A couple of big areas where users have felt Fujifilm have lacked a little in their cameras are their video capabilities and lack of in-body image stabilisation. Well, they’ve addressed both of those concerns with the new Fujifilm X-H1 in a big way. But while the X-H1 is more video-focused than previous Fujifilm cameras, it’s no slouch when it comes to stills, either, capable of shooting up to 14 frames per second. DIYP had the chance to check it out in person and have a chat with Fujifilm UK about it during The Photography Show last month.
I use my phone to grab quick video clips regularly. But it’s not ideal, especially when it comes to audio. Smartphone microphones just aren’t that great. It’s a little ironic, really, given that, being phones, their primary function is to hear people talking and to let other people hear you talk. But when you point a phone camera at somebody and they start talking, usually you just hear them drowned out by background noise.
It appears Sennheiser are working to solve this problem, though, with a new product they’re calling “Memory Mic”. This is a working title as it’s still in development, but it essentially allows you to record audio wirelessly on your subject, and it does it without continuous access to wifi or Bluetooth. NoFilmSchool got to check it out in person at NAB this week and recorded a short video.
It’s Fujifilm’s turn to make their new announcements this week, and they’ve got some that GFX medium format shooters are going to enjoy. First up, there’s the new Fujifilm GF 250mm F4 R LM OIS WR lens. It has a field of view equivalent to just under a 200mm lens on a 35mm body. So suitable for both longer distance outdoor portraits, as well as shooting closer wildlife.
But to help with the wildlife side of things, there’s also the new GF 1.4X TC WR teleconverter. Priced at an eye watering $849, it’s not exactly cheap, but if you shoot medium format digital, the word “cheap” probably isn’t in your vocabulary. Fuji haven’t forgotten macro shooters in the new announcement, though, offering both new 18mm and 45mm extension tubes.
The Huawei P20 Pro, the world’s first smartphone with three rear cameras, has been torn apart by the folks at iFixit to reveal a nice surprise. Above and beyond the published specs, it seems that all three of the phone’s rear cameras feature optical image stabilisation. According to iFixit’s report, only the 8MP telephoto camera in the P20 Pro is supposed to have hardware optical image stabilisation. But they’re not quite convinced.
Not on the heels of NiSi, SLR Magic have now announced their new cinema lenses at NAB 2018. The SLR Magic MicroPrime CINE E-Mount lenses are designed for full frame Sony mirrorless cameras. Four lenses kick off the new series at 25mm, 35mm, 50mm and 75mm focal lengths, and they’re currently on display at NAB.
The new MicroPrime CINE lenses feature internal focusing mechanisms and are each balanced to provide a similar weight distribution. This allows you to switch between lenses with a gimbal mounted camera without having to rebalance it each time.
As technology advances, we get to see some interesting camera-related inventions. Engineers at the University of Michigan have recently presented a prototype of a wireless camera that can power itself indefinitely by light. It’s also less than a millimeter wide, so it can be hidden anywhere.
If you’re shooting videos with your smartphone, there are plenty of accessories that help to expand your possibilities. At NAB 2018, Cinematics International Co, Ltd introduced an adapter that lets you pair your smartphone with camera lenses. You can attach any professional lens onto your phone and turn it into a cinema camera.
When it comes to shooting photos or video on drones, it quickly becomes apparent that filters are key to getting the best footage. And the first name that springs to mind for drone filters is PolarPro. They’ve pretty much been the leading company for drone camera filters since they started taking to the air.
Today, though, PolarPro announce that they’re expanding their range to include larger lenses for DSLRs, mirrorless and cinema cameras with the new QuartzLine series of filters. It looks like their whole range for drones has been scaled up to fit the larger lenses in a variety of sizes.
You know how many photographers say that gear doesn’t matter and that the story is more important than the gear you use? YouTuber Casey Neistat has made one of the most ridiculous (but pretty fun) comparisons between two pieces of gear. In this video, he tests a crappy $35 smartphone zoom lens against a $1,000 Sigma zoom lens. Can they even compare?
The original Blackmagic Pocket Cinema Camera was wildly popular when it was released. A Super 16mm sensor HD camera capable of shooting RAW video at consumer level prices. What’s not to love? It was a great little camera, but it’s not without its issues. Many of the problems with the BMPCC were updated with firmware, but in 2018, such a camera needs more to compete.
And more is what Blackmagic have given us, by announcing the new Blackmagic Pocket Cinema Camera 4K (BMPCC 4K). The sensor size has gone from Super 16mm to a full-size Micro Four Thirds, it’s had an obvious bump up to 4K resolution, and it’s capable of shooting both 4K UHD (3840×2160) 10-Bit ProRes 422 and 4K DCI (4096 x 2160) 12-Bit CinemaDNG RAW.