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Posts Tagged ‘Control’

CineStill’s new developer kits make it easier than ever to creatively control slide film development

20 May

CineStill has introduced a new 3-bath processing system for slide film users that allows photographers a choice of three color and contrast profiles for the same type of film. Users can opt for a straight development to bring out the default characteristics of the film, or choose a tungsten balanced look or one with a warm tone and lower contrast. The Cs6 Creative Slide 3-Bath processing system allows photographers to get three quite different looks from the same emulsion by using a different developing solution.

The developers are part of a new 3-bath system that comprises a first developer that determines the color and contrast profile of the end result, followed by a combined the second developer and reversal process, and then a third bath that contains the bleach and the fix. CineStill claims the chemicals are easy to use and that temperature control is not as critical as in normal E6 processes, so successful home processing is much more achievable.

The three choices for the first developer are D6 DaylightChrome, D9 DynamicChrome and T6 TungstenChrome. The DaylightChrome developer is said to produce a neutral result with slightly enhanced color saturation and a usable dynamic range of 6 stops.

DynamicChrome produces a warm tone with enhanced contrast and color saturation but at the same time preserves highlight and shadow detail to offer a useable DR of 9 stops and extended exposure latitude. The TungstenChrome developer shifts the film’s color to correct for the use of warm tungsten lights saving the bother and light-lose of using a color-correction filter over the lens.

Photo by Sandy Phimester on Kodak E100 processed with CineStill Cs6 DynamicChrome

The one-liter kits contain enough chemistry to process 16 rolls or 100ft of film and are priced from $ 39 including all three baths, while the individual developers are available from $ 12.99. The chemicals are available now from the CineStill website, and from retailers in the USA and Europe from the summer.

Press release

Introducing: Cs6 “Creative Slide” 3-Bath process for color-timing E-6 reversal film at home

Chrome unlocked!

Want to shoot slide film? Want it to be quick and easy to process? Want to still have creative control over how your images look? Introducing the CineStill Cs6 “Creative Slide” 3-Bath Process for simple creative control of your E-6 film.

The reversal process is the purest of analog processes and it’s now more creative and accessible than ever! The colors of slide film are unrivaled and now you can color-time and control dynamic range with alternative 1st developers. For the first time ever, you can change the color profile of your slides. With limited slide film options available today, CineStill is tripling the choices available for slide film, and demystifying slide processing with only 3 baths to appreciate a beautiful photograph. Your slides should be superior to color-corrected negative scans, without sacrificing creative control.

For the past several years CineStill has been developing ways to bridge the gap between mail-order photo labs and instant photography. Whether it be a Monobath for B&W film, a simplified 2-Bath process for color negatives, a Temperature Control System for mixing and heating chemicals, or various partnerships to make daylight processing accessible… There’s no longer a need for a darkroom, professional lab or high-tech equipment to create analog photographs. You can now create beautiful color transparencies at home through one simple process.

With the Cs6 “Creative Slide” 3-Bath Process comes 5 new products

1. D6 “DaylightChrome” Neutral-tone 5500K 1st Developer
Renders approximately 6+ stops of usable dynamic-range* with bright whites and moderately enhanced color saturation, just like conventional E-6 processing. Daylight-balanced for conventional slides in daylight or with electronic flash. Single-use 1+1 dilution develops 8-16 rolls or 100ft of slide Film.
Kodak E100 DaylightChrome

2. D9 “DynamicChrome” Warm-tone 1st Developer
Renders approximately 9+ stops of usable dynamic-range*, while maintaining vibrant color-contrast and rich warm tones with preserved highlight and shadow detail (optimized for scanning) for a more cinematic look. Extended exposure latitude increases the usable dynamic-range* of slide film from 6 to 9+ stops! Conventional E-6 processing renders approximately 6 stops of usable dynamic-range*. Perfect for high contrast lighting or backlit subjects in daylight, shade or with electronic flash. Single-use 1+1 dilution develops 8-16 rolls or 100ft of slide Film.

3. T6 “TungstenChrome” Cool-tone 3200K 1st Developer
Renders approximately 6+ stops of usable dynamic-range* with cleaner whites, and moderately enhanced color saturation. Shoot in artificial light without sacrificing 2 stops of exposure to color filtering! Kodak’s published technical data sheet recommends exposing E100 at EI 25 with an 80A Filter in Tungsten (3200 K) light. Now you can expose at box speed in low-light or even push to EI 200 or 400, and color-time your slides in processing. With conventional E-6 processing this would require color filtration and a 2-4 stop exposure compensation. Single-use 1+1 dilution develops 8-16 rolls or 100ft of Ektachrome®.

4. Cr6 “Color&Reversal” 2-in-1 Slide Solution
Combines the reversal step with color development. 6min minimum process time for completion with flexible temperature range of 80-104°f (27-40°C)**. Reusable solution reverses 16+ rolls of developed slide film.

5. Bf6 “Bleaches&Fixer” 3-in-1 Slide Solution
Combines the bleach and conditioner steps with the fixing step. 6min minimum process time for completion with flexible temperature range of 75 -104°f (23-40°C)**. Reusable solution clears 24+ rolls of reversal Film.

* ”Usable dynamic-range” is the amount of full stops of exposure value that renders acceptable detail and color. “Total dynamic-range” however, is the maximum range containing tonal separation rendering any detail, and is often twice the usable-dynamic range. The usable dynamic-range of conventional slide film is between 6-8 stops (total 14-16 stops). Color negative is between 9-13 stops (total 16-21 stops). Digital sensors are mostly between 7-10 stops (total 12-15 stops).

** Maintaining temperature is not essential beyond pouring in a 1st developer. When a temperature control bath is not available, simply preheat the 1st Developer +2ºF warmer, and the other baths will automatically process-to-completion as they cool down. Only the 1st developer is time and temperature critical because it controls contrast and color.

Cs6 “Creative Slide” 3-Bath Kits for Reversal and E-6 Film

CineStill Cs6 3-Bath Kits will be available from $ 39. The 1000ml/Quart Kits can process 16+ Rolls or 100ft of Slide Film and the 3-2-1 Chemical Reuse Kits processes 32+ Rolls of film.
Included In Cs6 3-Bath Kits:

  • D9 “DynamicChrome”, D6 “DaylightChrome”, or T6 “TungstenChrome” 1st Developer
  • Cr6 “Color&Reversal” 2-in-1 Slide Solution
  • Bf6 “Bleaches&Fixer” 3-in-1 Slide Solution

The CineStill Cs6 3-Bath Kits and separate components are available for purchase now at CineStillFilm.com, and throughout the U.S. and E.U. markets later this summer.

Articles: Digital Photography Review (dpreview.com)

 
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Edelkrone launches JibONE motion control with mobile app and motorized head support

22 Jan

Edelkrone has launched a new app-controlled jib called JibONE that can be used with the HeadONE and HeadPLUS motorized heads for capturing a variety of shots. The jib supports 50cm (19.6in) of horizontal, vertical and diagonal motion in any direction, including looping motion. Despite its capabilities, Edelkrone says the model is compact enough to store in a backpack.

The JibONE is made from CNC machined aluminum and stainless steel; it measures 61 x 17 x 15cm (24 x 6.7 x 5.9in) when folded and weighs 5.5kg (12lbs) when used with the 1kg (2.2lbs) counterweight. Edelkrone recommends that users keep their setup load to less than 5kg (11lbs). The company says that all DSLR models are compatible with the JibONE.

HeadONE and HeadPLUS motorized heads used with the JibONE.

Operators have two different battery options to choose from for powering the JibONE: LP-E6 and NP-F batteries. Battery life varies based on which are used, but when the JibONE is powered with two Canon LP-E6 14.4Wh batteries (for a total of 28.8Wh), users can expect two hours of continuous operation at full speed or up to 12,000 still images when used in time-lapse mode.

Connectivity comes in the form of Bluetooth LE which enables users to control the jib using an iPhone running iOS 11 or newer or an Android handset running version 5.0 or later. The mobile app offers a simplified interface for recording poses, setting up motion loops, adjusting speed and more. Users can also program camera motions with the jib by manually adjusting the device.

The JibONE is available from Edelkrone now for $ 1000.

Articles: Digital Photography Review (dpreview.com)

 
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California tourist fined $20,000 for losing control of drone that landed at airport

22 Nov

If you want to fly your drone on the Las Vegas strip, you need to secure approval from the Federal Aviation Administration (FAA) first. Since the popular tourist destination is in controlled airspace, and its airport, McCarran International does not participate in Low Altitude Authorization and Notification Capability (LAANC), acquiring a waiver from the FAA, as a Part 107-certified commercial pilot, is mandatory.

In June 2018, California tourist Reuben Burciaga learned this the hard way. He was attempting to capture an aerial perspective of the High Roller Observation Wheel at the LINQ with his drone. That’s when things went horribly wrong. ‘I went up to the parking structure at Caesars Palace and had no problem with GPS,’ Burciaga tells FOX 5 KVVU News. ‘It started acting weird and just took off.’

Burciaga’s drone flew two miles away from its takeoff point, at an altitude of slightly above 450 feet, and landed a few feet away from an active runway at McCarran. Employees discovered the drone and handed it over to the local police. After the FAA conducted an extensive investigation, due to an inaccurate registration number, they were able to identify Burciaga as the drone’s owner. The government agency followed up with a letter outlining his numerous violations, including flying in controlled airspace without authorization and fined him $ 14,700.

Flying a drone in congested areas poses serious risks. Signal loss caused by magnetic interference is the top cause of fly-aways. It’s pretty clear that Burciaga didn’t properly calibrate the drone’s compass before taking off in a parking structure. If he did calibrate it where he took off, the significant amount of rebar in the parking structure would certainly cause a compass error. If Burciaga already conducted hundreds of flights, like he claims in the video above, he should have known this would happen.

‘I don’t have the money to fight it, and I wouldn’t even have an idea how to fight it,’ Burciaga said. ‘That’s half of my year’s paycheck for trying to take a picture.’

Besides taking the time to perform basic pre-flight safety measures, he also avoided multiple letters from the FAA along with his chance to appeal. As a result, his fine has been bumped up to nearly $ 20,000. ‘I don’t have the money to fight it, and I wouldn’t even have an idea how to fight it,’ Burciaga said. ‘That’s half of my year’s paycheck for trying to take a picture.’ Appealing the charges is something he could have done for free.

The new amount owed has been turned over to the U.S. Treasury Department. They will deduct the amount from his future tax returns. Burciaga believes the fine is far too harsh, stating an amount between $ 1,000 – $ 3,000 would have been more appropriate. The FAA doesn’t seem to agree. ‘This was really a very serious incident, which is why we imposed such a large fine,’ said spokesperson Ian Gregor. ‘In this situation, the pilot committed a litany of serious violations and really flew the drone carelessly and recklessly.’

Articles: Digital Photography Review (dpreview.com)

 
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Kipon releases two Mamiya 645 to Sony E mount adapters with electronic aperture control

29 Oct

Photography accessory manufacturer Kipon is now shipping two new adapters for mounting medium format lenses to Sony E mount camera systems.

The adapters come in two varieties: the M645-S/E E, which adapts Mamiya brand Mamiya 645 mount lenses to Sony E mount cameras while the M645-S/E ES adapters Phase One or Schneider brand Mamiya 645 lenses to Sony E mount cameras.

The two adapters are constructed of aluminum and brass, offer an infinity focus feature, and offer electronic aperture control through the camera. A previous Mamiya 645 to Sony E mount adapter has been available for some time, but it doesn’t offer the electronic contacts for aperture control and features a less pleasing design.

The M645-S/E E and M645-S/E ES are available to purchase for $ 289 and $ 389, respectively. Shipping dates vary depending on your geographical location.

Articles: Digital Photography Review (dpreview.com)

 
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Monogram’s new Creative Console features magnetic, customizable control modules

18 Sep

Monogram — formerly Palette Gear — has launched a new Kickstarter campaign for Creative Console, a product it describes as a ‘modular productivity tool’ designed specifically for creative professionals, including photographers and artists. The Monogram Creative Console is 40-percent thinner than the console offered by Palette Gear, the previous incarnation of the company now known as Monogram.

The Creative Console is CNC-machined from aerospace-grade aluminum, offering USB-C connectivity and native support for a number of popular applications. The console’s modular components can be configured to suit each user’s needs. Compared to the previous model, Monogram’s new product offers 50% greater functionality despite the smaller size. The company says each console module supports up to 135 functions.

The console revolves around the ‘core’ module, which packs an ARM Cortex-M processor, 1.54″ 240 x 240 display, the USB-C connector, two mechanical keys, and a redesigned power management circuit.

The remaining four modules include a Pressure Sensitive disc, Dial Module with three dials, Slider Module with three sliders and the Essential Keys Module with three tactile mechanical switches. All of the modules feature neodymium magnetic connectors and micro spring-loaded electrical contacts.

For past Palette Gear customers, the existing Palette Arcade-style Button, Multi-function Dial and High-sensitivity Slider are backward compatible with Monogram Creative Console. Natively supported software includes Adobe’s software suite, as well as VLC, Chrome, Spotify and select other applications.

The company has exceeded its Kickstarter funding goal and is offering various pledge options for backers, including a Traveller Console for $ 339 CAD and a Studio Console for $ 457 CAD. Assuming everything goes according to plan, Monogram expects to start shipping rewards to backers in February 2020.


Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
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How to Control Depth of Field in Your Photography

07 Jul

The post How to Control Depth of Field in Your Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

It’s a common misconception that the f-stop you use will control depth of field (DOF). Aperture setting certainly has an influence, but there are other factors to consider.

DOF is the area in a photograph which is acceptably sharp. Lenses can only focus at a single point. There is always a certain amount in front and behind the focus point which is acceptably sharp.

How To Control Your Depth of Field Thai dancer

Camera: Nikon D800, Lens: 85mm, Settings: f2, 1/250 sec, ISO 200 © Kevin Landwer-Johan

This varies depending on:

  • Aperture setting
  • Lens focal length
  • Camera distance to the subject
  • Sensor size.

The transition between what’s sharp and what’s not is gradual. It’s important to learn how to manage the variables to create the look you want in your photographs.

How sensor size affects DOF

The physical dimension of the sensor in your camera affects DOF. Unlike the other variables, it’s not possible for you to change, unless you use a different camera.

Small sensors, such as in phones and compact cameras, give you the most DOF. This is one main reason people upgrade from a phone to a camera. Because they are not able to achieve a shallow depth of field with their phone.

Phone manufacturers are trying to mimic shallow DOF in various ways. But as yet it appears to be little more than a poor gimmick. There is no substitute for size.

Basically, cameras with smaller sensors make photos with more DOF at the same aperture and distance settings. To make comparisons of DOF from different-sized sensors, you must calculate the same effective focal length and aperture settings.

Larger sensors in DSLR and mirrorless cameras have made them popular with video producers. This is because of their capacity for shallow DOF. Traditional video cameras contain small sensors so therefore generally have deeper DOF.

How To Control Depth of Field Thai models

Camera: Nikon D800, Lens: 105mm, Settings: f3.2, 1/400 sec, ISO 500 © Kevin Landwer-Johan

How camera to subject distance affects DOF

The closer you are to your subject, the less DOF you will have at any given aperture setting, with any lens on every camera. Move further back, and your DOF increases.

This is why it can be challenging when taking close-up photos to have enough DOF. Being very close to your subject may mean you do not get it all in focus. Using macro lenses and close up attachments amplifies this problem.

So if you are still only using your kit lens, you’ll need to move in close to achieve a shallow DOF. This is because these lenses do not have a very wide maximum aperture or long focal length.

Remember that from the point you are focused on 1/3rd of the DOF will be closer to you and 2/3rds of it will be further away. Knowing this can help you choose your point of focus to control you DOF more precisely.

How To Control Your Depth of Field Model and Mask

Camera: Nikon D800, Lens: 105mm, Settings: f3, 1/100 sec, ISO 400 © Kevin Landwer-Johan

How lens focal length affects (apparent) DOF

The longer focal length lens you use the shallower the DOF appears. But it doesn’t actually change.

If you take photos of the same subject with two different focal length lenses, the images made with the wider lens appear to have a deeper DOF. The aperture should remain constant. When you crop the image made with the wider field of view, so the elements in the images are the same size, you will see no real difference.

The idea that longer focal lengths produce a shallower DOF is a myth. Peter West Carey has already written an article for DPS about this based on Matt Brandon’s experimentation. Matt’s images prove the point clearly. It can be a difficult concept to comprehend. Especially if you are predisposed to the popular idea that focal length affects DOF.

Thai Elephants and Model

Camera: Nikon D800, Lens: 85mm, Settings: f2, 1/1000 sec, ISO 400 © Kevin Landwer-Johan

How aperture affects DOF

The aperture is an adjustable opening within a lens. The primary function is one of the controls used to control the amount of light entering the camera. A narrow aperture setting lets in less light than a wider setting. The settings are measured in f-stops.

Adjusting the aperture setting, (changing the f-stop value,) not only controls the amount of light entering, but also the DOF. Changing the aperture is the most common way photographers choose to control DOF. The wider aperture the shallower the DOF. So the lower f-stop number you choose (eg. f/1.4), the less of your image will be acceptably sharp. Choosing a narrower aperture, a higher f-stop number (eg. f/22), will render more of your photo in focus.

Lenses are made with differing maximum apertures. Typically a kit lens will have a widest aperture value of f/3.5 when the lens is zoomed to its widest focal length. This value changes the more you zoom in. So the widest f-stop at the longest focal length may only be f/6.3. For information please read the article ‘What The Numbers On Your Lens Mean.’

Prime lenses usually have a wider maximum aperture. This is why they are often favored by photographers who like creating photos with a shallower DOF. Popular 50mm lenses have f-stop settings of f/1.8, f/1.4 or even wider. For more information about zooms and prime lenses please read ‘Primes Versus Zoom Lenses: Which Lens to Use and Why?’

Elephant Cuddle

Camera: Nikon D800, Lens: 85mm, Settings: f2.8, 1/1000 sec, ISO 400 © Kevin Landwer-Johan

How can you see the DOF when composing a photo?

Cameras with digital viewfinders or monitors will display the DOF as it will appear in the photo. Because of the small size, it can be difficult to see clearly unless you zoom in.

Cameras such as DSLRs with optical viewfinders will not allow you to see the effect of the DOF unless you use the DOF preview button. This is because the aperture is automatically set to the widest possible. It is adjusted to the f-stop you’ve chosen as you press the shutter release button. If the f-stop were able to be altered while composing, at narrow apertures, the image would appear dark in your viewfinder. You can see this when you use the DOF preview.

How To Control Depth of Field Thai Model with Elephants

Camera: Nikon D800, Lens: 85mm, Settings: f4, 1/640 sec, ISO 400 © Kevin Landwer-Johan

Manage your DOF well

Keeping all these variables balanced may seem complicated. But it’s important to know how each of them affects DOF so you can manage it well in your photos.

To help you learn how each aspect of DOF works try setting up a few photos and experimenting with them. Not for the sake of making great pictures, but to understand how changing each one affects the look of your images. It will be good to set your camera on a tripod or stable surface for this exercise.

Line up a few objects in your frame which are at different distances from your camera. Set your aperture to its widest – the lowest f-stop number (eg. f/1.4). Get as close to the first object as you can so that your lens will focus on it.

How To Control Depth of Field

Camera: Nikon D800, Lens: 55mm, Settings: f4, 1/30 sec, ISO 400 © Kevin Landwer-Johan

Take a photo of it, then focus on another object further away from you and take another photo. Repeat this with each object further away from you as you have in your frame.

Now repeat this process with a middle range aperture setting and then the narrowest your lens has. Try this with different focal lengths as well.

Then move back and make another series of photos the same way. Repeat this process as you move further back from your subject.

Compare the photos side by side on your computer and take note of the differences in DOF between them. Look at the EXIF data so you can see what your aperture and zoom settings were.

Working through an exercise like this will help you learn to control depth of field. As you can see the effects in your photos it will become less complicated.

Let me know in the comments below how you get on.

 

control depth of field in photography

The post How to Control Depth of Field in Your Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Syrp’s Genie Mini II portable motion control system adds USB-C and improved connectivity

27 Jun

Syrp has unveiled Genie Mini II, a sequel to the original pocket-sized camera motion controller introduced in 2016. The second generation model retains the same general design and features as the original, but with the inclusion of USB-C instead of micro USB, Bluetooth 4.2 instead of Bluetooth 4.0, and WiFi.

The Genie Mini II offers the same portable panning functionality as the original, enabling filmmakers to capture smooth motion in real time and photographers to capture time-lapses. The motion control system supports multi-row panorama capture, offers Astro Time-Lapse and HDR modes, and offers an Ease In/Ease Out feature.

The device works with Syrp’s Genie 2 app for Android and iOS offering keyframed motion control in addition to various presets for easily initiating shooting sessions. According to Syrp, the new Bluetooth 4.2 support makes it possible for advanced users to ‘advantage of more complex, custom motion control settings and multi-row panoramas to create 360/VR images.’

The Genie Mini II, which has a total load capacity of 3.9kg (8.8lbs), is designed to sandwich between a tripod and camera. The device is powered by an internal lithium-ion battery capable of powering six hours of continuous smooth panning, an increase from the previous version’s five hours, or up to a 15-hour time-lapse, a noticeable decrease from the original’s 24-hour duration. The new model has a max 360-degree capture speed of 33 seconds.

Syrp has launched the Genie Mini II for pre-order at the same $ 249 price as the original model.

Articles: Digital Photography Review (dpreview.com)

 
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Canon now offers a service to de-click the Control Ring on its RF lenses

23 May

In addition to a larger diameter mount and additional contacts, one of new features of Canon’s RF lenses—and one of its EF to RF adapters—is the Control Ring, a physical dial around the perimeter of the lens that can be customized to control various camera functions including aperture, ISO and shutter speed.

By default, the Control Ring is adjusted in predetermined steps, which click into place while rotating the ring. While this is beneficial when you need a tactile indication of how many steps you’ve adjusted various settings, it does cause a bit of movement and noise, which isn’t helpful if you’re filming video.

An illustration provided by Canon showing off the Control Ring on its RF 35mm F1.8 IS Macro lens.

Canon is addressing this problem by offering a de-clicking service for RF lenses. According to a pricing sheet, Canon will charge $ 79.99 to de-click any RF lens and $ 59.99 to de-click the Control Ring Mount Adapter EF-EOS R, not including the cost of taxes and shipping. Once de-clicked, the lens or adapter will be able to be switched between its default functionality and the de-clicked mode.

The service can be scheduled via Canon’s customer service phone number (1-800-652-2666) or its online support page.

Articles: Digital Photography Review (dpreview.com)

 
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Review: The Elgato Stream Deck is a customizable hardware control for post-processing

06 Apr

Elgato Stream Deck
$ 149 | elgato.com

The Elgato Stream Deck is a small, customizable keypad primarily targeted at gamers who stream live content. I’m not a prolific gamer, but it occurred to me that the Stream Deck might also be a useful tool in my daily post processing work, cutting down on mouse clicks and keyboard shortcuts, and speeding up my workflow.

In my case that means a non-linear editor, or NLE, for video editing. However, the Stream Deck isn’t limited to NLEs; it can be used with just about any editing software such as Photoshop, Lightroom, or Premiere Pro.

Key features:

  • 15 customizable keys, each with its own LCD screen
  • 210 actions* available by using folders
  • Macros** can be assigned to each key
  • Different profiles and key sets can be created for different applications

The power of the Stream Deck is that each of the keys contains an individual LCD screen behind a concave plastic window. You may remember the Optimus Maximus OLED keyboard which, when launched in 2007, had a full qwerty keyboard with an OLED display on each key. The Stream Deck takes this idea and makes it more accessible at a price of $ 149.

Design

The Stream Deck’s fascia is aluminum while the body is plastic, with dimensions of 118 x 84 x 21mm (4.6 x 3.3 x 0.80 in) and it connects via a captive USB cable approximately 1.5m long. Included in the box is a lightweight plastic stand which allows the Stream Deck to sit at multiple angles, and it includes rubber feet on the bottom to stop it from sliding across your desk when you push a button.

The Stream Deck’s stand. It does the job, but as I discuss below there’s room for improvement.

Setup

Out of the box, the Stream Deck does nothing, so the first step is to download the Stream Deck software from Elgato’s website, which allows you to completely tailor each key. It’s already loaded with several shortcuts for popular streaming software like Twitch, OBS, YouTube, etc. and these can just be mapped to the keys on the device.

However, my reason for buying the Stream Deck was to use it with Davinci Resolve, my NLE of choice, though it can be used just as easily with tools like Premiere Pro, Final Cut Pro X, or Lightroom. However, doing so requires a more involved setup process as there are no pre-configured shortcuts available for these applications.

To do this, I set up a new Davinci Resolve profile in the Elgato software that auto-loads when I run Resolve. This can be done for any software that’s being used, and therefore you can have multiple sets of shortcuts (210) for each program. It’s completely feasible to have different set ups for Resolve, Premiere Pro and Lightroom for example.

Configuring keys with the Elgato software.

I created keys for common tasks, some of which were duplicates of already available keyboard shortcuts, but with larger dedicated icons I didn’t have to remember the shortcuts for some of the lesser used key commands. It also meant that some actions that used a three-key combination for something like ‘freeze frame’ could now be achieved with a single button.

There’s also a certain satisfaction in quickly navigating pages of shortcuts with a single button press. Trust me – you have to try it to appreciate it.

Customizing Keys

For the functionality that I wanted I needed to register the required Resolve keyboard shortcuts in the Elgato software. I also created icons for the buttons. Some of this was achieved with the Elgato Key Creator, which is web based, but quite a few of my keys were also constructed with Photoshop. Any image editing software will work as you only need to create a 288 x 288 pixel PNG file for each button.

There’s a certain satisfaction in quickly navigating pages of shortcuts with a single button press.

Like anything worthwhile, setup and customization took some time. At first it seemed a little involved, but effort spent configuring at the start saved more time later. I spent a lot of time making the icons for the buttons and assigning functions, but also some thought into where to place them and how far down into the sub pages to go.

But, I hear you cry, fifteen buttons is not enough! Well, in that case you can actually use one of the buttons to access up to fourteen more sub pages of buttons, each with another fourteen buttons on them (one is reserved for going back a page). In this case you can see the appeal of the screens providing labels and icons representing their function. I certainly couldn’t remember what each one did without them.

One example of a bespoke key set on the Stream Deck.

However, the ability to customize the Stream Deck doesn’t stop there. With the help of software like Auto Hot Key for Windows or similar scripting software for Mac, scripts can be written and assigned to any button. This means if there isn’t an exact shortcut available in the software you want to use it with then you can record something like a simple mouse click on an on-screen button and assign it to a stream deck key. Although I haven’t used this yet, It might be something I look at doing in the future as my workflow evolves.

Workflow improvements

After working with the Stream Deck for a couple of weeks I’ve found it very useful, though not without making some adjustments. First, getting used to having the device placed to the left of my usual keyboard was a bit unusual (of course it can be placed anywhere). This, combined with the fact that I had to think and stop myself using the regular on screen buttons, also slowed me down initially.

After about half a day I found that my usual edit process had sped up, probably on the order of 20-30%.

After about half a day, however, I found that my usual edit process had sped up, probably on the order of 20-30%. Persistence pays off, and sometimes it’s all too easy to forget and go back to the old ways of working, but when I did I found that I slowed down again. After about a week or so of using it I needed to reorganize the button layout a bit, something I think will be an ongoing process.

Opportunities for improvement

Overall the Stream Deck works well and I’m impressed with the feel of the keys, however there are some improvements I’d like to see. First, I’d like the option for a detachable cable rather than a captive one. What happens if the cable get’s damaged? There have also been reports from some users of screen burn in on early units, but this seems to have been addressed in later ones and Elgato have been swapping out units with this issue.

The Stream Deck attaches to your computer using a captive cable. I’d prefer a detachable cable in case it gets damaged.

The Stream Deck’s stand is just OK, and I’d like to see a way of making the unit fit more securely into it. The way it adjusts for different inclinations could be improved as well, such as having a much more positive lock into position. I would also like to see a more ergonomic version of the Stream Deck; three rows of five keys works, but it’s a bit cramped and the spacing could be better. The way my hand lies it would be better if it was wider, and I’d like to see they keys placed more naturally.

Elgato also makes the Stream Deck Mini with six keys. Perhaps there could be an option for a Stream Deck Max with 30 keys? I know this would probably take it out of the realm of being a pure streaming tool, but it opens up possibilities for other markets. If Elgato really wanted to they could compete with other control devices by adding knobs and sliders, but I guess this might be a little outside their key user base.

It is for you?

Considering it’s a product aimed at online gamers, the Stream Deck is a tool that can be easily adapted for use by photo and video editors to streamline and speed up everyday workflows. It can take time to set it up properly and develop the muscle memory required to use it, and will probably require some ongoing tweaks to get the most out of it, but the time invested up front will be saved in use.

Its usefulness will very much come down to the individual and their workflow. The more time you invest in getting things working correctly for you the more benefits you’ll see. I’ve yet to really use it to it’s full potential and I’ve already seen the benefit.

What we like

  • Ease of use
  • Customization options
  • Cost
  • Tactile feel

What we don’t like

  • Stand design; positioning and adjustment could feel more positive
  • Captive cable

*An action may be any function assigned to a key on the Stream Deck, such as a keyboard shortcut or combination of keys pressed simultaneously.
**If you use macros to create automated scripts on your computer it’s possible to map an entire macro to a single button.

Articles: Digital Photography Review (dpreview.com)

 
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Ricoh says it will repair GR III cameras affected by a wobbly control dial, scroll wheel

02 Apr

Ricoh Korea and Japan have issued a statement regarding an issue with select Ricoh GR III cameras that caused the control dial of the camera jiggles more than it should, as seen in the above video shared by Photo Rumors. Following an investigation of the issue, Ricoh says it will fix affected devices free of charge and notes that the movement of the controls does not interfere with the functionality of the camera.

The translated statement says ‘The basic specification is to set a slight rotation allowance width, but as a result of investigation, it has been found that some products with the following target serial numbers have combinations with large display inclinations.’

In more clear terms (you made a valiant effort Google Translate), Ricoh anticipated a slight bit of movement, but the affected cameras show far more movement than should be happening and as a result the affected cameras will be fixed. Below are the serial number ranges Ricoh references:

  • 0010046 – 0022290
  • 2010043 – 2012044
  • 3010045 – 3010544
  • 4010041 – 4010230

The statement says Ricoh will start processing repairs for affected devices on April 8, 2019. DPReview was informed by a Ricoh spokesperson that Ricoh USA and UK will be issuing a statement tomorrow regarding the issue and the subsequent steps needed to repair affected cameras. We will update the article with that statement when we receive it.

Articles: Digital Photography Review (dpreview.com)

 
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