David C. Smith: Cinematographer, Cinema Technologist, CEO and creator of DrivingPlates.com LLC, the world leader in 360 motion environments for driving scenes in television and films. Recent projects include Bohemian Rhapsody, The Post, The Irishman, Narcos, This is Us, and hundreds more. From the success of DrivingPlates.com, David and his business partner created Third Law Productions: a full service production company specializing in VFX production services. Under the Third Law moniker Smith has provided set extensions, 360 elements, VR R&D and custom camera systems for projects such as Joker, Creed II, Man in the High Castle, and Stranger Things. Since Third Law’s inception in the fall of 2017, they have produced a first person VR short, three feature films and a feature length documentary. Third Law was also awarded a Clio in 2018 for their work on the 360 Behind the Scenes featurette for Mission Impossible: Fallout.
David’s background is in cinematography, with over twenty five years of experience, he has lensed over a dozen feature films and numerous national commercials for companies such as Keystone, Meguiar’s, and Jaguar. In addition, he’s DP’d many reality based shows such as Living With Ed, Overhaulin, Car Crazy, Punk Payback and Are You Faster Than a Redneck, which required a staggering 45 cameras including 7 units shooting simultaneously.
Throughout his career, David has always been a forward looking technologist and inventor. In service of a creative vision, he has continually innovated the techniques and tools for bringing a story to the screen. The patented camera array at the foundation of DrivingPlates.com is one such innovation that has become the industry standard. With an eye toward the needs of the next generation of content, Smith is pursuing multiple endeavors that promise to impact narrative production for decades to come.
Improved ergonomics including bigger, better buttons
Impressive high-resolution viewfinder
Limited touchscreen implementation
Menus still awkward to navigate
Impressive resolution and detail capture
Slightly noisier than its predecessor at the highest ISO values
Excellent JPEG sharpening and good color, but high ISO noise reduction takes a small step backwards
We’d like to see an option for the electronic front-curtain shutter to automatically disable above a certain shutter-speed threshold (leaving EFCS enabled can negatively impact out-of-focus areas of your images)
Users can choose to capture 4 shots to cancel the Bayer filter array and get better detail from 60.2MP files, or capture 16 shots and combine them on an editing computer for 240MP files
Works with strobes, but the fastest shutter speed available is 1/8 sec
No motion-correction severely limits the range of subjects it can be used with
Cumbersome ‘Imaging Edge’ software is required for best results (the camera cannot combine its images internally)
AF & Speed
Real-time Tracking continues to impress with ease-of-use and effectiveness
Incredible autofocus accuracy while shooting single drive, but accuracy drops during burst shooting
It’s best to switch out of tracking in very low-light or backlit situations
Even slight mis-focus is made more obvious by the very high 60MP resolution
Burst shooting speeds drop noticeably when shooting uncompressed Raw
UHS-II slots do offer a speed benefit, but large uncompressed Raw file sizes mean the buffer still takes a while to clear
Offers both full-width and (roughly) APS-C crops for both 4K and 1080p
Cropped footage offers detail benefit, but full-width 4K still looks good
Plenty of capture tools
Still only 8-bit footage, even when output over HDMI
Real-time Tracking of faces and eyes now available while shooting video – but you have to make sure to enable touch-to-track focus
Fn menu and button behavior can be configured differently for movie shooting but exposure settings carry over, slowing stills/movie switching
Comment from Richard Butler (who attended the launch event in US)
The Sony a7R IV is a hugely powerful camera which, with a bit of configuration, makes it remarkably easy to shoot perfectly-focused 61MP images. Improvements to the AF behavior and ergonomics make it the most pleasant Sony to shoot with so far, in my opinion. It feels less sure-footed away from its core role, though, with burst shooting and high res mode not being quite so effortless. It’s also not as slick as it could be for switching between stills and movie shooting, if that’s something you need to do quickly.
Pros & Cons
Plenty of resolution, good dynamic range and noise performance
Excellent autofocus tracking implementation
Generous grip, very good button-and-dial feel
Large, high-res electronic viewfinder
10 fps max burst shooting with AF
Class-leading detail in 4K video
Excellent AF tracking in video
Updated weather-sealing measures
Dual UHS-II card slots
Great battery life
Users can now choose their AF area display color, making it easier to see
‘Focus Priority’ option to focus at wider apertures in low light is welcome
Good JPEG sharpening, noise reduction and color
Incredible customization options
Pixel Shift yields up to 240MP images
Robust wireless connectivity
In-camera charging + power
Large file sizes mean lengthy card write times, even with very fast cards
General interface lagginess persists
Burst shooting hurts AF accuracy
Slightly noisier files than predecessor
Touchscreen is under-utilized
Exposure settings carry over between stills and video; they shouldn’t
4K video maxes out at 8-bit files
10 fps only gives 12-bit Raws with compression applied
Clumsy Raw compression
No in-camera Raw conversion
Touch-to-track implementation should recall setting between stills and video
Can’t switch to video until buffer clears
High resolution increases visibility of camera shake and AF misses
No Pixel Shift motion compensation
Pixel Shift workflow is cumbersome
No flash AF assist grid
The Sony a7R IV is among the most capable cameras we’ve tested. It makes a compelling case that the days of choosing between speed-oriented cameras and resolution-oriented cameras are coming to an end. It wouldn’t be our top choice for sports and action purists (all those megapixels result in many megabytes of storage), but for those users that need this resolution on a regular basis and want to be able to photograph fast-moving subjects when necessary, the Sony a7R IV is the best option on the market right now.
We were invited to the media launch of BenQ’s latest 4K HDR range products – which includes the Professional Designer Monitor PD3220U on 12 March. Other newly released products included the Gaming Curve Monitor and 4K HDR P3 Display Projector.
But what we were more interested in was the PD3220U! This was an addition to the current PD series with monitors “designed for designers”. The PD series targets graphic/animation designers where every detail has to be of pristine condition! BenQ has been actively working with more than 100+ international photographers in getting to know their workflow, pain points and unmet demands, offering them color management solutions via the monitors they introduce and upgrade over time. No doubt, their monitors have received many praises from all over the world!
One thing that BenQ places a huge importance on is color. The color experts in BenQ have introduced a new technology – AQCOLOR where it ensures accurate colors for professionals – wide color gamut, meeting industrial standards and increasing workflow efficiency for photographers alike. Now you can edit/design in ease without worrying about the colour alteration your monitor may cause! Another special feature that places BenQ above the rest is their concern for consumers’ eye care, their monitors contains flicker-free technology and low blue-light which protects the eyes of BenQ monitor users from further damage due to prolong usage of the screen!
There are currently 2 monitors in the PD Series – PD3200Q and PD2720U.
In trying to meet the different demands of consumers, BenQ proactively provides solutions in display and color technology. As for the PD3220U, they saw an increase in the number of Apple Mac users who assumes that the Mac provides the best quality in terms of on-screen resolution. Now, with the PD3220U you can connect your Mac and obtain the same quality as the Macbook has in itself on your PD3220U screen.
For more information regarding BenQ products/prices, do drop us an email at email@example.com, call us at 6384 3592 or drop us a message on Facebook or Instagram @alanphoto_sg
The all new A6400 has been announced. This was produced as the successor of the A6300 and not the A6500 that many thought Sony’s new announcement was about.
The Alpha A6400 in itself contains a 24.2MP APS-C Exmor CMOS sensor with a front-end LSI that combines with the same BIONZ X image processor as the A9, A7R 3 and A7 3. At the same time, delivering an ISO sensitivity of up to 102,400 and processing speeds 1.8x faster than its pre-decessor AKA Alpha A6300.
Sony A6400 has the same hybrid AF system as the bigger boys in the Alpha series and claims that the A6400 also features the “world’s fastest autofocus at 0.02 sec”. Additionally, Sony have also introduced an all new Real-Time Eye AF with AI-based subject recognition. This is said to provide photographers with even more accuracy in comparison to the current Eye AF system.
The A6400 also comes with an all-new selfie flip up touchscreen that features a 3.0-type LCD with 921k-dots of resolution – a feature many vloggers and youtubers would love. Also, the A6400 also includes a hot shoe mount, a microphone jack, and 4K video recording at 24 or 30 fps.
The A6400 will be sold as a Body, a starter kit that includes body and a 16-50mm F2.5-F5.6 lens or a more advanced kit lens bundled with the 18-135mm F2.5-5.6 lens.
Release date and price updates in Singapore have yet to be known.
But do register your interest here to keep abreast of the latest updates on this new Mid Range Mirrorless Camera below!
Purchasing new lenses from parent brands do carry a hefty price tag and can potentially break a bank when we are trying create and achieve more through photography.
Providing camera users with a more affordable price tag on lenses is what Samyang pledges to do, and we are proud to announce that Samyang Optics have recently made the announcement of a new lens for EF users!
Samyang AF 85mm F1.4 EF
Samyang AF 85 mm F1.4 EF with Hood
Samyang AF 85 mm F1.4 EF without Hood
Samyang AF 85mm F1.4 EF is designed with a bright aperture of F1.4. The new 85mm is formed of 9 elements in 7 groups, with 1 Hybrid aspherical lens. It also has Ultra Multi Coating, a feature used to reduce ghosting and lens flare. This lens provides smooth out-focusing and beautiful bokeh effect with excellent center resolution
The AF 85mm F1.4 EF lens is equipped with a variety of Samyang’s most advanced lens technologies, making it ideal for a variety of shooting situations – portraits, outdoor, pets and more. It is also lightweight and compact, weighs only 485g without lens caps and hood, maximizing portability and usability.
This compact and lightweight AF 85mm F1.4 lens will be available globally from July 2018 and a suggested retail price will be SGD979
We are all familiar with ZhiYun gimbals such like the Crane being a reliable and sturdy gimbal.
Now, with the Crane Plus, you get an improvised version of the crane with additional !
Using the new MotionMemory feature with Crane Plus allows you to setup advanced camera movements and save them so Crane Plus will remember them for the future. It will even remember all of your timelapse settings like the interval, number of shots, duration, and more! Now, with a simple click of a button you can repeat the same moving shots over and over again. It’s like having your very own camera assistant everywhere you go!
The new Crane Plus adds a newly designed POV (Point of View) mode that allows for additional camera movement by providing up to 45 degrees of synchronous motion on the roll axis, What this means is that rather than Crane Plus keeping the camera level when you roll left or right, POV mode will move with you and roll your camera left or right, up to 45 degrees. Even simpler, when you move, your camera moves with you. The addition of POV mode, along with the 3 other modes on Crane Plus give you the level of control and freedom you need to capture almost any shot possible.
Crane Plus supports object-tracking via phone app control (specific operation methods seen in the official tutorial:). Draw a box around the object you want to track on the phone screen, then your Crane Plus can easily track the moving object and shoot excellent scenes free hands.
Crane Plus is pushing the limits even further than before! Using our cutting-edge, 6th generation Instune Algorithm System to power the motors, Crane Plus can handle a massive weight capacity of up to 2.5kg (5.51lbs). Whether you’re using mirrorless cameras with kit lenses or your using professional grade DSLRs with heavier lenses, Crane Plus can now handle a significantly wider range of camera and lens combinations
In the past, gorgeous timelapse photography is only limited to daytime shooting. Now with Crane Plus arrives the NightLapse feature: A powerful new tool for creating gorgeous, long-exposure timelapses that add in a new dimension of motion and depth. Using Crane Plus with NightLapse, you can capture stunning star trails, moving nighttime traffic, capture the passage of time over beautiful nighttime landscapes, and all with the stunning motion and stability that only Crane Plus can provide
Crane Plus comes with a camera control cable that can realize synchronous operation on both your camera and stabilizer like taking a photo or zooming. Combined with a dedicated phone APP – ZY Play, Crane Plus helps to realize various advanced shootings, like motion timelapse and panoramas, just at your fingertips
The Crane Plus is now available and up for grabs at all Alan Photo outlets