Here’s a quick breakdown of 7 ways the new MIOPS FLEX will boost your creative photography:

1. Lightning Strikes

If you’ve ever tried capturing lightning strikes, then you know it’s not easily done, requiring a healthy combination of good luck and experience gained through trial & error. FLEX, on the other hand, simplifies the process of photographing lightning, day or night, as it detects lightning strikes and automatically captures the image. This will allow you to focus more on the creative aspects of capturing awe-inspiring imagery, including dialing in your exposure, composing the shot, and so on. Through the use of its dedicated app, FLEX will also allow you to control the camera remotely from the safety of your vehicle. Plus, after the images have been captured, you can use the app to stitch together multiple frames into a single image with the touch of a button.

2. Smooth Time-lapse Transitions in Complex Lighting Conditions

When creating time-lapse videos, one of the trickiest aspects involves adjusting your exposure to compensate for the transition between day and night. Previously, you’d either need to manually make adjustments during the shoot, which could result in a staccato effect depending on how effectively you adjusted the settings, or you’d need to capture multiple time-lapses using two or more cameras and then blend them in post-production. With FLEX, you don’t need to do any of this. Simply choose a time-lapse mode (FLEX includes “Bulb Ramping,” “HDR,” or “Holy Grail” modes, in addition to regular modes) in the app and activate the time-lapse. You can also use the app to see a preview of the time-lapse while it’s recording.

3. Control Your Camera from Your Smartphone

You’ll notice I regularly mention the app throughout this article as it adds a ton of functionality and creative freedom. It really deserves its own place on the list. FLEX gives you access to your camera’s settings right from your smartphone. You can control your camera remotely and put it in hard-to-reach places, all in an effort to help you get that amazing angle. Setting your aperture, shutter speed and ISO from your smartphone to activate the shutter button without touching the camera also helps to avoid camera shake. And perhaps best of all, the app lets you preview what your camera sees with LiveView.

4. HDR Photography

Modern cameras continue to push their dynamic range with each new release, but techniques like those used for HDR photography allow us to push dynamic range even further. The downside is capturing an HDR shot can prove difficult. You’ll need to understand exposure bracketing and master the art of creating a composite in post to create a solid HDR photo. As you probably have guessed by now, FLEX offers an HDR solution that makes it easier than ever to capture great HDR images. Using the app, you can capture multiple exposures of the same scene and then stitch them together. From there, you can crop the photo, make any final edits, and then share it across social media. You can even add a personal watermark before sharing. Again, this is all done in the app. Easy.

5. High-Speed Photography

Using special smart sensor technology, FLEX makes it possible to create stunning high speed photos. You’ve no doubt seen those images of food falling across a screen or a water balloon exploding after getting pierced with a pin (see the gif above). Now, you can use this unique technology to dream up new high speed action to photograph. You’ll still need to provide the flashes and have enough space to create the action you want to capture, but FLEX takes the stress out of capturing high speed action once it’s set in motion.

6. Long Exposures

On the opposite end of the spectrum from high speed photography, we have long exposures, or shutter drags. You’ll still need a tripod for stability, but FLEX has simplified the task of capturing impressive long exposure photos. Use one of FLEX’s longe exposure modes to capture star trails, steel wool circles, or other light paintings.

7. Live Framing

As someone who balances graphic design and photography for work, I’m very excited about this feature. You can use FLEX’s Live Framing feature to ensure that your photos align with the layout of a pre-designed template, which you can upload to the app. This takes the guesswork out of combining these two mediums to create the perfect image in-camera for things like magazine covers, album covers, flyers, posters, and more.

Conclusion

These are just a few of the ways you can take advantage of FLEX’s capabilities. As I said from the start, this technology is also meant to inspire us and push us to try something new and realize the tech’s true potential. Use FLEX as a springboard rather than a destination, and level up your own creative images.

Here’s a list of these and other features available with FLEX:

• Camera Control
• Lightning Sensor
• Sound Sensor
• Laser Sensor
• HDR Bracketing
• Geo-Tagging
• Liveview Framing
• Holy Grail Time-lapse
• Basic Time-lapse
• Long Exposure Time-lapse
• HDR Timelapse
• Time Warper
• Storm-lapse
• Cable Release
• Press & Hold
• Press & Lock
• Timed Release
• Self Timer
• Timed Release with Self-Timer

It’s also worth noting that FLEX is compatible with Canon, Nikon, Sony, and Fuji cameras. Be sure to visit the MIOPS FLEX Kickstarter page before before it closes (Jan. 7, 2021) to enjoy extra savings. They’ve already met their funding goal, so this product is definitely going to market. Don’t miss out on your opportunity to be part of the future of creative photography.

This year, there will be a nearly 50% moon on the peak night(s) of the Perseids, so the more faint meteors will not be visible. However, it’s still a perfect opportunity to get out and do some nightscape photography! With a little bit of moonlight, you can capture some gorgeous astro-landscape images, and don’t worry, the big, bright, “fireball” meteors that the Perseids are known for will definitely show up in your photos, and be visible to the naked eye!

The Perseids tend to peak late at night (early AM) on August 11th and 12th. In a night sky without any light pollution, you might see as many as 100 “shooting stars” per hour, with dramatic “fireballs” here and there. On a night with a bit of moonlight, you might not see a meteor every single minute, but you’ll still see plenty of impressive ones if you simply stargaze for a couple hours.

Five Tips For The Best Meteor Shower Photos

How do you capture amazing photos of a meteor shower? In this article, we’ll cover the five simple steps that will virtually guarantee you get some beautiful meteor shower photos!

[Related: Become a master of Milky Way photography with the complete SLR Lounge workshop!]

Perseid Meteor Shower 2020 | Step 1: Plan Ahead

Before you worry about cameras, lenses, exposure settings, or anything else, the best thing you can do is very simple: PLAN AHEAD! Start by checking the weather, and make sure it’s going to be clear, of course. Instead of checking just one forecast, though, try checking multiple forecasts with an app such as MeteoBlue.

Next, plan to find a spot where there are truly dark skies, free of light pollution. This includes getting out of the city, of course, which you can figure out using a website like Dark Site Finder. However, there’s another thing to consider: even if you get away from city lights, you could still wind up somewhere that other people have campfires, flashlights, or car headlights going back and forth all night long. (See above for what a meteor shower looks like all night in Joshua Tree National Park! It’s a busy place, even at 3 AM…)

Last but not least, try to plan to go out on a night with no moonlight, or just a waxing/waning crescent moon. Moonlight can be beautiful for illuminating a nightscape, but unfortunately, its brightness will also make it very difficult to see all but the brightest meteors. Of course, most meteor showers peak on just 2-3 nights, and sometimes this means your entire “optimal viewing time” is ruined by a full moon.

Bonus Tip: Best Meteor Showers Of 2020

Speaking of moonlight, by the way: since there is going to be nearly 50% moonlight during this year’s Perseids, don’t despair! If you go out this weekend, or next Monday or Tuesday night, and you don’t see many meteors, you might want to plan to try again in October, November or December, when the Orionids peak, (October 20-21) or the Leonids peak, (November 16-17) …or the Geminids peak. (December 13-14) Good news, everyone!: ALL of these meteor showers peak at a time when there is a new or almost new moon!

Perseid Meteor Shower 2020 | Step 2: Charge Your Batteries & Grab Your Tripod(s)!

Again, before we talk about cameras, lenses, or exposure settings, there’s another very important matter of preparation: Having fully-charged batteries, and rock-steady tripod(s).

Yes, that’s right, if you have more than one camera, even if it is your old beginner DSLR with a beginner kit lens, bring it! And, grab a second or third tripod. (We’ll talk more about why multiple cameras are a good idea next.)

Regarding tripods- a big, heavy one is always better than a cheap-o, lightweight “travel” tripod, especially for nightscape photography. Those wobbly, short tripods with 5-section legs and a three-section center column will be almost worthless if there is even a light breeze. So, ditch the idea of a no-name knock-off tripod, even if it’s fancy carbon fiber, and get yourself a “beast” like the Slik 700DX ($99), with a heavy-duty head like the Oben BE-126 ($109).

Your best chance of capturing a beautiful meteor photo is not having the best camera or lens, or perfectly clear skies even. It’s having a fully-charged battery that can allow your camera to shoot hundreds of photos all night long!

In fact, if you can, try to use an external power source, such as a USB power bank for your mirrorless camera (if it has direct USB power capability, as all Sony cameras do), or a “dummy battery” system like the Tether Tools Case Relay for your DSLR.

This might sound like the nightscape photographer’s equivalent to the “spray and pray” method, which many photographers scoff at. However, when it comes to capturing the split-second phenomenon that is a meteor fireball, it’s the name of the game. So, charge up your batteries!

Bonus Tip: Grab a Remote Shutter Release!

As one final matter of preparation, grab a camera remote shutter release, if you have one, so that you can not only capture photos without shaking your camera, but also so that you can “smash the shutter button” all night long, and allow the camera to capture back-to-back images until your battery dies. This is the secret weapon that will ensure you capture a meteor! (NOTE: Most Nikon cameras only allow your shutter to fire 99 times consecutively, so you’ll want to use the built-in interval timer instead.)

Perseid Meteor Shower 2020 | Step 3: What Is The Best Lens? Two lenses!

Of course, the most exciting question that people always ask is, “what is the best lens is for meteor shower photography?” This is a great question because photographers like to know which focal length is best, or what fast aperture they might need, for such a unique and fleeting subject.

However, in my 10+ years of experience photographing meteors, here’s what I’ve found: Instead of the one best lens, I’d rather have two half-decent lenses, on two cameras & tripods, running at the same time! Why? Because I’ve lost count of how many times I decided to point my camera in what I thought was the best direction, only to see the biggest, brightest meteor streak through the sky just OUTSIDE my image frame. Even with an ultra-wide lens, it never fails…

So, I started setting up two or even three cameras and pointing them in different directions. Right away, the number of photos that captured meteors almost doubled or tripled!

The truth is, you can photograph a meteor shower with ANY lens, as long as it has a relatively fast aperture. Hopefully, you already have at least one lens with an f/2.8 or faster aperture. That’s great! But, even if your other lens is an f/3.5-5.6 “kit” zoom or an f/4 zoom, you should still bring it, borrow a 2nd camera if you have to, and set it up! An f/4 lens might not capture the very faint meteors, but it’s more than enough to catch the incredibly bright fireballs, and with a ~50% moon lighting up the nightscape, you’ll be able to get the right exposure, too. (More on meteor shower exposure settings next!)

Below are photos made using an 8mm circular fisheye lens, which captures literally the ENTIRE night sky in a single frame, …and an 85mm telephoto lens, which captures just a tiny fraction of the night sky. Of course, if you’re interested, here’s a shortlist of some of the best lenses :

• Sony 12-24mm f/2.8 GM ($2,999)
• Any 14-24mm f/2.8 or similar ultra-wide zoom
  Sigma 14-24mm f/2.8 DN/DG Art ($1,200-1,400)
  Canon RF 15-35mm f/2.8 L ($2,200)
  Nikon Z 14-24mm f/2.8 (arriving later in 2020???)
  Tamron 17-28mm f/2.8 ($899)
• Sigma 14mm f/1.8 DG Art ($1,599)
• Any 24mm or ~20mm prime lens
  Sony 24mm f/1.4 GM ($1,398)
  Nikon Z 20mm f/1.8 S ($1,046)
  Sony 20mm f/1.8 G ($898)
  Nikon Z 24mm f/1.8 S ($996)
  Tamron 20mm f/2.8 ($299)
  Rokinon/Samyang 18mm f/2.8 ($329)
• Any ~14mm prime lens
  Rokinon/Samyang 14mm f/2.8 ($279-599)
  Rokinon/Samyang 14mm f/2.4 ($749)
  Irix 15mm f/2.4 ($475-595)
  Venus Laowa 15mm f/2 ($849)
  Venus Laowa 12mm f/2.8 ($949)
• Wide-Angle Lenses for APS-C:
  Tokina 11-20mm f/2.8 ($499-529)
  Tokina 14-20mm f/2 ($369-499)
  Rokinon 12mm f/2 ($279-329)
  Rokinon 10mm f/2.8 ($349-379)
  Sigma 18-35mm f/1.8 ($679)

…Whatever lens you have, just remember this very important thing: the trick is not so much where you point your lens to get the most meteors. It’s about patience and endurance. In other words, point your camera in any direction, as long as you have a creative composition, plug in that remote shutter release, …and then just wait to see if a meteor appears in your frame!

Of course, it does pay off to point your main camera in the general direction of the meteor shower’s “radiant” point, which you can easily find because each meteor shower is named after the constellation from which its meteors appear to originate from. (Finding constellations is as easy as downloading the Stellarium app or SkyView app…)

Perseid Meteor Shower 2020 | Step 4. Dial In Your Camera Settings & Focus

Okay, now the exciting part, exposure settings! First, start with a fast aperture, such as f/2.8 or brighter. (F/2, f/1.8, f/1.4, f/1.2…)

Then, a high ISO, such as 3200 to 6400, depending on what level of image noise you are willing to put up with. Personally, I push my full-frame cameras to ISO 6400 or 12800 even!

Last but not least you’ll want a long shutter speed, such as 8, 15, or even 30 seconds. This last setting will vary depending on your lens, the moonlight, and if there is any light pollution nearby. But, whatever shutter speed you choose doesn’t affect your chances of catching a meteor, because remember, you’re going to just smash that shutter all night long!

By the way, if you don’t have a remote shutter release, don’t worry! Many cameras have a built-in interval timer now. For example, if your shutter speed is 30 seconds, just set the interval to 33-34 seconds and you’re good to go! Or, as a last resort, wad up a little ball of gaffers tape, stick it on top of your camera shutter release button, then tape that down tight with another piece of tape, and let it rock n’ roll!

What is the most important thing about your exposure? It’s NOT about having that exotic, ultra-sharp f/1.4 lens instead of a more budget-friendly f/1.8 lens. Seriously! The most important thing is simply getting your exposure right, which should be no problem with a little bit of moonlight.

So, the most important thing you can do is to check your histogram to make sure your exposure is in fact towards the RIGHT; do not just look at your image on the LCD and assume that it’s good enough; in the darkness of nightscape photography, your eyes will fool you every time!

[Want to learn more about perfect exposures for your nightscapes? Check out this article!]

The final challenge is, of course, to set focus for a good sharp image of the night sky. Many lenses these days do not have an “infinity” mark anymore, or if they do have it on a digital scale on the camera LCD, it isn’t accurate!

The best thing you can do for sharp photos of the night sky is, to point your camera at the brightest star or planet in the sky, and focus on it using magnified live view. Just make sure that your lens is switched to manual focus, so that nothing gets messed up when you start hitting the shutter.

Bonus Tip: Turn Off In-Body And/Or Lens Stabilization!

Speaking of sharp images, of course, you’ll want to turn off any stabilization features your camera or lens has. This is one thing that many people forget, and then their nightscape images turn out half blurry and half sharp, because sometimes the stabilization held still, but other times it moved. Save yourself the headache, and trust your big sturdy tripod; just turn stabilization off.

Perseid Meteor Shower 2020 | Step 5. Sit Back And Let Your Cameras Run!

[Related Reading: How To See Comet NEOWISE! | A Step-By-Step Astronomy Guide]

Indeed, this is what we’ve been preparing for. The best way to capture meteors is to just frame a shot, and let the camera shoot as much as possible. Sometimes you’ll get lucky and that single composition will capture a dozen meteors or more over the course of 2-3 hours, and other times, you might be lucky if you get just one big fireball.

Whether you have one camera, or two or three, get them all set up and get them started clicking. Then, just sit back and relax, and watch the night sky! The best part of photographing a meteor shower is, of course, actually watching the meteors themselves with your own eyes…

Take care, and good luck! If you have any additional questions or tips of your own, please comment below. We’d love to see your photos of whatever you capture!

[Related Reading: Adobe – How To Add Color to s Starry Scene]

What sets the Capsule360 apart from the rest of MIOPS’ lineup is that it can be as simple or robust as your needs demand. Compatible with any DSLR or mirrorless camera, this device can do pans, tilts, slides, custom movements, subject/star tracking, and 360-degree photography.

The following review includes the experience of two visual creators that have been using the device through their workflow for a while.

The Capsule

The Capsule360 has 3 axes of motion: it can do pans straight out of the box, tilts with the optional L-Bracket, and slides with the Capsule Slider accessory. It’s also possible to have multiple Capsule360 modules working together, thus allowing more complex movement sequences and working wirelessly.

Combine two units to get a rig that can both pan and tilt. The Capsule360 devices will automatically determine which one is for panning and which one is for tilting. Now combine three or more and creative possibilities start getting infinite. Each Capsule has a payload capacity of 7kg with a weight of only about 250g.

Technical Specifications of the Miops Capsule360

• Release Wireless: Bluetooth
• Camera Connection Various / Universal
• Time-Lapse
  • Basic Time-Lapse
  • Long Exposure Time-lapse
  • Bulb Ramping Time-Lapse
  • Interval Ramping Time-Lapse
  • HDR Time-Lapse
• Programmable Yes
• App Compatibility iOS and Android
• Power Source Internal Battery
• Battery Rechargeable USB
• Package Weight 1.17 lb
• Box Dimensions (LxWxH) 5.1 x 5 x 3.2″

Credit: © 2020 Brian Akerson “Hatteras Sunrise (Multiple Capsule360s)”

Who Is The Capsule360 For?

Brian Akerson: “The Capsule360 is for those who desire a compact motion-control system at an affordable price. It’s a capable unit that does not break the bank. Optimally, the device is for those with mirrorless or other similar lighter-weight camera systems.”

Simon Phillips: “Someone looking to take their creativity to the next level and a device that will make their life so much easier to create the content they want, it’s certainty something I’m finding extremely useful in my own work.”

Credit: © 2020 Brian Akerson “The Point Sunset (Single Capsule360)”

The App

Similar to other MIOPS’ systems, the speed and direction of the motion are controlled using MIOPS smartphone app for iOS and Android. The app, which connects via Bluetooth, is used to program the motion path of the device.

In addition, the MIOPS application makes a lot of functions possible. For instance:

• Control the speed and direction of each box/axis.
• Automate and record all movements so they can be repeated, from basic slider shots to endlessly looping interview shots.
• Enter the time-lapse mode with bulb ramping, interval ramping, HDR, and long-exposure modes.
• Discover the new Star Tracking mode, which automatically tracks the motion of stars for super-sharp results.
• Track any face or object using your smartphone’s camera, with just one click.

Brian Akerson: “The Capsule360 app is well designed with a clean and modern appearance. It is easy to get started using a Capsule360 right out of the box but also provides plenty of options for customizing movement and capture settings.”

Automatic Tracking

One of the most brilliant features is its ability to track any object. Simply lock the camera on to any object or face and the Capsule360 will ensure it always stays in frame with one click in the app. The system can do both object and face tracking.

This means making great videos for social media or vlogs don’t require the use of assistants or extra staff, simply set up the smartphone or camera on a tripod with the Capsule360 and start shooting. The tracking effects are truly accurate.

Other scenarios for using this device are creating educational content, filming a sports match, or creating original content without the help of an assistant, the tracking mode of the Capsule360 is a game-changer. As well as locked tracking, the Capsule360 can also learn manual paths, simply show it the path once, and then it can be repeated as many times as desired.

Brian Akerson: “Using the automatic tracking is one of the most fun features of the Capsule360. It can track and record directly using your phone or tablet in a snap. Another option is to use a hot shoe mount to attach a mobile device to a camera. Both solutions work well.”

Capturing The Sky and Time

The Capsule360 will enhance most of any shoots, but where it really shines is time-lapses and astrophotography.

The pocket-sized gadget can lock the camera onto stars many kilometers in the distance and follow them as they move across the sky. It is possible to change the interval of the frames while shooting motion time-lapse sequences. The Capsule360 makes it so easy to pursue any of these passions.

When it comes to bulb ramping, the device will change the exposure from initial to the final value through the time-lapse process. The change in the exposure value will be a linear change from the beginning to the end.

Brian Akerson: “The regular time-lapse modes are simple but get the job done. The recent wireless integration of the Timelapse+ VIEW made the ramping and control process far easier. In the case of the Capsule360’s bulb or interval ramping, the photographer must time everything well as there is no automatic ramping for either option. Knowing the exact timing of sunrise or sunset using an app such as PhotoPills is essential.”

Credit: © 2020 Brian Akerson “Lapse of Lapse (TL+VIEW & MIOPS Capsule360 in Operation)”

Power and Energy Saver

The Capsule360 features a built-in rechargeable battery that can work for eight hours straight of continuous use or up to one weeklong in time-lapse mode. There’s also an option to attach a USB battery pack to extend the battery life for longer periods of time.

More Creative Possibilities

A separate turntable accessory in the Capsule360 system lets you shoot automated 360° product photos. A dolly accessory helps create linear and curved movements for videos. This is great for product photography.

Capsule360 can also be used together with the Capsule Slider, which will slide the camera automatically with a great precision per personalized settings over the smartphone. The results are very useful for videographers.

What We Liked About The Capsule360

Brian Akerson: “What I like most about the Capsule360 is its size. When I carry two units with me, I stack them together and they take roughly as much room as the average lens in my bag.”

Simon Phillips: “I think the thing I like the most about the Capsule360 is all the functions it allows you to do, be it for stills or video it’s a great all-around product and makes it easier for us creatives to produce work.”

What Could Be Better

Brian Akerson: “The main drawback for me is the tilt unit weight capacity. The other thing that I would love seeing in the future is a bracket system that can be broken down further. The bracket takes up a lot of space in the bag and can be rather awkward to stow.”

Simon Phillips: “This is being really picky but it would have to be the top mount it just needs to be stronger as it moves quite a bit when using it with the pan and tilt kit that I have, if it was stronger there it would be so good and compete with more expensive kits on the market. I have told MIOPS about this and they will be looking into it.”

Final thoughts

Fans of time-lapse modes are going to love this gadget for the capabilities of easily create content such as HDR time-lapse, long exposures, speed, and bulb ramping. The MIOPS Capsule360 turns any ordinary camera or smartphone into a sophisticated motion tracker, and a whole lot more.

Brian Akerson: “The Capsule360 is a great compact motion-control system and has the potential to become even better. The MIOPS team is constantly working to add more features to the firmware and the app. Working with Timelapse+ to integrate the VIEW and Capsule360 shows the willingness and openminded nature of the MIOPS team to maximize the Capsule360’s capabilities.”

Simon Phillips: “I really think what you’re paying for this it’s the best on the market as it comes in so cheap for what it can do, If you’re looking to use it for product photography, video or time-lapse you really can’t go wrong with this. The Capsule isn’t designed for heavy camera but more compact cameras like a mirrorless camera or DSLR with a lens when using the pan and tilt setups.”

So what do you think? Have you used the Miops Capsule360 before? Do you think it does or can meet your needs for timelapse and motion control? Let us know in the comments below.

Check Pricing & Availability of the Miops Capsule360 Here

Adorama | B&H | Amazon

About the authors

Brian Akerson – Instagram: @brianakerson

Simon Phillips – Instagram: @sdp_photographics

It was with that in mind that we began testing and reviewing the Syrp Genie II kit, a 3-axis motion-control system. Its capabilities are definitely going to appeal to videographers, as well as timelapse photographers.

If you ask anyone who is into video/cinema about how to create great footage, the first thing they’ll tell you is that MOTION is key to making your content captivating. Slowly sliding left or right, smoothly panning up or down… these are the tricks of the trade! And while you can try to create this motion yourself using either a slider & fluid head, or just a hand-held gimbal, in many situations there is just no substitute for fully motorized control.

That’s where the Genie Pan/Tilt and Linear come in. They’re created specifically to perfectly control the motion in your video/timelapse footage, so that it is perfectly smooth, and even repeatable.

On that note, let’s get into our review, and tell you what we liked, what we didn’t like, and whether or not this system is right for you!

Syrp Genie II Review – Specifications

WHOLE KIT:
Includes: Syrp Genie II Pan/Tilt, Genie II Linear, Magic Carpet Medium Track, Magic Carpet Carriage & End Caps
Price: $2817 (US)
Weight: ~9.2 lbs

INDIVIDUAL ITEMS:
Genie Pan Tilt: $1599, 4.2 lb / 1.4 kg
Genie Linear: $899, 2 lb / 0.9 kg
Magic Carpet slider & carriage: $319, ~3 lb / 1.3 kg
Medium Track: 100cm / 42”

ACCESSORIES: (not included)
Note that Syrp offers both the Magic Carpet and Magic Carpet Pro / Carbon Fiber sliders; the Syrp Genie II 3-Axis Kit includes a medium lenght Magic Carpet slider. Alternately, the Magic Carpet slider comes in 60cm and 160cm lengths, if you’d like a shorter or longer slider. Also, the  Magic Carpet Pro and Magic Carpet Pro CF sliders come in 60cm and 90cm lengths, and are infinitely extendable if you want to add more tracks for extremely long video/timelapse slides.

Lastly, you can also add more accessories that suit specialized needs, such as a product turntable, a Tilt Platform so that you can easily do 3-axis motion with your slider at any angle.

Syrp Genie II Pan Tilt Linear Demo Reel: Video & Timelapse Footage

Cameras Used:
Fuji X-T4, Sony A7RIV, Nikon Z50, Canon EOS RP
Tripods Used:
Slik Lite CF-422, Slik Pro CF-634, Slik Sprint Pro III, Slik AMT 700DX

How To Set Up A 3-Axis Video & Timelapse Motion

Normally for our gear reviews, the first question for us to answer is, “who should buy this?” However, in this case, it’s pretty clear: videographers and timelapse photographers who want to do advanced motion control work, you already know who you are, and you’re in the right place!

So, with that said, we’re going to start this review with a quick breakdown of exactly what it’s like to set up a rig like the Syrp Genie II Pan/Tilt Linear, for those who are aspiring content creators, or just curious…

Step 1) Inventory Your Motion Control Gear

This first step is very important when creating 3-axis motion control imagery. We’ll get into it a bit more later, but suffice it to say, you absolutely must check and make sure you have every part of the kit before you head out. If possible, assemble as much of your kit as is practical before heading out, and leave only the final assembly for on-location.

This means tracking down all the plates, screws, and cables you might need, and attaching them at home, (using Arca plates on the slider? Got the right thread size to swap between your Pan/Tilt & Linear to just the Linear with an additional ballhead?) …or putting stuff like camera cables and any tools all together in a pouch that stays with your motion control kit at all times.

Step 2) Frame Your Shot & Visualize The Motion

Once you get to your location, but before you actually set anything up, grab just your camera and lens to visualize the shot. Play around with various options for motion; see how sliding side-to-side might look with foreground elements, or see if you might want to slide up-and-down, instead. Try not to limit yourself to any standard ideas of motion operation, get creative!

Then, once you’ve decided on what you want your final result to look like, consider where each piece of equipment needs to be positioned in order to achieve it. (Can you rest one end of the slider on a stable surface? Do you need to put a tripod under another end of the slider, to achieve the desired result and/or to keep the slider level? Or, do you need to completely elevate the entire slider well above the ground?)

Step 3) Set Up The Legs/Tripods & Motion Control System

Next, get your one (or two) tripod(s) set up, with the legs placed stably; spread them out at a safer angle if necessary. (Especially if there is any wind!)

Then, mount the slider itself, and check to make sure that every single part that has a clamp or a knob is adequately tightened, before you start trusting the setup with anything much more breakable. (And expensive!)

Once everything is locked down and stable, you can go ahead and mount the Pan Tilt & Linear motion devices to the slider carriage. I try to transport the Pan Tilt connected to the Linear via the integrated locking system. (Don’t forget the rope knob!)

Test the setup again for balance, at both ends of the slider. You can do this either before you attach the rope, but it’s also very easy to just turn on the Genie Linear and use the built-in controller to move it left/right before it is connected with your phone. The two devices combined weigh about 5 lbs, (1.3kg) so it’s pretty important to check for good balance and safety!

Lastly, you can go ahead and mount your camera on the Pan/Tilt, via the provided plate. (It’s not Arca-Swiss, by the way; it’s the other fore-aft plate style…)

Step 4) Set Keyframes

Once everything is structurally sound, you can set keyframes! It sounds intimidating, but with the Genie II app, it’s nearly idiot-proof: set a start position, an end position, double-check the additional options and custom settings, (such as, how many seconds or minutes do you want the whole thing to take, and/or do you want it to continually move back-and-forth?)

Then, you’re pretty much ready to go! Of course, if you’re ready for something really advanced, the multi-axis keyframing is pretty easy to set up, too, or, you can also adjust the “ease in/out” settings, (ramping) in case you want any of the Genie’s 3 motions to start or stop very gradually.

Step 5) Hit Record!

Okay, hitting record is pretty self-explanatory, but one last general tip before we dive into the details of our Syrp Genie II review: If you’re shooting a timelapse or a very long, slow video, don’t just step away immediately after you hit record. Stick around for a while, and keep an eye on your setup. Did you get the balance right? Is everything moving smoothly?

Especially with timelapses, you want to hang around for a few frames and make sure that the camera keeps clicking, and that the move-shoot-move options aren’t interfering with the images themselves. (If the shutter speed is too long, the Genie could move your camera while the camera is still exposing an image!)

And, there you have it! If you haven’t already watched the demo reel video, check it out!

Syrp Genie II Review – Pros

Now that we’ve laid out the groundwork for creating motion-controlled content, let’s talk about why you might want to choose the Syrp Genie II system for your work. In short, there are a lot of advantages, and the disadvantages we noticed are mostly related to “the nature of the beast” when it comes to motion control, and not specific to the Genie system itself. So, let’s get started!

Easy Operation

The Syrp Genie’s biggest advantage is undoubtedly its simplicity in operation. From the relatively basic equipment setup of the slider, Genie Linear and Genie Pan/Tilt, to the intuitive, quick setup of keyframes and other parameters through the mobile app, it takes almost all of the intimidating complexity out of creating 3-axis motion videos and timelapses. (I have to say “almost all” because there is one unavoidable complexity that we’ll get to in a minute. It’s a challenge that isn’t really the fault of the Genie, though.)

The very first time I set up the entire rig, I didn’t need to read any instructions at all. It was completely self-explanatory, from how all the different parts go together, to the dialing in of keyframes on the app.

Of course, I do not recommend taking new equipment out for important work without familiarizing yourself with it first. However, I put myself through this challenge for the sake of discovering just how easy it is to get to know new gear in general. And the Syrp Genie II system passes that test. Indeed, once you become truly familiar with the whole kit, you only appreciate it more and more.

Reliable Performance

Not only is the system very easy to set up and get going, but also, it just works smoothly. I torture-tested the Genie II in as many ways as I could think of, and the only hiccups in operation that I experienced were understandable considering how hard I tried to intentionally mess things up.

In other words, if you don’t intentionally go out of your way to ruin things, like setting the slider steeply off-balance without a counterweight, or try to force the slider to crash into its ends repeatedly, or move while its brake is locked, …then you’ll enjoy some very reliable and smooth operation! Any errors in reliability that you might experience are likely due to a lack of familiarity or incorrect setup.

Quality & Durability

I’ve been reviewing Syrp products since their original Genie hit the market many years ago, which we reviewed here. I’ve always found that they are built to a very high standard. In a market where new unknown companies pop up often and have poor or questionable quality products that could likely break in just a few months, it is great to count on quality brands such as Syrp to deliver durably-built gear for those who do serious work.

Not only that, but they’re designed smartly, offering an abundant array of nice features from things like effortlessly interchangeable batteries, to a built-in keyframe setup for the Genie Pan Tilt that you can dive right into immediately without the mobile app.

Lastly, one pet peeve that I have with so many sliders on the market, but the Syrp Magic Carpet does NOT suffer from: as someone who is abusive of camera gear, I dislike sliders where the outer edge of the rail is part of the carriage wheel system. Because it means that a single scratch or ding in the outer surface of the rail will put a little blip in all of your footage. So, I really appreciate how the Syrp Magic Carpet’s carriage has a “captive”, inner wheel system. Just give the inside of the rails a quick wipe-down with a cloth before you start, and you’ll get a long life of smooth operation from any/all of your Magic Carpet rails.

Value

Whether something is seen as either expensive or cheap is definitely relative, and so that is why we must always include “Value” as either a pro or a con in every review we do.

Value is about much more than price alone, or even a straightforward spec sheet VS price comparison. There are many other factors involved, from very subjective things like convenience & user-friendliness to more objective things like long-term durability.

Here’s what it comes down to: Together, the Syrp Genie II system runs $2817. This is about on par with other high-quality 3-axis motion kits. In some cases, it’s much more affordable, actually! (We’ll get to this in our “Compared to the Competition” section below.)

Thus, considering that the price is in line with other systems, and considering that the Genie is one of the most durable, user-friendly kits of them all, it is definitely a great value. In all honesty, having a reliable, simple setup can make the difference in whether or not you get the shot, and that is extremely valuable indeed.

By the way, if you’re on a tighter budget but still want the overall quality and reliability of Syrp products, you could instead get the 3-axis motion control kit that uses two Genie Mini II devices instead of the single Pan-Tilt device. This option requires a little bit more setup, but it’s only $1815.

Syrp Genie II Review – Cons

Despite being a great overall product, There were a few complaints that we had. Some of them could potentially be addressed in an update or a future product, while others are just inherent to the nature of 3-axis motion control.

With that in mind, let’s get the biggest complexity/frustration out of the way first, since it’s mostly not the Genie II’s fault, but just “the nature of the beast”, as we said earlier…

Elevated/Angular Slider & Tripod Setup = Restrictions & Complexity

First and foremost, this is not so much a drawback of the Syrp system overall, and more a drawback that anyone will face if they decide to get into motion control, and unfortunately the “Genie” couldn’t “magically” avoid this complexity: the mechanics and balance of advanced motion setup is a major task. Once you decide to elevate your track off the built-in feet, you’re going to need a bit more setup time.

Even if you have a very lightweight camera and lens, the Genie Pan/Tilt + Linear alone weigh enough that even with the smallest size of Magic Carpet slider rails, you’ll probably want to have either one very heavy-duty tripod beneath it, or two tripods, one at either end of the rail.

If you need to use two tripods, your setup time could be doubled or tripled, depending on the desired final slider position. It’s pretty easy to set up a perfectly level slider shot, on most surfaces, thanks to the bubble level on the Magic Carpet. It just takes time to get all six tripod legs set up perfectly.

If you want your linear motion to be at an angle, however, things get a little bit more complicated. Because if the Pan Tilt is mounted at an angle, that effectively makes panning essentially impossible, and tilting only possible in the one direction/dimension that the slider is pointing. (Which you probably won’t get perfect, and will have to crop to level your horizon in post-production, by the way.)

You can overcome this inherent drawback by adding the Syrp Tilt Platform for $169, which is a locking hinge that mounts between the Linear and the Pan/Tilt so that you can regain full 3-axis motion control.

Either way, the best advice I can give to new Genie II users is this: get familiar with every aspect of the equipment setup before you head out into the field. Double-check to make sure you have all of the required brackets, plates, thread adapters, spare ballheads, and anything else you might need to get the setup working. (Minimize plates and heads, if possible!)

All it takes is for you to leave one 1/4-20 to 3/8 adapter at home accidentally, and you could be totally unable to shoot, or forced to reduce your capabilities to just one or two axes of shooting.

Personally, I found that the best option is to store every plate, screw, and cable in a pouch that always stays with the main Genie devices themselves. Pre-assemble as many little bits of the equipment as you can before heading out on your job/adventure, too, because once you’re on-location, every minute counts.

Once again, this is almost entirely NOT Syrp’s fault. They did a pretty amazing job of making setup extremely simple; not requiring any allen keys and only one coin/washer to fully tighten the main camera plate/foot. All of the threaded aspects of the Genie units themselves are conveniently spring-loaded and interchangeable, by the way.

Wireless Setup Quirks & Firmware Updates

Wireless setup of any system, compared to a hard-wired one, always has an element of connectivity snafus from time to time. Generally, the Syrp Genie II setup is amazingly reliable, as we said, however in some rare instances you can make the devices “unhappy” with you and the mobile app.

I’m not sure which exact testing conditions caused a problem, but on just one occasion I experienced a loss of communication in which the devices kept sliding/panning, but the camera stopped shooting. (Despite still being awake and capable of firing the shutter; I checked) On another singular occasion, I encountered an issue where the Genie Linear device had to be un-paired, restarted, and re-paired because it was giving me a warning about the weight balance after I slammed a heavy rig (full-frame camera and f/2.8 zoom) into the end of the track. (Even after leveling the track and backing the slider carriage away from the end of the track, the Linear continued to give the balance/load error message.)

Honestly, I do prefer a bit of “better safe than sorry” and I welcome most types of warnings from my equipment if I’m doing something that I really shouldn’t be doing. So, I’m happy to have to restart a device every now and then in order to get it working properly again. I would definitely not be happy at all if a problem ever repeated itself more than once or twice, though.

Could the Genie II system still find ways to be more user-friendly? Yes, there is one last complaint that seems to be a common thread among Syrp Genie users: Most or all of the firmware updates cannot be avoided, meaning, you cannot fully use the devices if the mobile app has an update that it wants to give them. You absolutely must update the devices’ firmware before you can start shooting.

This isn’t an issue if you simply get in the habit of checking to see if the firmware needs to be updated before you head out on each job or filmmaking adventure, but it does seem unnecessary. (Maybe a software engineer can explain to me why it’s not possible to just let people shoot, and do updates later.)

Syrp Genie II Review – Compared To The Competition

Okay, the world of video/timelapse motion is enormous, so we’d better categorize the different types of equipment. The first big way to categorize everything is, whether you’re controlling the motion yourself, by hand, or are using motorized control.

Because, quite honestly, if all the footage you create is quick, on-the-fly video documentary work, then maybe just forget motorized control! You can get decently smooth, 3-axis motion with just a short slider, one heavy-duty tripod, and a smooth fluid video head.

Within this one category of non-motorized motion control, there is both high-quality equipment, and cheap stuff that isn’t very good. So, even if you don’t need motorized motion control, don’t be fooled into thinking that all sliders are equal. Despite their relative simplicity, the difference between bad quality and good quality will be very evident in the smoothness (or lack thereof) in the final result. In short, even if your type of work doesn’t require motorized control, we’d still highly recommend a short or medium length Syrp Magic Carpet track, to go with your nice fluid video head!

Next, let’s state the obvious: hand-held motion panning/sliding etc. is not an option if you want to shoot identical, repeatable video moves, or timelapses. You’ll need motorized control.

There are far fewer options in this realm of motorized, multi-axis control, and even fewer options that seamlessly integrate all 3 axes of motion in such a user-friendly system. Thus, simply put, the Syrp Genie II 3-axis kit is one of the best motion-control systems available.

In the realm of complete 3-axis kits, competing options can cost about the same or significantly more, such as those from Kessler, Dynamic Perception, etc. There are a few lesser-known brands on the market that might cost less than a complete Syrp Genie II Linear & Pan/Tilt kit, however, I honestly don’t think they’re the same overall quality. As I mentioned earlier, if you’re really on a budget, Syrp does also have the “Indie” motion control kit, which is a whopping $1000 more affordable, at just $1815.

Also, one of the most stand-out differences between the Syrp Genie II system and others is the simplicity of the Genie system. Almost all the other systems out there have lots of different power/communication cables between each of your axis controllers, and separate mechanical parts that need to be mounted on the end(s) of the slider, the rail carriage, etc.

Long story short- No device out there is as simple overall, in terms of setup both physically and through the interface, as the Genie 2.

Disadvantages Of The Syrp Genie II System?

Just about the only thing that you currently can’t do with the Genie system is motorized focus control, AKA, focus pulling. A select few other systems do offer this, however, most of the high-quality ones cost as much as $1000 more than the Genie Pan/Tilt & Linear setup.

Other than that, there are a lot more advantages than disadvantages. It’s great that you can disconnect the Linear slider controller from the Pan/Tilt and use them separately. It’s nice to have interchangeable, easily swappable batteries. In a pinch, you can even use the motorized aspect of the Linear without a phone to set up keyframes yet still create smooth linear motion, or you can use the LCD screen on the Pan/Tilt to set up keyframes without a paired phone. All in all, it’s one of the most advanced and yet simple & user-friendly systems out there.

Syrp Genie II Review – Conclusion

So, we’ve established that motorized motion control isn’t necessarily something that every videographer needs, however, its advantages are unique and in some cases absolutely essential for what you might want to capture.

We’ve also concluded that if you’re among those video or timelapse creators who do want or need motorized motion control, the Syrp Genie II 3-axis kit is one of the most simple, user-friendly systems available, and very much worth the investment.

Availability | Where To Buy

Syrp Genie II Pan/Tilt Linear & Magic Carpet Kit: $2813
Syrp Genie II 3-Axis Indie Kit: $1815
Syrp Genie II 3-Axis Pro Slider Kit: $3593
Syrp Genie II Pan/Tilt Head: $1599
Syrp Genie II Linear Tracking & Magic Carpet Kit: $1337
Syrp Genie Mini II Pan & Tilt Kit: $587

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OPEN ROUND UP WEEK – Colour and perspective is what makes this image come to life. Bravo Khanh Phan for your striking image of a Vietnamese woman drying incense sticks, your photograph was a big hit with the World Photography Organisation team. All of this week we're showcasing some of the best images submitted to the 2020 Sony World Photography Awards Open competition. Don't forget to submit your striking images – entries are free. Link in bio. #worldphotoorg #photographycontest #photooftheday #SonyWorldPhotographyAwards #photography #SWPA #photographyoftheday #architecturephotography #architecture #contemporaryart #visualsgang #visualsoflife #artofvisuals

A post shared by World Photography Organisation (@worldphotoorg) on Jul 17, 2019 at 11:00pm PDT

The Open Round-Ups: Pick of the Picks from the 2020 Open Competition for World Photography

The first shortlist of the 2020 Sony World Photography Award winners will be released on February 4th, but the World Photography Organization decided that the photography community could use a little preview. They’ve decided to comb through the 327,000 images submitted thus far and release some of their favorite entries for 2020.

The images so far come dispersed from 195 countries and territories, with competition categories in Professional, Open, Youth, and Student Focus. Each category has different subcategories, with Professional having a total of 10 with a new category being the Latin America Professional Award. Sony has also teamed up with China to launch the China National Student Photography Award, but you can learn all about the new subcategories on the contest website.

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OPEN ROUND UP WEEK – A Natural World & Wildlife entry by Valentin Malinov from Macedonia. The vignette adds impact to this already arresting portrait of a fox. The staring contest is on, who will blink first? . #worldphotoorg #photographycontest #photooftheday #SonyWorldPhotographyAwards #photography #SWPA #photographyoftheday #naturephotography #wildlifephotography #contemporaryart #visualsgang #visualsoflife #artofvisuals

A post shared by World Photography Organisation (@worldphotoorg) on Jul 15, 2019 at 11:00pm PDT

A new category for Environment has also been created, with a large focus on the important topic of climate change and the toll we are having on the global environment.

The contest isn’t over yet, and there is still plenty of time to submit, but get those images in soon! The deadlines are:

• Youth competition: Last day of each month from June – December 2019
• Student competition: 29 November 2019
• Open competition / National Awards: 7 January 2020
• Professional competition: 14 January 2020

Be sure to head on over to WPO’s website to see a few of the picks so far from the 2020 Sony World Photography Awards!

This anxiously awaited update enables Sony’s AI driven Real-Time Eye AF technology to now be able to discern between people and animals in your frame, giving you the option to select which subject’s eye (animal or human) you wish to follow for the shot. It should also be mentioned, Sony has stated that it’s not possible to track both, you must choose between one of the other. Also, as mentioned above interval shooting for in camera time-lapse videos were added, (check out the two videos below for more on both of these features).

Additionally to these two incredible features, this update improves the general stability and functionality of the camera, allegedly making it more user-friendly. Giving you the ability to assign and customize a “My Menu” in the camera as well as letting the user choose which focus frame color to use (Red/Grey/Green). The final bonus to this firmware is how it will allow you to use the wireless remote commander (RMT-P1BT) to control the camera!

So to summarize, here’s the bullet points of what’s been updated with the 6.0 Firmware for the Sony a9;

• Added Real-Time Eye AF for Animals
  • This function can be used simultaneously with tracking
  • You cannot simultaneously detect human and animal eyes with this feature. You must choose one or the other.
  • Eye detection may not be possible, depending on the environment, animal type or the movement of the animal.
• Addition of the interval shooting function for time-lapse video
• Allows camera operation with the wireless remote commander RMT-P1BT
• Additional improvements:
  • Focus Frame Color can be selected. (RED/GREEN/GREY)
  • “My Menu” can be assigned to appear first when you press the MENU button.
  • Improves the overall stability & user-friendliness of the camera

Head over to the Sony Alpha Download Page here to start your update! (Instructions on how to update can be found here)

So tell me Sony Shooters, is this the firmware update you’ve been waiting for? Do you think this will open the doors for those who haven’t been fond the the existing UI/Menu systems of the Sony systems? How is the updated and improved Autofocus in the real world? Let me know in the comments below, as, well, i’m Genuinely interested and am personally excited to get hands on with this new setup.

Check Pricing of the Sony a9 Here

Adorama | B&H | Amazon

DiGiovanna has spent the past few years filming a timelapse of the ever-changing New York City skyline… from his apartment window! Joe was the first stop on Emeric De Bars’ nationwide journey to interview timelapse photographers. His goal in creating the Big Timelapse Stories video series is to connect with and share the stories of these timelapse photographers around the country.

Big Timelapse Stories | Joe DiGiovanna

Emeric Le Bars moved to the U.S. at the age of 21 with nothing but one big suitcase and broken English. Since being here, he’s been able to travel, teach, and meet with other photographers around the country who share the same love for timelapse photography as he does.

Emeric is incredibly passionate about sharing the stories of other timelapse photographers and the first interview for his new youtube video series was none other than Joe DiGiovanna. Joe has been capturing timelapses of the NYC skyline for the last 4 years now, but he has big plans to make it a 30-year timelapse project.

Emeric went to NYC to meet with DiGiovanna, who lives in Weehawken, New Jersey. When DiGiovanna moved into his current apartment, he was immediately drawn to the incredible view of New York City right outside his window!

“I wanted to film it. I wanted to film everything,” DiGiovanna says. “I wanted to film boats going by and I wanted to film the sunrise and the sunset and the clouds and storms and a rainbow, and I wanted to film buildings being built and, you know, things changing.”

DiGiovanna says the original idea was to publish a timelapse of the sunrise at 10:00 a.m. every morning on Instagram. “Imagine getting to work and you’re dealing with Karen… and then you’re like, ‘Oh, look at that sunrise!’” Sadly, that idea didn’t take. But soon, as Instagram increased its video length from 15 seconds long, DiGiovanna got the idea to start posting entire days.

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30 Year TimeLapse June 22nd, 2019 Day 1,438 of 10,958 – #ForMyDad #InLovingMemory #NYC #timelapse #SonyA7s #sony #sunrise #weehawken #blvdeast @sonyalpha #venus #NY #today #ilovenewyork #iloveny #sonyalpha #best_timelapse #herecomesthesun #instavideo #love #bealpha @Instagram #Instagram @best_timelapse #venus #Meditate #meditation

A post shared by 30 Year Time-Lapse (@nyc_timescape) on Aug 17, 2019 at 12:32pm PDT

[Related Reading: Quick Tip: Use ND Filters to Add Motion Blur For Smooth Timelapses]

The Right Camera for the Job

When Joe first started out on this project, he had already been shooting stills professionally on his Canon 5D Mark II. He was also shooting on a Red Epic camera as well. “I probably tried seven, eight, or nine cameras. I worked with the GoPros for two years, writing code into the GoPro… I ended up with a mirrorless Sony A7S because you could shoot time-lapse with no moving parts.”

“No moving parts” was the key, because Joe planned on this being a long, daily project, and he doesn’t plan on stopping any time soon.

“The funny thing about the 30-year timeline thing is I just wanted it to go forever. As the sun goes down, it sort of chooses a different building each night to shine on. It’s unpredictable where the sun’s gonna go down, but that was always my dad’s favorite thing, to sit and watch the sunset because the city just lights up gold and silver, it’s amazing.”

Joe says a lot of this project was inspired by his dad. “It’s my 30-year long timelapse of the skyline of New York. The project is a tribute for my father and loving memory.”

To hear more about Joe’s process in creating this amazing New York City skyline timelapse, check out the video above. And be sure to eye out for the awesome work Emeric Le Bars is doing as he’s on the road, telling even more incredible stories about these talented timelapse photographers around the country.

*Shared with permission from the creators

Built-In Intervalometer for Time-Lapse

This new software adds a built-in interval timer that can be set for anywhere between 1 and 60 seconds, with a total number of shots from 1 to 9999. AE tracking sensitivity is available to be adjusted to “High”, “Mid” or “Low” in order to reduce changes in exposure.

Real-Time Eye AF

Software Version 3.0 brings Real-time Eye-AF to the α7R III and α7 III, an AI-driven enhanced eye detection system that’s based on the results of machine learning. Through machine learning, Sony has created a system that can detect—and focus on—the human eye even if the subject is looking down, partially blocked in the frame, turning or backlit. This feature is available in AF-C mode with a simple half-press of the shutter button.

Real-Time Animal Eye AF

As with human eye recognition, Software Version 3.0 brings AI-driven animal eye detection to Sony cameras for the first time. Advanced subject recognition allows the α7 III and α7R III to detect and track animal eyes, and is the first step in a robust animal-tracking AF system.

The development of Animal Eye AF performance will continue, increasing the range of animals recognized by the system as well the system’s ability to track their movement.