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Posts Tagged ‘Cable’

A DIY solution to adding a mechanical cable release to digital cameras with hotshoes

23 Nov

A recently featured Instructable guide from user ‘Steloherd’ details the creation of a mechanical release cable for his camera’s shutter. The project involves a spring plate and hot shoe mount, as well as basic tools that include a hacksaw, sandpaper, pliers, a thread cutter, drill, and drill bits. The release cable serves as an alternative to a wireless remote control or mobile app.

As explained by ‘Steloherd’ on his Instructable guide, the mechanical release cable system is lightweight and simplistic, involving a hot shoe mount, spring plate, aluminum arm, mechanical release pin, and a threaded release cable. The most complicated part of the project for most people would likely be the use of a thread cutter to convert the release cable to an M3 thread.

At the end of the guide, Steloher describes some alternative parts that can be used in the creation of this mechanical release. In order to reduce the project’s complexity, for example, DIYers can harvest a release button with threading from an old 35mm camera, then glue that button to the aluminum arm instead of drilling a hole and cutting an M3 thread.

The finished product is demonstrated with a Ricoh GR II digital camera but could be modified for use with other cameras that feature a hot shoe.

Photo credits: Images by Steloherd via Instructables, used under CC BY-NC-SA 4.0

Articles: Digital Photography Review (dpreview.com)

 
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MIOPS Mobile RemotePlus Review – Taking Control of Your Camera in Ways a Cable Release Never Can

31 Mar

The post MIOPS Mobile RemotePlus Review – Taking Control of Your Camera in Ways a Cable Release Never Can appeared first on Digital Photography School. It was authored by Peter West Carey.

MIOPS Mobile RemotePlus is a handy device and app to help you take control of your camera in ways a simple cable release never can. Sleek and stylish, the unit sits on your camera’s hot shoe and can provide a variety of functions through the easy to configure app for iPhones or Android phones.

What is it?

The MIOPS Mobile RemotePlus has three main components:

  1. The remote trigger that sits on your camera’s hot shoe
  2. A release cable specific for your camera type
  3. The MIOPS Mobile app

The app works with the unit via Bluetooth, sending and receiving information constantly while in use. It is important to note that the unit can continue on its own, after being sent a command, if you close the app or you lose connection. So if you start a 500 image time-lapse, you can effectively let the unit continue working without babysitting it.

The RemotePlus will set your shutter speed for the various modes explained below, but you will still be in charge of ISO, Aperture, White Balance and any other setting you choose. Some RemotePlus modes work better with Manual mode on your camera while others, such as the Long Exposure Timelapse, will need Bulb mode.

Getting Started

After unpacking the RemotePlus, you’ll need to connect it to your camera’s remote port. This process is different for each camera. Hook the other end of the cable into the side port on the RemotePlus, which has both a receptacle to attach to a camera hot shoe and a standard tripod threaded hole.

The app can be downloaded from either Google Play or Apple Store.

The app has a demonstration mode if you want to download it before you buy the unit to see how easy it is to use.

You will need to register your device with MIOPS if you want to upgrade your firmware. After signing on, you will see a screen like this one:

Choosing the MobileRemote and the app will scan for nearby remotes:

Clicking on the only unit available brings up a full menu of options:

Whoa now! There’s a lot there to parse through, so let’s take them bit by bit.

What can it do?

Cable Release Modes – 6 Varieties

Let’s start with the basics.

While connected to your camera and smartphone, the RemotePlus functions as a shutter release for your camera in six modes:

Cable Release

This mode is straightforward and perfect for those who don’t want to stand with their camera while taking a photo. Pressing the large button on the screen (see below) will trigger the shutter in whatever mode you have set on the camera. For instance, this mode is great for sitting at a campfire while your camera is set to take photos nearby.

Press & Hold

Press & Hold take things up a notch and is perfect to use when you are waiting for some action. It’s the same as pressing and holding the shutter release on your camera in Bulb mode. The longer you press, the longer the exposure.

Results will vary with duration and here is one simple example of eight seconds on a freeway overpass.

Press & Lock

Don’t want to bother holding the button on your screen while waiting? Press & Lock is where it’s at. Same as above, but now you have to tap the main button on the screen a second time to stop the exposure. There is a timer shown at the bottom of the screen for your convenience.

Timed Release

Going one step further, if you know you want a 10-minute exposure, Timed Release is the correct mode for you. Just enter in the appropriate shutter release time on the screen, set your camera to Bulb mode while adjusting the ISO and Aperture to your liking. Once you press start, it’s all taken care of for you.

On the display are places for hours, minutes, seconds and decimals of a second. In this example, I chose 12 seconds for another overpass shot.

Self Timer and Timed Release & Self Timer

The Self Timer mode is just like the self-timer on your camera, but you can set the delay, up to 99 hours in the future.

Lastly, the Timed Release & Self Timer combines the last two sections to allow for a delay and then a long exposure.

In each of these modes the command is sent from the app and then stored in the unit, so you don’t need to be present or within range for the unit to take action.

Timelapse – 4 Main Varieties

While the RemotePlus will not create the final video file for you, it will greatly simplify your ability to create fun and unique timelapses in a few different modes. More information on compiling the timelapse can be found here on DPS.

Basic Timelapse

The Basic Timelapse mode will take care of all your simple timelapse needs. It’s there for you to point, focus, and create with ease.

On the first screen you set the interval between photos, and on the second, you set the number of photos you want to take. It’s that easy! Press Start and away your camera goes.

The two screenshots above show the app screen while the camera shoots. The circle around the interval counts down until the next shot, while the current frame and remaining time display on the bottom. Up top are the overall settings.

The app has a nice feature to help reduce accidental stops; you have to press the lock button before you can click on STOP. It’s possible to still stop the app on accident, but the extra step helps.

It’s up to you to set your camera on your preferred mode. Manual Mode with the White Balance set often gives the best results for consistent image quality.

Long Exposure Timelapse

Long Exposure Timelapse is where things become more complex but also more exciting as far as the results. Here you will again set the interval between shots and the number of shots, but you will also set your camera to Bulb mode and set the shutter speed in the app.

After pressing Start the screen will change, as with the Basic Timelapse, but now two countdown circles will appear.

These circles will show you the amount of time left in each interval and exposure.

You can use the Long Exposure Timelapse for a variety of subjects. Below are two examples I shot of the same subject, but with slightly different settings for varied effects.

The first had settings of ISO 100, f/7.1 and 1/100th (Standard Timelapse Mode) while the second had settings of ISO 100, f/22 and 1/5th (Long Exposure Timelapse Mode). The difference is apparent in how blurred motion from the cars can impart more motion.

Here are three more tests at 1/10th second shutter speed, .6 seconds and 1.2 seconds. All timing set from the app in Bulb Mode.

Bulb Ramping Timelapse

Bulb ramping is a manner of shooting while the lighting changes. This is most often performed at sunrise or sunset and can cover an extended period, such as an hour. While the camera is in Bulb Mode, the shutter speed is gradually adjusted to keep the overall exposure consistent, so the timelapse does not change from very dark to very bright.

It’s important here to understand some limits and to plan for them with this mode.

Most cameras are limited to 1/30th of a second in Bulb mode with a cable release. Check with your owner’s manual to see what limits Bulb Mode and using a cable release may put on your photography.

This mode also requires planning ahead to know – or at least make a good guess – which exposure settings to use at the start and end of the ramp. The ramp is linear in its progression, so you will need to choose a time of gradually increasing or decreasing light. If the sun suddenly shines brightly on your scene once above the horizon, but then ducks behind some clouds, the effect might be rather jolting.

To use this mode:

The Bulb Ramping mode has four settings.

The first is the interval between shots. The example below shows 30 seconds.

The second screen sets the shutter speed of the first image. Because I am using a Canon, I set it to 1/30th of a second above (the fastest Bulb will handle, even though the screen shows a decimal of .01, or 1/100th of a second).

The next screen is the final shutter speed. This is where math, planning and scouting help. You will need to calculate how long you want your bulb ramp to run, from start to finish, and know what the lighting will be at the start and finish. In this case, I picked 20 seconds for an end shutter speed (left, below).

The last screen asks for the number of frames to shoot. Here, it will shoot 60 frames, one every 30 seconds.

That will make for a total time of 30 minutes from start to finish. It’s important to plan ahead to make sure these shutter speeds will work for the given lighting. While you can adjust aperture and ISO to help compensate, if the end time of your timelapse is too long, your images will become blown out. Too short and you’ll be left in the dark.

Planning is crucial to this mode.

HDR Timelapse

An HDR Timelapse is the same as a normal timelapse, but the mode does all the shooting for you if your camera doesn’t have this ability built in. It can shoot a sequence of 3, 5 or 7 shots, for each step of the timelapse, but it does have the limitation mentioned in Bulb Ramping above; that you can not shoot faster than 1/30th of a second on most cameras. This does limit its abilities.

The brackets are set around a central time setting, such as one second (in the example below). Below that the exposure shift, in terms of EVs, is set, followed by the number of frames. The unit will keep you in check if you pick settings that won’t work with Bulb mode, such as choosing 1/15th of a second, seven frames and 2-stops of EV shift in each image.

Lastly, set the Interval between shots and the number of frames. If you don’t know the number of frames you want to shoot, simply pick the infinity setting and stop the sequence when you have enough.

More information on using bracketing can be found in this DPS article.

Road Lapse, A Special Kind Of Timelapse

Road Lapse is a fun tool to use, not only while driving but also on a train, boat, hot air balloon or anywhere else you have a GPS signal. The app uses that signal then asks you how often you want to take a photo, be it in feet or meters. You also set the number of photos or just set it to infinity which allows you to stop the Road Lapse when you are finished.

What’s different about this mode as compared to a standard timelapse is there is no perceived slowing and speeding, such as when a car comes to a stop sign. Because the mode is distance-based, a rough calculation can be made with regard to timelapse length when the driving distance is known.

For instance, one mile is 5280ft. If you set the device to shoot every 40ft, that will net you 132 images. At 30 frames-per-second, the timelapse would turn out to be 4.4 seconds long. It won’t matter if it takes you 60 seconds or 15 minutes to travel that distance, the video will be the same length.

It does make things appear sped up. In the examples below, the first shows a regular timelapse in a car at night. The second video shows the Road Lapse. In the second video I stopped at four different stoplights, but you don’t even notice them. I think each mode has its strengths and weaknesses and it matters what you want to create.

For a unique test, I set my camera up on a Washington State Ferry, shooting off the back with the distance set to 40ft.

HDR Bracketing

HDR shooting uses the same functionality as mentioned above with HDR Timelapse. You can take a series of shots, offset by specific stops and then combine them in the computer later for an image with more dynamic range than a single image.

It has the same limitations mentioned above.

Sound

The Sound Mode is triggered by sound and you can choose the threshold via the app.

You will set your camera’s exposure either on Manual or another mode of your choice and leave shutter release up to the MIOPS trigger. I made some attempts at dropping (fake) ice into a glass to catch the splash. You can stop any action that makes a loud enough noise in motion with this mode.

The mode can be set to take just one photo or continuous photos until the sound drops below the threshold. You can also input a delay. Activation of the shutter will happen from 10 milliseconds to 99 hours.

A better example can be seen in Erik Lindegren’s photo, highlighted on Miops’ Instagram feed.

Vibration

Like Sound, Vibration relies on your phone to trigger the unit. And like Sound, you can set the sensitivity so small bumps won’t set off the unit, but large ones will.

Again, a delay can be set and continuous shooting can also be chosen.

Lightning

Most lightning photos in the past were taken by leaving the shutter open for a length of time, maybe 30 seconds. The overall exposure was balanced for this and fingers were crossed, hoping for great bolts.

The problem with this method is shots during the day were difficult with long exposures without the use of a neutral density filter. Even then, a vast multitude of images had to be taken, and the frame had to be clear of other moving objects (trees, for instance) or they could blur.

The Lightning trigger simplifies capturing images and can offer better exposures of daylight and dusk images. Your camera will need to be in Manual Mode where you can set the shutter speed, aperture, and ISO to your liking. Compose the shot with anticipation of where the lightning will strike.

You will set the sensitivity, and that’s it. A higher sensitivity number means any small flash will trigger the unit, while a lower number means much more light (larger bolts) is needed.

Then press the “Go” button and sit back to enjoy the show while your camera does all the work.

As luck would have it, a thunderstorm rolled by in the distance while I had the unit for testing. The lightning was about 10-12 miles away, and I ended up using a 10-22mm lens, with some cropping for the final images. All images shot at ISO 800, f/5, 1.3 second and 22mm.

TIP: If you are curious about where the lightning is striking and which way a storm is moving, check out Blitzortung.org for real-time updates. While watching this storm, I found the delay from the time of strike to it showing up on the map was about 5 seconds. Often the map would update before the thunder made it to me.

Motion

Switching to Motion requires the use of your phone as the ultimate trigger. You can make the settings for your camera manually, or in any mode you desire, while the shutter will trigger when the view from your phone’s camera notices motion.

The advantage here is that the phone can be set up remotely from the camera (within Bluetooth range, however) and made to cover a specific area.

In this example, I set my camera on a tripod with a long lens to capture birds coming to my bird feeder. I prefocused on the feeder and then moved the field of view just off to the side. I then switched to manual focus to lock focus.

I set the camera with a fast shutter speed and the ISO with a shallow aperture so I could capture the fast movement of the birds (ISO 1250, f/7.1, 1/1250th). I then set up my phone with an adjustable, gripping tripod, on top of the feeder, looking down. The field of view of the phone would cover the side of the feeder, where my camera was focused.

That’s the view on the phone screen while setting up the shot. As you can see, much like other modes, you can set a delay after the app notices movement (handy if you put the phone somewhere on the approach to your camera) and the number of frames the camera will snap each time.

Below the screen is the Accuracy Rating. Moving it left means any little movement will set off the unit while moving it right requires a lot of movement before triggering.

The results, as you can see, were easy to capture while I sat inside enjoying the action.

If the rains hadn’t started, I would have captured more. While I could have taken the shots above manually, more birds showed up when I went inside and let the camera do its thing. For skittish subjects, the RemotePlus is a definite benefit.

You can use Motion in this manner for any number of moving subjects where their path is predictable. It will be a drain on your phone’s battery, though, as the camera and screen are on the whole time.

Laser

The Laser trigger mode is handy if you have a laser and expect the beam to be broken at a precise location. You will need a laser source, but just about any constant-on laser can be used, such as a presentation pointer or even a laser level.

Point the laser at the sensor on the front of the RemotePlus, and set your camera’s focus and mode accordingly. It’s similar to the motion feature above, but a bit more specialized for more precision.

Conclusion

This review was harder than I believed it would be because of the number of features packed into the small unit. Also, during the review, I had access to MIOPS staff for questions and found them not only responsive to feedback but updating the app as I wrote. In a company and product, I like to see that nimbleness and desire to improve.

After the testing I put the Miops Mobile RemotePlus through, I would purchase one for my own photography. While it had some room for improvement (the manual sometimes lags behind the quick pace of upgrades, and the Motion feature does have a limit when it comes to Bluetooth connectivity, but that is inherent in the protocol.), I do enjoy updates of the unit, both software and firmware, regularly.

The two big plusses for me are the timelapse features (including the HDR one in specific cases) which add timing capabilities that my current Canon intervalometer lacks, and the lightning shooting, especially for daytime shots.

 

Disclaimer: MIOPS is a paid partner of dPS

The post MIOPS Mobile RemotePlus Review – Taking Control of Your Camera in Ways a Cable Release Never Can appeared first on Digital Photography School. It was authored by Peter West Carey.


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Hasselblad launches new cable release, battery charging hub for X1D

16 Mar

Hasselblad has introduced a cable release for its X1D medium format rangefinder-style camera alongside a new USB double battery charger. The Release Cord X is 90cm/36in long and triggers the shutter in single shot and continuous modes, and controls the camera via its microphone socket.

Dual slots on the Battery Charging Hub allow for two batteries to be charged simultaneously and for the camera to be powered via the USB C connector. The hub can be plugged into the AC power supply to charge batteries and the camera, or it can be fed from a portable power bank. The hub is compatible with both battery varieties the camera takes, but charges the newer 3400mAh models 25% more quickly – in 2 hours 18 minutes for one and 2 hours 48 minutes for two. The older 3200mAh model takes 3 hours.

Batteries can be checked via the LED panel that monitors the charging process as well as providing a quick levels readout for partially charged units.

The Hasselblad Release Cord X will cost €69 / $ 80 / £64 / JPY¥9360 excl. VAT. / CNY¥629 incl. VAT, and the Battery Charging Hub will be €129 / $ 155 / £115 / JPY¥17460 excl. VAT / CNY¥1199 incl. VAT. For more information see the Hasselblad website.

Press release:

{pressrelease}

Hasselblad X system expands with Release Cord X and Battery Charging Hub

Hasselblad proudly expands its photographic tool kit for the X System with the introduction of the new Release Cord X and Battery Charging Hub. With Hasselblad’s full commitment to the development of the X System, these two new accessories alongside the introduction of the newest XCD Lenses greatly expand the creative capabilities of the revolutionary mirrorless medium format X1D-50c.

The Hasselblad Release Cord X allows for remote shutter actuation, an invaluable tool when eliminating shake or vibration is paramount. A durable cloth-wrapped 90cm (36 in.) cable connects to the X1D-50c’s microphone input port and the remote’s simple single button operation allows photographers to keep vibration to a minimum. When autofocus is enabled on the camera, a single action swiftly starts autofocus and then releases the shutter. Holding the button down when in Continuous Capture mode allows for multiple frames to be captured, whilst setting the camera in Manual Focus mode allows for Release Cord X to fire the shutter without delay. Its durable metal construction matches the adventurous endeavours of Hasselblad’s X System users and its slim, ergonomic design fits comfortably in the hand. For seamless functionality, the X1D should be updated to the latest 1.22 firmware available at My Hasselblad.

The Hasselblad Battery Charging Hub makes it possible for a Hasselblad photographer to streamline the battery charging process, allowing X1D photographers to go further with their creative pursuits. Its dual slots support the simultaneous charging of two batteries while an integrated USB Type-C connector supports mains power via an included power supply or from common external USB battery banks (sold separately). Front-facing LEDs indicate status and capacity when charging, or users can use the Battery Charging Hub to check battery levels simply by inserting a battery and pressing a single button. The Battery Charging Hub supports both first-generation 3200mAh X System batteries and current 3400mAh batteries, the latter of which support quick-charging up to 25% faster than the former. This equates to a completely replenished single battery in 2 hours 18 minutes, or dual batteries in 2 hours 48 minutes. First-generation 3200mAh batteries recharge completely in approximately 3 hours and completed charging cycles are indicated by an audible chime in either situation. With a durable metal construction and compact design, the Battery Charging Hub is posed to simplify a critical aspect of photography and ensure that maximum creative vision can be achieved.

The Hasselblad Release Cord X is available to purchase with an MSRP of €69 / $ 80 / £64 / JPY¥9360 excl. VAT. / CNY¥629 incl. VAT.

The Hasselblad Battery Charging Hub is available to purchase with an MSRP of €129 / $ 155 / £115 / JPY¥17460 excl. VAT / CNY¥1199 incl. VAT.

{/pressrelease}

Articles: Digital Photography Review (dpreview.com)

 
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New Sony release cable enables dual-shooting with the RX0

23 Feb

In addition to the new HVL-F60RM wireless flash, Sony also debuted a new release cable that might be of interest to owners of the company’s ultra-compact DSC-RX0 sort-of action cam. The VMC-MM2 cable is Sony’s “convenient dual-camera shooting solution” for users who want to shoot with their Sony ILC and RX0 at the same time.

The cable is used to sync your Sony alpha (or Cyber-shot) camera up with an RX0 enable simultaneous photo/video capture using only the main camera’s release button. To quote Sony:

This form of dual-camera shooting is especially useful for wedding, event and press conference photographers and journalists. It offers the opportunity to capture multiple perspectives using different angles of view that can be edited and packaged into an impactful series of work.

The new VMC-MM2 release cable will be available starting in April for $ 50 USD (or €55).

Press Release

Sony Introduces Dual-camera Shooting Solution for RX0 with Launch of new Release Cable

SAN DIEGO, Feb. 22, 2018 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today announced the latest addition to its family of RX0 solutions with the launch of a new Release Cable, model VMC-MM2.

Helping to break down barriers to shooting style and image expression, the VMC-MM2 is a new solution for convenient dual-camera shooting, freeing the user to capture two different perspectives simultaneously.

The ultra-compact dimensions and superb image quality offered by the RX0 make it the ideal accompaniment to other cameras for dual-camera capture. By mounting an RX0 to the Multi Interface Shoe™ 1 or bracket/rig, users can use the RX0 to shoot high quality images concurrently with their main Sony ?™ or Cyber-shot® camera body2. The VMC-MM2 cable realizes simultaneous photo/movie shooting3 with just a single press of main camera’s release button. This enables the user to capture one moment in two different ways, with a variation of angle of view, depth of view or frame rate. The cable also has a coiled design with a right-angle connector to minimize clutter and keep it clear of the EVF during shooting.

This form of dual-camera shooting is especially useful for wedding, event and press conference photographers and journalists. It offers the opportunity to capture multiple perspectives using different angles of view that can be edited and packaged into an impactful series of work.

Pricing and Availability

The new VMC-MM2 will be available in North America in April, 2018 priced at approximately $ 50 US or $ 60 CA.

1 Shoe Mount not included

2 Refer to the Sony support page for camera compatibility information http://www.sony.net/acc/mm2/

3 To synchronise movie REC/STOP, the main camera must assign “Movie w/ shutter” to its release button

Articles: Digital Photography Review (dpreview.com)

 
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High Sight launches the Mini portable cable camera system

14 Dec

Manufacturer of cable camera systems High Sight has unveiled the latest addition to its product lineup. The Mini System was designed with portability and ease of use in mind, but builds on High Sight’s experience building larger and more complex products. The unit is controlled via a button interface and can carry gimbals, such as the DJI Osmo, Gopro Karma Grip and similar models.

“The High Sight Mini has been a blast to create and will be a game changer.” said Kevin Brower, president and chief executive officer of High Sight. “The Mini has evolved into something more than we could’ve hoped for. With our ping pong mode, you can set it up and walk away, it’s like having an extra cameraman on set just continually getting great footage.”

The Mini uses speed and position sensing for smooth movement and has been developed to be be fully autonomous. According to High Sight, this means the operator can focus on camera control, allowing for single user operation when normally two users would be required.

The Mini is made from machined aluminum and weighs only 1.3 lbs (0.6 kg). It can carry a payload of 3.3 lbs (1.5 kg) and easily fits into a backpack.

The demo reel below will give you a better idea of the kind of shots that are possible with the company’s cable systems. And if you think the Mini could be a useful tool for shooting your next video, you can find more information on the High Sight website.

Press Release:

High Sight Mini Sets The Bar With Ultra-Portable Design And Smart Functionality

Features Fully Autonomous Mode, Whisper Quiet Movement, and Reliable Performance. High Sight Launches New Product Allowing One of a Kind Shot.

Salt Lake City, Utah, November 7th, 2017 – High Sight (highsightcam.com) cable camera systems is proud to launch the ultra-portable and fully autonomous Mini system. The new system was developed through years of experience building larger and more complex products. The Mini was brought about when creator and owner of High Sight saw a need for a smaller version in their current product line.

“The High Sight Mini has been a blast to create and will be a game changer.” said Kevin Brower, president and chief executive officer of High Sight. “The Mini has evolved into something more than we could’ve hoped for. With our ping pong mode, you can set it up and walk away, it’s like having an extra cameraman on set just continually getting great footage.”

Innovative: The Mini was designed to be compact, easy to use, and intelligent. Through years of experience High Sight developed the mini to be fully autonomous. By eliminating the task of controlling the Mini the operator can focus live camera control. This functionality allows for a single user to capture the same shot that would normally require two users. The Mini is great at capturing new and creative angles. Use it to shoot
interesting b-roll or set it on ping pong mode and capture great moments in your next BTS video.

  • Intelligent speed and position sensing for perfectly smooth movement
  • Fully Autonomous mode
  • Button interface for quick and easy operation
  • Compact size allows for maximum portability
  • ¼-20 mount to carry gimbals like the DJI Osmo, Gopro Karma Grip and many more
  • Machined aluminum for increased durability and protection
  • Made in the USA

Specs and Details:

  • Weight: 1.3 lbs. / .6 kg
  • Dimensions: 7.48” Long : 3.2″ Wide : 2.3″ Tall
  • Max Payload: 3.3 lbs. / 1.5 kg
  • Max Speed: 10 mph
  • Battery: Rechargeable: Lithium ion battery

Articles: Digital Photography Review (dpreview.com)

 
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The new HDMI 2.1 specification (and cable) adds support for 10K, 8K HDR, and 4K at 120fps

02 Dec

Originally announced back in January and slated for a mid-year release, the HDMI 2.1 specification is just now making its debut on the world stage. Announced by the HDMI forum yesterday, the new specification offers users the ability to deal with 10K video resolution, as well as other data-intensive formats such as Dynamic HDR, uncompressed 8K HDR video, and 4K at 120fps.

A new Ultra High Speed HDMI Cable standard has also been announced that carries up to 48Gbps, and which is said to have ‘exceptionally low electro-magnetic interference’ to avoid conflict with other devices in the vicinity.

HDMI 2.1 is backwards compatible with earlier versions of the standard, as is the new high speed cable. For more information, visit the HDMI forum website.

Press Release

HDMI FORUM RELEASES VERSION 2.1 OF THE HDMI SPECIFICATION

A Huge Leap Forward Supports Resolutions Up to 10K and Dynamic HDR and Introduces New Ultra High Speed HDMI Cable

SAN JOSE, California – November 28, 2017 – HDMI Forum, Inc. today announced the release of Version 2.1 of the HDMI® Specification which is now available to all HDMI 2.0 adopters. This latest HDMI Specification supports a range of higher video resolutions and refresh rates including 8K60 and 4K120, and resolutions up to 10K. Dynamic HDR formats are also supported, and bandwidth capability is increased up to 48Gbps.

Supporting the 48Gbps bandwidth is the new Ultra High Speed HDMI Cable. The cable ensures high-bandwidth dependent features are delivered including uncompressed 8K video with HDR. It features exceptionally low EMI (electro-magnetic interference) which reduces interference with nearby wireless devices. The cable is backwards compatible and can be used with the existing installed base of HDMI devices.

Version 2.1 of the HDMI Specification is backward compatible with earlier versions of the specification, and was developed by the HDMI Forum’s Technical Working Group whose members represent some of the world’s leading manufacturers of consumer electronics, personal computers, mobile devices, cables and components.

“The HDMI Forum’s mission is to develop specifications meeting market needs, growing demands for higher performance, and to enable future product opportunities,” said Robert Blanchard of Sony Electronics, president of the HDMI Forum.

HDMI Specification 2.1 Features Include:

  • Higher video resolutions support a range of high resolutions and faster refresh rates including 8K60Hz and 4K120Hz for immersive viewing and smooth fast-action detail. Resolutions up to 10K are also supported for commercial AV, and industrial and specialty usages.
  • Dynamic HDR support ensures every moment of a video is displayed at its ideal values for depth, detail, brightness, contrast and wider color gamuts—on a scene-by-scene or even a frame-by-frame basis.
  • The Ultra High Speed HDMI Cable supports the 48G bandwidth for uncompressed HDMI 2.1 feature support. The cable also features very low EMI emission and is backwards compatible with earlier versions of the HDMI Specification and can be used with existing HDMI devices.
  • eARC simplifies connectivity, provides greater ease of use, and supports the most advanced audio formats and highest audio quality. It ensures full compatibility between audio devices and upcoming HDMI 2.1 products.
  • Enhanced refresh rate features ensure an added level of smooth and seamless motion and transitions for gaming, movies and video. They include:
    1. Variable Refresh Rate (VRR) reduces or eliminates lag, stutter and frame tearing for more fluid and better detailed gameplay.
    2. Quick Media Switching (QMS) for movies and video eliminates the delay that can result in blank screens before content is displayed.
    3. Quick Frame Transport (QFT) reduces latency for smoother no-lag gaming, and real-time interactive virtual reality.
  • Auto Low Latency Mode (ALLM) allows the ideal latency setting to automatically be set allowing for smooth, lag-free and uninterrupted viewing and interactivity.

The HDMI 2.1 Compliance Test Specification (CTS) will be published in stages during Q1-Q3 2018, and HDMI adopters will be notified when it is available.

Articles: Digital Photography Review (dpreview.com)

 
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Wiral LITE cable system lets you capture cinematic shots almost anywhere

20 Oct

A simple cable cam system called Wiral LITE has launched on Kickstarter, where the campaign has already blown away its funding goal, raising nearly a quarter-million dollars in just a few days’ time. The system is comprised of a motorized, remotely-controlled device that rolls across a cable fixed to two poles or similar structures. A camera can be attached to the bottom of Wiral LITE, which itself rolls across the cable while the camera records cinematic motion shots.

The cable cam system is being presented as an alternative to portable motorized slider devices, offering the ability to record motion shots over much larger distances than the average portable slider.

Wiral LITE features a standard camera mount on the bottom and can handle camera/lens weights up to 3.3lbs / 1.5kg. The system includes a ball joint, a GoPro mount, cable, quick reel for retracting the cable, a tightening strap, end stop clips, batteries, and a battery charger.

The cable system offers multiple modes, including a time lapse mode that moves with a minimum speed of 0.006MPH, but the device’s top speed is 28mph / 45kmh.

The team behind the device explains that the Wiral system takes 3 minutes to setup, which involves attaching both ends of the reel to a pair of objects, tightening the cable between the two, and then mounting the Wiral LITE onto the cable. In other words, setup is a breeze:

And once you’re set up, you can capture long-range panning shots like this with ease:

Wiral LITE is being sold to backers for a pledge of $ 200. Bundles are also available for those who want to pledge a bit more, such as an ‘Ultimate Kit’ for pledges of $ 250 or an ‘Extreme Kit’ for $ 1,700.

To learn more or put a pledge in yourself, head over to the Kickstarter page.

Articles: Digital Photography Review (dpreview.com)

 
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Suspended: 13 Hung-Out-To-Dry Abandoned Cable Cars

08 Feb

[ By Steve in Abandoned Places & Architecture. ]

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Suspended in time and place, only eagles dare go where these abandoned cable cars once reached as these glorified zip lines lost their zip long ago.

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If you build it, they will come… or not, as was the case of the ill-conceived Okutama Ropeway. Constructed in 1962 at an artificial lake west of Tokyo, the two-car transportation system operated for only four years before shutting down for good. Perhaps the builder/owner was unaware of plans to construct a bridge that would make his pride & joy redundant.

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That said, the cars and associated infrastructure have held up remarkably well over the past half-century! Kudos to Lee Chapman of Tokyo Times for visiting this long-forgotten relic and photo-documenting its current (as of July, 2013) status. This video by Riding Japan explores the abandoned and, to quote the videographer “quite eerie” station.

Georgia On My Mind

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Lovely “Seaside Park” in Gagra, Abkhazia suffered significant damage during the early-1990s Abkhaz-Georgian Conflict; the still unsettled political situation and a chronic lack of funding has constrained any moves toward restoration. A single yellow gondola remains in place – its red-painted partner was blown up some years ago during the filming of a movie.

High Wire Act

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Can a cable car system that’s lost its cars still move you? Yes it can… figuratively speaking. Flickr user philm1205 snapped the spindly remnants of an abandoned Soviet cable-way in August of 2007, fifteen years after the fall of communism. One thing about the commies, at least they made the cable cars run on time – or run, period.

“Top Of Youth”

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It’s the “Top of Youth” and the bottom of the barrel in Berlin, courtesy of Flickr user TheSleeping03 and the photo above. Taken on February 6th, 2014 at an old abandoned theme park in the German capital, the image presents the permanently-grounded gondola in a raw yet oddly appealing light.

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Suspended 13 Hung Out To Dry Abandoned Cable Cars

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Cable TV is So Broken, Can Apple and Google Save Us All?

31 Jul

Comcast CEO Brian Roberts, Allen & Company, 2015
Billionaire Comcast CEO Brian Roberts

Last night I spent a frustrating hour trying to cancel Showtime with Comcast, my current cable TV provider. I could not find (nor is there) any way to cancel any Comcast service online and their customer service department was closed.

Finally I was able to get chatty with one of those chatbots online who confirmed to me that there is simply no way to cancel Showtime on Comcast without speaking with a human representative. Even though the chatbot convinced me they were a human, they were not allowed to cancel it for me and I would need to try again tomorrow on the phone only. Interestingly enough I had no problem signing up for Showtime online originally, it’s just when you want to cancel that Comcast gives you such a hard time.

This morning after navigating the Comcast phone voice response menu I was finally able to talk to a human being, who tried to talk me out of cancelling my Showtime. I was committed though and I did finally get it cancelled.

I actually love Showtime and don’t mind paying for it. Masters of Sex and Ray Donovan are two of my favorite shows on right now. I also like the series Homeland. I had several reasons for cancelling it with *Comcast* though.

1. Why am I paying Comcast $ 19.99/month for Showtime when I can just buy it direct from Showtime on my AppleTV for a free 30 day trial and then $ 10.99/month after that?

2. Watching Showtime using the AppleTV app through Comcast is a royal pain in the ass. I’ve had to re-authenticate and prove I’m a paying cable customer at least 20 times with the app.

I go to watch one of my shows and am interrupted with a message and code on the AppleTV telling me that I have to go to Showtime online on my phone or computer and authenticate. Next I have to log into my Comcast account enter in the code from my television set and then after that I finally get my access.

I wouldn’t mind it if I did this one time, the first time I signed up for the app, but having to re-authenticate over and over and over again, especially late at night when I’m in bed and just want to watch my favorite show is a drag.

3. Last night I wanted to watch episode 2 of the current season of Master’s of Sex on the app but it wasn’t available. I could only watch episode 3. I have no idea why Comcast customers were not allowed to watch episode 1 or 2, but I didn’t want to watch episode 3, before episode 2, so I just gave up and didn’t get to watch a show that I’m paying $ 20/month for. No wonder so many people just say screw it and go to bitTorrent.

4. I hate the way Comcast abuses the AppleTV ecosystem. If I pay for CNN with Comcast, why do they not allow me to watch it on my AppleTV. Comcast’s decisions here feel entirely arbitrary. They will let me watch CNBC if I subscribe, but not CNN. I can watch HBO (although I have the same re-authentication problem there over and over again) but when my wife wants to watch Lifetime she has to figure out some weird hack to try to authenticate the app through some hard to find link in a forum on the internet.

It is clear to me that Comcast is purposely trying to make your AppleTV experience an ugly and difficult one and so any chance I can get to bypass Comcast and purchase premium content elsewhere, I’d rather do that — by contrast Netflix has always been an absolute breeze to use with my AppleTV.

According to Buzzfeed today, Apple is rolling out a new version of AppleTV in September which will be setting AppleTV up to offer their own subscription service in 2016. This is such welcome news. I love my AppleTVs and if I could get my content directly through Apple I’d love to cancel my Comcast cable TV subscription entirely.

I’m much more optimistic about an AppleTV service working on my AppleTV than Comcast’s current service. Also with AppleTV I can just buy a device one time and don’t need to have a cable box for every single TV in my house at a price of $ 10/month each. Will Apple finally be the one that saves us from Comcast?

My other beef with Comcast is their highspeed internet service. At present I’m paying for the maximum speeds I’m allowed which give me 120MBps down and 10MBps up. Frankly, in today’s world these just feel too slow to me — especially the 10MBps upload speeds. I use the internet a lot for uploading high res photos and I wish I could get faster upload speeds.

I was excited about Comcast’s new residential gigabit service announcement the other day until I saw the pricing for it: $ 1,000 to set it up and $ 320/month with a two year commitment. PC World lists the service at $ 300/month, but when I called to ask about it they told me that there would also be a $ 20/month equipment rental fee on top of that fee. That’s just too expensive for high speed internet.

By contrast Google sells their gigabit internet service for $ 70/month with no installation fee — which is even less than I’m paying Comcast today for my crappy 10MB/second upload speeds — for less money Google Fiber users can upload 100x faster than I can.

I was reluctantly willing to pay Comcast’s highway robbery fees for gigabit internet and was hopeful when a Comcast rep told me I could get it. They told me though that they would need to do a survey of my house in person to confirm and would call me for an appointment. I never heard back from them on this appointment so after a week I called them back only to be told that they did in fact do the survey and that I did not qualify at present.

Unfortunately AppleTV’s subscription television is not here…. yet. Unfortunately Google Fiber is not here… yet. Hopefully both of these services will eventually get to my neighborhood though. It would be so nice to just be able to cut Comcast out of my life entirely.

While I realize I could just go ahead and cut the cord right now, with a family of six, the rest of my household is just not ready to cut the cord yet and I’d have a mutiny on my hands if I cancelled our Comcast — so for now I continue to pay my $ 233/month. However, I’m looking optimistically towards the future, to a day when Apple and Google will let me cut Comcast out of my life for good.


Thomas Hawk Digital Connection

 
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Electrifying Art: Sculptures Made of Wire and Cable Ties

10 Jun

[ By Steph in Art & Sculpture & Craft. ]

Cable Tie Sculptures 1

All it took to create this series of sculptures – aside from ingenuity and artistic talent, of course – was a trip to the hardware store for some electrical wire and cable ties. Artist Pavel Sinev coils black and white wires into works of art that range from the straightforward to the slightly surreal, like a vaguely disturbing baby with a bottle in its mouth.

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The wiring is carefully wound into three-dimensional shape and held together with the zip ties, the designs ultimately reflecting the unconventional ways in which common household materials can be used with a little creativity.

Wire Sculptures

Wire Sculptures 2

Wire is a surprisingly versatile artistic medium. Check out a stunningly intricate motorcycle and sidecar by Chinese artist Shi Jindian, fluid human sculptures by Derek Kinzett, minimalist works by Gavin Worth and more.

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