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Software review: DxO PhotoLab 4 brings several small improvements – and one big one



Software review: DxO PhotoLab 4 brings several small improvements – and one big one


First launched in early 2004 under the name Optics Pro, DxO rebranded its Raw processor as PhotoLab back in 2017 to better reflect that its capabilities now go far beyond just lens corrections, and simultaneously absorbed the popular Nik Collection plugins from Google for integration into its own software. It has also shuttered its nascent hardware business altogether, and spun off its DxOMark camera, lens and smartphone testing lab as a separate company in 2017.

Now entirely focused on software development, DxO has nevertheless stayed the course with a perpetual licensing model for PhotoLab, eschewing the controversial subscription-based pricing that rivals like Adobe have used to increase revenues.

Since it’s a comprehensive digital darkroom application, I’m not going to aim to cover every feature of PhotoLab in this review. Instead, in the interest of readability, I’ll aim to hit the highlights while comparing improvements versus the previous release, and against its still-dominant Adobe rival as appropriate.

Key Takeaways:

  • Competitive pricing, no subscription
  • Class-leading (but slow) DeepPRIME noise reduction filtering
  • Friendly and easy-to-learn user interface
  • Great automatic lens and image quality corrections
  • Good to great performance in most areas
  • No support for multi-shot imaging or Fujifilm X-Trans images

DxO PhotoLab 4 is available immediately priced at US$129 for the Essential edition or US$199 for the Elite edition; the extra cost gets you PRIME / DeepPRIME ‘denoising’, batch renaming, moiré removal and more. There’s also upgrade pricing if you have a previous version of PhotoLab or OpticsPro.

What’s new in DxO PhotoLab 4

Compared to the preceding major release, PhotoLab 4 has several significant new features and a raft of more minor ones. Key among these is the new DeepPRIME denoising engine, an artificial intelligence-based evolution of DxO’s already-impressive PRIME noise reduction from earlier versions. DxO has also introduced a selective copy-and-paste function which allows you to take just your chosen parts of the recipe you’ve applied to one image, and apply those to as many other images as you like with minimal fuss.

PhotoLab 4’s user interface now allows searching, filtering and customization. At left, I’ve clicked the “Color” button (marked in blue at the top) to filter to color-related tools, then started to type “saturation” in the search field, and after two letters my chosen tool was already located in two different palettes. At right, I’ve made my own user palette called “Optics”, and populated it with copies of DxO’s popular lens correction tools.

Also new are a history palette that allows you to see and quickly revert processing changes, and a DNG export option that lets you save images either with all corrections, or optical corrections only. There’s also a batch renaming function and the ability to add either text or image-based watermarks to your images. And DxO has also made PhotoLab’s user interface more approachable, allowing more advanced controls to be hidden, individual controls to be rearranged or added to your own user-created palettes, and available controls searched or filtered by type (see above images).

Finally, support has been added for a raft of cameras including all of the following: The Canon EOS R5, R6 and Rebel T8i (EOS 850D); DJI Mavic Air 2; Nikon D6, Z5 and Z6 II; Olympus E-M10 IV; Panasonic Lumix S1H and S5; Sony A7c and A7s III. A full and searchable list of supported cameras can be found on DxO’s site.

The new Advanced History palette tracks your changes to images, allowing you to roll them back or see exactly what changes you made later. Here, I’ve tweaked color, exposure and perspective, then cloned out a number of distracting leaves in the temple’s courtyard.

The basics: DxO PhotoLab’s feature set

At its core, DxO PhotoLab is a full-featured Raw processor that offers a range of quick-and-easy automatic corrections based on lab testing of camera bodies and lenses, as well as a profusion of manual controls allowing you to tune the look of images to match your artistic vision. Camera body and lens corrections are contained in profiles which the application prompts you to download as required.

As well as global adjustments to variables like exposure, contrast, white balance and the like, PhotoLab also allows for local adjustments that can be brushed into specific areas of your image, overlaid as graduated filters or attached to specific areas with control points. Based on U Point technology first developed by Nik Software, these are a clever way of creating masks to select specific areas of the image without needing to resort to hard-to-master tools like Photoshop’s magic wand or lasso.

Your edits can be stored in two ways, neither of which alters the original file itself so there’s no risk of corruption and edits can easily be undone. Firstly, DxO stores these edits in its own database, much as does Adobe’s rival Lightroom app. On top of this, PhotoLab can also write sidecar files in the same folders as your edited images, either automatically or manually. These sidecars can be copied between computers to make your edits portable, and if that machine already has its own edited version of the same image, PhotoLab will intelligently create virtual copies for you.

As well as global adjustments, DxO PhotoLab 4 also allows for local adjustments that can be brushed onto and erased from your image, as well as graduated filters like the one I’ve applied here, and also more selective filters set using the U Point technology bought from Google and originally developed by Nik Software.

Images can also be keyworded and rated, and again, these changes aren’t saved into the original file itself, but rather the database and sidecar file, although exported versions of the image will have this metadata baked-in. PhotoLab can also read IPTC metadata added to images at the time they were captured, if your camera supports this. Support is also provided for both printing and export to Flickr.

Modern features like high-resolution 4K displays, touch-screens and pens are all supported. So are multiple monitors, allowing you to use one display for editing and another for file browsing.

PhotoLab 4’s newly-customizable Smart Workspace can be rearranged to mimic that of other applications as closely as possible. Here, I’ve tried to make its layout (left) match that of Adobe Photoshop Lightroom (right). There are obviously differences in the tools that each offer, but you can still get fairly close.

Editing controls can also be moved to the secondary display if first docked to a user palette, allowing near full screen preview on the primary display. And most adjustments can be previewed in almost real time, although previews for some more computationally-intensive adjustments such as curves or noise reduction can take a little longer.

If you prefer to use another app to manage your catalog, DxO PhotoLab can function as a plugin for Adobe Photoshop Lightroom Classic. It can also export processed images to Photoshop or Lightroom, and its functionality can be extended by DxO’s own ViewPoint, FilmPack and Nik Collection plugins.

PhotoLab can function as a plugin for Lightroom, and accepts several plugins such as the popular Nik Collection suite itself.

ViewPoint and FilmPack integrate into PhotoLab’s own interface, while the Nik Collection suite is accessed via a popup menu. On choosing a Nik plugin, PhotoLab exports your image as a TIFF file, and this is then opened in your chosen plugin. Since this takes you out of the Raw workflow and bakes in your prior PhotoLab edits, it makes sense to do it as a last step before final export.

How DxO Photo Lab 4 compares to Adobe Lightroom

So what’s missing when compared to Adobe Photoshop Lightroom? Quite a few things, although many are fairly obscure features that many photographers won’t need. There’s no import/ingest function to copy images from your camera or flash card to local or network drives, or tag them in the process. Multi-shot editing functions like panoramas, focus stacking, resolution enhancement or HDR are not supported.

Less significant omissions include tethered shooting or a mapping / GPS module, although PhotoLab can recognize and display location info in its metadata panel. Nor can it create slideshows, and other than Flickr support it provides no built-in photobook or web gallery creation functionality.

DxO PhotoLab 4 offers most Lightroom / Photoshop features that photographers regularly need, while foregoing some of their lesser-used, more obscure functions

DxO’s software also tends to support fewer cameras than does Adobe, especially for older and more obscure models. Particularly noteworthy is a lack of support for any camera using Fujifilm’s X-Trans sensors, something that seems unlikely to change in the near future. And just as it lacks support for multi-shot imaging, PhotoLab also doesn’t fully support single Raw files based on multi-shot techniques like Pentax’s Pixel Shift Resolution and Raw HDR, or Canon’s Raw Burst format. These files will typically open, but are treated as if they were standard single-shot Raws.

Great image quality and true-to-life color

Much like its Adobe rival, DxO PhotoLab is capable of providing excellent image quality, with pleasing color and loads of detail. There are some interesting differences in the two companies’ approaches, however, that become apparent when comparing their automatic corrections side-by-side. For the below images, PhotoLab 4 is on the left, Adobe on the right.

Where Adobe tends towards a consumer-friendly look with higher contrast and much punchier color: sometimes almost cartoonishly so. DxO PhotoLab’s automatic results tend to feel more convincing and realistic, if perhaps a little muted.

And the situation with exposure adjustments is similar. PhotoLab’s automatic corrections tend to use a softer touch, whereas Adobe typically makes bigger changes to exposure. With scenes where the camera missed the mark on exposure, I found Adobe’s algorithms tended to do a better job, but with more challenging scenes they sometimes yielded rather unnatural results. DxO comes closer with challenging scenes simply by dialing up its Smart Lighting correction from the default Slight mode to Medium or Strong, however.

DxO’s algorithms (left) typically don’t make huge adjustments to exposure by default, whereas Adobe (right) seems to give more free rein to correct difficult images.

Of course, should their automatic corrections miss the mark, both companies’ results can be tuned to match your tastes. In terms of detail, I found little to choose between the two, although Adobe’s apps default to higher levels of sharpening by default, sometimes leaving noticeable haloes when viewed at 1:1. And while PhotoLab and Lightroom’s automatic lens corrections do vary somewhat, neither program seemed consistently better in my testing.

Compare the default PhotoLab result with Smart Lighting set to strong instead of light (left) versus Adobe (right).

The story is very different when it comes to noise reduction, however, where even DxO’s base HQ noise reduction seems to do a better job both of squashing noise and holding onto finer details at higher sensitivities, where Adobe’s results are typically grainier. And enabling DxO’s PRIME or DeepPRIME noise processing puts it in a different ballpark.

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World’s largest camera: 3.1 gigapixels for epic timelapse panos of the universe




World’s largest camera: 3.1 gigapixels for epic timelapse panos of the universe

We have a winner for sensor Top Trumps: the LSST camera is the world’s largest astronomy camera. It’s more than 350 times the size of a full-frame sensor, for reference.

Photo: Jacqueline Ramseyer Orrell/SLAC National Accelerator Laboratory

“Space,” according to Douglas Adams’ Hitchiker’s Guide to the Galaxy. “is big. Really Big. You just won’t believe how vastly, hugely, mind-bogglingly big it is. I mean, you may think it’s a long way down the road to the chemist’s, but that’s just peanuts to space.”

It turns out the same is true of cameras made to map space. You may think your full-frame camera is big but that’s nothing compared to the Legacy Survey of Space and Time (LSST) camera recently completed by the US Department of Energy’s SLAC National Accelerator Laboratory.

You may have seen it referred to as the size of a small car, but if anything that under-sells it. SLAC has essentially taken all the numbers you might recognize from photography, made each of them much, much bigger and then committed to a stitched time-lapse that it hopes will help to understand dark matter and dark energy.

Unlike many astro and space projects, LSST is recognizably a camera: it has a mechanical shutter, lenses and rear-mounting slot-in filters.

Image: Chris Smith / SLAC National Accelerator Laboratory

We got some more details from Andy Rasmussen, SLAC staff physicist and LSST Camera Integration and Testing Scientist.

The LSST has a 3100 megapixel imaging surface. That surface is an array made up of 189 individual sensors, each of which is a 41 x 40mm 16.4MP CCD. Each of these sensors is larger than consumer-level medium format and when arranged together gives an imaging circle of 634mm (24.9″). That’s a crop factor of 0.068x for those playing along at home.

The individual pixels are 10μm in size, making each one nearly three times the area of the pixels in a 24MP full-frame sensor or seven times the size of those in a 26MP APS-C, 61MP full-frame or 100MP 44 x 33 medium format model.

To utilize this vast sensor, the LSST has a lens with three elements, one of which is recognized by Guinness World Records as “the world’s largest high-performance optical lens ever fabricated.” The front element is 1.57m in diameter (5.1 ft), with the other two a mere 1.2m (3.9 ft) and 72cm (2.4 ft) across. Behind this assembly can be slotted one of six 76cm (2.5 ft) filters that allow the camera to only capture specific wavelengths of light.

One of the six 76cm (2.5 ft) filters that are swapped over, typically once the camera has shot a set of images of the 1000 regions of the sky it captures.

Photo: Jacqueline Ramseyer Orrell/SLAC National Accelerator Laboratory

This camera is then mounted as part of a telescope with a 10m effective focal length, giving a 3.5 degree diagonal angle of view (around a 634mm equiv lens, in full-frame terms). Rasumussen puts this in context: “the outer diameter of the primary mirror is 8.4 meters. Divide the two, and this is why the system operates at f/1.2.”

That’s f/0.08 equivalent (or around eight stops more light if you can’t remember the multiples of the square root of two for numbers that small).

Each 16MP chip has sixteen readout channels leading to separate amplifiers, each of which is read-out at 500k px/sec, meaning that it takes two seconds. All 3216 channels are read-out simultaneously. The chips will be maintained at a temperature of -100°C (-148°F) to keep dark current down: Rasmussen quotes a figure of < 0.01 electrons / pixel / second.

But the camera won’t just be used to capture phenomenally high-resolution images. Instead it’ll be put to work shooting a timelapse series of stitched panos.

The sensor array under construction in 2020. Each of the sensors in the 3 x 3 array being installed is a 41 x 40mm chip. The final camera uses 189 of these imaging sensors, plus another 8 for positioning the camera, along with 8 wavefront sensors at the corners of the array.

Photo: Farrin Abbott/SLAC National Accelerator Laboratory

The camera, which will be installed at the Vera C. Rubin Observatory in Chile, will shoot a series of 30 second exposures (or pairs of 15 second exposures, depending on the noise consequences for the different wavelength bands) of around 1000 sections of the Southern sky. Each region will be photographed six times, typically using the same filter for all 1000 regions before switching to the next, over the course of about seven days.

This whole process will then be repeated around 1000 times over a ten-year period to create a timelapse that should allow scientists to better understand the expansion of the universe, as well as allowing the observation of events such as supernova explosions that occur during that time.

The sensors, created by Teledyne e2v, are sensitive to a very broad range of light “starting around 320nm where the atmosphere begins to be transparent,” says Rasmussen: “all the way in the near-infrared where silicon becomes transparent (1050nm),”

The sensors, developed in around 2014, are 100μm thick: a trade-off between enhanced sensitivity to red light and the charge spread that occurs as you use deeper and deeper pixels.

No battery life figures were given, but the cost is reported as being around $168M.

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A nature photography tour of Madagascar, Part 1: Andasibe




A nature photography tour of Madagascar, Part 1: Andasibe

Madagascar. A huge, wild, faraway Island. Even mentioning its name provokes an exotic, exciting feeling in my soul. I had wanted to visit Madagascar for many years before finally realizing my plans in 2022. It was one of the most wonderful trips I’ve done in recent years, one that stayed with me for a while. It included many adventures, diverse and exciting locations, new experiences and a heck of a lot of photography. Enough photography to be interesting (in my opinion, at least) even for the general photography crowd, not to mention nature photographers.

Madagascar may not be a beginner’s destination in the sense that it poses some challenges to the traveler. My scouting trip included extremely long drives (one of them two days in total, during which we had to sleep in a guest house surrounded by a very tall metal wall…).

In some locations, sleeping conditions aren’t on par with the expectations of the typical western tourist. The already-poor country was also badly hit by COVID-19, which left some of its better hotels permanently closed. It is currently recuperating and reinstating the tourism infrastructure, domestic flight schedule and higher-tier accommodation possibilities.

While it has more than its fair share of domestic problems, Madagascar is an absolute heaven for wildlife and landscape enthusiasts. In this series of articles, I’d like to tell you the story of my scouting trip to this magical island. I hope it gives you new insights and information about its sheer natural diversity and triggers your interest in visiting. While a Madagascar trip is not always easy or comfortable, it is extremely worth it for the adventurous soul.

Without further ado, let’s move on to my first stop on the trip: Andasibe-Mantadia National Park. Andasibe Park is located about 150 km (3-4 hours) east of Madagascar’s capital of Antananarivo, near the small village of Andasibe. It consists mostly of a vast rain-forest, which is habitat to numerous species, many of them endemic, rare and endangered, among which 11 lemur species, including brown lemurs, Diademed sifaka lemur, wooly lemur and others. There are several chameleon species and numerous bird and insect species. Andasibe is especially known for its population of the largest lemur species, the Indri Indri.

In general, lemurs are quite hard to photograph. They are energetic, move around quickly and often, and are increasingly reluctant to get close to humans since feedings are being phased out (a wonderful thing in any other respect). They live in dense forests, so good viewings and compositions are few and far between. The photographer often has to chase the animal as it moves through the canopy, which can be challenging and exhausting, especially in the wet, muddy, humid environment. I got back to the lodge absolutely dirty with mud and plant material from head to toe every day.

An adult Indri Indri in the rain.

Canon 5D4, Sigma 150-600mm F5-6.3
F6.3 | 1/500 sec | ISO 1600 | 516mm

Indri Indri (locally called Babakutu, which may be translated as “father of a little boy”) is a diurnal tree-dwelling lemur. It lives in family groups, feeding mainly on leaves but also seeds, fruits and flowers. Photographically, the Indri Indri is a wonderful subject. The black and white fur (with hints of brown and grey) is starkly contrasted by its beautiful, large green eyes (and by the colors of its forest habitat). It is also very loud and often bursts into song, allowing easier detection and photography of the singing itself.

The only photographic disadvantage is that it chooses to stay high up in the canopy most of the time (other than when going to the toilet), which can harm the shooting angle; remember, as wildlife photographers, we usually prefer an eye-level vantage point. When you see an image of an Indri Indri at eye level, chances are it was shot during human feeding, which should be avoided and discouraged.

The song of Babakutu is made of high-pitched glissandos and can be heard from far away. In my opinion, it’s pure joy to listen to. It’s very much an arboreal equivalent of a whale’s song.

Canon 5D4, Sigma 150-600mm F5-6.3
F6.3 | 1/320 sec | ISO 3200 | 600mm

Besides the Indri Indri, there are several other beautiful lemur species in Andasibe.

Brown lemurs are some of the most common lemurs, but they’re fun to photograph. They are also the most likely to climb to eye level, making them easier to capture.

Canon 5D4, Canon 70-300mm F4-5.6
F5 | 1/160 sec | ISO 3200 | 176mm

Eastern wooly lemur. Contrary to popular belief, they don’t usually smoke illicit substances.
More seriously, this lemur species is highly endangered due to rapid habitat loss.

Canon 5D4, Canon 70-300mm F4-5.6
F5.6 | 1/100 sec | ISO 800 | 277mm

The Diademed sifaka lemur is one of the largest and most colorful lemur species. Classified as critically endangered, population estimates for the species range between 6,000 and 10,000 individuals.

Canon 5D4, Sigma 150-600mm F5-6.3
F6.3 | 1/1250 sec | ISO 3200 | 388mm

An eastern lesser bamboo lemur (also known as the gray bamboo lemur). These lemurs are extremely quick and nimble, jumping from branch to branch in the thick forest. They are also incredibly cute and furry.

Canon 5D4, Sigma 150-600mm F5-6.3
F5.6 | 1/500 sec | ISO 3200 | 324mm

Malagasy chameleons are known for their striking colorations. I shot several species of chameleons on the trip, but the most beautiful one was the male Parson’s chameleon, whose coloration was especially vibrant and eye-pleasing.

A close-up portrait of a male Parson’s chameleon. Note the amazing coloration on the abdomen.

Canon 5D4, Canon 70-300mm F4-5.6
252mm, F5.6, 0.2 sec, ISO 100

Another close-up from a different angle. The horns are nicely visible here.

Canon 5D4, Canon 70-300mm F4-5.6
F5.6 | 1/250 sec | ISO 3200 | 244mm

In addition to the usual close-ups, I took one ultra-wide angle image with my 11-24mm to better show the chameleon’s habitat.

Canon 5D4, Canon 11-24mm F4
F11 | 1/4 sec | ISO 800 | 11mm

It’s interesting to note that the female Parson’s chameleon is comparatively dull in appearance. I guess the male is dressed to impress!

A female Parson’s chameleon.

Canon 5D4, Canon 70-300mm F4-5.6
F5 | 1/200 sec | ISO 1600 | 155mm

In the next article in this series, I’ll talk about shooting the Red Tsingy, a man-induced beautiful natural phenomenon, which was the next stop on my Madagascar trip.

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 with Erez as your guide, take a look at his unique photography workshops in Svalbard, Greenland, Madagascar, the Lofoten Islands, Namibia and Vietnam.

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

Selected Articles by Erez Marom:

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Atomos announces Ninja Phone for connecting camera to iPhone for monitoring and recording




Atomos announces Ninja Phone for connecting camera to iPhone for monitoring and recording

Atomos has announced the Ninja Phone, a monitor and recorder that connects cameras with HDMI out ports to the iPhone 15 Pro and iPhone 15 Pro Max. The unit acts as a ‘co-processor’ to encode a camera’s HDMI signal to 10-bit ProRes or H.265 and send the encoded video to the phone. There is also support for USB-C mic input.

A Ninja Phone iPhone app was also announced to control the unit. Through the app, users can control settings and file transfer between the Ninja Phone and their iPhone. The app will also allow for vertical video capture, live streaming and remote file uploading to cloud services. An encoded ProRes file can also be saved locally to the phone as a .mov file, allowing users to build some redundancy into their workflow by having the source camera and iPhone both save the same file.

There are some limits, however. Source camera output taps out at 1080/60p, meaning you can’t send a 4K signal from a camera to the Ninja Phone.

No plans were shared for bringing the device to Andriod phones or other USB-C iPhones.

Atomos’ announcement today spent considerable time gushing about the iPhone 15 Pro/Max display stats (2,000,000:1 contrast ratio and support for Dolby Vision, HDR10, and HLG). Atomos has said the device leans on Apple’s A17 chip to decode the video feed and display video with no latency, so it’s unclear how dependent the Phone Ninja is on Apple’s tech or if there are technical limits for if/when the Phone Ninja may come to other devices.

The Atomos Ninja Phone is expected to ship in June 2024 at an MSRP of $399. The unit will also require a $59 phone case, which Atomos says is needed to “ensure that the locking cable system can be deployed.”

Now your phone can be a Ninja too!

Melbourne, Australia, April 12, 2024 — Atomos announces Ninja Phone, a whisper quiet, 10-bit video co-processor for smart phones and tablets that lets you record from professional HDMI cameras.

The first release of Ninja Phone, demonstrated at NAB 2024 at the Atomos booth (C4931) is designed for iPhone 15 Pro and iPhone 15 Pro Max and their amazing OLED display. It’s a powerful combination that uses Atomos’ world-beating knowledge of Apple ProRes encoding and Apple’s cutting-edge silicon and screen technology to create the world’s most beautiful, portable, and connected professional monitor-recorder.

Atomos has a proud history of working closely with all leading Japanese camera manufacturers and as you would expect from an Atomos product, the Ninja Phone lets you connect any professional camera with an HDMI output to Apple’s magnificent OLED screen in HDR.

The Ninja Phone encodes the camera’s HDMI signal to ProRes or H.265, both formats at superb 10-bit quality for perfect HDR. The encoded video is sent via Ninja Phone’s USB-C output to the iPhone 15 Pro or Pro Max’s USB-C port. The iPhone’s super-advanced A17 system-on-a-chip decodes the pristine camera sensor image to display on the high-resolution iPhone screen.

The display is a massive improvement over typical built-in screens that come with most cameras, boasting a 2,000,000:1 contrast ratio and supporting Dolby Vision, HDR10, and HLG. It can display 11 stops of dynamic range with a peak brightness of 1600 nits, perfect for HDR and outdoor viewing.

The Ninja Phone iPhone app, downloadable from the App Store, controls and coordinates the operation of both the Ninja Phone and the iPhone, making them feel like a single, responsive device. For social media creators who need to shoot in 9:16 portrait mode, the Ninja Phone app adjusts to horizontal or vertical video modes. The Ninja Phone app will run on iOS and iPadOS, and will be downloadable at the time of shipping.

The camera’s output appears on the iPhone screen with zero latency thanks to Atomos’ super-efficient ProRes pipeline – encoding on the Ninja Phone and decoding via Apple’s state of the art iPhone.

We’ve added professional video and cinematic smarts to the world’s most advanced phone, says Atomos CEO and Co-Founder Jeromy Young. Ninja Phone is for the thousands of content creators who capture, store, and share video from their iPhone 15 Pro but aspire to work with professional cameras, lenses, and microphones. At the same time, the Ninja Phone is a perfect tool for longer-form professionals who want to adopt a cloud workflow without a complex and expensive technology footprint.

The ProRes-encoded video can be stored on the phone as a .mov file and/or simultaneously transcoded by the iPhone to 10-bit H.265 for workflows like camera to cloud, or live streaming via the iPhone’s built-in 5G and Wi-Fi 6E connectivity.

The Ninja Phone accommodates external iPhone accessories by integrating a separate USB-C hub to allow necessary professional add-ons like wireless USB-C microphones, for perfectly synchronizing video and audio. Third-party accessories are supported via the Ninja Phone with more added over time.

Powered by standard NP series batteries, a battery eliminator, or a USB-C 5V/3A input, the Ninja Phone charges the iPhone while in use with any of these power sources, ensuring long phone operation can match professional shoots.

Atomos has developed a unique and rugged locking ecosystem to maintain a secure grip on connected HDMI and USB-C cables. With Atomos locking cables, it is the most robust capture cable system available today, although it is fully compatible with standard, non-locking cables.

The iPhone 15 Pro’s enhanced connectivity opens a door for Ninja Phone users to make full use of Atomos’ Cloud Services (ACS). These include super-efficient Camera to Cloud workflows, remote live production, and cloud editing. With ACS, content creators can publish video to social media within minutes, and filmmakers can send their footage to their postproduction team via the cloud for the fastest possible production workflow.

I’m so proud that Atomos is once again teaming up with Apple to unlock video creativity through ProRes, and this time it’s on Apple’s most advanced device ever, the iPhone 15 Pro. I’m especially pleased that this product has no fan and is whisper quiet. Atomos has always had an amazing relationship with Japanese camera manufacturers too, and now the Ninja Phone connects these incredible cameras directly to an iPhone’s storage, monitor and its extraordinary wireless and cell networking,” added Young.

Thanks to the iPhone 15 Pro, this is the first time Ninja users will have access to an OLED monitor screen, which, at 446 PPI, is by far the highest resolution, most capable HDR monitor that’s ever been available to them,” added Young. It’s the perfect partner for many of the new, smaller format mirrorless cameras coming out of Japan, for example Fujifilm’s X100 and G series, Canon’s R5 Series, Sony Alpha Series, Nikon Z series cameras and Panasonics GH and S series.

Remarkably, the Ninja Phone weighs in at just 95gms, and a sprightly 335gms when coupled to an iPhone 15 Pro.

The Ninja Phone will cost USD/EUR 399, excluding local sales taxes, and is expected to begin shipping in June 2024. Customers will also need to choose the case for iPhone 15 Pro or iPhone 15 Pro Max, not just to protect the phone in normal use, but to ensure that the locking cable system can be deployed. The cases will be available separately at USD/EUR 59 each, also excluding local sales taxes.

In summary, the Ninja Phone is an essential addition to any filmmaker’s toolkit. It combines road-tested Atomos ProRes expertise with an out-of-this-world screen, proven professional monitoring features, and built-in mobile connectivity for collaborative, remote editing.

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