Phottix Ares II: new flash trigger for manual shooting

By Jose Antunes

Ares II: new flash trigger for manual shooting

With 16 channels, 4 groups and a range of 150 meters, the Phottix Ares II Flash Trigger takes the promise of the original Ares to a whole new level.

When Phottix launched the original Ares, in 2012, the flash trigger solution was a standalone product within the Phottix ecosystem. Presented as an affordable solution, to use off-camera flash, the Ares transmitter and receiver units were popular and lauded by some of the biggest names in the industry for its design and reliability.

The original Ares had its limitations. With only 8-channel, the transmitter and receiver units, albeit offering a range of 200 meters, had a “fire-all” channel function, meaning all flashes connected to the units would fire at once. The Ares II, introduced now, reduces the working distance, at least on paper, but offers a more dynamic approach.

One important aspect is that the Ares II is no longer a standalone solution but part of the Phottix ecosystem, meaning it works with other Phottix products. That’s an important aspect if you start with the Ares II and want to expand your system to newer and more sophisticated solutions.

One such example is the connection to the Strato II family of triggers, which is one of the most popular within the Phottix brand. The Ares II first four channels are compatible with the Phottix Strato II Receiver. Furthermore, the Ares II can be used to trigger products as the Mitros+ and Indra series of studio lights with built-in Strato II receivers. With 16 channels and Digital ID, the Ares II allows users full control of their lights. Use the Digital ID function for the ultimate in secure triggering – no one can trigger your flashes unless using your four-digit Digital ID code.

The Ares II transmitters and receivers have been designed → continue…

From:: Pro Video Coalition

An unusual combination: Entaniya Fisheye 250 degree lens on the A6500

By SonyAlpha Admin

Photosku shared that image of the new Entaniya Fisheye 250 degree lens (here on Amazon) on the Sony A6500. The lens is mounted on the Sony thanks to the MFT to E-mount adapter. There is yet no word if the lens will be made as native E-mount version too.

The post An unusual combination: Entaniya Fisheye 250 degree lens on the A6500 appeared first on sonyalpharumors.

→ continue…

From:: Sony Alpha Rumors

Sony FE 85mm F1.8 sample gallery and first impressions

Sample photo

The Sony FE 85mm F1.8 joins Sony’s full-frame E-Mount lineup as the most affordable native lens that offers a short telephoto focal length. Other full-frame systems have had comparably low-cost 85mm lenses for quite a while, and it’s nice to see Sony filling in some of the gaps for budget conscious users.

The FE 85mm balances superbly on Sony’s a7-series bodies, and though it’s no G Master lens, it feels solid enough. Focusing is silent and fairly quick (contrary to Sony’s ‘nifty fifty’ FE 50mm F1.8), and it has excellent sharpness wide open, even well off-center. It’s even sharper by F2.5, seemingly peaking by F4. There’s an awful lot of purple and green fringing wide open though, as you’ll see in our gallery, but this is to be expected, and is indeed common, in lightweight fast primes (they’re far less distracting by F4.5). Careful software corrections might be able to take care of most of it (remember: it’s lateral CA that’s easy to remove, not axial), albeit typically at a cost to other areas of the image – download a few of the Raw files to see for yourself.

On an a7R II, this lens focuses wide open, quickly and accurately.

Of particular interest is our observation that this lens, currently, focuses wide open* on an a7R II (or, technically, opens up to F2 if you’ve selected an aperture smaller than wide open). This addresses one of our largest complaints with recent Sony lens releases that focus stopped down, often slowing focus in low light or forcing otherwise capable phase-detect AF systems to revert to contrast detect-only. It appears that, at least for now, Sony’s recent 100mm STF and 85mm F1.8 lenses address this issue, and → continue…

From:: DPreview

Ricoh R Development Kit 360 degree camera will be available for pre-order in May

Ricoh has released pricing and full specifications for the Ricoh R Development Kit 360 degree live streaming camera that was first shown to the public at CES earlier this year. The company has also announced it is starting to take pre-orders for the device on the Ricoh R website starting in May. The kit will be available at a price point of $499.

The RICOH R Development Kit is capable of live-streaming fully spherical, 360-degree video in 2K resolution at 30 frames per second. The footage is stitched on the device in real time to fit the standard Equirectangular Projection Format. Streaming video can be output via HDMI or USB, and, when using a power adapter, continuously up to 24 hours. The camera can also record onto a micro SD card.

The kit consists of the camera, camera stand, a software development kit (SDK) as well as image-control tools and source code. Thanks to an open API the camera is controllable via USB. Ricoh says potential applications include live streaming of events, telepresence, computer vision and surveillance. Full specs are available on the Ricoh website.

Press Release:

Porsche Design Adds Exclusive Laptop to Its Product Portfolio

Porsche Design BOOK ONE: The Multifunctional 2in1 Running Windows 10 Pro

Stuttgart, Germany. With the new Porsche Design BOOK ONE, the world’s first convertible and detachable 2in1, Porsche Design adds the category of Porsche Design Computing to its expanding product portfolio. The move sees the premium-lifestyle-brand playing to its strengths, merging form and function to yield a high-performance, multifunctional 2in1.

The Porsche Design BOOK ONE underlines the brand’s focus on technology and innovation, making new strides in the mobile computing segment. The silhouette of the BOOK ONE uses a milled aluminum housing with a matte anodized → continue…

From:: DPreview

10 Great Movies That Define Self-Reflexive Cinema

By David Zou

Self-reflexive cinema has been around since the early years of the medium. In a couple of words, self-reflexivity isn’t a genre per se but an artistic choice by the filmmakers in which they make their narrative aware of their nature in order to either question or critic the process of filmmaking.

Hence, from the silent era to today’s cinema, self-reflexive films have always been considered unconventional or avant-garde due to their focus on filmic discourse. Whether it be making the audience aware of the moviemaking process through film language, or purely making a film about filmmaking, self-reflexive cinema motivates intellectual interaction with the film.

That said, there has been numerous films produced throughout the history of cinema that are considered self-reflexive. However, only a handful of them truly captured the essence and capacity of its devices for revolutionary or critical purposes as well as the films that follow.

1. Man With A Movie Camera

Man With a Movie Camera

Released when the silent era was coming to an end, Dziga Vertov’s 1929 Man With A Movie Camera is nonetheless considered one of the most revolutionary and influential film of that period. It is a movie, as the director clearly states at the beginning of the picture, that doesn’t have any inter titles nor story— as it aims at creating a truly international language of cinema based on its absolute separation from the language of theatre and literature.

In other words, Man With A Movie Camera is composed of a series of images that, at first viewing, don’t seem to have any purpose. However, they have a distinct pattern and meaning since every shot is either preceded or followed by a secondary shot explaining and demonstrating the procedure involved in capturing the primary image.

In addition, Dziga Vertov intercuts images of → continue…

From:: Taste Of Cinema

Tax Deductions and Resources for Freelancers

By Rachel Klein Taxes can be daunting for freelancers. Here are some tips for organizing your expenses and deductions this tax season. → continue…

From:: Premium Beat

CP+ 2017 Canon interview: ‘We want to be number one in the overall ILC market’

Mr. Mizoguchi and Mr. Tokura took the time at CP+ 2017 to discuss Canon’s future with us.

Just prior to CP+ 2017, Canon announced three new consumer cameras in the mirrorless EOS M6, the DSLR EOS 77D and EOS Rebel T7i . We had the chance to catch up with Canon while in Japan covering CP+ and discussed the company’s current state of affairs, as well as its future (in relation to mirrorless).

Specifically, we spoke with Go Tokura, Executive Officer and Chief Executive for Image Communication Business Operation and Yoshiyuki Mizoguchi, Group Executive of ICB Products Group, Image Communication Business Operation.

Please note that this interview was conducted through an interpreter, and has been edited slightly for clarity and flow.


What is Canon’s main strategic focus going forward into the next product cycle?

We can break down our focus into two areas: improving our network connectivity and video. We still have a lot of room to grow in the video area in terms of what we can offer. And in terms of customer strategy, we want to continue to build new users, specifically enticing more entry-level users.

Where do you see most demand for 4K, and are you beginning to see beginners ask for 4K video?

Whether you’re a professional or at the entry-level, you likely want high-quality video. And we think there is potential for the entry-level to grow. So we will obviously be looking at introducing our 4K technologies down to the entry-levels at some point.

But introducing 4K to the entry-level is linked to the 4K TV market. How quickly that takes off and penetrates will tell us how and when we should introduce 4K to more affordable cameras.

Looking at 4K TV saturation, what kind of time-frame does that suggest and → continue…

From:: DPreview

Kessler Kwik Rail

By Cinescopophilia

The newly released Kessler Kwik Rail system comes in two sizes: 42” and 24”, has a weight capacity of 125 lbs, and can be used as a dolly track / or leg supports for the Kessler Shuttle Dolly. Construction of the rails is of lightweight and durable anodized aluminum. The Kwik Rail comes with thread […] → continue…

From:: Cinescopophilia

Opinion: Nikon’s ‘back to basics’ approach is a no-brainer

Well-rounded, polished and reliable: mid-to-high end DSLR cameras have been Nikon’s bread and butter for years.

In its first public statement since the DL series’ cancellation, Nikon has stated to the Japanese press (Google translated here) that it will be focusing chiefly on ‘mid-to-high end SLR cameras and lenses and mirrorless cameras that can make the most of their strengths.’

Good gravy, it’s about time.

A rough patch

Sure, 2016 was the year of the D5 and widely adored D500 DSLRs, but those two cameras stand against a pretty dismal backdrop.

That backdrop includes the continued release of low-end Coolpix cameras into a market segment that’s been obliterated by smartphones (though admittedly Nikon isn’t alone in this regard), the ailing Nikon 1 series which hasn’t seen a new camera body in almost two years or a new lens in almost three years, and the KeyMission series, which has had a tepid reception at best (and personally, I wish they’d taken whatever development costs the KeyMission ate up and poured those into the DL series instead).

Ah, the Coolpix A300. This 2016 release features a 1/2.3″ sensor, 720p video and a low-resolution 230k-dot rear screen. Please Nikon, why?

On most recent occasions when the company has stepped outside of its traditional DSLR realm, Nikon’s has stumbled somewhat. To illustrate, imagine for a minute that these various camera market segments are house parties (that’s a bit of a stretch these days, but bear with me here).

The Nikon 1 series got stuck in traffic on the way to the mirrorless party, and finally arrived only to realize it totally misread the dress code. As for the KeyMission series, it’s way past fashionably late to the action camera party, and brought a twelve-pack of what → continue…

From:: DPreview

Frame.io now offer offline viewing support for their iPhone application

By Matthew Allard ACS

Popular video collaboration platform Frame.io have expanded the capabilities of their iPhone application. In version 1.2.1 Frame.io have now added offline viewing support, so if you’re going to be on… → continue…

From:: News Shooter

Sony’s new Xperia XZ and XZ Premium smartphones can shoot video at 960fps

By Matthew Allard ACS Smart phones have continued to evolve at a rapid pace and Sony’s new Xperia XZ and XZ Premium phones are capable of capturing some very high frame rates. The top… → continue…

From:: News Shooter

Blackmagic ATEM Television Studio HD and Web Presenter: first look

By noreply@redsharknews.com (Ned Soltz)

Blackmagic ATEM Television Studio HD pictured

RedShark Review: Blackmagic’s recent unveiling of a trio of TV switching, recording and streaming products was exactly the sort of pulling the rug from under the rest of the industry announcement that the company specialises in. And happily their real world performance matches their impressive spec.

  • IP Video
  • Blackmagic
  • live video
  • Studio
  • ATEM Television Studio HD
  • Web Presenter
  • first look
  • Review

    → continue…

    From:: RedShark News

    Sigma 14mm F1.8 DG HSM Art pre-production sample gallery

    Sample photo

    The newly announced Sigma 14mm F1.8 DG HSM Art has the low light shooters on our staff all excited. Super-wide lenses with such fast maximum apertures are rare, and we’ve got high hopes for one with Sigma’s ‘Art’ designation. We jumped all over the chance to take a pre-production version of the lens out for a spin in Yokohama, Japan during CP+ 2017. We’re looking forward to spending more time with the lens, but for now here are some initial samples.

    See our Sigma 14mm F1.8 DG HSM Art
    pre-production samples

    Sample photoSample photoSample photo

    Please note that all samples in this gallery were taken with a pre-production lens

    → continue…

    From:: DPreview

    Godox’s Wistro Pocket Flash AD200 is a pocket-sized powerhouse

    Small but mighty, Godox’s Wistro AD200 speedlight offers wireless support with Godox’s 2.4G X system and 200Ws / GN 52 output. That’s pretty incredible – for comparison, many speedlights struggle to put out just 100Ws.

    The unit is powered by a rechargeable lithium-ion battery pack rated for 500 full power flashes, and provides TTL support with Canon, Nikon and Sony systems when used via wireless control. Output can be adjusted in eight steps, and the AD200 can be used with a number of accessories and diffusers.

    The AD200 looks to be available for pre-order from Adorama under the FlashPoint brand for $330.

    → continue…

    From:: DPreview

    Sony F65 CineAlta wins the Tech Oscar. And Sony World Photography Awards shortlist announced.

    By SonyAlpha Admin

    Leslie Mann and John Cho present a Scientific and Engineering Award to Sony for the development of the F65 CineAlta camera with its pioneering high-resolution imaging sensor, excellent dynamic range, and full 4K output. Sony announced the 2017 Sony World Photography Awards shortlist. Full info here: https://www.worldphoto.org/2017exhibition?call_to_action_homepage

    The post Sony F65 CineAlta wins the Tech Oscar. And Sony World Photography Awards shortlist announced. appeared first on sonyalpharumors.

    → continue…

    From:: Sony Alpha Rumors