Posts Tagged ‘#freelance

16
Feb
17

Canon 1DX mark 2

canon-1dx-mkii_option-2_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.

1dx-mkii_option1

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

20
Jul
16

Volte Face by Oliver Curtis

Volte Face by Oliver Curtis.

 

Oliver Curtis has turned his back on convention and just about everything else with his upcoming exhibition and book titled Volte face, roughly translated as about-face.

 

The expression volte face originally stems from the Italian word “voltafaccia” with volta meaning turn and faccia meaning face. Imagine for a moment what the Mona Lisa must look out at every day from her vantage point on the wall in the Louvre or Lincolin from his giant stone seat in Washington and you will have some idea of what Oliver has been shooting since changing his outlook on a visit to the pyramids of Giza in 2012.

 

Oliver recounts how after walking around the base of the pyramids he found himself stood with his back to the tomb looking out over the city of Giza under a vale of smog on the horizon and a selection of “human detritus” adorning the desert sand immediately in front of him. Now for most of us that would be a cue to turn round and take some pictures of what we flew to Egypt to see in the first place but not for Oliver, instead he saw something else, a new perspective.

 

This is the mark of a great photographer, having the ability to see and to see things the rest of us miss or just overlook it’s a skill that cant be taught in my opinion you either have it or you don’t and that explains why I am sat here writing a blog I guess.

 

The exhibition is taking place at the Royal Geographical Society from the 19th of September until the 14th of October and Pixipixel are proud to be amongst the sponsors and look forward (or even backward) to seeing many of you attend. At this point it can’t hurt to point out that admission is free.

 

Oliver is also producing a rather nice book of this project that I have yet to see, but presumably is best read from the back to the front in the spirit of the whole idea.

 

In reflection on this project Oliver explains that “Volte face is an invitation to turn around and see a new aspect of the over-photographed sites of the world – to send our gaze elsewhere and to favour the incidental over the monumental.

He continues to explain that “despite the landmark not being present in the photograph, the images are still suffused with the aura of the construction, the camera lens effectively acts as a nodal point and by giving the photograph the title of the unseen partner this duality becomes a virtue.”

 

By visiting the exhibition you will see that Oliver has produced some stunning images of familiar places in a way that we have never seen before and that itself is no easy thing, so we would like to congratulate him on his creativity in putting this outstanding body of work together.

Brucie BloggerScreen Shot 2016-07-08 at 18.08.14

 

04
Jul
16

Introducing Genevieve

Now it’s quite an unusual name Genevieve especially in the present day, I don’t think I have ever met one to be honest. I recall an old film about a car race back from Brighton and I happen to know Sainte Genevieve (Saint Geneviève de Loqueffret )is the patron saint of Paris. I didn’t know that she is said to have saved the city from Attila the Hun and an outbreak of ergot poisoning (very nasty) not to mention being appointed as the guardian of the “consecrated virgins of Paris” so the name has some interesting and amusing history but it is still very unusual.

So having said that, I would like to introduce you to the newest Genevieve in London, She hails from Belgium which is very nearly Paris in my book, so it will suffice as a introduction and she is most definitely without any doubt whatsoever UNUSUAL.

 

Now Genevieve is a big girl she is quite heavy, but tall with it and she is delightfully quiet so you can take her home to meet the folks and she won’t embarrass you, but none of that is what makes her unusual. She is unusual, because of her power and she has heaps of it, she puts a 1970’s female Soviet Block weightlifter to shame and without the steroids!

 

Ok, I’ve had my fun and before I put you off Genevive all together, I should point out that she is a truck, a 4 x 4 wheel drive truck and she carries with her a 100kva generator!

 

Yes, Genevieve is our shiny new Mitsubishi Canter generator truck and you won’t find another lady like her in London.

genevieve 1

So lets start with Geneviève’s body, as I said she is a Mitsubishi Canter truck so has constant four wheel drive, high ground clearance, locking hubs, heavy duty axles and off road tires in fact many councils use the Canter as a base for their snow ploughs so she is a tough go anywhere kind of girl. She weighs in at about 6.5 tones so she’s not exactly anorexic and requires a taco (no not as in like a burrito) as in a tachograph! But don’t let that put you off, we can always find a driver if required and a spark (electrician) for that matter.

 

One quick glance inside her shapely rear end reveals the mother of all generators producing 100 Kva at your demand for anything from charging your IPhone to bringing Frankenstein’s monster back to life. With more outlets than Costa Coffee you won’t be short of places to plug into whatever you are using in fact she has:

One each of 125 and 63 amp single phase outlets and a brace of 32 and 16 Amp ones too. If you are after 3 Phase then she is equipped with a power lock and a 125 amp socket. Ok so no USB port but you can plug your phone into the cigarette lighter like everyone else.

genevivepower.jpg

 

A modest amount of storage is available for kit at the very back but if you need 100Kva then I don’t think this will be enough room for everything you are running still it’s better than a poke in the eye!

genevieve load.jpg

But by far the most impressive thing about this lady is how quiet she is, I had Toby start her up for me yesterday and even with the rear service hatch wide open I swear she made less noise than a little Honda 2Kva generator and they are renowned for being quiet.

 

So if you like your women tall well built, adventurous, powerful and silent then Genevieve is the girl for you. Why not give us a call and arrange a date?

genevieve2

The only improvement I would make is a huge set of bull bars and a winch but I’ve spent too long down under so ignore me, she is a perfect 10 as Kevin Bloody Wilson would say (those easily offended should not look up Kevin or his music)

26
Apr
16

Something a little different again -Chroma-keying

Chroma-keying

chroma1.jpg

Chroma-Keying is the technical term for what most of us refer to as Green Screen shooting and for some of you that is probably the only thing I can teach you on the subject, however for the rest of the world here is my take on this popular and great fun technique.

Firstly the term “green screen” is confusing as the process of Chroma-keying can be done with various colours other than green, but more on this later.

So before I get too into it, let’s just have a quick think about what the process of Chroma-keying actually is and why we use it so often. The Chroma-keying process basically allows you as an image or filmmaker to remove a specific chosen colour in the image and replace it with another colour or background. Probably the most often seen use of this is the weather person and his or her map at the end of the news. Chroma-keying has allowed the weather forecast to be a far more immersive and polished presentation but I must admit to missing the likes of Michael Fish struggling with magnetic cloud and rain icons, obviously this keying technique is not limited to the daily precipitation forecast and is in fact used far more often than you might expect.

 

fish1

       BBC prior to chroma keying, lots has changed except the weather it seems

 

It may be obvious when you see a flying superhero at the movies that some trickery has taken place and this would often be done using chroma-keying but how often do we see a car scene with dialogue in a TV show? Well take it from me a very high percentage of those car scenes will have been shot against a green screen. This is down to the sound created by a moving car, even one on a trailer, this sound can interfere or drown out the actors lines causing the need for separately recording the dialogue and syncing it back to the film later with all the expense incurred. By filming in a stationary car in a nice quiet film studio and then chroma-keying in the background a lot of time and expense can be saved.

 

Right, I think we all know what chroma-keying is now so how do we do it? Well firstly get yourself a good digital operator as I wont be going through the computer side of things on this occasion. I’m going to concentrate on backgrounds and lighting for chroma-keying as that’s what we hire out. Having said that you can get the digital operator from us along with all the computer hardware and software required oh and the camera too….. needless to say.

 

To set up a Chroma-keying shot you first need to set up a background in whatever colour you are choosing to use, be it chroma green, chroma blue or something else. This can be as simple as hanging the appropriate colour background paper roll up or slopping some paint onto a cyc (someone else’s cyc preferably). But take care at this stage, ensure that the background has no nasty marks or scuffs, no wrinkles or creases and so on. Any imperfections in the background can have a negative effect on the keying process.

 

Background options are numerous ranging from that pot of paint to colorama paper rolls or fabrics, we carry various size fabrics from 6 x 6 ft up to 20 x 20 ft in chroma green and up to 12 x 12 ft in chroma blue. Appropriate goal post systems, frames and stands are here in abundance too so hanging the background is no problem at all.

 

One word of warning in regards to using a painted background and that is to be mindful of reflections, a painted surface is far more prone to this than a paper or fabric backdrop. In fact to make your life easier one of our fabric backdrops made from Rosco Digital Cloth is the ideal solution, it gives no bounce back and the perfect key when lit with green.

 

The next stage would be to light this background and the thing to look out for here is to light it evenly with no hot spots, shadows or fall off. You are looking to light the background about 1-2 stops less than your subject will be. Keep it soft and try not to blast the hell out of it as you may end up reflecting the background colour onto the rear of your subject causing fringing around the edges (not what you are after)

 

In practice the easiest way to get a consistent light across your green screen is to light it from both the left and right hand sides using matching lights, this way the lights will overlap each other creating a uniform brightness across the entire backdrop.

lightgreen

Again we have lots of options for lighting the background and many of you will have your own preferences but a couple of good options include Kino Flow lights with 2 x 4ft 4 bank units sufficient to light a 12 x 12 ft screen or for larger arrears our 8 x 4 light flo units are great. However if you want to really spoil yourself then try our very sexy new Cineo HS mk2 led panels (just back from some Wonder Woman chroma keying). All of these lights can all be provided in chroma green output specifically for green screens or in daylight or tungsten for lighting other colour backgrounds. If none of these tickle your fancy give us a call and we can work through your requirements with numerous other lighting options available.

 

kino

Kino 4ft 4 bank

kino2

Light flo 4 x 8

 

 

 

 

 

cineo hs2

Next light your subject, but just have a think at this point as you need to emulate the lighting required in the finished shot, so don’t do a 3 point daylight set up if the end result is someone driving a car at night and so on. Remember direction, quality, colour and power of light here and try to pre-visualize the finished shot.

 

Where possible and appropriate some kind of hair or rear light is great to separate your subject from the background. Positioning your subject at a distance to the background will help with this separation and also reduce the possibility of shadows on the background cast by the subject. If you have to have the subject close to the background you can try to light from a higher angle thus putting those shadows onto the floor and hopefully out of shot but this will only work if the end result calls for the light coming from that same high angle (getting the idea?)

 

As far as what lights to use for your subject its really down to the “look” you are after but whatever that is we have what you need to achieve it so just touch base and we can recommend some options.

 

This one may be obvious but I had better mention it, your subject needs to be a different colour to the background, so don’t shoot a Smurf against chroma blue or a bottle of Grolsch against chroma green ok.

 

smurf

Why not to shoot a Smurf against a Blue Screen?

Whilst shooting be mindful of reflections from the background in jewelry, watches and glasses etc these can spoil your day if you fail to notice them so take care.

Also consider shooting with a large aperture if possible as this will throw the background out of focus and that helps keep it a uniform colour and brightness whilst hiding any imperfections thus aiding with the keying process.

 

Now just before I go and let you all get on with some serious keying, I did mention using different colours to chroma green earlier and said I would expand on that. The go to colour for chroma keying is green but blue, yellow or red can be used instead, care must be taken with red and yellow as these can cause issues with skin tones. Chroma blue works extremely well but lots of people like to wear blue so this can cause you grief too. Back in the days of Mary Poppins and Ray Harryhausen, subjects were shot against WHITE but sodium vapor lights were used due to them having a narrow colour spectrum, this was part of a photochemical process and won an Academy Award back in 1965 so we aren’t doing anything new really are we, they used to call it yellow screen shooting.

marypoppins

Not bad keying for 1964 eh? I am particularly impressed with the shadow!! No wonder they won a Oscar!!!

 

The most convincing reason for using a “GREEN” green screen that I know of is to do with resolution, many cameras use a CMOS sensor topped with a bayer filter and this contains twice as many green sites as it does red or blue ones thus a 4k single chip camera recording at say 4:2:0 would record green at 2k and red and blue at 1k. So green is popular due to it capturing the highest resolution. Back in the film days blue was the go to colour for the same reason, as the blue layer in film stock had the finest grain. Remember with keying it’s the edge detail that makes or breaks the effect so the better resolution the better and more convincing the end result will be.

bayerpattern

 

Green screens also require less light than the blue ones to illuminate and this can be a bonus but on some occasions however the use of a blue screen may still be preferable, for example if the end result is a night time scene then any excess green will stand out against the blue hue that these scenes often have but any excess blue light will blend in nicely.

 

Ok, so I hope to see some amazing stuff from you all, why not let us know if you do anything fun or exciting as we are always on the look-out for something cool to blog about.

 

Cheers folks and happy shooting

 

BB

 

 

 

16
Mar
16

KOTW Anton Bauer Cine Batteries

Anton Bauer Cine Batteries

Well I’ve been given easier tasks, “do a blog about the new Anton Bauer Cine batteries”. I’m not complaining about doing a blog, or for that matter the rather nice new batteries from the folks at Anton Bauer, but how am I meant to make a battery sound fresh and exciting eh?

anton bauer batteries.jpg

Batteries are one of those things that we need on almost every job but they are often the last thing you think of, sure your DOP often has a favourite camera and specific lens in mind when we get the list to quote on, but more often than not we get a line on the list saying something like “and batteries to suit” or “and 6 batteries”. I have a feeling that once the Cine batteries from Anton Bauer start to make an appearance on your jobs we will start to get specific requests for them.

 

So why would you want these over another battery system?

 

Well for a few reasons actually, firstly and I have to say it’s about time, the new Cine batteries have a large LCD display on each battery showing exactly what percentage of power is available, so a quick glance into the bag and you know exactly how much oomph you have left. I wish all batteries had this feature as I’ve lost count of the number of AA’s I’ve binned that probably had some life left in them or the amount of times I grab my go pro to find its flat because the Wi-Fi button got pressed in my bag and my “charged” spare is flat as a lizard drinking.

 

batts2.jpg

This same display changes from percentage readout to remaining time readout in minutes and seconds once you connect it to something.

 

Now talking about connecting they come in either V mount or the Anton Bauer gold mount, we have opted for V Lock here. For ease of operation they also all sport a PowerTap connector to power auxiliary accessories like monitors etc.

 

The other advantage with these new batteries is the reduced footprint making these smaller than the normal offerings from Anton Bauer and hence ideally suited for Arri Alexa mini or the Dragon Weapon or for remote operation on stabilizer rigs, drones and so on.

 

I guess that battery safety is also a big thing at the moment, especially after a Christmas full of exploding hover boards eh. Well Anton Bauer has made some real efforts to make these batteries as safe as can be. They incorporate “fuse link” technology that protects surrounding cells from “catastrophic damage” should anything go wrong. Numerous sensors within the battery line ensure optimal battery performance. These sensors check temperature and over-current states.

 

So if you are in the market for 12 amps of serious 14.4 volt power in either 90 or 150 WH then look no further than the new Cine system from Anton Bauer and to find them. Well as with all the best new equipment you know where to find it, right here at Pixipixel.

 

Now one thing that really impresses me regarding these batteries is that they are backwards compatible, meaning that they will work with our (and your) existing Anton Bauer chargers. This is, in my book a demonstration of great customer service and support and I wish more companies would work like this.

 

Well that’s it folks, sorry I couldn’t make these batteries any more exciting for you, if you want excitement from a battery then put your tongue across the terminals but other than that just enjoy the fact that you don’t have to think about them too much.

Ok so to the all-important BCR. Well they gained points for that wonderfully useful display and their cool look but mostly for the compatibility with existing chargers so I think an 8/10 is a pretty good score especially for a BATTERY!

 

 

Specifications:

 

90WH

Watt Hour 90 WH

Size 11.86 x 9.75 x 10.19 cm

Weight 1.04 kgs

Voltage 14.4 volts

 

150WH

Watt Hour 150 WH

Size 11.86 x 9.75 x 10.72 cm

Weight 1.22 kg

Voltage 14.4 volts

11
Mar
16

KOTW-Red Weapon

Red Weapon

weapon1.jpg

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.

weapon 2.jpg

 

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

1q3 back.jpg

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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