#equipment
This is What a Standalone Apple Camera Might Look Like
Concept designer Antonio De Rosa of ADR Studio has created what he believes is a route Apple might take if it were to design a standalone camera.
The fictional camera is called the "Apple ProCam," and De Rosa tells PetaPixel that his design isn't based on leaks or rumors because those don't interest him. Instead, he says he likes to explore how Apple's Technology Language could be applied to different objects.
"Apple has demonstrated with Apple Silicon that they gained the 'Midas Touch' lately and they are potentially able to outcome the problems in any market and I think that photography (also with AR/VR) and mobility, it’s something they will innovate on really soon," he says.
What an Apple Camera Might Feature
His design features 8K video capture capability, what he calls an "innovative" lens design thanks to what would be Apple's own proprietary mount, Siri on-board, a touch and tiltable rear display, a "Magic Wheel" touchable command dial, and inkless-printing built-in, all powered by its M1 chip.
The built-in printing system would bridge digital and analog and allow for immediate enjoyment of photos taken with the ProCam.
"I had an experience designing the Polaroid Socialmatic a few years ago and I always thought the printed photography is not only a nostalgic operation," he says. "Pictures resonate when you print them and to have a device that merges high-level optics and tech with a fast printing system could be something cool."
The shutter button is located on the front of the camera while the main command dial actually features a tiny circular touchable display. In use, it would show different camera modes but would also function as a way to activate Siri.
The idea that the camera would use a proprietary mount for its lenses, as well as printer packs for the photos, actually does sound like something Apple would do in order to support what would very likely be a closed system (which is typical for Apple products). The camera would also serve as the core of many accessories that both Apple and third parties could support, just as is the case with the iPhone.
A Unique Lens and Sensor System
De Rosa shows two possible designs for the lens and sensor system. One is a much larger take on Apple's current triple-camera rear system currently found on its smartphones, while the other is more akin to what is found on all other interchangeable lens cameras currently on the market. His design seems to indicate that these two front plates would be interchangeable, but it doesn't seem particularly practical given the need for a different sensor arrangement for each.
Based in History, but Probably Never to Be
Apple has dabbled in standalone photography equipment in the past. As noted by Cult of Mac, Apple actually worked with Fujifilm to produce the QuickTake 100 back in 1994. The 0.3-megapixel camera was a commercial flop and Apple hasn't revisited the standalone camera market since making it very unlikely that Apple would go down this route since it already makes a camera it considers a professional shooter (it's called the iPhone).
More from De Rosa can be found on the ADR Studio website and Instagram.
Image credits: All renders by Antonio De Rosa of ADR Studio.
#equipment #inspiration #news #spotlight #antonioderosa #apple #applecamera #appleprocam #concept #conceptdesign #design #iphone
Nikon Z9 to Shoot 8K at 60FPS Thanks to New Compressed RAW Codec
A high-efficiency RAW recording codec developed by intoPIX has been successfully integrated into the Nikon Z9. The company says that its TicoRAW technology allows for low processing and fast transfer speeds of up to 8K at 60 frames per second in RAW.
Nikon formed a strategic partnership with intoPIX in order to leverage the company's RAW compression technology, TicoRAW. The company claims this technology delivers the most efficient RAW files that do not compromise image integrity at all thanks to "innovative processing and coding." intoPIX says the full power of an image sensor is preserved while TicoRAW is able to reduce bandwidth, storage needs, and transfer times.
It is thanks to TicoRAW that the Nikon Z9 will be able to capture 8K at up to 60 frames per second, which will come to the camera in a 2022 firmware update as noted at the time of announcement. The reason this capability wasn't available at launch might have been because intoPIX had not yet finalized the implementation of the RAW codec into the camera by the October announcement, but today intoPIX has confirmed that it has successfully done so.
"TicoRAW is the world’s first RAW codec, handling both RAW pictures and RAW videos, that can offer compression efficiency with such low complexity on RAW Bayer and other Color Filter Arrays (CFA) patterns," intoPIX says.
TicoRAW is a patented technology that intoPIX claims allows for the capture of high image quality as well as the capability to manage very high resolutions, high frame rates, and high dynamic range workflows.
"TicoRAW is the world’s first RAW codec that can offer compression efficiency with such low complexity. It also has the advantage of retaining this very fast format for editing, regardless of resolution and/or frame rates used," the company adds.
intoPIX says TicoRAW is capable of supporting a huge number of resolutions, from 1080p Full HD through 20K RAW.
intoPIX doesn't just say the technology is limited to the Z9, though that is where the codec will make its first appearance. The company broadly states that it has successfully integrated the TicoRAW technology into "the new generation of Nikon cameras" which happens to start with the Z9, though the company appears to leave the door open to see its technology leveraged on other Nikon cameras.
#equipment #news #technology #8kp60 #8kraw #codec #compression #intopix #nikonz9 #nikonz #nikonzmount #raw #rawcodec #rawvideo #ticoraw #z9
Fujifilm Unveils the Instax Mini Evo Hybrid Instant Camera
Fujifilm has announced the Instax Mini Evo Hybrid instant camera that combines instant camera functionality with digital image technology. It features 10 lens modes and 10 filter options to offer 100 different photo combinations.
The company says that the Mini Evo was designed to give photographers the flexibility to choose which images to instantly print, which to share, and which to store for later. These options were integrated into the classic analog-style camera body of Instax cameras and results in what Fujifilm calls a "premium experience" for the photographer that "transcends standard instant photography."
When paired with Instax Mini film, the Mini Evo can create prints directly from the camera. Images can also be sent to a smartphone camera roll using the Instax Mini Evo Smartphone app.
The new camera features a 28mm f/2 lens, but the company wasn't clear on the size of the digital sensor inside the device. Additionaly, the company says that it comes with "10 integrated lenses," but notes those are lens effect modes, not changes to the actual optics. These combine with 10 filter options to offer 100 different combinations of image effects.
It also features a three-inch rear LCD screen to allow for the selection of images, the addition of frames, editing, printing, and adjustment of settings.
The Mini Evo also has a built-in battery that can print up to 100 photos per charge, depending on the specific use case. While not specified, the camera likely needs to be plugged in to charge via USB. There is also a micro SD card slot that allows photographers to store images for later, just like a traditional digital camera. The front of the camera also features a mirror to assist during selfies.
Fujifilm is also launching a new Instax Mini Stone Gray instant film, which has a new contrast compared to the typical white-bordered look. The company says that it better provides "eye-catching contrast" against vividly printed images. The film will be available in a single pack with 10 exposures for $15.
The Instax Mini Evo will be available in black and silver finishes for $200 and is expected to be available starting in February of 2022.
#equipment #news #digital #film #fujifilm #fujifilminstax #fujifilminstaxminievo #hybridcamera #instantcamera #instax #instaxminievohybrid
TTArtisan Launches 40mm Macro f/2.8 APS-C Lens for Multiple Mounts
TTArtisan has released the TTAritsan 40mm Macro f/2.8 APS-C lens which is compatible with Fujifilm X, Sony E, and Micro Four Thirds cameras. It costs just $100.
TTArtisan's latest lens is billed as a fast prime with a maximum aperture of f/2.8 and a 1:1 magnification which gives life-size reproduction, and a filter size of 52mm.
The lens has a durable metal body and weighs between 371 to 403 grams depending on the lens mount version. This makes it a lightweight lens option for comfortable handheld shooting as well as an affordable one. The front inner barrel can also be disassembled when shooting if required.
TTArtisan 40mm Macro f/2.8 is constructed of eight elements in seven groups, including two low-dispersion elements. It is built with eleven aperture blades for what TTArtisan says will be smooth and round bokeh. The lens is manual focus only and has a clickable aperture ring that can close down as far as f/16.
TTArtisan says the lens is particularly suited for shooting close-ups, still life, and portraiture with a minimum focusing distance of 6.7-inches and an equivalent full-frame focal length of 60mm. It should be noted that in order to use the lens, users have to set the in-camera settings to "shoot without lens" or "release without lens" otherwise the lens will not be recognized by the camera.
Earlier this month, the company released a trailer for its upcoming lens which demonstrates the various ways the lens could be used. The final price wasn't announced at the time and most guessed that the lens would cost well above its eventual launch price of $100.
Below are a set of example images provided by TTArtisan:
This is not the only budget lens that TTArtisan has released this year. Others include the 11mm f/2.8 fisheye lens for Fujifilm GFX mount and 50mm f/1.4 for multiple full-Frame mirrorless systems. The 90mm f/1.25 lens for Leica M-Mount, released in May 2021, came with a significantly higher price of $770 which is reflected in its optics and build that bear close similarities to Leica's own.
The TTAritsan 40mm Macro f/2.8 APS-C lens is available for purchase on the TTArtisan website along with a full camera compatibility list.
#equipment #news #40mm #40mmlens #fujifilmx #fujix #macro #macrolens #mft #microfourthirds #microfourthirdslens #newlens #sonye #sonyemount #ttartisan #xmount
Leica M10 Monochrom vs Kodak Tri-X 400: B&W Digital vs Film
The Leica M10 Monochrom is a $9,000 digital camera dedicated to black-and-white photography, but how does it compare to a $10 roll of Kodak Tri-X 400 black-and-white film? That's what the folks at Camera West TV decided to find out.
In the 10.5-minute video above, photographer Carlo Velasquez (@leftf0otforward on Instagram) does a shootout between the Leica M10 Monochrom and Kodak Tri-X 400 loaded in a $5,300 Leica M-A -- the Leica 50mm f2 Summicron lens was used on both bodies to keep the comparison focused on the sensor and film.
"I know what you're thinking: wouldn't the high-resolution sensor of the Monochrom beat out 35mm film, or wouldn't you just convert your color photos into black and white?" Velasquez says. "The reason why we're doing this comparison today is because many videos and many articles about film versus digital how one's better than the other better usually talk about how the color stands out and how it's hard to replicate that film look.
"Well, today this is the first time we've seen a black-and-white film go up against a black-and-white-only sensor."
Velasquez shot photos at Ocean Beach in San Francisco with the Tri-X 400 (his favorite film for its versatility and iconic look) at box speed, ISO 800, and ISO 1600.
"They say that at higher ISOs, the noise that you get from the sensor mimics film grain, so we'll see how it stacks up against film," he says.
Here are some of the photos Velasquez ended up with:
Leica M10 Monochrom 
Kodak Tri-X 400 
Leica M10 Monochrom 
Kodak Tri-X 400 
Leica M10 Monochrom 
Kodak Tri-X 400 
Leica M10 Monochrom 
Kodak Tri-X 400 
Leica M10 Monochrom 
Kodak Tri-X 400
The Leica M10 Monochrom is a digital rangefinder that leaves out the Bayer color filter array that digital cameras ordinarily use to capture color information. Without the need to interpolate color information from pixels, the Monochrom should theoretically offer better image quality than standard color photos converted to black and white.
Velasquez notes that Kodak Tri-X is beloved by film photographers for its wide exposure latitude (you can get good results even when pushing and pulling), its medium contrast, and its pleasing grain.
Leica M10 Monochrom 
Kodak Tri-X 400 
Leica M10 Monochrom 
Kodak Tri-X 400 
Leica M10 Monochrom 
Kodak Tri-X 400 
Leica M10 Monochrom 
Kodak Tri-X 400 
Leica M10 Monochrom 
Kodak Tri-X 400 
Leica M10 Monochrom 
Kodak Tri-X 400 
Leica M10 Monochrom 
Kodak Tri-X 400 
Leica M10 Monochrom 
Kodak Tri-X 400 
Leica M10 Monochrom 
Kodak Tri-X 400 
Leica M10 Monochrom 
Kodak Tri-X 400 
Leica M10 Monochrom 
Kodak Tri-X 400 
Leica M10 Monochrom 
Kodak Tri-X 400 
Leica M10 Monochrom 
Kodak Tri-X 400 
Leica M10 Monochrom 
Kodak Tri-X 400
"I hope this [experiment] gave you more insight between black-and-white film and a black-and-white digital camera," Velasquez says. "Neither is better neither is worse really. It just depends on what tool fits the job and they have their own respective processes."
You can find more of Velasquez's work on his website and Instagram. You can also follow along with Camera West TV's videos by subscribing to its YouTube channel.
Image credits: Photographs by Carlo Velasquez and courtesy Camera West TV
#educational #equipment #reviews #blackandwhite #camerawesttv #digitalvsfilm #film #filmvsdigital #kodak #kodaktrix #kodaktrix400 #leicam10m #leicam10monochrom #monochrom #monochrome #shootout
This Lens Kit Turns Your Room Into a Right-Side-Up Camera Obscura
Finnish company Bonfoton has launched the BonfotonUP, a new device that allows users to project a camera obscura image right-side-up in contrast to how the visual phenomenon -- projected onto walls -- is traditionally formed upside-down.
Camera obscura, which means "dark chamber" in Latin, is an early ancestor of the photographic camera. The phenomenon can be achieved by blocking out any incoming light in a room and creating a small hole that projects the outdoor scene into the room. The brighter it is outside, the more crisp the projected details and colors are.
By Tommi Pirnes
The visual effect works as sunlight transfers images through straight moving rays of light that are then reflected in all directions. When those rays enter a darkened or blacked-out room through a small hole, the alive and colorful image is then projected upside-down on all the room's walls.
Although anyone can create their own DIY version of camera obscura at home using office supplies to create a simple pinhole, the Finland-based company Bonfoton released its own camera obscura lens in 2017 that helps focus light onto walls, which then creates a sharper and brighter image compared to using a pinhole. The new lens helped project a more vibrant scene, but it was still upside down.
This time, however, Bonfoton has developed an improved optomechanical device called the BonfotonUP -- with the help of an optical system design professor and a mechanical engineer -- that can project the scene the right-side-up. The BonfotonUP kit includes two switchable lenses for use in different room sizes, has a direct attachment to the window screen using a strong suction cup, is compatible with tripod use, and the image position on the wall can be adjusted vertically using the optical head tilting mechanism.
By Tommi Pirnes 
By Tommi Pirnes
To achieve an upright view, the device uses a large optical-grade glass prism that weighs 400 grams (0.9 lbs). This prism facilitates the inversion of the propagating light, along the longitudinal axis of the prism for the second time by 180-degrees, thus creating a clear and colorful upright image.
By Tommi Pirnes
Although the camera obscura phenomenon can make for interesting photos and timelapses, it can also be used for educational purposes to introduce newcomers to photographic principles. The BonfotonUP kit is available for €439 ($515) on the company's website and the Bonfoton Instagram page showcases many different photos achieved by those who use the company's products.
Image credits: All images individually credited and provided courtesy of Bonfoton.
#equipment #news #products #bonfoton #bonfotonup #cameraobscura #educational #lens #newlens #pinhole #projector
Amazon and GoPro File Joint Lawsuit Against China-based Counterfeiters
Amazon and GoPro have announced that the two entities have jointly filed lawsuit against seven individuals and two entities for making and selling counterfeit GoPro camera accessories.
Both entities allege that the nine total defendants in the suit counterfeited multiple GoPro accessories including the floating hand grip, “The Handler,” and the “3-Way” grip, extension arm, and tripod mount. This action was a violation of Amazon's policies and infringed on multiple GoPro trademarks.
The lawsuit states that the nine defendants used GoPro’s registered trademarks without authorization from GoPro with the express purpose of deceiving customers about the authenticity and origin of the products as well as the desire to create a false affiliation with GoPro. Amazon says that it has since closed the defendants’ selling accounts and proactively refunded the impacted customers.
As noted by Engadget, this is not the first time that a major company has taken legal action against fraudulent items on Amazon. In 2015, Apple alleged that about 90% of the Lightning cables and chargers listed as "fulfilled by Amazon" were counterfeit. Amazon contends that less than 0.01% of products sold on its marketplace were the subject of counterfeit complaints from customers, but since Amazon doesn't reveal the total number of products it sells, that percentage doesn't mean a lot to most people.
Amazon also says that in June of last year it launched what it calls its "Counterfeit Crimes Unit" which is a team it tasks with finding and pursuing counterfeiters that use Amazon to deceive customers. Amazon says that it has filed a series of lawsuits against counterfeiters, including a suit against individuals using social media to promote and facilitate the sale of counterfeits, as well as joint lawsuits with apparel manufacturer HanesBrands, Italian luxury brands Valentino and Ferragamo, cosmetics brand KF Beauty, family travel accessory brand JL Childress, cooler manufacturer YETI, family-owned-and-operated card game company Dutch Blitz, and global board game publisher Asmodee.
Counterfeit products continue to be an issue with online shopping where it is difficult for buyers to see major indicators that the product is not legitimate. In the imaging space, Canon in particular has been beating the drum loudly against fake products. Last year, Canon scored a huge victory in a case against counterfeit sellers on eBay and just this week launched a comprehensive microsite that helps customers detect fake products that are still quite prevalent in the marketplace.
Image credits: Header photo licensed via Depositphotos.
#equipment #law #news #amazon #china #counterfeit #counterfeitaccessories #gopro #jointlawsuit #lawsuit #legal
Photographer Launches DIY Large-Format Pinhole Camera Kits
A film photographer has launched a crowdfunding campaign for DIY pinhole camera kits with the aim of making large-format shooting affordable, accessible, and easy.
Set up by David Hancock, a photographer and writer who also shares educational material on YouTube, the Kickstarter campaign features large-format pinhole cameras -- 5119 Cameras -- that are designed to be built at home. Hancock shares that his project originated from a conversation with a photographer friend who was no longer able to use the fine controls on his cameras, which prompted Hancock to design simple cameras that could be used by anyone.
Hancock claims that he chose sheet film for this project to make the cameras simpler to build and because the format afforded quality results that could be achieved by anyone. The cameras are designed to be constructed by photographers of any level of building skill and, if constructed correctly, the designs promise to remain light-proof.
The largest camera kits are made out of custom-cut 7mm bamboo plywood. The insides of each camera are lined with thick, black, and light-absorbent felt instead of paint, further sealing them against light leakage. Hancock says that the choice of felt over paint ensures that the surface texture eliminates image hot spots that are caused by reflections that reconvene on the film plane and result in lost contrast due to internal reflections.
The pre-production lineup for the three standard-format 5119 Cameras models
The design consists of oversized parts and pieces that can be easily handled and the shutters employ easy resistance adjustments and also include a 52mm filter ring for filters or lens hoods. Hancock explains that to make these cameras customizable, all parts will arrive unfinished and untreated, which allows photographers to finish them by applying stains or treatment of choice. He says that this can also make for an educational project for children starting out in film photography.
The collection consists of four camera models -- The 45, Model 1; The 57, Model 1; The 810, Model 1; and The 410 Diptych, Model 1.
The 45, Model 1 is the smallest of the cameras in the lineup and is designed to be a compact, easy to use, and reliably shoot sheet film. It has a focal length of 90mm with an 84-degrees angle of view which approximates to 20mm full-frame equivalent.
5119 Cameras The 45, Model 1 | Fuji Velvia 100
The 57, Model 1 delivers the 5×7 format, which is particularly suited for shooting negatives for contact prints and, as Hancock says, "gives the darkroom photographer on a budget a way to also see their images easily made into actual, physical prints."
This model builds on the design and performance aesthetic of The 45, Model 1, and adds an element of high-art performance. The specifications include a focal length of 127mm and 81.3-degrees angle of view which translates to 22mm equivalent on full-frame.
5119 Cameras The 57, Model 1 | Foma 332 Photo Paper
The 810, Model 1 is the largest camera and shoots 8×10. Although the size and weight of the camera make it more difficult to carry and use, Hancock claims that it delivers "accordingly beautiful results." Well suited for landscape work, it has a focal length of 169mm with an 88-degrees angle of view which is an 18.5mm equivalent for full-frame cameras.
5119 Cameras The 810, Model 1 | Liquid Light brushed on Fiber Paper
The 410 Diptych, Model 1 is possibly the most unusual camera in the lineup. Hancock is confident that no other Kickstarter campaign has released a 4×10 camera, particularly one that can alternately take two 4X5 film backs and create diptych images.
"This camera, a unique tool in the photographic world, aims to provide something that gives the photographer a panoramic pinhole option," he writes.
With a focal length of 159mm, the camera has an 87-degree horizontal angle of view and a 49-degree vertical angle of view which make for 19mm and 40mm full-frame equivalent, respectively.
5119 Cameras The 410 Diptych, Model 1
Providing the campaign is successfully funded, Hancock will order the parts for the kits and ship them to backers with no timeline specified as of yet. All backing options can be persued on Hancock's Kickstarter campaign page.
Disclaimer : Make sure you do your own research into any crowdfunding project you're considering backing. While we aim to only share legitimate and trustworthy campaigns, there's always a real chance that you can lose your money when backing any crowdfunded project.
#doityourself #equipment #news #crowdfunded #crowdfunding #diy #diypinholecamera #kickstarter #largeformat #pinhole #pinholecamera
Rocketship-Like Light-Painting Drones Could Be the Future of Space Flight
A Rapid Ascent Drone, or RAD, is basically an electric rocket ship. For now, they can be used to make unusual drone light shows that can replace fireworks and provide unique light painting opportunities, but the creator of the concept believes they may be able to eventually replace rocket ships.
Rammaxx is a RAD manufacturer that built its concept by working with small, electric rapid ascent rockets for electronic fireworks shows. The company built its autonomous drones with the ability to work in "swarms" and create unusual visual spectacles thanks to their ability to ascend extremely quickly and stay at altitude long enough to play a light sequence before returning to base. Rammaxx says that the rapid ascent capability is achieved via powerful motors, a streamlined hull, and special guidance fins.
"Rammaxx can be configured to ascend quickly, and noisily, or to ascend more slowly and quietly," the company explains. "The system can work with one rocket, or with a small swarm of them, creating unique and highly -- via App -- configurable light displays for any occasion."
A Rammaxx RAD drone can recharge wirelessly on a dedicated launch pad that is connected to a bus system. Up to five launch pads can be connected together to create more complex aerial light displays.
The drones weigh a scant three ounces (90 grams) and can fly for one minute with full LED power that can project light at up to 3,000 lumens of brightness. While that might not seem very long, the drones can land and recharge in just 30 seconds before they are ready to fly again.
These rapid ascent drones can fly into the air at a blistering 80 miles per hour (150 kilometers per hour) in what Rammaxx calls "rapid and noisy ascent," but are also capable of doing so slower and more quietly.
These RADs are different than traditional drones in a number of ways. While they are battery-powered, Rammaxx's CEO and Co-Founder Dan Lubrich tells PetaPixel that, unlike other drones, these are optimized for vertical flight and the electric circuits in them are optimized for a short duration but very high power, rather than long duration and low power.
Beyond a typical aerial light display, the RADs can also allow for light painting if exposure is set for at least five seconds. The shapes can be programmed into the app the company says that it is working on showing how to do this in upcoming tutorial videos. But in short, Lubrich says a user can draw on the screen to show the pattern and that shape can be uploaded to the drone and it will fly that path accordingly.
"Once launched, the pilot is out of the loop, so they can focus on taking pictures, or just enjoying the show. We are working on putting together a more detailed video that focuses more on the light show aspect of the system," Lubrich says.
Lubrich has greater ambitions for its technology beyond light shows and tells PetaPixel that he believes RAD technology can assist in space exploration.
He says that the large size of a first-stage rocket is the main reason that space flight is so expensive, dangerous, and environmentally unfriendly. To address this, the Rammaxx RAD concept is a large powerful drone based on the design of the current light painting RADs. Early projections show that it should be able to accelerate with a rocket to around 300 miles per hour (500 kilometers per hour) up to an altitude of around 15,000 feet (5,000 meters).
"The important aspect for space flight isn't so much the altitude gained -- although that also helps a little bit -- but rather the speed gained during the ascent," he explains. "So, much less rocket fuel is needed to get off the ground and up to a few hundred miles per hour. That allows for smaller, cheaper, safer, and cleaner space rockets."
"When flying as a swarm with a rocket in tow, we envision the drones to act as one super drone, rather than a true swarm, meaning the flight controllers of the drones link together creating one large drone with many rotors out of lots of small ones," Lubrich says. "This is so that the flight is 100 percent precise."
3D model of a full-size Rammaxx rocketship drone.
If the drones were independent, even if they were connected to each other via the rocket, there could be small differences in the way that they fly, which could create problems due to them being physically connected, Lubrich explains. Instead, there would be one designated master drone in the swarm that would -- when all of them are linked together -- control all the drones and turn the swarm into one large super drone, all controlled by the same master flight controller.
"Once the rocket has launched and the physical link between drones is broken, the software link is broken too and the rapid ascent drones independently descend back to the launch pad, staying out of each other's way as they do so," Lubrich says.
Lubrich and Rammaxx envision a future where these RADs would allow for much smaller ground to space rockets where the current first stage of space flight could be nearly completely eliminated. The space flight-enabled RADs would feature eight rotors with 300 horsepower each for a total of a 2,400 horsepower drone that is capable of carrying 13,000 pounds of payload 15,000 feet in 90 seconds. The RAD's four-minute battery life would give it plenty of time to safely return to Earth afterward.
Ramaxx has already completed a few small-scale tests of the concept as seen in the photos below.
What is now just a neat way to provide a firework alternative and a different light painting experience could be a revolutionary shift in how humans approach space flight. Thanks to successful small-scale tests, Lubrich believes it is only a matter of time.
_Image credits: All photos courtesy of Rammaxx and used with permission. _
#editorial #equipment #news #technology #batterypowered #drones #lightpainting #rad #rapidascent #rapidascentdrone #rocketships #space #spaceflight #unique #uniquedesign #verticalflight
NASA’s Mars Ingenuity Drone Almost Crashed Due to Camera Glitch
NASA's Mars Ingenuity drone survived a close call that could have ended in disaster. During its sixth flight, a glitch in its camera image delivery pipeline caused the drone's onboard navigation system to malfunction.
In order to explain what happened, it's crucial to first understand how the Ingenuity drone estimates its flight path and motion. While in the air, the drone keeps track of its motion by using an onboard inertial measurement unit (IMU) that measures Ingenuity's accelerations and rotational rates. Extrapolated, it's able to use this information to estimate where it is, how fast it is moving, and how it is oriented in space. NASA says that the onboard control system reacts to the estimated motions by adjusting control inputs at a rate of 500 times per second.
NASA also says that if the Ingenuity relied entirely on this system though, it would not be very accurate.
"Errors would quickly accumulate, and the helicopter would eventually lose its way," Håvard Grip, Ingenuity's Chief Pilot at NASA's Jet Propulsion Laboratory, explains. "To maintain better accuracy over time, the IMU-based estimates are nominally corrected on a regular basis, and this is where Ingenuity’s navigation camera comes in."
During a majority of the time it is in the air, Ingenuity's downward-facing navigation cameras take 30 pictures a second of the surface and feeds that stream into the navigation computer.
This image of Mars was taken from the height of 33 feet (10 meters) by NASA’s Ingenuity Mars helicopter during its sixth flight, on May 22, 2021. | Photo credit: NASA/JPL-Caltech
"Each time an image arrives, the navigation system’s algorithm performs a series of actions," Grip details. "First, it examines the timestamp that it receives together with the image in order to determine when the image was taken. Then, the algorithm makes a prediction about what the camera should have been seeing at that particular point in time, in terms of surface features that it can recognize from previous images taken moments before (typically due to color variations and protuberances like rocks and sand ripples). Finally, the algorithm looks at where those features actually appear in the image. The navigation algorithm uses the difference between the predicted and actual locations of these features to correct its estimates of position, velocity, and attitude."
It's this pipeline of images that suffered a glitch that put the entire system in jeopardy. About 54 seconds into the flight, that image pipeline suffered an error that caused it to drop a single photo from that 30 photos per second pipeline. While it lost that one photo, more importantly, that loss caused the ensuing photos to come in with an improper timestamp.
"From this point on, each time the navigation algorithm performed a correction based on a navigation image, it was operating on the basis of incorrect information about when the image was taken. The resulting inconsistencies significantly degraded the information used to fly the helicopter, leading to estimates being constantly “corrected” to account for phantom errors," Grip says. "Large oscillations ensued."
You can watch the last 29 seconds of the Ingenuity's flight in the clip below:
https://mars.nasa.gov/system/video_items/6021_PIA24598-IngenuityFlightSix.m4v
Luckily, despite this error, Ingenuity was able to safely touch down on the surface within 16 feet of its intended landing location. Grip says that one reason it was able to do so was because of the efforts the engineers of the drone's flight control team put into the programming. Ingenuity has ample "stability margin" that was designed to allow it to tolerate significant errors without crashing, which luckily included errors that would come as the result of poor timing.
Additionally, Grip says that the decision to stop using the navigation camera images as part of the algorithm during the final phase of descent paid off. The team chose this design decision because they believed it would ensure a smooth and continuous set of estimates of the helicopter's motion during the landing phase. Because of this, the errors that were coming from the camera no longer affected the drone once it started its landing procedure.
This image of Ingenuity was taken on May 23, 2021 – the day after its sixth flight – by the Mastcam-Z instrument aboard the Perseverance Mars rover. | Photo credit: NASA/JPL-Caltech/ASU/MSSS
"Ingenuity ignored the camera images in the final moments of flight, stopped oscillating, leveled its attitude, and touched down at the speed as designed," Grip says.
"Looking at the bigger picture, Flight Six ended with Ingenuity safely on the ground because a number of subsystems – the rotor system, the actuators, and the power system – responded to increased demands to keep the helicopter flying. In a very real sense, Ingenuity muscled through the situation, and while the flight uncovered a timing vulnerability that will now have to be addressed, it also confirmed the robustness of the system in multiple ways," he concludes.
"While we did not intentionally plan such a stressful flight, NASA now has flight data probing the outer reaches of the helicopter’s performance envelope. That data will be carefully analyzed in the time ahead, expanding our reservoir of knowledge about flying helicopters on Mars."
Image credits: Header image by NASA/JPL-Caltech/ASU/MSSS
#culture #equipment #news #glitch #ingenuity #mars #marsingenuitydrone #marsingenuityhelicopter #marsperseverancerover #nasa #nasaingenuitydrone #perseverance
#Apple-Brett
Ja, manche staunen, aber unsere #Schule hat tatsächlich #I-Pads als #Dienstgeräte angeschafft.
Das ist fortschrittlich, weil niemand gezwungen ist eigenes #Equipment vorrätig, bzw aktuell und sicher zu halten.
Ob jetzt #MS365 eine gute #Idee ist, will ich hier mal nicht diskutieren.
Aber es hat jetzt ein wunderbares #Update gegeben:
#Wunderbar - weil ich nach dem Update kein #Passwort, keinen #Pin und auch keinen #Fingerabdruck mehr zum entsperren nutzen muss. Das alles ist einfach mal gelöscht und man kann direkt an alle sensiblen #Daten dran.
Ach ja, das Leben kann so einfach sein! Für wen auch immer.