Using a colourful backdrop is a great way to enhance your fashion shoot, and make a bold statement.
Fashion and beauty photographer Lindsay Adler shows us how to use a colourful backdrop to create beautiful fashion images in her latest video tutorial. Using Tangelo, one of the brightest backdrops by Savage Paper, Lindsay took the wardrobe as inspiration for her background and lighting choice.
Before choosing the backdrop, Lindsay selected the dress and model. She used the rich saturated colour palette of the dress to inform all of our other creative decisions.
When choosing a background, I go to colour theory. Do I want to go for complimentary colours or contrast, or a similar hue. In this instance, and for the overall direction of the shoot, I decided to go with a bright orangey background from Savage Seamless (actual name is Tangelo #82 — great great colour).
Once she had the orange from the model’s dress covered, she was able to showcase the pink/magentas of the dress by fastened pink gels to her two rim lights positioned high on either side of the model. She then put small white umbrellas on them to add texture to the scene. Lindsay then used one of her go to modifiers on her main light, a magnum reflector, to emulate the feeling of sunlight. This sunny light emphasised the colours even more.
She then used a Black Pro Mist filter on her camera to make the highlights in the image come to life.
Lindsay’s go-to set-up is the Canon EOS R5 with RF 24-105mm lens, and of course a TetherPro cable so she could see the final results and adjust things as needed.
The latest Road Trip USA brings the world of F1 racing to the streets of New York, the Florida everglades, and the ocean vistas of Miami. The trip ends at the Hard Rock Stadium in Florida.
This is the third in a series from Red Bull Media house. Both previous films were shot on RED, a perfect marriage of high-tech camera engineering and the adrenaline-fuelled fastest motorsport on the planet.
Emmy®-Award winning Director Nicholas Schrunk, DP Will Roegge, and drone specialist Johnny Schaer (aka Johnny FPV) were called on a mission to shoot this short that is based on high-octane sequences showing the power and extreme energy of the F1.
The team shot the F1 car by utilizing a combination of RED V-Raptor (as the main cam), Gemini (as a complementary cam), and Komodo (as an action cam).
In an interview with RED Digital Cinema, Schrunk takes us behind the scenes, talking about the challenges faced while shooting all the action, and how the RED cameras were able to deliver.
“We’re privileged to be partners with RED and for the chance to be among the first to get hold of its latest camera the V-RAPTOR for our hero film,” Schrunk says. “When we conceived this film, we knew we wanted to shoot large format to capture the grandeur of New York City, and it was the V-RAPTOR which really made this story fly.”
With the Florida city hosting the first race in America this weekend, Race to Miami features F1 driver Sergio ‘Checo’ Perez as he hot-foots his way to Miami for a first taste of the new circuit. The start sees a miscommunication between Pérez and Team Principal and CEO Christian Horner, sending Checo on this fast-paced 1,284km mission within 11 hours.
Shooting a high-performance F1 car racing around the city comes with some major challenges, because it’s not a conventional vehicle. As soon as the ignition is fired the car has just 60 seconds to get up to speed or the engine will overheat. The engine operates most effectively when traveling at race speed. Moreover, there’s no putting the car in neutral while waiting at a junction. So, shooting in New York city came with a host of logistical difficulties and required cameras that were consistent, high quality, and could keep pace.
“Once you turn it off, you’re going to be pushing it like a Flintstone car on the street, which is not great for the vehicle nor the look we were after,” Schrunk says. “These cars are designed to perform at speed and not to be idle. That meant there was simply no time for multiple takes. If something with the equipment doesn’t operate how you want or a mark is off, then boy, that’s a really expensive mistake! We relied on RED to capture everything as high quality as possible.”
Schrunk and Roegge armed themselves with a combination of RED GEMINIs positioned throughout New York City. A RED KOMODO was mounted onboard the F1 car for action-cam shots, and a V-RAPTOR was the prime storytelling camera used for the main car-arm shots following the F1.
“We picked RED V-RAPTOR because it combines a large-format sensor with incredible dynamic range during both day and night, and that gave us infinite flexibility to shoot around very tight permit windows.”
They shot full resolution (6K-8K) on all cameras allowing for scope during post without losing sharpness.
“We really like KOMODO because of the global shutter,” Schrunk relates. “Obviously, the resolution and the integrity of the film is there, but for high-action shooting there is really nothing on the market close to it. When you make whip pans and fast motion, the KOMODO snaps right into focus and it doesn’t have that frame or two delay that you get with other cameras. As a viewer you can really feel that. That’s why we like the KOMODO so much.”
“Mixing V-RAPTOR footage with GEMINI and KOMODO is a dream. All the shots just worked together, which meant we were able to spend time perfecting the creative grading as opposed to matching shots. It was such a treat on this project to have all the media from the REDs coming into conform with just a few nuanced tweaks mostly to do with lighting and lensing as opposed to format. It means you are ready to invest time in the creative grading rather than just getting media to match.”
The glass used was Masterbuilt Soft Flare Primes that are characterised by their softer-edged, smoother-contrast flares. The team was therefore able to capture the visceral reality of the experience while adding a smooth quality to the image.: “The combination of Masterbuilt lenses and the large format sensor just made a big city feel even bigger. Everything looked sharp and in deep focus with just enough of a tweak so the fall off at the edge is smooth and the bokeh is beautiful and creamy” affirmed Schrunk.
After leaving NYC, Checo’s journey takes him via the Florida Everglades, where his journey is interrupted by a large alligator lying in the car’s path. This results in a stand-off between it and a local passer-by.
“This was up there for memorable days” says Schrunk. “It’s beauty and the beast. We have a peerless engineered piece of motorsport and a 11-foot alligator, who we brought to the shoot. The gator just didn’t want to move – he was having way too much fun basking in the sun. Luckily, we had put a KOMODO underneath the nose of the F1, without it we wouldn’t have captured the reactions we did. This was a real high-risk angle right up in the gator’s face.”
The alligator is finally encouraged to move by a local who also offers to help point Checo in the right direction. With no room in the car cockpit, he water skis barefoot towed by the car at high speed along the bayou.
“An F1 car is obviously not made to tow anything, let alone a barefoot skier. The sheer terror of the engineers was something to behold, and since we wanted to capture this all in-camera, not VFX, we had to nail it then and there. We did.”
When Checo finally gets to Miami, he is able to unleash the full power of the F1 car. capturing its speed on film however presented a problem. Even at 120 km/h, which is sluggish for a F1 car, conventional filming equipment struggles to keep pace. The obvious answer was to use a drone.
“One of the main goals for our film was to capture these big moving wides and show how fast the car is going in a way that’s not possible from an onboard camera,” Schrunk says. “The problem is how to stay with a Formula 1 car traveling at 150 mph. If we shot from a helicopter with a gimbal-mounted camera you wouldn’t get close enough or low enough to the car because it rides so low to the ground. The car would appear flattened on-screen. Even a Russian Arm, which might top out at 110 mph is not an interesting shot. It would be like shooting from a car on a highway while a motorbike breezes by.”
The team wanted to capture this all-in-camera, so they enlisted the help of Johnny Schaer (aka Johnny FPV), the drone pilot who is world renowned for his experience flying racing drones – and racing drones alongside high-speed cars in order to get these crazy super-fast shots.
Schaer custom-built his own drone to carry a KOMODO at speeds up to 200 km/h around the Hard Rock Stadium, all while skilfully composing shots.
“He’s able to fly inches off the ground, orbit the car and then go back and high to follow the F1 car at speed. It meant we could tell the driver, ‘Go as fast you can, and we will shoot around you.’ This was an essential part of the creative to which Johnny was key.”
Johnny notes, “RED KOMODO is great for FPV flying. Weight is a huge consideration, so having a 2lb (900g) camera is fantastic. The global shutter is another tremendous bonus particularly because FPV drones don’t have a gimbal. With KOMODO there’s no jello on the image. Plus, you’re recording 6K. Most jobs I do are tailored to the KOMODO…The car is quite small, very low to the ground and of course it’s very fast. These all contribute to the coolness factor of the car, but also made it a challenging shoot. It was hard to keep up with the car without pushing the battery to its limit.”
At the time of shooting, in mid-2021, the track was still under construction. Schrunk chose to make it part of the story, with Checo realising the track is still being built but deciding to race on it anyway –christening the circuit months before its official race debut.
“This was a genuine, live construction zone which we didn’t want to shy away from, but we still needed to sell the idea that we are racing the circuit – which we actually did. There wasn’t even tarmac on some parts, we were just running on dirt track. It took a lot of planning but that was all part of the adventure.”
‘Race to Miami’ was a very challenging project which demanded camera versatility and various camera movement techniques. The combination of DSMC2, DSMC3, FPV Drone, and U-CRANE
All played their roles in getting the super-fast sequences of the F1.
The SUN-MOVER is a flexible and versatile light-shaping tool by Sunbounce.
There are many pop-up reflectors on the market, but the SUN-MOVER has a significant edge over them. Most of these kinds of reflectors bend or blow in the wind, making them flimsy and unmanageable, while giving you very little control over where the light is being reflected. The SUN-MOVER is just the opposite. The SUN-MOVER is made of a super stiff material that keeps the reflector skintight over its oval design. It sports two sturdy built-in handles which, along with a frame made of German spring steel and elastic hem, create the “PERMA-TENSE” effect which keeps the reflective screen under permanent tension, giving you that extra confidence in windy conditions. This spring frame also makes it easy to fold up within seconds to 1/3rd of its size; just pop it in its bag for convenient transportation. You can take this powerful light-shaper anywhere, and knowing you have it in your bag to use at any time — or even just as as a back-up — gives you assurance you need to create perfect light anywhere anytime.
It’s not just its durability that allows the SUN-MOVER to outclass the rest. The real unique feature of this modifier is that handles allow you to control the focus or hardness of the reflected light by bending the screen. This means that the reflection area can be adjusted to be concave or convex to create hard, neutral, or soft light qualities, thus allowing you to create a hard spotlight, neutral light, or a soft wide light.
Use your SUN-MOVER to control the quality of light and redirect it into darker areas. With the SUN-MOVER, no extra lighting or crew is required. In fact, due to its lightweight design, handles and permanent tension, you can hold the SUN-MOVER in your hand while shooting, or mount it on a stand.
This is your ultimate on the go, powerful but compact reflector for both photographers and videographers. Easy to travel with, fast set up, durable and versatile, what more could you need? Sturdy, Sunbounce quality guaranteed.
Returning to a physical show after its pandemic hiatus, NAB 2022 wrapped up last week. From a buzzing showroom to exciting announcements and product launches, here are a few of our favourite things:
Canon EOS R5 C
WINNER: NAB 2022 Product of the Year (Cameras) and Videomaker’s Best Cinema Camera award.
The hybrid EOS R5 C has the photo capabilities of the EOS R5 but adds pro features for filmmakers, including 8K long duration recording, a timecode terminal, built-in fan, and a wide range of video formats.
The EOS R5 C sports a 45-megapixel full-frame backside-illuminated CMOS sensor, and offers a native ISO range of 100-51,200, which is expandable to 50-102,400. This image sensor is paired with a Canon DIGIC X processor, which allows for continuous shooting at up to 20 frames per second.
The autofocus system in the EOS R5 C uses a Dual Pixel CMOS AF II system, offering nearly 100% coverage of the image frame and includes 1,053 total autofocus areas. It also includes animal, bird, and vehicle detection autofocus features, plus face/eye/head detection AF.
The EOS R5 C can record full-frame 8K 12-bit video footage up to 30fps (or 60fps with an external power supply). Non-stop 8K/60p recording is also possible thanks to the internal cooling. system. There are three new options for Cinema RAW Light: HQ (High Quality), ST (Standard) and LT (Light). There is also support for Canon’s Cinema Raw Light, HLG orPQ formats, XF-AVC codec, and Canon’s Log 3 gamma. In addition to this is a high-efficiency mode is ideal for those recording to an internal card, rather than an external recorder. You can record in MP4 as well.
Canon Flex Zoom Lenses (CN-E20-50mm T2.4 L F/FP and CN-E45-135mm T2.4 L F/FP)
WINNER: NAB 2022 Product of the Year (Camera Support, Control and Accessories.)
Canon recently launched its new Flex Zoom Lens series for its Cinema Lens line-up. The first lenses in the series are the CN-E20-50mm T2.4 L F/FP wide-angle zoom lens and the CN-E45-135mm T2.4 L F/FP telephoto zoom lens.
These lenses offer 8k optical performance, 11-blade aperture, constant t-stop value of t2.4, and the latest in metadata support.
NANLITE Forza 720B Bi-colour LED Spotlight and PavoTube T8-7X
WINNER: Videomaker’s Best Tube Light Award.
Nanlite launched its PavoTube T8-7X. The tube is thinner than most LEDS, easy to use and produces a host of creative effects. According to Nanlite, the PavoTube T8-7X is 50 percent lighter than most LED tube lights you’ll find on the market. Its compact design allows the tube to fit into tight spaces. The light features a CRI of 96 and TLCI of 9, plus bi-colour CCT, RGB, dimming and effects. It features a built-in battery that lasts for one hour at 100 percent brightness. Additionally, the light’s USB-C port lets you use external batteries.
The Forza 720B is the bi-colour version of its Forza 720, and offers a CRI of 96 and TLCI of 97. Forza 720B provides a high-level of accuracy for precise colour reproduction, and sports a Bowens mount. It offers 84.460 lux at a 1-meter distance when using the included 45° reflector, and is dimmable from 1 up to 100% of their intensity in precise 0.1 increments. It has a ‘constant light’ function that ensures your light output remains the same for every temperature, and a ‘max output’ mode that promises a maximum light output at every temperature.
Flanders Scientific DM220
Flanders Scientific showcased a prototype of its upcoming DM220 22″ 1920 x 1080 10-bit high-contrast Reference Grade OLED monitor at NAB 2022.
The DM220 is a high-contrast 22″ OLED monitor designed for use in colour-critical production and post-production applications. It features industry-leading fast mode processing, a durable all-metal chassis, an impressive advanced set of features, and a compact and lightweight form factor.
This monitor will have a Zero Delay mode, direct integration with Pomfort Livegrade, and Assimilate Live Looks, a feature set that includes AutoCal and ScopeStream, and a 1,000,000:1 contrast ratio.
It also features FSI’s 3rd generation Color Fidelity and LUT Interpolation Engine (CFE3) which features an array of calibration and LUT memories. The tetrahedral LUT interpolation found in the DM220 provides greater accuracy and visual performance than hardware utilising trilinear LUT interpolation. You can select from Rec709, EBU, SMPTE-C, DCI P3, Rec2020 Emulation, Native Wide Gamut, and Custom User Generated colour spaces.
The monitor includes a Real-Time Waveform and Vectorscope that update every frame. Scope position, size, and scale and background can be adjusted independently using dials on the face of the monitor. Real Time scopes work in all processing modes including Zero Delay Fast Mode.
EIZO introduced its new generation of coloredge monitors with two flagship HDR models for editing and post production earlier this year. The monitor were showcased at NAB 2022.
The 27-inch CG2700X (3840 x 2160) and CG2700S (2560 x 1440) monitors guarantee a very sharp image impression (109 ppi or even 164 ppi) and enable a perfect view of the imaged file. The remarkable detail ensures that high resolution content is displayed crisply, while the 27-inch screen provides ample space for displaying editing windows, toolbars, palettes, or other apps. This makes the monitor versatile for video editing, 3DCG creation, game development, photography, and other creative fields.
Lightstar introduced their AIRLITE balloon lights a while back. Now these popular lights are available in RGBWW. The colour temperature can be adjusted continuously between 2400K-10000K, dimming is adjustable from 0-100%. The AIRLITE has an integrated air pump, and is ready in about 60 seconds. During filming the pump can be adjusted to silent 10% power to keep the balloon inflated over long shooting times
Sony FE 24-70mm f/2.8 GM II
Claimed to be the world’s lightest and most compact lens in its category. This upgrade to the original (introduced in 2016) comes with several optical, focusing, and handling improvements, as well as a few new video-centric features. While it may look a lot like the first version of the lens, just about everything is different.
This lens features a constant aperture of f/2.8 across the whole zoom range, making it great for achieving shallow depth of field shots even in low light. It has a minimum focusing distance of 21cm and 30cm at 24mm and 70mm, respectively.
The re-designed autofocus system features four XD (extreme dynamic) Linear Motors and a floating focusing mechanism that delivers faster, quieter, and more responsive AF performance with improved tracking of subjects, in both stills and video modes.
The addition of a de-clicked aperture ring — accompanied by an iris lock switch – lets you perform smooth iris pulls.
Sony states that this 24-70mm is designed to keep all sorts of aberrations and distortions to a minimum. This new design features 20 elements in 15 groups which includes three aspherical elements, two extreme aspherical (XA) elements, two ED elements, and two Super ED. The lens focuses internally but does physically extend when zoomed. Additionally, Sony’s Nano AR Coating II helps reduce flares and ghosting, while a fluorine coating makes the front element water and dust repellent.
Aputure LS 600c Pro Light Storm RGBWW LED
WINNER: NAB 2022 Product of the Year winner (Location/Studio Lighting.)
The new LS 600c Pro is an RGBWW version of the 600d/600x Pro with a few improvements. It is Aputure’s first full-colour point-source light fixture, providing precision light control with a hyper reflector and vibrant colour with its RGBWW full colour spectrum. The fixture is capable of producing 600W of output and draws 720W. It features custom colour-blending optics, weather resistance, and professional level connectivity.
The LS 600c Pro is considerably less expensive than Arri’s Orbiter, and Aputure also claims it is twice as bright. The company states: “This fixture is designed for cinematographers who are looking for precision with their palette, and lives comfortably anywhere from small film sets to large virtual production stages.”
It is the company’s first COB RGB (chip on board, red, green, and blue) offering, and keeps all of the features of the 600d Pro including a weather-resistant construction along with support for connectivity standards Sidus Link, Art-net, and Wireless DMX.
The 600c features a wide tuneable colour temperature range of 2300 to 10,000K, 0.1 to 100% stepless dimming, fully tuneable green-magenta adjustment, and 90% of the colour spectrum in the Rec.2020 colour space, with flicker reduction through frequency selection. It includes more than 300 gel presets and XY colour control, has an SSI (spectral similarity index) in D56 (daylight balance) of 74, and an SSI (Tungsten) of 85.
Also announced: MC Pro and Tube MT Pro Prototypes.
In essence, the MC Pro is a brighter, high-quality version of the existing Aputure MC. This light is a small-sized (108 x 70 x 25mm 225g) 7W RGBWW fixture that is claimed to be three times brighter than the current MC. It has an output of 1,346 lux at a distance of 50cm and the same RGBWW technology that is found in the Nova series, and LS 600c Pro.
Aputure debuted its prototype RGBWW tube lights as well. The tube light series will be called the MT Pro. According to Aputure, the MT Pro uses the same RGBWW technology found in the Nova series and new LS 600c Pro. It has 9 different pixel effect modes, 9 FX modes, and is adjustable from 2,000-10,000K.
The first light to be released in the series is a 1ft long tube. The battery life is approx. 105 minutes when used at max power. It has integrated magnets so you can attach it directly to metal surfaces and it will come with a 45° soft honeycomb grid and a mini tripod with ball head.
Keep in mind that these are just prototypes and it may be quite a while before you can actually buy them.
Teradek Bolt 4K LT HDMI
Teradek unveiled its new Bolt 4K LT HDMI wireless video system. This is being touted as a lower-cost Bolt 4K that looks to be a good solution for indie content creators.
Providing HDMI-only transmission enables Teradek to offer this latest iteration of the Bolt 4K LT at a friendlier price. Its cross-compatibility with all other Bolt 4K models also makes it a versatile option for rental-houses, crew-owned kits, and “B” and “C” camera transmission on larger shoots. With its durable aluminium build, the system provides a 750′ line-of-sight transmission range and zero-delay transmission.
Atomos CONNECT and Shogun CONNECT 7
WINNERS: NAB 2022 Product of the Year (multiple awards for both.)
Atomos announced their next-generation monitor tech, with the release of the Atomos CONNECT accessory for the Ninja V and Ninja V+ and the Shogun CONNECT 7″ monitor.
Atomos CONNECT for Ninja V/V+
WINNER: Videomaker’s Best Accessory award.
The CONNECT provides additional connectivity to these already feature-rich monitors to adapt them, and your productions, to live cloud streaming environments, transforming your camera into fully connected devices that support a range of advanced cloud-based workflows.
The CONNECT covers the entire back of the Ninja V/V+ and provides a battery plate to power both devices, ultimately allowing multiple video and network interfaces for your pro digital or cinema camera. The device features a 12G SDI input, AtomX Sync wireless sync timecode technology for direct, long-range communication between devices, multiple power options to accommodate a variety of on-set scenarios, 12G-SDI interface, plus Wi-Fi 6, Gigabit Ethernet, and Bluetooth LE capabilities for flexible connections
Atomos Shogun CONNECT Recorder/Monitor
The Atomos Shogun CONNECT is a redesigned Shogun 7″ recorder/monitor that maintains all the great features of the Shogun, including HDR support, RAW recording, a bright 7″ display, input and output switching, and DCI 4K support. It is a fully integrated unit that includes both a fully-fledged Shogun 7 monitor/recorder and the aforementioned Connect module. So it is a streamlined unit rather than a bolt-on attachment.
Blackmagic Design ATEM Constellation HD live production switchers
BMD showcased its family of ATEM Constellation HD live production switchers. These new switchers are a designed for professionals looking to upgrade from the ATEM Mini, or for large broadcasters looking to get a more modern switcher for their studios.
“We are excited to introduce these new live production switchers, as many high-end broadcasters don’t need Ultra HD, but they still need to upgrade their studios,” said Grant Petty, Blackmagic Design CEO. “Plus a lot of our Atem Mini customers have been growing and doing innovative work. They are now looking to upgrade and purchase more advanced switchers that can keep up with their work as their streaming channels grow.”
All models include full standards conversion on every SDI input, 4 ATEM advanced chroma keyers per M/E row, a DVE per M/E row, media players, and a larger media pool.
The KYU-6 are the award-winning Cine-Lights by Spiffy. They are amazingly compact, featherlight, and packed with features. These wrappable and wearable lights easily add a small, very bright key or accent light to your photos and videos. The KYU-6 can be used as a single light stick, a panel of three lights, or simply wrap it around fixtures, or as a wearable light for endless creative potential. It’s unique form factor can be used in many different creative ways to light up a product photo, a portrait, or even help as a special effect light.
The The KYU-6 comes in a 95+ CRI bi-colour and a clean wavelength RGB version. Weighing less than 45 grams, they are amongst the lightest and smallest cinematic lights available. You can hide them just about anywhere.
This lightweight, versatile light is great to keep with you all the time, on hand (literally as a wrist wrap) or in your camera bag. It is so low impact, you can easily take it anywhere you go!
Don’t be fooled by the size though. The KYU-6™ is flexible and durable, as well as capable of delivering enough output to make it a great tool for adding interest to photos and video.
The KYU-6 has a rubber exterior, which not only makes it splash-proof but also protects it from dust and impacts. It is magnetic, and will stick to anything metal, but also comes supplied with several stick-on metallic disks so that you can easily attach it to non-metal surfaces, too. It has two threads for vertical or horizontal mounting and features its famous slap mechanism for wearing or mounting on just about any object.
The Internal battery lasts for about an hour on maximum brightness but can potentially give you up to 8 hours of light at a lower setting. You can also connect the KYU-6 to a power bank to use for extended periods of time.
The minimal size of this light makes it perfect to use as a practical or effect light. For video productions, it can be placed in many different places to create accents or light up cramped scenes without getting in the way. It works well as a closeup light, but also as a small fill light. For photographers, the flexible form factor allows for the creative lighting of small objects and is brilliant for closeups and macro work, as well as providing some backlight bokeh for small subjects. In product photography, you can hide the light without any extra gear. Or have it in plain sight and integrate it into the scene. It is also great for things like light painting.
Its narrow 5mm profile and infinite mounting options make it a smart choice in small spaces like cars, helmets, lamps and lanterns, or adding a splash of light to food & beverage or product photography.
It’s so nifty, you can also use it either as a small light to enhance your selfies or as an on-camera light for vlogging. It’s handy for using as a small practical light to replace light bulbs, or to light up a small dark corner on set that you can’t fit a big light into.
The KYU-6 also have some really solid practical uses, for example, as a wearable flashlight on or off set. It’s great to take with on those camping or hiking trips as it is space-saving, long-lasting and rechargeable from a potable power bank. Lightweight but still bright, these lights will give you the ability to do any sport activity during low visibility hours. Wrap it around your wrist or your bike, pretty much anything. And for those unexpected outages, loadshedding, or even when your car breaks down, it’s good to have a battery-powered light to give you the illumination that you need to deal with your emergency situation. Wrap the KYU-6 around your wrist or objects near you, or attach them to metals using the built-in magnet, or simply use it to signal your location.
The Bi-colour features 95-CRI, which you can tune between 2700K-6500K and offers 5 effect options, including Breathing, Candle, Explosion, Red carpet, and a fast Strobe light. You can control the intensity of light within the effects. It features five levels of dimming, even on the effects, and nine levels of temperature.
The RGB version features five levels of dimming and 15 different colours. You can control the brightness as well with 5 brightness settings. The clean wavelength RGB LEDs deliver excellent colours and pleasing tones for both video and photo. It has a wide array of effects to fulfil your creative vision. The effects include Breathing, Police, Fire, TV and Fireworks.
Do you really want to lug around another piece of equipment just for the sake of tethering at shoots?
Yes. Here’s why!
Encourages People to Purchase in Real-Time
Tethering at events, for example weddings or social gatherings, is a fantastic way to not only generate interest in your photography, but it also creates potential for on-the spot sales when people see your gorgeous shots and get caught up in the emotion and excitement of the day.
Makes You Look More Professional and Builds Client Confidence
Although many people nowadays have camera phones or a DSLR with auto setting, they probably don’t have a tethering setup with a dedicated Tether Table Aero, TetherPro Cable, and other pro workflow gear at their fingertips. And when it comes to your client experience, tethering makes a big difference. By tethering, you’re able to show your client their vision come to life with your shots in real-time.
Clients and/or subjects can often spend so much time worrying about how they look in the shots or if their ideas are coming through, and sometimes, hovering clients can be a little unsure about the positioning or angle of the shot. When tethering, the client can quickly look through the shots building their confidence on the shoot and you as a professional photographer. This boost in confidence is key when acquiring referrals or additional sales with the client.
Saves Time and Reduces the Chance of Reshoots
One of the most time-consuming parts of a photoshoot is going through photographs. When you tether, you can have the client choose their favorite photos right then and there, so you can get straight to editing without any back and forth over email trying to get their final choices, freeing up more time for you to book your next shoot. An added bonus is that your clients will love being able to do it on the same day.
The worst nightmare for many photographers is getting home after a shoot and uploading the files to a computer, only to realize the focus was slightly off. It can be especially difficult to tell if there is a focus, composition, or exposure issue when you’re shooting in the field. When you tether, you reduce the risk of reshoots due to any such errors.
Finally, tethering is beneficial because it can increase collaboration between the client, art director, assistant, makeup artists, and more. They can get and provide feedback and make adjustments as necessary. The whole production works in synch to produce the best images for the client.
Canon has launched its first full-frame cinema zoom lenses: the CN-E20-50mm T.2.4 L F/FP and CN-E45-135mm T2.4 L F/FP. Both lenses feature dedicated focus, zoom, and iris rings with industry-standard 0.8mm pitch gears. In addition, the gears are located at the same position on both lenses, so you can switch between both in seconds. The focus throw is 300 degrees on both lenses, with luminous markings engraved for easy operation in low-light environments. According to the company, “the two cine-zoom lenses inherit the same subtle, warm colour tone synonymous with Canon’s full range of Cinema lenses.”
Available in EF and PL mount and designed for use on full frame 35mm and Super35mm cameras, they include Lens Metadata Support such as Cooke /i Technology™ and Zeiss eXtended Data™ protocols.
The new large-aperture lenses feature high-level optical design and performance while sticking with the style and ease of use of Canon’s EF Cinema lens series. With these two zoom lenses — featuring focal length ranges of 20-50mm for wide-angle and 45-135mm for telephoto — you can now cover the same range as its six existing prime lenses, going from 20mm to 135mm, which should cover most of your needs. Both lenses maintain a fast, constant T2.4 aperture across the entire zoom ranges, allowing for image capture in both natural light and darker environments. The lenses also have very similar dimensions and weight.
Both lenses feature 11 iris blades diaphragm and have a 114mm front diameter for clip-on matteboxes. Minimum focusing distance of the 20-50mm is 2″/60cm, while the 45-135mm is 3.3″/1m.
Lens Features from Canon official:
Designed for full frame cinema cameras
Capture increased cinematic quality, wider field-of- view, and greater depth-of-field. This compact and lightweight lens is designed for use on full frame 35mm sensor cameras.
Cinematic look with 4K optical quality
The lens produces superb colour rendition and detail, with sharp images from the centre to the outer edges, perfect for 4K HDR capture. 11 aperture blades create soft beautiful light rays and stunning depth of field falloff, whilst an internal focusing system delivers minimised focus breathing and excellent parfocal performance. The lenses render the beautiful and warm colour tones synonymous with Canon’s cinema lens family.
Constant T2.4 and broad focal length coverage
With a consistent light transmission of T2.4 throughout the zoom range, the Flex Zoom series offers a broad focal range from the wide-angle CN-E20-50mm T2.4 L F / FP, to the mid-focal range of the CN-E45-135mm T2.4 L F / FP. These lenses are the ideal pairing to cover a wide range of shooting situations.
Advanced Lens Metadata Support
The Flex Zoom series are compliant with a wide range of communication standards thanks to the versatile lens-to-camera communication function, including Cooke /i Technology™, and ZEISS eXtended Data™ (PL mount) and EF mount. This will enable to display or record lens meta data as well as utilize camera functions such as aberration correction, peripheral illumination correction and focus guide function with compatible cameras. External 4-pin Lemo communication provides metadata support for cameras not compliant with the above protocols.
Robust design and useful handling features
Both the CN-E20-50MM T2.4 L F / FP and CN-E45- 135MM T2.4 L F / FP share the same design with consistent front diameter, gear positions and gear rotation angles. Focus, zoom, and iris dials feature industry standard gears and 0.8mm pitch to suit third party follow focus accessories. The lens features luminous (glow in the dark) metric and imperial markings for easy operation in low light. Built for longevity, the premium design and outstanding optics and components, offer quick and precise operation, with durability ideal for professional video productions.
Charge Your Laptop with the High Capacity USB-C 100W PD Battery Pack from Tether Tools.
whether on-location or in-studio, you need to ensure that your tethered workflow is being met with optimal efficiency. Things like editing and reviewing images (with or without clients) require the use of a portable laptop. Because of this, you need high-capacity Power Delivery (PD) to power your USB-C laptops like the MacBook Pro, MacBook Air, and other devices.Tether Tools ONsite USB-C 100W PD 26,800 mAh Battery Pack is up to the job.
The ONsite USB-C 100W PD 26,800 mAh Battery Pack has a sleek, compact design that you can easily carry in your pocket, backpack, or camera bag. Its size and weight make this a perfect accessory whether on location or even just reviewing images at a coffee shop.
This battery can power a Macbook Pro for more than a full charge. For tablets, you can gain an additional 2-3 charges and 5 charges for mobile phones. In addition, the ONsite USB-C 100W PD 26,800 mAh Battery Pack can charge up to three devices simultaneously—one USB-C and two USB devices. The battery itself recharges in approximately 3 hours from empty.
But what makes this battery stand out from the rest? While there are many battery packs on the market, most USB-C batteries have lower PD thresholds, and can only charge smartphones, tablets, and other less power-hungry devices. The ONsite USB-C 100W PD 26,800 mAh Battery Pack, on the other hand, can easily power laptops requiring higher wattage needs, like a MacBook Pro.
In addition to this high capacity output, the Onsite 100W USB-C 100W PD Battery Pack can also give your camera uninterrupted power when paired with the Onsite Relay System. This pairing works great for long exposures, videography, streaming, or photographers looking to eliminate the hassle and disruption of changing out or charging camera batteries. TheOnsite Relay Camera Power System works with a power coupler that gets inserted into your camera battery slot. You can then draw power directly from the Onsite 100W USB-C PD Battery Pack or wall outlet to your camera, eliminating the need for a battery altogether.
Charging the battery pack is simple. With the included USB-C to USB-C charging cable, you can connect this with any USB-C wall charger you may have in your gear bag or around the house.
So, if you’re on the hunt for a powerful battery pack that will provide you peak performance and plenty of charge for your devices, consider the ONsite USB-C 100W PD 26,800 mAh Battery Pack and make this a standard piece of equipment you can rely on when shooting in the field, off the grid or in the studio and require extra mobility. Never be without power again.
Recharge a Macbook Pro 13in and other laptops 1.6 times
Quick charging – charge a Macbook Pro 13in from 0 to 100% battery in 2 hours
Recharge on an iPad Pro 2 times
Recharge SmartPhones 5 times
Powers Macbook Pro laptop for up to 8 hours with 26,800 mAh Battery – battery time will vary depending on power-consumption
The stats don’t lie, Canon has once again proven itself to be leader of the pack by celebrating its 19th year of holding the biggest share of the interchangeable lens digital camera market.
Canon’s interchangeable-lens digital cameras have maintained their place at the top of the global market between 2003 and 2021. From top-spec flagship models to reasonable entry-level systems, Canon’s diverse range of cameras has always catered to the diverse needs of photographers and videographers, so it’s little surprise it has maintained the number one spot
The Canon EOS 300D released in 2003 was a revolutionary camera that was competitively priced, even if it did only have a 6MP sensor. This market breakthrough heralded the beginning of Canon’s reign in the consumer market.
Since then, Canon continued to grow its range of ground-breaking products. Its launch of the professional-model EOS-1D series and the EOS 5D series marked a new age of high quality SLR video recording as well as high-resolution photos. The launch of the Canon EOS 1D and 5D series marked a new age of SLR, with these systems capable of recording high-quality, professional-looking video as well as high-resolution photos.
In 2018 the first Canon EOS R series was born, along with a brand-new lens mount to fit the new cutting-edge Canon RF lenses. Since then, Canon has continued to expand the range of mirrorless cameras designed to be faster, more powerful and perform better and faster than ever before. This can be seen most recently in the launch of its EOS R5 and EOS R3 systems. With new features such as Eye Control AF, In-Body Stabilisation, up to 8K video capabilities, Deep Learning AF, continuous burst modes up to 30fps and more, Canon remains at the forefront of tech advances, continuing to push itself in its quest for image quality excellence.
Canon added eight new RF lenses in 2021, and we can hopefully expect another eight this year, which means if they continue at such a stable pace, we can see as many as 32 lenses in four years’ time.
Even during Covid-19, Canon saw sustained growth despite its 1% dip in sales. As per Canon’s financial report, its interchangeable lens camera sales maintained over half (52%) of the global ILC market in 2021, which is a remarkable achievement when the world of tech was beset by lack of parts and other effects of the pandemic. Clearly Canon is doing something right.
This continued market domination is not Canon’s only priority. The company continues to steadily advance its cinema range while further expanding its line-up through new launches such as its EOS VR lens. With such an impressive résumé, we’ll find out if this camera giant can make it to two decades at the top next year.
Exchange your old FLO fixtures for up to 50% off new FreeStyle LED Systems and Kits, and Image LED studio lighting products.
You’ll earn a deep discount on each LED lighting product when you hand in a qualifying Kino Flo legacy product of similar design, such as trading in a used 4ft 4Bank fluorescent system for a new FreeStyle T44 LED.
Promotion is valid from March 7, 2022 – August 31, 2022.
Leading commercial and creative innovator Stephan Hambsch chatted to us about his career, gear, and what gives him his creative edge.
German/South African Stephan Hambsch is an award-winning cinematographer and director based in Cape Town. He shoots commercials, music videos and branded content both locally and internationally.
Stephan started his career in post-production, with his focus being the camera department. This laid a firm technical foundation for him, and in 2009, he landed his first job as a DOP (Director of Photography) shooting local commercials and online branded content.
“Filmmaking is such a collaborative effort and I feel that branching into directing and editing has really given me an understanding of what directors and editors need, thus making me a better cinematographer.”
In 2014, Stephan began directing, shooting mainly for the West African market. He then moved back into full time DOP work in 2017, taking the skills learned from editing and directing into his cinematography work. Stephan was able to bring together the perfect multidisciplinary blend of creativity and know-how, strengthening his ability to create visually rich video content with high production standards. Stephan continues to tackle technically demanding projects that are emotionally engaging, where he is able to deliver innovative and impactful content from initial concept to final outcome.
“Like a lot of DOPs of my generation, I started shooting a lot on DSLRs and owned a Canon 5D Mk II. I shot a lot on Sony and Panasonic video cameras before that, but I think the 5D was a real leap forward for me.”
While Stephan started out on DSLRs, he now shoots mainly with RED Digital Cinema and Arri cameras. “I own 2 RED Komodos and I love them,” says Stephan, “the small form factor makes them the perfect camera for handheld and gimbal work. The main reason why I like shooting on the Komodo compared to say a Sony a7s is the global shutter, which is especially useful when shooting high-speed tracking or handheld work.”
“The RED raw image is absolutely stunning, and it gives me enough latitude and colour space to really grade depth into my images that’s not possible with other cameras.”
As an adventure sports enthusiast, Stephan’s soul food in life includes getting outdoors into nature. When not busy with work, he can be found in the mountains climbing, high lining or trail running. Applying his professional skills to his personal passion, Stephan creates adventure sport content as a side project.
When we asked Stephan about his dealings with Cine Photo Tools (Sales) and Photo Hire (Rentals) he insisted: “[they] are amazing! I often have strange requests when it comes to gear and they are always able to assist me, and if they don’t have that specific piece of equipment in stock, they always make a plan. I firmly believe that we’re all one big family in the film industry and that feeling is certainly reciprocated when I walk through their doors.”
Stephan has worked on projects for Volkswagen SA, HiSense, Old Mutual, HP, Etisalat, 9Mobile, Amarula, Boiler Room, Reebok SA, Nike SA, SkySports UK.
Pantone has announced their new Colour of the Year 2022. The global colour authority and provider of professional colour language standards for the digital and design community, introduced a new blue shade, PANTONE 17-3938 Very Peri. Pantone states in their press releasethat the colour is a “dynamic periwinkle blue hue with a vivifying violet red undertone. Blending the faithfulness and constancy of blue with the energy and excitement of red, this happiest and warmest of all the blue hues introduces an empowering mix of newness.”
Now you can stay on trend in the studio this year using Savage Orchid Seamless Paper Backdropto get that Very Peri feel. Watch renowned fashion photographer, Lindsay Adler, build a Pantone inspired monochromatic photo shoot around her Savage Orchid background.
In January, Canon announced the EOS-1D X Mark III will be the company’s last flagship DSLR, stating that it wants to shift focus towards mirrorless cameras, and therefore would not produce any future flagship DSLR cameras. And now with both Sony and Canon quietly pulling the plug on several DSLR lenses, the future looks pretty grim for this fading format.
Canon has been slowly discontinuing many of its EF lenses over the past year. It has been noted by Japanese photographer, Kimio Tanaka, that from January to February 2022 alone, the number of EF mount and single focus lenses in the line-up decreased from 21 to 9 lenses, leaving 12 lenses to fade quietly away in one month.
This was on the heels of Sony discontinuing their A-mount lens line-up. While there’s no official statement by Sony, the company quietly pulled the plug, listing its A-mount lenses as “discontinued” on its official store, with both the Japan and US sites delisting the lenses. Rumours of this discontinuation started back in 2015 already, when Sony UK let slip that there were no future planned A-mount lenses in the works.
Nikon also placed several of its F-mount lenses on the chopping block last year. While not a huge loss to its overall DSLR selection, the trend is clear. New lenses (with the latest tech) will continue to be produced for mirrorless cameras only, which are clearly now the focus for these big camera companies.
Back in May last year, Sony discontinued the last of its DSLR cameras. While Canon has yet to go this far — it still plans on producing consumer-level DSLR bodies – there is a clear shift in focus away from their legacy systems towards their EOS R camera and RF-mount line-ups. There is a similar trend happening over at Nikon with its Z range of cameras and lenses. Mirrorless tech is evolving, and fast, with more options in the market than before. It won’t be a surprise if more players exit the DSLR market in 2022.
Honestly, it stands to reason. Reducing the number of mechanical parts in a camera increases reliability, size, weight, battery life, focus and speed. The DSLR lost its advantages over mirrorless a while ago with its superior crisp, clear optical viewfinder being one such advantage. These days, the Electronic Viewfinders on pro mirrorless cameras are so good that going back to an optical one can actually seem like a downgrade.
The Future is Mirrorless:
while old tech is disappearing, we’ve uncovered a few things in the works by Canon that may blow you away. Keith Cooper at Northlight Images has dug up a few Canon patents on several RF zoom lens designs. according to Canon Rumours , this patent application “includes designs for superzooms so wide in range that they appear to be versions of the mythical lens that forum posters sometimes use as an example of unreasonable expectations.”
The following lens ranges were found in Canon’s US patent application:
24mm f/4 – 400mm f/6.5
24mm f/4 – 300mm f/5.6
28mm f/4 – 500mm f/7.2
33mm f/4 – 600 f/7.2
Another patent shows a series of fixed aperture zooms:
It’s clear that as camera manufacturers pour money into developing new mirrorless technology, the DSLR market will eventually fall by the wayside. However, your DSLR is not done for just yet. If you’re new in the photography market, looking into buying a DSLR may actually be a good option. Buying second-hand, for example, makes things cheaper. Also, sales houses holding old stock may be offering great discounts on discontinued items, so you’ll be able to get a solid, feature-packed camera with good battery life and decent glass for less, and you’re going to still get gorgeous shots. Upgrading to a mirrorless system can not only turn out to be costly — especially if you’re adding lenses and accessories, while current DSLRs on the market continue to offer great features with reliability, and exceptional image quality. If you can’t justify the investment, you may want to hang onto your DSLR camera for a while longer. Also, if you photograph with more specialised equipment – a set of super-telephoto lenses, for instance, or a long macro lens – as things currently stand, you’ll struggle to get the glass you need to really capture your images. Options from third-party manufacturers also make for a comprehensive set of compatible lens options in the DSLR field.
But for professionals and those who want to keep up to date, going mirrorless is increasingly the better option for future proofing your investment creatively and financially. Evolution and adaptation to future technology is what will slowly see the era of the DSLR die out, and eventually feel as vintage as shooting film; how rapidly this happens remains to be seen. One thing is for certain, there are some exciting new developments in the works.
EIZO Corporation announced the first in a new generation of ColorEdge monitors – the 27-inch CG2700X (3840 x 2160) and CG2700S (2560 x 1440). These flagship models support HDR workflow and are the first ColorEdge monitors to feature a brand-new cabinet design and built-in network connection via USB Type-C connection.
The two new ColorEdge monitors differ primarily in resolution. The panel of the CG2700S has the popular WQHD resolution with 2560 x 1440 pixels, whereas the panel of the CG2700X offersa 4K UHD resolution of 3840 x 2160 pixels. Both monitors guarantee a very sharp image impression (109 ppi or even 164 ppi) and enable a perfect view of the imaged file. The remarkable detail ensures that high resolution content is displayed crisply, while the 27-inch screen provides ample space for displaying editing windows, toolbars, palettes, or other apps. This makes the monitor versatile for video editing, 3DCG creation, game development, photography, and other creative fields.
Both monitors are equipped with EIZO’s award-winning built-in sensor technology and ColorNavigator 7 colour management software. This allows you to calibrate the monitor automatically at designated times, ensuring the screen stays accurate over time and no need for a third-party calibration device.
The monitors also support HLG (hybrid log-gamma) and the PQ (perceptual quantization) curves for displaying and editing HDR content. Now your images will appear truer to how the human eye perceives the real world compared to SDR, ensuring reliable HDR content display for editing and colour grading.
The new USB Type-C connectivity lets Creators display video, transmit USB signals, and even supply power to a connected device, such as a tablet, MacBook Pro, or other high-end PC notebooks. This convenient multi-purpose connectivity makes it faster and easier to connect when moving between creative workstations or when working in a remote or home studio. Furthermore, the monitors have a LAN port directly built in for providing a stable network connection.
The ColorEdge CG2700X and CG2700S include Sync Signal. This function automatically adjusts the monitor’s settings, such as input range and input colour format, according to the video signal to ensure colour settings stay consistent throughout production.
The backside of the ColorEdge CG2700X and CG2700S incorporates a new punched metal design that allows for more airflow, keeping the monitor cool without a noisy fan.
Colour space coverage 99 % Adobe-RGB and %DCI-P3 98
Smooth gradients through 10-bit simultaneous representation from a 16-bit LUT
Precise homogeneity through patented Digital Uniformity Equalizer (DUE) technology
Nearest-neighbour interpolation function for video upscaling (CG2700X)
DCI 4K cropping option for displaying DCI 4K (4096 x 2160) content (CG2700X)
Ergonomic stand with height adjustment (155 mm), tilt adjustment (35° up, 5° down), rotation (344°) and rotation (90°)
Every photographer has had to face the headache of a hard-to-light situation. We put together a list of the top four tricky lighting situations and how to conquer them, so you’ll always get the shot. Let’s dive in!
1. Harsh Sunlight
One of the most difficult photography lighting situations that even experienced photographers struggle with is bright, unfiltered sunlight. Shoots at high noon result in harsh shadows on your subject, which can be artsy, aren’t typically the look that many people want for their outdoor portrait or wedding photographs.
If you don’t have any shade to shoot in, one of the best ways to work with harsh sunlight is to use a fill light. A small cold-shoe setup using the Tether Tools Articulating Arm and Frio Cold Shoe is perfect for on-the-go photographers. You can attach the flexible arm to your tripod, existing lighting setup, or even a tree branch, table, or chair to illuminate the shadowed side of your subject to create a more even lighting effect. With this setup, you don’t need another pair of hands, and instead, you get to be your own assistant.
2. Night Photography
As beautiful as night shots of a bright tent under the Milky Way are, these photographs take a great deal of preparation, patience, and well-planned lighting. If you’re shooting static scenes, you can get a great photo of the sky with just your camera and a tripod. But if you want any foreground interest or are shooting moving scenes at night, you need to bring additional lighting sources in to create crisp photographs.
To illuminate your subject, use a cold shoe lighting setup like the with a rotating, 360-degree base. The benefit of a cold shoe setup like this is that you don’t need to have the flash attached to your camera. This means that you can get creative with your lighting setup and shoot from angles that wouldn’t work with a hot shoe setup.
3. Reflective Surfaces
Photographing reflective surfaces like windows or mirrors can really set your photography apart because of the skill required. You need a polarizing filter and a lighting setup that can brighten your subject without being seen in the reflective surface.
A cold shoe with a clamp or suction like the Frio Cling is best for this situation, as you can place it out of the shot but above or below your subject and light it as desired. You don’t need a light stand; just suction the Frio Cling with your speedlight attached to any flat surface.
4. Concerts, Clubs, and Sports
In many photography situations, your subjects pose as you direct them. However, there are instances where not only do photographers have to deal with tricky lighting, but they also have zero say in what their subjects are doing, such as at concerts or during sporting events. In situations like these, having a flexible lighting setup like the Frio Grasp Bigi turns practically anything into a cold shoe lighting stand. Use the Frio Grasp Bigi on a door, table, or door handle and get epic action shots.
Lighting Up Everything With Frio Cold Shoe Setups
As cliched as it may sound, photographers create beautiful images with light. Sometimes that light doesn’t cooperate so you need to bring in reinforcements. With Frio, you get to control those hard-to-light situations. Remember, no lighting scenario is too challenging when you’ve got the right tools.
Lightstar is synonymous with quality, well-priced professional production lights. Their high-end LUXED range has been extremely successful worldwide as popular high-output LED spotlights.
Building on this success, Lightstar has launched its brand new LUXED-P range. The “P” stands for painter, which is their RGB line. All LUXED lights you already know will be now be available with RGBWW, from the single spot up to the new LUXED-P12.
While each spot can still be controlled individually over the dimmer, DMX and LumenRadio, Lightstar has added a new way to control the LUXED-P lights, which will be a free app that’s going to be available later this year. It will allow you to make immediate changes on the lights from your smartphone or tablet.
You won’t have to compromise at any point. The LUXED-P lights are also ready for flicker-free high-speed shooting. Quality and durability have always been Lightstar’s strong points and you won’t have to miss out on that with these new lights.
In addition, Lightstar has optimised the frame, display, and interface. Further details on these updates will be released soon.
LUXED-PS 160W RGBWW
LUXED-P2-LM 320W RGBWW
LUXED-P3-LM 480W RGBWW
LUXED-P4-LM 640W RGBWW
LUXED-P6-LM 960W RGBWW
LUXED-P9-LM 1440W RGBWW
LUXED-P12-LM 1920W RGBWW
Cine Photo Tools is the official Lightstar Partner in Southern Africa. The LUXED-P are available for Pre-order now.
Canon has officially announced its EOS R3. While the company confirmed plans for the highest-end mirrorless camera earlier this year, it has finally released full camera specs, and we’re impressed!
While the 24-megapixel stacked BSI sensor is lower resolution than the EOS R5’s, the R3 is all about high-speed performance, fast and precise focusing, and low light capability. This is Canon’s top mirrorless body and is positioned between the high-res EOS R5 mirrorless body and the professional-grade flagship EOS-1D X Mark III DSLR. The R3 combines the speed, reliability, and robustness of the 1D X Mark III along with the advanced technology and mirrorless design of the R5.
Canon hasn’t just repackaged its existing tech, there’s also a plethora of new features in the camera, including an all-new stacked sensor, Eye Control AF, and a built-in vertical grip. The EOS R3 sports a brand-new 24.1MP back-illuminated stacked CMOS sensor and an updated DIGIC X image processor. This translates to faster readout speeds and reduced rolling shutter distortion. The BSI design is more efficient when gathering light, leading to cleaner image quality with less noise.
Canon says it can shoot at up to 30fps with the electronic shutter and 12fps with the mechanical shutter, and the maximum native ISO is 102,400.
Ever used a camera that feels like it’s reading your mind? The R3 includes next-generation Eye Control autofocus technology that focuses wherever you are looking. This unparalleled control over AF allows the camera to react as quickly as you do – allowing you to respond fast to ever-changing scenes. According to Canon, photographers can select an initial AF point with eye tracking just by looking at an area of the 5.76-million-dot electronic viewfinder. The R3 has 1,053 AF points in total, and also makes use of this deep learning technology to recognise people, animals and vehicles accurately and confidently – wherever they move in the frame.
While the R3 produces sensational stills, it is a professional hybrid, able to capture cinematic, broadcast-quality video as well. With features that empower filmmakers to new levels of creativity, the R3 can shoot 6K at 60fps and uncropped 10-bit 4K at 120fps in the Canon Log 3 profile, which also provides greater dynamic range and colour-grading possibilities. Crucially, the same object recognition available to stills photographers is also available to videographers, so you can track moving objects around the frame, keeping them in sharp focus even when working. A handy feature for video shooters is the vari-angle touchscreen, which has a super-crisp 4.1 million-dot resolution.
Another new feature is the new Multi-Function Shoe in the middle of the camera, which will allow for high-speed data transfer between the camera and any compatible accessories that you mount on top of it. The new Directional Stereo Microphone (DM-E1D) and Speedlite Transmitter (ST-E10) are both fully compatible with the new shoe – which means they can draw power from the camera.
Tether Tools’ high-visibility orange TetherPro USB cables have become synonymous with tethered photography. And for good reason. Constructed to the highest possible USB specifications, these cables ensure consistent and reliable conductivity, and the fastest and most reliable transfers.
What cable do I need to shoot tethered?
Whether you have a new camera out of the box or you want to start shooting tethered like a pro, it’s important to note that not all cameras use the same cable connectors. Tether Tools has the right cable for most camera brands. Through research and technology development, Tether Tools has designed the perfect fit for your camera.
My TetherPro USB cable is 5 meters long, can I go longer?
When using longer cables, power is lowered and can lead to slow transfer speeds, dropped signals, workflow delays, and major complications for your shoots. The TetherBoost Pro USB 3.0 Core Controller boosts and regulates the power from your camera or digital back to the computer. You can now maintain a stable and consistent connection.
The TetherBoost Pro USB-C Core Controller Extension Cable extends the cable an additional 5m while enhancing the signal to help move your images up to 10Gbits for the fastest and most secure way to transfer your files from your camera to your computer. Connect a base tethering cable, up to 4.6m, to get a maximum length of 9.4m of distance while maintaining high transfer rates and connection stability.
Why are TetherPro USB Cables thicker than the cable that came with my camera?
The reason is the increased insulation – notice the thickness of the colored part around the copper wire as well as the increased white insulation between the colored wires. This provides two benefits. First, this added insulation provides extra protection to the stranded copper wire that transmit the signals from your camera to your computer, standing up to kinks, knots, and people stepping on your cable. Second, it provides greater shielding on the wires itself to prevent signal interference or noise in the transmission.
What’s the best way to secure my cable so it doesn’t get jerked out (or even wiggle out of my port)?
Any photographer who shoots tethered will tell you that one of the most frustrating things that could happen on set is an accidental disconnection of the cable from the camera. A trip or tug can cause your tether cable to become dislodged or cause serious damage to your camera’s data ports.
The orange colour ensures cables can be seen throughout the studio, during on-location shoots, and also makes it super easy to find in your gear bag. With multiple people (models, photographer, makeup artist, stylist, clients and assistants) all on a shoot, it’s inevitable someone will not see and trip over a cable in a sea of silver and black photography equipment positioned on set.
TetherPro high-visibility cables are bright orange to bring attention to the cable and avoid accidents. With the cable attached to expensive camera and computer equipment, avoiding accidents can save thousands of rands in damage.
How can I best take care of my cable?
A quality tethering cable is an investment and proper care and storage will help you get the most life out of it. Inside your cable are sensitive wires and shielding designed for fast transmission speed and noise-reduction. Although durable, if folded, bent or pinched you could experience communication errors. In addition to storing the cable in a Standard Organisation Case, a proper wrap post-shoot is always important. The good folks at The Film Look recently released a great video highlighting the best method on how to wrap your cables for both longevity and to avoid tangles.
Throwing cables in a bag or just bundling them up in a case is a big no-no, as shown in the video when storing your tethering cable always try to lightly roll your cables into a loose coil going with the natural curve of the wire. When not in use, try storing your tethering cable in a protective case where dust and impurities will not get lodged into the connector ends.
RED Digital Cinema has released a featurette of The Suicide Squad and how it was shot. Director James Gunn and cinematographer Henry Braham offer their insight into the cameras used for filming and how RED’s innovative technology made shooting action sequences easier. Together, Gunn and Braham evolved a dynamic shooting style that they agree wasn’t possible before the creation of RED’s latest camera innovations. “The Suicide Squad is a rollercoaster ride on the big screen,” Braham says. “You want the smallest physical technology you can possibly have with the best picture quality you can possibly achieve. That’s the case with RED.”
The movie was filmed entirely with IMAX-certified RED cameras. Gunn talks about just how awesome they are: “The way that this movie is shot is the way that I have wanted to shoot every movie in my brain, and it hasn’t been possible until this film.”
With so much action packed into every scene, shooting was quite a challenge . . . one that the RED was up to. Gunn and his team were able to move around easily due to RED’s ‘high resolution in a smaller camera design’ innovation. A lot of the filming was handheld for high maneuverability. Gunn remarks: that “Nearly every shot in this movie is moving. And not only it is moving, but we want to get it really close and around people and between people, and you just can’t do that with a bulky camera.” Each camera was mounted in a different way to offer maximum flexibility on set, allowing the team to shoot different angles of the same scene. Braham and his team made customised gyrostabilised mounts to enable genuinely stabilised hand-held movement: “The physicality of these cameras means you can invent entirely new ways to use them,” Braham says. “It’s like having an array of musical instruments all tuned in different ways for different shots. I can put one down and pick another up to achieve the exact shot we need.”
Cameras used included RANGER MONSTRO 8K VV, WEAPON 8K VV, and KOMODO: “Komodo is a great little camera,” Braham says. “There are shots in the movie we could only get with something that small that comes with high-res imagery.” He adds, “In the past, the technology has defined the types of movies… and I think that guys at RED are at the vanguard of this, you can now say, ‘this is the requirement of the movie. What’s the technology that we need to do it.’”
Tethering is essential to any photographer’s or videographer’s workflow. There are many USB cables out there, so why does it matter what brand you choose? For starters, there is more technology involved than we think so choosing the right cable for the job is important. To tether your camera to your computer/ device while working freely at a distance, you need a cable that’s up to some serious data transfer demands. It needs to be tough, protected, and able to withstand the wear and tear of processing high volumes of work at fast speeds, and withstand being dragged around studio floors all day. If you shoot tethered for clients, you’ll want to invest in a quality cable. Tether Tools is well known for its variety of products that make tethering easier and safer for your equipment. Their TetherPro cables were specifically designed with photographers and image transfer speeds in mind. You can notice the difference between a Tether Tools TetherPro USB Cable and your standard cable immediately. From the bright colouring to the thick diameter and reinforced connectors, you can tell these cables are made for the serious demands of daily use. Let’s take a closer look at what sets Tether Tools cables apart from the rest:
Tether Tools’ high-visibility orange TetherPro USB cables are undoubtedly kings of tethered photography, and are the only choice of professional photographers and videographers everywhere. You’ll recognise the trademark bright orange on professional sets around the world. You may find cheaper cables out there, but given the importance of tethered workflow, why compromise? TetherPro cables are constructed to the highest possible USB specifications and incorporate all of the latest technology ensuring consistent and reliable conductivity, and the fastest and most reliable transfers.
High-Visibility Orange Colour
While most of TetherPro cables also come in black, we recommend the orange and it’s not just about looks. The bright orange colour ensures cables can be seen throughout the studio, during on-location shoots, and also makes it super easy to find in your gear bag. With multiple people (models, photographer, makeup artist, stylist, clients, and assistants) all on a shoot, it’s inevitable someone will not see and trip over a cable in a sea of silver and black photography equipment positioned on set.
TetherPro high-visibility cables bring attention to the cable and avoid accidents. With the cable attached to expensive camera and computer equipment, avoiding accidents can save thousands in damages.
A cable’s weight and quality are also essential. Take a look at the photo above. The TetherPro Cables are thicker than your average cable. The reason is the increased insulation – notice the thickness of the coloured part around the copper wire as well as the increased white insulation between the coloured wires. This provides two benefits.
First, this added insulation provides extra protection to the stranded copper wire that transmit the signals from your camera to your computer. In other words, it stands up better to kinks, knots, and people stepping on your cable. Call it added insurance. Your cable will be dragged around the studio floor as you shoot so you need a cable where it’s exterior and connectors are tough, well insulated and protected.
Second, it provides greater shielding on the wires itself to prevent signal interference or noise in the transmission.
Constructed to the Highest Possible Standards
Many manufactures are able to make and sell cables cheaply by hitting the minimum required specifications for a cable. The TetherPro Cables are designed to the highest spec possible for that particular cable and connection. What that means is if the spec calls for a Ferrite Bead (that round part found at the end of some cables) or gold-plated connectors, then you can rest assured that the TetherPro cable has it.
Lengths Specific to the Photographer’s Needs
With years of industry research and experience, Tether Tools has found that one of the best ways to protect a cable and make it work to its fullest potential is to provide the appropriate length for the job. once you hit a certain length, the data transfer can become slow and unreliable. Technical issues including a dropped tethered connection are incredibly frustrating, especially with clients on set. This is why Tether Tools cables do not come in over 4.6m but rather provide you with the option of active extensions to ensure reliability and stability every time you shoot. TetherPro USB Active Extension Cables allow you to shoot tethered up to 20m without worrying about signal errors or corrupt data transfers.
Savage Widetone Seamless Background Paper has been the industry standard of quality backdrops for professionals. They can be used for photographic — such as portrait, commercial and product — and video shoots alike. They are also great for other applications such as theatre productions, special event decorations, display banners, posters, and even video projection screens.
These Paper Backdrops are easily interchangeable to achieve different looks and feels, helping you get the most out of your shoot. With over fifty shades, there is no problem getting the exact colour, and no surprises or permanency. The paper is high-quality with an exquisite, fine-tooth feel that belies its inexpensive price tag. They offer a smooth, non-reflective surface, just roll the paper down, and when you are done, simply roll it back up. Set up is convenient and quick, making them even fit for outdoor use.
The thick quality paper is sturdy, so you won’t get any kinks or creases. If the floor part does get ruined, simply cut it off and roll more of the paper down, even during the same session. The versatility these backgrounds offer is ideal for any shoot, so your creativity is never limited.
Savage Seamless Paper Backdrops are core-wound on a sturdy cardboard inner core for easy hanging from a backdrop stand or other support. Colours run from the basics to the exotic and just about anything in between. There are various sizes to choose from as well.
Looking for the most temperature-neutral greys? Try Stone Gray and Thunder Gray or our shade closest to an 18% gray card; Smoke Gray. (Please note that Seamless Paper is a dyed natural product and colour can vary slightly from batch to batch.)
The Savage Difference!
Established and Reputable
Family-run from the start, Savage is the gold standard for high-quality background paper from a company that has been perfecting photographic products since 1937.
Savage is committed to producing products that are environmentally friendly. Their paper products utilise on average 75% recycled fibre.
Savage Seamless Paper is produced in their on-site plant in the USA. Savage is known for their family business atmosphere, and is committed to the highest working standards.
Savage Seamless Paper is high-quality with an exquisite, fine-tooth feel that belies its inexpensive price tag.
Savage Supports Animal Rescue & Welfare:
Cine Photo Tools is the South African distributor of Savage products. We have the largest selection of paper backdrops.
Roger Horrocks, DP of the Netflix documentary My Octopus Teacher has been interviewed and had some of his clips featured on RED Digital Cinema’s Behind the Look: That Shot series. He chats about his filming history and how important shooting wildlife and its stories are for both filmmakers and audiences. The documentary has won more than 20 international awards, including an Oscar for Best Documentary Film and a Golden Panda Award.
My Octopus Teacher tells the story of filmmaker Craig Foster, who for almost a decade would take daily trips into the cold waters of False Bay, snorkelling in the kelp forests. While free-diving there, he encountered an octopus that would come to have a profound impact on him. He returned to her every day, documenting most of her short life cycle, forming a strong connection that would ultimately have a healing effect on him. During his journey, he invited Roger to join him in this extraordinary experience.
Roger is an Award-winning cameraman and has filmed underwater and aerial sequences for documentaries and features such as Our Planet and Blue Planet 2. He bought his first RED camera in 2015, a DSMC1 6K Epic Dragon, and still uses it today affirming in a social media post that “it is still creating luscious imagery that complements the potent 8K DSMC2 Helium. Tweaking the white balance of redcode raw footage in RedCineX to reveal the astounding colours of the silent world is undeniably one of my sweetest pleasures!”
Roger used a RED DRAGON to shoot scenes in My Octopus Teacher.
The two monitors are a simple, but meaningful, update to the FSI product line, and direct replacements for the AM210 and BM210 respectively with one key distinction from the older units, an all-new backlight providing two significant measurable performance improvements: Maximum colour gamut is now 96% of P3 compared to Rec709 maximum of previous models. Better black levels thanks to a 30%+ increase in contrast ratio.
Additionally, the new backlight uses a very similar LED element that is found in their higher-end DM170, DM240, and XM310K monitors further bridging the gap between entry level and top of the line solutions.
At the same price as the older units, the AM211’s and BM211’s wide colour gamut, higher contrast, and new backlight technology will be a welcome addition to facilities and productions that want to mix in more affordable monitoring options while preserving a great deal of visual consistency with their hero monitors.
From Editorial to Video Village – Colour Accuracy on a Budget
The AM211 is an affordable and accurate professional broadcast monitor. Large enough to be used in an edit suite yet lightweight, durable, and compact enough to work exceptionally well as a field monitor.
The Tools You Need and An Image You Can Rely On
The BM211 is a lightweight, power-efficient, and colour accurate professional display with an extended feature set geared towards production, editorial, and broadcast. The BM211 builds on the AM211’s capabilities with additional hardware that supports popular features like live side-by-side viewing for two signals, look LUT support, dual-link SDI compatibility, our advanced Video Data Analyzer, HDR Preview modes, and much more.
Additionally, FSI has brought tetrahedral LUT interpolation to the BM211 to maximize the performance of both calibration and look LUTs. Moving from trilinear to tetrahedral LUT interpolation further ensure consistency with FSI’s higher-end DM and XM series monitors, which all use tetrahedral LUT interpolation.
The Canon EOS R3 has just been announced by the camera giant – While details are limited, the camera will clearly be positioned above the EOS R5. Cross this with build quality and speed of the EOS 1D X Mark III, and it’s looking like this will be Canon’s most powerful full -frame stills camera for sports and news photographers.
Canon boasts that the EOS R3 features a new BSI stacked CMOS sensor, a powerful DIGIC X imaging processor, shooting capabilities of 30fps with AF/AE tracking, eye, head and body detection and a pioneering new autofocus Eye Control Function. It is the ideal camera for action photographers looking for quality images, both still and moving, of objects travelling at intense speeds.
The R3 is promised to be an “outstanding complement” to the two super-telephoto lenses also announced for the RF mount: the RF400mm f/2.8 L IS USM and RF600mm f/4 L IS USM, and that it will place great emphasis on “superb autofocus performance and speed, with fast-moving subjects.”
With pin-sharp accurate tracking and focus on fast-moving action, the EOS R3’s next generation Dual Pixel CMOS AF can track subjects’ eyes, heads and bodies travelling at speed – excellent for capturing even the finest of details in a split second. What’s more, Canon reveals it will add a new subject (yet to be disclosed) to the camera’s AF tracking.
One exciting new feature is the ground-breaking Eye Control Function, which enables users to simply select and move the AF point using their eye via the viewfinder. This instinctive feature offers professionals natural and speedy control over AF. Reducing the time to focus, which is usually done with a multi-controller/button.
The EOS R3’s build is Inspired by the EOS-1D series, allowing for ultra-intuitive control in the most demanding professional situations. Professionals will have the confidence to keep on shooting – whatever the conditions – whether they are pitch side or poolside, inside or outside, in snow or sunshine.
Initial EOS R3 key features:
· New Canon-developed stacked BSI CMOS sensor
· 30fps with AF/AE tracking
· Eye Control Function
· Subject eye and head detection
· Dual Pixel CMOS AF
· 1D series weather resistance
New lenses also announced:
The RF 100mm F2.8L MACRO IS USM – an impressive macro and portraiture lens which is the world’s first AF macro lens with 1.4x close-up magnification. In addition to this Canon also revealed details of a the new RF 400mm F2.8L IS USM and RF 600mm F4L IS USM, two telephoto prime lenses designed to meet the demands for sports and wildlife professionals, with incredible focal lengths and capabilities, especially when paired with EOS R3.
In portrait photography, your background should play a supporting role to your subject (background complementing foreground). To do this you need to flatter and accentuate your subject’s skin tone, especially when working with skincare or makeup brands. Enhancing without distracting from her/his features is a great way to strengthen a natural beauty concept.
Starting by selecting the right Savage seamless paper backdrop, and then modifying the tonality through your lighting setup and post-production processes, you can achieve a flattering background to complement your beauty model’s skin tone. Whether you blur your background, or use sharp, front-to-back focus, your background is vital to your final image.
Watch veteran portrait photographer, Lindsay Adler, as she selects her go-to seamless paper backdrops and adjusts them to flatter skin tones for any campaign. Find out which two Savage paper colours are her absolute must-haves for lighter and darker skin tones.
In the video, we not only have great behind-the-scenes footage, but we also get to see the versatility of paper backdrops, and how they can be used to support many different looks depending on how you choose to light them and your subject.