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Posts Tagged ‘controlled’

NASA Ingenuity helicopter prepares for the first powered, controlled flight on another planet

25 Mar

NASA has announced that it is preparing to launch its Ingenuity Mars Helicopter no earlier than April 8. Ingenuity’s maiden flight will mark the first attempt at a powered, controlled flight of an aircraft on another planet. Before Ingenuity can lift off, the team must meet numerous challenging milestones.

The Mars Perseverance Rover landed on Mars on February 18. Since then, the rover has been sending important images and data back to Earth while the team goes through different instrument checks and testing procedures. Since then, the Ingenuity Mars Helicopter has remained attached to the belly of Perseverance.

However, the operation has experienced progress. On March 21, Perseverance deployed the ‘guitar-case shaped graphite composite debris shield’ that protected Ingenuity when Perseverance landed last month. Perseverance is now in transit to the ‘airfield’ where Ingenuity will attempt to fly. After Ingenuity is deployed, the helicopter will have 30 Martian days, known as sols, to perform its test flight campaign. This is equal to 31 Earth days.

‘When NASA’s Sojourner rover landed on Mars in 1997, it proved that roving the Red Planet was possible and completely redefined our approach to how we explore Mars. Similarly, we want to learn about the potential Ingenuity has for the future of science research,’ said Lori Glaze, director of the Planetary Science Division at NASA Headquarters. ‘Aptly named, Ingenuity is a technology demonstration that aims to be the first powered flight on another world and, if successful, could further expand our horizons and broaden the scope of what is possible with Mars exploration.’

‘When NASA’s Ingenuity Mars Helicopter attempts its first test flight on the Red Planet, the agency’s Mars 2020 Perseverance rover will be close by, as seen in this artist’s concept.’ Caption and image credit: NASA/JPL-Caltech

It’s difficult enough to get a helicopter to Mars, and that accomplishment is the result of years of work by many talented people and considerable financial resources. When designing Ingenuity, the team had to ensure it was small and light enough to be an acceptable payload for Perseverance. The helicopter is solar-powered, and it must be efficient enough to have the required energy to operate on Mars and survive cold Martian nights.

There are significant challenges to flying on Mars. The Red Planet has about one-third of Earth’s gravity, for starters, and the atmosphere is also only 1% as dense as Earth’s at the surface. The weather poses unique challenges, with nighttime temperatures dropping to -130° F (-90° C), which can wreak havoc on electrical components.

‘Members of the NASA Mars Helicopter team inspect the flight model (the actual vehicle going to the Red Planet), inside the Space Simulator, a 25-foot-wide (7.62-meter-wide) vacuum chamber at NASA’s Jet Propulsion Laboratory in Pasadena, California, on February 1, 2019.’ Caption and image credit: NASA/JPL-Caltech

‘Every step we have taken since this journey began six years ago has been uncharted territory in the history of aircraft,’ said Bob Balaram, Mars Helicopter chief engineer at NASA’s Jet Propulsion Laboratory in Southern California. ‘And while getting deployed to the surface will be a big challenge, surviving that first night on Mars alone, without the rover protecting it and keeping it powered, will be an even bigger one.’

Once Ingenuity is in place, squarely in the center of its 33′ x 33′ (10m x 10m) airfield, the complicated deployment process can begin. ‘As with everything with the helicopter, this type of deployment has never been done before,’ said Farah Alibay, Mars Helicopter integration lead for the Perseverance rover. ‘Once we start the deployment there is no turning back. All activities are closely coordinated, irreversible, and dependent on each other…’

‘NASA’s Mars Perseverance rover’s descent stage was recently stacked atop the rover at Kennedy Space Center, and the two were placed in the back shell that will help protect them on their journey to Mars. In this image, taken on April 29, 2020, the underside of the rover is visible, along with the Ingenuity helicopter attached (lower center of the image). The outer ring is the base of the back shell, while the bell-shaped objects covered in red material are covers for engine nozzles on the descent stage. The wheels are covered in a protective material that will be removed before launch.’ Image and caption credit: NASA/JPL-Caltech

If all goes according to plan, the deployment process will take six sols. On the sixth scheduled sol of the deployment phase, NASA states that ‘the team will need to confirm three things: that Ingenuity’s four legs are firmly on the surface of Jezero Crater, that the rover did, indeed, drive about 16 feet (about 5 meters) away, and that both helicopter and rover are communicating via their onboard radios. This milestone also initiates the 30-sol clock during which time all preflight checks and flight tests must take place.’

Artist’s rendition of the Perseverance rover and Ingenuity helicopter. Image credit: NASA/JPL-Caltech

Ingenuity is not carrying special instruments, and unlike the rest of the mission, its goals are not scientific. Ingenuity is solely an experimental engineering test flight. The team wants to see if it can fly on Mars. When Ingenuity is ready to fly, JPL mission controllers will send and receive flight instructions through Perseverance. Hopefully, early next month, Ingenuity will successfully launch from Mars’ surface. When it does, it will mark a monumental achievement for NASA, JPL and countless others.

Articles: Digital Photography Review (dpreview.com)

 
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Zeiss announces Radiance Prime lenses with controlled flare effects for cinematographers

09 Nov

Optical manufacturer Zeiss has announced a new set of lenses based on its Supreme Prime range but which are designed to produce attractive flare easily and in a controlled manner. The Zeiss Supreme Radiance Prime lenses will only be available as a set of seven focal lengths and can only be ordered between now and the end of March 2020.

The lenses have been created to enable cinematographers to introduce a controlled amount of flare into their productions without losing optical quality. The company claims the Supreme Radiance lenses will provide consistent effects and won’t compromise contrast or light transmission. A new T*Blue coating has been used to generate the flare in the lenses, which are otherwise exactly the same as the existing Supreme Primes.

The flare from the lenses has a blue tone, and those quoted as having used the lenses talk of a look that is sharp but soft at the same time and highlights the glow. The coating also lends a slightly warmer tone to the footage.

The set of seven lenses will cover focal lengths from 21mm to 100mm, and a wide covering circle means they are suitable for large format sensors. All are compatible with the ZEISS eXtended Data metadata system and Cooke’s i/Technology for recording shooting information on along with each frame to help special effects teams integrating additional content into the picture.

Zeiss hasn’t yet announced a price for the lenses but says they will start shipping April 2020. For more information see the Zeiss website.

Press Release:

ZEISS Unveils New High-End Cinematography Optics: ZEISS Supreme Prime Radiance Lenses

A Modern Lens, based on ZEISS Supreme Prime lenses, with Controlled Flares – orders possible by 31st March 2020!

ZEISS has unveiled the ZEISS Supreme Prime Radiance lenses, an exclusive new set of seven high-end cinematography lenses. The lenses are based on the high-speed ZEISS Supreme Prime lens family with the benefit of the new T*blue coating, which offers a distinctive look and consistent flares without any compromises.

“The ZEISS Supreme Prime Radiance lenses deliver stunning, consistent flares across all focal lengths that cinematographers can create at will,” says Christophe Casenave, Product Manager for Cinema Products at ZEISS. “The new lens family has been infused with ZEISS’s experience and passion for premium-quality cinematography lenses – combined with its aspiration to support filmmakers throughout the creative process,” says Casenave.

ZEISS Unveils New High-End Cinematography Optics: ZEISS Supreme Prime Radiance Lenses

Controlled images that exude artistic flair
The ZEISS Supreme Prime Radiance lenses are available as a set of seven focal lengths of between 21 and 100 millimeters, all with a maximum aperture of T1.5. This makes it possible to capture subtle nuances, even in poor light.

“When we spoke to filmmakers and industry experts, we took a close look at the appeal of flares and their unique impact on the atmosphere of a movie,” says Casenave. He describes how ZEISS is responding to users’ needs to integrate flares to ensure greater creative freedom with the lenses: “We didn’t just want to reproduce the effects, but to create tools that would allow this effect to be achieved at any time and in a controlled manner, and so the T* blue coating was born.” The new coating allows users to create flares in the right light without any losses in contrast or transmission – and in the high quality that customers have come to expect from ZEISS.

The versatility of the lenses can be used to create this visual look, which is due to the smooth depth of field and elegant bokeh, thus meeting users’ every artistic wish – from a blockbuster to a high-end commercial or a film d’auteur.

Compact, lightweight full-frame lenses

In addition to their flare behavior, the new lenses offer all the benefits of the ZEISS Supreme Primes. Thanks to their image circle diameter of 46.3 millimeters, they cover the current large-format cinematography sensors and are as such compatible with the latest camera models, such as the Sony Venice, ARRI Alexa LF, and Mini LF and RED Monstro. Moreover, they feature a front diameter of 95 millimeters with consistently positioned focus and aperture rings. They weigh around 1,500 grams on average.

The lenses are equipped with the ZEISS eXtended Data metadata technology launched in 2017, providing frame-by-frame data on lens vignetting and distortion in addition to the standard metadata provided using the Cooke /i technology1 protocol. This simplifies and speeds up workflows, particularly for VFX and Virtual Production.

Limited availability

The ZEISS Supreme Prime Radiance lenses are available to order from announcement until March 31st, 2020. The seven focal lengths – 21 mm T1.5, 25 mm T1.5, 29 mm T1.5, 35 mm T1.5, 50 mm T1.5, 85 mm T1.5 and 100 mm T1.5 – are available exclusively as a set from ZEISS Cinema dealers. The lenses will be delivered from April 2020 after the end of the ordering period.

From November, 9th -16th ,2019, ZEISS will be unveiling its ZEISS Supreme Prime Radiance lenses for the first time before a large audience at the CAMERIMAGE International Film Festival in Toru?, Poland. The short film R&R by Rodrigo Prieto (DOP of movies like The Irishman, The Wolf of Wall Street and Brokeback Mountain) shot with ZEISS Supreme Prime Radiance lenses, will also be shown at the festival. After CAMERIMAGE, ZEISS will be running a series of events at various rental houses around the world to give cinematographers the chance to try out the new lenses.

To find out more, please visit: www.zeiss.com/cine/radiance.

Articles: Digital Photography Review (dpreview.com)

 
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Ways to Modify Your Flash for More Controlled Lighting

13 Aug

The post Ways to Modify Your Flash for More Controlled Lighting appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Flash can be a confusing addition for many new photographers. But there’s really only one way to gain experience. Learning to use your flash well takes practice.

Using your flash without modifying its output often produces unsatisfactory results. These can be very discouraging. With little modification, you can achieve more acceptable results pretty easily. Controlling the output of your flash based on the style of light you want for your photos is not hard to do.

Ways to Modify Your Flash for More Controlled Lighting Northern Thai Sausage

© Kevin Landwer-Johan

Your unmodified flash is a small light source

The smaller your light source is in relation to your subject, the harder the light will be. An unmodified flash produces strong light and high contrast for most subjects. This creates a hard-edged shadow which is often undesirable. The only difference is with macro photography because the light source will be larger than the subject.

Modifying the output of your flash by using a diffuser softens the light which falls on your subject.

Using a diffuser does a couple of things. It subdues the output, so less light hits your subject. It also spreads the light, effectively making the active light source larger. The light falling on your subject will be softer. So will the shadows they create.

Ways to Modify Your Flash for More Controlled Lighting Young Woman in the Park

© Kevin Landwer-Johan

The benefits of using modified flash

Diffusing the light from your flash will produce more flattering results when taking portraits. Soft light falling on the skin reduces the appearance of texture and gives it a more even tone. There are a number of techniques and accessories you can employ to diffuse the light from your flash. I will discuss some of these in the next section.

Hard light from an unmodified flash is more likely to show up skin blemishes. It also produces unsightly hot spots.

These bright patches occur with all but the most light absorbent surfaces when using an undiffused light. The more reflective the surface, the more light from a small light source will reflect.

Using some method of scattering the light from your flash will help end these problems.

Another option to modify your flash is to do the opposite of spreading the light. Narrowing the dispersion of the light produces a completely different look. You can better control what area of your composition the light from your flash will affect. This is usually achieved by the use of a snoot or honeycomb grid.

Ways to Modify Your Flash for More Controlled Lighting Rabbit Time Costume

© Kevin Landwer-Johan

How to control your flash using modifiers

The most simple way to alter the light from your flash is to turn your flash head so it’s not pointing where your lens is focused. Indoors you can point it up to the ceiling. The light will reflect off the ceiling and scatter. You can alternatively point your flash towards a wall beside or behind you.

Ceilings are often white or light neutral colors, so your photo is not likely to be affected by an odd toning. Bouncing your flash off a colored wall or other surfaces can cause that color to affect the light.

Depending on how close your flash is to the surface you’re bouncing it off will determine how much it is diffused. The closer you are to the surface, the less diffusion there will be.

When you turn your flash head to bounce it off another surface, the light and shadows it creates will be softer. Shadows may still be evident. You need to be careful of shadows under people’s chins and around their eyes when you bounce your flash off a ceiling.

Using a piece of whiteboard, plastic or a fold-out reflector to bounce your flash off will give you more control. You can move your reflector further away or closer and determine the best position for it.

Ways to Modify Your Flash for More Controlled Lighting Young Woman in Red

© Kevin Landwer-Johan

Clip-on hard diffuser

Most flash units come with a clip-on hard plastic diffuser. This is a small attachment that fits over the front of the flash head. It scatters and softens the light when the flash is fired.

Because this attachment is small, about the same size as your flash lens, it will not do a lot to soften the light. It is often better than nothing if you have not other option and it is small and convenient.

ways-to-modify-your-flash-for-more-controlled-lighting-Clip-on-Diffuser

Flash with a clip-on diffuser © Kevin Landwer-Johan

Bounce cards and other compact modifiers

A white piece of cardboard about 20cm (8 in) square with a tab on one edge and a couple of good strong elastic bands. This was a standard kit for photographers when I worked in newspapers. It was back before the proliferation of flash modifiers were available to buy.

Adding a bounce card to a flash pointed at a ceiling or wall spreads and softens the light even more. This will help further reduce the strength of the shadows.

Nowadays there are so many types of bounce cards and other diffusers available. They’re all designed to modify your flash in slightly different ways. Kits of modifiers can include:

  • Softboxes,
  • Barn doors,
  • Snoots,
  • Honeycomb grids and all manner of variations.
ways-to-modify-your-flash-for-more-controlled-lighting-Bounce-Card

Flash with a bounce card © Kevin Landwer-Johan

Snoots and grids

Most accessories which modify flash output are designed to soften the light. Snoots and honeycomb grids are two pieces of kit which can help you control the direction of the light.

Each works to narrow the spread of light from your flash. This allows you to control which part of your composition is most affected.

Ways to Modify Your Flash for More Controlled Lighting Snoot Lighting

© Kevin Landwer-Johan

Gobos and colored gels

Two more accessories which modify flash output are gobos and gels.

A gobo is a stencil or template placed in front of your flash head to create a shadow of a shape or pattern.

Any color gel can be used to affect the color of light which emits from your flash. This can be used for creative effect or to balance your flash with the ambient light.

Electric light sources often emit a colored light that is not as white as the light from your flash. Tungsten light is a warm tone. Fluorescent is often quite cool. Using the correct color gel can produce the right color to balance with an existing light source.

Small flash softbox

ways-to-modify-your-flash-for-more-controlled-lighting

Small Softbox © Kevin Landwer-Johan

My favorite flash modifier is a small softbox. It’s not the smallest or most convenient, but it produces a soft, pleasant light.

Mine’s about 60cm (2 ft) square and has a bracket to mount the flash at the back. The biggest drawback in using it is that you need to place it on a stand or have someone hold it for you.

I find I like the results best when using it as a fill light.

Ways to Modify Your Flash for More Controlled Lighting Temple Tourist Sunset

© Kevin Landwer-Johan

Controlling the amount of light

Whichever method you use to you modify the light from your flash there will always be a reduced output. You must compensate for this.

Using the TTL setting your camera and flash should calculate the correct amount of light. This should also be true with the auto settings.

In some circumstances, you may notice not enough light from your flash is illuminating your subject. At these times, you must adjust your compensation. This can be done by opening your aperture more or increasing your ISO.

Ways to Modify Your Flash for More Controlled Lighting Rag Doll Girl

© Kevin Landwer-Johan

Conclusion

Unmodified flash is not often the best light source. Modification allows you to control its output to suit the style of photograph you are making.

Experimentation and practice are required to master the type of lighting you want.

A practical exercise to help you understand and see what you can achieve is worth spending some time with. Set up a still life composition or find a willing model to work with. In the same setting, take a series of photos using various modifiers so you can compare the way the light looks with each one.

 

ways-to-modify-your-flash-for-more-controlled-lighting

The post Ways to Modify Your Flash for More Controlled Lighting appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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DJI can now enable drone operation in controlled areas

03 Oct

Drone maker DJI has been approved by the The Federal Aviation Administration (FAA) to authorize drone flights in controlled airspace around airports as part of the Low Altitude Authorization and Notification Capability (LAANC) program.

LAANC was established earlier this year by the FAA to facilitate drone operation for professional pilots near approximately 500 airports where commercial drone flights generally require prior authorization. Pilots will be able to receive near-real-time authorization instead of going through a more long-winded and slower process.

The program designates locations within the restricted airspace that can be used safely up to approved altitudes, and monitors temporary flight restrictions and other limits that could affect flight permissions. Drone pilots can use LAANC to check those limits, plan flights and file applications. Applications are processed instantly and LAANC provides flight information to FAA Air Traffic.

“Before LAANC, using drones for productive work near many airports required detailed applications and up to months of waiting, even when the benefits were clear and safety was prioritized. Now, LAANC allows easy drone use in more than 2,000 square miles near airports, including many populated areas that can benefit tremendously from drone operations,” said Brandon Montellato, DJI Program Manager – Enterprise Solutions. “More than 100,000 Part 107-certified drone pilots will now be able to perform valuable work – from inspections and surveys to filming and photography – with near-instant approval.”

DJI is one of 9 new companies and organisations that have been authorized by the FAA after a rigorous testing and validation process. The others are Aeronyde, Airbus, AiRXOS, Altitude Angel, Converge, KittyHawk, UASidekick, and Unifly.

Thanks to the approval DJI can now allow customers to apply for LAANC approvals via their DJI accounts to plan flights. The company says it will provide more information on how the process will be integrated into its products lineup in the near future.

Articles: Digital Photography Review (dpreview.com)

 
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Adorama introduces Canon RT radio controlled TTL studio head and hotshoe flash

02 Feb

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Camera store Adorama has announced that it is to introduce a new line of monoblock studio heads that are designed to work directly with Canon’s RT radio TTL flash system. The company claims that the Orlit Rovelight RT 610 TTL Wireless Monolight, with its RT system built-in, is the first of its kind. The head can also be used with all Canon and Nikon DSLRs using the Orlit TR-611C and TR-612N TTL Transceivers that have been launched alongside the head. These transceivers allow TTL control of the head even with Nikon cameras.

The Orilt Rovelight RT 610 TTL is a 600Ws head with a guide number of 201ft/61m @ ISO 100 that features modes for Canon’s ETTL and Nikon’s iTTL metering systems. It is powered by a rechargeable 6000mAh lithium ion battery pack that Adorama claims is good for 450 full-power flashes per charge. The longest recycle time will be 2.5 seconds at full power, but the head offers output settings down to 1/256th in 1/3EV steps across the nine-stop range. There is said to be a variance of only 150 K across the output range from the standard color temperature of 5500 K, and a high speed sync mode allows for shutter speeds of up to 1/8000sec. The modeling bulb is a 20W LED that has a 3200 K tungsten color balance and three brightness levels.

The head accepts Bowens S-type modifiers and has an integrated umbrella shaft slot. The flash control system can be divided into five groups, while 16 channels are provided to avoid interference with other systems in the vicinity.

The new studio head can also be controlled by or work alongside the company’s Orlit RT-600C TTL Speedlite. This new flash unit can sit in the camera’s hotshoe to act as a master or it can join a group of other RT flashes as a slave. The unit has a guide number of 160ft/48m @ ISO 100.

The new studio head, flash unit and transceivers will ship later this month but can be ordered now on the Adorama website.

  • Orlit Rovelight RT 610 TTL Wireless Monolight – $ 699.95
  • Orlit RT-600C TTL Speedlite – $ 169.95
  • Orlit TR-611C Transceiver – $ 69.95
  • TR-612N TTL Transceiver – $ 69.95

Press release

Adorama Announces Orlit, and “The First Canon RT Wireless Compatible Monolight”

Adorama, one of the world’s largest photography, video, audio, imaging and electronics retailers, has announced Orlit, the brand new line of TTL flash solutions for photographers. Available exclusively at Adorama, the line consists of the Orlit Rovelight RT 610 TTL Wireless Monolight, the first monolight to ship with the Canon RT radio system built in; the Orlit RT-600C TTL Speedlight for Canon, ideal for Canon users who want to use the unique Canon 600EX-RT wireless radio system; and the Orlit TR-611C and TR-612N TTL Transceivers, which enable shooters to achieve a more extensive and powerful lighting solution with wireless control for Orlit Canon and Nikon systems.

Optimized for exceptional, true TTL performance, the all-new Orlit flash lighting line is now available for pre-order, exclusively from Adorama, and will begin shipping in February 2017. The Orlit product line-up includes:

Orlit Rovelight RT 610 TTL Wireless Monolight: The only 600ws wireless TTL monolight that breaks the Canon RT radio barrier and also works with Nikon wireless systems. The Orlit RT610 TTL brings additional professional radio-based and infrared remote flash options to loyal Canon RT users, who can now use the Canon 600EX-RT as a master and the Orlit RT610 as the slave.

With an outstanding Guide Number of 201 (ft. at ISO 100), and manual levels from full to 1/256 power with fine 0.1 stop graduations, this monolight from Orlit boasts a bright 20 watt LED modeling lamp with a tungsten 3200K color temperature. The HSS Mode allows sync shutter speeds up to 1/8000, while Freeze Mode achieves an additional reach of 1/19000 to capture split second moments.

The Orlit Rovelight RT 610 user interface features a large, full-color LCD display, simplified menu system, and a generous power and function control dial. Future technologies and camera sync are firmware updated through the USB port.

The Orlit Rovelight RT 610 TTL Wireless Monolight is now available for preorder and retails for $ 699.95 USD.

Orlit RT-600C TTL Speedlite for Canon:

This versatile Canon RT/ETTL wireless radio-compatible speedlight, which transmits both the Canon RT radio and optical systems, can act as a master to up to five independent groups or slave unit for remote power control. A Guide Number of 160 (ft. @ ISO 100, at 200mm zoom) in combination with the compact and lightweight design of the flash makes the Orlit Speedlite a top choice for professional Canon shooters.

Using the Orlit Speedlite for Canon is a breeze, with a flash head that rotates 180 degrees in any direction and tilts over 90 degrees for any type of bounce or modifier use. The head zooms automatically or manually from 20-200mm, ensuring the necessary coverage without light spill. The Orlit RT-600C also has a holder to place color balancing gels before the flash head. Like the Orlit Rovelight, the Orlit RT 600C user interface features a clear LCD display with a simplified but extensive menu system, with future technologies incorporated via firmware updates.

The Orlit RT-600C TTL Speedlite for Canon is now available for preorder and retails for $ 169.95 USD.

Orlit TR-611C TTL Transceiver & Orlit TR-612N TTL Transceivers:

Designed for Canon and Nikon cameras, respectively, adding 980ft/300m of remote lighting freedom. Using an Orlit transceiver on the camera’s hot shoe, Canon and Nikon photographers can easily adjust the exposure for the Orlit Rovelight RT610 TTL Monolight, while the Canon TR-611C adds control to the Orlit RT600C Speedlite.

This TTL wireless flash transmitter from Orlit can trigger one or more receivers for studio flash and speedlights. Featuring direct group access, multi-group triggering, stable signal transmission, and sensitive reaction, photographers can achieve wide flexibility and control over their strobist setups. And with the Orlit TTL Transceivers, high speed synchronization is available for most Orlit camera flashes, with a max speed up to 1/8000s.

The Orlit TR-611C & TR-612N TTL Transceivers are now available for preorder and will each retail for $ 69.95 USD.

Designed with Users in Mind
The Orlit TR-611C and TR-612N Transceivers feature an efficiently designed user interface with a clear LCD display, simplified but extensive menu system, and are graced by soft menu touch control buttons for all options. Future technologies are firmware updated through the USB port.

The Future of TTL Flash is Now
Coming soon, the Orlit smartphone app seamlessly integrates the latest in wireless command into studio life. A rich array of screens give touch control to the myriad of Orlit features without going near the set, from the convenience of a smartphone.

Articles: Digital Photography Review (dpreview.com)

 
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Firmware update for Sony a7R II improves stability, adds support for radio controlled flashes

19 Aug

Sony has released a firmware update for its a7R II full-frame mirrorless camera which improves camera stability while adding support for the company’s new radio controlled lighting system.

The official list of improvements in version 3.30 include:

  • Support for Radio Controlled Lighting System
  • Improved stability in picture shooting mode (by optimizing temperature control)
  • Allows for HDMI output while using Remote Camera Control software
  • Improves overall stability and operability of the camera

The firmware is now available and can be downloaded right here.

Articles: Digital Photography Review (dpreview.com)

 
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