The Aputure 672 LED Light Panel has been out for a little while, but since it's been a consistent piece of equipment on recent shoots, we thought we'd highlight some it's features to those who may not be already familiar.
The most recent 672 LED Light builds on the popular (previous model) 528 model. As you can tell the numbers mean that they were able to take the same form factor and add an additional 144 LED Bulbs. Not only are there more lights densely packed in providing a brighter output, but the bulbs have been swapped out to High CRI versions offering more accurate colors. The 672 is even offered as a Bi-Color LED Panel allowing you to adjust color temperature to match your ambient lighting.
Aputure 672 LED Light used for Outdoor Fill
Another major improvement over the previous 528 model is the additional wireless remote that allows you to control different LED panels without ever getting off your seat. In fact 'groups' of LED panels can be assembled and each group controlled separately through a single remote (included). This feature alone is a huge time saver when you need to sit behind the camera and adjust each light output for perfect exposure.
[2.4G FSK wireless remote control within 100 meters | Control multiple LED lights in 4 groups or 3 channels]
The Aputure 672 LED Panel shares some of the same features such as Digital Rear Display offering up an easy way to monitor battery life from a distance. The panels can be powered over AC through the provided wall plug, while simultaneously charging the Sony NPF style batteries connected to the panel (panel is a battery charger). Not shown in the video, but the Aputure 672 also comes with two large Sony (generic) Batteries offering up even more value as a ready to run system.
In summary the Aputure 672 LED Panels are compact, lightweight, affordable, offer high CRI, work with inexpensive Sony NPF style batteries, and built in wireless remote operation. Certainly an LED Panel that offers best bang for the buck and you won't be disappointed. Available now (click here).
Well look at what has arrived today on my desk. The latest updated (again) version of the CAME-TV 7800 Gimbal.
These changes are so new that at the time of this writing, the images for the CAME-TV 7800 Gimbal have not yet been updated on their website. If you plan on ordering one, I would double check with them about these new parts being available, since it's not yet posted on their website.
The system I have here has received a much needed aesthetic and functional overhaul. Finally they have professional looking side handles (not fond of the old yellow foam ones). These side handles require no tools to remove, and they have also updated to a matching new Top Handle. The biggest change of course is the addition of tool-less adjustments for the rear Roll Bar and YAW Motor and a slightly modified QR baseplate.
Previously they had only tool-less adjustments on the Pitch, and making adjustments to the Roll and YAW was a tedious task - but not any longer. The system now comes with a semi-hard travel case with a Gimbal Stand. The 7800 has certainly stood the test of time to be one of the most affordable entry level gimbal systems, and it seems like it's just getting better.
So the new changes look great, and in theory should make life a lot easier, but i'll still need to put it through the paces and test this thing out over the weekend. If you're interested in finding out more, the CAME-TV 7800 3-Axis Gimbal can be found on their website (CLICK HERE).
CAME-TV 7800 3-Axis Gimbal Stabilizer with Case + Stand
According to their website, the Sound Shark is based on the same technology that television networks have used to pick up the on-field sounds of professional sports for many years. Klover Products (parent company), made the parabolic microphones used at the 2014 Super Bowl and the 2014 World Series. So I guess they have some credit to back up claims of what this new product is supposed to be able to do.
You'll probably notice Parabolic microphones used heavily in sports. There's typically that guy on the side of a Boxing Ring or on the Side Lines of a Football Game. One claim they have is that the Sound Shark can reject sounds and pick up distant sounds better than a shotgun microphone.
While the examples seen through the photos show it mounted to a camera, it can also be paired up directly with an audio recorder or even mounted on a Boom Pole. It certainly seems like an interesting product that could aid capturing better audio for run-gun shooters covering events or sports, or to ensure you're getting the best possible scratch audio to sync multicams up in post. Hopefully there will be a point to where I can test it myself.
If you're working with a Sony A7s (or similar) camera body perhaps you've already tried adapting Canon or other lenses which typically offer slow autofocus and at times clunky communication. Here's a short sample I did using the Sony A7s with a Samyang lens and a few Canon lenses shot in S-Log at 4K on the Atomos Shogun. Although it's possible to use Canon Lenses with a Metabones adapter, it's been buggy and of course slower autofocus than using a native Sony lens.
If you want better image stabilization, faster autofocus, and full support of lens communication, then maybe it's just better to stick with native Sony Lenses. I'm pretty set on going this route myself. Here's a list of new Full Frame FE Mount Lenses that I think would make for a perfect addition to your A7s. There's also two adapters that can be used as a Wide Angle or Fisheye Conversion on the 28mm Lens.
E-Mount Lens/Full-Frame Format
Aperture Range: f/3.5-6.3 to 22-40
One ED and Five Aspherical Elements
Linear Motor AF System
Optical SteadyShot Image Stabilization
Internal Focus; Physical MF & Zoom Rings
Minimum Focus Distance: 19.7"
Dust and Moisture Resistant
Filter Diameter: 72mm
Circular 7-Blade Aperture
Sony FE 24-240mm f/3.5-6.3 OSS Lens
E-Mount Lens/Full-Frame Format
Aperture Range: f/2.8 to 22
1:1 Magnification Ratio; Internal Focus
Aspherical, ED and Super ED Elements
Nano AR Coating
Direct Drive Super Sonic Wave AF Motor
Optical SteadyShot Image Stabilization
Focus Hold Button & Range Limiter Switch
Sliding Focus Ring for AF/MF Selection
Minimum Focus Distance: 11"
Sony FE 90mm f/2.8 Macro G OSS Lens
E-Mount Lens/Full-Frame Format
Aperture Range: f/1.4 to 16
One AA & Three Aspherical Elements
Zeiss T* Anti-Reflective Coating
Direct Drive Super Sonic Wave AF System
Physical Aperture Ring Can Be De-Clicked
Minimum Focus Distance: 12"
Dust and Moisture Resistant
Filter Diameter: 72mm
Circular 9-Blade Diaphragm
Sony Distagon T* FE 35mm f/1.4 ZA Lens
E-Mount Lens/Full-Frame Format
Aperture Range: f/2 to 22
Aspherical, AA, and ED Elements
Linear Actuator Autofocus System
Internal Focus; Physical MF Ring
Minimum Focus Distance: 11.5"
Dust and Moisture Resistant
Filter Diameter: 49mm
Circular 9-Blade Diaphragm
Optional Ultra-Wide & Fisheye Converters
Sony FE 28mm f/2 Lens
Converts 28mm Lens into 21mm Ultra-Wide
Transmits EXIF Data to Camera
Built-In Petal-Type Lens Hood
Sony 21mm Ultra-Wide Conversion Lens for FE 28mm f/2 Lens
Converts 28mm Lens to 16mm Fisheye
180° Angle of View
Transmits EXIF Data to Camera
Built-In Petal-Type Lens Hood
Sony 16mm Fisheye Conversion Lens for FE 28mm f/2 Lens
Unfortunately it doesn't appear you can change GoPro settings from the REMOVU (framerates, resolution) and the REMOVU live view doesn't stream any faster than the GoPro App to your SmartPhone. But with it's compact size it beats trying to mount your smartphone, and it's also Water and Impact Resistant (not waterproof) which your Smartphone most likely is not.
So if you've ever looked at your GoPro LCD BacPac and wondered how you could strap it to your wrist instead (I know I have), this is the accessory for you. Now just $74.99 and Sale ENDS TODAY (click here).
Today we're taking a look the Z1 Rider 3 Axis Gimbal Stabilizer for GoPro HERO3/HERO4 cameras. This has to be one of the most versatile little gimbals available for the GoPro due to the fact that the power and boards are separated from the gimbal itself and can be mounted using any standard GoPro Mount.
I chose this particular gimbal over everything else for a few reasons.
1. The 3 Axis Gimbal is separate from the handle, batteries, and control board allowing the lightweight unit to mount to any standard GoPro mount (helmet, bike, chest harness, suction cup, etc). Other GoPro gimbals are attached directly to a handle, which doesn't allow it to be used as easily as the GoPro camera itself.
2. The motors are strong. Strong enough to withstand high winds when driving down the road and mounted to a motorcycle helmet. Strong enough to attach GoPro accessories like the Battery Bacpac, and HDMI Cable for an external monitor, or even a USB cable to power the GoPro from an external battery.
3. It's also cheaper than some of the other gimbals available (personally I feel it should be more expensive).
Two sets of screws (long and short ones) are provided in case you want to use the GoPro HERO3/HERO4 Naked, or if you want to attach a battery bacpac. The Z1 Rider Gimbal can easily compensate for all of the extra weight. Attaching a USB or HDMI cable to the GoPro will easily throw the balance off of any gimbal, but once the Z1 Rider is powered on, it easily manages to keep the horizon of the GoPro very level.
The Z1 Rider can be adjusted so that you have a full range of tilt motion from low shots to high shots. Different modes can be chosen for Pan + Tilt Follow, Pan Follow Only (no tilt), or No Pan + No Tilt (locked off).
Two buttons on the joystick control Tilt in one mode, or Roll in another mode. Unfortunately it does not have enough buttons to manage tilt and roll at the same time. Not a big deal since most people don't want their horizons off axis anyways.
Motors on Z1 Rider about the size of the GoPro
Obviously the benefits of the other GoPro Gimbals are the simplicity of having just a basic handle. I've managed to add a small L Bracket to my handle to simulate the same form factor should I want to travel extra small (albeit i'm left with a cord).
The L Bracket + a GoPro Tripod Mount allows me to mount the Gimbal and still have room for a Smart Phone Mount to use the GoPro App for preview.
DIY L Bracket to Remote for Mounting Gimbal and Smart Phone Clip
I do notice that my hands are much more steady with two handles, so by clamping the Z1 Rider to a 15mm PVGear Carbon Rod, i'm able to add a second handle and still have a very compact form.
Remember that the main reason I wanted this particular gimbal is it's mounting versatility. So combined with a MogoPod Monopod I can get further extension for height and quickly switch to very (very very) low shots seamlessly. With my longer Carbon Fiber Boom pole. I can even simulate a Russian Arm while tracking a subject from a moving vehicle.
So while the GoPro HERO4 is a powerful compact camera with 4K recording and HDMI output, you can get even more out of it by using a good stabilizer. If you're considering a GoPro 3 Axis Gimbal, the Z1 Rider 3 Axis Gimbal is one that I highly suggest for all of it's versatility and strong performance. Find it through the link below.
Here's an unusual little product designed to mount several different accessories. The Movo Magic Ball Multi Adapter features sixteen 3/8" female threads, comes with 6 rods each with multiple 1/4" & 3/8" female threads, and comes with a set of 1/4-20 to 3/8 Male|Male threaded adapters.
Should be a good way to mount a bunch of stuff over a light stand, tripods, or rigs. Excellent accessory to pair up with variable friction arms. It's a bit unconventional but I think the parts alone are worth more than it's retail price of just $19.99 + FREE Shipping. Find it (HERE).
Movo Magic Ball Multi Adapter w/ 1/4-20 + 3/8" Threads + 6 Rods for Accessories
Well it's been a long time coming, but it's finally available. AspenMics listed an HQ-SE Locking TRS Lav microphone on their website sometime last summer, but it was never available for purchase. The hold up apparently was wireless interference issues which required better insulation (since it's primary use is on a wireless system).
Grabbing another inexpensive aftermarket lav mic (JK mics), I did a quick interference test holding it close to the power supply of a few electronics. Sure enough the cheaper JK microphone was extremely prone to interference.
The JK microphone had a physically smaller capsule compared to the AspenMics HQ-SE (not sure if there's any sound difference due to the size). Aspen HQ-SE vs JK Lav Mic
The cheaper JK mic also had a thinner cable at 1.6mm possibly less shielding from interference. The AspenMics HQ-SE cabling was measured around 2.04mm barely a difference, but I guess it's enough to prevent wireless interference issues. JK Sennheiser Lav vs AspenMics HQ-SE Lav
The AspenMics HQ-SE to my ears can sound just as good especially if you want to spend a little time EQ'ing it in post and currently lists for under $45 dollars (that's like 3 for the price of 1 sennheiser). Even cheaper if you go for the 2 pack or 3 pack bundles!
Aputure 672 LED Video Light Panel High CRI 95
