At a glanceExpert's Rating Pros Sharp 2K video with color night vision Built-in solar panel with battery backup Local storage, with a cloud-storage option Cons No support for Alexa or Apple HomeKit App feels unfinished and lacks polish Solar charging may struggle in low-light locations Our Verdict A solid pick for basic home security with no monthly fees—just be prepared for a stripped-down app experience and limited smart home compatibility. Price When Reviewed This value will show the geolocated pricing text for product undefined Best Pricing Today Outdoor security cameras used to be a hassle, with wires to run, batteries to swap, recordings to pay for, and more. The Night Owl Solar-Powered Battery Camera ($99.99) is part of a growing wave of products that promise to simplify all that. This camera is fully wireless, powered by the sun, and it doesn’t lock you into paying for a subscription to store recordings in the cloud. That makes it appealing to anyone who wants to boost their home security without taking on another bill or a weekend-long installation project. Design and features The Night Owl Solar-Powered Battery Camera has the clean, utilitarian look you’d expect from a modern outdoor security cam. It’s a compact white unit with an integrated solar panel on top and a ball-and-socket mount that lets you aim it where you need. The plastic housing feels solid enough to handle the elements, though it doesn’t have the heft of more premium models. Night Owl didn’t provide an IP code to rate its protection from the elements, but like most cameras in this price range, it’s best installed under an eave or overhang for protection. You can link the camera to your home Wi-Fi network, or you can establish a point-to-point wireless connection to a Night Owl hub, which comes with a 64GB microSD card and the option to host a hard drive. The camera records in 2K resolution (2560 x 1440 pixels), which gives you a sharp image with enough detail to make out faces and license plates, assuming decent lighting and a clear line of sight. It’s a step up from the 1080p footage you get with many entry-level cameras. The solar panel is the main draw here. It keeps the internal batteries topped off with regular sun exposure, cutting down on the need to dismount the camera for recharging manually if it’s frequently in the shade or after long runs of cloudy days. The camera has two spotlights to brighten up the scene after dark or in shady areas.Night Owl Like most smart cams, this one includes two-way audio, so you can talk to delivery people or warn someone of your property. There’s also a built-in siren you can trigger from the app to scare off intruders. The camera uses motion detection to alert you to activity, and it can distinguish between people and vehicles. That helps cut down on false alarms from wind-blown branches or passing pets. It also has color night vision, using its spotlight to brighten up the scene after dark. When there’s not enough light, it falls back to black-and-white infrared. There are two connectivity options: You can link the camera to your home Wi-Fi network, or you can establish a point-to-point wireless connection to a Night Owl hub, which comes with a 64GB microSD card and has the option to host a hard drive for additional storage. The second option adds a layer of security by keeping your footage off the public internet, and that might be appealing for folks already invested in the Night Owl ecosystem. Two rechargeable batteries fit into a compartment on the underside of the camera, accessed by removing a small panel. Michael Ansaldo/Foundry Storage options are equally flexible. You can save footage locally to a microSD card on the camera itself, to that Night Owl hub, or you can opt into a cloud-storage plan. Night Owl offers two tiers: $3.99/month for 15GB of 30-day storage on individual devices, or $9.99/month for 50GB of 30-day storage when using a Security Hub. The fact that cloud storage is optional—not required—is a plus, especially for users who prefer to keep costs down or avoid uploading footage to the internet. Everything runs through the Night Owl Protect app, which gives you a live view, event history, and control over motion settings and notifications. It’s available for iOS and Android, and while it’s not as polished as some competitors, it covers the basics well enough. Setup and performance Installing the Night Owl Solar-Powered Battery Camera is fairly straightforward. The camera comes with mounting hardware and a ball-joint bracket that lets you adjust the angle once it’s in place. The biggest decision is placement. You’ll want a spot with decent sunlight to keep the solar panel doing its thing, and within range of your Wi-Fi network or Night Owl hub. Setup is done through the Night Owl Protect app and takes just a few minutes. The Night Owl Protect app provide the live view, event history, and control over motion settings and notifications. Michael Ansaldo/Foundry The camera comes with a pair of rechargeable lithium ion 18650 batteries and a USB-C charging cable. To install them, you’ll need to unscrew a small panel on the bottom of the camera. Once the batteries are in place, they’ll be kept charged by the solar panel, but you can also recharge them manually using the included cable. The charging port is tucked behind a rubber tab next to the microSD card slot. The cable is about 5 feet long, so if you don’t have and outdoor plug within its reach, you’ll need to take the camera down recharge it. Should the batteries ever fail you recharge, you can buy a replacement set for $24.99. The app gets the job done, but it could use some polish. Navigation isn’t as intuitive as it is with apps from bigger brands like Ring or Arlo, and the interface feels a bit dated. That said, once you learn your way around, it’s functional. You can view live video, review recorded clips, tweak motion sensitivity, and speak through the camera—all the basics are covered. Motion alerts come through quickly, and the camera generally does a good job recognizing people and vehicles while ignoring other types of movement. During testing, notifications arrived within a few seconds of motion being detected, with few false alarms. Audio quality is excellent. Voices come through clearly, and there’s a canned warning you can trigger—“Smile, you’re being recorded”—if you’d rather not interact with an interloper directly. The camera can be manually recharged via the included USB-C cable; the charging port sits beside the microSD slot under a rubber tab. Michael Ansaldo/Foundry Video quality is solid for a 2K camera in this price range. Daytime footage is clear and crisp, with accurate color. Nighttime performance depends on ambient lighting. With the spotlight on, you’ll get decent color detail; without it, infrared kicks in and delivers a usable black-and-white image. Battery life depends heavily on placement. In full sun, the solar panel does a good job maintaining the charge, even with a few motion events per day. In shaded areas or during cloudy weeks, the battery might drain faster than it charges, requiring occasional manual recharging. It’s not a set-it-and-forget-it experience in all cases, but it comes close with the right placement. The camera integrates well with the Night Owl ecosystem and also supports Google Home, so you can view footage on compatible smart displays. However, it doesn’t work with Alexa or Apple HomeKit, and broader smart home automation is limited. Should you buy the Night Owl Solar-Powered Battery Camera? If you’re looking for a simple, self-contained security solution that doesn’t nickel-and-dime you with monthly fees, the Night Owl Solar-Powered Battery Camera makes a strong case. It’s especially well-suited for budget-conscious users who want decent video quality, reliable motion alerts, and basic smart features without getting tangled in cords or locked into a subscription. This review is part of TechHive’s in-depth coverage of the best home security cameras. That said, it’s not for everyone. If you live in a region with limited sunlight or need full integration with smart home platforms like Alexa or Apple Home, you’ll hit some walls. And the app, while functional, feels a step behind more polished platforms from bigger brands. Still, for what it is—a no-subscription-required, solar-powered security cam that plays nicely with Night Owl’s wired storage systems—it delivers solid value. If that’s what you’re after, this camera’s worth a look.

Seasonic is equipping its next-generation Prime power supplies with sensors, firmware, and external monitoring to prevent overheating and melting of 12VHPWR and 12V-2×6 connectors.

When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works. Xbox May Update brings GeForce Now option to Xbox app, Game Bar features, and more Pulasthi Ariyasinghe Neowin @LoneWolfSL · May 21, 2025 19:02 EDT Today, Microsoft detailed what it has brought to Xbox players on console and PC in May as part of their monthly feature upgrades. The biggest one of the bunch is the newly released Retro Classics app, bringing over 50 classic Activision games for Game Pass members. Find more details about it here. At the same time, the company revealed fresh updates to Xbox Game Bar and a GeForce NOW addition to the Xbox app on PC, among other additions. Starting with the cloud feature, PC gamers opting to stream titles from the Xbox app will now get a helpful pop-up that asks them to choose their preferred streaming platform. For example, when clicking the cloud play option in Indiana Jones and the Great Circle, the app will ask players if they want to go ahead and play it via Microsoft's Xbox cloud servers or Nvidia's GeForce NOW platform. The option will only pop up on games that have also received support on Nvidia's own cloud platform. Clicking on the GeForce NOW button in the pop-up will take players to Nvidia's services, while the Xbox option will instantly launch the game via the cloud within the Xbox app itself. Next, Microsoft has revamped the Settings widget in the Game Bar, bringing quick settings and a visual upgrade to match the rest of the updated widget UI. The settings widget now allows PC players to quickly adjust things like audio levels, screen brightness, Compact Mode, connected devices, and even show a virtual keyboard. Microsoft Edge Game Assist is also coming soon to the Game Bar, letting players open a built-in browser to look up walkthroughs or any website they prefer with ease. This will be connected to the user's own Edge browser so that they will also have access to their own favorites, passwords, history, and other aspects seamlessly. Microsoft is also celebrating its continued Xbox Play Anywhere program push. So far in 2025, over 70 games have launched with this feature, letting players buy the game once and play it across Xbox and Windows platforms with cross-platform achievements, saves, and DLC. Lastly, the Xbox Rewards system has delivered an upgrade for the Xbox gift card department. Users can now redeem their Rewards points for almost any amount in the hub, as long as it is within $5-$100. Simply select the "Custom" option in the Rewards Hub's Xbox Gift Card section to access this new option. Tags Report a problem with article Follow @NeowinFeed

The SEC on Wednesday said it has charged cryptocurrency startup Unicoin and three of its top executives for false and misleading statements that raised more than $100 million from thousands of investors. "We allege that Unicoin and its executives exploited thousands of investors with fictitious promises that its tokens, when issued, would be backed by real-world assets including an international portfolio of valuable real estate holdings," said Mark Cave, Associate Director in the SEC's Division of Enforcement. "But as we allege, the real estate assets were worth a mere fraction of what the company claimed, and the majority of the company's sales of rights certificates were illusory. Unicoin's most senior executives are alleged to have perpetuated the fraud, and today's action seeks accountability for their conduct." From the release: The SEC alleges that Unicoin broadly marketed rights certificates to the public through extensive promotional efforts, including advertisements in major airports, on thousands of New York City taxis, and on television and social media. Among other things, Unicoin and its executives are alleged to have convinced more than 5,000 investors to purchase rights certificates through false and misleading statements that portrayed them as investments in safe, stable, and profitable "next generation" crypto assets, including claims that: - Unicoin tokens underlying the rights certificates were "asset-backed" by billions of dollars of real estate and equity interests in pre-IPO companies, when Unicoin's assets were never worth more than a small fraction of that amount; - the company had sold more than $3 billion in rights certificates, when it raised no more than $110 million; and - the rights certificates and Unicoin tokens were "SEC-registered" or "U.S. registered" when they were not. According to the SEC's complaint, Unicoin and Konanykhin also violated the federal securities laws by engaging in unregistered offers and sales of rights certificates. Konanykhin offered and sold over 37.9 million of his rights certificates to offer better pricing and target investors the company had prohibited from participating in the offering to avoid jeopardizing its exemption to registration requirements, as alleged. Read more of this story at Slashdot.

We may earn a commission from links on this page. Deal pricing and availability subject to change after time of publication.The Mac mini has always been about packing a surprising amount of power into a tiny shell, and the Early 2023 Apple Mac mini M2 sticks to that idea. Right now, you can grab the refurbished 8GB RAM, 512GB SSD model on sale for $459.99 at StackSocial (down from $599), or the 256GB SSD version for $359.99. Both are rated “Grade A,” meaning they show little to no cosmetic wear and ship free across the contiguous U.S. Powered by Apple’s M2 chip, this mini desktop quietly handles everything from daily multitasking to heavy-duty tasks like 8K video editing. Its 8-core CPU, 10-core GPU, and 16-core Neural Engine give it real muscle, especially for creatives or anyone who juggles multiple apps and tabs at once. However, keep in mind that while it’s a beast for most workflows, 8GB RAM might feel tight for heavier professional workloads down the line, like video production or 3D rendering.These Mac minis run macOS Ventura out of the box (with an easy upgrade path to the latest macOS Sequoia, so you're not starting on an outdated system), and support up to two external displays, including one up to 6K over Thunderbolt and another up to 5K (or 4K through HDMI), making it a strong centerpiece for creative setups. It's got serious connectivity options too—two Thunderbolt 4 ports, an HDMI port with 8K support, two USB-A ports, Ethernet, and a headphone jack that’s ready for high-impedance headphones. Wifi 6E and Bluetooth 5.3 round things out, giving you faster and more stable wireless connections. With fast boot times, excellent security baked into the hardware, and a form factor that weighs just 2.6 pounds, the Mac mini M2 feels like a serious upgrade packed into a minimalistic design. It’s a small machine with serious ambition, and for most people, that’s more than enough.

Encrypted messaging platform Signal is rolling out a feature called Screen Security to its Windows app. It's broadly a way to prevent a computer from logging screenshots of your messages when the app is open, but in a blog post, the company directly called out the Recall feature in Windows 11 as the reason for this new capability.  Signal explained that what it essentially did was to flag its application as protected by Digital Rights Management (DRM), because content under that umbrella will not be recorded in a screenshot on a Windows device. It's the same reason that a movie streaming from Netflix will appear in screenshots as a black box. Screen Security will be on by default, but this setting can be easily disabled for cases where a user does need to be able to access the application, such as when using a screen reader. "We hope that the AI teams building systems like Recall will think through these implications more carefully in the future," the company said. "Apps like Signal shouldn’t have to implement 'one weird trick' in order to maintain the privacy and integrity of their services without proper developer tools." The Recall feature in Windows 11 has had a difficult and well-delayed development process. While the AI-powered tool to record everything on a PC's screen has some potential benefits for user productivity, it's also raised a lot of concerns about privacy and security. Although Microsoft has started rolling out Recall to Copilot+ PCs, not everyone is convinced that it's ready for prime time.This article originally appeared on Engadget at https://www.engadget.com/computing/signal-will-block-microsoft-recall-from-snooping-on-your-texts-225853193.html?src=rss

Sir Jony Ive will “assume deep design and creative responsibilities” to build new products for OpenAI, the company that makes ChatGPT. It comes after the company bought io, a hardware start-up Ive founded with fellow Apple alumni Scott Cannon, Evans Hankey and Tang Tan in 2024. The long-term plan was seemingly always to merge with OpenAI. The deal is reported to be worth $6.5 billion, and although Ive will not join OpenAI himself, his LoveFrom studio will “take over design for all of OpenAI, including its software,” Bloomberg reports. The first products are expected to launch in 2026, although there are no details yet as to what they will be. “I have a growing sense that everything I have learned over the last 30 years has led me to this moment,” Ive said. “While I am both anxious and excited about the responsibility of the substantial work ahead, I am so grateful for the opportunity to be part of such an important collaboration.” A statement posted on the OpenAI website said that founder Sam Altman started working with LoveFrom – co-founded by Ive, Marc Newson and Peter Saville – two years ago. “Tentative ideas and explorations evolved into tangible designs,” the statement says. “The ideas seemed important and useful. They were optimistic and hopeful. They were inspiring. They made everyone smile. They reminded us of a time when we celebrated human achievement, grateful for new tools that helped us learn, explore and create.” “I have a growing sense that everything I have learned over the last 30 years has led me to this moment.” This led to the realisation that OpenAI’s “ambitions to develop, engineer and manufacture a new family of products demanded an entirely new company” and this led to the creation of io. “AI is an incredible technology, but great tools require work at the intersection of technology, design, and understanding people and the world,” Altman said. “No-one can do this like Jony and his team; the amount of care they put into every aspect of the process is extraordinary. “What it means to use technology can change in a profound way. I hope we can bring some of the delight, wonder and creative spirit that I first felt using an Apple Computer 30 years ago.” OpenAI also released a ten-minute video announcing the new partnership. In the film, Altman says he believes, “they have an opportunity to completely re-imagine what it means to use a computer.” io’s team of hardware and software engineers, physicists, researchers and manufacturing experts have already produced the first prototype. Altman says Ive called it “the best work he had ever done” while Altman thinks it will be “the coolest piece of technology that the world will have ever seen.” So far, AI-enabled products like the Rabbit R1 companion and the Humane AI Pin have been underwhelming – tech blogger Marques Brownlee called the latter, “the worst product I’ve ever reviewed.” But Altman is clearly confident that their products will buck this trend. In the film, Ive points out that the hardware people use to work with AI comes from a different era. “The products that we are using to connect us to unimaginable technology, they’re decades old,” he says. “And so it’s just common sense to at least think, surely there’s something beyond these legacy products.” Altman agrees. “I think this technology deserves something so much better,” he says. When he appeared on the BBC’s Desert Island Discs programme in February, Ive said that society needed “healthy discussions” about AI and in particular “the rate of change” which he feared was not yet being fully grasped. In the same interview, he also admitted that he was troubled by the iPhone’s legacy. “The nature of innovation is there will be unpredicted consequences,” he told host Lauren Laverne. “I celebrate, and am encouraged by, the very positive contribution, the empowerment and the liberty it has provided to so many people, in so many ways.” And while what he calls “the not-so-positive consequences” were unintended, “that doesn’t matter relative to how I feel responsible,” Ive said. “That weighs, and is a contributor to decisions that I have made since, and decisions I am making in the future.” In the OpenAI film, Altman says the pair bonded over “shared values about what technology should be, when technology’s been really good, when it’s gone wrong.” “Our motivations and values are completely the same,” Ive adds. Ive also has previous experience working with a visionary but controversial founder, in Steve Jobs. In a review of tech journalist Karen Hao’s new book, Empire of AI: Inside the Reckless Race for Total Domination, The Guardian described Altman as, “depending how you view him, the villain who has put humanity on the path to mass extinction, or the visionary utopian who will bring us cures for diseases and a revolution in how we work.” Speaking on Desert Island Discs, Ive complained about the “absurd anecdotes and stories” about Jobs and his leadership style, which Ive insisted had been taken out of context.

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Trump’s top crypto advisor David Sacks says the administration’s stablecoin bill is poised to pass with bipartisan support.

Behind the film’s invisible visual effects by Cinesite, including environments, aerial surveillance footage and those stunning F-18 show of force shots.  Warfare, written and directed by Ray Mendoza and Alex Garland, is based on Mendoza’s own experiences as a US Navy SEAL in a deadly moment during the Iraq War. It follows the action as a Navy SEAL platoon takes over a suburban Ramadi street before they come under attack. When they attempt to flee and call in a Bradley Fighting Vehicle, an IED explosion results in severe casualties and a further rescue. Cinesite, led by visual effects supervisor Simon Stanley-Clamp, was responsible for the film’s visual effects. This ranged from taking original plates for the house and surrounding street areas shot at at an airfield and fleshing out the environment to resemble the Iraqi city, to realizing gunfire and weapon hits, and some dramatic ‘show of force’ F-18 shots.  Here’s how they did it. The shoot The film was shot at Bovingdon Airfield Studios in Hertfordshire, UK. The Ramadi street set was completely built there as an outdoor location in the airfield’s car park. “Initially,” recounts Stanley-Clamp, “the plan was to build just the one house and digitally do the rest. But then the plan went to six houses in close quarters around the hero house where the incident takes place. It grew finally to eight houses, one was a complete working house, with a working staircase, and then the houses off it are flattage, but good flattage with enough depth to work.” Surrounding the housing set were two ‘massive’ bluescreens, as Stanley-Clamp puts it. “They were 20 feet high by 120 feet wide. Then I had a couple of floating bluescreens on Manitou’s that we could drive in to plug a gap here and there.” Cinesite was then responsible for extending the street environment and completing some sky replacements. “Production designer Mark Digby’s set was so well-built,” says Stanley-Clamp. “Sometimes, with a set for a castle or something like that, when you get up close to the set, you can tell it’s plaster and wood and canvas. But the textures we sourced from Mark’s set are what we use to duplicate and replicate out the rest of the build in CG. Our build was completely based on their architecture.” The IED explosion As a Bradley Fighting Vehicle arrives at the house and members of the platoon leave to enter it, an IED fixed to a lamppost is detonated next to the tank. Special effects supervisor Ryan Conder orchestrated the explosion. “It was shot with a lot of dust and debris and with light bulbs inside so that it was very bright,” says Stanley-Clamp. “We had prepped visual effects simulations to add to the dust and debris, but Alex essentially said, ‘No, it works, that’s what I want.’ What we did add was some burning phosphorus that stays alight for around four minutes. There was also a small pick-up bluescreen shot for a soldier falling.” “After the main explosion,” continues Stanley-Clamp, “there’s the moment where there’s just a lot of smoke. We added about 45% more smoke and tiny particulate, so small you barely register it, but you “feel” it’s presence. There’s a lot of subtle compositing work going on inside there. At one point, two of the soldiers are standing almost next to each other, but they don’t know that they’re standing next to each other. So we were having to roto each soldier off the plate and then layer smoke back over them and then reveal them and push them back. It was a lot of fine-tuning.” Prosthetics designer Tristan Versluis delivered a number of prosthetics and bloody make-up effects for the resulting IED explosion injuries. Cinesite’s contributions here were only minimal, advises Stanley-Clamp. “There’s one particular shot where we put in a fluid blood sim running as a character cuts open the trouser leg. Arterial veins and things should be pumping a little bit of blood, so we put some fluid blood in running off the wound and a couple of other little embellishments.” Show of force At three points in the film, platoon members call in a ‘show of force’ from an F-18, which involves a loud fly-by the house designed to intimidate those surrounding it with an almighty sound and pulsating wave of dust and debris.  “The show of force was going to happen only once,” notes Stanley-Clamp, “and it was one of those shots where we were told, ‘You won’t  see the jet, just hear it.’ Well, in the end, they wanted a trailer-type shot for this. Also, that first show of force is the only time we used a bit of fancy camera kit where we were on a long arm and dropped the camera down. Usually, we were right there all the time with the platoon. For that shot, Alex said, ‘Faster, faster, faster—what happens if you run it double speed?’ We ran it double speed and it worked.”  “We worked with the physics of the environment and we measured everything out,” adds Stanley-Clamp. “I mean, it’s traveling at something like 400 miles an hour. With the camera coming down, there was actually a weird optical illusion. It made it look like the plane was going up. So we had to do some tricky things to make that work.” For the resulting wave of dust and debris, Cinesite had Lidar scans of the set, and used a model of the houses and street to aid in simulations and extra backdrafts, utilizing Houdini. Says Stanley-Clamp: “We even went in and added moving palm trees, put more sand on the ground that could lift up, and then would scrape it back so you are left with patches of exposed ground.” Stanley-Clamp’s other main memory of those show of force moments was the sound. “So, the set was rigged for sound, meaning, the sound was built into our set. When that show of force happened, the first time it happened, I was looking for that fucking jet! Where did that come from?! It was absolutely deafening. Same goes for the call to prayer, the dogs barking, people chattering out in the street, it was all there.” Aerial surveillance Inside the house, the platoon has a computer with aerial maps and surveillance of their location, showing the house from above and movement around it. These screens were initially intended to only be featured briefly, but Stanley-Clamp took it upon himself to prepare some graphics that could be played back during the shoot. “In editorial,” he says, “they started to cut in the graphics that had been made, and they found it really helped with the exposition. So, they needed more.” Using the CG models constructed for the set extensions, Cinesite expanded the buildings out to a full grid of streets and residences. Adding in soldiers and other people was then necessary for the surveillance screens. At a pick-up shoot back at Bovingdon airfield, this time on the actual runway, a large 400 foot long bluescreen was laid on the ground, and a drone used to film action from 200 feet up in the air.  “We used this to film the equivalent of running down a street,” outlines Stanley-Clamp. “We had actually previs’d it with walk cycles that I had generated myself, but Alex said, ‘It’s got to be real people. Not mocap. You can tell they’re pixels, you can tell.’ For a day shoot, I got hours and hours and hours of footage, which I could never have generated in CG. Plus, I got whole platoons to walk down the street, not just individual people.”  The result was a collection of elements that brought some realistic-looking parallax to the surveillance screens, suggests Stanley-Clamp. “In fact, at one of the test screenings with some marines, the feedback from them was, ‘Where did you get hold of the footage? It’s so good.’ They thought it was real footage.” For the actual look of the footage, Cinesite consulted with Mendoza on whether it took on an infrared, ultraviolet or ‘heat seek’ look, the latter of which is what they settled on. “Right up until very close to the end,” notes Stanley-Clamp, “I thought, ‘It’s not quite right.’ So we grunged it down and raised it back up. It was looking too clean. We had to remember this was set in 2016 and effectively the tech then is a little different. You can buy night-vision goggles now or shoot night vision with drones and the quality’s ridiculous. But we had to go back to the reference, although we found that it can be hard to find that old reference.”  Subtle effects Warfare’s use of subtle visual effects extended also to weaponry. For shots requiring the Bradleys to fire from their central gun barrels, Cinesite provided a large muzzle flash and resulting smoke, timed to practical explosions rigged to buildings. Gunshots and muzzle flashes were also added to soldier firearms, along with accompanying CG bullet, phosphors and masonry hits.  Cinesite’s muzzle flashes related directly to the choice of camera. The film was shot largely on a DJI Ronin lightweight camera (the DOP was David J. Thompson) that allowed for fast set-ups and being able to maneuver in small spaces. “We did some experiments and found that shooting at 30 fps gave us the best retention of muzzle flashes,” explains Stanley-Clamp. “You would not always see a muzzle flash go off, so sometimes we’ve enhanced a muzzle flash that’s in there or put additional ones in.” “It was a bit different for something like tracer fire,” adds Stanley-Clamp. “You might think trace fire is there the whole time. It’s not. It’s about every fifth shell that goes off, that’s where you will get a tracer fire. Alex would be counting them. ‘No…no…now!’ That was a good learning curve.”  The post How an airfield in the UK was turned into the Iraqi city of Ramadi for Alex Garland’s ‘Warfare’ appeared first on befores & afters.