#Elinchrom transmitter Pro

[tomasfredriksson]

Elinchrome Reflektor 21 cm

Med grid

Elinchrome transmitter Pro

4000/2,8

[nuttystrawberrysalad]

Recommended Lighting Kits for Photography

If you follow some basic lighting principles, you can get impressive results from even the cheapest of motorcycle light combo kit. This is great news for businesses with smaller budgets or folks just starting out with video. As an experiment, we went to Home Depot and built a lighting kit with clothespins, clip lights, and LED bulbs.

While this is not the be-all, end-all lighting kit, it is an attainable and repeatable setup that will keep people on camera looking sharp and well-lit.

Please allow us to introduce Wistia’s “Down and Dirty DIY Lighting Kit” – all for under $100.

Our trip to Home Depot

You can build almost an entire DIY lighting kit with items you can find at any hardware store. Places like Home Depot, Lowes, and ACE should readily stock everything you’ll need.

The effectiveness of this motorcycle fog led light kit hinges on good quality bulbs. Look for daylight balanced bulbs with a high CRI (color rendering index). This will help to produce the highest quality and most flattering light possible. Also, make sure you purchase bulbs that are dimmable. We’ll explain more about this later.

Lights, lights, lights, lights, and more lights. You’ll find them all here at B&H and, even if you are a professional photographer with decades of experience, the sheer number of lighting options today can drive you mad. It drives us mad. You might be thinking, “Where do I even start and how do I find the great auxiliary light combo kit?” Well, today’s your lucky day, because the place to start is right here, with this list of 14 recommended lighting kits—seven flashes and seven continuous—that will help photographers get the job done.

Flash Lighting

We are going to start with a staple of photography: flash. Also known as strobes, these are awesome for photographers because they provide plenty of power, can help freeze motion, and come in nearly any size. Also, the various sync methods—and the fact that now many have built-in radio receivers, make multi-light setups easy. There are plenty of variables to guide your decision, including recycle time, battery versus AC power, accessories, wireless system, and power, so here’s a healthy helping of different types to peruse.

In the very beginning of your lighting journey, you will want something versatile and with the ability to mount directly on your camera. Something like the Bolt VB-11 Bare-Bulb Flash. Being bare bulb means that it can provide a similar look to classic strobes with 360° coverage and high power at 180Ws. It benefits greatly from accessories to modify the light, all of which are included in the Flash and Accessory Kit. Another advantage is the ease with which you can set it up on a light stand or slide it into the hot shoe of your camera, depending on how you want to use it that day. Want something easier to start out with? Go with the Bolt VD-410 Manual Flash and read up about speedlights.

Need something that’s portable, like a speedlight? How about a bare-bulb design that gives the 360 degrees of coverage? Get both with the Godox AD200Pro TTL Pocket Flash Kit. It has the basic form of a speedlight, though without the bounce functions, and has the ability to swap the head from a standard rectangular speedlight to a bare-bulb flash. It’s good and affordable with an excellent 200Ws of power that should be ample, and it runs on a rechargeable Li-ion battery pack that’s good for 500 full-power flashes on a single charge. It also features a built-in X Wireless System Receiver so you can use optional X Series TTL Transmitters to control and trigger the flash remotely. Adding this also enables high-speed sync via TTL. It’s an awesome and versatile lighting choice.

Among Profoto’s latest releases as they push forward with their off-camera flash, or OCF, range is the stellar B10. Available in a two-light kit complete with backpack, the ultra-compact light is battery powered for use nearly anywhere you can stick it. The B10 is rated to 250Ws and has a 10-stop power range. Tack on a 0.05-22 second recycle time, freeze mode with a 1/50,000-second T0.5 flash duration, AirTTL support, and you have a seriously good flash to work with. Oh yeah, it also has LED modeling with with adjustable color temperature and CRI of up to 96 for video shooting on the side. All you need to complete the setup are any of Profoto’s highly regarded OCF Light Shaping Tools and a Profoto Connect for wireless TTL.

A more conventional dirt bike light combo kit comes from the well-known and reliable Elinchrom. By conventional I mean the D-Lite RX 4/4 Softbox To Go Kit is close to what many picture when they think of advanced LED light kit—a couple of monolights with stands and softboxes. These strobes are no slouch, with each of the two heads including offering 400Ws of power. They run on standard AC power and can recycle in just 0.35-1.6 seconds, depending on power. Also, the D-Lite RX 4 has an EL-Skyport Receiver built in, so that you can trigger the camera remotely—easily—via the included EL-Skyport Transmitter Plus. Completing the kit are stands, an octagonal softbox, and a square softbox. Everything you need.

When you hear the name of some brands, you just know you are getting a solid product. In lighting, one such brand is Broncolor, and one of its more recent releases is the Siros L 800Ws Barry-Powered Monolight, which we recommend in the 2-Light Outdoor Kit 2. These are among the most powerful battery-powered strobes, with a rating of 800Ws and benefits from Enhanced Color Temperature Control that ensures the ultimate in consistent color with repeated shots. This is something that Broncolor is known for and something that makes its lights so appealing to professionals. However, if you need some extra speed, there is a mode that will forgo these protections to provide faster recycle times and shorter flash durations, up to a minimum of 1/18,000-second. Optional RES2.2 Transmitters open the door for Broncolor HS, enabling sync speeds at up to 1/8000-second with supported systems. And, you can control multiple lights from your tablet or smartphone using the bronControl app.

Regarding equipment for the rest of us, Dynalite has made the solid Baja A6-600 Monolight 2-Light Kit. This more affordable system can be very enticing, partially because it offers an impressive 600Ws output, which is more powerful than many of its competitors. These are AC-powered monolights, but the added power and 300W modeling light should be appealing for many studio shooters. Also, it comes with a wireless receiver that can work at distances of up to 590' when used with an optional transmitter. The transmitter also unlocks High Speed Sync with Canon or Nikon cameras. It is very much a traditional monolight, but it is a good one and a quite affordable kit, too.

Speedlights and monolights changed the way photographers worked with lights by making them more portable and user-friendly. For the ultimate in performance, it is tough to beat your standard power pack, and the Profoto Pro-10 2400 AirTTL is among the best you can get today. Two outlets, a max of 2400Ws, a built-in Air receiver with TTL support, flash durations that can be as short as 1/80,000(!) second, and recycle times of just 0.02-0.7 seconds make this pack an absolute monster if you need the best of the best. There aren’t any pre-built kits, considering the super-pro nature of the Pro-10, so build your own by adding a couple of ProHead Plus Flash Heads to your bag.

These days, many photographers are spending a healthy portion of their time working with video. Unfortunately, all those awesome flashes and strobes we just talked about can’t do both, since you need a continuous light to work with motion. While, yes, some strobes are packing LEDs that can serve as your video source—the recent Profoto B10 Plus comes to mind—it will be tough to beat dedicated tools such as the ones below.

Relative newcomer Luxli has been killing it lately, and one of its latest is the awesome on-camera option that is the Viola2 5" On-Camera RGBAW LED Light. Its small size and outstanding color controls make it exceptionally versatile. For standard white adjustment there is a variable 3000-10000K temperature range, while the RGBAW nature of the fixture enables complete color tuning, including the ability to set 150 digital gel filters and 10 different special effects. This is ideal for a portable, on-camera light because it eliminates the need for other accessories in your bag. One other thing to consider is this kit with a softbox and diffusion filter. Additionally, it’s part of the Orchestra series, which can be controlled via a mobile app on your smartphone and work in sync with any other members of the band.

Litepanels was one of the first major brands on the scene when LEDs first began to make inroads into photographic and cinematic lighting. It all had to do with the now-ubiquitous 1 x 1' LED panel, now having been updated to the Astra Bi-Color LED Panel. By using an array of high-quality LEDs, Litepanels was able to create a fixture that was lightweight, powerful, and could produce a soft output—all beneficial qualities when considering lights for photography. They could even run on batteries if you needed to use one on the go, and are practically silent. The shape is now classic, and if you want to pick up more than one, Litepanels has numerous Astra Traveler LED Panel Kits available.

Hot lights made Lowel popular for decades. Now, the company is taking a good shot at the LED world by bringing out a new version of one of its most popular lights ever. The TotaLED Daylight LED Light is this reimagining, though it makes sure to maintain similar features to its predecessor. This includes an equivalent output to that of a 750W tungsten bulb, a beam angle of ~65° that can be expanded to 100° via the included diffuser, built-in barndoors, and more. Where this one differs is in its native 5600K color temperature, quite cool operation—no need for gloves with LEDs—and the ability to run on batteries, as well as AC power. If you want, there are two-light and three-light kits ready for purchase.

Go beyond the panel with the Aputure Light Storm LS C120D II LED Light Kit. Using a chip-on-board (COB) LED, it effectively creates a single-point light source, which is more akin to classic tungsten fixtures with a single bulb. No worries about multiple shadows here, and the LS C120D II is exceptionally powerful with the equivalence of a 1000W hot light, while consuming just 180W of power. It also has DMX control, a redesigned handbrake-locking yoke, and can accept all types of Bowens S-mount accessories natively, including Aputure’s popular Light Dome II. Photographers on the go will appreciate the ability to run on either V-mount or Gold-mount batteries. You can pick it up by itself, or in two-light and three-light kits.

Making the list as a personal favorite is the Light & Motion Stella Wedding Photographer Kit. The reason I like them so much that they were included here is that the company is one of very few that makes highly capable lights that are completely waterproof. They really mean waterproof, too. The Stella Pro 5000 and Stella 2000 in this kit are ready to go diving with ratings that make them usable down to 328' underwater. Tough lights can survive some of your crazier ideas and the Light & Motion ones are perfect for it. Both are battery powered and feature a COB LED with excellent, high CRI output that makes them a solid option for photographers working on location. They are also great, compact lights, and the Stella 500 can accept an optional Profoto Adapter to use your more conventional modifiers on it.

The thing about LEDs is that they can be used in ways you never would’ve imagined. One such light that follows through on this is the Westcott Flex Bi-Color LED Mat Cine Set. It’s a completely flexible LED panel measuring 1 x 1', and there are plenty of other sizes available. Why would you want a flexible light? I would counter with a, “Why wouldn’t you want a flexible light?” It can be used on a stand just like your standard panels, yet, when the moment requires it, you can use it in very niche ways. It’s light enough to be taped up to a wall and thin enough to stay out of the shot. You can tuck it down into a case and fold it up so the light is directed a specific way. And that just touches the surface, I’m sure plenty of more imaginative photographers will find even more exciting ways to use it.

LEDs are dominant, though we shouldn’t forget about classic tungsten, HMI, and fluorescent lighting. I’d like to draw your attention to one in particular: the Kino Flo 4Bank 4' Gaffer 2-Light Kit. Essentially the name to know when it comes to fluorescent lighting, Kino Flo’s lights are long revered in the industry for their soft, flicker-free output. Using True Match Fluorescent Lamps, the 4Bank can create a large, soft, and daylight-balanced fixture that has the equivalent output of a 1000W soft light with a fraction of the draw. The separated ballast can be located in an easy-to-access position, as well, while the fixtures��� flexible barndoors provide a simple way to control the light. These are great fixtures, and this kit gives you everything you need except the lamps.

[updatedc-blog]

New Post has been published on https://www.updatedc.com/2019/01/04/rotolight-anova-pro-2-hands-on-review/

Rotolight Anova Pro 2 Hands-On Review

Rotolight’s Anova Pro 2, is a bi-color (a daylight only version is also available) LED fixture that is color temperature changeable from 3150K to 6300K. The light is also flicker free at any output and is a good option for anyone who does both photography and video. I reviewed the original Anova Pro back in 2016 so it will be interesting to see if the sequel is better than the original.

How is it different from the original Anova Pro?

The Anova Pro 2 is the follow up to the companies Anova Pro. At first glance the lights look to be identical, so what has changed? Most of the changes are under the hood and are related to increased output, but there are also plenty of other new features. Rotolight claims that the Anova Pro 2 has 70% more power output than its predecessor. To get this power increase the light now draws 72W compared to the 48W of the original Anova Pro. The Anova Pro 2 can also flash at 250% of its maximum continuous output when used in Flash Sync Mode. This is up from the 150% that the original Anova Pro was capable of.

A lot of this increased output has to do with the fact that Rotolight is now using 960 LEDs instead of the 576 that are in the original Anova Pro.

There is also more special lighting effects, 14 in total, including a ‘chase’ mode which uses DMX to control a line of lights to simulate a moving light source such as streetlights. There is also a new Exposure Effects (X-FX) mode that lets you create a stroboscopic effect for creating multiple exposure images.

Speaking of DMX, the light now includes DMX which can be used to control up to 512 wireless slaves from one Anova Pro 2. There is also an RJ45 DMX (in/out) socket and an Auto set-up function for quickly configuring channel settings when you are using large numbers of lights.

A few other nice new features in the Anova Pro 2 are:

TECH menu/FINE dimming mode – allows perfect smooth dimming to 0% across the color range

CNTL menu / BASE / AUTO – auto setup mode, allowing you to set up ANOVA / NEO2 and AEOS slaves with one button push

CNTL menu / BASE / AUTO / NEXT- auto DMX addressing mode, allowing you to set an individual DMX address on each ANOVA / NEO2 and AEOS slave with one button push

CNTL menu / BASE / AUTO / LOCK- prevents accidental over-writing of configured ANOVA / NEO2 and AEOS slaves with one button push

If it ain’t broke then don’t fix it. Despite all of these new additions, I like that Rotolight hasn’t tinkered too much with the Anova Pro 2. It still retains every feature that I originally liked about the original Anova Pro, but addresses my biggest complaint, which was output.

According to Rotolight, the design philosophy with the Anova Pro 2 was to “Deliver a light that out of the box produces a very flattering, soft light source that almost gives the effect of a naturally diffused light.” The rationale for making the light round is to create a catchlight effect in the eye, and to give it a flattering ‘wrapping light quality’.

It’s not hip to be square

I’ve never quite understood why so many companies continue to make a square or rectangular light. In my opinion, it makes a lot more sense to actually use a circular-shaped light, especially for interviews or when shooting faces. Our heads aren’t square, either are our eyes. A lot of softboxes are also round, so why not make a light that is also round. I have found from prior experience that the circular Rotolight fixtures create really nice catch lights in peoples eyes.

It’s nice to see that Rotolight has continued to keep their lights round, especially since most lighting companies continue to pursue making 1×1 or square/rectangular LED fixtures.

Different versions

The Anova Pro 2 is available in several configurations. There is a bi-color version that is available with a 50-degree beam angle, or you can choose to get the 110-degree beam angle model. There is also a daylight only (5600K) version available. The LEDs used on all of the models are carefully spaced to ensure that each individual LED beam overlaps. The benefit of doing this is that the hundreds of individual LED elements give the appearance of coming from one source, to deliver one single uniform shadow. The problem with a lot of LED lights with a wide beam angle (over 90 degrees) is that the individual LEDs end up creating weird shadows.

The light I will be reviewing is the 50-degree version.

CineSFX

The light has a built-in set of CineSFX lighting effects that allow you to recreate effects that normally would require specialist equipment. These include Strobe, Lightning, Fire, Cycle, Throb, Police, TV, Spin, Weld, Spark, Film, Neon, Roto, Gunshot, Film, Paparazzi, and Chase. While some of the effects are the same that can be found in the original Anova Pro, not only has the company added a few more options, but they have also given users the ability to further fine-tune their parameters.

These CineSFX can be remotely triggered using either a wired DMX trigger or wirelessly triggerable using the PC sync port on the back of the light. There is also a feature called FX slave which allows the Anova Pro 2 to act as a DMX master controller for not only previous generation Rotolights but also third-party light sources with DMX inputs. This eliminates the need for additional DMX controllers or expensive flicker boxes on set. Rotolight says you can control up to 512 channels in a single DMX universe. The CineSFX effects really are impressive, and they can come in very handy for creating lighting situations in the field that would otherwise be very difficult to replicate. Rotolight was arguably the first company to offer special effects in a portable LED light, and since that time many other manufacturers have followed suit.

Along with the CineSFX, there are also True Aperture Dimming and Designer Fade effects. True Aperture Dimming calculates and displays the correct aperture (F-Stop) for your subject at a given distance. In theory, this eliminates the need for using a light meter in certain situations. You can also adjust your brightness level, to coincide with your desired aperture (F-Stop). It is unfortunate that it doesn’t also show T-stops for those using the light with proper cinema lenses. The Designer Fade effect lets you dial in preset times for custom fade up / fade downs which can be handy for certain projects.

There is also Exposure Effects (X-FX) mode for stroboscopic effects for creating multiple exposure images. This is primarily for use for photographers.

Great for photography and video

If those features weren’t enough, the Anova PRO 2, just like the original Anova Pro, are the only bi-color LED lights in the world that has a built-in flash sync port. This means that for a stills photographer, you can replace your strobe (in certain situations) and it does so with no recycle time with high-speed sync capability. When in flash sync mode, the light is able to flash at 250% of its maximum continuous output. This is up from the 150% that the original Anova Pro was capable of.

Unlike the original Anova Pro, the Anova Pro 2 has a built-in Elinchrom Skyport receiver that provides wireless triggering plus brightness and color adjustments at distances up to 656′. You can control up to 10 lights in 4 groups.

Rotolight recommends the following triggers: Rotolight HSS Transmitter (Canon, Nikon, Sony, Olympus, Panasonic) Elinchrom HS Transmitter Plus (Canon, Nikon, Sony, Olympus, Panasonic) Godox X1T (use with Godox X1R receiver) Pixel King Pro (Sony, Canon, Nikon) Flashpoint R2 Phottix ODIN II  (HSS) (canon, Sony, Panasonic) PocketWizard (HSS) Cactus VI II (HSS) (Canon, Nikon, Fuji, Pentax, Panasonic, Olympus)

For those who are shooting both stills and video, this product eliminates the need for two separate purchases and removes many of the constant downsides of shooting with strobe (e.g. your flash not firing because of recycle time). If your job calls for both stills and video, or you’re working in multimedia, this function alone should put the Anova Pro 2 right at the top of your list of lights to look at.

I’m not going to do any in-depth testing of the photography features of this light as Newsshooter is primarily aimed at video shooters. There are plenty of examples online if you are interested in seeing how the light performs specifically for photography use.

What do you get?

The Anova Pro 2 comes with a LEE 6 piece filter set (3 x diffusion, 3 x magenta). This is nice to have and gives you a lot of creative freedom for making subtle adjustments to the light. You also get a built-in V-lock battery plate, built-in Elinchrom Skyport receiver, built-in DMX, and a 110-240V power supply unit. I was reviewing the Masters Kit, which comes with everything I just mentioned, plus the addition of a hard flight case and barn doors.

I also like that Rotolight includes a proper manual with the light. Too often these days companies don’t include a manual. It’s really nice to have an actual paper reference for a product and not have to go searching for one online.

Build Quality

The overall build quality of the Anova Pro is very good. It is certainly well made and feels like a professional product that would stand the test of time. The light is as well made as other Rotolight products and doesn’t have the cheap plasticky feel of so many other lights on the market. The dials and switches have been well designed and feel solid to use.

My only gripe is that I didn’t feel like the yolk angle adjustment knobs tightened sufficiently enough. No matter how hard I tried to tighten them I could still always move the light. This is something that shouldn’t happen with a light of this quality.

The barn doors attach via four heavy duty locking knobs so there is no chance of them rattling around or falling off.

The light weighs in at 3.34 kg/ 7.36 lb (Including Yoke). As a comparison, the Litepanels Astra Bi-color weighs 3.4kg (7.6lb), and the KinoFlo Celeb 200 weighs 6.8kg (15lb). The Lupo Superpanel 1×1 Full Color 30 RGBW weighs 3.7kg (8.15lb), and the Luxli Timpani 1×1 RGBAW tips the scales at 3.15 kg (6.96lb)

Filters

Rotolight uses a nice quick solution for installing and securing filters. A wire ring with six inward-facing metal rods holds the filters in place. A small removable pin on the latches allows for the ring to be lifted and a filter inserted. Once the filter is in place you just push the frame down and secure the pins. I found from using the light I only had to remove one pin to put a filter in. This makes it very quick and convenient for swapping filters in and out.

The nice thing about the filters is that you can easily stack multiple filters together if you need to. The filters themselves are very thin and quite fragile. While they do the job they are supposed to do, you need to take care when handling or transporting them. If you do happen to rip or tear any of them Rotolight does sell replacements.

No RGB

With so many manufacturers now moving towards making RGB LED lights I wondered why Rotolight hadn’t decided to go down that route. When I asked Rotolight about this they told me “Rotolight is currently developing other products around the latest RGB technology. We have made so many improvements to the Anova Pro 2, and its user base like the characteristics of the light (Naturally soft light output, round catchlight, exceptional CRI, etc). This is now the 4th generation Anova, and we have been selling them for 5 years now, so we have kept the initial design philosophy, added much to it, improved the output and the color reproduction.”

Whether you actually need an RGB light really depends on the type of work you do, but most of the current offerings feature a host of additional features such as +/- green correction as well as an increased Kelvin color temperature range.

Having the ability to control green and magenta is huge. Being able to match other fixtures as well as getting rid of any green or magenta that you may see when using the light is a very handy real-world feature that I personally use a lot.

As far as the RGB color and effects modes go, while they are great to have available, I don’t tend to use those features that much in my line of work. In saying that, being able to generate different colors is handy for lighting up backdrops or creating color separation during interviews. It’s also nice to be able to use the light to help illuminate green screens very easily.

These are features that you won’t find on the Rotolight Anova Pro 2.

No smartphone/tablet control (yet)

Rotolight used to have an IOS app called Magic Eye that gave you wireless control over your light. Unfortunately, that doesn’t seem to exist any longer, so the Anova Pro 2 can’t be controlled via an app. This is a real pity as so many of the lights that are now on the market can. I would have liked to have seen an app for controlling the Anova Pro 2. As the light has so many features, it would have been nice to be able to control them and make adjustments without having to physically keep walking back to the light.

In saying that, now that all the Rotolight products have an Elinchrom Skyport chip built in, you can use the Rotolight transmitter to wirelessly control color temperature, brightness, trigger SFX and fades (and get a real-time display of those colors and brightness levels), set up groups etc, which somewhat negates the actual need for the app.

When I asked Rotolight about why there wasn’t an app, I was told “The Magic Eye APP worked with ANOVA V1 and V2, using 802.11b wifi from an iOS controller. In iOS 8.1 Apple broke the rules and changed the way iOS devices negotiate with third-party devices, their system handshakes a couple of identifiers at 802.11b and for no good reason then starts talking only at 12Ghz, which was beyond the range of the wifi chip we used. The exciting news is that we are working on a revised version of the APP which we hope to launch early in the new year, and this will be able to control any of our products wirelessly with a range of 200 meters, as well as third-party products using wired DMX via a nifty Basestation called ‘The Magic Box’. The APP will be a free download.”

Low power draw

The low power draw of the Anova Pro 2 is perhaps its most impressive feature. The light draws just 72W watts at 100% output, which gives it a huge advantage over most other battery-powered-capable lights on the market. As a comparison, the Litepanels Astra Bi-color 1×1 draws 110W, the KinoFlo Celeb 200 draws 100W, the Lupo Superpanel 1×1 Full Color 30 RGBW draws 200W, and the Luxli Timpani 1×1 RGBAW draws 120W. This low power draw allows you to run the Anova Pro 2 at full power for a considerable amount of time using a 95Wh battery. This makes the light a very good proposition for news and documentary shooters who often need to set up lights in remote places and run them off camera batteries. Knowing that you can power the light and get sustained runtime gives you piece of mind if you’re shooting live crosses or long interviews.

Rotolight also makes their own 95Wh v-lock batteries with cells sourced from Japan. The battery weighs in at 725g (25.77oz), and has a built-in d-tap output that can also be used to charge the battery. A single battery costs $314.16 USD and a d-tap travel charger can be bought for $64.99 USD. If you buy the masters kit, which includes barn doors and a flight case, there is a nice cutout spot to keep a battery and the charger.

Output

A big factor for a lot of people when buying a light is how much output it can produce. I tested the lights output at 3200K and 5600K using a Sekonic C-700 at a distance of 1m (3.28ft) in a controlled environment; you can see the results below.

Rotolight Anova Pro 2 output at 3200K

At 3200K the Anova Pro 2 (50-degree version) recorded an output of 4480lx at a distance of 1 meter. This was a pretty good output. The original Anova Pro (50-degree beam angle) version that I tested put out 3790lx at the same distance and Kelvin color temperature setting. Rotolight claims that the Anova Pro 2 light is 70% brighter than the original, but from my testing, I found that when used at 3200K, the Anova Pro 2 was only 18.2% brighter than the original 50-degree version that I reviewed.

  Rotolight Anova Pro 2 output at 5600K

At 5600K it recorded 4600lx, which was a 2.67%% increase over what the light outputs when used at 3200K.  Again, this was a pretty good output for a LED light that can be powered off a camera battery. The original Anova Pro (50-degree beam angle) version that I tested put out 3400lx at the same distance and Kelvin color temperature setting. I found that the output of the Anova Pro 2 (50-degree beam angle) was 35.3% higher than that of the original when used at 5600K. The light’s output at 5600K was impressive given its size and low power consumption.

Rotolight Anova Pro 2 output at 4110K

As the Anova Pro 2 uses a combination of daylight and tungsten LED’s, the lights maximum brightness is obtained when it is set at 4110K. Above you can see that when I tested it at 4110K it produced an output of 7580lx. This is certainly a very impressive output for a light this size, but again you need to keep in mind that this sort of output is only available at this Kelvin color temperature. In saying that, you can still get a similar output if you use the light within a few hundred Kelvin degrees of 4110K. Rotolight claims that the lights output at 4110K when measured at a distance of 3ft. / 0.9m is 10,700lx. When I measured the light at the same distance I found it had an output of 10,000lx.

So how does the output at 3200k and 5600K compare to other competition? Well, below you can see.

3200K Rotolight Anova Pro Bi-colour 50 degree: 3,790lx Rotolight Anova Pro 2 Bi-colour 50 degree: 4,480lx Litepanels Bi-Color Soft 1×1 (90 degree): 2,200lx KinoFlo Diva Lite 200 (90 degree): 2,980lx Luxli Timpani 1×1 RGBAW (72 degree): 3,560lx Lupo Superpanel 1×1 Full Color 30 RGBW (115 degree): 4,150lx

5600K

Rotolight Anova Pro Bi-colour 50 degree: 3,400lx Rotolight Anova Pro 2 Bi-colour 50 degree: 4,600lx Litepanels Bi-Color Soft 1×1 (90 degree): 3,000lx KinoFlo Diva Lite 200 (90 degree): 3,060lx Luxli Timpani 1×1 RGBAW (72 degree): 3,380lx Lupo Superpanel 1×1 Full Color 30 RGBW (115 degree): 4,380lx

As you can see, the Rotolight Anova Pro 2 output at both 3200K and 5600K is very impressive. The light even manages to top the high output of the Lupo Superpanel 1×1 Full Color 30 RGBW. In saying that, it is important to note that the Lupo Superpanel 1×1 Full Color 30 RGBW, Litepanels Bi-Color Soft 1×1, and the KinoFlo Diva Lite 200 have built-in diffusion panels and a lot wider beam angle than the Rotolight.

Kelvin Color Temperature Accuracy

As far as color temperature accuracy is concerned, the Anova Pro at 5600K gave me a kelvin reading of 5696K and a ⊿uv (the value to show how much this light is away from being an ideal light source) of -0.0028. At 3200K it recorded 3256K and a ⊿uv of -0.0043. These are excellent results and give you peace of mind that when you set the light at a certain color temperature, that’s the color temperature you’re actually going to get.

Color Rendering

After testing the output and color temperature accuracy I then wanted to test the Anova Pro 2 for color accuracy. Has color accuracy been compromised to deliver more output? Below you can see the results for the light at 3200K.

Rotologht Anova Pro 2 color rendering scores at 3200K

At 3200K the light recorded an average CRI (R1-R8) of 95.6 and an extended CRI (R1-R15) of 93.1. As far as replicating accurate skin tones the Anova Pro recorded 89.3 for R9 (red), 98.4 for R13 (closest to caucasian skin tones), and 98.4 for R15 (closest to Asian skin tones). The score for R12 (blue) was a little lower than I would have expected, but the overall results for proper skin tone reproduction were very good.

Rotologht Anova PRO color rendering scores at 3200K

So how does this compare to the original Anova Pro? Above you can see the results. At 3200K the light recorded an average CRI (R1-R8) of 93.0 and an extended CRI (R1-R15) of 92.09. As far as replicating accurate skin tones the Anova Pro recorded 76.4 for R9 (red), 95 for R13 (closest to caucasian skin tones), and 94.3 for R15 (closest to Asian skin tones). The Anova Pro 2 has a slightly better extended CRI that that of the original, but most importantly, the scores for R9, R13, and R15 have all improved. It’s good to see that Rotolight has been able to improve the color rendering from the original and also increase the power.

Rotologht Anova Pro 2 color rendering scores at 5600K

When I tested the light at 5600K the scores were almost identical to those at 3200K. At 5600K it had an average CRI (R1-R8) of 94.6, and an extended CRI (R1-R15) of 91.9. For replicating accurate skin tones it recorded 97.3 for R9 (red), 98.6 for R13 (closest to caucasian skin tones), and 95.4 for R15 (closest to Asian skin tones). These were excellent results, but again, the light seems to have a problem with R12 (blue), scoring just 61.2. To be fair to Rotolight, the KinoFlo Diva Lite 2000 also struggles with R12 (blue), recording just 72.6. In saying that, I tested the light by shooting a color checker chart and didn’t find that this low score for R12 didn’t make any noticeable difference at all.

Rotologht Anova PRO color rendering scores at 5600K

So how does this compare to the original Anova Pro? Above you can see the results. At 5600K it had an average CRI (R1-R8) of 94.7, and an extended CRI (R1-R15) of 92.09. For replicating accurate skin tones it recorded 97.7 for R9 (red), 98.4 for R13 (closest to caucasian skin tones), and 95.7 for R15 (closest to Asian skin tones). At 5600K the Anova Pro and Anova Pro2’s results are almost identical.

Below you can see a head to head comparison of color accuracy between the Rotolight Anova Pro, Rotolight Anova Pro 2, Litepanels Bi-Color Soft 1×1, Kinoflo Diva Lite 200, Luxli Timpani, and Superpanel 1×1′ Full Color 30 RGBW.

3200K

Rotolight Anova Pro Bi-colour 50 degree Average CRI (R1-R8) – 93 Extended CRI (R1-R15) – 89.66 R9 (red) – 76.4 R13- (closest to caucasian skin tones) – 95 R15- (closest to asian skin tones) – 94.3

Rotolight Anova Pro 2 Bi-colour 50 degree Average CRI (R1-R8) – 95.6 Extended CRI (R1-R15) – 93.1 R9 (red) – 89.3 R13- (closest to caucasian skin tones) – 98.4 R15- (closest to asian skin tones) – 98.4

Litepanels Bi-Color Soft 1×1 CRI (R1-R8) – 98.6 Extended CRI (R1-R15) – 97.32 R9- (red) – 95.5 R13- (closest to caucasian skin) – 99.5 R15- (closest to asian skin tones) – 98.4

KinoFlo Diva Lite 200 CRI (R1-R8) – 96.8 Extended CRI (R1-R15) – 95.22 R9- (red) – 91.6 R13- (closest to caucasian skin) – 96.1 R15- (closest to asian skin tones) – 98.5

Luxli Timpani 1×1 RGBAW  CRI (R1-R8) – 96.5 Extended CRI (R1-R15) – 95.45 R9- (red) – 92.6 R13- (closest to caucasian skin) – 96.1 R15- (closest to asian skin tones) – 96.3

Lupo Superpanel 1×1′ Full Color 30 RGBW CRI (R1-R8) – 94.3 Extended CRI (R1-R15) – 91.86 R9- (red) – 76.3 R13- (closest to caucasian skin) – 95.1 R15- (closest to asian skin tones) – 93.4

5600K

Rotolight Anova Pro Bi-colour 50 degree Average CRI (R1-R8) – 94.7 Extended CRI (R1-R15) – 92.09 R9 (red) – 97.9 R13- (closest to caucasian skin tones) – 98.4 R15- (closest to asian skin tones) – 95.7

Rotolight Anova Pro 2 Bi-colour 50 degree Average CRI (R1-R8) – 94.6 Extended CRI (R1-R15) – 91.9 R9 (red) – 97.3 R13- (closest to caucasian skin tones) – 98.6 R15- (closest to asian skin tones) – 95.4

Litepanels Bi-Color Soft 1×1 CRI (R1-R8) – 94.7 Extended CRI (R1-R15) – 92.51 R9 (red) – 86.9 R13 (closest to caucasian skin) – 95.8 R15 (closest to asian skin tones) – 95.8

KinoFlo Diva Lite 200 CRI (R1-R8) – 96.1 Extended CRI (R1-R15) – 93.09 R9- (red) – 89.7 R13- (closest to caucasian skin) – 94.7 R15- (closest to asian skin tones) – 92.6

Luxli Timpani 1×1 RGBAW  CRI (R1-R8) – 97.8 Extended CRI (R1-R15) – 96.2 R9- (red) – 97.9 R13- (closest to caucasian skin) – 99.6 R15- (closest to asian skin tones) – 97.0

Lupo Superpanel 1×1 Full Color 30 RGBW CRI (R1-R8) – 95.3 Extended CRI (R1-R15) – 93.4 R9- (red) – 86.2 R13- (closest to caucasian skin) – 97.3 R15- (closest to asian skin tones) – 94.4

If you look at the data from the head-to-head comparisons, the Rotolight performs extremely well at 5600K when it comes to reproducing accurate skin tones, despite its overall color reproduction numbers being slightly lower than the other lights. Any numbers over 90+ are truly excellent and you would be hard-pressed to tell the difference between any light that has average scores in the 90s.

At 3200K the Anova Pro 2 is very comparable to the other lights in this group, and it’s good to see that the lights scores at both 3200K and 5600K are very close. This tells me that the lights overall color rendering performance remains very consistent no matter what Kelvin color temperature you are using.

Spectral distribution

  Above you can see the Rotolight Anova Pro 2’s spectral distribution when used at 3200K. While the light does have a nice full spectrum it certainly has a slight push towards green.

Above you can see the Rotolight Anova Pro 2’s spectral distribution when used at 5600K. The light has a push towards green as you can see.

Just as a comparison lets look at the Luxli Timpani 1×1 RGBAW light that I recently reviewed. Above you can see its spectral distribution when used at 3200K. Its color spectrum isn’t as full as the Rotolight, but it is a bit more linear.

Above is the Luxli’s spectral distribution when used at 5600K. As you can see the Luxli has a far fuller spectrum at 5600K than the Rotolight and it’s not missing nearly as much information around the 460-500 nm wavelength. The Rotologht’s inability to reproduce information at these wavelengths is evident when you look at both the lights color rendering scores and spectral distribution. Again, as I mentioned earlier, I didn’t find this affected the lights real-world performance in any way.

REAL WORLD PERFORMANCE AND QUALITY OF LIGHT

As I always say, photometric scores only tell you part of the story. So do the scores from the Rotolight Anova Pro 2 translate into real-world performance?

In the example footage that you can see above, I simulated an interview style set up. The Rotolight Anova Pro 2 was used as the key light with the Lupo Superpanel Full Color 30 being used as the backlight. A white poly board was also used on the right-hand side to add some fill. I then filmed the exact same scene with the Luxli Timpani 1×1 RGBAW and the Lupo Superpanel 1×1 Full Color 30 RGBW. I chose the Luxli Timpani as I firmly believe it is one of the best value portable LED lights on the market. I also wanted to see how the Rotolight faired against the Lupo.

For my tests, I kept all the lights in the exact same position, height and distance from my subject. I set all three lights at 5600K and then set the camera to a preset 5600K white balance. I also manually balanced all three lights to see what differences there were. The output of the lights was adjusted accordingly to get the correct exposure.

Even though all three lights looked good, they all had different looks. The Luxli was a little warmer than the Rotolight and the Lupo was a little colder. Technically if you want to go off scopes, the Rotolight was the most neutral of the three. I found that all three lights produced nice results and the skin tones all looked good. With a few minor tweaks, I’m pretty sure even the most novice of colorists could get all three images to match. In saying that, both the Lupo and Luxli offer +/- green adjustment so you could easily make minor adjustments to correct any color casts.

I liked the catch light that you get when using the Rotolight. Being a circular source helps in this regard and I found the catch light looked just a little bit bigger and more pleasing compared to the Lupo and Luxli.

I also did a test where all of the lights were set to their maximum brightness at 5600K so you could see the differences. The Lupo has a much wider beam angle than the Rotolight and the Luxli so it was no real surprise that it was capable of lighting up more of the room.

The Anova Pro 2 does produce a really nice quality of light, but as it doesn’t feature any in-built diffusion, so do you need to use a softbox to create flattering light? I found that even without using a softbox it was very capable of producing nice results. The Lupo Superpanel Full Color 30 has a built-in diffusion panel, and the Luxli Timpani only has a very light diffusion screen (which is there for getting rid of the individual shadows caused by using multiple LEDs).

I tried out Rotolight’s own Anova Softbox Kit with the light and it worked really well. The softbox is nice and large and it creates a really nice source of light that wraps around your subjects face. Unlike most other softbox solutions that are available for 1×1 style panel lights, the Rotolight softbox has a nice amount of depth. This means it is able to create a softer source because of the distance from where the front of the diffusion that goes on the softbox to the actual light source is quite deep.

The softbox comes with both diffusion and frost, as well as an egg crate. I like that Rotolight gives you two different types of diffusion and that the softbox kit is very reasonably priced at $157.49 USD. This is considerably cheaper than a lot of other softboxes that are available on the market.

I did some measurements with the Sekonic C-700 to see how much output the light could produce with the softbox being used. With the frost on and the Anova Pro 2 set at 100% output (5600K) it recorded 2990lx at a distance of 1 meter from the front of the softbox. That’s a 35% decrease in output over using the light with no softbox and the frost. With the diffusion on under the same conditions, it recorded an output of 1830lx, which is 60% less than if used without. Both the frost and the diffusion produce really nice, soft light. I found that the frost was probably the better way to go if you are using the Anova Pro 2 for interviews. The diffusion cuts the output so significantly that you would need to have the light fairly close to your subject in most scenarios.

There are, however, two downsides to the softbox. The first is you need to purchase the optional barn doors to be able to use it.

The second is that I found it difficult to put on as it needs to fit over the top of the barn doors and its a very tight fit. This is not a quick or easy process and I don’t like wasting valuable time mucking around trying to get a softbox to fit. Putting on a softbox should be a quick and easy process and if takes longer than a minute to do then there is something wrong with the design.

If you don’t have a high enough output to begin with, and then attempt to heavily diffuse that lighting source, often the brightness of that light is reduced to a point where it’s only usable when placed very close to a subject. If you do use the Anova Pro 2 in this way you will have to have to have it a little closer to your subject, but I still found it had enough output that I didn’t have to put it as close as say the Luxli Timpani. The output of the Anova Pro 2 is pretty impressive for a portable LED solution, especially one that only has a power draw of 72W.

The Anova Pro 2 is a little on the heavy side, but it’s not so heavy that you should rule it out if you are a solo operator or traveling cameraman or woman who needs a light that is quick to set up and can be powered remotely in the field from a camera battery. The lights 50-degree beam angle does make it suitable to use for interviews without the light source spilling everywhere. From my experience using the light, I would still recommend going with a softbox if you are using the fixture for interviews. The beam spread of 50-degrees is a lot narrower than the 115-degrees of the Lupo Superpanel Full Color 30, and the 72-degree beam angle of the Luxli Timpani. I’m not the biggest fan of panel lights with narrow beam angles, I much prefer to have lights that have a wider beam spread, as I find them more versatile.

The Anova Pro 2 also looks also looks like it could be used effectively for news crews doing live crosses as the fixture can be run off a camera battery and it’s powerful enough (as long as you aren’t trying to match a bright background) to provide a nice amount of fill. If you are trying to match a bright background there are better solutions available.

Usability

As I have mentioned in other lighting reviews, the numbers only tell part of the story. You can have the most color accurate light in the world, but if it is difficult to use and operate then you are going to leave it at home. Thankfully, the Anova Pro 2 is very quick and easy to use. I love lights that you can take out of a case, throw a battery on the back and turn on. If you are a solo operator time is always crucial. There is nothing worse than taking 5-10 minutes to set up a light before you can turn it on.

As far as using the lights controls, making changes to the output and color temperature are very straightforward and the LCD display lets you accurately monitor and see any changes that you make.

If you are familiar with any of Rotolight’s other offerings, you will know that the physical design and layout of the controls is standard across all of their models. This is not such a bad thing as you can jump from one model to the next and know exactly how to use and control the light. If you haven’t used a Rotolight before, the control over color temperature and output are easy, but it may take you a little bit of time to get used to using the light’s more advanced features.

Changing filters is quick and hassle-free and the built-in v-lock battery plate and low power consumption allows you to run the light off a camera battery for long periods of time. This also makes it easy to move the light around, as you’re not having to look for power outlets and run long extension cables across the floor.

Getting into the menu is straightforward but I still struggle sometimes with remembering how to make changes to the SFX features. In fairness, this is probably something that could be overcome by using the light on a more regular basis, and news and documentary shooters are unlikely to be using these features that often. This is where a dedicated iOS app would come in very handy.

The light can be adjusted from 3150K up to 6300K in increments of 10. You can also hold the dial down and move it if you need to do it quicker. The light can also be dimmed from 100% to 1% in 1% increments. Again if you hold down the dial and move it does it a lot quicker.

The additional barn doors are nice, but they can’t be moved in a circular rotation around the light as they are locked down. I also found that because there are six doors, instead of the usual four, they can be a little fiddly and awkward to use. The barn doors do tend to end up hitting each other when you start closing them down to control the light. The other minor downside of the barn doors is that if you are using them, they end up hitting the light’s yolk frame if you try and angle the light down. I found this very frustrating when trying to use the light to illuminate something that was lower than the height of the light. The only way to overcome this is to use a light stand where you can place a spigot horizontally and not vertically.

The flight case that comes as part of the Masters Kit is beautifully designed and made. It is a great option for transporting the light around. The only slight negative is that the case is quite large and weighs around 11.5kg with the light inside. Some shooters may find that not to be a problem, but again it really depends on what you’re used to traveling with and how much kit you normally take. The nice thing about the flight case is it actually makes for a nice platform if you need to get you reporter a little higher off the ground for a live cross or piece to camera.

If you want to go lighter, Rotolight does make a Travel Kit that consists of barn doors and a soft bag for $292.49 USD.

Competition

When the original Anova Pro came onto the market it had a host of features that other lights didn’t have, but the industry has changed a lot since that time. There is now a host of lights on the market that offer features not found on the latest Anova Pro 2. While the Anova Pro 2 is still the only light to feature an HSS mode, just about everyone else now offers special effects. A lot of the current crop of lights are now RGB, and some such as the Luxli Timpani offer inbuilt filters, color picking technology, +/- green adjustment, and very clever iOS apps for controlling the lights features. The Anova Pro 2’s main competition is from lights such as the Litepanels Astra series, KinoFlo Celeb 200, KinoFlo Diva Lite 200, Lupo Superpanels, and the Luxli Timpani.

Price and availability

The Anova Pro 2 ($1,799 USD) is around $500 US more than the original Anova Pro. This makes it quite expensive, especially compared to some of the competition. I asked Rotolight why the price had increased so much and was told, “I think that the extra 384 LEDs , extra beefy PSU, and built-in Elinchrom Skyport HSS receiver are fairly good value. You also need to bear in mind that the UK£ dropped in value from $1.55 down to $1.30 against the $USD during the Anova Pro 2’s development making many of our components 16% more expensive.”

As I mentioned earlier, the Anova Pro 2 comes in three different versions. There is a standard Bi-colour 110- degree beam spread, which is the one I have been testing, a Bi-colour 50-degree beam version, and a 5600K fixed daylight version. All three of the lights can be purchased separately and there are various accessories that are also available. These include barn doors, flight case, soft case, v-lock batteries, softbox kit, rain cover, and a diffuser. The 50-degree Bi-color, 110-degree Bi-color, and 5600K only versions are all $1799 USD. The Masters Kit is an additional $433.87 USD.

Rotolight also makes a light stand that has a maximum load carrying capacity of >15KG and a height capacity of 285cm. At $71.99 USD it makes for a nice option for the Anova Pro 2.

As a price comparison, the Litepanels Astra Bi-color Soft 1×1 is now available for $999 USD  (it was $1350 US). The Litepanels Astra Bi-color Soft 1×1  doesn’t come with an inbuilt V-lock battery plate, that is extra. The Kinoflo Celeb 200 retails for $2373 US, and barn doors are $398.50. The Luxli Timpani retails for $999 USD, and the Lupo Superpanel 1×1′ Full Color 30 RGBW is $1,598 USD.

Conclusion

The Anova Pro 2 certainly does offer a lot of functionality, but it is considerably more expensive than the original. The build quality is superb, and the power output is exceptionally good given the light’s small power draw. For news and documentary shooters, the ability to run the Anova Pro 2 off camera batteries that are under 100Wh for long periods of time is a huge selling point.

The light isn’t RGB like a lot of other 1×1 panel options that are now on the market, and that is something you have to carefully consider these days when making a purchase. The Anova Pro was ahead of its time, but now there are plenty of other lights on the market that offer a lot of features that the Anova Pro 2 has to compete against.

The light is color accurate and very good at replicating skin tones correctly. It is also excellent at reproducing the correct color temperature across its 3150-6300K range. It’s good to see a company not follow the market trends and stick to creating a good old fashioned light that is color accurate, has good output and is reliable and robust. Not everyone needs an RGB light. The only downside for me is the price. At $1,799 USD it is expensive considering that lights such as the Luxli Timpani are almost half of the price.

Despite the increased competition from other lights that are now on the market, I still like the Anova Pro 2. The low power draw and high output are both killer features that should make the light a very popular choice with news and documentary shooters. It’s also a very good option if you are doing a lot of multimedia work where both stills and video are required.

With good functionality, color accuracy, and a strong output, the Anova Pro 2 is a light that is worth considering if you are looking for a portable LED solution that can be run off smaller, travel safe v-lock batteries.

[newcanoninfo]

Elinchrom Announces the Transmitter Pro for Fujifilm –

After Sony, Canon, Nikon, and Olympus, it’s now Fuji’s turn to get access to all advanced Elinchrom features such as HS, HSS, and TTL.

[ Read More ]

(Read More...) ≠ promoted by #NewCanonInfo

[mealha]

Elinchrom Transmitter PRO for Fujifilm Available on September 18th

The Transmitter PRO for Fujifilm cameras is available on September 18th, which provides full compatibility with Elinchrom flash units and includes TTL functionality for the latest ELB 500 TTL. The price will be $249 USD / €249 EUR / £229 GBP.

from Photography Blog https://ift.tt/2NEManq

[fotografobcn]

Elinchrom Transmitter Pro para cámaras Fujifilm

Para todos los usuarios de Fujifilm, el Elinchrom Transmitter PRO para cámaras Fujifilm ya está disponible. Proporciona compatibilidad total con unidades de flash Elinchrom e incluye la funcionalidad TTL para ELB 500 TTL

Con el protocolo Fujifilm integrado en Skyport, Hi-Sync, HSS y TTL ahora están disponibles para casi todos los fotógrafos.

Elinchrom Transmitter PRO es muy conocido por los usuarios de Nikon, Canon, Sony, Olympus y Panasonic. Muy esperado por la comunidad de Fujifilm, ahora tendrán la capacidad de llevar TTL, HSS o Hi-Sync a su configuración de Elinchrom. Todas las últimas características están ahora disponibles con el transmisor PRO para Fujifilm.

Compatibilidad para todos con ELB 500 TTL.

El ELB 500 TTL es la herramienta ideal para los fotógrafos que se encuentran en entornos de disparo sensibles al tiempo. La velocidad de TTL les permite capturar imágenes a la velocidad de la vida o simplemente de manera más conveniente.

La función “Bloqueo manual” permite a los fotógrafos obtener un “bloqueo” inicial de su exposición en TTL y luego cambiar al modo manual para ajustar aún m��s su exposición según lo necesiten o para explorar diferentes efectos creativos.

Hi-Sync y HSS para tarbajar sin problemas.

Usando un ELB 1200 con sincronización Hi-Sync o un ELB 500 TTL con HSS, el transmisor PRO detectará automáticamente en qué modo debe estar. Aún mejor, el uso de un ELB 1200 con un cabezal Hi- Sync junto con un ELB 500 TTL en la misma configuración es posible en modo manual.

Todas las características incorporadas desde el principio

Todas las grandes mejoras en la reciente actualización de firmware en los transmisores para Canon, Nikon, Sony, Olympus y Panasonic están incorporadas desde el principio en la versión 1.1 para Fujifilm.

CARACTERÍSTICAS

Modo TTL “Apuntar y disparar” en condiciones de luz complicadas o para una exposición inicial donde comenzar.

Tecnología Hi-Sync Permite la sincronización optimizada a plena potencia más allá del X-Sync normal de su DSLR, hasta 1/8000s con cualquier unidad con protocolo Skyport incorporado.

Tecnología HSS Permite la sincronización optimizada más allá de la X-Sync normal de su DSLR, hasta 1/8000s con cualquier unidad habilitada TTL con protocolo Skyport incorporado.

ODS (Overdrive Sync) Fine tune Hi-Sync for optimised exposure at high shutter speeds. Optimise in 0.1ms increments from 0.1ms to 5.0ms.

Visual Control Sintonización fina Hi-Sync para una exposición optimizada a altas velocidades de obturación. Optimice en incrementos de 0.1 ms de 0.1 ms a 5.0 ms.

Display LCD Grande La visualización única en tiempo real de la configuración remota de potencia del flash en modo manual y el valor de exposición en modo TTL, permite una fácil navegación de todas las funciones.

Zapata segura Alta calidad de construcción con montaje de bloqueo seguro.

Alcance extendido Hasta 200 m (656 pies) en exteriores y 60 m (196 pies) en interiores.

20 Canales y 4 Grupos Disponible tanto en modo normal como en modo de Speed (40 canales combinados).

Actualizaciones de Firmware A través del puerto USB para garantizar la compatibilidad con cámaras futuras.

DISPONIBILIDAD

El Elinchrom Transmitter PRO para Fujifilm estará disponible a partir del 18 de septiembre de 2018.

PRECIO

€249 EUR (IVA Incluido)

Más info: https://www.elinchrom.com/ y http://www.cromalite.com/

El post Elinchrom Transmitter Pro para cámaras Fujifilm fue publicado por primera vez en DNG Photo Magazine.

https://ift.tt/2x8NGnw via Fotografo Barcelona

[pauldeckerus]

Elinchrom Transmitter PRO for Fujifilm Cameras Available by Mid-September

Fujifilm users will soon be able to equip their cameras with the Elinchrom Transmitter PRO, which allows them to use TTL, HSS, or Hi-Sync to their Elinchrom flash units, along with all the latest features. With the compatibility for the latest ELB 500 TTL, Fujifilm photographers who often shoot in time-sensitive environments can now enjoy the convenience and speed of TTL flash. from Photography News https://www.thephoblographer.com/2018/09/07/elinchrom-transmitter-pro-fujifilm-cameras/

[matthewhutterus]

Elinchrom Transmitter PRO for Fujifilm Cameras Available by Mid-September

Fujifilm users will soon be able to equip their cameras with the Elinchrom Transmitter PRO, which allows them to use TTL, HSS, or Hi-Sync to their Elinchrom flash units, along with all the latest features. With the compatibility for the latest ELB 500 TTL, Fujifilm photographers who often shoot in time-sensitive environments can now enjoy the convenience and speed of TTL flash. from All About Photography https://www.thephoblographer.com/2018/09/07/elinchrom-transmitter-pro-fujifilm-cameras/

[joannemaly]

Elinchrom unveils the ELB 500 TTL: The world’s most powerful portable TTL flash system

Flash manufacturer Elinchrom has launched what it is calling "the world’s most powerful portable TTL light ever designed," the ELB 500 TTL. The new strobe was designed "for adventurous portrait photographers shooting both in studio and on location," and offers 500Ws of power from a power pack capable of running up to two heads in an asymmetric arrangement.

The system consists of a 2.48kg power pack with removable battery, and either one or two ELB 500 heads. The lithium ion battery has a capacity of 72W/h and can manage up to 400 flash bursts at full power. The battery can be charged in or out of the pack, and can even be charged while it is being used.

After a full power burst the flash takes two seconds to recycle, and high speed sync allows shutter speeds as short as 1/8000sec. The shortest flash duration is 1/20,000sec which still delivers up to 7W/s of power. The pack has built-in Skyport and Odin ll radio receivers so it can be triggered and controlled using either the Elinchrom or the Phottix system, and the heads can be mixed with existing flash units from either manufacturer.

Here's a quick introduction to adventure shooting with the new ELB 500 TTL:

The Elinchrom ELB 500 TTL is available now in either a one or two-head kit which cost $1900/€1700/£1500 or $2125/€1950/£1750, respectively. For more information, visit the Elinchrom website.

Press Release

Elinchrom Introduces the ELB 500 TTL, The Most Powerful Portable TTL Light Ever.

The new ELB 500 TTL is the most powerful and portable TTL light ever designed for adventurous portrait photographers shooting both in studio and on location.

Today, Elinchrom introduces the ELB 500 TTL, an incredibly portable and powerful battery pack combining 500Ws of power with a feature set including TTL, High Speed Sync, Active Charging, Full Asymmetry with built-in Skyport designed to empower the workflow of portrait photographers both in studio and on location.

Speed & Simplicity with TTL

The ELB 500 TTL is ideal for photographers who find themselves in time sensitive shooting environments where the inherent speed of TTL lets them capture images at the speed of life or for those who simply prefer the convenience of TTL.

The “Manual Lock” functionality allows photographers to get an initial “lock” on their exposure in TTL and then switch to manual mode to further adjust their exposure as they need or to explore different creative effects.

500 Ws Power & Performance in an incredibly portable package

The ELB 500 TTL is powerful enough to overpower the sun, delivers 400 full power flashes on a single charge and has a fast recycling time of 2 seconds at max power, ensuring you won’t miss an important moment.

The ELB 500 TTL head is smaller than speedlites yet delivers 10 times more power. It is lightweight enough to be mounted on a camera bracket or boom arm while on location.

“We created the ELB 500TTL for portrait photographers looking to take their work to more adventurous places with what we believe to be the perfect combination of power, features and value.”

Simon Whittle, CEO - Elinchrom

The Versatility of HSS, Asymmetry & Active Charging

High Speed Sync lets photographers freeze motion with incredible sharpness, create a narrow depth of field, or darken overly bright backgrounds using a high shutter speed (up to 1/8000sec). With the new ELB 500 TTL, not having to worry about flash sync limitations or the time of day makes for a very liberating creative experience.

Full asymmetry across two lamp connections provides a broader range of creative control. Active Charging provides the freedom to charge the battery while actively shooting in studio, making it perfect for an uninterrupted workflow.

The ELB 500 TTL’s native Q-Mount (Quadra Mount) is seamlessly compatible with Elinchrom’s super-portable “Portalite” series of softboxes and can work with any of your favorite full-sized Elinchrom light modifiers.

Convenience & Control with Skyport® and Phottix ODIN II

The ELB 500 TTL features built-in Skyport, Elinchrom’s reliable and easy to use wireless system as well as Odin II functionality from Phottix. This lets a photographer trigger and control virtually any light or combination of lights in their collection with either Elinchrom or Phottix transmitters right from their camera.

Ease & Intuitiveness of a Brilliant User Interface

When the pressure is on to get the shot, no one ever wants to fumble with controls. The large OLED display and intuitive controls of the ELB 500 TTL makes using the pack a pleasure.

The Heritage, Quality & Value of Elinchrom

The ELB 500 TTL is the newest compact flash solution in a long line of innovative and ultra-reliable Elinchrom products that represent a decades-long commitment to crafting the highest quality lighting tools while providing superb value to their customers.

The Skyport Plus HS becomes an Elinchrom Transmitter Pro with TTL

Elinchrom is also pleased to announce a firmware update adding TTL control to the Skyport Plus HS for Canon and Nikon, other brands will follow. This new firmware update is available now.

The ELB 500 TTL is the most powerful and portable TTL light ever for portrait photographers looking to take their work to more adventurous places.

The ELB 500 TTL represents an optimal feature set for portrait photographers and is ideal for those looking to trade up to a more powerful option to their speedlights, trading over from less full- featured options or searching for the very best value in the category.

ELB 500 TTL Prices & Availability

The ELB 500 TTL is available starting today.

Street Price:

ELB 500 TTL To Go – $1899 USD €1699 EUR £1499 GBP

ELB 500 TTL Dual To Go – $2124 USD €1949 EUR £1749 GBP

ELB 500 TTL To Go Set Content

ELB 500 TTL To Go

N° 10309.1

1x ELB 500 TTL – Unit

1x ELB 500 TTL – Battery

Li-Ion battery

1x ELB 500 – Head

With 2.5 m flash cable and protective cap

1x ELB 500 – Charger 1x ELB 500 – Snappy

Carrying option with shoulder strap

1x Q-Reflector 18 cm 1x ProTec Location Bag

ELB 500 TTL Dual To Go

N° 10310.1

1x ELB 500 TTL – Unit

1x ELB 500 TTL – Battery

Li-Ion battery

2x ELB 500 – Heads

With 2.5 m flash cable and protective cap

1x ELB 500 – Charger 1x ELB 500 – Snappy

Carrying option with shoulder strap

1x Q-Reflector 18 cm

1x Q-Wide Reflector 13.5 cm 1x ProTec Location Bag

ELB 500 TTL Specifications

Flash Power – 500 Ws/J Power Distribution – Full Asymmetry Power Range – 7 F-stops Best Flash Duration – Action: 1/20000s - Normal: 1/3400s Recycling Time – 0.05 - 2 seconds Dimensions (Unit + Battery) (LxWxH) – 16.3 x 9.0 x 18.1 cm Weight (Unit + Battery) – 2.48 kg Weight of Battery – 0.73 kg Battery – Removable - Li-Ion 14,4 V - 72 W/h Battery Capacity – 400 / 28000 flashes (full power/min. power) Compatibility – For Skyport: Elinchrom Transmitter Pro For Phottix: Phottix Odin II Transmitter ELB 500 TTL Unit Supplied With – Battery, Charger, Snappy, Location Bag, Sync Cable

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The following article was originally published to courtesy of :  https://www.proton-pack.com

Elinchrom unveils the ELB 500 TTL: The world’s most powerful portable TTL flash system was originally posted by https://www.proton-pack.com

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Elinchrom has announced the ELB 1200, priced from $3499 / €3749 / £3299, a new portable light pack for on-location adventure photographers.

The Elinchrom ELB 1200 weighs 4.3kg/9.3lbs and can deliver 1200Ws symmetrically or asymmetrically in 1/10 f-stop steps and variable over 8.5 f-stops, enabling photographers to either overpower the sun or shoot wide open.

The ELB 1200 recycles to full power in 1.7secs in fast mode with bursts of up to 20 flashes per second.

A built-in Skyport protocol with 20 frequency channels and 4 groups lets you synchronise between the ELB 1200 and Elinchrom’s Skyport transmitters.

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The Elinchrom ELB 1200 also comes with three new flash heads – Action, Hi-Sync and Pro – as well as an aluminium housing, a new tilt head and a 7-8mm central umbrella.

The Pro is an all-purpose head with a flash duration of 1/5050s at 140Ws. The Action head offers a flash duration of 1/8850s when set to 172Ws, while the Hi-Sync head is designed for Hi-Sync photography in combination with the Skyport transmitter HS.

Each head is fan-cooled and offers a dimmable bright (Daylight balanced / 250 W equivalent / 4000+ Lumens / 92 CRI) LED modelling light which Elinchrom says draws minimal power from the pack.

Elinchrom’s new Air battery (1.1 kg / 2.4 lbs) gives the ELB 1200 power for 215 flashes at full power, or 80 minutes of video at full power. You can also upgrade to a new HD battery (1.5 kg / 3.3 lbs) which increases your capacity to 400 flashes at full power, or 120 minutes of video time.

The Elinchrom ELB 1200 release date will be the end of August 2017. The Elinchrom ELB 1200 price tag will be:

ELB 1200 Pro To Go / ELB 1200 Hi-Sync To Go: $3499 / €3749 / £3299 ELB 1200 Pro To Roll / ELB 1200 Hi-Sync To Roll: $3749 / €3999 / £3499

The difference is the To Go kit comes with a carry bag and the To Roll includes a roller case.

Elinchrom is also letting users of its Ranger RX / Free Style series – whether working or not – the opportunity to trade it in and get an ELB 1200 price reduction of $1000 / €900 / £900 on the To Go or To Roll kits.

Elinchrom ELB 1200 Specifications

Unit • 18 x 13 x 28 cm / 7 x 5 x 11’’ (with battery) • 4.3 kg / 9.48 lbs. (with battery) • Large OLED control display • Fast recycling times (1.7s in FAST mode, 3s in DEFAULT mode) • Strobo, sequence and delayed flash mode • USB for firmware updates Flash Head • Heavy duty compact head • Aluminium housing • 22.5 x 14 x 23 cm / 9 x 8.8 x 5.5’’ • 2.2 kg / 4.8 lbs. • Aluminium tilt head • 7 mm and/or 8 mm umbrella tube • 92 CRI dimmable daylight LED equivalent to 250w Halogen • For both still photography and video • Silent video mode Li-Ion Battery • Weather resistant design • Battery Air / 215 full power flashes, 1.1 kg (included) • Battery Air / 80 min of continuous LED light • Battery HD / 400 full power flashes, 1.5 kg (optional) • Battery HD / 120 min of continuous LED light • 5V USB power output for mobile devices • Shipping mode for travelling

For more details on specifications and the contents of each kit, which are also

Elinchrom launches ELB 1200 adventure light for photographers Elinchrom has announced the ELB 1200, priced from $3499 / €3749 / £3299, a new portable light pack for on-location adventure photographers.

[fotografobcn]

Novedades Elinchrom, Pocketwizard y Lastolite by Manfrotto

Elinchrom:

Las nuevas unidades compactas Top-Pro de flash Elinchrom ELC introducen la creatividad sin límites en tu estudio. Altísimas velocidades de destello, reciclaje instantáneo, disparo secuencial, efecto Strobo, destello retardado, radio-frecuencia integrada, manejo de los controles de potencia a distancia…

Las prestaciones de los nuevos ELC Pro-HD 500/1000 transforman en anticuado todo lo existente hasta ahora.

Modificación de Kits de 2 unidades de los flashes compactos ELC500 & ELC1000. Estos kits incorporan a partir de ahora el nuevo Bolso Protec Location de Elinchrom, más compacto y ligero ofreciendo la misma protección que el anterior, pero mayor comodidad a la hora del transporte. No hay modificación ni en el contenido, ni en el precio de los equipos.

Los kits contienen:

2 x ELC Pro HD 500 ó 1000 completos.

2 x reflector gran angular 16 cm 90°.

1 x EL-Skyport Transmitter Plus.

1 x maleta ProTec Location.

PocketWizard:

Los dispositivos de radio-frecuencia más fiables del mundo te ofrecen todas las opciones posibles: desde el equipo básico de Plus-X con 500 m de alcance, pasando por el mítico Plus-III con modo repetidor, 32 canales y 4 grupos hasta los efectivos Mini TT1/Flex TT5 con control TTL para Canon o Nikon. Todos ellos te permitirán disparar flashes o cámaras con la conocida precisión del fabricante norteamericano.

El nuevo PocketWizard Flex TT6 para Canon incluye un hardware mucho más potente capaz de adaptarse a los nuevos sensores, mucho mas rápidos de las nuevas cámaras Canon 5 D Mark IV, 1 D X Mark II, 80 D y 77 D. Como siempre las radios profesionales PocketWizard son compatible con todos los modelos anteriores, Flex TT5, Plus III, Plus IV, Plus X…

El Flex TT6 sustituye al TT5, eso no significa que el TT5 quede obsoleto. Los usuarios de cámaras Canon de modelos anteriores podrán usar indistintamente TT5 ó TT6, mientras que los usuarios de la nuevas cámaras citadas mas arriba, deberán usar el TT6 en cámara y podrán usar los TT5 que posean en los flashes o cámaras remotos.

El Flex TT6 posee un hardware mucho mas potente que le permite adaptarse sin ningún limite a los nuevos sensores ultra rápidos de Canon y está preparado para futuras actualizaciones.

Incorpora: TTL, HSS, Hi-Sinc y la fiabilidad y compatibilidad legendarias de la marca.

Lastolite by Manfrotto

JOE MCNALLY EZYBOX SPEED-LITE 2. Nueva versión del softbox para flash de reportaje más vendido, esta vez con interior blanco para un toque extra de suavidad.

NIDO DE ABEJA PARA EZYBOX SPEED-LITE 2 22 X 22 CM. Nido de abeja para las dos versiones de Ezybox Speed lite 2 (standard con interior plata para máxima potencia y Joe Mcnally con interior blanco para mas suavidad)

FONDO PLEGABLE 1,8 X 2,10 M SMOKE / CONCRETE. Fondo plegable portátil y reversible a dos caras.

Más info: www.cromalite.com

El post Novedades Elinchrom, Pocketwizard y Lastolite by Manfrotto fue publicado por primera vez en DNG Photo Magazine.

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