The NANLITE PavoTube II 6C is absolutely packed with features in a very tiny .6 lbs package. Everything from built-in effects like Fire, Disco, and “Bad TV” to 360 different colors, internal battery, and full control over hue and dimming as low as 1%. Oh, and it’s $99. On paper, you’d compare the PavoTube II 6C to products like Aputure’s $90 MC and maybe even the much pricier Helios tube from Astera. Does it hold up and do the impressive banner features live up to the hype? Let’s find out:    Image Credit: Graham Sheldon This is my first time working with and reviewing any NANLITE product and I’m more familiar with their sister company LEDGo. In fact, the differences between the companies are a little tricky to determine from afar. LEDGo tends to have more premium products over NANLITE in terms of pricing and feature set, but the PavoTube II 6C certainly doesn’t seem aimed at prosumer users. There is much to like about the light, but the first thing you’ll notice taking it out of the box is the overall size. Image Credit: Graham Sheldon Size The overall size of the PavoTube II 6C is very small with a length of 10 inches and that makes transport easy. The light is easily handheld and popping a few into a flight or road case for travel would be simple. The size and weight also make mounting to a ceiling less concerning in terms of the potential for pulling off paint or having a light land on an actor. There are two built-in magnets for mounting, two 1/4 20″ threads, and each PavoTube II 6C kit comes with a few small magnetic panels for taping to a wall and then mounting the light to. In practice, these are finicky and I think I’d rather use heavy duty velcro for mounting to non-magnetic surfaces personally, but they’re free and come with the kit. The light has a 1.9″ diameter and is T12 compatible. T12 is a more standard size in general for tube accessories like LCD/grids, but the 10 inch length makes finding grids for the light tricky right now. Hopefully, that will change as NANLITE itself and other 3rd parties make more compatible accessories for the PavoTube II 6C. That’s not to say NANLITE doesn’t have any accessories available for the light currently. Here are a few available options: Waterproof bag T12 Tube Holders x2 (T12 holders also available from 3rd parties) Verticle Desk and Light Stand Mount The PavoTube II 6C also ships with a soft case, USB C charging cable (more on that below), and a safety strap that affixes to the light through one of the available 1/4 20’s. Power The PavoTube II 6C is powered by an included USB C cable and runs for about an hour at 100% intensity. An indicator in the upper right of the rear LCD screen also dynamically changes to show you how much battery time you have left based on your current output. This feature, present in some Astera products too, is absolutely essential and I would love to see this carried over into fixtures from other manufacturers. Powering the light on means holding the power button and waiting for the full name “NANLITE” to appear on the rear LCD one letter at a time. Once the full brand name appears then you can let go of the power button and the fixture will turn on. Keeping holding power past the name appearing and the light won’t turn on. Not a huge issue, but it’s not the usual power on operation I would expect. It is important to note that you can turn the light on and use it while charging (not always the case with some competitors). I also took a 155wh Dynacore Gold Mount battery and used the USB out to keep the 6W PavoTube II 6C going for hours and hours. Image Credit: Graham Sheldon Operation Physically operating the different modes of the light is easy and intuitive. In fact, this is absolutely one of the most navigable menus of any RGBWW fixture I’ve tested in recent memory. Being able to truly dim to 1% is an added bonus and I won’t miss the days of LED lights only dimming to 10%. I’m not sure if this is the same menu type used in other NANLITE products, but I hope they continue to keep things this user friendly. You can control the fixture remotely through the RC-1 remote control (available separately) or through an iOS or Android app using the $300.00 NANLink WiFi Controller (also an additional accessory). I would have preferred Bluetooth based remote control myself, but if you’re going to buy into the overall NANLITE/LEDGo ecosystem then the wifi controller seems like a purchase that makes sense. You can also change the kelvin quickly from 2700 to 6500K using the rear LCD screen and the nine built-in effects extend its usefulness for those situations where you might need a police car flashing or other effects like hue loop, CCT Loop, int Loop, CCT flash, hue flash, CCT pulse/hue pulse, storm, TV, paparazzi, fire, disco, bad Bulb, fireworks, explosion, and welding. You can dial in different colors by setting the hue and saturation in the HSI sub menu and you can subtract or add green and magenta in CCT mode to match available lighting on-location. Firmware is upgradeable and this review was written with the firmware set to Version 00.04. Future firmware will be available HERE. Photometrics I snagged several measurements on my Sekonic C-700U Spectrometer of how accurately the PavoTube II 6C handles color temp (kelvin) and output at a distance of 3ft. Here are my readings with a target of 5600K: We hit a 5260 kelvin temp with a target of 5600K — not perfect, but well within a normal margin of error with other fixtures I’ve seen. One thing to note here is the [lx] reading of 139 at three feet. This is not a high-output light. I also received a 90.8 CRI (Ra) with my target set to 5600K. Now for a quick test with a target of 3200K:   At 2986 these are not perfect readings for the kelvin temp target at 3200K.  We did see a slight drop in output from 139lx to 119lx once we switched over to Tungsten from Daylight. Here the CRI measured 93.0 (Ra), a slight improvement in color rendition. And for good measure here is a reading with a target of 4500K. We hit 4225k with the light set to 4500K and the output was the highest at this kelvin setting at three feet. To check the color rendition I grabbed a quick reading with the light set to 5600K.     Again, when set at 5600K with 100% output it recorded a 90.8 CRI average. Take a look at R9, R15, and R13 — these results are lower than I would hope for regarding color rendering. Ideally, we would want above 90 across the board in the above, but for $99 these results aren’t bad. Usage On-Location In my opinion, the best use of the PavoTube II 6C while filming is for ambient, accent, hair, edge or architectural background lighting. They are small enough to hide, transport and mount anywhere and the built-in battery means you won’t have to worry about cables snaking across the set, though the lower output means the light will likely be living at 100% intensity the majority of the time at a cost to battery life. For me personally there are other lights that handle color rendering a bit better in relation to skin tones that I might reach for as key lights. That being said, while being stuck under stay at home orders I found myself reaching again and again for the PavoTube II 6C to use on my desk while streaming — something to keep in mind if you’re doing more streaming too these days and if your desk space is at a premium like mine. Image Credit: Graham Sheldon   The RGBWW PavoTube II 6C is the first of a planned second generation of the PavoTube line as a whole and if this product is any indication I’m excited to see what the future brings. For $99 you are getting what can only be described as a big bang for your buck. For me, the only kit that matters is the kit you take with you, and the PavoTube II 6C’s size and wide range of features makes it useful in a variety of situations. 

You may be most familiar with Dynacore as a battery manufacturer and I was personally excited to have the opportunity to review their new DLS-2 60W bi-color LED panel light over several weeks during “stay at home orders” in California. They also sent over their new D-155MA batteries in gold mount for review alongside the DLS-2 fixture. Let’s dive in:  Image Credit: Graham Sheldon As more and more LED panel lights have flooded the market I’ll admit I’m becoming a little harder to please when it comes to this particular product category. There are just so many options out there. Of course this brings up the obvious point that not all these fixtures are created equal and at a price of $499 the DLS-2 is certainly on the more affordable side. The DLS-2 60W fixture makes an impression out of the box with its orange paint job, low weight and thin form factor. It’s easy to get caught up in the fact that this isn’t a RGBWW light and it doesn’t include dozens of features like lightning and candlelight modes etc, but the point is that the vast majority of lighting that I’m (and I strongly suspect you) are engaging in these days is based around tried and true daylight and tungsten. Image Credit: Graham Sheldon Sturdy metal barn doors ship with the light and are held in place by a rock solid philips screw/metal tab combo (pictured above). This works to keep the barn doors from ever slipping out, but the metal tab can be very hard to pivot by hand and might require using a screw driver. Image Credit: Graham Sheldon The DLS-2 has a bright rear LCD screen (pictured above) and it’s easy to change DMX 512 channels and to power on and off and that’s really the extent of it. Two rear knobs allow you to change intensity between 1% – 100% and between 3200 and 5600 kelvin respectively and the control is instantaneous and easy. It seems like you should be able to do more with the rear LCD and it is a little odd that you can also control the intensity and color with rear + & – buttons as well as the knobs — it feels like an unnecessarily redundant design feature. As great as it looks I do worry to orange paint might catch a reflection or two on-location that the standard boring matte black paint job of other fixtures wouldn’t. Image Credit: Graham Sheldon Power Personally I’m an all gold mount battery operation here and the Dynacore D-155MA batteries power the DLS-2 light for hours and hours at lower intensities. Wall power is also an option through 4-pin XLR input. I wish the feeder cable between the XLR input (pictured above) and the power brick was a little longer as you’ll find yourself clamping it or bongo tying it to c-stands if you need to put the light up in the air on a stand for any reason.  Additionally, the battery plate won’t allow you to easily slide the battery out if the light yoke is positioned anywhere but exactly vertical. I’m guessing this wouldn’t be an issue with the V-mount version of the light. We used the Dynacore DLS-2 60W on a product commercial as a fill light. See a sample frame above. Image Credit: Rin Ehlers Sheldon Output The fixture has a wide 120 degree throw with a built-in diffusion panel in front of the LED diodes. Given the size and weight the output is impressive and I would compare it with the output of an Astra 4X if you’ve had the opportunity to work with that light before. You’ll find enough punch for plenty of interview applications and smaller scenes, but this obviously won’t be the fixture you’ll use outside at noon. Photometrics I grabbed a few measurements on my Sekonic C-700U Spectrometer of how accurately the DLS-2 handled color temp (kelvin) at a distance of 3ft. Here are my readings with a target of 5600K: We hit a 5709 kelvin temp with a target of 5600K — not bad and well within a normal margin of error. Now for a quick test with a target of 3200K: Again, fairly solid marks for the kelvin temp at 3200K.  We did see a notable drop in output from 1380 to 1150 once we switched over to Tungsten from Daylight. Not disastrous, but worth noting that your peek output with this fixture is at 5600K. I did test the light with a target of 4500K and received a reading of 4231K. To check the color rendition I grabbed a quick reading with the light set to 5600K. These results are excellent and I was generally seeing a 96 CRI average throughout testing at different color temperatures. This is especially impressive given the overall cost of the DLS-2 panel and shows how far we’ve come with LED tech as a whole. Would I use the DLS-2 panel in a professional production? Yes — especially on a travel show where transit space is at a premium. As I mentioned at the top, Dynacore is known primarily for batteries, but the DLS-2 is an impressive LED fixture at an affordable price point.  D-155MA 155Wh Gold Mount Battery with DS-2A Charger: Two D-155MA batteries next to a DS-2A charger. Image Credit: Graham Sheldon When you take the 2lbs D-155MA gold mount batteries out of the box it is clear that these batteries are mean’t to take a hit. They have a polycarbonate exterior and Dynacore says the internal cells are kept isolated for additional protection from impact damage. USB and D-Tap out. Image Credit: Graham Sheldon This isn’t the first 155Wh battery from Dynacore, but it seems the real change between the previous generation and this one is the attempt to make a rugged and low profile battery. I compared the battery in size to a 150Wh bebob mini battery I have and the D-155MA is just slightly larger, but qualifies as low profile in my opinion. I’m sure we all have used 150Wh batteries in the past with terrible form factors that are bulky and hard to mount with accessories and that is not the case here. 50W DC 4-pin XLR port provides 50W XLR output for cameras/lighting equipment. DS-2A Dual  GOld Mount Charger. Image Credit: Graham Sheldon Each battery includes a single USB and D-Tap out (max output 100w) and the USB out charged my phone for hours and hours and… hours. Having a D-Tap out is becoming more and more standard for charging accessories and that’s welcome too. It’s worth noting that I tried using these batteries on a few different chargers and I only had success using the Dynacore branded charger — something to keep in mind. The 2lbs DS-2A charger does have a built in fan that gets considerably noisy while charging. Something to note of when recording audio. With a 2A output it does take time to charge the D-155MA’s to full, but they do both charge simultaneously. Official Specs for the DS-2A charger below:  Image Credit: Dynacore Pricing: The D-155MA batteries cost $313.50/each and the DS-2A charger costs $199.00. Compared to other 150Wh-ish 14.8V output batteries from bebob ($395.00), Core SWX ($473), Anton Bauer ($645), Blueshape ($519.00) and IndiPro — only IndiPro had a comparable 150Wh battery in terms of pricing at: $315.00. The DS-2A charger, with its 2A output per channel, is on the lower output end when compared to other dual chargers on the market, but it is also on the more affordable side. Consider checking out brands like Intellytech, IndiPro and Dracast for other affordable dual chargers hovering around a $200 price point. Official Specs for the D-155MA batteries below:  Official tech specs for the D-155MA batteries. Image Credit: Dynacore Conclusion The real banner headline here though is the build of the D-155MA gold mounts. Time will tell, but I would expect these to be excellent additions to rental inventories and should hold up well over the long term. Where is the Dynacore DLS-2 60W, DS-2A charger and DM-155MA battery series available? You can find them at Omega Broadcast in the US and at BBP lighting in Europe. Dynacore also offers a 120W variant of the DLS series. Will you be an early adopter of the DLS-2 60W and the D-155MA gold mount batteries? Let us know in the comments below!

DJI just announced the Mavic Air 2, its new generation of the popular consumer drone, which boasts 4K 60p video at 120Mbps and 1080p at up to 240fps slow motion, 48 Megapixel photos, 8K Hyperlapse function, a fly time of up to 34 minutes and enhanced autonomy features, and more. Let’s check it out! Mavic Air … Two Years Ago The original Mavic Air was launched over two years ago, and at the time, I flew it in Monaco at DJI’s launch event, and it offered video images with less compression than the more expensive Mavic Pro (Mark 1), in a much cheaper package.  DJI Mavic Air 2 – looks like a “mini” Mavic 2 Pro. Image credit: DJI   DJI Mavic Air 2 Announced – 4K 60p at 120Mbps Fast forward two years, here we have the DJI Mavic Air 2, featuring a new 1/2″ sensor, and it’s the first Mavic drone able to shoot up to 4K in 60fps at 120 Mbps. That is better than the twice-as-expensive Mavic 2 Pro, which maxes out at 4K at 30fps and 100 Mbps. Mavic Air 2 folded up. Image credit: DJI In fact, it looks like a shrunken Mavic 2 Pro – DJI have clearly taken the design from the Pro and compressed it into the Mavic Air 2. I took the Mavic Air 2 to the skies and from first impressions, those images in 4K and 60p look amazing indeed. Apart from the apparent use of slow motion from 4K in 50p or 60p, you will also get less jittery fast pans when working on a 50/60p timeline of course. D-Cinelike is also available for better color grading to have a “kind of” log image, though it’s still technically only an 8-bit image. The drone can also shoot HDR video at up to 4K 60p.  ND Filters part of “Fly More” Combo Because of the fact that I had no fitting ND filters for the new camera designs for the test flights above yet, I had to use higher shutter speeds to get perfect exposure in manual mode, but that results in more jittery images. Having said that, just like the Mavic Mini, the Mavic Air 2 does a great job in Auto Exposure mode where you don’t actually see the shutter speed adjusting in changing lighting situations, so it can be used on occasion if no ND is available.  The “Fly More” Combo includes some ND filters for the first time. For the first time ever, DJI is including a set of ND filters with the “Fly More” combo which also gives you 3 batteries, a carrying case, a car charger and more. 48 Megapixel RAW photos in DNG, HDR Photos, Hyperlight Compared to the original Air, the CMOS sensor is now bigger at 1/2 inch, and can shoot not only 12 Megapixel sensors, but also 48 Megapixel RAW photos in DNG format by using Quad Bayer technology. The resulting images are impressive for such a small sensor. Processed 48MP photo from the Mavic Air 2. Image credit: Nino Leitner / cinema5D 100% crop from the 48MP photo from the Mavic Air 2 above. Image credit: Nino Leitner / cinema5D HDR photos are also available – the drone will take 7 different exposures of the same motive and combine them automatically into one. A function called Hyperlight supposedly creates images with less noise in low-light scenarios by exposing multiple times and then computing and merging them into one image, reducing noise. For enthusiasts, there is now also a Scene Recognition feature for photos which will recognise 5 different kinds of scenes, and optimize the photo settings for those: for example sunsets, grass, snow, blue skies and trees. OcuSync 2.0 Transmission Instead of Extended WiFi One of the downsides of the original Mavic Air was the image transmission technology between the drone and the controller. They used extended WIFI, which is not nearly as good in reach and responsiveness as DJI’s proper image transmission OcuSync.  The Mavic Air 2 luckily has OcuSync 2.0, and I can confirm it’s now just as easy and responsive to maneuver as the Pro series drones. The reach is up to 10 kilometers, but that is unrealistic because you are supposed to always keep the drone in your line of sight when flying. OcuSync uses two frequency bands on the Mavic Air 2 and switches automatically to the best signal. The Air 2 also comes with a newly designed more ergonomic controller which mounts the phone on top, which I found much more comfortable to use than the older designs. Its battery capacity is also much increased, which was a problem on the older controllers. It is a bit more bulky but I think the downside of having a little more to carry is outweighed by the fact that it is now much better to hold and that it will last longer on a full charge.  Super Slow Motion at 120fps and 240fps in HD Image credit: cinema5D I am not actually sure why it’s important in a drone, but the Mavic Air 2 can also shoot up to 240 fps slow motion in 1080p resolution. This is definitely something to explore creatively, and it’s of course perfect for fast-moving sports scenes like surfing, for example.  The quality is quite noticeably lower when shooting in this mode, but we know this from all kinds of other cameras when high speed recording is enabled, as the same data rate has to be divided among a lot more frames. Hyperlapse 8K – a Moving Timelapse, Quick Shots & Smart Photo Hyperlapse 8K is a new mode that allows for pre-programmed moving timelapses, which essentially stitches a number of photos into a video. Flight paths can be predefined, or the drone can also go in a circle around an object, for example. Image credit: cinema5D For fun and hobby drone pilots, the Mavic Air 2 of course also has the Quick Shot functions which we know from their other drones in the Mavic series, plus a new mode called SmartPhoto which automatically recognizes the kind of scene you are in, to automatically adjust the settings to the circumstances. Flight Time: Up to 34 Minutes on 1 Battery DJI claims a maximum flight time of 34 minutes which I wasn’t able to verify due to the windy situation I was flying in, where batteries drain much faster. But in any case, the flight time is more than sufficient. I still recommend buying the Fly More package of the drone which gives you three batteries in total.  Improved Intelligent Functions The Mavic Air 2 also features improved autonomous flying modes that allow for better obstacle avoidance and object tracking. DJI claims that their Focus Track system on the Mavic Air 2 is the most advanced tracking system in any of their drones. It includes these three modes: Active Track 3.0: Better mapping and much improved obstacle avoidance (that I have yet to test). DJI was very confident in this improved feature, it’s also supposed to recognize a subject again if it briefly gets lost behind trees (which was a standard problem with the earlier version of this). Point of Interest 3.0: With this you can set a flight path around a subject – now it includes surface recognition to dynamically track subjects. Spotlight 2.0: This is the first time in a Mavic series drone – Spotlight locks a subject in frame while the user has free operation of the drone’s movements. Full Tech Specifications of the DJI Mavic Air 2 Aircraft Weight 570 g Size Folded: 180×97×84 mm (Length×Width×Height) Unfolded:183×253×77 mm (Length×Width×Height) Diagonal Distance 302 mm Max Ascent Speed 4 m/s (S Mode), 4 m/s (N Mode) Max Descent Speed 3 m/s (S Mode), 3 m/s (N Mode), 5 m/s (S Mode during a sharp descent) 3 m/s (all modes at elevations over 4500 m) Max Service Ceiling Above Sea Level 5000 m Max Flight Time (without wind) 34 minutes Max Hover Time (without wind) 33 minutes Max Flight Distance 18.5 km Max Horizontal Flight Speed 19 m/s (S Mode) 12 m/s (N Mode) 5 m/s (T Mode) Max Wind Resistance 8.5-10.5 m/s (Level 5) Max Tilt Angle 35°(S Mode), 20°(N Mode)* * 35° under heavy winds Max Angular Velocity 250°/s (S Mode), 250°/s (N Mode) Operating Temperature Range -10° to 40°C (14° to 104°F) Operating Frequency 2.400-2.4835 GHz, 5.725-5.850 GHz Transmitter Power (EIRP) 2.400-2.4835 GHz: FCC: ≤26 dBmCE: ≤20 dBmSRRC: ≤20 dBm MIC: ≤20 dBm5.725-5.850 GHz: FCC: ≤26 dBmCE: ≤14 dBmSRRC: ≤26 dBm Hovering Accuracy Range Vertical: ±0.1 m (with vision positioning) ±0.5 m (with GPS positioning) Horizontal: ±0.1 m (with vision positioning) ±1.5 m (with GPS positioning) Propellers Quick release, low noise, folding Satellite Systems GPS+GLONASS Compass Single Compass IMU Single IMU Internal Storage 8 GB Battery Capacity 3500 mAh Voltage 11.55 V Charging Voltage Limit 13.2 V Battery Type LiPo 3S Energy 40.42 Wh Weight 198 g Charging Temperature 5° to 40°C (41° to 104°F) Max Charging Power 38 W Camera Sensor 1/2″ CMOS, Effective Pixels: 12 MP and 48 MP Lens FOV: 84° Equivalent Focal Length: 24 mm Aperture: f/2.8 Focus Range: 1 m to ∞ ISO Video: 100-6400 Photo (12 MP): 100-3200 (Auto) 100-6400 (Manual) Photo (48 MP): 100-1600 (Auto) 100-3200 (Manual) Max Photo Resolution 48 MP 8000×6000 pixel Photo Modes Single: 12 MP and 48 MP Burst: 12 MP, 3/5/7 frames Automatic Exposure Bracketing (AEB): 12MP, 3/5 Frames at 0.7EV Bias Timed: 12 MP 2/3/5/7/10/15/20/30/60 seconds SmartPhoto: Scene Recognition, HyperLight, and HDR HDR Panorama: Vertical (3×1): 3328×8000 pixels (Width×Height) Wide (3×3): 8000×6144 pixels (Width×Height) 180° Panorama (3×7): 8192×3500 pixels (Width×Height) Sphere (3×8+1): 8192×4096 pixels (Width×Height) Photo Formats JPEG/DNG (RAW) Video Resolution and Frame Rates 4K Ultra HD: 3840×2160 24/25/30/48/50/60 fps 2.7K: 2688×1512 24/25/30/48/50/60 fps FHD: 1920×1080 24/25/30/48/50/60/120/240 fps 4K Ultra HD HDR: 3840×2160 24/25/30 fps 2.7K HDR: 2688×1512 24/25/30 fps FHD HDR: 1920×1080 24/25/30 fps Color Profiles D-Cinelike, Normal Video Formats MP4/MOV (H.264/MPEG-4 AVC, H.265/HEVC) Max Bitrate 120 Mbps Supported SD Cards Supports a microSD with capacity of up to 256 GB Supported File Systems FAT32 and exFAT Zoom Not available Gimbal Stabilization 3-axis (tilt, roll, pan) Mechanical Range Tilt: -135° to 45° Roll: -45° to 45° Pan: -100° to 100° Controllable Range Tilt: -90° to 0°(Default) -90° to 24°(Extended) Max Controllable Speed (tilt) 100°/s Angular Vibration Range ±0.01° Vision System Forward Precision Measurement Range: 0.35-22.0 m Detection Range: 0.35 to 44 m Effective Sensing Speed: 12 m/s Field of View (FOV): 71° (horizontal), 56° (vertical) Backward Precision Measurement Range: 0.37-23.6 m Detection Range: 0.37-47.2 m Effective Sensing Speed: 12 m/s Field of View (FOV): 44° (horizontal), 57° (vertical) Available Downward Sensors Dual Vision Sensors + Time of Flight Sensors (ToF) Downward ToF Measurement Range: 0.1-8 m Hovering Range: 0.5-30 m Vision Sensor Hovering Range: 0.5-60 m Left/Right None Downward Auxillary Light Single LED Safety Obstacle Avoidance System Advanced Pilot Assistance Systems (APAS) 3.0 Video Transmission Transmission System OcuSync 2.0 2.4 GHz/5.8 GHz Auto-Switching Max Transmission Distance 10 km (FCC), 6 km (CE), 6 km (SRRC), 6 km (MIC) Live View Quality [email protected]/ [email protected] Latency (depending on environmental conditions and mobile device) 120-130 ms Video Transmission Encoding format H.265 Max Live View Bitrate 40 Mbps Operating Frequency 2.400-2.4835 GHz 5.725-5.850 GHz Remote Controller Remote Controller Transmission System OcuSync 2.0 Supported Mobile Device Connectors Lightning, Micro USB, USB Type-C Max. Supported Mobile Device Size 180×86×10 mm (Height×Width×Thickness) Operating Temperature -10° to 40°C (14° to 104°F) Transmitter Power (EIRP) 2.400-2.4835 GHz: FCC: ≤26 dBm CE: ≤20 dBm SRRC: ≤20 dBm MIC: ≤20 dBm 5.725-5.850 GHz: FCC: ≤26 dBm CE: ≤14 dBm SRRC: ≤26 dBm Operating Current/Voltage 1200 [email protected] (Android) 700 [email protected] 3.7 V (iOS) Charger Charging Input 100-240 V, 50/60 Hz, 1.3 A Charging Output Charging Port: 13.2 V⎓2.82 A USB Port: 5 V⎓2 A Voltage 13.2 V Rated Power 38 W Conclusion From this first look at the Mavic Air 2, I can say that this is definitely a worth smaller brother to the Mavic 2 Pro and Mavic 2 Zoom. At about 800 dollars, it costs half of what the Pro costs and gives you video quality that is in some ways even better despite the smaller sensor, because of the better compression. And the biggest problem of the original Mavic Air – the Wifi transmission – has been solved by implementing a much more robust wireless transmission. DJI proves again that they don’t shy away pushing innovation with every new drone, even if that means that this could somewhat cannibalize their existing drones. I’m looking forward to testing the Mavic Air 2 and all its functions even more, and I am almost fearing that in terms of technology, it will be better in some ways than my Mavic 2 Pro, for which I paid twice the price … Get the DJI Mavic Air 2 at B&H (Buy links below), or, at DJI Store by clicking here. What do you think about the Mavic Air 2? Is this the drone you have been waiting for? Let us know in the comments below. 

Lupo, an Italian lighting manufacturer, has added another LED panel light to their Superpanel line, the Actionpanel. Like their Superpanel 30 (1’ x 1”) and their Superpanel 60 (2’ x 1’), the new Actionpanel (8” x 8”) is available as either Dual Color or RGBWW model. Lupo has now packed the technology from their Superpanels into a smaller, lightweight and more travel friendly instrument, the ActionPanel. They have also developed a handy backpack portable kit they call the Actionpack. If you’re looking for an ultra portable, lightweight, RGBWW or Dual Color panel light with an impressive light output, you might want to give this a look. What’s Included Here’s what’s inside the ActionPack Full Color kit 1 ActionPanel Full Color CCT mode, COLOR modes, local dimmer & DMX 2800K – 10000K adjustable color temperature in CCT mode Color presets and special effects 1 24V AC power supply 1 V-Mount battery plate 1 D-Tap cable 1 Diffuser 1 Backpack   At the heart of the kit is the ActionPanel Full Color LED panel light. The first thing that you’ll notice is that is compact. It is 8” x 8” instead of the normal 1’ x 1’ (12” x 12”). Because it’s compact, it’s extra light, weighing in at only 4.4 lbs (2 kg). This makes it perfect for arming out on a C-stand or flying on a ceiling/wall. With less weight and a smaller footprint it make it ideal for travel, whether on an airplane or carrying it around all day in the included backpack. Features of the Lupo Actionpanel There are 3 main modes that you can work in: 1) CCT Mode, 2) HSI Mode and 3) RGBW Mode. CCT Mode, which stands for Correlated Color Temperature. The CCT mode correlates with the standard bi-color mode.  This is the mode you want to be in if you’re trying to match tungsten or daylight or a mixture of the two.  Instead of the standard 3200K – 5600K range, the ActionPanel is fully tunable from 2,800K to 10,000K.  This gives you that extra spectrum on the top and bottom of the range which is handy if you’re trying to match candle or fire light (~ 2800K) or extra blue sunlight (up to 10,000K).  There is also a plus/minus green correction, which allows you to match other fixture or existing practical lights. HSI Mode, which stands for Hue, Saturation, Intensity. In the HIS mode, the top left nob is your hue, where you can easily dial up different colors in the spectrum, from blue to green to red to everything in between.  The lower left nob is your saturation.  You can dial in the amount of saturation you want for 0 – 100 depending on if you want the color to be subtler or more fuller on. In all modes, the right “INTENSITY” dial works as a dimmer. RGBWW Mode, which is for Vibrant Color Selection In the RGBW mode you can dial in exact RGB numbers and add or subtract white light.  If you’re trying to hit a precise color, then this is the mode you want to be in.  It’s not nearly as fast as the HSI mode but it has a greater range of colors. Presets: The ActionPanel comes with 19 presets from basic colors to filters – like a straw filter.  There are also 5 user assignable presets. Special Effects: There is a pretty full feature set of special effects.  Each effect can be tuned into your specific need. For example, in the cop car effect you can change the speed of the strobe and change the colors from red/blue/white to blue/white to red/blue to just red.  Different countries have different colors in their cop car light. The current special effects are: Strobe, Party, Cop Car, Disco, TV Flicker, Paparazzi Flashes, Lightning, Explosion, Fireworks and my favorite: Fire. DMX: There is a DMX in & out on the back so you can patch it into a DMX lighting board. USB: There is USB port which helps future-proof the ActionPanel giving it the ability to apply new updates and features as Lupo rolls them out. Hard Diffusion: I do like the hard diffusion that comes with the ActionPack.  When attached to the ActionPanel it sits 3 ¾ inches away from the face of the light.  This is much better than having the diffusion right up against your instrument.  The further away the diffusion, the softer your light.  It is also cleverly designed to fold up for easy storage in the backpack. V-Mount Battery Plate & Cable: The ActionPack includes V-mount battery set up.  What’s different about Lupo is you actually remove the AC power and replace it with the V-mount, where most other brands will have both the AC and V-mount together.  It does take more time to switch out the plates but it makes the instrument lighter by not having the AC brick when using battery power. Backpack: The backpack looks to be durable.  It is well thought out with a section for the ActionPanel and place for all the accessories.  There’s also room for many more accessories and 2 lightweight light stands.  It looks to me like you could fit 2 ActionPanels in the backpack.  This would make an excellent lightweight travel kit. Build Quality Most of Lupo’s fixtures are made with a reinforced technopolymer shell, which is basically a very durable, ultra-resistant plastic.  Now the word plastic can freak some people out but I’ve had some personal experience that’s made me a believer.  On the feature film I shot in August, my gaffer dropped the much larger and heavier 2’ x 1’ Superpanel off the back of the truck – falling about 6 feet to the hard concrete.  I saw the whole thing and I honestly thought the light was done for.  Upon inspection, there was not a single crack or damage to the frame.  The only issue was the fall jarred one of the fans loose and we simply had to reset it.  We used that Superpanel for the rest of the shoot and it worked flawlessly. Beam Angle The front of the ActionPanel has intensifiers for the LED bulbs.  This increases the light output but you should be aware that it also narrows the beam.  For many situations this isn’t a problem and it can be an advantage, but if you need a wide beam angle, then this is not the light for you.  Below you can see the different beam angles for some of the popular LED panel lights. By the Numbers I used my Sekonic C-800 to measure the output and color rendering of the lights. Below is the data for the CCT mode.  The takeaways are: The output (shown by lux and footcandles) is impressive for a light this size. It puts out as much light as some of the 1×1 panel lights out. The color rendering measured by the CRI and TLCI is decent but not spectacular. There is a slight 0.2 magenta shift through out The color temperature is very accurate at 3200K. At 5600K the light is bluer than the back numbers read.  Instead of 5600K it’s around 6180K. Conclusion The ActionPack kit with the ActionPanel is a solid little kit that will work great for run-and-gun shoots, traveling and wherever you only need a simple set up.  It would also a great addition to a larger lighting package.  Because of its lightweight, I can see using it as a backlight armed out on a C-boom or flown on the ceiling or wall. Is it perfect? No. The main issue is the kelvin readings are not 100% accurate when set at 5600K and above. But because of it’s size and weight, I can see myself constantly using this instrument on many of my shoots.

The 300 level Light Storm series from Aputure just became bi-color with the addition of the 300x that we previously announced during IBC 2019. We had the opportunity to review the flagship 300D MK II late last year and called it “Aputure’s best light to date”. Given that the 300D MK II boasts Aputure’s highest output for their LED fixtures so far we would expect similarly impressive punch from the 300x. Do we give up anything in exchange for that bi-color feature and is there more under the hood of the 300x then simply being able to select different kelvin temperatures? Here’s our first look of the 300x:  Image Credit: Graham Sheldon First Impressions:  Nobody re-invented the wheel here in terms of the look and general usability of the Aputure LS 300x. If you’ve used a 300D MK II then you will be at home with the 300x, but that isn’t to say that there haven’t been any design improvements beyond the addition of bi-color control between 2700K and 6500K. For one, there’s a new “max output” and “constant output” mode. In constant output mode you can change your color temperature while keeping the same overall luminance. Max output —  just like it sounds — optimizes everything for more output overall, though Aputure suggests keeping your kelvin range between 4000K and 5500K to achieve your highest overall output. This is typical with most bi-color LED fixtures in the sense that there is a sweet spot for output when it comes to your kelvin selection. There’s an additional wheel added on the controller beneath the familiar intensity wheel from previous generations that gives you CCT control and you’re also able to easily create and select presets by pressing in the middle of the wheel. You can adjust your kelvin temp in 50K increments, which is great for pinpoint accuracy when matching other light sources. Presets in general are very handy for quickly shifting between different looks while on-location depending of time of day or look of your scene. The 300x controller. Note the additional CCT wheel above the power button. The 300x is available in both V-mount and gold mount options. Image Credit: Graham Sheldon Similarities to the 300D MK II: Lots of great quality of life improvements from the 300D MK II have luckily carried over into the 300x.  Like with the 300D MK II, four dimming curves (logarithmic, exponential, linear and S-curve) are also present in the 300x allowing for different types of dimming mid-shot if necessary. You’ll also find the steadily improving Sidus Link App (available on ios or android) works well controlling the 300x through bluetooth. You also have full compatibility with DMX512. No big surprises here. The excellent light clamp attaching the ballast/controller to a stand also ships standard with a great semi-rigid carrying case and you’ll of course find the Bowens-S mount works with your normal Aputure and other 3rd party accessories from brands like Chimera. The yoke of the MK II generation of Aputure lights is vastly improved over the previous generation and that yoke is present here too. 9 built-in effects such as “paparazzi” and “TV” found their way to the 300x too. Price point for the 300x is $1199.00. An “open bulb” 300x. Image Credit: Graham Sheldon Output: Why would anyone buy the 300D MK II over the more versatile (in terms of color temp at least) 300x? The answer is output. There had to be a tradeoff for the addition of bi-color, right? This varies per light to some degree, but you’ll have an output hit in the realm of 25-35% on average (depending on color temp) with a bare bulb at 1 meter according to a little back of the envelope math when comparing the 300x to the 300D MK II. Again, keep in mind that this is an estimate based on manufacturer supplied specs and I’ll need to secure a 300D MK II for some additional head to head testing in the future once our local quarantine/stay at home order is lifted. Photometrics: I grabbed a few quick measurements with the C700-U SpectroMaster from Sekonic for a quick gauge of how the Aputure 300x handled color temp and overall output at a distance of 3ft. Here are my readings with a target of 5600K using the included Hyper Reflector attachment and with the fixture set to “max output” mode. Throughout all my testing I was hitting a excellent CRI (Color rendering index) average of 97. We hit a 5250 kelvin temp with a target of 5600K — I would like to see a little better here, but these results aren’t bad at all. Now for a quick test with a target of 3200K: Here we hit a 3091 kelvin temp with a target of 3200K. This is excellent color temperature performance at 32K, but we do see a significant drop of output here measured in lux (lx) and foot candles (fc) versus the performance at 56K. And now a measurement with a target of 4500K:   With a 4277K reading these are very solid marks for a kelvin temp target at 4500K.  Interestingly the peak output appears to be around 45K with this fixture. I would personally have hoped the peak output would land closer to a more commonly used color temp like daylight (56K) or tungsten (32K), but not a huge issue. To check the color rendition I also grabbed a quick reading with the light set back to 5600K. These results fall in line with my previously mentioned excellent CRI average of 97 for the 300x. The 300x handles colors very, very well. No debate there from my point of view. Image Credit: Graham Sheldon It’s worth noting that Aputure hasn’t put a MK II designation in the title of the 300x despite the similar feel to the 300D MK II and to me that suggestions this is their first attempt at a high output bi-color fixture and they have every intention to continue to improve the design. Improvements don’t need to come in the form of new hardware either as you can update the overall system with improved firmware in the future. For example, there’s already a new firmware update for the 300D MK II available HERE. Final thoughts There was some chatter online as folks expressed their slight disappointment over initially snagging the 300D MK II when the 300x feels like a more versatile option on paper. Fear not — if you purchased the 300D MK II you’ll still have an excellent high-output daylight source that’s extremely useful during filming. The 300x feels like another useful tool in the kit versus some kind of upgrade over the 300D MK II and it is a welcome addition to the Aputure lineup. Image Credit: Graham Sheldon What are your impressions of the Aputure Light Storm 300x? Is it worth a drop in output for the added bi-color feature? Will you be adding the 300x to your kit? Let us know in the comments below!

The Fast Frame from Intellytech is exactly what it sounds like: a frame that can be built… fast. I took a break from taking a quarantine break to review the Fast Frame and see if it’s worth the price of admission. Let’s dive in.  Fast Frame FF-5×6.5’HC – Scrim W/ Honey Comb Grid kit fully expanded. Image Credit: Graham Sheldon Like many of you, I have a love hate relationship with lighting frames. They’re a phenomenal way to improve nearly all aspects of lighting (flag, focus, diffuse, bounce) and they can be a pain to build for anyone without a dedicated grip team. The bigger the frame with diffusion the better when it comes to softening a light source and the bigger you go the more time consuming the setup becomes and it can even be a safety hazard in windy situations. I’ve tried other frames in the past with connector set designs that are marketed as quick setup and I find them to generally be frustrating and rife with tiny easily breakable pieces. This was my first experience using an Intellytech product and the Colorado based company also has lighting and battery products in addition to the Fast Frame lineup. The team at Intellytech sent me the Fast Frame FF-5×6.5’HC – Scrim W/ Honey Comb Grid kit and also added a silver/white bounce material with the same dimensions for review (not included in the base kit). Personally I was most excited to use the scrim + grid variation because adding a honeycomb grid in the field is not normally a quick task and the grid helpfully keeps the light source from flying all over the place in most settings. One of two included clamps for mounting to various stands. Image Credit: Graham Sheldon The following is included with the Fast Frame FF-5×6.5’HC – Scrim W/ Honey Comb Grid kit: Fast Frame Soft Carrying Case Diffusion Cloth – 1/2 Stop Honeycomb Grid Two Clamps – These are useful for attaching the frame to a variety of grip equipment. All of the above will set you back $379 and for an additional $225 you can pickup the silver/white bounce material as an optional add-on. $379 seems right for what you’re getting and this price point lands lower compared with other similarly sized fast frames on the market from brands like Westcott and Matthews. Setup The frame itself feels like lightweight aluminum and expands easily although I did manage to give myself a good pinch when expanding it for the first time (there are multiple warnings about this, but I’m clumsy). Time will tell if the frame holds up to constant use and it generally feels well-built, though in a quick rental rotation it might damage too quickly. If you take good care of it during normal use by a small business or one-person band operation I’m guessing it could function perfectly for years. Everything arrived with the silver/white material pre-installed (again, not included normally in the base kit) and I immediately started swapping over to the Honeycomb/diffusion combination. Here’s where you can spend a bit of time. I took me about ten minutes to fully remove the bounce material and switch over to the grid/diff combination. Nothing complicated here, but velcro’ing each part of the diffusion material to the frame takes time. I will say that having so many velcro points means any material you add to the frame isn’t going to come loose easily. Each of the four corners and the two longer sides have little locking points to help keep the joints connected as the frame expands. In practice these are great, but occasionally they would un-lock for me as I was locking other points — not an unsurmountable hurdle and it just took a little getting used to. The two included clamps allow you to mount the frame anywhere with the usually assortment of c-stands and grip clamps (including overhead for outdoor single-person interviews). From left to right: Half Grid, White Bounce, Silver Bounce. Image Credit: Graham Sheldon Light Quality If you’ve worked with diffusion, grids or bounces in the past then you’ll know the basic quality of light you get from modifying a source each of those various ways. The included half grid diffusion is a commonly used diffusion on most sets, but I would love to see full grid and 1/4 grid options with other types of materials including solids available in the future. Since 5×6.5′ is not a common size for frames you’ll be hard-pressed to find other diffusion options available in the marketplace with those dimensions from 3rd parties. Of course, you could have something custom made from a company like The Rag Place  or cut/stitch the material yourself. While it isn’t a common size as I mentioned, 5×6.5′ is large enough for many field applications and having worked with quick frame kits that are just too small I’m happy to use something that can cover a single person on-camera in most situations. Diffusion side out. Image Credit: Graham Sheldon Does It Work? Yes! This is a frame that can be built quickly and is useful in many, though not all, situations (given the available mountable materials). The price, in my opinion, is great and the entire kit breaks down into a size that will fit in 99% of vehicles. The Fast Frame is aimed at small crews that can’t afford a dedicated grip team and for that it absolutely does the trick. Center joint doesn’t lock so during setup you’ll have to manually hold it straight until you lock the corners. Image Credit: Graham Sheldon Reasonably priced when compared to its competitors, there is much to like about the Fast Frame kit. It’s one of those piece of gear that you perhaps didn’t know you needed, but once you’ve had it for a few shoots, it’ll never leave your kit. Full kit in soft bag. Image Credit: Graham Sheldon What has your experience been with other types of quick frame solutions in the past? Will you be giving the Fast Frame kit from Intellytech a try? Let us know in the comments below!

Shortly after the publication of our Canon C500 Mark II lab test last week, we learned that we will gain early access to a pre-production Canon C300 Mark III in our headquarters in Vienna. And of course we had to take an immediate “lab test” look at Canon’s latest Super 35 addition to their line of cinema cameras. After 5 weeks of home office, leaving my space mainly for only a quick walk with the dog and food shopping, I had to jump at this chance. So I picked up my face mask, greeted Nino from a safe distance and after a quick coffee together (and washing our hands thereafter) we headed straight into this. Please note that Canon mentioned this to be a pre-production unit, the firmware used was 1.8.1.1 – the final image may change when the camera is released. Nevertheless, we were super interested in getting a lab benchmark for this new camera so here we go! Time was very limited, which is not the best precondition for a thorough lab test. However, as we just ran the C500 Mark II through the lab (see our article here) and we quickly saw that the C300 Mark III shares the body, menu structure and a lot of other features including codecs with the C500 Mark II, we were fast in setting up the cam and decided to focus on 10bit XF-AVC, 4K DCI image acquisition for now (internal raw recording mode is available as well). Canon claims in their press release that this new Super 35 sensor in the C300 Mark III uses a dual gain circuit to capture increased highlight and shadow detail, which should translate into a very good dynamic range. Dynamic Range of the Canon C300 Mark III at ISO800 As there was no specific information on the native ISO which should yield the best dynamic range results, we choose ISO800 to run our tests. As mentioned above, the 10bit internal all – I XF-AVC codec with Canon Log2 / C.Gamut (color matrix “neutral”, noise reduction “off”) at a resolution of 4096×2160 at 25 frames per second was used. Canon claims their dual gain architecture to be active from 24 – 60 frames per second, therefore we tested 25, 60, 75 and 120 frames per second. And here is the result for 25 -60 fps, see figure 1 below: a strong 12.8 stops at a signal to noise ratio of 2 is calculated. This dynamic range result is the same for 60 frames per second –  a really good result for a Super 35 sensor. For comparison, the BMPCC6K shows 11.9 stops in our tests, the FUJIFILM X-T3 11.2 stops. Fig. 1: IMATEST dynamic range results for the Canon C300 Mark III at 25fps, ISO 800, CLOG2 / C.Gamut, 4K DCI. Very strong 12.8 stops at a signal to noise ratio of 2 are calculated. The waveform plot of the Xyla 21 chart confirms this result, see figure 2 below: Fig. 2: Waveform plot of the Xyla 21 stepchart for the Canon C300 Mark III at 25fps, ISO 800, CLOG2 / C.Gamut, 4K DCI. About 13 stops can be identified above the noise floor. At 75 frames per second (4K DCI) the situation changes, as the dual gain architecture of the sensor is no longer active. This can be seen in the waveform plot in figure 3 below – the image becomes much noisier, and around 12 stops can be identified above the increased noise floor: Fig. 3: Waveform plot of the Xyla 21 stepchart for the Canon C300 Mark III at 75fps, ISO 800, CLOG2 / C.Gamut, 4K DCI. The dual gain architecture is no longer active – about 12 stops can be identified above the noise floor. IMATEST confirms this and calculates 11.6 stops (at a signal to noise ratio of 2, medium value in the graph below) – still, a very good result! Fig. 4: Waveform plot of the Xyla 21 stepchart for the Canon C300 Mark III at 75fps, ISO 800, CLOG2 / C.Gamut, 4K DCI. The dual gain architecture is no longer active – 11.6 stops are calculated. Rolling Shutter of the Canon C300 Mark III As mentioned previously, we are using a strobe light at 300 Hz to calculate rolling shutter of CMOS sensors. First interesting result – at 25 fps and up to 60 fps 15.6 ms rolling shutter are measured, see figure 5 below: Fig. 5: at 25 frames per second up to 60 frames per second the rolling shutter in 4K DCI mode is 15.6 ms This is a good but not outstanding value for the rolling shutter – other Super35 cameras like the FUJIFILM X-T3 are on the same level, the aforementioned BMPCC6K has 19.8ms. Now, this camera also offers up to 120 frames per second in 4096×2160 – now how does this work? 15.6ms rolling shutter would not support higher frame rates than 60 fps. Obviously, by eliminating the dual gain read out at 75fps and higher, the rolling shutter drops to 7.7ms, see figure 6: Fig. 6: at 75fps up to 120 frames per second the rolling shutter in 4K DCI mode is 7.7 ms, as the dual gain readout is no longer active at these frame rates Latitude (underexposure) Test of the Canon C300 Mark III at ISO800 As mentioned earlier, “latitude” is the capability of a camera to retain details and colors when over- or underexposed and pushed back to zero exposure. In our Lab scene, the zero exposure level represents a base exposure of F4 at ISO800, shutter angle 360° for 25fps DCI 4K. The exposure level is checked by the waveform reading of my colleague Nino’s face which shows a maximum of 60% Luma value, the white sheet of paper comes in at 65%. Then, exposure is dropped successively to 180°, 90°, 45°, 22.5° and finally 11.25° shutter angle – 5 stops underexposed. The resulting images are pushed back to the zero exposure level in postproduction using DaVinci Resolve Studio. The good dynamic range results are giving already a strong indication that this test will go well with the C300 Mark III – spoiler alert! Let’s have a look first at the zero exposure level: Fig. 7: zero / base exposure level (graded) for the studio scene with the C300 Mark III at 25fps, 360° shutter angle F4 Let’s jump right ahead and have a look at the 3 stops underexposed image, figure 8 below: Fig. 8: 3 stops underexposed and pushed back – the C300 Mark III at 25fps, 45° shutter angle F4 Not much to see in figure 8 above, right? The C300 Mark III behaves very well at this exposure level. The image becomes a bit grayish, and some red speckles of noise start to appear (look at the shadow area below Nino’s cheek). Those speckles can be easily removed by just a bit of temporal noise reduction in post. Fig. 9: 4 stops underexposed and pushed back – the C300 Mark III at ISO800, 25fps, 22.5° shutter angle F4 A similar observation holds true for 4 stops of underexposure pushed back – figure 9: the noise in the shadows increases but can be removed quite effectively by just a bit temporal noise reduction. The noise is finely dispersed, like film grain, which looks really good (and is easily removed by noise reduction). Fig. 10: 5 stops underexposed and pushed back – the C300 Mark III at 25fps, 11.25° shutter angle F4 Finally, at 5 stops underexposure, the noise becomes a bit nasty. You can remove this noise again quite effectively in post by adding temporal noise reduction (still no spatial NR needed), but the shadow areas nevertheless have those strong reddish noise speckles, which become posterized areas of red after noise reduction. But I would say you could still get away with this image, as it does not show those fixed horizontal/vertical lines like all other cameras tested so far –  which are very distracting in a moving image and cannot be removed easily in post. Here is an example of using 3 frames temporal noise reduction in DaVinci Resolve, 15 temporal threshold (no spatial NR), see figure 11 below: Fig. 11: 5 stops underexposed and pushed back – the C300 Mark III at ISO800, 25fps, 11.25° shutter angle F4 using noise reduction in DaVinci Resolve (3 frames temporal, 15 threshold, no spatial) Summary This year Canon surprises us all with their innovative new cameras – the C500 Mark II full-frame camera from late last year already set the benchmark in our lab for a full-frame sensor, and the Super 35 sensor sized C300 Mark III is almost on the same level – a superb lab result, leaving behind all other cameras in this sensor class – with the exception of the ARRI Alexa of course. Hence, overall a third place behind the C500 Mark II and the ARRI Alexa. Well done, Canon! What do you think about the new Canon C300 Mark III, do you think it will gain its firm place in the production world after the world opens up for business again? Let us know in the comments below.