Posts Tagged ‘camera


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 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.


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.



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


Canon 1DX mark 2


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.


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


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


Arri LMB 15


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




Arri MB 29


Arri MB 20


Arri MB 19


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


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


4 x 4 Van Dieman Mosquito


4 X 4 1 or 2
Bright Tangerine Atom




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.



Day 10 of Brucie Bloggers Christmas Wish List


kitten cream

You have all been very patient waiting for my number one Christmas gift choice and as a reward we are now ten days closer to Christmas than we were, but you still have time to hit the shops just!!.

Now this little Sony would fit into my stocking for Christmas morning very nicely and I could get all sorts of embarrassing Christmas photos and videos to share with both of my Facebook friends (I say both but my dad still ain’t got the hang of FaceBook yet!)

1        Sony A7S


Sony A7S

I am very much in the market for a more compact camera, but I really don’t want to give up anything that my 1DX has except the bulk.

My trouble is I don’t take my camera out with me unless I know I will be shooting because it’s bloody huge, so I see stuff and guess what, I have to shoot on my phone (so I don’t bother). I really liked the A7s, in particular its low light ability but most importantly its size. I used to have a nice little canon G series but that got left behind down under with the ex and my 5D mk 1 with the tonal range of a zebra crossing lol.

So if you can only get me one thing………….a7-1

Sorry video guys I guess that this list doesn’t tick many boxes for you and I could have put a C300 mk 2 or the Alexa mini on it and I do really like the Flowcene gravity one but short of mounting my Nerf guns on it I really wouldn’t have a use personally. It’s my list anyway so tough luck …lol.

So not forgetting the most revolting Christmas Jumper I could find….. here is the winner.. it may have something to do with the models expression methinks……. but Holy Moly this is Nasty!!!!……



I hope you have all enjoyed my blogging over the last few months it’s been a learning curve for me in many ways and my old English teacher must be laughing fit to bust, that I of all people, am now a writer of sorts believe me neither of us saw that coming.


Now for those of you who didn’t win the daily Christmas list competition Why not send me in your Christmas list and I will get Steph to send the best couple a wonderfully stupid but appropriate Pixipixel Christmas gifts.


Anyway folks have a cool Yule and a very very merry new year, if I don’t get to blog again between now and then.


Cheers BB



KOTD-Phaseone Xf Camera system and IQ3 series back.

Phaseone Xf Camera system and IQ3 series back.

Possibly the best thing to come out of Denmark since the Lego brick!

XF & IQ3

Ok Denmark doesn’t exactly make me think of great inventions but over the years they have had their moments, Lego, the dry cell battery, the loudspeaker, magnetic storage and somewhat less appealing but none the less important (if you need one,) the ostomy bag. But this list just grew with the latest offering from Phaseone and its so good it may challenge Lego as the Danes best yet!

As far as new bits of kit go this latest offering from Phaseone has to be amongst the most eagerly anticipated arrival we have had for quite some time.

I am very pleased to announce that it has landed here at Pixipixel and since its arrival has been almost continually out on hire.

Often, new equipment does not entirely live up to expectations but the XF body and new IQ3 350 back have proved to be every bit as good as the hype leading up to their launch claimed they would be.

We all know that Phaseone make fantastic equipment and they have been amongst the leaders in high-end medium format stills photography for quite some time now, but with the release of their new flagship model I feel that they have secured top slot in this area and the rest of the manufacturers now have a bit of catching up to do.

So what’s new and what’s worth getting excited about?

Well how about 80 MP resolution, 14 stops of dynamic range, perfect 16 bit colour and 60 min exposures to start with? If that doesn’t make you sit up and take notice then I give up.

Phaseone have packed in some rather nice features for the photographers amongst us this time and also seem to have taken a holistic approach to the whole workflow of stills shooting.

Released in conjunction with the new system is an upgrade to Capture One allowing for seamless control and customization of the new XF body and IQ 3 series backs from your computer. Using USB 3 tethering the images captured appear (fully rendered) instantly onto your laptop.

The XF body has undergone some changes too with the removal of “hard coded button and dial functionality” or to put it another way all the buttons and dials can be programmed separately to do your bidding. The grip has an all-new 1.6” transflective touch screen display that cleverly stays legible no matter what the ambient light is doing.

This touch screen interface is continued onto the rear of the new 3 series backs with a touch sensitive 3.2 “ retina display. Phaseone call this blending of touch screens and intuitive controls “One touch UI” and it is designed to make life easier for you (the photographer) Phaseone claims that the controls are so simple that you will feel at home within moments of getting started. One great example of this is a “one tap” to 100% image review (that’s a simple but fantastic idea)


Rapid and accurate auto focus is here and seems to work superbly all be it with only central auto focus points (remember that, holding down the shutter and re-composing)

Hyperfocal point focusing is offered with the ability to remember the sweet spot of your lenses and jump straight to them next time, This is an absolute boon to the landscape people amongst us or anyone who wants to get the absolute maximum depth of field and so on.

A re-designed light metering system (zone metering) has been incorporated and rather wonderfully it works even when using a waste level finder (something that hasn’t been offered before).

Full backwards compatibility for all Phaseone IQ backs is offered so don’t just ditch your IQ 250’s etc as they will still work on the XF.


I could go on and on but you can visit the Phaseone web site if you are just chasing tech specs, I’m here to make you want to hire it, and with a price tag of about 40 k euros then I don’t suppose many of us have any other option anyway, unless you want to sell both kidneys that is, if you do the Danes have a bag that may help.

Oh and as far as the Brucie coolness rating (BCR)goes this one is off the scale, it’s uber-cool, icebox, 12/10 etc. Yes I like it, yes I want one and no I shall never be able to afford one let alone be good enough to need one. Still it’s nice to dream isn’t it?

So pop in and have a look at Denmark’s greatest ever invention when you can and see why it puts Lego firmly into second place.

Sorry think we may have to make it Denmark’s 2nd best invention I just read something about the yeast for Carlsberg……..Cheers BB

Full backwards compatibility for all Phaseone IQ backs is offered so don’t just ditch your IQ 250’s etc as they will still work on the XF.


Zacuto Stinger Rig for DSLR

The Stinger Rig

The Stinger rig is perfect for shoulder mounted shooting with a DSLR camera while using an EVF high resolution monitor.
Easily adjustable, DSLR Baseplate, follow focus, dual handgrips, shoulder pad and 3kg Z-Lite counterbalance weight for a fully balanced in-line rig.
Use with your DSLR for steady filming and If you want to shoot low then the Stinger handle makes for easy shooting.  Different baseplates and accessories can be used to build the perfect rig for what you need.

The EVF Monitor

The 3.2″ LCD Monitor with flip up frame connects to the DSLR for easier viewing and impressive screen quality. The viewfinder is compatible with all cameras with an HDMI output. The LCD viewfinder works great as a small portable field monitor as well as an EVF.  It can also be offset on a shoulder rig in front of your eye and has a nice big eyecup which is comfortable to use.

Matte Box

The Zacuto Rig is highly adaptable and can be used with a wide range of accessories. Pictured to the right our 5D Mark II with CP2 lens and 4×4 wide matte box with two filter stages and snap on system for easy removal.

Litepanels Ringlite Mini

 The Litepanel Ringlite Mini is lightweight and measures 10.5″ in diameter and is just 2″ thick.  Easy to set up it produces a lovely luminous soft, directional and dimmable light. Battery powered by removing the 7-pound Z-Lite counterbalance weight and linking the Ringlite to the battery.

Also attached is a TV Logic viewfinder (VFM-056W/WP) an amazingly lightweight and compact monitor specially designed for DSLR and small camcorder shooters. The 5.6″ monitor has a high resolution of 1280×800, a wide viewing angle of 170 degrees and performs well with indoor and outdoor shooting.

Sennheiser ME66

As a videographer not only do you have to get the best picture you have to make sure you get great sound as well. As we all know built in microphones aren’t always going to give you the best results so it’s always a good idea to go for a reliable microphone such as the Sennheiser ME66/K6, a recommended choice by us and popular with video and film professionals.  Pictured above, the Canon 5D Mark II with Zeisss 85mm lens and follow focus mounted on the Chrosziel 15mm Rail, a light weight support for DSLR cameras, complete with twist stopper and adjustable rods.


Hire Zeiss MF and Compact Prime CP.2 Lens Sets

Compact Prime CP.2 Lens Set

The Compact Prime CP.2’s are fantastic full frame cinema lenses.  Designed for film making the CP.2 lenses are perfect for high quality cinematic results.  These lenses will give you a more professional, high-end look on a DSLR. Basically they are the best choice of lens available on the market right now and we recommend that you go for the CP.2’s over any other lens for a cinematic feel.

The Zeiss glass is impressive quality, producing sharp, snappy, and contrasty images.  They are robust, have a longer focus rotation and allow you to focus with precision and speed with manual focusing. Our lenses are PL mount only and can be used with our Canon 7D, 5D Mark II’s and the new C300.

Zeiss Compact Prime Lens Set available for hire:

  • 21mm, 25mm, 28mm, 35mm, 50mm and 85mm – £230

Zeiss Compact Prime Lenses available for hire:

  • Compact Prime 50mm Macro – £75
  • Compact Prime 100mm Macro – £75

Features include:

  • Full-frame coverage (24 x 36mm ) for focal lengths 21 to 100 mm, including a 50 mm macro lens
  • Common aperture of T2.1 for the standard lens set
  • High stability due to support bracket, which is included for additional lens stability
  • Sweet spot effect with APS-C sensors

Zeiss MF Lenses

The lenses can be used for both photography and filmmaking. Capable of capturing extremely sharp images along with a smooth focus transition, the ZE lens series is a versatile, crisp alternative to standard DSLR lenses.  Again can be used with our Canon 7D, 5D Mark II’s and the new C300.  The MF lenses are perfect for enthusiasts and professional videographers and still photographers.

Zeiss MF Lenses for Canon EF Mount available for hire:

Zeiss ZE Lens Set:

  • 21mm, 25mm, 28mm, 35mm, 50mm, 85mm and 100mm – £130

Features include:

  • Canon EF-Mount
  • Zeiss T Anti-Reflective Coating
  • Tough IP67 Waterproof Case

Please refer to our Digital Equipment pricelist for more information on hire prices for our Zeiss Lens range.

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