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On the Diaconis-Gangolli Markov chain for sampling contingency tables with cell-bounded entries
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The problems of uniformly sampling and approximately counting contingency tables have been widely studied, but efficient solutions are only known in special cases. One appealing approach is the Diaconis and Gangolli Markov chain which updates the entries of a random 2×2 submatrix. This chain is known to be rapidly mixing for cell-bounded tables only when the cell bounds are all 1 and the row and column sums are regular. We demonstrate that the chain can require exponential time to mix in the cell-bounded case, even if we restrict to instances for which the state space is connected. Moreover, we show the chain can be slowly mixing even if we restrict to natural classes of problem instances, including regular instances with cell bounds of either 0 or 1 everywhere, and dense instances where at least a linear number of cells in each row or column have non-zero cell-bounds.
KeywordsContingency tables Cell bounds Markov chains Mixing rates Fpras
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09 Sep 2015
Paul Hollywood, Sue Perkins, Mel Giedroyc and Mary Berry return for a sixth season of eggciting bakes and blooming lovely loaves. The new series starts on BBC One on Wednesday 5 August, 2015
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Bill T. Jones transcends boundaries in a work mixing dance, literature and race
Some choreographers are born dancemakers whose genius manifests in the steps themselves. And some choreographers are geniuses who just happen to choose dance for their primary mode of expression. Bill T. Jones is of the latter variety, and the dance world is fortunate to have him.
His Bill T. Jones/Arnie Zane Dance Company came to the Yerba Buena Center for the Arts on Thursday night, in a San Francisco Performances-sponsored appearance celebrating the troupe's 20th anniversary season. It was easily the most thought-provoking program of dance seen this year in the Bay Area, and it continues through Sunday.
The slate spanned decades and co-founders, starting with a stirring early dance by Jones' partner, Arnie Zane, who died from AIDS complications in 1988. But the most affecting work was the newest: Jones's "Reading, Mercy and the Artificial Nigger," from 2003.
Jones has never hesitated to push buttons, but that titular "Nigger" is not his own invention. It comes from Flannery O'Connor's disturbingly ironic short story "The Artificial Nigger," which Jones has adapted faithfully and with arresting intensity.
This is not the kind of fragmented pastiche you might expected of a postmodernist like Jones; the story is not sliced and diced and rearranged into some kind of meta-text, but read aloud in a straightforward, smart abridgement by Jones himself and, on opening night, his sister Rhodessa.
It's a tale of budding bigotry. Mr. Head has decided to bring his young grandson Nelson to Atlanta so that the child can see his first black person and learn what a "nigger" is. In a devastating act of betrayal, he disowns the boy on the city street. But they reconcile when the grandfather spots one of those hideously stereotyping statuettes of black people once popular in the south -- an "artificial nigger" -- and as they bond in their common white maleness, the grandfather experiences what he thinks to be an act of divine mercy.
Jones' staging is not so much a comment on the story as an amplification of it. The stage design, by Bjorn Amelan, is spare, with a large hanging disk that transforms from a moon to a sewer manhole. The music, by Daniel Bernard Roumain, is an evocative collage of plaintive piano notes and ghostly strings and sometimes even club music.
Five pairs of dancers enact the narrative, their movements mimicking the rhythms of speech or suggesting dialogue, but never outright miming the action. But Jones' simple, profound twist in the staging is this: He has each of his dancers -- black, white, Asian, Latino, male and female -- portray Mr. Head and Nelson in turn, and trade off playing the secondary characters, too.
When Nelson spots his first black man, that vision strides center stage in the figure of Catherine Cabeen, a blondwoman. In a startling way, the audience is in Nelson's innocent, as-yet-uncorrupted point of view, seeing not the label but the person -- and uncomfortably registering the difference between the label and the person.
Being so forcibly placed in this point of view only heightens O'Connor's ironies. "Reading, Mercy" is followed by a brief companion piece, "Mercy 10X8 on a Circle," in which the same dancers in the same trousers and suspenders dance to Beethoven, free of narrative. Formally, the movement was not terribly interesting, but as a coda to the story, it suggested important questions. Scraps of paper fell like mercy pouring from heaven. But the papers were black and red, forming a bloody, segregated pool on the floor. If Mr. Head finds his salvation in hating black people, what kind of violent, hateful mercy is that?
Zane's "Continuous Replay," restaged by Jones in 1989, opened the program in a fit of nude gesturing -- sometimes oddly comforting, like a cartoon sex- ed book come to life, and sometimes menacing. Jones's elegiac "There Were ..., " which premiered in 1993 and was revised three years ago, revealed the full eloquence of his dancers, particularly an angel-like Asli Bulbul. San Francisco Performances did right by this outstanding company, providing live music from musicians such as cellist Joan Jeanrenaud and pianist Julie Steinberg.
Bill T. Jones/Arnie Zane Dance Company
Tonight at 8 and tomorrow at 2 p.m. at the Yerba Buena Center for the Arts Theater, 700 Howard St., San Francisco. Tickets: $35-$52. (415) 398-6449 or www.performances.org.


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Enrichment Activities
Although academic excellence is central to our mission, we honour equal weightage to other enrichment activities alongside academic framework right from early years. Our education approach is blended with an array of activities to stimulate and promote the growth of our students as they progress at every level. They are free to choose from a wide range of enrichment activities that best interest them. Counsellors are readily available to guide and provide counselling to match talents with what suit them the most while creating a balanced student life.
Basketball, Swimming, Table Tennis, Football, Futsal, Badminton, Volleyball, Netball, Squash, Gymnastics and Cheerleading.
Literary & Debating Club, New Media Club, Junior Reading Club, Junior Artist & Scientist, Hobbies, Young Scientists Club, Cookery Club, Green Club, Martial Arts.
Student Council, Prom Committee, Prefectorial Board, Librarian Board, Museum Board and others.
School Radio, Yearbook Staff, School Newspaper, Newsletter, School Blogging and any other work, online or print.
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Bahasa Malaysia, Mandarin, Tamil, French, Japanese, Spanish, Korean and more.
Volunteer Work and Community Service
Save the Environment, Recycling, Tutoring and Mentoring, Community Fund-raising, Rotary Club, Animal Rescue, and any other work that helps the community.


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What Holiday is Today? (December 10, ). If you were wondering if today is a holiday somewhere, yes, it is! It always is. Here are today's holidays. December Calendar Speical Events holidays by day, month. Christmas Holiday. December 10, - Today is National Lager Day. At National Today, we help you celebrate the most fun, important, and off-beat holidays in the U.S. and.
You already know what National Day is today, but what about tomorrow? This page is decidated to just looking out a few days so we can plan those National. Post with 23 votes and 12 views. Shared by nothingbutcrumbs. Go ahead, ask Siri if there is a holiday today. (feb 6,). *is pretending to be in on the laugh-fest that will likely ensue, yet actually doesn't have an iPhone and will probably never find out what Siri.
Siri's response to that never gets old. And now you can make your hang sesh with your iPhone festive, because Siri is in the holiday spirit if you. Enjoy a brief history of this holiday, Thanksgiving trivia, delicious recipes, to be celebrated on the fourth Thursday in November, which is how it stands today. Comprehensive list of National and Regional Public Holidays that are celebrated in Denmark during with dates and information on the origin and meaning. Like so many of us, Siri's holiday schedule is jam-packed! This is one question that will result in multiple answers — and plenty of giggles.


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S.E. Casey grew up in New England near a lighthouse. He always dreamed of smashing the lighthouse and building something truly grotesque with the rubble. This is his writing method for his existential tales focused on a tragic collection of flawed oddities, forgotten places, and fallen characters. Published in many magazines and anthologies, links to his short stories and poetry can be found at www.secaseyauthor.wordpress.com.
He is the author of a collection of short fiction, 'Stygian Doorways', and is currently working on a new collection of winter themed short stories. He lives on the shores of New England where, from time to time, he passes by the old lighthouse which still stands...for now.


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Don't believe the sales girl. She's lying. That's what I told myself. Like my Mom, I hate shopping, but I really needed some new clothes. At Mapleview Mall I didn't know where to start. It seemed women's clothing was either too frumpy-bridge-club or too teenage-trash for my liking. I finally found one shop that looked […]
About Jennifer M. Smith
Jennifer M. Smith is an author and an adventurer. Together with her husband, she has sailed over 40,000 miles around the world on their sailboat Green Ghost and she has plenty of stories to tell. She is working on a book about her ocean voyages but she is frequently distracted by other creative non-fiction short stories and micro-fiction stories that pop into her head and make a lot of noise until they are released through her pen or her keyboard.


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Welcome to Osorno!
Osorno is a city and commune in southern Chile and capital of Osorno Province in Los Lagos Region. It had a population of 145,475, as of the 2002 census. It is located 945 kilometres south of the national capital of Santiago, 105 kilometres north of the regional capital of Puerto Montt and 260 kilometres west of the Argentine city of San Carlos de Bariloche, connected via International Route 215 through the Cardenal Antonio Samoré Pass..
Located at the confluence of Rahue and Damas River Osorno is the main service centre of agriculture and cattle farming in the northern Los Lagos Region. The city's cultural heritage is shaped by Spanish, Huilliche and German influences.
Los Lagos Region was named for the many lakes in the area, many of which have tourist-friendly yet isolated beaches; closest to Osorno are Puyehue and Rupanco. Antillanca ski resort, less than a hundred kilometers away, is one of the highest-quality resorts in Chile. Ecotourism is also encouraged by the indigenous Huilliche communities, who inhabit the Pacific coastal zone. Much of the funds brought in by tourism is being used to protect native plant and tree species, most notably the Alerce, a threatened Cypress. The thick forests open onto beautiful beaches and bays, such as Maicolpué, Bahía Mansa and Pucatrihue.
by plane
Daily flights from Santiago de Chile to the Aeródromo Carlos Hott Sieber. The trip lasts around an hour and a half.
by bus
There are daily departures to Osorno from Santiago, leaving from the Terminal Rodoviario de Santiago and the Terminal Alameda. The trip lasts around 10 hours.
Public transport and regular taxis available.
To be updated.
- Gonforterio: small paleontological site with bones from a mammoth like creature. Two trailers make up the visitor center with artifacts and displays about ice age animals. Guides are really helpful and will give you a tour. Free; in spanish. At the end of calle rio elqui, across the river from Parque Chuyaca (which has ice age animal statues)
- Several historical houses can be found Ave. Juan Mackenna near Calle Cochrane
- San Juan de la Costa: Several awesome beaches are about 1.5 hours from Osorno. Off the beaten track, beautiful views, quaint villages. Really a traveling goldmine. You can get a colectivo for 1,500 pesos from the termanal on the far side of town (calles tarapaca and temuco). First one is at 7:30.
- Parque Puyehue: hot springs, hikes, waterfalls. Free hotsprings can be found along the riverbank of aguas calientes. From where the micro drops you off, go through the parking lot, towards the outdoor pool that's part of the paid complex. You'll cross a pedestrian bridge, take a right after the bridge and in about 100 yards you'll find the pools after the picnic benches. Catch a colectivo to aguas calientes for about 2,200 pesos.
- Entre Lagos: A 1,500 peso ride takes you to the small town of entre lagos. Very tranquil, good views of volcanos. There's a park near the water front that has crazy/dangerous slides, good trees to climb, and small crayfish type animals you can catch under the rocks.
- Pick blackberries: wild blackberries grow all over the city, big patches can be found in Parque Chyuaga.
- Osorno is centrally located to many great destinations including Bahia Mansa (and other great coast towns), Parque Puyehuy, Frutillar and Puerto Varas, and Valdivia.
- Urban exploring: Some abandoned buildings can be found near the train tracks and on avenue Pilauco near Parque Cuarto Centenario.
- Pueblito Artisanal offers hand woven hats and gloves for fair prices.
- Several grocery stores are located around the bus station on Pratt and Colón


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Queen Anne's Gate in London SW1 involved combining two apartments into a single unit and refurbishing a third apartment at the same time.
The project was carried out while part of the building was already occupied, so LTS had to ensure that all communal areas were kept clear and accessible for the other occupants while giving consideration to safe working practices.
The work entailed demolishing the internal structure and installing a new glass and steel staircase which connected the two combined apartments. Throughout the properties high-end floor, wall and ceiling finishes were fitted, as well as ornate internal doors and a new kitchen.
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Court cases and criminal offenders punished for crime against property during 2005-2015
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Open Data Albania is investigating into the trend and volume of criminal offences against property and other criminal offences in the economic sphere. Such criminal offences are foreseen under a specific chapter of the Criminal Code and they are divided into three sections, i.e.: Stealing of Property, Deceit, and Destruction of Property. This article focuses on the trend, volume, and dynamics of court cases regarding the criminal offences qualified as ?stealing of property?. The investigation is based on the data provided by the Annual Statistics of the Ministry of Justice.
The period 2005-2015 included 19,656 court cases regarding the criminal offence of stealing, which led to 22,232 punished offenders. The Criminal Code contains thirteen articles on criminal offences against property. Most of the court cases pertain to the criminal offence of ordinary stealing. The Albanian Court adjudicates an average of 1201 cases of stealing per year, and has punished an average of 1541 criminal offenders. The year 2014 marked the highest number of court cases regarding crime against property, while this year consisted of 2,382 court cases, and 2,856 punished criminal offenders.
Comments andAnalysis: Open Data Albania
Source: Annual Statistics of MoJ MD 2005 - 2015
Comments andAnalysis: Open Data Albania
Source: Annual Statistics of MoJ MD 2005 - 2015
The lowest number of court cases regarding crime against property during 2005-2015 (only 2 court cases) pertains to Trafficking in Works of Art, which is foreseen by Articles 138 and 138/1. Stealing of the Network of Electronic Communication is a criminal offence for which no criminal proceedings have been registered.
The same section includes also Stealing of Banks and Saving Deposits (Article 136), and there have been an increasing number of court cases and punishments registered in 2014 and 2015. The total number of court cases for Stealing of Banks and Saving Deposits over the last years has been 138, while the number of punished perpetrators 46.
Comments andAnalysis: Open Data Albania
Source: Annual Statistics of MoJ MD 2005 - 2015
There has also been in increasing number of cases of Stealing through Misuse of Duty (Article135). The occurrence of this criminal offence has increased from one year to another. There have been a total of 507 perpetrators punished over the last ten years, involving people who were employed by an institution, or stealing that consisted of the misuse of employees? office duties.
The criminal offence of Stealing Energy or Telephone Impulses (Article 137) has set a record in 2015 with 2288 court cases. However, these cases seem to have been quite often either suspended, or ended up in finding the accused innocent, as the total number of people who were punished for these criminal offences in 2015 was 596, which is much smaller than the number of cases (2288).
Comments andAnalysis: Open Data Albania
Source: Annual Statistics of MoJ MD 2005 - 2015
The same section of the Criminal Code includes also Armed Stealing or Stealing that causes death. The highest number of such stealing cases for the last ten years was marked in 2014, while the highest number of court cases (3865) was marked in 2015.
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by Johnnie Behiri | 6th September 2018
Hot on the heels of Canon's EOS R announcement, FUJIFILM have just announced their new camera, the X-T3. If I'm not mistaken, it is the first APS-C sensor size mirrorless camera that records in 10-Bit internally. We were lucky enough to get our hands on a production model to check its video capabilities. If you are short of time, let me start with my conclusion. The X-T3 is the BEST camera FUJIFILM have ever presented, when it comes to video performance. Interested in finding out more? FUJIFILM X-T3 A bit of History If you've been following the development of FUJIFILM's cameras, I'm sure you have noticed that something very interesting is happening. From the moment the company has noticed that shooting video with large sensor mirrorless cameras is much in demand, they responded by fulfilling that demand and since then haven't stopped refining their products. The X-T2 was their first camera to include 4K recording and F-Log picture profile (Externally first and then internally via a firmware update). Then, the X-H1 came and brought even more possibilities for the creative video shooter: In-Body Stabilisation System, Internal F-Log recording and the ETERNA film simulation picture profile, just to name a few. (See my FUJIFILM X-H1 review here). An easy way to identify what codec you are using by looking at the LCD FUJIFILM X-T3 at ISO 8000. On top and bottom of the picture, an ungraded parts FUJIFILM X-T3, What is new (in no particular order) Now, there is a new kid in the block, one that – in my humble opinion – surpasses both, the X-T2 and X-H1 in terms of video performance. FUJIFILM have listened carefully to feedback given by filmmakers and created their best ever video orientated mirrorless camera. Including a completely new sensor and the processor behind it, led to some fundamental progress. So what is there to be so excited about? Here is a complete list of enhancements – some to be found for the first time inside any of FUJIFILM's cameras: (Besides the H264 codec), the camera is now equipped with a new H265 codec (When a manufacturer decides on implementing 10-Bit internal recording and yet at the same time stick to a modestly priced recording media, H265 is the obvious choice) A choice between two different types of compressions. Long GOP/ALL Inter 4K, 10-Bit, ALL Intra, 4:2:0, 400Mbps internal recording (Up to 30p) 4K/60p (in H264 mode), up to 200Mbps External 4:2:2 10-Bit recording via HDMI Excellent autofocus system (Working well in lowlight conditions and slow-motion too). In addition, "Eye detection/Face detection" focusing method is functioning in video mode too Zebra pattern Simultaneous support for 4K/60P 4:2:2 10-Bit HDMI output and 4K/60P 4:2:0 10-Bit internal SD card recording The headphone jack is now built into the camera body itself, no need to purchase the camera grip for that purpose Good Rolling Shutter performance. We have measured 9ms in 4K/25p recording mode, placing the camera above FUJIFILM's own X-T2 Good Dynamic Range. With 11.2 stops of DR, this little camera is doing rather well against its competitors. High Frame Rate Recording. The camera can do up to 120 frames per second in Full HD mode. Due to some internal changes made by FUJIFILM, the result when shooting slow-motion is better than what can be found in the X-T2 or X-H1. Mind you that the only downside when comparing that feature to the other two cameras is the greater crop factor . (1.29X vs 1.17X ) Improved lowlight capabilities. FUJIFILM worked their magic on that front too and one can shoot comfortably up to ISO 8000. In some conditions, ISO 12,800 can be used too. Full HD now supports double the data rate of the X-T2 and X-H1 (200Mbps vs 100Mbps) No sensor crop factor when shooting in 4K mode up to 30p. When Shooting 4K/50/60p the crop factor is 1.18X New and improved noise reduction processing Future firmware update will bring HLG HDR picture profile (BT2100) New EVF diopter lock. Small thing but very useful… Not new but worth mentioning, as so many other manufacturers are struggling to get it right: In video mode, all the related photo functions in the menu are greyed out, making it easy to concentrate on the video menu items Front tally light (A useful feature that can be found with the X-H1. Nice to see that it migrated to the X-T3). Dynamic Range Comparison Rolling shutter chart. The X-T3 is doing well! What Could be Improved: While there is an overall improvement in regards to the camera specifications and performance, it suffers from the absence of the following: No internal body stabilisation system. Obviously, a smaller camera body has to accommodate a smaller IBIS mechanism which apparently was not available at the time of releasing the camera. (If I may guess, some extra functionality is needed to be reserved for the future X-H family of cameras). As with all other FUJIFILM cameras in this category, the LCD screen cannot be swivelled. (Tilted only). If you think that this type of feature should be found at lower end cameras only, think twice. This is the age of mobility and "selfies". With such a great autofocus system, a camera with a swivelled LCD screen could have appealed to a greater number of users. Camera start time (In video mode) is too slow Some of the menu quirks that were found in the X-T2 and X-H1 were inherited by the new camera. For example, by pressing an assigned button to digitally "zoom in" for easier focusing confirmation, when starting to record, the enlarged portion of the picture will NOT "jump" back in to the actual recording perspective. The result – especially when shooting "documentary style" – can be disturbing… In long recording sessions, be prepared to have many short video clips. With such a high data rate, ALL intra, 10-Bit recording, a single video file will reach its 4GB FAT32 limit quickly 20 minutes recording time limit when shooting in 4K/50-60p but the good news is, when shooting 4K/24/25/30p the actual recording time has been increased to 29:59 min WITHOUT the grip, as opposed to only 10 mins on the X-T2″ Man at work during lousy weather with the X-T3. Photo credit: Arturs Slosbergs In the Field: By now I can say that I've collected enough X-T3 hours in order to share that this is a well thought through camera that has one major limitation, the exclusion of an Internal Body Stabilization System. Once you work with such a feature you actually don't want to look back. Other than that, this is a very easy camera to work with. Please allow me to highlight some of my favourite features: In manual focus mode, the ability to tap on the screen and instantly get an accurate focus The autofocus is simply incredible. It is fast and accurate. I've challenged it with fast moving airplanes and 95% of the time it worked very well. I love the ETERNA film simulation picture profile. If you need to deliver nice looking results fast, don't hesitate using this profile. The only thing that prevented me from using it during the video above, is its reduced Dynamic Range. (We've measured 9 stops of DR vs. 11.2 stops when using F-Log). On such a cloudy day, I needed every extra stop so the decision was easy…. Sound quality. In the above video, I did not use the internal audio recording option as my system was wireless and suffered from some interferences, but overall, the sound quality coming out of this little camera is impressive. There are enough buttons to assign different purposes to. On top, the LCD screen can serve as 4 "additional buttons". Just assign a movement to it (Up, down, left, right) and there you go with additional functionality. The current slow motion option is truly nice. (1080 up to 120fps). I was surprised to see how well it was upscaling into my 4K timeline. The native camera ISO is 640. In case you are stuck outdoor with no ND filter around, there is a way to lower the ISO all the way down to 160 (at the expense of DR) I'm sure that many of you are wondering if I had any overheating issues. Well, during my work I did not encounter such a problem, but saying that, only time can tell if this issue actually exists. FUJIFILM X-T3. Photo credit:Arturs Slosbergs Conclusion It is no secret that FUJIFILM is heavily invested in making affordable cinema lenses for E (Sony) and X (FUJIFILM) mounts (MK and MKX series of lenses). In my opinion, this is guaranteeing us that FUJIFILM will not stop here. Further more, by introducing the first ever APS-C sensor size camera that can shoot 10-Bit video internally, FUJIFILM is positioning itself at the forefront and becoming a serious candidate to consider when thinking of shooting video on a mirrorless camera. It is one of those companies that have no higher video market share to protect and as such, they are free to move forward as fast as their R&D capabilities and budget allows. This particular camera should get some love and attention from the filmmakers community. For the users who are heavily invested in lenses from other brands, I can only hope that some sort of a program can be established by FUJIFILM or alternatively, some other solution can be found in order to make people actually try it. We hear a lot about the love for a particular "color science". This camera can easily produce "analogue looking" images and further more, if you take photos with it, in my opinion, it is the one that looks less digital. FUJIFILM X-T3 Movie Recording Modes (Updated) About the Above Video The shooting conditions at Radom airshow were FAR from being perfect. Rain, clouds and lots of noise made it challenging to execute, but all in all the camera performed well. On a few occasions, the camera froze and I had to turn it off and on again in order to revive it, but I could not isolate the problem. (It happened during shooting in different frame rates and resolutions). I want to believe that using a non-final firmware version was the issue. (It will be useful to hear about that from other users, in case they face a similar problem after getting the camera with the final firmware version installed). Camera Settings F-Log picture profile. Sharpness and Noise Reduction turned down to -4, Mainly H265, ALL Intra 400Mbps DCI 4K/25p. (At times I've used H264 codec, 4K50p, 1080/100p). Grading is a very subjective thing… I chose FilmConvert for this job. (FJ Prov 100). Some shots were stabilized in post. You can Download an ungraded version of this video for you to explore and grade by clicking here. Edited on Adobe Premiere CC latest edition. Lenses/Filter used FUJINON XF 100-400mm 4.5-5.6 R LM OIS, FUJIFNON XC 15-45mm f/3.5-5.6 OIS PZ, FUJINON XF 16-55mm f/2.8 R LM WR, FUJINON XF 10-24mm f/4 R OIS, FUJINON XF 8-16mm f/2.8 R LM WR, Heliopan 82mm Variable Gray ND Filter (This filter tends to soften the image a bit, but I like it as it kills the "video harshness") The music used in the video above is courtesy of Music Vine. Get 25% off with code C5D25 (valid for one use per customer). Music tracks: "a new tomorrow" by Clemens Ruh, "Blood and sand" by Monobox, "Discovery" by ak, "Fires on the horizon" by This patch of sky, "Skyride" by Josh Stewart The Baltic Bees Jet team – Photo credit: Arturs Slosbergs A special thanks to the entire Baltic Bees team (Pilots, technicians, Arturs and Laura). Without their support it wouldn't have been possible to complete this project. Head to www.balticbees.com to learn about their activities. By the way, if you are a pilot and looking to join an aerobatic team, drop me a line and I'll connect you to the guys. What do you think about the new FUJIFILM X-T3 camera. Do you find it interesting enough for shooting video? Share with us your thoughts in the comment section below.Read more
by Gunther Machu | 10th July 2018
The Panasonic FT7 (announcement here) (in the US it's called LUMIX TS7) is the latest member in Panasonic's arsenal of photo cameras that can shoot video. With a super rugged body, 4K video capability, 4.6x optical zoom lens and optical stabilization system, EVF and rear LCD screen, there was a lot to look forward to. Despite its small sensor size, Gunther Machu, our cinema5D action-cam specialist, took it for a spin and here is his report. (The video above was taken with a Panasonic FT7 Pre-Production model). Panasonic LUMIX FT7 When Johnnie approached and asked me to review the Panasonic LUMIX FT7, I had sort of a flashback. It reminded me of the fact that I owned a Panasonic LUMIX TZ5, which was the first HD capable video camera I ever had. This was 10 years ago (if you are curious have a look at the little piece I shot with it in 2009, please click here). Back at that time, it was revolutionary to pack a 10x optical zoom lens, HD video and a decent rear screen into a very tiny package. Fast forward to present time and we have the Panasonic LUMIX FT7 on our desk, which can record 20MP photos and video in different resolutions and frame rates (up to 4K 30 frames per second), but the real deal here is its durability. By introducing such a robust camera, Panasonic is aiming to capture the attention of users who are looking for a tool to shoot under harsh environment conditions as the LUMIX FT7 is prepared for it all: Water, cold, dust, pressure & shock. You can use it 31m /102 ft underwater, no problem. You can drop it from up to 2m / 6.6ft. It's dust-proof for all kinds of outdoor applications without having to worry about it. It can withstand freezing temperatures as low as -10°C / 14°F. Plus, you can put up to 100kg / 220lbs on top of it without cracking the camera. Stuff it deep down your bag and load all kinds of gear onto it, no problem. Those specs looked interesting enough for me to take it for a spin over the weekend and I'm happy to share my finding with the community. Things I've Noticed Upfront The camera feels very solid. Build quality is really good and the knobs are responsive. On the image side, the photos are OK (I had expected more from a 20MP sensor, no RAW setting available) but as this review is all about video, let's concentrate on the 4k video coming out of it. In general the "out of the box" picture quality is fine and the colors are nice! What is disappointing however is the crop the camera performs when recording 4k images. The 28mm full frame equivalent focal length becomes an effective 40mm lens at the widest setting. Also, the optical image stabilization does not work very well at all focal lengths of the zoom lens. Handheld static shots are possible, but if you start moving the camera an unnatural motion can be the result, also rolling shutter is quite pronounced. Furthermore, there is no filter thread on the front lens (Or lens outer ring to be precise), hence you have no means to mount an ND filter on the camera in order to reduce the shutter speed and create motion blur for more fluid images. LUMIX FT7 – Nice lens ring, why no filter thread? Outdoors It is an outdoor camera hence I took it along on a ride with my mountain bike. Compared to a GoPro Hero6 it feels heavy and massive (I'm writing this for fact as this is not necessarily a bad thing). On the other hand, whereas the GoPro Hero6 quite magically creates a fluid image with its digital IS, aided by the ultra wide lens, the Panasonic FT7 optical image stabiliser fails to deliver on a bumpy ride. On top, other than the 5.5mm tripod mount at the bottom, no other mounting options exists for the LUMIX. On the bike, the lens is simply not wide enough and also the slow-motion feature is limited to 720p at 100 frames per second without sound. Speaking of sound, you get the typical unsatisfying action-cam sound with this camera, no more, no less. Have a look at the video and see (hear) for yourself. In the Pool Basically nice to have a camera that you can take into the water with you. The cropped image in 4k is very limiting however, and becomes even worse underwater because of the different refractive index leading to an effective full frame equivalent of about ~1.4*40 = 56mm. Hence, wide shots are difficult to achieve. At the Palace (Schönbrunn) To cover the "do-it-all" touristic part, I went to Schönbrunn Palace here in Vienna and took some beauty shots. I even had a slider with me in order to make my footage look more appealing and in this kind of artificial scenario the camera performed well. It is worth mentioning the macro mode, I really like how it as it letting you get as close as 5cm to your subjects in the wide setting of the lens. LUMIX FT7 – Field of view in 4K LUMIX FT7 – Field of view in HD 1080 Panasonic LUMIX FT7 key features: (in no particular order) A truly robust camera! Nice images out of the box Nice colors Great Macro capabilities One can dive up to 31m with it with no additional housing or case Panasonic LUMIX FT7 main cons: (in no particular order) No ND thread (The absent of ND makes it very difficult to work in "M mode" Huge crop factor when shooting video in 4K video mode. (In iA mode what you see is NOT what you get. The preview shows a non cropped image but when pressing the REC button the image "jumps" and being recorded cropped. You can overcome this by shooting in "M" or "P" modes, then the framing on the LCD is the same as the recorded one (Cropped picture) Very limited aperture settings in "M mode" Very noticeable rolling shutter effect No manual focus or real exposure control. (In all shooting modes "exposure steps" are very noticeable) Picture on the LCD screen in a sunny daylight is very hard to see EVF leaves a lot to be desiered OIS is not doing a very good job Image on the far end of the video zoom is extremely soft Hi frame rate can be recorded in 720p resolution only LUMIX FT7 – No fear from water Summary and Conclusion The Panasonic LUMIX FT7 is certainly a rugged outdoor travel companion that can do it all, whether you take it to the mountain, a sandy beach or underwater. But can it do it well? It sells for about $450, which is a considerable amount of money. For the price it offers a lot of features, great robustness, nice picture and colors out of the box, but I am still struggling somewhat to define the sweet spot and who it is for. A 40mm wide angle in 4k as a starting point, no lens filter thread, a viewfinder that leaves a lot to be desired and a rear LCD screen that barely can see in direct sunlight are quite limiting. In addition, the lens when zoomed in all the way to 128mm is quite soft. The underwater capabilities are nice but keep in mind the additional underwater telephoto effect. Music by Art list: Theme: Streets by Ziv Moran Can you see the Panasonic TS7 / FT7 camera serving you well while traveling or when filming under tough conditions? Share your comments with us below.Read more
by Johnnie Behiri | 11th June 2018
Sony's newest addition to its compact 1 inch sensor size camera line, the RX100 VI, has been announced during last week, and we were lucky enough to take part in the launch event that took place in Venice, Italy. Together with the Sony RX100 VI A short flight to Venice and a longer boat ride right after, brought me to the hotel where Sony held the launch of their new camera. For the following two days I was running around with the new Sony camera, making occasional quick trips to Venice, with the aim to check how good it is for the casual Vlogger – as Sony is promoting this camera for "Life style", Vloggers and professionals/ehnthusiastics shooters. Video related improvements of the new Sony RX100 VI over its predecessor are: 200mm ULTRA zoom Fast autofocus response time Tilted Screen S-log 3 and HLG (Hybrid Log Gamma) picture profiles, plus, Proxy recording longer buffer time when shooting in high frame rate The 24-200mm zoom in such a compact camera is truly impressive, and the tilted screen is useful, although I personally would prefer having a swivelled one. I can report first hand that the autofocus is indeed fast and working well. As I did not shoot long video sequences during my trip, I cannot comment on the possibility of the camera suffering from overheating issues. The longer buffer time when shooting in high frame rate allows for recording longer slow-motion sequences, but on the expense of occupying the camera for much longer, when buffering the images. As a result, the camera can not be deployed for shooting in that timespan. What has not changed over the last model and needs future attention: The battery in the new camera is the same as the one found in the older model, so prepare to have a sufficient amount of batteries with you, in order to cover a full shooting day The combination of a minimum f11 aperture, no front filter thread and a Minimum ISO of 125 in any normal picture profile and 1000 in S log-2 or 3, begs for finding an alternative ND attachment solution. You will have to rely on Sony's solution (Not sold together with the camera), or, buy a third party item in order to be able to control the amount of light entering your lens Maybe the biggest drawback of this camera – especially as it is aiming to cater Vloggers – is the absence of a way to connect an external microphone and headphones! Sony RX100 VI – Is it any good for Vloggers? Additional information: I can report about the average lowlight capabilities of this camera. The Sony RX100 V had the maximum aperture of f1.8 and unfortunately the current model has lost this important feature, now accommodating a f2.8 (to f4.5) lens. The change is very noticeable and my advice to anyone who is planning to shoot indoors with it, is to have a sufficient amount of lights when conducting a shoot. (Shooting at night outdoors is very challenging too.) The internal stabilisation effectiveness in 4K and in HD seems to be almost the same and leaves space for improvement. The Sony VCT-SGR1 was also presented during the launch event. That device is acting like a mini tripod that can also start/stop recording the camera and control its zoom function (For video and photo). The Sony VCT-SGR1 will also work with other cameras from the Sony RX line. A slide taken during Sony's RX100 Vi launch event Conclusion: The Sony RX100 VI is a truly compact camera, baring nice features, like the 200mm ultra zoom and tilted screen. But with a price tag of $1200 and very limited audio capabilities, I cannot see many Vloggers using it. In my opinion, it is very much of an "Engineering product" and not a "User product", meaning, it is clearly a product that wants to be noticed but on the expense of usability. If the video functionality of this camera is important to Sony – especially as it is being marketed to Vloggers – I do hope that they will take some notes and try to improve the usability and functionality of the related video functions in the next generation, hopefully. The Sony RX100 VI will be available during July 2018. Full disclosure: Johnnie and other media representatives were guests at Sony Europe' s RX100 VI launch event in Venice, Italy. Sony paid transport and accommodation for this two-days trip, but there was no other payment involved whatsoever. Music for the above video was take from Art-list, In the Music by Gran Torino What do you think of the new Sony RX100 VI. Could it be your next Vlogging camera? Share with us your thoughts in the comment section below.Read more
by Matthew Carmody | 30th May 2018
In this guest review, Osaka-based filmmaker Matthew Carmody takes a close look at the Hasselblad H6D-100c – a 100MP, 4K Raw-capable medium format camera. Intrigued? Read on for his hands-on impressions. I'm sure I'm not the only one who took a peak at Christoph Tilley's write-up about medium-format video on the H6D-100C last year. The images had something special about them to my eye and I wanted to know more. But, to my surprise, after scowering the internet for days there wasn't really much in the way of other detailed reviews or footage. This only served to fuel my interest, eventually leading me to chat with an old colleague that had recently started working at Hasselblad here in Japan. And, funnily enough, it seemed that I wasn't the only one that wanted to see what this camera could do in the field. So, two full days of testing and two all-nighters to make workable rigs for my usual fast-paced shooting style later and I was ready to head out to the track to film a popular drifting event I originally intended to shoot with Blackmagic's URSA Mini Pro. Here is a detailed description of what I discovered in the process. First Things First – Workflow & Technical Details The Hasselblad H6D-100C shoots UHD 4K video @24p to CFAST2.0 cards in a proprietary compressed raw format with a .3FV container. The 256GB CFAST2.0 cards I used held around 20 minutes worth of data. Why I say "around" is that it doesn't tell you how much space is left on the card while you shoot, leaving you to guess and backup as you go. The whole width of the sensor is being used, with the tops and bottoms cut off to create 16:9 aspect video. I can't seem to verify if it is using a method such as pixel binning, but nonetheless, this is quite amazing as it is converting that lovely medium-format look from the 12K sensor to 4K compressed raw video on the fly. As a result, prepare for noticeable rolling shutter effect, something I was ready for thanks to Christoph's original review. Seriously don't try and shoot handheld with anything over 24mm, especially if you are a heavy coffee drinker like me… Once you have shot something, you need to decompress the .3FV files into a flavor of ProRes or a cinema DNG sequence using Hasselblad's Phocus software. You can name these sequences, or just output to the same name as the original compressed files. Beware that Phocus is very slow to decompress the files. I mean REALLY slow. It took close to 20 hours on my reasonably fast PC to decompress 930GB of .3FV files from the shoot. I put this down to it being optimized for single photos and not video. Hopefully this will change in a future version! Slimraw screen If you choose cinema DNG like I did, the decompressed 16bit DNG files take approximately 2.5 times the space of the original compressed .3FV files. These files are very processor intense even in Resolve, so I recommend creating DNG proxies with Slimraw ($49.00 USD) to compress the 16bit CDNG files into 12bit DNG with 3:1 or 4:1 etc compression for editing and grading in Resolve. This way the workflow remains the same in Resolve and you then just re-link the original 16bit CDNG when finished to output. NOTE: Resolve is the only software that currently reads these compressed DNG files. Other NLEs need a different workflow. This decompression process is kind of similar to what you have to do with DJI's X5R footage from the Inspire 1 or DJI OSMO RAW. Anyone familiar with Blackmagic or DJI products will feel at home with these DNG files. I enjoyed the editing and grading process once everything was decompressed and proxies were created. The Good, The Bad, and the Audio I quickly worked out that there is no built-in microphone. You can attach an external mic via the 3.5mm jack on the left side. I couldn't find anywhere in the menu to alter or monitor audio levels. They appear fixed. As a result, I had to scrap all audio from the shoot as it was way too loud and noisy. A shame, as some of the engines sounded amazing… Once the mic is setup, the audio is recorded along with a 720p mp4 file that is put in the cinema DNG folder and called "audio.mp4." Surprisingly these mp4 files are 25p, not 24p like the raw sequence. Even more surprising is that the audio.mp4 and corresponding raw sequence are different lengths and don't match. You could add something like a Juicedlink for better preamps, but the audio itself isn't going to be easy to use even for scratch due to the differing lengths. Rigging the Camera for Real-world Filming The first problem I ran into was that the camera body needs to be raised as the lens is lower than the body and will hit the tripod or gimbal plate in most cases. The viewfinder can be removed, so I did to streamline the build. In combination with the very compact 80mm lens, fitting it on a Ronin-M was reasonably straight forward. 80mm is equivalent to 40mm on a super 35mm camera like the Blackmagic URSA Mini Pro or Canon C200, making it a perfect focal length for general shots. The built-in screen is less than ideal for anything other than seeing you have a picture when filming moving images. You absolutely need an external monitor to shoot video on the Hasselblad H6D-100C. Some other quirks associated with the built-in screen are a lack of metering/monitoring tools like a histogram in video mode, so you have no idea of your exposure. The built-in focus peaking is useful for manual focusing but will only work if you first go into photo mode and then back to video mode. It will then stop working as soon as you press record. Once you have an external monitor setup you will find the 1080p feed out from the mini HDMI out seems to have a heavy rec.709 LUT applied, making it difficult to judge exposure by eye. Not that one would ever judge exposure purely from a monitor by eye, but… To overcome this I used an IKAN DH5e 5″ external monitor with waveform to purposefully overexpose, ignoring the misleading super blown out look you get on the camera LCD screen. The reason for this overexposure is that the raw files have amazing highlight recovery. More on this later. Another area that needed some thought was power management. The battery in the hand grip only lasts around 30 minutes when using live view and shooting video. You could use a few batteries and recharge as you go, however the batteries take several hours to fully charge and I didn't have time to do this during the shoot. To shoot a full day event I made a 12V D-TAP cable to get external power from the Ronin's battery distributor for gimbal work, and a V-mount battery for tripod shots I didn't have to change the hand grip battery once with this setup, making filming a lot less complicated. NOTE: You still have to have the hand grip battery inserted for the system to boot, so the hand grip itself can't be removed. Continual power means heat and the sensor will overheat in continual live view mode after around 30 minutes on a warm day. I decided to leave the live view off between shots whenever possible, allowing me to shoot for over 8 hours straight with only one overheat resulting in 5 minutes downtime to cool off and backup data. On the topic of live view, the live view screen will go blank after every clip you record, requiring you to restart it and get everything setup again for each individual cut. This isn't a big issue, but can be a slight hindrance if you want to shoot clips in quick succession. No built-in ND filters meant back to good old 4″x 5.65″ IRND for the 300mm and 24mm lenses, and a 67mm IR cut + Variable ND for the 80mm/2.8 and 100mm/2.2 lenses. Not a big deal if, like me, have filters lying around for other cameras without built-in NDs. Also, there is no way to remote trigger REC with something like a LANC cable. You have to press the small rec button on the touch screen, or press the shutter button on the hand grip. Needless to say, this makes recording a little cumbersome on a gimbal… Shutter Angle and ISO The Hasselblad H6D -100C is primarily a studio camera. After much research and several days of testing in various environments I found that you generally need to film at ISO 64 for the cleanest results, so I decided to fix ISO at 64 for the whole shoot. This camera is not designed for lowlight environments. At least not when it comes to video. One nice side effect of this is that you don't need as much IRND during the day even at bright apertures. The closets you can get to a 180 degree shutter angle is 1/45 or 1/60. There is no option for 1/48 or even 1/50. Slightly strange as it only shoots 24p. NOTE: ALL SHOTS IN THE VIDEO USED ISO64 and 1/60 SHUTTER. I could have chosen 1/45, but drift cars are fast and I wanted to cut stills for SNS from the video as well. The Raw Truth As soon as I brought the files into Davinci Resolve, I found the colors to be amazing even with a standard rec.709 LUT and basic grading applied. The grade you see in the video literally took 30 seconds to achieve. I just needed to tweak individual files from there and I was done. The next thing I discovered was that the highlight recovery of the 16bit raw files is very good. You can get back even the most severely overexposed areas to a point where the clipping doesn't bother your eye. Quite amazing and much better than some other popular cinema cameras on the market. Highlight recovery BEFORE Highlight recovery AFTER The catch is that the shadows can be quite noisy. You can see this in the wide angle slow push into the yellow car window. The bucket seats show a decent amount of noise. It would seem that the compressed raw files favor the highlights at the expense of the shadows. "Shadow noise: exposure lifted heavily to highlight issue" One thing I can say is that if you look at the video as a whole you see it isn't a problem with the majority of shots. Overexposing in light of the excellent highlight recovery can help solve this issue in most cases. Another thing you may also notice in the overexposed areas have a tendency to exhibit a purple tint. I needed to mask and fix a few shots in the video due to this. Check the wheel rims and other overexposed metallic parts in some shots. You can see a bit of this purple in the bright highlights. Medium-format Lenses This was a real shoot, so I decided to go with three main lenses that were all reasonably different and would cover wide, medium, and long shots. Starting from the wide end, the 24mm lens has noticeable distortion in the corners as it is apparently designed for a slightly smaller medium-format sensor. Check the wide shots in the video. Phocus apparently crops and corrects this for still images, however in-body correction of this distortion would be much appreciated for video shooters. It has a very unique look that is great for certain shots. Creating bokeh with such a wide angle is one reason medium-format is so intriguing to many people including myself. The 80mm lens is a great all-round lens that is super compact and features a bright F2.8 aperture. F2.8 for medium format is faster than it sounds. I used it as the main lens on DJI's Ronin-M with a DJI follow focus system for control. 80% of the footage is filmed with this lens purely due to the convenience and speed this lightweight setup afforded. The early morning shots are at around F2.8-F3.5. Later on I used F5.6 for medium shots like the fake cop car with flashing lights. All apertures up to F8 were pleasing to my eye. The 300mm lens was naturally a tough one to shoot moving objects like drift cars. Rolling shutter can be a problem with longer focal lengths and moving objects. Most of the shots in the video with the 300mm (The blue drift car, guy waving green t-shirt) are shot at F5.6 with 1.2 IRND applied and the results look very pleasing to me. Resolving, but not sharp with creamy bokeh. Wide open, all lenses seemed to be a tad soft and creamy, while at the same time highly resolving. This is a character I really liked. They started fully resolving when slightly stopped down to F5.6 through F8. The bokeh and fall off from all the lenses (aside from the 24mm which I mainly used at F8 for this shoot) are absolutely beautiful. The subject in focus is very 3-dimensional and the backgrounds are soft and creamy to my eye. Watching the video should show this better than anything I write here. Summary This camera is not everyone's cut of tea. However, working around its restrictions you can get very nice images in the right conditions. For me, the overall image quality and look this camera produces is special enough to outweigh the current list of cons, some of which I am sure can be easily rectified in a firmware update and future versions of Phocus. Hasselblad H6D-100c – Main Pros: (In no particular order) Full readout of the sensor width with no horizontal crop The amazing look the lenses give in combination with this massive sensor Lovely 3-dimentional rendition of subjects with superb fall off and creamy bokeh Beautiful colors out of the box Medium-format video in a compact form factor that even fits on a small gimbal Highlight roll off is pleasing even in heavily overexposed areas Recording to readily available CFAST2.0 media Hasselblad H6D-100c- Main Cons: (In no particular order) No way to see how much space is left on the CFAST card Noticeable rolling shutter in fast pans or fast-moving objects The audio is difficult to use even for scratch Shadows can show noticeable noise in some situations Overexposed highlights tend to have a slight purple tint The mp4 files are 25p and of a different length to the DNG sequences Live view resets and needs to be reactivated after every shot Phocus is slow to expand the compressed raw files into DNG files I hope some of this might be useful if you ever get your hands on a Hasselblad for video. Happy shooting!Read more
by Nino Leitner | 21st May 2018
After our hands-on with the Mavic Air in Monaco earlier this year, it was time to put the Mavic Air up against its older brother, the Mavic Pro, and compare the footage. Which footage holds up better? Does the Mavic Air Make Superior Images? The irony about new technology is often that newer generations are simply better, even in a model that sits in a lower price bracket than a predecessor that is still in the market. And this is exactly what we are seeing with the new Mavic Air, which I took for a hands-on spin at their press event in Monaco earlier this year (watch the video here). The Mavic Air is a classic example for this conundrum that many manufacturers face, unless they want to artificially strip newer technology off of some of the features of older, but "higher end" version of their products (C200, cough-cough!). The Mavic Pro's Downside – Compression The Mavic Pro was DJI's first foray in really compact drones and I think it's fair to say that it completely democratized aerial shooting because of its tiny size, which means you can take it practically everywhere. But like all technology, it didn't come without its downsides, the biggest one being heavy compression in 4K UHD at 60 MBit/s – really not enough for professional standards. Most of us know how limiting 100 MBit/s in 4K UHD can be from – for example – Sony a7 series cameras or the FS5 when it comes to post production. Slashing that already low bitrate (for such a high resolution) in half again means compromise, especially in H.264 compression (H.265 might be a different story!). Mavic Air – Better Footage Due to Less Compression And this is where the Mavic Air comes in – a newer and cheaper product that DOES NOT replace the existing Mavic Pro (hence the name difference) but is actually targeted at a different target audience. An audience that appreciates an even smaller drone that REALLY fits into your pocket and can go anywhere with you. What DJI isn't communicating that much is the fact that the footage out of the Mavic Air is actually superior to the Mavic Pro – it features 100 MBit/s and you can clearly see the differences when you look at the detail level comparison between the two cameras. On top of that, the Air clearly features a lot of superior technology – many features like obstacle avoidance, rear-facing sensors, 120fps in 1080p, internal 8GB memory, just to name a few. Now, there are still things in the Mavic Pro that are better than in the Mavic Air – most notably its range and the wireless image transmission technology they use. OcuSync, the standard used in the Mavic Pro, is clearly superior to the Extended Wifi that is used in the Mavic Air. OcuSync features superior range (up to 5.5 km or 3.4 miles) compared to Extended Wifi (2.4 miles or 3.86 km – all numbers according to the manufacturer). In practice I also noticed some more lag in the transmission with the Mavic Air, and I think in practice the range will be lower for both the Pro and the Air. However, the question is how relevant this is as you're only allowed to fly in sight in most countries anyway, which limits your flight distance to about 2 kilometers or 1.24 miles. Still from a typical Mavic Pro shot which usually has a lot of moire due to high compression. Noise – a Compression Problem? As you can see in the video above, I struggled somewhat with some weird noise occurring in 100 ISO shots on the Mavic Air in darker areas. I felt it was quite random and happened in parts of shots that were underexposed. Re-looking at much of the footage that I have shot with the Mavic Pro however over the course of a year, I found the same noise problems at low ISOs in many of those shots as well. I do not have an explanation for that but will reach out to DJI about it. My theory is that in shots that feature a lot of detail might introduce some noise in darker areas of the image if there's too much going on. BUT I can be wrong about this … it's just a gut feeling. What Drone to Buy – Mavic Pro or Mavic Air? So if you are asking me, which drone to buy, I would definitely recommend betting on the newer technology, which is the Mavic Air. My assumption is that DJI will replace the Mavic Pro with a newer model sometime this year. The Mavic Air will certainly stay in the market a bit longer until it's replaced. What is your drone of choice? Do you own one of the two, or are you in the market for a new one? Which one would you choose? Let us know in the comments.Read more
by Gunther Machu | 15th May 2018
The market for small action cams has become highly competitive these days, with a lot of Chinese manufacturers competing with a very low price against the leader – GoPro. And here's another new contender from China – Apeman TRAWO. Apeman TRAWO Action Cam – a GoPro contender? Impressive Specs and Body Looks Like a GoPro When I looked at the specs of the new Apeman TRAWO cam, it caught my attention as it lists an f1.8 lens and a Panasonic image sensor. Which is quite different to most other action cams which typically use an f2.8 lens and a Sony image sensor. It shoots up to 4k30p (no 24p or 25p mode), 2.7k30p, 1080p60 and 720p120. Note: on the Apeman website the cam claims to have a 2.7k60 and a 1080p120 mode, which is not available on the model I tested (A100 with the V18.104.22.168-A firmware) – I asked Apeman via email and they confirmed my finding – apologizing for this error. I do not know if those modes will be included in the future. Apeman TRAWO Findings Hence, I took it for a spin on a sunny afternoon in Vienna. Here are my findings: OK build quality, lots of accessories included needs a waterproof housing (included), which typically destroys audio quality 4k30 mode is very detailed and nice quite contrasty image, no "flat" look available all other modes lack detail, e.g. the 1080p60 mode doesn't look like full HD at all electronic image stabilization works quite well, but it crops the image significantly (20%) audio is as good or bad as with other action cams battery life is so so. After 30mins of shooting the battery symbol turned red GoPro Hero 6 Black Comparison Of course this is an unfair comparison, as the GoPro Hero 6 costs 430€ (~515USD), which is four times as expensive as the TRAWO. However, I wanted to see how close the TRAWO gets to the leader of the pack feature and image wise: GoPro Hero 6 Black: wider field of view than Trawo, but both have fisheye lenses (which I personally do not like) comparing the lenses, I am not so sure if the f1.8 claim of the TRAWO is true – the GoPro (with an f2.8 lens) shows much less motion blur at the same setting, indicating a higher shutter speed (hence a faster lens) → should be the other way round actually. build quality is so much better on GoPro, also has a touch screen no waterproof housing needed → better audio quality offers much more framerate options, including 4k60, 2.7k120 and 1080p 240 frames per second electronic image stabilization works phenomenally, and crops the image by only 12% much better image overall, having a protune "flat" mode which retains highlights much better battery was still at 50% when TRAWO battery symbol turned "red", indicating a near shutdown Aliasing in the 1080p60 modes between GoPro Hero 6 and APEMAN Trawo compared. Regarding resolution and dynamic range, the below image shows a much better highlight handling of the GoPro, and the image detail as well as resolution in the 1080p60 mode is also way better. Last but not least, for me an action cam should also provide a detailed high framerate mode. The maximum offered by the TRAWO is a 720p 120 frames per second mode. The next higher resolution offered is a 1080p60 mode. Here the GoPro shines with its 2.7k120 and 1080p240 modes. Conclusion – not a GoPro, but very Attractive Pricing All in all, the TRAWO offers quite good value for the money, also considering all the accessories which are included. I am still amazed how far technology has progressed – getting a 4k cam for about 100€ is mind blowing. Their Indiegogo campaign only just started, but it is refreshing to see an existing product already – the one we tested was definitely a finished product and not unfinished crowd funding hype (as happens so often) At the end of the day however, what counts for me in the action cam market is the image quality and the offered framerates. And here the clear winner is the GoPro Hero 6 Black. What do you think about the Apeman TRAWO? Have you been looking for a budget action cam lately, and is this camera for you? Let us know in the comments below. Music Credit: Band: Lathé Swing Song: Swing 39 (Creative Commons License)Read more
by Johnnie Behiri | 14th May 2018
UPDATE, May 17th: FUJIFILM has pulled down their newly released 4.0 firmware due to malfunction. None of the discovered problems are video related. For more information head to the full press release here: http://www.fujifilm.com/news/n180517.html The latest FUJIFILM X-T2 firmware update brought a few new great features for this ageing camera – one of them is the ability to record 120 frames per second in full HD quality. Firmware 4.00 for X-T2 Firmware Ver 4.00 for FUJIFILM X-T2 featuring internal F-log recording (watch my video testing that here), 120fps in full HD quality and better autofocus (just to name a few), is now available for a free download. We can only salute FUJIFILM for bringing such a major update for what used to be their flagship camera until recently – their current top model, the X-H1, could very well be cannibalised by this free upgrade. One feature that both cameras now share is high frame rate recording. Based on frequent requests we had since the introduction of this update, I went out to check how close (or not) the two cameras perform under similar (or identical) conditions and settings. Similar Battery Life, Almost identical AF, Slightly Different F-log As a "side dish", this short comparison between the two cameras also revealed that their battery life is very similar and their autofocus capabilities are almost identical with a slight upper hand to the X-T2. (This firmware update REALLY upgraded the X-T2 AF effectiveness. Hopefully the same will be said when and if the X-H1 gets the same treatment). On the other hand, I was surprised to see that the internal F-log recording characteristics is a bit different between the two camera, (The FUJIFILM X-H1 tends to be warmer), so assuming one will be using both on the same project, take into consideration that it might result in a bit more time consuming color grading. Ungraded image from the timeline. Note the wormer tint of the X-H1 High Frame Rates Comparison between X-T2 and X-H1 Now, with so much pre-text, I can already see some of you raising concerns if I actually forgot the reason to why we are actually here…..Well, back to the high frame recording quality comparison between the FUJIFILM X-T2 and X-H1. Let me start with the end result. Although the sensor and processor behind both cameras are identical and the recording data rate is the same, the FUJIFlIM X-H1 produces the cleaner image between the two when shooting slow-motion. True, the image is far from being free from artifacts, but on close inspection, the X-H1 is simply better. Both cameras were tuned for having similar settings but shutter speed. Explanation, below I'll leave you with some casual images that I took as it worth more then a thousands words…. Both cameras were set to F-log, had the same lens, variable ND filter, aperture, WB settings. similar shutter speed (The X-T2 will not do 24o but rather 250 shutter). Edited in Adobe Premiere latest edition and graded with FilmConvert (X-T2 F-log preset). Music supplied by Art-List: Sound track for the above video, Everybody Get Up by Gran Torino 120 fps is BETTER in the X-H1 then the X-T2 What do you think about the high frame rate quality that the FUJIFILM cameras can produce? Is this sufficient for your professional work? Let us know in the comments section below!Read more
by Johnnie Behiri | 8th May 2018
UPDATE, May 17th: FUJIFILM has pulled down their newly released 4.0 firmware due to malfunction. None of the discovered problems are video related. For more information head to the full press release here: http://www.fujifilm.com/news/n180517.html FUJIFILM has just announced a firmware update for its popular X-T2 camera. The update contains the much anticipated internal F-Log recording, 120fps in full HD mode and more! Man at work It is nice to see that FUJIFILM has listened to their customers, who requested internal F-Log recording in order to upgrade the quality of their work, especially after including that features in the newer FUJIFILM X-H1. If you have been following our recent FUJIFILM coverage, you know that we've already hinted towards the arrival of an internal F-Log recording for the X-T2 back in November 2017 when interviewing Watanabe-san of FUJIFILM. I've already tested and reviewed the X-T2 back in 2016, so although this is not a full X-T2 review, I've decided to take it for a spin and see how well (Or not) it behaves with the new firmware update and check if it can match with the newer X-H1 performance, when it comes to shooting video. The advantage of using F-Log (Taken from the timeline. Click to enlarge) Why would we want record in "F-Log" log-gamma mode? In a nutshell, the are two main reasons as to why to shoot in this mode. The first one is to get the best available dynamic range the camera can provide. This will allow for the opportunity of recovering highlights and seeing details in the darker areas of the image in a better way. The second reason is the possibility to paint the footage and color correct the recorded flat images to your liking. Look at the above slide taken from the timeline and see the highlights in the background. This shows the difference between an image with "backed color" (Left) and one that a LUT was applied to (Right). It's easy to spot where the highlights are preserved in a better way. Dive into the FUJIFILM X-T2 menu, in VIDEO MODE FUJIFILM X-T2 in the filed (New firmware related observation): If you are familiar with FUJIFILM's camera menu, then setting up the X-T2 won't be a problem although one might find it challenging to locate the new F-Log settings. Unlike with the X-H1, this option is buried in a sub menu (4K MOVIE OUTPUT) and not on the front MOVIE SETTING page. I can suspect that due to a hardware limitation, this option could not be brought to the front menu page. When it comes to grading the F-Log footage itself, I've gotten a bit of a mixed bag results, especially when referring to skin tones. (I can relate what I see to 8bit color sampling limitation). As the firmware is now available to download I'm actually very curious to hear and see what people will come up with. (I'll update this post with my observation after double checking the footage I've got). One more thing to be aware of is the possibility to get "turn off and on again" error note. I got this message multiple times during my shooting day and I could not determine why it is happening. On the positive side, the new 1080/120fps setting really looks good! (The footage in my video is all upscaled to 4K in order to match the rest of the timeline setting). Last but not least, the ability to enlarge and customize the location of indicators or information in the viewfinder and/or LCD monitor is a superb thing. I guess you have to be over a certain age in order to appreciate such a feature….. FUJIFILM X-T2 vs. X-H1 (Video mode): Although the bridge between the cameras has just been narrowed, to my opinion the upper hand still goes to the X-H1. With its higher data rate recording, Internal body stabilization, the possibility to shoot in ETERNA film simulation mode out of the box and touchscreen autofocus (Just to name a few), the X-H1 certainly has the lead. FUJIFILM Firmware Ver. 4.00 Update – Key Features: Internal F-log to SD card recording function. Addition of 1080p 120 frames per second mode. Compatibility with the newly developed FUJINON MKX18-55mmT2.9 and FUJINON MKX50-135mmT2.9 cinema lenses. Aperture information can be displayed on the monitor. The upgrade allows users to select T-stop or F-stop. The upgrade allows users to check the focus distance with the distance indicator shown in the monitor. Automatically corrects the distortion and the color/brightness shading. Camera automatically calculates the White Balance based on the lens position and delivers the color expressions with Film Simulation modes. Ability to enlarge and customize the location of indicators or information in the viewfinder and/or LCD monitor (this feature is newly available for all cameras that get the firmware update). Conclusion: FUJIFILM did well in listening to their customers by giving "new life" to one of their most popular cameras. All in all, this is a capable video shooting device that can perform well when treated right. (Don't forget to take a stabilized lens or a tripod with you when out and about). I also have to highlight the camera's sound quality! To my opinion, FUJIFILM is doing exceptionally well when it comes to sound recording in the X-T2 and X-H1 compare to other stills cameras manufactures. The "caffe latte" part of the above video was shot on FUJIFILM X-T2, F-Log enabled and was edited in Adobe Premiere latest edition. Color graded with FilmConvert (X-T2 F-Log profile). Downloads: FUJIFILM X-T2 firmware Ver 4.00. ETERNA LUT for F-log, Ungraded version of the video to play with. (Then press the download button). Many thanks to Dinah, her family and the staff at caffe latte. Find out more about the place by clicking here. Music by Art-List Tracks: Clear Skies by Rex Banner and DuDa by Gran Torino What do you think of the new FUJIFILM Firmware update? Are there any X-T2 users who are welcoming the F-log feature? Let us know in the comments below.Read more
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