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Review: Live Planet VR live-streaming system

05 Oct

Live Planet VR camera and live-streaming platform
$ 3,495 | liveplanet.net

Live Planet VR bills itself as “the only end-to-end VR system,” and technically, since it includes a camera system as well as a cloud publishing suite that’s capable of delivering to just about every major VR headset and outlet currently available (including live-streaming high-resolution stereoscopic 360 video over mobile networks) they may be right.

Live Planet has a lot of things going for it, especially when it comes to the algorithm and software solutions side of things. Their live-streaming and real-time stitching execution is impressive, and I can also see many cases where their cloud publishing platform could be a godsend, which we’ll get to below.

In fact, whether or not Live Planet VR is right for you is highly dependent on how you plan to use it, as Live Planet is targeting a very specific user – mostly those looking to live-stream.

But we’ll start with the key features and the design.

Key Features

  • 16-lens stereoscopic VR 6K camera
  • DCI 4K/30p (4096×2160) resolution for live streaming
  • 6K/24p (6144×3328) for post-production stitching
  • In-camera real-time stitching
  • Live-streaming capability
  • Records to a single microSD card
  • VR headset live preview
  • Robust cloud publishing solution to all major VR platforms
  • Delivers high quality VR over LTE networks

Design

The camera itself is quite nice. It’s a hefty, well-crafted chunk of heavy polymer and machined metal about the size of an extra large coffee mug. It has sixteen Sunex DSL218 F2.0 lenses and 1/2.8” Sony IMX 326 sensors, and is flanked on top and bottom by generous ventilation grills.

The bottom of the unit has inputs for USB stereo, audio-in, ethernet, 12V DC 5A power, microSD slot, TOSLINK (optical audio), and HDMI out, as well as a standard 1/4”-20 thread for mounting to any standard tripod plate or system.

The LivePlanet camera may look like something out of a science fiction movie, but it’s a robust camera with sixteen F2.0 lenses.

The camera records to a single microSD card in a compressed .mp4 format. It also offers an HDMI out for YUV 4:2:0 capture so you can transmit the signal in both stereo or mono to a switcher or for a traditional broadcasting workflow. For standard recording, it captures at 50 Mbps, and for live-streaming it can capture at 15, 30, 45, or 60Mbps.

This all weighs in at around 700g (1.5 lb) and comes packaged in a Pelican case with custom foam cutouts.

I had no qualms about the aesthetic and physical design of the camera, but there are a few key points to take into account as you consider whether this system is right for you, which brings me to…

In use

As with most VR cameras, much of the magic happens on the software side. In the case of the Live Planet system, most of that magic is related to live streaming. If you’re looking for a rig to showcase and/or live-stream produced events, such as sports, concerts or conferences, and expect to do little to no post-processing, the Live Planet VR system is certainly one to take a look at, for this is where Live Planet VR truly shines.

Live Planet is targeting a very specific user, mostly those looking to live-stream.

However, if you’re looking for a fairly portable system that you can quickly grab and go to capture high-resolution, high-quality 360 footage, you should probably be aware of a few things:

There are no internal microphones. You need to connect a third party microphone, such as the Zoom H2N or Zoom H3-VR, if you plan to capture audio, as well as a second tripod or clamp to attach it to the tripod and keep it out of view below the camera. Live Planet does support direct-to-soundboard input so audio is attached to your video files.

There’s no internal battery pack. In order to use this unit away from a power source, you need a third party battery pack. The review unit came equipped with a Watson Pro VM-95-ME 97Wh external Lithium-Ion battery pack and Core SWX GPSCPM V-Mount plate and monopod clamp, also to be attached to the tripod. These are not included when purchasing the Live Planet VR camera.

The camera’s ethernet plug provides a reliable connection for live streaming content.

You can’t preview recorded clips in the field. In order to preview what you’ve recorded the app provides screenshots, but you can’t see recorded video files until you offload footage onto your laptop or computer. Live Planet says that this is a feature on their roadmap.

The camera only records in compressed .mp4 format. While most cameras at this price point offer several recording options, those interested in color grading and refining stitches may want to look elsewhere as the Live Planet VR camera does not currently record Log or Raw footage, nor does it allow you access to full resolution un-stitched camera files for fine-tuning using tools like Mistika VR or Nuke. Live Planet tells me they have features in beta for Raw capture and a Premiere Pro plugin, however it doesn’t seem that access to individual camera files is yet on the roadmap.

The Live Planet VR camera requires some accessories, like an off camera battery and audio recorder, so it’s not the best camera for quick projects. But for live-streaming events it’s a very powerful solution.

There’s no internal gyroscope or stabilization solution. While this wouldn’t be as much of an issue if individual camera files could be accessed to post-process using third party software, moving shots are virtually impossible with the Live Planet VR system without a gimbal or rover with stabilization.

These may seem like some serious limitations, and for certain uses they are. However, when you consider that the system is optimized to live-stream VR content, features like previewing recorded clips or the specific recording format used are probably less critical.

Software and apps

First, the basics.

The mobile app, as well as the web app from your computer or laptop, are very simple to use. For image control it offers the essentials: exposure (including auto-exposure), shadows, saturation, temperature (including auto-white balance), tint, and curves.

Additionally, you can choose between monoscopic and stereoscopic, quality of live-stream, choice of audio stream (with optional microphone attached), and field of view (currently 360 or 180, with plans on future updates to choose anywhere between 0 and 360 degrees). Finally, you get the option of recording or live-streaming, as well as a button to turn on and off the camera unit.

The Live Planet mobile app is easy to use and offers a lot of control.

Now, the magic.

First, by taking full advantage of an NVIDIA Jetson TX2 Module (with AI computing), the unit live-stitches 4K footage in real-time, and the algorithm does a fantastic job doing so. I was as close as a half meter (1.5 ft.) away, and stitch-lines are hardly noticeable as you can see in the video below

There is an impressively noticeable lack of optical flow Jello-effect, often seen with other software stitching systems at such close distances. It really wasn’t until I was about 30cm (1 ft.) away that I even noticed any stitch lines. To get these kind of results from a package that fits in the palm of your hand, when just a few years ago you needed an ultra powerful desktop-sized stitchbox sitting underneath the camera, is a more than impressive feat.

Editors note: for best results, we recommend watching this sample video on a mobile or head-mounted device.

The Live Planet system is able to live-stitch 4K footage in real-time, a very impressive feat considering how well it works. Stitch lines are hardly noticeable until something gets within about a half meter of the camera. (Please excuse the lack of audio – I failed to consider the lack of internal microphones until I offloaded later in the day).

Second, the ability to monitor and preview live using a Samsung Gear VR headset is priceless. It’s very easy to setup and use, and is a wonderful way for a producer, director or client to experience, on set, the 360 sphere the way the end user will experience it. It’s also capable of simultaneously streaming an equirectangular preview to a laptop or computer, from where you can also control the camera and settings.

Third, and this is perhaps the main selling point for the Live Planet system, is that it gives the user the opportunity to simultaneously live-stream in 4K stereoscopic video, at as low as 2Mbps, to various platforms, including Oculus Go, Samsung Gear VR, and Google Daydream headsets as well as YouTube and any platform that supports Real Time Messaging Protocol (RMTP).

To get these kind of results from a package that fits in the palm of your hand, when just a few years ago you needed a powerful desktop-sized stitchbox sitting underneath the camera, is a more than impressive feat.

This makes it an elegant solution for publishers of live events to easily distribute to multiple channels. All you need to do is connect the camera to a router via Ethernet cable, plug it in, and hit the Livestream button on the mobile app or computer. You then share a simple event code generated by the Live Planet Cloud to whomever you like and users can login to experience both live, as well as pre-recorded, video. Facebook and Vimeo support are on the way.

Now here’s the kicker – users of most major 360 cameras such as Insta360 Pro, Vuze+, Samsung Gear VR and Rylo can now take advantage of Live Planet VR Studio, Live Planet’s cloud publishing platform. Since the software is where Live Planet does some serious algorithmic voodoo, this is an incredibly welcomed feature. Using the Live Planet publishing platform can give you a consistent easy way to push your 360 content out to the world, no matter what platform a user chooses to experience it on. I cannot think of an easier turnkey way to simultaneously publish to all major VR and social media outlets.

Finally, and this will be one of the least talked about and least understood, but perhaps one of the most exciting parts of the technical design, it all runs on a blockchain-enabled infrastructure called VideoCoin.

I cannot think of an easier turnkey way to simultaneously publish to all major VR and social media outlets.

Those that know me know that anything blockchain and distributed ledger technology gets my full attention. While this isn’t the place to get into the nitty-gritty of blockchain tech, essentially the basis of most cryptocurrency, what’s important in the Live Planet VR system’s case is that it provides a peer-to-peer, decentralized, encrypted platform for data distribution – never has there been a safer way to safeguard, control, and distribute your own data, in this case video.

Live Planet also employs a proprietary algorithm in what they call ViewCast technology, which predicts head movements in order to maximize resolution in the direction the eye is facing, enabling high-resolution viewing in headsets even on mobile networks.

The Live Planet system arrives in a very sturdy Pelican case with custom foam cutouts.

The Live Planet team also indicated that they “plan to release an update every 3 weeks.” Some of the things they specifically pointed out to us include still photo capture, HDR capture, flexible field of view capture (0 to 360º), support for streaming from multiple cameras, RAW capture, an Adobe Premiere Pro plugin to aid in post-production color grading, and spatial audio support on the Live Planet publishing platform.

Be aware that space and publishing through the cloud system will cost you, based on how much streaming time and space you need. There are packages from $ 50/month for 90 minutes of streaming and 50GB storage, up to $ 270/month for 10 hours of streaming and 250GB storage. To take advantage of the ViewCast technology, it’ll cost you $ 9.99 per streamed hour.

Image quality

Image quality is certainly adequate and acceptable, especially for the turn-key live event use cases as described above. While a recent update allows for 6K capture (6144×3328) at 24fps, that is currently reserved for post-production stitching. Maximum resolution for live streaming is 4096 x 2160 at 30fps. The camera does a very good job of rendering details close-by, however, at further distances, in high-contrast situations, say under a tree canopy or between several buildings in daylight, there tends to be some noticeable edge-fringing.

Conclusions

When I first started using the Live Planet I ran into some of the same frustrations that I did when I started shooting 360 several years back, piecing together 3rd party accessories and solutions. With no internal battery, on-board audio recording, any sort of controls on the camera unit itself, it’s not the best camera for travel or on-location shooting. It has a lot of moving pieces, all of which have to work perfectly together with no issues.

Bottom line, this is a perfect turn-key solution for the quickly growing market of live-streaming events in 360 video.

However, when I began to truly consider what the Live Planet system was designed to do – effortlessly stream live events – my perspective changed. Live Planet’s software engineering and solutions are top notch. For live-streaming, especially over wireless networks, 4K is more than enough resolution for that bandwidth to handle. Furthermore, since Live Planet has begun to open up its software solutions to users of other cameras, it’s absolutely worth keeping an eye on Live Planet’s evolution as I’ve yet to see anything that rivals Live Planet VR Studio on the software and distribution front.

Bottom line, this is a perfect turn-key solution for the quickly growing market of live-streaming events in 360 video, and it gets my enthusiastic recommendation as a system to use for live streaming purposes. Additionally, Live Planet VR Studio certainly gets my nod as a publishing platform for users of any camera.

What we like

  • Build quality
  • Instantaneous stitching
  • Live Planet live-streaming publishing platform
  • Good image quality
  • End-to-end system
  • Only requires 1 MicroSD card

What we’d like to see improved

  • Price
  • No internal or swappable battery
  • No audio recording
  • No still photo capture (coming soon)
  • No raw recording (coming soon)
  • No access to individual camera files
  • No stabilization
(Rating based primarily on use as a live-streaming system)

Articles: Digital Photography Review (dpreview.com)

 
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Nisi introduces the ‘Switch,’ a filter system with independently rotating holders

26 Sep

Filter system manufacturer Nisi has introduced a new filter holder that allows photographers to rotate two filters independently of each other, in much the same way that Lee’s Tandem operates. The Nisi Switch attaches to the existing 82mm filter holder and provides an additional rotation point so that the forward filter can be twisted separately to filters in the main holder.

The system is designed for those using graduated filters to make tackling mountainous horizons easier and so that graduated filters can be placed at more than a single angle to allow photographers to control different areas of the scene individually.

The Switch is part of the company’s 100mm filter system and will cost around $ 99. Those without the current 82mm filter holder will also need to buy a V6, a V5Pro or a V5 kit as well. These kits start at $ 169. For more information see the Nisi website.

Articles: Digital Photography Review (dpreview.com)

 
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Rock Bar is a sleek and slim weighting system designed to replace sandbags

24 Sep

California company Rock Bar has introduced a much tidier solution to weighing down tripods and light stands with a new weight case that straps securely to legs and center columns to provide extra stability.

The Rock Bar system comprises a nylon zip-up tube that comes filled with seven pounds of recycled steel and which uses straps at either end of its body to attach to legs without swaying in windy conditions.

The number of weights in the body can be adjusted by the user depending on the conditions and the equipment being supported, and the slim-line pouch is designed not to get in the way or to catch the wind itself. Rock Bar is aimed at tripod users, and those hanging lights on high stands and boom arms, and is intended to replace sandbags and other types of hanging ballast.

The case measures 31.75×6.35×6.98cm (12.5×2.5×2.75in) and costs $ 45. For more information see the Rock Bar website.

Articles: Digital Photography Review (dpreview.com)

 
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Axibo camera slider system uses AI to track faces and objects

21 Sep

Axibo Media has launched a Kickstarter campaign for Axibo, an AI-powered camera slider system with tilt and pan functionalities. The company bills Axibo as a more affordable and simplified professional alternative to existing robotic camera systems. The product features an integrated 6 + 1 AI core CPU, powering its ability to learn faces and track ‘just about any object.’

Axibo is claimed to be the first AI-powered camera slider on the market. The device supports shooting in a variety of modes, including simple to 3-axis multi-point complex time-lapses, face tracking while sliding back and forth, and more.

The system supports payloads up to 20lbs (slider) to 24lbs (Pan & Tilt unit), speeds up to 1m/s (slide) and 300 deg/s (pan/tilt), and it supports voice control. Features include USB-C compatibility, HDMI-in, power for the mounted camera, and a universal app for controlling the device.

The 1m (3.2ft) slider is made from carbon fiber, supports angled and vertical motion, and including dual 1/4″-20 mounts on both ends. The Axibo slider can be used without the companion Axibo Z1 Pan & Tilt unit when applicable. The slider is joined by the companion Axibo controller, which includes WiFi, Bluetooth, USB-C, HMDI, axis inputs for camera control, and a Sony NP-F dual battery receiver.

The aforementioned Pan & Tilt unit features an intreated 4MP camera for 40fps face and object tracking, support for operating in inverted mode, modular mounting options (including support for tripods), and aluminum construction.

The Axibo camera slider system is being offered through Kickstarter, where backers who pledge at least $ 1,192 CAD are offered the slider, controller, z friction mount and cable package. Other pledge options include the Pan & Tilt unit for pledges of at least $ 1,315 CAD and both the slider and Pan & Tilt unit for pledges of at $ 2,105 CAD. Shipments to backers is estimated to start in April 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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Phase One announces new XT camera system

11 Sep

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Phase One has announced its XT medium format system, which the company is marketing as a ‘travel-friendly’ solution for landscape photographers. The system is made up of three parts:

  • The IQ4 digital back (150MP or 100MP versions); we assume that future IQ-series backs will also work.
  • The lightweight body that has a shutter release and Cambo WDS-compatible mount
  • Three lenses made by Rodenstock

The XT body is essentially the ‘bridge’ between the lens and digital back. It’s a lightweight body with a dual-action shutter release and removable Arca Swiss type tripod foot. It has two dials, which are used to shift the lens by 12mm in any direction. This allows for the correction of perspective distortion and can aid in the creation of super-high-res panoramic images.

Landscape photographer Reuben Wu with the XT

The available Rodenstock lenses are a HR Digaron-S 23mm F5.6, HR Digaron-W 32mm F4 and HR Digiron-W 70mm F5.6. All three lenses use an electromagnetic ‘X-Shutter’, which offers shutter speed ranging from 60 to 1/1000 sec and carbon fiber shutter blades. The shutter is capable of 500,000 actuations, according to Phase One.

If the XT system sounds like something you’re interested in, you can pick one up for $ 56,990, which includes the IQ4 150MP back and the lens of your choice.

Press Release

Phase One Announces A New Camera System: The ‘XT’ — The First Of Its Kind

A travel-ready, digitally integrated field camera that brings landscape photography to a whole new level

COPENHAGEN, Sept. 10, 2019 – Phase One has announced the XT Camera System, opening new frontiers of quality for landscape photography. Designed for convenience and engineered for precision, the XT packs a full-frame medium format camera of the highest quality into a travel-friendly design. By pairing the power and performance of Phase One’s IQ4 Infinity Platform with Rodenstock’s renowned optics, the XT is the most compact digitally integrated field camera to date.

The XT Camera System perfectly marries extraordinary image quality and extraordinary photographic technology. It’s versatile, flexible, and remarkably intuitive to use. With components that communicate digitally with each other and the system’s compact size, the XT is crafted for effortless capture, so the photographer can focus on capturing the moment, not on camera settings.

“The XT Camera System is designed to elevate both your creativity and image quality by providing the best possible components, in the smallest possible package with intuitive controls, all of which allows you to focus on the moment.”
– Drew Altdoerffer, Product Manager at Phase One

“I love the XT. The combination of the Phase One IQ4, a compact camera body, and an incredible lens is just what I need. I can easily fit the camera with two lenses in my small shoulder bag, and still barely feel like I am carrying anything.”
– Reuben Wu, fine art landscape photographer

Phase One’s ability to embrace heritage while not weighed down by it makes the blend of sensible Danish design, advanced technology integration, and precision mechanics the natural foundation for this next step in landscape photography. The system will evolve over time with the release of additional lenses, expanding Infinity Platform features, dedicated accessories, and discipline-focused workflows.

Components – Technology in a class of its own

The XT Camera System integrates components of the highest quality:

  • The Phase One IQ4 150MP, IQ4 150MP Achromatic, or IQ4 100MP Trichromatic, built on the Infinity Platform — designed to innovate and support evolving technology.
  • The XT Camera Body built exclusively for the Phase One IQ4. It features intuitive ergonomics and straightforward controls, including the dual action shutter button, which is designed to support future expansion and customization.
  • Three lenses manufactured by Phase One’s strategic partner Rodenstock. All lenses are fitted with Phase One’s new, digitally integrated, X-Shutter –an intelligently controlled electromagnetic shutter — born from Phase One’s industrial applications experience:
    • The XT – Rodenstock HR Digaron-S 23mm f/5.6 is the highest quality super wide lens available.
    • The XT – Rodenstock HR Digaron-W 32mm f/4 is an exceptional quality wide-angle lens with a large image circle and almost no distortion.
    • The XT – Rodenstock HR Digaron-W 70mm f/5.6 is a normal focal length lens with impeccable image quality and a large image circle.
  • The XT Camera System takes full advantage of Rodenstock lenses with 24mm of shift on both the X and Y axis. The shift movement allows the photographer to correct perspective distortion. It can also be used to create panoramic/stitched images at tremendous scale/resolution. The XT Camera Body intelligently integrates the shift position in the image file for later refer

Availability and Pricing

The XT Camera System is available now through Phase One Partners worldwide: www.phaseone.com/partners.

The Manufacturer Suggested Retail Price for the XT IQ4 150MP Camera System, including a lens of your choice, is $ 56,990

All camera systems are sold with a 5-year limited warranty, including unlimited lens actuations for the warranty period.

For more information, please go to: www.phaseone.com/XT or book a demo on: www.phaseone.com/xt-demo

Articles: Digital Photography Review (dpreview.com)

 
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Hands-on with the Phase One XT camera system

10 Sep

Introduction

Phase One has just unveiled their new XT Camera System, which uses the same IQ4 digital backs as their XF system, but in a much smaller and lighter overall package. Phase One is billing the XT system as a ‘field camera,’ explaining to us that, while the XF system is really about ultimate image quality in a studio environment, the XT is about making it easier to achieve that quality beyond the studio.

Let’s take a closer look at the components of the XT camera system and how it handles.

The XT camera

Although Phase One likes to use ‘back-to-basics’ as a phrase to describe the entire XT camera system, it’s the impressively slim XT camera itself that is perhaps most representative of this philosophy. The IQ4 digital backs mount to the rear of the camera, and a series of new Rodenstock lenses (which are attached to the company’s new ‘X-Shutter’ mechanism – more on that in a bit) mount to the front, using a standard Cambo mount. You can see the electrical contacts here that control that shutter, and also communicate shooting data between the lens and the camera.

The XT camera also allows users to quickly switch from landscape to portrait orientation, thanks to a tripod plate mounted on a grooved track (visible here on the right of the camera) that allows the whole system to rotate 90 degrees without leaving the tripod. If you like, you can remove the tripod foot altogether.

There are only three control points on the XT camera – one which you can easily see here, is that bright blue shutter button at the top left. The others are…

Lens shift knobs

…shift-knobs, seen here as the textured tumbler on the top of the camera. These will adjust the Rodenstock lenses by as much as 12mm up, down, left and right. There is another of these knobs on the rear of the camera (not visible, but just below the thumb in the photograph), and they principally allow for the correction of perspective distortion while shooting, but could also aid those shooting with high-megapixel stitched panoramas in mind, as well.

Lens shift knobs

Here, you can see one of this early prototype camera’s lens-shift display windows, as well as a peak of that second shift knob. These show you how far you’ve currently got the lens shifted. This value is saved into the EXIF data for the files, for later reference.

So, on the XT camera, you have the dual-action shutter button and two shift knobs – how do you go about controlling the rest of the camera?

The digital back

As is already an option for users of Phase One’s XF system, the touchscreen interface on the company’s IQ4 lineup of digital backs becomes absolutely key when using the XT system. They provide a robust live view display to aid in composition, and also include helpful exposure aids, such as Raw clipping indicators. You also have full access to the system’s menus, and from there, you can enable the new Automated Frame Averaging feature, which we’ll be looking at in greater depth in a separate article.

The rear touch-sensitive display also allows for adjustment of all exposure parameters, including aperture (there’s no aperture ring on the Rodenstock lenses). Speaking of rings on lenses…

Manual focus only

…the XT system is manual focus-only. Here, you can see the manual focus ring for the Rodenstock 32mm F4 lens – it’s very well-damped and very smooth, and we’d expect the same on the other lenses offered. Of course, manual focus generally precludes the use of the XT system as a fast, reactive photographic tool for moving subjects, but Phase One is…unfazed…by this reality. The company has stated that it’s really aiming the XT system at high-end landscape and architectural photographers that will likely use smaller apertures for greater depth-of-field, and for whom focusing using the rear screen and its in-built focus aids is an expected way of working.

Of course, there will probably be users who will take their XT system out as a ‘carry-around’ kit for shooting just about everything, just as there are users who currently do the same with the much-bigger XF system.

The X-Shutter and ebony grip

This brings us to the new X-Shutter mechanism, shown here protruding between the mount and the lens barrel. Phase One tells us that their experience in industrial applications informed this new unit’s construction.

The X-Shutter is electromagnetically controlled, and allows for shutter speeds from 1/1000 sec to 60 minutes, and is tested for a minimum of 500,000 actuations. There are 5 rounded aperture blades, all made of carbon fiber.

Oh, and last but not least, you can get a nice view of the XT’s grip in this image. It’s made of ebony, and is one of very few non-metal components on the camera.

The wrap

And that’s it for our quick hands-on tour of Phase One’s new XT camera system. The Phase One XT is the second example we’ve yet seen of modular medium format makers embracing the possibility of mirrorless cameras.

With the exception of the Pentax 645D and Z, most medium format systems have been based around modular backs that attach to camera bodies that contain an SLR mirror and viewfinder mechanism, along with the mechanism required to fire the shutter.

In the digital era, most of the camera functions and, increasingly, the ability to preview the image, have migrated from the camera body to the camera back. A move to a mirrorless design further reduces the role played by the camera body, to the point that it becomes almost a back-to-lens adapter with a shutter button.

Whether encouraged by the acceptance of the mirrorless approach by the rest of the market or as a by-product of a generation of large CMOS sensors with usably-fast live view, it’s interesting to see both Hasselblad (with its 907x) and Phase One recognize how minimalist a ‘camera body’ can be.

What do you make of the brand-new XT camera system? Let us know in the comments!

Articles: Digital Photography Review (dpreview.com)

 
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Lensbaby Omni Creative Filter System Review

13 Aug

The post Lensbaby Omni Creative Filter System Review appeared first on Digital Photography School. It was authored by Anabel DFlux.

Omni-Creative-Filter-System

I don’t know about you…but I like getting creative with my photography. Anything that helps make my work stand out against the myriad of photographers in the world (let alone in my very saturated city) is a must-have. However, what I enjoy the least is having to let my imagination soar solely in the editing room. If there is a practical way to do something unique, I’ll take that method.

Luckily, there is a company called Lensbaby that understands this on a deeper level. Home to some of the most unique lenses in the world (fondly called “art” lenses), Lensbaby pride themselves on developing equipment that gives you a slew of unusual in-camera effects.

Their lenses range from distortions like the ‘Burnside’ that swirls your bokeh and darkens the edges, to the more subtle ‘Velvet’ lens that simply softens the edge of the frame. Unfortunately, this comes at the price of relinquishing autofocus in their built-in-effects lens product arsenal.

Omni-Creative-Filter-System

But now, instead of having to rely on purchasing new lenses, Lensbaby has launched a product to help you turn the glass that you currently own into an effects lens. Best part? No more dealing with manual focus! Say hello to the OMNI Creative Filter System.

So… What is the OMNI Creative Filter System really? 

Lensbaby Omni Creative Filter System Review

“Shoot through crystals and other objects specifically engineered by Lensbaby to create professional and compelling in-camera effects. Designed to work with your existing lenses, OMNI offers control and repeatability without having to change your gear. The system comes with unique Effect Wands that attach magnetically and distort the light as it enters the lens – creating a myriad of magical in-camera effects.” writes Lensbaby. 

The Omni Creative Filter System is a ring that holds various effect wands in front of the glass to produce an effect. These effect wands come in the form of crystals, panels, and other doohickeys that open a world of possibility when used. The awesome thing about this product is that you can sort-of ‘make a Lensbaby’ out of any existing lens that you own.

The Pain Pack

Omni-Creative-Filter-System

The main filter system comes with the filter ring and various step up and step down rings, three Effect Wands, a long arm to hold the Effect Wand, a short arm to hold the Effect Wand, two magnetic mounts (each mount holds up to two Effect Wands), and a small carrying case to tie it all together. OMNI is available in Small and Large versions and includes step-up and step-down rings to fit a range of filter thread sizes.

Lensbaby Omni Creative Filter System Review

The three effects wands are known as the “Crystal Seahorse,” “Stretch Glass,” and “Rainbow Film.”

Crystal Seahorse uses its edge scallops to aid in producing complex flares, light redirection, and radiant reflections.

The Stretch Glass can mimic a light flare by creating streaks and reflections.

The Rainbow Film, one of my personal favorites in the set, is a diffraction panel that creates beaming reflective rainbows offset from any bright light source.

The Expansion Pack

Lensbaby Omni Creative Filter System Review

If those three wands aren’t already enough, Lensbaby has an expansion pack that adds three more crystals to the mix. The new additions are titled “Crystal Spear,” “Triangular Prism,” and the “Scalloped Window.” 

Lensbaby Omni Creative Filter System Review

The Crystal Spear reminds me of a kaleidoscope and can create dream-like flares similar to such. The Triangular Prism mimics what some creative photographers are currently doing when holding up prisms to their glass (except, in this case, you don’t have to sacrifice a hand to hold it up!). The Scalloped Window is similar to the Seahorse of the main pack, but with a larger surface area that allows you to shoot directly through the center.

How to use the OMNI System 

Lensbaby Omni Creative Filter System Review

Whether or not you care to look at the instruction manual, the filter system is pretty self-explanatory in terms of use. There is a large-ringed, donut-shaped disc that holds the magnetic arms that in turn hold the effects wands. This disc, depending on your lens filter thread, can either be screwed on directly or use a step-down/step-up ring to attach to your lenses’ glass element.

It is key to note that when using the 82mm step-down ring, vignetting will occur at focal lengths wider than 50mm. I personally like vignetting, but some do not.

Lensbaby Omni Creative Filter System Review

I was actually able to attach the OMNI Creative Filter System on to both my variable ND filter from Tiffen (to see if I could) as well as any old regular glass filter you may have in place to protect the glass. So for the record, filter stacking is totally possible here (but as to whether or not it’s recommended…that’s at your discretion).

The OMNI Creative Filter System is designed to fit most prime and zoom lenses on the market. But in my usage experience, the wider view lenses bring about the most prominent effect. That said, my 85mm lens did some really cool stuff with a few of the wands.

Build quality? 

Sturdy, sturdy, sturdy – and did I mention sturdy? Nothing about this system feels flimsy. For the price point, it definitely needs to feel solid and inspire confidence. All of which it definitely does. 

How much weight and size does it add to the lens? 

Omni-Creative-Filter-System

My immediate first worry was how much weight and size the system would add to my equipment. I hold my gear for very significant amounts of time. Many of the types of shoots I do run well into the 6-hour range without much pause. As well as this, some of my shooting conditions tend to be tumultuous and take place in tight spaces. As such, the amount of bulk or discomfort something may add to my current kit is a pretty big deal.

Lucky for me (and for us all, I’d say), the OMNI isn’t such a nuisance. The system is lightweight, and I very seldom noticed a difference with the filter on my lens than with it off. The only lens I felt a difference on was my $ 100 cheap 50mm much-around-lens whose weight is equivalent to that of a feather (metaphorically speaking, of course), but on all of my L glass and G-Master lenses, a difference in weight was difficult to notice.

Lensbaby Omni Creative Filter System Review

The system does add minor bulk and thickness to the front lens element, as the disc does protrude a wee bit, but it wasn’t a big deal. It didn’t impede my workday or any of the photo sessions!

The effect wands do stick out. However, in situations where I needed a flatter system (such as a live concert setting), I simply pushed the wands down.

But is it comfortable? 

Drumroll, please…

YES! 

Omni-Creative-Filter-System

I found the system very comfortable to use. Depending on how dextrous your fingers are, I was actually able to consistently shift the effect wands and their magnetic arms into position without ever taking my hand off of the lens itself.

Once you get a grasp on the actual distance between the front of the lens and the filter, you can easily make necessary adjustments without needing to take your eyes off of the viewfinder.

Though the magnets are very sturdy and keep the wands from flying off, the metal balls are still easy to spin and maneuver around. So much so, that just the use of one finger was honestly fine for me.

Review in practical use

Lensbaby Omni Creative Filter System Review

“That looks a bit like a steampunk contraption,” said one of my clients when I first attached the OMNI to my 24-70mm f/2.8 lens. On the first impression, all those individuals that I began using the creative filter system on were very intrigued. Client intrigue can open fun and useful dialogue – an unintentional benefit.

Attaching the system is quick and simple, and takes very little time. I enjoyed the fact that it didn’t look like I was fumbling or struggling in front of a client. That’s always a good sign. If anything, the more wands I pulled out, the more interested I noticed my subjects were.

Omni-Creative-Filter-System

It did take me a few minutes of finagling and experimenting to get the most out of each wand. So I would suggest everyone who purchases the system take a day to become very familiar with each effect. Even then, I still find myself discovering new uses for each wand with every photoshoot I use them on! A very exciting thing, indeed.

There is a very significant difference between using the effect wands in a controlled indoor situation and using them outdoors. When paired with studio lighting inside, most of the wands brought out very bright and striking results. They often pulled colors I didn’t even know were present! When used outside in natural light, the effects became a bit more muted and more natural in nature.

This is a great difference depending on the look you are going for.

Omni-Creative-Filter-System

You should really experiment with this equipment to see what works best for you. However, I found that the trick to getting the most out of the system is to shoot at a wider millimeter lens and a wider aperture.

The wide frame allows the effect to really bleed into the image while the shallow depth of field produced by the wide aperture helps blend the effect.

I took my OMNI kit to both easy-peasy, no-fuss photoshoots and chaotic and intense situations. The simple sessions were flawless, as expected, but the spontaneous and more chaotic shoots were where the real test was.

When taking the system on tour with me working with a band, I did run into the issue of the system not being sturdy enough in a live concert setting. Granted, if the venue has a photo pit and the band does not encourage crowd-surfing, the system can work brilliantly. However, in my situation, I was shooting in dive bars with no photograph barricade, and the music definitely brought about more than one crowd surfer. Alas, this system was a no-go on that front.

However, this is a very specific and niche issue to have, so I don’t fault the system whatsoever on that front!

Lensbaby Omni Creative Filter System Review

The Omni is very much a “what you see, is what you get” product. In practical use, this is simple and easy. Just the way we like it.  

Pros: 

Omni-Creative-Filter-System

  • Turn any lens into a practical-effects system! Step-down rings are included.
  • Well-built and lightweight.
  • Very simple to customize.
  • Easy to use, ready right out of the box.
  • A good variety of effect wands to create all sorts of interesting looks.
  • The ability to create repeatable and consistent effects.
  • Comes with a carry case that helps keep everything very neatly organized.

Cons: 

Lensbaby Omni Creative Filter System Review

  • You need to disassemble and reassemble for most camera cases and packing situations.
  • There may be some vignetting with the step-down rings.

 

Conclusion

Omni-Creative-Filter-System

Yes, it is possible to achieve similar effects by simply holding up a prism or other such geometric crystal to your lens, but that can be a nuisance. Instead, why not have something that simply attaches and holds firm?

As such, the OMNI Creative Filter System is a worthwhile and lasting product. It helps give the equipment you currently have an extra edge (without any permanent modification).

Have you tried the OMNI Creative Filter System? Let me know your thoughts (or any questions) in the comments!

 

lensbaby-omni-creative-filter-system

The post Lensbaby Omni Creative Filter System Review appeared first on Digital Photography School. It was authored by Anabel DFlux.


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Canon files patent application for eye-controlled AF system for mirrorless cameras

11 Aug
The item labeled ‘10’ in the figure is described in the patent application’s text as an LCD screen, showing this patent is specifically made with a mirrorless camera in mind. Item number 15 is a light-splitter that will redirect the image of the camera operator’s eye to a dedicated lens and CCD sensor, which is detailed in the next illustration.

Canon has been on a roll with the patent applications recently. In addition to the wireless charging solution for cameras, Canon has also filed a patent application in Japan for an eye-controlled autofocus system for mirrorless cameras.

Japanese patent application 2019-129461 details a system for mirrorless cameras that will use the camera operator’s eye to determine the focus point of the camera, a system not much different than the Eye-Control system first seen in Canon’s EOS 5/A2E camera back in 1992.

Items 13a and 13b are described as infrared light sources that would illuminate the eye. Item 16 is a lens, which will focus the image of the eye onto item 17, a dedicated CCD sensor for tracking where the eye is looking.

According to the patent’s text, the system would use infrared light sources and accompanying sensor to capture and calculate the direction of the camera operator’s line of sight. The resulting information is then used to adjust the focus point, including any corrections that would be made in the event the calculations were unable to get a definitive read on the line of sight.

One area where the eye-controlled autofocus system struggled on the EOS 5 (as well as the EOS 3, EOS Elan II E and EOS Elan 7NE) is when the user would be wearing glasses or contacts. It doesn’t appear as though the patent specifically addresses this issue, but newer prediction algorithms and other technological improvements could potentially rid an eye-controlled autofocus system of this issue.

Examples of the eye-controlled autofocus system at work, including details on how it would account for times when the camera operator’s eye isn’t able to be captured/detected.

As with all patent applications, there’s no guarantee this eye-controlled autofocus will ever see the light of day. But, if Canon did it over 25 years ago, there’s little reason it can’t do it with today’s technology.

Articles: Digital Photography Review (dpreview.com)

 
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Rode announces Lavalier GO microphone for its Wireless GO system

11 Aug

Rode has announced the Lavalier GO, a ‘professional-grade’ lavalier mic designed specifically for use with its Wireless GO system.

The Lavalier GO microphone is a 4.5mm omnidirectional microphone that features a gold-plated 3.5mm TRS jack that will work with Rode’s own equipment, as well as most other recording devices with 3.5mm TRS jacks. Its signal to noise ratio is 67 dB with a sensitivity of -35 dB (17.8mV @94dB SPL) and a dynamic range of 83 dB.

The cable is Kevlar reinforced and the Lavalier GO comes with the microphone, a clip to attach it to clothing, a pop shield and a pouch to carry it all in. The Rode Lavalier GO is available for $ 79 at authorized Rode retailers (Adorama and B&H). The Rode Wireless GO system is sold separately for $ 199 at authorized retailers (Adorama, B&H) as well.

Articles: Digital Photography Review (dpreview.com)

 
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Negative Supply launches Kickstarter for Film Carrier MK1, a 35mm camera scanning system

02 Jul

A company called Negative Supply has launched a crowdfunding campaign for a 35mm film holder for camera scanning called MK1. The product exists in two components, the Film Carrier MK1 and the Pro Mount MK1, the latter of which is an optional weighted base with adjustable feet. According to the team behind the device, Film Carrier MK1 can be used to scan an entire roll of 35mm film in around 5 minutes.

Film Carrier MK1 boasts full 35mm frame scanning, meaning each scan includes the border of the image area. Each frame is ‘forced flat’ via the product’s ‘unique channel technology,’ according to Negative Supply, the result being ’near zero distortion.’

The film carrier has a simple mechanical design that requires the user to load the roll into the device, then manually advance it frame-by-frame by turning an advance wheel. The film emulsion doesn’t come into contact with the film carrier, which only touches the edges of the film where the sprocket holes are located. The design is rounded out with a ‘light shroud’ that protects against ambient light intrusion.

According to Negative Supply, it spent months testing the MK1 design and is ready to bring it to market. The Kickstarter campaign is offering backers a single Film Carrier MK1 35mm scanner for pledges of at least $ 249 USD and the Film Carrier MK1 with Pro Mount MK1 for $ 399 USD or more. Both options are expected to start shipping to backers in September.

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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