Panasonic and Red wish to reinstate photos with frames of video

September 18, 2014 - photo frame

If you’re disturbed about blank a once-in-a-lifetime print op, Panasonic and Red have a proposition: Why not fire ultra high-res video and usually squeeze still images? Both companies had a same thought during Photokina 2014 (though Red had it long before that), despite with extravagantly opposite thoughts about cost and quality. Panasonic’s complement is called “4K Photo,” and allows we to remove a still from a 4K, 30 fps, 100 Mbps video stream, for as small as $900 on a new LX100 compact camera. Red, on a other hand, has got a some-more impassioned plan: Capture adult to 100 fps, 19-megapixel RAW stills starting during $17,000 for a Red Scarlet Dragon cinema camera.

We spoke with both companies during a bi-annual print uncover about sharpened video for still photos. Panasonic has implemented a new “4K Photo” underline on a new high-end compact, a Lumix LX100, along with a FZ1000 superzoom, CM1 camera phone and a HC-X1000, a latest 4K camcorder. The underline is also now accessible on a Lumix GH4 interjection to a new firmware upgrade. Here’s how it works: Simply fire 4K video and hunt by a ensuing footage to collect a preferred still, finish with EXIF data. Images can be prisoner during 16:9, 4:3, 3:2 and even 1:1 (hello, Instagram). With a information rate of 100 Mbps, that will give a dense .MP4 still picture of about 400-plus KB, not really many for an 8-megapixel photo, yet still homogeneous to about a 70 percent dense JPEG image. You could use an outmost recorder to constraint better-quality stills on a GH4 too.

Panasonic sees it as a approach for a normal Joe to remove that one fleeting, ideal moment. With a 1/16,000th of a second shiver speed, we could solidify a H2O dash from Junior’s cannonball, for instance. This can all occur while you’re also grabbing video, yet there’s one drawback. In sequence to constraint still frames, a required aloft shiver speed will discharge a normal (desirable) suit fuzz from video. That means that eventuality videographers who wish to squeeze still photos from video will need to select between natural-looking video or non-blurry still images. Still, carrying some-more options is always better, and this is opening adult a new approach of sharpened photos on a $900 camera.

On a other finish of a scale, veteran photographers have been regulating Red cinema cameras to do a same thing given a Megan Fox print widespread appeared in Esquire behind in 2009. For Photokina this year, a association has formalized a routine with a new tethering complement that lets we send RAW images opposite an Ethernet network. On tip of that, a company’s RedcineX Pro now supports support tagging, creation it easier to pre-select still frames from a video feed of adult to 100 fps.

The association gave me a discerning demo of a process. It starts by sharpened 6K RAW video during 15 fps on a Red Epic Scarlet ($16,700 for a physique only) adult to 100 fps on a Red Epic ($31,200). While shooting, a photographer can tab frames to assistance a editor find a best shots. With a new Dragon sensor, Red claims you’ll get a 16.5-stop energetic operation (DR), with 16 pieces of tone information from a sensor — that is larger than APS-C, yet smaller than full-frame. That beats each other DSLR on a marketplace for DR, yet 19 megapixels is half of a Nikon D800’s fortitude — and many photographers cite incomparable full-frame or medium-format sensors. we attempted hefting a stripped-down RED Scarlet Dragon camera (above) with a Canon EF mountain and it’s really heavier than any DSLR I’ve hoisted, yet positively feasible.

The photos can now be eliminated along an Ethernet network interjection to a camera tether, yet that choice is still in a contrast stages. But to infer a point, Red was grabbing stills from a swimsuit print fire (yes, it’s a trade show) and copy them out during print sizes from a large, veteran printer. Judging by a results, a cameras could be equally during home on a Vogue print fire or a set of a Hobbit movie.

Of course, all of this was probable before Red and Panasonic put a tag on it. There’s no reason because we can’t take high-quality stills out of cameras from Sony, Samsung, Blackmagic Design (above, with 4K RAW DPX) or others. What has changed is that 4K video is apropos some-more and some-more common — and 4K can give we an 8-megapixel still, compared to usually dual megapixels for HD. Since many of us aren’t veteran photographers with ideal instincts and reflexes, that means we’ll no longer need leave it to pure chance to constraint a ideal image.


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