Archive for the 'cameras' Category

01
Apr
17

Go Pro Zombie Apocalypse Mount

Go Pro Zombie Apocalypse mount “aka Lucille”

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So although I don’t believe any firm dates have been set yet, those in the know, seem to think that the inevitable zombie apocalypse is just round the corner. Now we here at Pixipixel know that you don’t just want to survive the undead onslaught but being creative types you will want some epic footage to use for bragging rights afterwards. With this in mind Pixipixel are pleased to announce that we now stock the all-new Go Pro Zombie mount.

Ok so bearing in mind that once a date has been set for the apocalypse this is going to get booked up pretty fast. It may be worth having a few practice runs beforehand, this will really help to improve your technique in both zombie slaying and image capturing, practice makes perfect as they say.

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So a little about this rugged mount from Slooflirpa mounts, makers of specialist camera mounting hardware. The mount itself is made of rugged, strong and easily wipe-cleanable aluminum. It has a pleasingly strong feel about it and gives plenty of opportunity to vary the angle of the go pro to capture “actual impact” video as they describe it or “combat action selphies”, I’ve found that when set to a mid position both can be achieved in the one frame, useful as zombies don’t seem to want to get up for a second take!

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The mount we have opted for is for a baseball bat (splatter bat) and is cleverly attached at the foot of the handle to protect the camera from over spray but not interfere with the bats operation in any way, the full range of offensive blows and defensive parries is possible without any compromise to your technique. The only difference is that all your efforts can now be recorded in mind-blowing 4K on the go pro.

Slooflirpa make a range of zombie mounts to fit all your favorite weapons of choice, from chain saws to firearms they have everything a serious zombie slayer / film-maker could hope for. We decided to go for the Baseball bat mount or “splatter bat” as they describe it for various reasons.

For the initiated in zombie warfare our choice is pretty obvious but for the rest of you who are less used to dispatching the undead or “deadening” them as I like to describe it let me explain our decision.

Firstly although a firearm may be a good option for picking off zombies at a distance they have the annoying habit of running out of ammunition and this leaves you with no option than to use it as a bat anyway and a baseball bat is much more natural thing to swing. Likewise a chainsaw although pleasingly effective can run out of fuel, chain bar oil or ever throw a chain leaving you in trouble. The baseball bat has for those reasons been the go to tool for many a famous zombie slayer for years. It won’t run out of ammunition, fuel or malfunction in the middle of a melee and does add a level of street cred or certain panache to your actions.

Lastly both guns and chain saws make a lot of noise and this has the effect of alerting any local zombies to come and join the party, not always what you want.

Negan and Lucille from the Walking Dead are a perfect example of how to get the most from this hickory, barbed wire combination whilst maintaining your composure, but he is not the first to delight in the baseball bat as a first choice as I’m sure you know. The Warriors back in 1979 liberated a few from the Baseball Furies to help them battle back to Coney island (ok so it’s not a zombie flick, I know!!)and even Dr Zeus penned a poem celebrating the merits of a big bat. Field of dreams had baseball bats, but I fell asleep so don’t know if it ever featured zombies, somehow I doubt it.

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Other famous baseball bat wielders include Jack Nicholson’s wife in The Shining who looks well at home with her Louisville Slugger and more recently we see some outstanding bat work in Suicide Squad in the hands of Harley Quinn. But to my mind Woody Harrelson really captures the humour that only a good old batting of a zombie can produce and he doesn’t even lose his hat in Zombieland.

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Now for the first hire of our latest must have camera mount I think we could throw in a pair of Pixipixel Zombie proof gloves so lets see who’s the quickest off the mark out of you lot.

The all-important Brucie coolness rating for our Splatter Bat is a solid 10 out of 10, it packs a hell of a punch yet feels good in the hand and has more street cred than a Shoreditch hipster on a fixie.

So if this is your kind of thing give us a call and ask for “Lucille”. PS any arrests due to carrying our Splatter Bat will not be accepted as an excuse for late returns and we reserve the right to charge a cleaning fee if returned with body parts still attached.

Cheers all BB

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28
Mar
17

Profoto Air Sync & Air Remote

The Profoto Air Sync and Profoto Air Remote are basically the same as each other with both having 8 channels, 300 m range, 10 to 140 hours battery life transmit mode fast /slow, 30 hours battery life receive mode, 30 min auto power off, and integrated antenna.

The difference is that the Pro Air Sync will only trigger a flash i.e. just fire it like a sync lead but without the lead. Whereas the Pro Air Remote also lets you control the flash so you can change its power setting and modeling light function.

Just to slightly confuse you the Air Remote also comes in a TTL version for Canon and Nikon (TTL = Through the lens). This means that the remote will transmit TTL information to any Profoto flash with TTL Air Support and this will allow for fully automatic point-and-shoot shots. It can also be used in manual mode (without TTL) or Hybrid mode that allows for you to shoot first with TTL and then switch to Manual mode to make adjustments, and that’s good because TTL is often inaccurate.

All Profoto Air Remotes can be used with non Air equipped flash systems by using 2 units, one on camera and one connected to the sync socket of the flash, just like a pocket wizard system. However this will not allow for the control of flash power, modelling light, or TTL operation. It’s worth noting that you can mix Pro Air Sync and Pro Air Remote to achieve this.

Profoto equipment we have that supports Air and or AirTTL operation:

Profoto B1 Air & Air TTL

Profoto B2 Air & Air TTL

Profoto B3 Only the Air

Profoto B4 Only the Air

Profoto D1 Only the Air

Profoto 7A Neither is supported

Profoto 8A Only the Air

Profoto Acute 2  Neither is supported

Profoto Air Synch & Remote

 

Broncolor

 Broncolor used to be simple, they had a RFS (Radio frequency Sender) that controlled power and synced the flash and that was about it. It was a bit fiddly as you had to alter a “trimpot” underneath the unit to change channel and double check that the pack was on the same channel, also the packs (Grafit etc) had a weak aerial that was either missing, forgotten, or broken. The Scorro packs we stock now have this aerial built into the handle.

Broncolor also did a little gizmo called an IRX (Infra Red Sender), an infra red sync trigger that came in surprisingly useful from time to time, particularly in areas with radio restrictions.

Broncolor has now upgraded the RFS to the RFS 2. It operates like the Profoto Air Remote and controls the power & more on any RFS equipped Broncolor Flash, like a Broncolor Scorro for example. An additional RFS 2 Receiver can be used to trigger non Broncolor equipment by attaching to the sync port with a short cable.

The Broncolor RFS 2 has 40 channels compared to the Profoto Air’s 8. I would think this is an advantage once or twice every millennium.

Broncolor

Pocket Wizard

Pocket Wizards are a third party wireless sync trigger and either the Pocket Wizard 2 or Pocket Wizrd 3 system will trigger any flash from any camera provided you have the correct cables to connect.

Connect one pocket wizard on to the hot shoe of your camera (or connect it to the sync socket using a small lead) and attach another one onto the Flash (again connecting to the sync socket with a small lead). Check they are both on the same channel and away you go.

Easy, just be careful that the correct size leads are supplied for the flash.

Historically Profoto used the larger jack and Broncolour used the smaller one but they are both changing this around to keep us on our toes. Here at Pixipixel, we ensure you’re supplied with the correct cabling, even if it means providing both sets for your shoot.

Pocket wizards however also have a few tricks up their sleeves that you don’t find on the brand specific triggers from Broncoor and Profoto.

Firstly, the Pocket Wizard 3 units will automatically switch to transmit or receive depending on what they are being used for, a very clever feature. The Pocket wizard 2’s came as a transmitter, receiver, or a transceiver; they can do both but you need to select which.

The Pocket Wizards claim to have the longest range of 300m and that’s pretty impressive as I can’t even see a camera at that range.  But it gets better, you can also use pocket wizard units as “repeaters” i.e. you could put one at a half way point 300m from the camera (transmitter unit) and a further 300 metres away from the flash (receiving unit) thus extending the range to 600 metres and this can be extended even further.

Based on rough calculations it then follows that, with the circumference of the world being approximately 400 thousand metres it would take approximately 133,333 pocket wizards to transmit a sync signal the long way round the globe from camera to flash, and lots of AA batteries too.

Ok I know that’s silly but I had a customer who used to put flashes up at the top of huge sporting stadiums and the like and use this “Repeater” facility to trigger them from his seat in the stands so it can come in very useful.

The same guy also used to make use of another function available on pocket wizards and that is the ability to be powered via a USB port on the unit. This is great if you have to set up the pocket wizards say 24 hours before you are going to use them, this can happen more often than you would think. During my years living in Melbourne, for “Carols By Candlelight”, lights had to be set up in the rigging and subsequently could not be accessed for a day so the pocket wizards would go flat by the time the sing-song got going. Attaching an external power source via the USB allowed for them to be left on and not go flat.

The other great use for pocket wizards is the ability to use them to remotely trigger a camera rather than a flash. A special cord is required to do this and it’s called a Trigger cable; it comes in Canon or Nikon. Useful when the camera has a high viewpoint up on a boom, for example. Another scenario could be when shooting two cameras at the same time.

A few motor sports guys will have a camera on the opposite side of the track to themselves and trigger it at the same time as the camera they are holding this enables them to shoot both sides of the can and also get some heroic selfies. The test button has a two stage action just like the shutter release button on the camera, so a 1/2 press wakes the camera and starts auto focus and more. A full press will release the shutter.

And don’t forget you can attach one to a light meter for remote triggering of the flash during that initial setup stage. This is particularly useful if you are setting up and doing the pre light on your own.

Pocket Wizard do a range of TTL units specific to Canon or Nikon, but we do not stock these.

Sync Leads

Old school sync leads should not be forgotten. They are still a great way to trigger your flash from camera or light meter. They don’t run out of battery power, and they don’t interfere with the guy in the next studio. They are uncomplicated enough for your average photographer to understand.

In fact the only real problem with a sync lead is that they get trodden on and so get damaged quickly like an iPad lead.

We include sync leads with all flashes hired out to our clients, as they will save many a problem just by being there as a backup. I would hope that most photographers and good assistants would have a spare sync lead in their own kit.

As an aside if you ever want to test a sync lead just power up a flash and plug in the sync then “short out” the other end of the sync lead with a paperclip or your keys etc and if the synch is in good condition it will fire the flash, you won’t blow yourself up as the trigger circuit is separate from the flash circuit in modern flashes. Perhaps best not to do this if you can see “Balcar” written on the flash and you are stood in a puddle.

Synch2

Synch

Also don’t forget that most packs or mono blocks have a slave cell so in a multiple pack shoot often you only need one pair of triggers and then use the slave cell on the other packs to trigger them to fire. As light travels at the speed or er..light, the tiny delay is not likely to cause any problems unless some serious high speed or short flash duration stuff is going on.

Coolness rating of sub zero, ok that’s mean, but lets face it sync systems are never going to be exactly cool are they? In terms of usefulness then the pocket wizard system has to be a high scorer unless you are a die hard Profoto or Broncolor shooter. Now if Pocket wizard would just incorporate the TTL capability for both Nikon and Canon into the Pocket Wizard 3 then I would have to rate them as icebox cool.

 

cheers all

 

Written by Bruce Lindsay

16
Feb
17

Canon 1DX mark 2

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This is one blog that I’ve not been looking forward to writing. As a proud owner of a 1DX myself I am gutted that the Mk2 has even been produced to be honest. But as I can’t stop progress, I knew it would happen sooner or later. Inevitably, the Mk2 is better than the original as you would expect.

For those of you in the know, Canon name their cameras in the reverse order numerically so the lower the number the better the camera, hence the 1 series denotes this as Canons flagship model. If I am to be honest I believe the 1DX was a photojournalist’s camera, built to be used every day in whatever environment and whatever weather the operator found themselves in, from the touchline of a rugby match to the fence outside Buckingham Palace these cameras are built to work and to work hard.

We’ve received so many enquiries about the Mk2 that we couldn’t disappoint you any longer. I do love this about Pixipixel, we are a rapidly growing company but still listen to you folks, our customers, and respond to your requests, so keep on telling us what you want.

Anyway on with the blog (and remember this is hurting me more to write than it is for you to read). As I said above the 1DX mk 2 is the new Canon DSLR flagship, it may not have the resolution of some of its “lesser” siblings like the 5DS or 5DR but it has (almost) the ability to shoot in the dark and for me that’s more useful than massive files. I’m pleased to say, that although the pixel count has increased significantly (now 20.2mp) this miraculous ability to shoot using higher ISO’s in gloomy, dull or dark situations is as good as ever, in fact its better.

The Mk2 has improved video capabilities too now allowing for 4k 60p capture, making it a genuine option for you moving image folks. 120p can be achieved in full HD for your slow motion creativity and truly amazing AF tracking keeps the subject pin sharp. A new touch screen allows for easy accurate focus and this works seamlessly with all Canon EF lenses.

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If shooting faster than a Gatling gun is your bag then look no further, the Mk2 can shoot at 14 fps with full AF / AE tracking or up to 16 fps in live view. This is thanks to the new DIGIC 6+ processors and a new mirror drive system. If you use the latest Cfast 2.0 media then a burst of 170 uncompressed 14-bit RAW images can be captured almost before you knew you were trying.

I find it hard to believe that Canon could have improved the auto focus over the Mk1 but they have. Now with 61 selectable AF points (including 41 cross type and 5 dual cross type) and advanced A1 Servo AF III + and improved EOS intelligent tracking you really don’t have much of an excuse to miss that vital sharpness. Even when you choose to shoot at f8 all 61 points are at your disposal including 21 cross type sensors. She really is an impressive focusing beast. I could take my glasses off and still get everything sharp I reckon.

A built in GPS system with automatic time-zone updates is a neat inclusion (should you ever get lost or lose your watch) and lightning fast Superspeed USB 3.0 and Gigabit connectivity via Ethernet or the optional WFT-E8 WiFi adaptor caters to numerous workflow styles.

Brucie coolness rating has to be a well-deserved 10 out of 10 as you would expect from a Canon top of the line body, as much as the little green monster inside me wants to mark it down I really cant. Ok so I’m jealous because its better than my camera but you needn’t be because we got it in for you, yes YOU so pop in and let your inner paparazzi have some fun.

 

Many thanks BB

22
Nov
16

KOTM – Matte Boxes

Matte Boxesmattbox

 

Hi, folks, today I want to talk about Matt Boxes and before I get started I must admit that they are something that falls right into a gap in my knowledge. Being a stills kind of guy I am used to using lens hoods to avoid lens flare and apart from using the correct one for the lens there really is nothing much to learn about them, however, as normal the moving image world is somewhat more complicated. Luckily I have an entire department of camera wizards to help me out so I thought it was about time I got myself educated in this important accessory.

 

So firstly a Matte box is used for much the same reason as a lens hood, and that is to stop unwanted light from hitting the front of the lens and causing issues such as lens flare, they differ from photographic lens hoods but essentially do the same job. Matte boxes tend to be more generic than lens hoods that are generally lens specific. This is an advantage as you only need to lug around one matte box for all the lenses on a job as opposed to carrying a different lens hood for each and every lens that may be used (I always seem to forget the lens hoods when I pack my equipment and then need to find room for them which is a pain as they are bulky, fragile and certainly not cheap for a plastic tube.

 

The first thing I notice is that matte boxes are not circular as lens hoods are but are oblong (my mission to revive the word oblong as it’s so much better than a rectangle). This is due to the matte box being a generic hood designed to fit a multitude of lenses as compared to a lens hood that can be manufactured to an exact field of view for the lens in question.

They also tend to have adjustable flaps on the front edge just like a set of barn doors on a light. These are known as French Flags or occasionally French Flaps (I prefer flaps as I think it’s an Australian expression). Now don’t start, French flaps is actually a bookbinding term originally and not rude at all. They allow for more flexibility to block light than the fixed form of a lens hood, this is necessary when the one box is to be used with many different lenses.

 

The other main difference between hoods and boxes is that matte boxes are designed to hold filters. Us stills guys tend to screw our filters directly onto the front of the lens and if we need more than one we stack them together sometimes causing vignetting, Cinematographic filters tend to be larger and square or oblong in shape allowing for multiple amounts to be used without this problem arising, they are inserted into slots or trays in the matte box itself.

 

Now we can separate matte boxes into a couple of types, clip on being ones that attach directly to the front of the lens and others that attach to a rod system. For those uninitiated in the cinematographic world, a rod system is literally two metal rods that attach under the camera and offer support for accessories such as batteries and of course matte boxes. The clip on matte boxes are light in weight and normally have fewer filter slots than the rail system equivalents that are generally larger and heavier. We need to use the rail system with these larger matte boxes due to their weight that lenses are not designed to support.

 

Now remember that rod systems come in two main diameters 15 and 19 mm and needless to say some matte boxes will fit on both but some will only fit on one or the other so this is something we need to check before selecting a particular unit.

 

Another thing to think about is how many filters you are going to need to use at any one time and ensure that the matte box you select has enough slots.

 

Various adaptor rings are available to fit between the front of the lens and the matte box or a flexible fabric alternative can be used, these are known humorously as nun’s knickers! (I could not possibly do a blog about matte boxes and not mention these).

For obvious reasons, the lighter smaller clip on units is recommended for hand-held work and the larger heavier ones for when the camera is on a tripod etc.

 

One thing I have learnt is that most matte boxes come with a set of mattes, these are thin black plates with various sized holes cut into them (letterbox style) and they can be fitted to the matte box to help adapt it to the particular lenses field of view, bigger hole for a wider angle and Visa-versa, this is so simple that I think it’s clever, as a firm believer of the KISS principle that is.

 

So that’s about it I will put a list together of what matte boxes we carry and how many and what size filters they can hold and so on for all our reference.

Clip On 15mm Rods 19mm rods Filter size Number of trays Other
Chrosziel MB 450

 

NO YES NO 4 X 5.46 2
Arri LMB 25

 

YES NO NO 4 X 5.46 2 OR 3 ONLY HAS TOP FLAG
Arri LMB 15

 

YES NO NO 4 X 5.46 2 OR 3
Arri LMB 6

 

YES NO NO 6 X 6 2 OR 3 HAS STEP DOWN FRAME TO PV SIZE

GOOD FOR WIDER LENSES

Arri MB 29

 

YES NO NO 4 X 5.46 2 OR 3 AND 138 MM CIRCULAR
Arri MB 20

 

YES YES YES 5.65 x 5.65 1, 2, OR 3 GOOD FOR WIDER HD LENSES
Arri MB 19

 

YES YES YES 4 X 5.46 2 OR 3 AND 138 MM CIRCULAR
Arri MB 18

 

YES YES YES 4 x 4 , 4 x 5.65 AND 4.5 ROUND 2, 3, or 4

 

AND 138 MM

Arri MB 16

 

NO YES NO 4 X 5.46 3
Arri MMB 2

 

NO YES YES 4 X 5.46 MORE FOR STILLS
Arri SMB 2

 

NO YES YES 4 X 5.46 1, 2, OR 3
Arri SMB 1

 

YES YES YES 4 X 5.46 1, 2, OR 3
VIV 3 stage

 

YES YES YES 4 X 5.46 1, 2, OR 3

AND 138 MM

Missfit Clip on 3 stage

 

Backlight 6

 

YES NO NO 6 X 6 3 GOOD FOR WIDER LENSES
4 x 4 Van Dieman Mosquito

 

4 X 4 1 or 2
Bright Tangerine Atom

 

YES YES 4 X 5.46 2 GOOD FOR MOVI / RONIN, OUR LIGHTEST WEIGHT MATTE BOX

 

Now remember this pearl of wisdom I found online “While nobody will notice that you’ve used a matte box, the important thing is that nobody will notice that you didn’t use one but should have”, wise words indeed.

 

Now Matte boxes don’t really warrant a BCR collectively but I feel that French Flaps and Nuns knickers deserve some score in their own right so let’s rename the BCR from Brucie Coolness Rating to Brilliant Crude or Rude and give them 5 points each making the score a maximum 10.

 

Cheers guys merry shooting BB.

 

06
Oct
16

KOTM- Cambo Actus DB2 View Camera

Brucie Blogger is back with Kit of the Month!!

Actus DB eh so what do you think the DB stands for?

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Well, I presume its “Digital Back” and nothing to do with “the canine’s orbs” as I first thought. Having said that the latter would also suffice as a good description, as this really is the DB’s when it comes to modern view camera offerings.

 

The Actus DB2 has evolved from Cambo’s Actus series of view cameras that are designed to be used in conjunction with mirror-less cameras and DSLR’s. The new DB2 can still be used with a DSLR on the back but as it is equipped to take a Phase one IQ3 100 mp back I don’t suppose we will see a DSLR attached very often. In fact,we are not going to rush out and buy an adaptor for DSLR’s unless one of you has a mega hire needing it and then perhaps we could have our arms twisted.

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Despite my vintage, I came into photography towards the end of the view camera era, I remember selling off the ones we had in Australia while they still had some decent value and recall being gutted as I wanted to play with one more myself.

Great quality tilt shift lenses by Canon and Nikon and have gone some way to replacing them but can only go so far, nothing can really compete with the ultimate image control that a good view camera can deliver.

 

So Cambo has been clever by coupling a modern take on the view camera with today’s megapixel top end digital backs and they seem to have done a lovely job of it too.

 

 

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Small size and a beautiful mover

 

 

 

 

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Not exactly a compact Mr.Adams is it?

The first thing you notice about the DB2 is its size, far from sticking out like, well like the DB’s it’s rather diminutive, fitting nicely into the palm of your hand. It’s a far cry from the cameras used by Mr. Adams and his counterparts back in the day.

 

But don’t let its size fool you this really is a well-equipped camera featuring.

 

 

360 degrees of front swing

19 degrees of front tilt

27mm of rear shift vertical

40mm of rear shift horizontal

150 mm maximum extension with standard monorail

295mm with long monorail

445mm with macro monorail

Available in a range of colours so long as you want anodized black that is.

 

All very impressive but what does that mean for your photography, well the highlights are below.

 

View camera movements allow for selective sharpness / selective un-sharpness

Rear shift movements for stitching wider angle images.

Focal plane shifts to increase file size

Image centered landscape / portrait selection

Built in macro extension.

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So as a view camera you can see that the DB2 really is a great piece of equipment but when you couple it with one of our IQ3 100mp digital backs from Phaseone then it becomes a truly awesome camera system. You now have a medium format, full frame sensor view camera with a resolution of 100 mp (more if you start stitching frames together) coupled with all the versatility that you could ever need.

 

Now one thing I recall about using view cameras in the past was having to check my focus by using a loupe on the rear glass and that was a pain, to say the least. Well, I’m pleased to say that those days are well and truly gone. My very expensive loupe has retired, now only making an occasional appearance to aid in the removal of splinters and the like, thank goodness. Today we have it much easier, by using the live view mode on the IQ3 back and viewing at 100% we can get that focus absolutely perfect.

 

But if that’s not quite easy enough for you how about using the WIFI ability of the IQ3 to give you live view on your iPad making the most of its large screen. Shutter release and full control over the back can also be accessed via this WIFI system thus removing any risk of camera shake spoiling your results, so that’s the cable release gone from your kit bag too.

 

So calling all the photographers who need the versatility of a view camera and the resolution of a modern top end digital back we now have you covered, dust off your Sinar lenses or hire ours and GET SHIFTING.

 

10 out of 10 for the BCR this camera is lovely and with the IQ3 on the back and some sexy glass on the front it’s even lovelier, come in and give it a go and please don’t forget to show us your beautiful moves (and tilts too).

Cheers all BB

 

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11
Mar
16

KOTW-Red Weapon

Red Weapon

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I must admit to enjoying the names that Red gives to its cameras, we have had a few now, the One, the Scarlet, the Raven, the Rocket, the Epic and the Dragon to name a few, but today I want to talk about the Weapon.

 

I’ve been “googling” Red this morning, trying to find out some tech specs and so on about the Weapon and its made for some interesting reading. For example I had no idea that Red were founded by Jim Jannard, who formally founded Oakley (the sunglasses people). Now when you Google the Red Weapon all you can find is the announcement of the latest 8K version but more on that when our one arrives, for today I will waffle on about the 6K version that are sat here ready and waiting for you.

 

So 6K eh, seems like only yesterday that the buzz word was 2K it makes me wonder when its going to stop, I don’t know about you but I don’t think my eyes are 6K ready and my TV certainly isn’t. But I’m not criticizing this progress, far from it, the more the merrier as far as I am concerned but are we approaching a point where camera resolution is better than our own ability to see it? Perhaps someone more technically minded can answer that one.

 

So accepting that we NEED 6k is one thing, shooting it and handling the data this produces is quite another and this is where Red have gone and done it again with the superb Weapon.

 

As we have come to expect Red have produced yet another revolutionary camera with the Weapon and the 6K headline is really only a small part of the story.

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The Weapon (of mass resolution) has more to offer than just the big bag of pixels, it’s got some other rather nice features that should make it a pleasure to use.

Firstly with all those extra pixels causing an increase in the amount of data produced red have re designed the media slot allowing for lightning fast write speeds of up to 300MB/s to Red mini mags. This is a necessity when you consider that the Weapon can shoot 6K motion and Stills at up to 100 FPS.

 

Whilst I am talking data how about 1D and 3D LUT output and simultaneous recording in both Redcode Raw and Apple Pro Res. With support for Avid-DNHR and Avid DNHD also soon to be available it think you could say Red has that side of things covered.

 

A new intelligent OLPF system (optical low pass filter) provides excellent rendition of tone and colour even in dim conditions and this helps to preserve colour quality across mid-tones, darks and shadows, Red have even introduced a cam lock feature making it easy to change OLPF units to customize footage. These OPLF units “communicate” directly to the “Brain” due to integrated circuitry within the Weapon itself. This built in circuitry also includes the interchangeable I/O expanders allowing for you to configure the system specifically for your purpose whilst avoiding those pesky leads.

Interchangeable lens mounts, lemo adaptors and expanders and built in stereo microphones all add to the flexibility of this camera and who wouldn’t want wireless connectivity to Android and IOS devices. Start stop buttons are also now integrated into both the top and outrigger handles, which makes sense.

 

Lastly the brain infrastructure has been re designed (I wish I could do the same with mine!!) to improve low light sensor performance and provide automatic black shade calibration.

 

Ok I will admit here that I had no idea what black shade calibration is, so if you are as much in the dark as me……..

Black Shade Calibration means:- The brain measures the pattern of fixed noise coming from the sensor and the subtracts it from all subsequent frames leaving only random noise behind, its like a map of the noise, now that’s so very clever isn’t it?

 

So that’s about all I am going to bore you with I think its probably best that you just come in and take our weapon away for the weekend to experience all the above for yourself. It is an amazing bit of kit and I know you won’t be disappointed. As far as coolness is concerned well it’s an 11/10 from me, this thing is as cool as a polar bears backside and has a great name to boot!

 

Cheers all BB (in need of a Red Weapon T-shirt I think!!!)

 

Tech specs are available on the Red website here.

Red Weapon Tech Spec

07
Mar
16

KOTW- Phase One 100mp IQ3 Digital Back

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I’ve been thinking back……… I went to live in Australia in 1998 and about a year later my parents turned up for a visit and moved into my spare room for 3 months!!!!! Now I love my Mum and Dad but 3 months in the same house was a big ask, I think my old man realised this as he got me a sweetener in the duty free shop on the way over.  My first ever digital camera.

 

I was chuffed, not being heavily into photography in those days I didn’t really understand much about cameras and a Fuji finepix 3 mega pixel sounded good. It didn’t take me very long to realise that it was in fact pretty blinking useless, it had the tonal range of a zebra crossing and enough shutter lag to go make a coffee before it would take a picture. Anyway half of it is somewhere on the slopes of Mt Hotham with my mountain bike derailleur and will never be seen again, no great loss.

 

Since those days I’ve had the opportunity to get hands on with some seriously nice cameras and over the years have watched with some amusement the ever growing pixel count, I’ve waxed lyrical to students about the benefits and drawbacks of squeezing more and more pixels onto a sensor and what it can do to tonal range and low light performance and so on. However nowadays our mobile phones have more in the way of mega pixels than many cameras do and lets face it they take very acceptable photos. So what’s left for us photographers? How do we set ourselves apart from the smart phone paparazzi? (could we christen the term I-pap here I think it has a nice ring to it.)

 

Well firstly our skills as image makers should do the trick I would hope, but what about equipment? Can that still play a major part in setting us apart as professionals? Well yes of course it can, a decent DSLR is always (I hope) going to give you some advantage over a smart phone and a medium format system should give you some advantage over the DSLR this is very much the “pecking order” amongst us photographers. So if we are going to aspire to be top of that order what should we be saving up for?

Well funny you should ask, because I think I may just have an answer for you!

It’s not a cheep answer sorry,  but on the bright side you can hire it and I think you know where from……..

 

So if having the ultimate digital image is important to you, then you need look no further than the splendid Phaseone XF camera system with the incredible new 100 mp IQ3 back. I did a brief blog about the XF camera a while back and talked about its superb new AF system making it as useable as a DSLR but I want to concentrate on the back today as it really deserves a blog all of its own.

So the first and most obvious feature of the IQ3 is the resolution, we have hit the magic 100mp mark because 60 or 70 mp just didn’t cut it eh! Still the more the merrier it would seem and 100 is a nice round number to work with but does it really help? Yes, of course it helps, the sensor in this back is 2.5 times bigger than the one in even the most high end DSLRs and this allows room to fit in all the pixels without reducing them in size and hence keep the dynamic range nice and high and maintains an exceptionally wide angular response. This combination of quantity and quality as far as pixels is concerned make the IQ3 back “quite literally the best of all worlds when it comes to digital image quality”.

 

A rather nice review is on the Phaseone website, penned by Peter Eastway who was lucky enough to take an XF system on a recent trip to Antarctica. Now Peter used to be one of my customers down under, so I know he knows what he is talking about he is a truly great photographer and a jolly nice bloke to boot. You can read his review here.

 

Better Photography Review

Now all the technical stuff is covered thoroughly on Phaseone’s website so I wont get too bogged down in that but here are the headlines to wet your appetite.

100 mp:

(We covered that)

15 stops of dynamic range:

(That’s more than Ansel Adams) With an unrivalled 15 stops of  dynamic range the IQ3 retains unmatched details in both shadows and highlights.

Phaseone colour:

Phaseone are renowned for accurate colour rendition. They claim this is a passion of the company and they have been working on it for over ten years now so not surprisingly the IQ3 will not disappoint when it comes to colour.

16-bit Colour depth:

With the introduction of 16-bit colour depth and the CMOS ISO flexibility the IQ3 gives a natural texture and tonal feel similar to the textures and tonal feel of analogue photography.

ISO from 50 – 12800:

The IQ3 has a remarkable base ISO of 50 and due to the expansion of CMOS technology and the newly updated Capture One software   it offers exceptional creative freedom right across its ISO range to  12800 whilst retaining excellent noise suppression.

60-minute exposure:

Not only does the IQ3 offer up to 60 min exposure times but it does this without any compromise to ISO flexibility.

Electronic first curtain shutter:

This greatly helps reduce vibration and allows for less mechanical dependency, this is even more important than normal when you are dealing with a 100 mp back. Nicely this function is worry free, automatically activating when mirror lock up or vibration delay modes are used.

 

phaseone xt.jpg

I think its safe to say that this back is simply superb, however Phase One have designed it as part of a complete system and it really shines when matched up with the magnificent Phase One XF body and some of their 100 MP ready lenses.

As a medium format camera system today I don’t believe it can be beaten.

Now for my coolness rating, BCR of 10/10 maximum marks, I think the only way to make this cooler would be to take it to Antarctica but as Peter Eastway has already done that I guess I’m out of luck again.

 

Please visit the PhaseOne site for full technical details here:

PhaseOne Technical Details

Cheers BB




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