilization powered by the OS2 algorithm

Inspired by the same technology that powers Sigma’s super-telephoto lenses used by professional wildlife and sports photographers, the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary features 6 stops of optical stabilization at the wide end and 4.5 stops at the telephoto end. The latest OS2 optical stabilization algorithm provides superior image stabilization to mitigate the effects of camera shake, helping photographers achieve blur-free results without the need for a tripod, even when shooting in low light and at full zoom.

* Measured using an APS-C camera at focal lengths of 16mm and 300mm according to CIPA standards.

Equipped with a zoom lock switch at the wide end

The Sigma 16-300mm F3.5-6.7 DC OS | Contemporary features a zoom lock switch that can be fixed at the wide end to prevent the lens from extending.

Dust- and splash-resistant structure* and water-repellent coating

Designed to help photographers work in all environments, the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary features a dust- and splash-resistant structure for use in harsh conditions. In addition, the front element features a water- and oil-repellent coating that helps keep the lens free of contaminants.

* The structure is designed to be dust- and splash-resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

Uncompromising optical quality that redefines the standard for super-zoom performance

Consistently high image quality across the entire zoom range

Thanks to its advanced optical design with 1 FLD, 4 SLD and 4 aspherical elements, the lens has excellent aberration correction and delivers sharp results throughout the whole zoom and focus range.

Engineered to minimize flare and ghosting

By measuring light incidence under all conditions and using advanced simulation technology, the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary guarantees superior resistance to flare and ghosting, allowing photographers to capture crisp, clear images in even the most challenging lighting conditions – just as an all-in-one lens should.

Suppressed focus breathing for consistent framing

The Sigma 16-300mm F3.5-6.7 DC OS | Contemporary is designed to effectively suppress focus breathing, making it a perfect choice for filmmakers as well as photographers working with multi-shot techniques such as focus stacking. Throughout the zoom range, changes in angle of view are kept to an absolute minimum when changing focus.

Sigma 16-300mm F3.5-6.7 DC OS specifications

Principal specifications
Lens type Zoom lens
Max Format size APS-C / DX
Focal length 16–300 mm
Image stabilization Yes
Lens mount Canon RF-S, Fujifilm X, L-Mount, Sony E
Aperture
Maximum aperture F3.5–6.7
Minimum aperture F22–45
Number of diaphragm blades 9
Optics
Elements 20
Groups 14
Special elements / coatings 1 FLD, 4 SLD, 4 aspheric
Focus
Minimum focus 0.17 m (6.69)
Maximum magnification 0.5×
Autofocus Yes
Motor type Linear Motor
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 615 g (1.36 lb)
Diameter 74 mm (2.91)
Length 121 mm (4.76)
Filter thread 67 mm
Hood supplied Yes
Hood product code LH706-03



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