Posts Tagged ‘canon


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


Hire the New Carl Zeiss Lightweight Zoom LWZ.2 for Canon C300

With the new arrival of our Canon C300 we thought it would be a good idea to marry it with the new Carl Zeiss Lightweight Zoom LWZ.2 as they make such a perfect pair. Available for hire now this professional quality EF mount zoom lens can be used on both cinema and still cameras.  However the lens is intended for Super 35mm sensor cameras and will vignette on full frame sensors (like the 5D MkII) but perfect with the C300.  It has a wide angle of view and is light weight, making it ideal for shooting in tight spaces or following action.

  • Compact, lightweight zoom ideal for Steadicam, handheld and remote work
  • Super color matched with all ZEISS cine lenses
  • Highest optical performance despite compact build
  • T* XP coating ensures flare resistance

Now in Stock Canon C300 Available for Hire

We are really excited to have the new Canon C300 cinema camera in stock and available to hire from today. To hire, this impressive piece of equipment is priced at £200 (excl VAT) a day. Please take a look at our full price list here Digital Equipment Pricelist.

What we love about the new C300: It’s surprisingly compact in size and feels comfortable to hold using the removable padded handgrip or handle.  Our kit comes with x2 64GB CF cards with frame rates of 24p, 25p, 30p which can be adjusted in increments of 1fps to 60fps.  It handles low lighting situations incredibly well up to 20,000 ISO! Included is a good sized LCD monitor and control panel which rotates and accepts microphone XLR connections. Interchangeable EF lenses are available to hire with the camera, of course if you already have your own lenses then the C300 is all you need.
  • 8.3MP Super 35mm CMOS sensor; Full HD
  • Interchangeable lens (EF mount)
  • Compact, modular, lightweight
  • 50Mbps MPEG-2 MXF to CF card
  • High sensitivity, low noise
  • Canon Log Gamma
  • 24.00p for movie production
  • Wi-Fi remote control
  • Seamless workflow integration

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.


Canon EF 24-70mm f/2.8L II USM Just Announced


Exciting news for professional wedding and portrait photographers and enthusiasts today as Canon announce the launch of a second addition to the popular 24-70mm EF lens.  We’ll look forward to adding this new lens to our EF lens range when it is released in April. We’ll keep you updated as soon as it is available for hire.

The 24-70mm’s compact design makes it perfect for carrying on location, it’s light and hosts a range of optical enhancements providing improved performance, particularly at the maximum 70mm focal length.  The lens element features Canon’s optimised Super Spectra coating which reduces ghosting and flare and ensures excellent colour balance. The fluorine coating also minimises the amount of dust, dirt and fingerprints that adhere to the front and rear of the lens.

EF 24-70mm f/2.8L II USM – key features
  • All-new optical design delivers exceptional sharpness
  • Ultra-low dispersion (UD) and super UD elements
  • Fast f/2.8 maximum aperture
  • Sealed against dust and moisture
  • Fast, silent ultrasonic autofocus
  • Manual focus override
  • Nine-bladed circular aperture

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