Our next club meeting for April 2021 - To be judged online due to Lockdown
Set Subject: Long Exposure
Enter via PhotoVault.
Entries must be in no later than Sunday 11 April 2021
Adobe has updated its video editing applications, Adobe Premiere Rush and Adobe Premiere Pro. The April 2021 release of Premiere Rush adds, among other improvements, native Apple Silicon support. Premiere Pro (15.1) includes optimizations and small improvements.
Looking first at Premiere Rush, the latest version now natively supports Apple computers with Apple's M1 chip, including recently released models like the MacBook Air, MacBook Pro and Mac Mini. With native M1 support, Premiere Rush offers improved performance during editing and playback and faster exports when compared to similar Intel-based Mac computers. Adobe states that all common video and still image formats remain supported, ensuring a seamless transition from previous-generation Mac computers and prior versions of software running via emulation on M1 Macs. Further, project syncing works across devices. Users can continue projects from Intel-based Macs, Windows, iOS and Android on Apple M1 systems, and vice versa.
On iOS, Premiere Rush includes a new Timeline context menu. This means that the user can tap a video clip on the timeline to bring up the context menu. You can use the context menu to split, duplicate or delete a video clip. Tapping a video clip with audio allows you to separate the audio and video clips.
For iOS and Android users, reset functionality in Rush has been adjusted. For Android users, the latest version of Rush supports the Samsung Note 20 and Note 20+ smartphones. The latest Premiere Rush update is available now for free to existing users.
Adobe Premiere Pro (15.1) has a relatively short list of new features and improvements, which is part of Adobe's ongoing strategy to release smaller, more frequent updates, as is expected from a subscription-based service.
The new version of Premiere Pro includes optimizations to improve export times using Intel Quick Sync hardware acceleration on Intel-based Windows computers. H.264/HEVC encode performance is up to 1.8x faster than Premiere Pro (14.0), per Adobe, and noticeably faster than Premiere Pro (14.8) as well.
Premiere Pro (15.1) includes dynamic previews for Lumetri presets. When using Lumetri presets, the software displays a frame from your current sequence. Thumbnails in the Effects panel update dynamically, allowing the user a preview of the preset.
Like the latest version of Premiere Rush, Premiere Pro (15.1) is available for download now. For more information on Adobe Premiere Pro, click here. Premiere Pro costs $20.99 per month by itself and is available for $52.99/month alongside all Adobe applications. If you'd like to save money and don't need all Premiere Pro's features, Adobe Premiere Rush is available for $9.99/month. You can learn more about Rush here.
We've covered both the launch of Adobe's new Super Resolution feature, as well as its implications and benefits, according to photographer Michael Clark. So we thought it was high time to get some images into our studio testing widget and let you explore just how much detail this feature can add to files from older, lower-resolution cameras, compared with more modern high-megapixel models. After all, Adobe let you see how some crops of how our scene looked on their blog – now it's time to check out the whole thing!
In some of our other informal testing with real-world images, we've found areas of more natural textures seem to look pretty good, so be sure to check out those areas of the test scene. Of course you'll notice that this feature isn't magic. Modern, high-resolution bodies with quality lenses will beat the algorithm anywhere you look, but that's not necessarily the point.
We can't bring one of those modern camera bodies back in time to re-shoot our favorite images, and so for many situations, this feature will absolutely breathe new life into older files. (Also, try hitting the 'Comp' button at the top to see what the Super Resolution files look like scaled back to the lowest common pixel count.)
And just for fun, we wanted to see what super resolution does on those higher-megapixel bodies as well. As you might expect, you don't quite get benchmark-camera levels of detail (and we wanted to do Super Resolution on the Phase One image, but at the time of this writing, the resulting file exceeds the feature's 500MP resolution limit).
So take a tour around the studio scene and see what you think, and watch this space for some testing with real world Super Resolution image comparisons in the coming weeks.
Lens manufacturer TTArtisan has added two new versions of its 21mm F1.5 full-frame manual lens. Originally available for only Leica M mount cameras, TTArtisan has added new mount options for Nikon Z and Sony E mount camera systems.
The manual lenses are constructed of 13 elements in ten groups, use ten-blade aperture diaphragms and have aperture ranges of F1.5 through F16. Both lenses have 72mm front filter threads, minimum focusing distances of 50cm (20”) and use a clicked aperture ring.
The Nikon Z mount version weighs 458g, while the Sony E mount version weighs in at 422g. Both 21mm F1.5 lenses are listed for $245 (Nikon Z, Sony E, )and come with lens caps, a lens hood, a lens bag and a branded cloth.
The Tokina atx-m 33mm F1.4 X is one of the latest additions to a small club of third-party autofocus lenses for Fujifilm's X-mount mirrorless cameras. At just $399 USD, it's also one of the more affordable options too if you're looking for a fast prime.
You can get a sense for overall image quality in the above gallery; expect pretty solid sharpness, even wide-open, but watch out for some longitudinal chromatic aberration (green and magenta fringing behind and in front of the plane of focus). Vignetting is also a little strong if you don't have corrections turned on, but it won't be a problem for most users if you're using a camera with a fairly modern sensor.
On the Fujifilm X-S10, the Tokina 33mm F1.4 X handles really nicely. It doesn't feel front-heavy, and the all-metal build (including the hood) gives a feel of quality. The focus ring is broad and offers smooth, nicely damped action.
We think the Tokina atx-m 33mm F1.4 X makes a lovely 50mm-equivalent autofocus lens option for Fujifilm photographers
One thing that may give you pause is that the aperture ring is entirely smooth, with only very slight detents between F16 and 'A' (where you control the aperture automatically or with a command dial on the camera). It might be, if anything, a bit too heavily damped, meaning it's quite difficult to turn. There's no option to have the dial be 'clicky' for stills-focused shooters; for those eyeing this lens for video though, none of these concerns will be an issue.
In the end, we think the Tokina atx-m 33mm F1.4 X makes a lovely 50mm-equivalent autofocus lens option for Fujifilm photographers in a variety of situations. Let us know what you think in the comments below.
View our gallery of samples from the Tokina atx-m 33mm F1.4 X
Following a complaint and subsequent review by the Advertising Standards Authority (ASA) in the UK, Apple has changed the marketing for its $5,000 Pro Display XDR. Per 9to5Mac, the ASA asked Apple to remove the term 'Far beyond HDR' from its marketing materials for its flagship display, a request which Apple abided, at least in the UK. In the US, the phrase 'Far beyond HDR' remains live.
The phrase 'Far beyond HDR' has become a sticking point because some customers believe it's misleading. The Pro Display XDR displays 99% of the P3 wide color gamut, and complaints have alleged that the term 'Far beyond HDR' suggests that the display shows 100% of the P3 color gamut.
In response to the complaints, Apple has taken two steps. It has removed 'Far beyond HDR' from its UK website, as mentioned. Still, Apple has also added a footnote following the sentence, 'A P3 wide color gamut provides a color palette capable of creating the most vibrant imagery.' This footnote corresponds to small text at the bottom of the product page, which states, 'Pro Display XDR supports 99% of the P3 wide color gamut.' No such footnote currently exists on the product page in the US.
The ASA has also taken issue with Apple's claim that its XDR display has a 1,000,000:1 contrast ratio. As of now, that claim remains on Apple's website. 9 to 5 Mac reports that Apple is having independent tests completed, which Apple hopes will corroborate its contrast ratio claim.
On the ASA's website, the complaint against Apple is listed as informally resolved. Since the complaints were in the UK, they have no impact on Apple's obligations in other markets.
When Apple first announced the Pro Display XDR in 2019, the California-based company made many lofty claims. Some of them can be verified, such as claims about color space and contrast ratio, while others are more difficult to confirm.
For example, Apple says the Pro Display XDR is the 'world's best pro display.' What does that even mean? It likely means something different to different users. For what it's worth, reviews for the display have been generally very positive, with many claiming that the display features incredible build quality and fantastic performance.
Apple's popularity and position mean that the company attracts a lot of attention, not all of it positive. The company is no stranger to complaints, investigations and general government oversight across the many markets it operates. It's merely part of doing business, big business in Apple's case. Does Apple's Pro Display XDR go 'far beyond HDR?' Well, I guess that depends on who, or rather, where you ask.
A team of researchers from Virginia Tech’s Institute for Critical Technology and Applied Science (ICTAS) have shared a three-second video showing what happens when a DJI Mavic 2 Pro drone collides with the windshield of a vehicle at 100km/h (62.5mph).
The project was done as a collaboration between ‘Virginia Tech Mid-Atlantic Aviation Partnership, the College of Engineering, and State Farm to evaluate the risks of a drone collision with a moving car.’
Specifically, the data gathered from the test enabled insurance provider State Farm to get permission from the FAA to fly drones over busy roads. State Farm uses drones to assist with inspections and insurance claims, but in order to do so over a busy road it requires FAA approval and the use of a parachute module, which you can see strapped to the top of the drone that was hurled at the vehicle.
Obviously, not all the data gathered from the impact has been shared, but based on the visuals, it appears as though the drone doesn’t cause any serious damage to the vehicle. The windshield flexes upon impact but deflects the drone up and over the vehicle without any noticeable cracks.
Moza, the company behind a number of popular camera gimbals, has announced the Moin Camera, a compact 4K gimbal camera that takes clear inspiration from the DJI Pocket 2.
The Moin Camera has a 1/2.3” 12MP sensor at its core, which is capable of capturing 12MP stills (JPEG and DNG Raw), 4K video at 60 frames per second (fps) and 8x slow-motion (240 fps) when dropped down to HD (1280 x 720 pixels) quality. In front of the sensor is a full-frame equivalent 14mm F2.2 (120-degree) lens attached to a three-axis gimbal. Moza says the camera offers shutter speeds between 60 seconds and 1/8000th of a second and has an ISO range of 100–3200.
For composing shots and navigating the menu, Moza put a 2.45” articulating touch screen on the camera, which folds out when in use. Moza has also included a handful of shooting modes, including Face Tracking, First Person View (FPV), Panorama Timelapse, Hyperlapse and more.
The camera works alongside the Moza Artist App to wirelessly transfer images between the camera and a connected smart device via Bluetooth and Wi-Fi. The Moin Camera weighs only 176g (6.2oz) and measures in at 129mm × 37.8mm × 32mm (5” x 1.5” x 1.26”). It’s available starting today for $299 through Moza’s online shop.
The Moin Camera is only $50 cheaper than the current going price for the much more capable DJI Osmo Pocket 2. And while the Moin Camera does offer a larger — and articulating — screen, compared to the smaller, fixed screen on the Osmo Pocket 2, it has a much smaller sensor — both in physical size and resolution — as well as fewer shooting modes and less gimbal movement.
In the latest in our series of socially distanced interviews with senior executives across the consumer digital imaging industry, we sat down (virtually) with Aki Murata, Chief Operating Officer of OM Digital Solutions (OMDS). In a wide-ranging interview, Mr Murata updated us on the transition from Olympus to OMDS, the future of the Olympus brand, and why he believes that Four Thirds still has advantages over other sensor formats.
We announced the carving out of the camera division from Olympus last June, and I think a lot of people were worried that it meant Olympus cameras would be different in the future, or our R&D philosophy or our product roadmap would change. I would like to state, once again, that we decided to split off from Olympus, which is a big medical company, in order to better manage our business and do what’s best for our camera customers. In this new company, OMDS, we have senior leaders in place who will bring fresh perspectives to company challenges, and this is a perfect start for a new chapter in the 85-year history of Olympus cameras.
The challenge is proving it. I can say whatever I like, but people need to be able to believe it. Not only existing Olympus users, but non-Olympus and non-Micro Four Thirds photographers. We need to make those users realize that they can invest in our system with confidence. The best way to do that is by introducing innovative products, and I can confirm that will be an exciting product announcement from OMDS later in 2021. I think that will put a lot of people’s minds at rest.
Our Chief Technology Officer (CTO), Setsuya Kataoka gave an interview in February where he mentioned new products, and today I can confirm that the announcement will be this year.
I can’t, I’m sorry, but I can say that our focus will continue to be on Micro Four Thirds, and on mid to high-end products.
The Olympus Tough range of compact cameras has consistently sold well, even in the context of broad declines in the compact camera market following the mass-adoption of smartphones.
In the compact camera space, there is a need for features that differentiate those products from currently available smartphones. The types of cameras suitable for specialized purposes, such as action cameras and cameras for 360-degree imaging is increasing. Our Tough series offers durability, with very strong water resistance, and very good macro shooting modes. That range is appreciated very much by divers, casual beach photographers and nature macro shooters. We believe that by listening carefully to the needs of users who are working in highly specialized fields, we have the opportunity to meet those needs, and we’ll continue to do this.
Yes absolutely. If they were just waterproof cameras, I don’t think there would necessarily be a market for them. There are already waterproof smartphones, so what would be the difference? But as I said, we developed the Tough cameras to cater for certain types of users, with specific needs. And as long as we continue to develop upon that, there is always a market there.
I cannot really talk about this in any detail, but I can say that we’re more flexible now, compared to when we were a part of Olympus. So we look at users, and we look at our technologies, and then when we see them crossing over, that’s a market we know we should be in. So we’re always looking at what customers are asking for.
That’s a question that we ask a lot, and discuss frequently, internally. We don’t really see a need to compete with smartphones, because smartphones are different devices, with different characteristics. And one of the important differentiators of interchangeable lens cameras is lenses. A wide variety of lenses with high optical quality, that make it possible to capture the best moments in various shooting situations. This is the reason why interchangeable lens cameras exist. A smartphone will never be able to capture a fast-moving bird, for example, from a great distance.
In other words, if a manufacturer can’t offer camera products with features that clearly differentiate them from smartphones, they’d be in trouble. We will continue to develop a system necessary to allow photographers to best capture moments, with maximum portability, with our Micro Four Thirds lineup. And we’ll focus on the areas where smartphones can’t compete, and can’t provide a benefit for photographers.
The size of the Four Thirds sensor offers the possibility of fast readout speeds, which makes this format ideal for computational imaging
We believe that it’s important to maximize the power of image sensors, and processors and image stabilization, but at the same time in order to maximize the power of those devices we have to use computational photography technologies like AI and other computational imaging technologies to expand the possibilities for capturing the moment. I think that combination will make our cameras more attractive.
The size of the Four Thirds sensor offers the possibility of fast readout speeds, which makes this format ideal for computational imaging. Conventionally, the evolution of hardware is an important factor for all cameras, but we believe that by utilizing the right hardware, and the right software together, via computational photography technologies, this will make the system more attractive to consumers and deliver shooting experiences that would otherwise not be possible, with hardware developments alone.
The handheld high-res shot mode in the E-M1 Mark III is one example, but we’re really going to continue to try to use these technologies to provide something new in the market.
We just talked about the handheld high res shot mode, which allows users to take pictures in higher resolution with less noise, without a tripod. During our customer research, we found that many of our E-M1 Mark III users were interested in that camera specifically because of these features. New users, coming into our system because of those features.
We believe that people are beginning to understand the value of Micro Four Thirds cameras for their ability to deliver similar image quality to larger sensors, but in a smaller, lighter system. We’re constantly looking for new areas where we can combine our hardware with computational technologies and I really believe that we can show further development in the near future.
Yes. I cannot say exactly where, but we are looking a lot of different aspects and possibilities. I’m sure we’ll be able to introduce many more interesting features.
While we cannot provide information on specific plans for the future, it is possible for us to consider technologies like Stacked CMOS. We are always looking to maximize the potential of the Micro Four Thirds standard by developing and utilizing the latest technology. With our compact and lightweight systems, we will do what it takes to expand capabilities and provide the best imaging experience for the customer.
The Micro Four Thirds system is not limited to 20 Megapixels. Our Pro lenses have excellent resolution and performance, enough to work well even with a 100 Megapixel sensor. However, increasing number of megapixels significantly impacts processing speeds and high ISO image quality. There is also a risk of function and feature limitations. Therefore, we carefully consider the best balance of resolution, image quality, performance and price, always with the best interests of the customer in mind.
Still imagery is very important for us, but we’re not disregarding video. I can’t give you any specifics about the development of future video technologies but I believe that while it’s embraced by a lot of users, there are still some barriers to high-quality video recording with interchangeable lens cameras.
I’d like to address those barriers. One of them is image stabilization. Many casual video shooters don’t have gimbals, for example, and they need an all in one system package that allows them to shoot high quality video straight out of the box. That’s something we’d really want to achieve, and that’s a bit different to some other manufacturers. For example Panasonic, they have very good video-specific products, but we really want to create that all-in-one package. We believe that we can contribute to improving video capture by offering a portable system with strong image stabilization and a video-dedicated AF system. For more advanced users we’d like to provide solutions to improve workflow, such as our recent announcement of Apple ProRes Raw recording compatibility with the Atomos Ninja.
I couldn’t believe the number of preorders we received for the 150-400mm. It exceeded our expectations by far, globally. Usually for lenses of that kind, initial demand is very high, and then it drops in the months afterward, but looking at demand for this lens, it hasn’t stopped. That’s good, and we’re very happy, but we’re sorry for our users who have to wait. This lens is built in Japan and we’re very careful to make sure that the quality is very good.
That zoom lens covers up to 1000mm in 35mm terms, but with high resolution and high performance in a compact body. That’s the reason why we’ve seen such a high demand. The biggest selling point is handheld shooting. That’s the most appealing thing for birding and wildlife shooters, they can work handheld without sacrificing image quality. So the lens was highly anticipated by pro photographers all over the world, and sales have exceeded all our expectations.
It takes a lot of time just to make one lens, so unfortunately I can’t say right now when the lens will be available more generally. Our production facilities are working at full capacity to catch up with demand.
We prefer not to differentiate photographers by their level of experience. We offer a lineup of products from entry-level to high-end, but we don’t develop products only for specific types of customers. Our system offers a clear advantage in terms of size and weight, and we believe that our I.S. system is one of the best on the market, so any photographers who value size and portability are our ideal customers. We don’t differentiate. We’ll continue to invest in products that provide quality and portability. So for any photographer who’s going out with a lot of equipment will enjoy the benefits of our system.
I think that the entry-level line will always exist, unless people lose interest in photography, and I don’t think that will happen. The only questions are how entry-level is defined, and what features do people expect to see in those cameras? The more that smartphones camera features evolve, the smaller the gap will become between phones and current entry-level cameras will become. And when that happens, our definition of entry-level in the camera market may need to change.
In the past, the term ‘entry-level’ was used to describe any easy to use camera which delivered good picture quality but the pictures from smartphones aren’t bad, if you just want something for casual and everyday use. And if the smartphone takes over that role, then they’ll become the entry-point to the world of photography. The hallmark for all camera manufacturers, not just us, is to understand the needs of customers and introduce products that encourage more people to take up photography as a hobby.
Yes, that’s definitely one possibility.
I’m thinking about how I can give you a meaningful answer without giving you details! I can confirm that we want to exploit the full potential of the Four Thirds sensor format, and we believe that having a smaller sensor is an advantage for us. People still believe that it’s a disadvantage, but this is simply not true. Technology will develop, and the physical disadvantages of smaller sensors will be eliminated in future. Once this happens, the last variables will be the size and weight of the hardware. And that’s where we have a big advantage with the Micro Four Thirds system. We’ll continue to develop products and technologies that will change the perception of smaller sensors. I can’t wait to hear people one day saying ‘I thought having a small sensor was a disadvantage’.
It’s hard to provide a very clear answer to that question, but we’re always looking at both customer demands and the development of our technologies. Which one comes first depends on the feature. It’s hard for customers to express needs for features when perhaps those features, and the technology, don’t currently exist in the market. But on the other hand, just because we have the technology, we cannot develop a new feature without thinking about the needs of the customer. For us, the solution is to develop features that cater to the experiences and needs of our customers, and expand their shooting opportunities.
We didn’t have a lot of supply chain issues, but as a result of COVID-19 we’ve seen a lot of travel restrictions and delays, and that has impacted the entire camera market quite a bit. We’ve been controlling our supply very carefully, and monitoring market conditions, but the good news is that our team adapted quickly using a lot of creativity. We’ve created new initiatives like ‘Home with Olympus’ and using Facebook Live instead of in-person events. We believe that market conditions are beginning to improve and we’re developing new products to meet customer demands as the market recovers after COVID-19.
As a result of the pandemic we’ve seen more people enjoying what we call ‘local adventures’ with their cameras, for example macro lenses are more popular than ever, likewise sales of tele lenses like 75-300mm and 100-400mm are continuously increasing. And of course more people have been using their cameras for meetings and virtual gatherings, like happy hours. We recently released the beta version of our webcam software to meet this demand.
Some of the advisers that we’ve worked with during the process of the transition to OMDS have told us that this is one of the smoothest transitions they’ve ever seen
As Olympus / OMDS, we’ve had an interesting year with the pandemic and the sale of the camera division, and I’m very proud of how the team has adjusted during a difficult time. Some of the advisers that we’ve worked with during the process of the transition to OMDS have told us that this is one of the smoothest transitions they’ve ever seen, and I think the team has done a great job making that happen. The reason is that we had trust in the brand and the company. Just like our customers, when we first heard about the planned sale, we had some worries early on about what would happen, but very quickly we realized that we weren’t talking about a change of company, just a change of ownership. And this is a change which will bring better results for our users, and it’s good for us and good for them.
I’d also like to express my appreciation to all the frontline workers for their acts of bravery and selflessness during the pandemic. It’s been a very difficult time and we’ve really learned how meaningful pictures can be over the past year.
I believe that Olympus as a camera brand represents tradition and excellent quality. Olympus also has a history of leading innovations and development, and introducing many ‘world’s first’ features. Our job is to continue to develop innovative and market-leading products with the spirit of a startup, but backed up with our history and our positive reputation, and our brand heritage. That’s something we tell the team internally, as well. We are excited to continue to build the brand.
No, our development plan has not been affected at all. We’ll continue to deliver new products to our customers as planned. No change.
For all of the doom and gloom in comments and even some editorial coverage (not, I hasten to add, on DPReview) it seems that the team at OM Digital Solutions is going into 2021 with a marked sense of confidence, both in their leadership, and in the strength of the Olympus brand. Mr. Murata embodies this confidence, but I've heard similar statements from several current OMDS employees this year who have made the transition from Olympus.
'No change' is the message, and, with new products confirmed to be on the way in the coming months, everything looks to be going to plan. The most immediate problem facing Mr. Murata and his team appears to be the difficulty in fulfilling orders for the 150-400mm tele-zoom, which has been backordered almost since the day it was announced. Arguably that's a good problem to have, but I get the impression that so early in its corporate existence, it's also a slightly embarrassing one for OMDS.
While Mr. Murata prefers not to differentiate customers by their expertise level, he tells us that his team's focus will continue to be on mid-range and high-end products. In past interviews, he has specifically identified sports and wildlife photographers as an important constituency of customers, and one that benefits from what he sees as the unique value proposition offered by Micro Four Thirds. It's these kinds of photographers to whom the 150-400mm is aimed, alongside cameras like the OM-D E-M1 Mark III and the flagship E-M1X.
So what is the unique value proposition of Micro Four Thirds? Representatives of Olympus and Panasonic have been saying the same thing for years: high performance (especially when it comes to speed) in a small, affordable and lightweight package. The downsides of the smaller sensor format compared to APS-C and full-frame chiefly relate to image quality, but Mr. Murata is confident that technology will be developed to reduce the size of that gap to the point where it will no longer be a major determinant factor for photographers.
The 20MP E-M1X can shoot at up to 18 fps with AF tracking, which is really fast, but it's slower than the 50MP Sony a1, which tops out at 30 fps.
The question is whether advances in full-frame sensor technology, like Stacked CMOS, will in the meantime nullify the technical advantages of M43 in terms of speed. With cameras like Sony's a1 (and potentially Nikon's forthcoming Z9) offering a lot more pixels, a lot more dynamic range, and usefully fast maximum capture rates, the 'small sensor speed advantage' is becoming less clear,
Arguably, we're already at this point, at least from a technical perspective: The 20MP E-M1X can shoot at up to 18 fps with AF tracking, which is really fast, but it's slower than the 50MP Sony a1, which tops out at 30 fps. The elephant in the room, of course, is cost. For the price of one Sony a1, you could buy three E-M1X bodies, and still have a few hundred dollars left over. A Stacked CMOS 4/3 sensor might be capable of extraordinary speeds, but until or unless such a thing is developed, it's impossible to know what it might look like (or how much it might affect the final cost to photographers).
For now though, Mr. Murata has faith in computational photography technologies (and it's a justified faith, looking at its success in smartphones), and in the value and potential of the Olympus brand. Mr. Murata's talk of being 'more agile' following the move away from the parent company is revealing, and very encouraging, coming alongside his obvious excitement about technology and his mention of the company operating with 'the spirit of a startup'. Olympus might be among the oldest brands in photography, but it's also consistently one of the most innovative, and it's good to see that this approach is continuing.
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