The versatile nature of Ninja V means it can be paired with nearly any camera, on any type or size of production. The professional monitoring tools make framing, exposure, and focusing a breeze. With Ninja V you can work confidently to perfect every shot.
Ninja V includes a comprehensive range of monitoring tools including a waveform, focus peaking, false color, zoom controls, custom LUTs, and frame guides. Each offers an opportunity to perfect the composition and exposure for every shot and can be overlaid in any combination, unlike many other monitors that allow only one monitoring tool at a time. AtomOS software is easy to use and provides a platform for Atomos to easily update Ninja V, introduce new features, and add support for new cameras on release.
The AtomRemote app for iOS and macOS offers an array of external controls for ATOMOS CONNECT for Ninja V. The app enables you to perform a range of configuration tasks and operations up to 15 meters away from the device via Bluetooth LE. Input options include the ability to define camera connections, select Gamma/EOTF, and adjust Gamut settings. For monitoring, AtomRemote can be used to control playback, choose monitoring modes, apply custom 3D LUTs, or view image analysis tools including exposure and focus. Output controls include options for 4K to HD, LUT preview, and HDR output.
There is an optional SSDmini adaptor that allows CFAST II cards to be used, enabling you to recycle older media cards or align with your camera media. Alongside SSDmini we also qualify a range of 2.5-inch SSDs that can be used in conjunction with the MasterCaddy III which are required when using the ATOMOS CONNECT.
With Ninja V the only limitation to how much you can record is the size of the SSD. A core principle of Atomos devices is to provide much more flexibility in terms of recording codec, resolution, and frame rate than is normally available with internal recording. SSD media also provides more GB per $ than camera media cards. This not only provides extended recorded times for long form productions or recording events, but gives you the added security of always having a back-up to your camera recording.
A bulb exposure keeps the shutter open for as long as you hold down the shutter button. It can be used to photograph fireworks and other subjects requiring long exposures.The procedure for bulb shooting is explained below.
CAUTIONDuring the bulb exposure, do not point the lens toward the sun. The suns heat can damage the cameras components.REFERENCEThe elapsed exposure time will be displayed on the LCD monitor.Since bulb exposures produce more noise than usual, the image may look a little grainy.When [ : Long exp. noise reduction] is set to [Auto] or [Enable], noise generated by the long exposure can be reduced.If ISO Auto is set, the ISO speed will be ISO 400.NOTEFor bulb exposures, using a tripod and Remote Switch (sold separately) is recommended.You can also use a remote controller (sold separately) for bulb exposures. When you press the remote controllers transmit button, the bulb exposure will start immediately or 2 sec. later. Press the button again to stop the bulb exposure.With a fully-charged Battery Pack LP-E8, the continuous bulb shooting time will be as follows: approx. 2 hr. 30 min. IMPORTANTFor bulb exposures, set the IS switch to . If is set, Image Stabilizer misoperation may occur.AEB cannot be used with bulb exposures.You cannot set [Multi Shot Noise Reduction] for bulb exposures.If you use the self-timer and bulb exposure in combination with a mirror lockup, keep pressing the shutter button completely (self-timer delay time + bulb exposure time). If you let go of the shutter button during the self-timer countdown, there will be a shutter-release sound, but no picture will be taken.
Looking down on the Samsung Galaxy Camera 2's top-plate with its back facing us, at the left hand edge is the aforementioned pop-up flash, with a manual switch for its activation provided alongside, so the flash won't automatically fire unless you have raised it first. Give this a press with a fingertip however and the flash pops up with a satisfyingly solid metallic clunk. Simply press the spring-loaded contraption back down to deactivate. Located on the left-hand side of the camera is a pair of microphones, underneath the new NFC logo.
The other available shooting modes are the familiar program mode plus the unexpected bonus of aperture, shutter priority and manual modes, which are grouped together in the Expert option along with the Video mode. Aperture, shutter speed, ISO speed and exposure compensation are all cleverly set via virtual dials on the touchscreen LCD, which in reality is a lot quicker and more intuitive than it might first sound.
The Samsung Galaxy Camera 2's maximum shutter speed is 16 seconds, which is great news if you're seriously interested in night photography. The shot below was taken using a shutter speed of 10 seconds at ISO 100. The camera takes the same amount of time again to apply noise reduction, so for example at the 15 second setting the actual exposure takes 30 seconds.
The Samsung Galaxy Camera 2 feels more like a silent revision of an existing product, rather than an exciting new replacement, such is the lack of change since last year's original Galaxy Camera was released. We'd be hard pushed to think of another camera that offered so little that was new when compared to its predecessor, with a slight quickening of the operational speed, slightly longer battery life, double the internal memory, 50Gb of free Dropbox space and NFC connectivity the only things to write home about. With Samsung themselves releasing the much svelter Galaxy K Zoom (with 10x zoom) at the same time as this new Galaxy Camera, we can't help feeling that maybe Samsung should have waited a while longer before releasing the Samsung Galaxy Camera 2.
Basically, all of the things that we concluded about last year's model apply equally to the new Mark II version. In many ways this new kind of device succeeds, particularly if you already routinely edit and upload your photos using a smartphone. For those users, the massive screen, long zoom and better image quality offered by the Galaxy Camera 2 will be a real attraction, while the latest Android 4.3 operating system with all of its apps and widgets makes editing and sharing your images instantly addictive. The Camera app is also worthy of mention, sporting a very polished interface that is easy to use if you're shooting in full auto or one of the advanced shooting modes.
Now, Samsung has updated the original Galaxy with the Galaxy Camera 2. It has many of the same specifications as the original, making some tweaks along the way for improved performance. Interestingly, Samsung has also taken the decision to remove 3G capability from the camera, making it less 'phone-like' than the original, but it retains Wi-Fi functionality.Read the full review »
Long exposures create a sense of mystery. They softly blur anything that moves. Clouds become streaks, water takes on a cotton candy like appearance and people either disappear or become ghosted figures. But the most important perk to using a very long exposure is that it simplifies composition. It strips down an image to the basics: lines, shapes, and tonality.
You may have heard of split or graduated ND filters. These filters are clear on the bottom half and have a dark band on the top half. Split ND filters are used when the dynamic range of the scene is too high to record. They are often used in landscapes to darken a bright sky. For long exposure photography, you need solid ND filters. These filters, as the name implies, are a solid dark colour.
ND filters are rated according to how much light they block. The darker the filter, the less light is transmitted through it. Less light corresponds to longer exposures. When you choose an ND filter you will find that different manufacturers use different systems to describe the strength of their filters. This can sometimes cause a bit of confusion. The three rating numbers you will see used are: filter strength, light reduction factor and optical density.
If you plan on taking your long exposures during the day, I would suggest purchasing a 10-stop and 6-stop filter. These can be stacked together to produce a total of 16-stops. A circular polarizer is equivalent to approximately a 2-stop reduction in light and can also be stacked with your ND filters. Although you can stack multiple filters together, do not stack more than two to avoid vignetting.
When you arrive at your shoot location, take your time deciding where the best vantage point is. I will often walk around and take several regular exposures and evaluate these on the back of my camera. Should I move a bit to the left or right? How high do I want my horizon? Are there any distracting elements at the edges of my frame? Once you are satisfied with your composition, set up your tripod and attach your camera. You may still need to do a little tweaking of the composition before your final long exposure.
The next step is to determine how long your exposure should be once you attach the ND filters. After you put the ND filters on your lens, your camera will not be able to meter. You must calculate the correct exposure based on the strength of your ND filters and the pre-ND exposure.
To prevent any light from leaking into the camera, cover your camera and lens with a dark cloth or jacket and secure it with clips. During very long exposures, light has a way of sneaking into your camera, particularly through the viewfinder.
Check your histogram. I often find my images need a longer exposure than what I initially calculated. If your histogram is bunched up on the left, increase your exposure time by a stop. That means doubling the length of the exposure. If you took an eight-minute exposure, try 16 minutes. 2b1af7f3a8