LG’s V30 Smartphone: 10-bit color, LG Cine-Log Video in a Phone?

 Cinematography, Gear  Comments Off on LG’s V30 Smartphone: 10-bit color, LG Cine-Log Video in a Phone?
Oct 162017

Move over Apple, there’s a new kid in town. The LG V30 takes mobile video to new heights with a 10-bit HDR Image Sensor and LG Cine-Log gamma.

In case you didn’t catch that: the LG V30 promises to record 4K video at 10-bit color depth with log gamma encoding. Before getting too excited about this, it is important to separate fact from fiction, and cinema5D will do exactly this with the LG V30 after some thorough tests, the results of which you can expect in a subsequent article.

Meanwhile, check out Parker Walbeck’s LG V30 vs RED Weapon video on his YouTube channel Fulltime Filmmaker:

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Nikon D850 Best DSLR Ever, Gets First Full 100 Score at DxOMark

 Cinematography, Gear  Comments Off on Nikon D850 Best DSLR Ever, Gets First Full 100 Score at DxOMark
Oct 082017

The Nikon D850 was just awarded the first full 100 overall score ever given out to a DSLR by the testing lab DxOMark. The D850 now sits alone in the top spot on the camera leaderboard, with the full-frame mirrorless Sony a7R II sitting at #2 with a score of 98.

This is the first time a full-frame backside-illuminated sensor has appeared in a Nikon camera, and it’s a sensor that “breaks new ground for image quality,” DxOMark says. The D850 has the best color and dynamic range at base ISO among all commercially available cameras tested by the lab — it’s so good it rivals medium format sensors in some aspects.

“At base ISO, the Nikon D850 image quality for color is unrivaled for a DSLR, although the mirrorless Sony A7R II and full frame compact RX1R II comes pretty close,” DxOMark writes. “The D850’s color is on par with the best results we’ve seen on medium-format sensors, such as the Phase One IQ180 digital back, and fractionally ahead of the Phase One P65.”

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Panasonic GH5 Cage Review & Shootout – Zacuto vs. Movcam vs. Came-TV

 Cinematography, Gear  Comments Off on Panasonic GH5 Cage Review & Shootout – Zacuto vs. Movcam vs. Came-TV
Oct 022017

We put three camera cages for the Panasonic GH5 head to head for an in-depth look, review and comparison. Came-TV, Movcam, Zacuto… Let’s see which one comes out on top on this GH5 Cage Shootout!

To use the full potential of any camera, it is crucial to find the right cage on order to mount whatever third-party accessories you may need. That said, cages don’t just add several mounting threads and cold shoes, they also improve protection of the camera body, usually add better grips and handles, and protect the HDMI connector and other ports.

In the case of the Panasonic GH5, there is now wide variety of compatible cages, and the quality differences are quite significant. For this comparison, we received three popular cages for testing, but please note that this is not an exhaustive list of Panasonic GH5 cages.

Structure of Each Review:

  • Ease of assembly and disassembly.
  • How securely is the camera attached to the cage?
  • HDMI cable protector design.
  • Do we have access to the side outputs, slots and all the buttons?
  • Is it possible to use the Panasonic XLR adapter?
  • How good is the included Rod Support?
  • Quality of the Metabones Mount.
  • The top-handle design.
  • Overall ergonomics.
  • Conclusion.

At the very end of the article I’ll summarize the main pros and cons of each cage and announce our veredict. Please note that no cage is perfect and it’s up to each user to decide which cage better fits their needs and preferences.


Came-TV has the simpliest design out of all three tested cages. It does not feature HDMI support, but has many threads and offers a rod support piece. How well did it perform?

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Phantom Flex VEO 4K-PL Exclusive Hands-On

 Cinematography, Gear  Comments Off on Phantom Flex VEO 4K-PL Exclusive Hands-On
Oct 022017

Vision Research has recently introduced a new Phantom VEO 4K-PL, which like its older brother Phantom Flex 4K, can shoot up to 1000fps at full 4K DCI resolution, but in a smaller and more compact body.

What is the Phantom VEO line?

They say that when you touch a Phantom camera you go straight to heaven. At least that’s how I feel. Vision Research is a company that started out with high-speed cameras for military testing and analysing car-crash impacts, only to later turn its eye to the film industry with its revolutionary tech. In 2014, Vision Research introduced the mind-blowing Phantom Flex 4K camera, capable of 1000 frames-per-second at full 4K DCI resolution, in what many would consider the best quality 4K RAW compared to RED and even ARRI. Last year, Vision Research introduced the VEO line, a more compact version of their film industry cameras that continue the trend set by the ARRI Mini and RED – that smaller is better. Less weight and a more compact design mean more possibilities, such as the use of stabilisation platforms and even UAV. In comparison, the Phantom Flex 4K body weighs an incredible 5kg without ANYTHING on it. Add a lens, follow focus, rods, viewfinder, batteries, monitor and you can easily accumulate a weight that not many gimbals can handle.

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GoPro HERO6: This Is the Moment in 4K!

 Cinematography, Gear, News  Comments Off on GoPro HERO6: This Is the Moment in 4K!
Sep 282017


This Zunow Cine Wide Attachment CWA-114 Promises High-End Performance on Cine Zooms

 Cinematography, Gear  Comments Off on This Zunow Cine Wide Attachment CWA-114 Promises High-End Performance on Cine Zooms
Sep 242017

The Zunow Cine Wide Attachment is the latest by the optics converter manufacturer. It promises x0.75 conversion with minimal light loss.

Zunow is known for its wide-angle converters, such as the DWA-075 for DSLR lenses or the WCX-100 for 4K zooms. The latest offering from Zunow is the CWA-114, an attachment specifically made with larger-diameter cinema lenses in mind.

Zunow Cine Wide Attachment: The CWA-114

The Zunow Cine Wide Attachment makes the focal length of your wide-angle cinema lens 0.75x larger through a 130mm front element that offers a minimal distortion of 1%, an almost maximum light transmission of 97% and 4K coating for maximum resolution from corner to corner. It aims to quickly offer a wide-angle option without the need to change lenses.

But what does this mean in numbers? Some of the examples provided by Zunow include:

  • FUJINON 20-120mm T3.5, which becomes a 15-75mm T3.6.
  • Canon 17-120mm T2.95-3.9, which becomes a 14-75mm T3.0-4.0 (with vignetting at 12.75-14mm).
  • ZEISS 21-100mm T2.9-3.9, which becomes a 15.75-75mm T3.0-4.0.

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A Look at Blackmagic’s URSA Mini Pro Mirrored SSD Recorder Add-On

 Cinematography, Gear  Comments Off on A Look at Blackmagic’s URSA Mini Pro Mirrored SSD Recorder Add-On
Sep 212017
 URSA Mini Pro Mirrored SSD Recorder

Blackmagic Design has listened to customer requests and developed an SSD recorder for the URSA Mini Pro, which was announced earlier this year. This allows users to to get fast recordings on to larger-capacity media. It attaches to the rear of the URSA Mini Pro and enables you to mirror recordings in the same codec and format that is recorded internally.

The URSA Mini Pro Mirrored SSD Recorder connects via 2 SDI cables to the camera. However Tim tells us that it records the files as original data in the chosen format and not via an SDI stream.

For productions that require multiple sets of rushes, such as for sending to archive or a post-production facility, the new URSA Mini Pro mirrored SSD recording capability allows for a much faster workflow than needing to create copies of sometimes very large files or long video clips.

The choice of using SSDs was due to the low cost and wide availability of the medium. The SSD recorder works in the same way as the Blackmagic Design Hyperdeck, and recommends the same high-speed drives to use in the recorder. It mounts directly onto the camera, and is designed to be used exclusively with the URSA Mini Pro.

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Sony Unveils 3 New 1-inch Sensor Camcorders – AX700, NX80 & Z90

 Cinematography, Gear  Comments Off on Sony Unveils 3 New 1-inch Sensor Camcorders – AX700, NX80 & Z90
Sep 172017

Sony has just announced three new 4K HDR (3840×2160) palm-sized camcorders during IBC 2017 in Amsterdam: the XDCAM PXW-Z90, the NXCAM HXR-NX80 and the Handycam FDR-AX700 with an improved AF system.

The new camcorders have a Sony 1-inch stacked Exmor RS CMOS image sensor, and all three support an instant HDR (High Dynamic Range) workflow with HLG (Hybrid Log-Gamma). According to Sony, the most exciting thing about these new camcorders will be the fast Hybrid Autofocus system.

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Canon 6D Mark II Vs. 80D and 7D Mark II In-Depth Review

 Cinematography, Gear  Comments Off on Canon 6D Mark II Vs. 80D and 7D Mark II In-Depth Review
Sep 072017

The Canon 6D Mark II has not been the most well-received camera thus far. But how does it actually perform, and are the complaints justified?

The initial complaints were around the fact that this camera does not shoot 4K video. Discussions then moved on to its dynamic range and how it underperformed even against APS-C cameras. The most recent complaints are around the fact that its performance at higher ISOs may be worse than the original 6D. Personally, my biggest gripe about this camera is the fact that it only has one storage slot. This one individual point makes it less viable in a professional setting for me, however this may not bring as much concern to shooters upgrading from the original. The 6D Mark II has been referred to as a bigger Canon 80D and for good reason. There are a few minor differences between the two cameras except for the sensor size and price tag. The Canon 7D Mark II sits in between the 80D and 6D Mark II when it comes to the price and for that reason, it’s viable to compare these three to one another.

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Nikon D850 Full Frame 4K!

 Adorama Deals, Cinematography, Gear, News  Comments Off on Nikon D850 Full Frame 4K!
Aug 242017

Record 16:9 4K Ultra HD (3840×2160) in full frame glory using the total widthof the D850’s back-side illuminated CMOS sensor. Take advantage ofthe large sensor size for clean output at high ISO and for shooting with zerocrop factor with full-frame NIKKOR lenses3, including wide and ultra-wideangle lenses.


I think this is just what I need… I have been a Nikon user but switched to Canon a number of years ago. I just may switch back!

Pre-Order Now:

The new Nikon D850 is now available for pre-order. Expected ship date is 09/7/2017

Nikon D850 FX-format Digital SLR Body – $3296.95

New Accessories:
MB-D18 Multi-Power Battery Pack – $396.95
Nikon ES-2 Film Digitalizing Adapter Set for D850 – $139.95
AN-DC18 Strap – $24.95
FH-4 Strip Film Holder $34.95
FH-5 Slide Mount Holder – $24.95

Nikon D850 Announced

 Adorama Deals, Cinematography, News  Comments Off on Nikon D850 Announced
Aug 242017

Nikon D850

The Nikon D850 is now official after quite a bit of anticipation following a development announcement just a few short weeks ago. Thankfully, Nikon has not disappointed and the new D850 houses some of the best specifications and features of any modern camera. Headlining the announcement is a new full frame 45.7MP BSI (back side illuminated) sensor with no low pass filter. We first saw this technology implemented in the Sony A7RII and it should allow for amazing dynamic range while still retaining great low light results, even with the higher resolution sensor. When the Nikon D800 first pioneered the high resolution DSLR, it did so with limited speed and performance. Thankfully the D850 matches the Canon 5D Mark IV’s ample 7fps shooting speed and can even exceed it by shooting up to 9fps when paired with the MB-D18 battery grip and EN-EL18a/b battery. Alright Nikon, you have my attention!

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Sigma Cine High Speed Zoom Line – Sample Footage & Review

 Cinematography, Gear  Comments Off on Sigma Cine High Speed Zoom Line – Sample Footage & Review
Aug 172017

In this guest review, DP and Director Thomas Schweighofer takes a look at the Sigma Cine High Speed Zoom line during a documentary shoot with a RED EPIC-W Helium 8K. Please also read Graham Sheldon’s extensive review of both Sigma zoom lenses, which we published a few months ago. 

I recently had the chance to shoot a documentary project in the US featuring Austrian musician Dominic Muhrer and American Superstar Joshua Ledet. In order to achieve a better image quality in this particular project, I wanted to get my hands on some of the new Sigma cine primes, but at that point in time it was just too early to get a set. Instead, the folks at Sigma contacted me and told me to test their Sigma Cine High Speed Zoom cine line. I agreed but, being so used to shooting with primes, I didn’t expect too much. 

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DDJI Spark, Mavic, Phantom, or Inspire – Which Drone Should You Buy? by Oliver Kmia

 Action cams, Cinematography, Gear  Comments Off on DDJI Spark, Mavic, Phantom, or Inspire – Which Drone Should You Buy? by Oliver Kmia
Jul 162017

DJI has released many drones over the past few years. The different models may seem similar to a newcomer, but each one actually addresses a different need. In the end, it all boils down to size and portability versus image quality and performance. Here we’ll analyze the main differences between the DJI drones to help you determine which one is the right fit for you.


Price: The price point is an obvious criteria, but one must not forget all the associated costs of ownership, especially spare batteries which can run up to $169 each.

Portability: The drone size and weight will often dictate which model to buy. While the DJI Mavic won’t take more space than a 70-200mm f/2.8 lens in your bag, the mighty DJI Inspire requires a dedicated case for transportation. If you travel frequently, you may prefer a smaller model that fits in the plane’s carry-on compartment. The size also plays a role in public perception. Larger drones look more intimidating to the public and attract more attention (visibility and noise). Also, in some countries the applicable regulation on drones is based on weight threshold. The heavier it gets, the more constraints you will face (registration, mandatory parachute, and flight restrictions to name a few).

Image quality: Larger drones tend to carry better sensors and lenses. Entry-level models can only film in 1080p while the Inspire 2 can shoot up to 5.2K raw video. The Inspire 2 is also the only one to offer an interchangeable lens system while other models come with fixed focal length.

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FUJINON MK 50-135mm Review – A Worthy Cine Zoom For Your Kit?, by Sebastian Wober

 Cinematography, Gear  Comments Off on FUJINON MK 50-135mm Review – A Worthy Cine Zoom For Your Kit?, by Sebastian Wober
Jun 232017

Earlier this year FUJINON introduced a new line of affordable E-Mount Cine Zooms made for documentary-style shooters. Here’s our FUJINON MK 50-135mm Review, where we take a look at the second of the two complimentary zoom lenses from FUJINON .

Featuring a non-breathing focus mechanism, par focal design and fully-geared focus, iris and zoom, I took this lens for a spin, after having already reviewed its little brother – the MK 18-55mm T/2.9 – earlier this year.

FUJINON MK 50-135mm Review

I tested the FUJINON MK 50-135mm over the course of several days and, while at first I was hesitant, I really enjoyed working with the lens after I had gotten the hang of it and seen the footage. Together, the FUJINON MK 18-55 T/2.9 and the new FUJINON MK 50-135mm T/2.9 cover a good focal range: 18mm to 135mm.

I recently tested the Sony 18-110mm cine style lens which is also a good alternative to the FUJINONs if you don’t want to carry two lenses and if you don’t mind that a lot Sony’s science is done electronically. Of course, the Sony lens is missing the 110-135 range, which admittedly will not be a huge tradeoff for many. The MKs are all-manual and in comparison to the Sony they also feature a constant aperture of T/2.9. This is great, especially because to me it seemed like they do look good wide open.

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HIVE LIGHTING Wasp 100-C – Omni Color LED Ready to Go!, by Fabian Chaundy

 Cinematography  Comments Off on HIVE LIGHTING Wasp 100-C – Omni Color LED Ready to Go!, by Fabian Chaundy
Jun 142017

After a successful Kickstarter campaign, HIVE LIGHTING are just a few weeks away from finally bringing their much-awaited Wasp 100-C LED fixture to market.

Like we originally reported back in December 2016, the Wasp 100-C is an 85W LED spotlight with the kind of output you would get from a 650W tungsten fixture. In addition to the usual advantages of LED — such as lower power consumption and heat generation — the Wasp 100-C also offers Omni Color LED technology, allowing it to reproduce millions of different hues thanks to an array of LEDs of various colours, in addition to pure white.

In comparison to something like the ARRI Skypanel — a very desirable Omni Color LED fixture — the Wasp 100-C comes in a compact form factor that allows it to be a lot more portable than something in a panel form-factor. The light can also be powered with anything above 95Wh, so you can stay mobile with a V-Lock or Gold mount and a D-Tap to 4-pin XLR adapter.

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Apertus AXIOM Beta – Your Open Source Camera. An Update and Recent Footage, by Johnnie Behiri

 Cinematography, Gear  Comments Off on Apertus AXIOM Beta – Your Open Source Camera. An Update and Recent Footage, by Johnnie Behiri
Jun 142017

It has been a while since we last reported about the status of the apertus AXIOM beta camera, so last week I took the opportunity to meet and talk to Sebastian Pichelhofer who is acting as AXIOM’s project leader, association chairman and one of the software developers, in order to find out what is new and in what shape and status the project currently is.  

AXIOM Beta Developers kit

It was nice to hear and see that this unique open source/open hardware motion picture camera system venture is really moving forward to the point where developers and early adopters alike can now already get their kit. Mind you, if you are an “end user” like me, then the camera is NOT YET ready for us as the enclosure and actual  operating system of the camera are still under development. Without those, operating the camera can be a tedious work.


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Sony 18-110mm Review – One-Of-A-Kind Versatile Video & Cine Zoom, by Sebastian Wober

 Cinematography, Gear  Comments Off on Sony 18-110mm Review – One-Of-A-Kind Versatile Video & Cine Zoom, by Sebastian Wober
May 192017

The conveniently-named Sony E PZ 18-110mm F/4 G OSS lens has been on our radar ever since it was announced in September, as it is one of the only lenses of its kind made for large sensor video cameras. In my Sony 18-110mm review, I will be looking at all the benefits and limitations of this lens. See the video review summary above, or read on for the details.

Sony 18-110mm Review

When looking at the new Sony E PZ 18-110mm F/4 G OSS, it makes sense to first look at its predecessor, the FE PZ 28-135mm F/4 G OSS (Review HERE). Back when Sony introduced their first lens in this series, it was the only “affordable” video lens made for large-sensor cameras with video functionality. Unfortunately, some aspects about it were not ideal: while it gave us a great focal range on full-frame cameras like the Sony a7S and Sony a7S II, the field of view was too narrow on crop sensor cameras (super35) like the Sony FS7, which it actually shipped with as a combo package. Also, the electronic zoom functionality was a big downside for many.

Fast forward to 2016 when Sony introduced the E PZ 18-110 F/4 G OSS, the subject of this 18-110mm review. Tailored to super35, it introduced a manual zoom functionality alongside several other improvements. Now this lens is finally on my desk and, even though the Sony FS7 is out for a shoot, I have no reservations to slap it onto our Sony a6500 to take it for a spin.

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Sony Introduces the S3CA – A Sony a7S II Without Recording Limit by; Sebastian Wober

 Cinematography  Comments Off on Sony Introduces the S3CA – A Sony a7S II Without Recording Limit by; Sebastian Wober
May 022017

Many were hoping to see an announcement of something like a “Sony a7S 3” camera at this year’s NAB. Instead, we saw a new version of the Sony a7S II called S3CA. While there is indeed an “S3” in its product name, this is rather a “special version” of the a7S II for certain applications. Here’s all about the new Sony S3CA.

Sony S3CA

The S3CA is an interesting camera – it features the same sensor and processing as the popular Sony a7S II, but doesn’t limit your recording to 30 minutes, meaning your card size is really the deciding factor on how long you can record for.

The Sony a7S II was introduced in 2015 and has made headlines as being one of the best cinema cameras on the market, especially because of its impressive lowlight capabilities (see my lowlight review here).

On top of its a7S II heritage, the S3CA has a slightly smaller, box-shaped and more durable body and it has no screen or buttons – it requires a USB connection with a PC or Mac as a control interface. For some applications this could be a very interesting solution. The S3CA could for example be used during a live production and be controlled from the mixer instead of a camera operator.

The camera on display was hooked up to a computer app, in which I noticed that the image lagged and stuttered. The app, however, is not intended for monitoring. Instead, the camera features an HDMI output up to 4K for monitoring and external recording.

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Hasselblad H6D-100c Review – Shooting Medium-Format Video by; Christoph Tilley

 Cinematography, Gear  Comments Off on Hasselblad H6D-100c Review – Shooting Medium-Format Video by; Christoph Tilley
Apr 242017

In this guest review, Vienna-based filmmaker Christoph Tilley takes a close look at the Hasselblad H6D-100c – a 100MP, 4K Raw-capable medium format camera. Intrigued? Read on for his hands-on impressions.

Christoph Tilley reviews the Hasselblad H6D-100c

Shooting Medium-Format Video

Not too long ago DSLRs revolutionized the way we make films. These days, we are seeing the emergence of the first medium-format stills cameras capable of shooting video. What would it be like to shoot video on an such an extremely large sensor? 

Enter the Hasselblad H6D-100c, a 100 Megapixel Full-Frame Medium-Format Stills Camera. The resolution is absolutely incredible on this thing – each Raw image has a file size of 216,3 Megabytes. But why in particular is this interesting for us filmmakers? Well, this thing can also shoot 4K Raw video.

But what kind of results will you get when shooting video? And how does this large sensor compare to Super35 in the real world? To find out, we shot a typical interview scene on the RED Dragon with a 50mm lens wide open at f/1.4. Right alongside we had the Hasselblad H6D-100c with a 100mm lens at an f-stop of f/4.

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New FUJIFILM X-T2 Cage – LockCircle Kinetics XT2 by; Jakub Han

 Cinematography, Gear  Comments Off on New FUJIFILM X-T2 Cage – LockCircle Kinetics XT2 by; Jakub Han
Mar 062017

LockCircle is introducing their new FUJIFILM X-T2 cage called Kinetics XT2. Its asymmetrical design approach lets you hold the original grip of the camera, and features various threads for accessories as well as a baseplate, and HDMI and USB ports protectors.

LockCircle Kinetics XT2 cage with all the features

FUJIFILM X-T2 Cage – LockCircle Kinetics XT2

FUJIFILM X-T2 is a very interesting mirrorless camera for filmmakers that is especially capable in 4K. We tested this little camera couple of months ago, os if you haven’t yet, make sure to take a look at our real world video test and also our Lab test where we compared it against the Sony a7S II. LockCircle is now introducing their ergonomic cage for the FUJIFILM X-T2, which is designed to fit around the camera with an “asymmetrical design approach” for a right-handed camera grip. This means it is possible to hold the camera using the original grip even when the cage is mounted, as visible in the product photos. The weight of the cage itself is 300g (10 oz).

All camera controls remain visible and available as the FUJIFILM XT-2 cage has many cutouts, and offers multiple threads to mount various accessories – 79x 1/4”-20 threads and 3x 3/8”. The cage has also several threads to mount the AC tape measurement titanium hook.

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