There’s news from Manfrotto: A fresh line of tripods memory cards. Wait…what? Manfrotto ventures forth to new shores with the introduction of their Pro Rugged line of SD, microSD and CF memory cards. These seem to be a direct competitor to the already available Sony TOUGH line of cards. Manfrotto claims best-in-class resilience against the odds of nature for the Pro Rugged line. New ‘Pro Rugged’ labeled SD, micoSD and CF cards. image credit: Manfrotto This came a bit by surprise: Manfrotto, renowned maker of tripods, bags and all kind of camera accessories ventures into the memory card market. The freshly launched Pro Rugged line of SD, microSD and CF cards comes in both, 64GB and 128GB flavors. So far, so ordinary. But these cards seem to be very performant in terms of weather resistance, therefore the name Pro Rugged. image credit: Manfrotto Manfrotto Pro Rugged Memory Cards The new cards seem to be aimed at pro photographers. In the video world CF cards are not even a thing anymore and 128GB ist OK for microSD cards but for SD? Not so much. I’d get a 256GB card instead, if possible. However, for still photography, CF is still a thing, indeed and 128GB seems to be sufficient for most jobs, even when shooting RAW extensively. Just like Sony with their TOUGH line of SD and CFExpress cards, Manfrotto claims that their PRO Rugged line is the “toughest in the world”… I guess we’ll have to wait and see how Manfrottos latest offering compares to the Sony cards. Specifications All three types of cards share the same capacities: 64GB and 128GB. However, the specs differ a bit from SD to microSD and CF variants. image credit: Manfrotto SD XC II UHS-II Cards Read/Write speed: 280MB/s (read), 250MB/s (write) V90 rating (up to 90MB/s, good for 4K and 6K video) Temperature range: -25°C – 85°C Payload: up to 20kg Waterproof microSD XC-I Cards Read/Write speed: 90MB/s (read), 90MB/s (write) V30 rating (up to 30MB/s, good for 4K video) Temperature range: -25°C – 85°C Payload: up to 20kg Waterproof CF UDMA 7 Cards Read/Write speed: 160MB/s (read), 130MB/s (write) UDMA 7 (Ultra Direct Memory Access) rating (up to 167MB/s and 12ns cycle time, good for 4K video) Temperature range: 0°C – 70°C Payload: up to 20kg NOT Waterproof image credit: Manfrotto The SD cards come as a one-piece design, no connector ribs or write-protection switches can be found here. That’s because Manfrotto sealed off the inner electronics completely and made the cards very durable compared to ordinary off-the-shelf ones. They are bend-proof and shatter-proof up to an impact force of 20Kg and they can survive water even when submerged for up to 72 hours. However, the CF cards are not waterproof so don’t throw them into water just for the fun of it. Pricing and Availability All three types of Manfrotto’s Pro Rugged line of memory cards are available now. You can get them directly through their website. Prices are as follows: 64GB SD: $115 US (currently 50% off for a limited time: $57.50 US) 128GB SD: $225 US (currently 50% off for a limited time: $112.50 US) 64GB microSD: $32 US 128GB microSD: $42 US 64GB CF: $80 US 128GB CF: $150 US link: Manfrotto | online shop What do you think about these new memory cards? Good for video? Share your thoughts in the comments below!

The Sony VENICE does not follow the common throw-away-get-a-new-one scheme of many consumer products. It’s a proper pro-camera, aimed at pro users and rental houses with deep pro-pockets. Sony just released the already teased firmware V5.0 for their flagship digital cine cam. This piece of software breathes new life into the VENICE hardware, enabling extended HFR modes, internal HD ProRes 4:4:4:4 recording and other niceties. image credit: Sony Not only the camera itself is modular, the software is modular, as well. Only buy what you really need. In this case we’re talking about the HFR capabilities the current firmware V4.0 offers: The upgrade itself is free of charge but if you want to use the extended HFR modes found in V4.0 you’ll have to pay. Firmware V5.0 is, again, free of charge. If you still need a paid license for using certain HFR modes is a bit uncertain for me at the moment. However, you can’t just download the FW package yourself, you’ll have to contact your reseller for that. And, very important: Your VENICE needs to be on FW V4.0 or V4.01 in order to upgrade. Do not attempt to upgrade from V3.0 or V3.01! VENICE with detached sensor block. image credit: Sony VENICE Firmware 5.0 The following modes have been added to this software iteration: High Frame Rates (HFR) 6K 2.39:1 @ max 90fps 6K 17:9 @ max. 72fps 6K 1.85:1 @ max. 72fps HD ProRes 4444 up to 30fps on internal SxS Pro+ cards Simultaneous record with AXS not available Monitor Out  Flip & Flop via SDI & VF (useful for Steadicam, for example) High resolution Magnification via Monitor Out Shooting Assist Function Display of aspect ratio and pixel count is now shown in menu Additional preset frame lines Recorded metadata now includes user frame line setting Other Cooke /i2 metadata recorded in X-OCN/RAW and XAVC files 4K 2.39:1 resolution operates like all other resolutions (previously it was limited to 120fps only) De-squeeze monitoring options increased: x1.65 added Main Display FPS information is now shown as Fix23.98 when in 23.98fps (23.976fps) project mode. Previously Fix24 was shown for both 23.98fps and 24fps projects (applies to sub display, operator display, etc.) Tilt/Roll gyro has been activated on VF and monitor outputs Additional Paint Menu support for live operation: User Gamma, Knee, White Clip, Detail Matrix, Multi Matrix, Scene File, Test SAW All the changes, including the features of earlier firmware releases can be found here. If you’re not sure what the Sony VENICE is exactly you can bring yourself up to speed by watching the video below: The video above is a bit dated already but you still can get a glimpse of its capabilities. The fact that you even can detach the sensor module from the actual camera (as in: recorder) is pretty amazing I think. Obsolescence? Nope! The ability of stripping the VENICE down to its bare bones and its modular approach hints to the fact that you also can replace or even upgrade all these parts in the future. Same is true with the internal (software-) workings of this camera, as the release of firmware V5.0 proves. image credit: Sony Since the firmware roadmap doesn’t seem to end with V5.0, there should be more to come over time and I think this makes the VENICE a proper and capable cine camera built for not only today but for tomorrow as well. Well done Sony! You can’t buy a Sony VENICE online (who would do such a thing, anyway?). That’s why the prices below look a bit broken. At the time of writing this article, the VENICE is about $39,000 US list price. Optional software licenses can be found here. link: pro.sony What do you think about the VENICE? Did you ever had the chance working with it? Share your thoughts in the comments below!

New camera, new cage. That’s how camera product cycles work these days. Now, it’s the SIGMA fp mirrorless full frame camera’s turn: SmallRig has a fresh camera cage on offer, specifically designed to fit the Sigma fp. image credit: SmallRig SmallRig has a pretty solid track record of designing cages for digital cameras of any make and model. The new SIGMA fp is no exception and a lot of neat features are built right into this product while maintaining a minimal footprint. Read all about the (pretty amazing) SIGMA fp camera here and make sure to check our review here. SmallRig Camera Cage for SIGMA fp This new cage attaches to the fp via two 1/4-20 screws and offers multiple 1/4″-20 and 3/8″-16 accessory threads plus one ARRI 3/8”-16 thread with locking pins. Furthermore, it offers a (real) wooden handle, a cold shoe and a slot for attaching a carrying strap. There’s also a flat-head screwdriver built right into the cage on the bottom side of the unit. With the cage attached to the SIGMA fp, you still have access to the battery compartment. The same is true for an optional dummy battery cable. The whole thing seems to be pretty straight forward, the specs come in as follows: Dimensions: 120.7x 90 x 60.5mm Net Weight: 185g Material: Aluminum Alloy, Wood image credit: SmallRig More Accessories Since we’re talking SmallRig here, there are plenty of other compatible accessories available. You can add a HDMI cable clamp, a lens mount support adapter for both, SIGMA MC-21(EF-L) or MC-21(SA-L) Mount Converter or a baseplate system for added 15mm rod support. Lens mount support adapter. image credit: SmallRig When using the cage, all of the SIGMA fp modular features are still fully accessible: You can still use the SIGMA LVF-11 LCD viewfinder and also the HU-11 hot shoe unit. image credit: SmallRig It really seems that SmallRig has appreciated the modular concept of the SIGMA fp while adding a bunch of useful mounting points and a wooden grip. Pricing This new SmallRig cage can be purchased for $79 which is, I think, a really good price for a piece of kit. It doesn’t offer revolutionary features but it seems to upgrade the SIGMA fp by quite a bit without adding bulk or clutter of any kind. Just a carefully thought out product. I like! links: Website What do you think of this new cage? Any SIGMA fp owners out there? Let us know in the comments below!

I’m Back is back, indeed. With this handy accessory, you can breathe new life into old SLR cameras. I’m Back MF is a digital back for analogue medium format cameras, so you can kind of digitize your father’s tech with it. I’m Back MF is now in its final design and the production has begun. credit: I’m Back Granted, we reported about this device before (read about the original version for analogue 35mm SLR cameras here and read this article about the Kickstarter campaign of the first design iteration of I’m Back MF). We even presented the man behind all this, Samuel Mello Medeiros, a cinema5D award at Photokina 2018. So… we’re fans! I’m Back MF Digital backs for old(ish) analogue medium format SLR cameras are not a new thing. But they tend to be very expensive. Not so the I’m Back MF: It’s obviously not as good as these professional high-end backs but, and that might the unique selling point here, it doesn’t have to. If you want the latest and greatest in tech, why bother with a giant analogue camera in the first place? This device is for passionate photographers who aim for that special medium format look without breaking the bank. the finalized design (with the screen still missing). credit: I’m Back And it’s suitable for shooting video, too. Again, you won’t get a high-end video monster but a device that delivers a very unique look. Specifications Here are the specs but be advised that these can change until the final units ship around June 2020 (However, Samuel told us that the specs below will be at least the same or better): Sensor: 16MP CMOS Sensor Panasonic MN34112 Processor: Sumplus v50M Picture System: Focusing screen Video Resolution: 6K 5760 x 3240 / 12fps  // 4K 3840 x 2160/30 fps // 1920 x 1080p/ 60 fps  // 1280 x 720p / 120 fps Video aspect: Focusing screen/Vintage Picture Size: (interpolate 20M, 24mp) real:16M 12M 10M 8M 5M 3M VGA Video Format: MOV Picture Format: JPG Color/Sepia/B&W & RAW Storage Capacity: Micro SD Max 128Gb USB Interface: USB TYPE-C Display: 2.0″capacitive touch screen ISO: 100 – 3200 Auto White: yes Balance: yes Auto Eve: yes Picture ip: yes WIFI: yes Remote: yes (via mobile phone) Language EN FR ES PT DE IT CN RU JP Battery: F 750 7,8 v  – lithium battery System requirements: Windows 2000/XP/Vista/Windows7, Mac os 10.3.6 and above credit: I’m Back A Sony NP-F style battery powers the whole thing and even wifi is onboard. With it you can connect your smartphone and control the I’m Back MF. Several adapters for attaching the back to a given medium format SLR are available, cameras such as Rolleiflex Automat Mamiya RB67 / Mamiya 645 / Mamiya C330 Kiev 88 Hasselblad 500 / SWC / 1000 Bronica S /Bronica ETSsi are being supported. The actual image is projected onto a ground glass and the built-in camera of the I’m Back MF then captures the resulting image (or video). Pricing The I’m Back MF is now in production and will be ready for shipping in June 2020. You can head over to Indiegogo for pre-ordering (caution: it’s still a crowdfunding platform with all its risks, so not a proper pre-order). Pricing is 409€ through Indiegogo (that’s 10% off the regular price). An additional adapter for another medium format SLR make and model clocks in at 118€. credit: I’m Back The finalized I’m Back MF will be shown at Photokina 2020 along with a possible updated design of the original 35mm version. Let’s wait and see what Samuel has on offer then! Demo Photos Here are some test shots Samuel sent us which were shot with the new I’m Back MF. They were shot with a Hasselblad 500cm and the first prototype of the focusing screen which according to Samuel wasn’t very good – he says the new one is better and has a finer structure. Shot with I’M BACK MF on a Hasselblad 500cm and the first prototype focusing screen. Image Credit: Samuel Mello Madeiros   Shot with I’M BACK MF on a Hasselblad 500cm and the first prototype focusing screen. Image Credit: Samuel Mello Madeiros   Shot with I’M BACK MF on a Hasselblad 500cm and the first prototype focusing screen. Image Credit: Samuel Mello Madeiros   Here’s a music video shot with I’M BACK 35mm and Zenith 122 and Helios 58mm f2,0 M6: links: Homepage | Indiegogo campaign What do you think? Might this be your tech gadget of 2020? Let us know in the comments below!

ARRI just released their latest firmware updates for the ALEXA Mini LF and ALEXA LF cine cameras. Along with this news comes official Netflix approval for both models and a bunch of other nice improvements such as the new online simulator for the Mini LF. ARRI also clarifies on a possible S35 4K Mini in the future. image credit: ARRI Whenever ARRI releases new firmware for adding features or streamlining existing, users can download a so-called SUP (software update package) in order to get the latest code for their devices. For this December update, ALEXA Mini LF users can install SUP 6.0.21 and users of the even higher end ALEXA LF will benefit from SUP 4.2. ARRI ALEXA Mini LF – SUP 6.0.21 Since the ALEXA Mini LF is (at least a bit) more indie cinema friendly than the ALEXA LF, we’ll start with this model. The new SUP is mainly a maintenance release with some improvements to the overall stability. It also fixes an issue which sometimes prevents a 1TB Compact Drive to be mounted properly. So if you happen to be one of the lucky owner/operators of the ALEXA Mini LF out there, you should download the update rather sooner than later here. ARRI ALEXA LF – SUP 4.2 With the bigger brother of the Mini it get a bit more interesting, although this SUP release is, just like the one for the Mini LF, a maintenance release. The bigger LF model was plagued by an issue which prevented the camera from booting correctly. Most occurrences of this issue have been removed with SUP 4.1 but some rare issues remained. SUP 4.2 now fixes the root cause of the issue so once installed, the ALEXA LF should boot up correctly every time. So again, no new exciting features to be found here but a solid stability update. image credit: ARRI Official Netflix Approval Both cameras, the ALEXA LF and the ALEXA Mini LF are now officially approved by Netflix. Gone are the days you couldn’t use any other digital ARRI camera but the huge ALEXA 65. Although both, the LF and the Mini LF had preliminary approval since July, now it’s official and you can safely use these cameras when aiming for a Netflix release. This approval includes anamorphic recording options detailed in the ALEXA LF & Anamorphic Lenses white paper (PDF) and for the LF Open Gate 4.5K, LF 16:9 UHD and LF 2.39:1 4.5K recording resolutions. Some more useful links:  Netflix Camera Production Guide for the ALEXA Mini LF (PDF document) and Netflix Camera Production Guide for the ALEXA LF (PDF document)  Happy shooting! ALEXA Mini LF Camera Simulator ARRI offers online menu simulators for a bunch of their cameras already and now you can explore the Mini LF, too. All you need is a browser (even works on smartphones). With this simulator you can explore the menu structure and button layouts prior of handling the camera itself, which can be a great time saver. image credit: ARRI Other News The Frame Line & Lens Illumination Tool can now be downloaded to macOS computers running Google Chrome for offline use. DITs now can create custom framelines or check on the lens illumination capabilities of many lenses without an internet connection. Head over to this page for more information regarding the Frame Line & Lens Illumination tool. Also new is an online course hosted by ARRI’s own Florian Rettich. In this course, which can be purchased through MZed for $199 or as part of the MZed Pro subscription, you’ll learn everything regarding large format. Topics of this 8h course include: ALEXA Mini LF ALEXA LF ARRI Signature Prime lenses LPL lens mount wireless video transmission wireless lens control You will come away with a certificate indicating your product competence and ability to use the large-format camera system to its full potential in real-world situations. One More Thing – S35 4K ALEXA Mini This might be interesting for all the S35 format fans out there: No, ARRI won’t abandon the S35 ship just yet. We found a FAQ article on the ARRI ALEXA Mini LF page, stating the following: We at ARRI believe in Super 35. Not everybody will shoot Large Format/Full Frame. Many productions, in particular in TV, will remain with Super 35 for the foreseeable future. Therefore, we are also working on a dedicated Super 35 4K camera (not LF), further increasing the choices for cinematographers. This ARRI S35 4K camera will have a new S35 4K 4:3 sensor and the size of the body will be close to the ALEXA Mini LF. It will be compatible to the MVF-2 viewfinder and will support CODEX Compact Drives which have been introduced with the ALEXA Mini LF. In order to implement additional ALEXA Mini LF features and to deliver software updates for our existing customers, the launch of the S35 4K camera will not take place in 2020, as originally announced. So there will be another Mini-like camera in S35 format coming your way, but not in 2020! image credit: ARRI link: ARRI Website This concludes a fresh round of updates for the ARRI ecosystem. What do you think? Share your thoughts int he comments below!

RØDE just announced the latest addition to their lineup of on-camera microphones: The RØDE VideoMic NTG. Both terms sound somewhat familiar, VideoMic for small, on-the-go mics, NTG for RØDE’s professional line of shotgun microphones. Well, the new VideoMic NTG aims to unite both concepts in one sleek product. The new RØDE VideoMic NTG. (image credit: RØDE) I personally own one of these tiny RØDE VideoMicro on-camera mics. Its performance is OK (in relation to its size) and I use it mostly for recording better scratch audio when deploying a gimbal. However, I just recently had to attach this mic to a smartphone and here I ran into issues: You need to adapt the TRS connector of the VideoMicro to a somewhat weirdly wired up TRRS plug so that the smartphone recognizes the mic as an audio input. I soldered that cable on my own but as you can imagine the result didn’t look very professional. If only I had this new RØDE VideoMic NTG handy, I wouldn’t have had this kind of problem, since it really solves many issues you might have with currently available on-camera mics. Plus it offers greatly improved audio performance, obviously. RØDE VideoMic NTG So what is special about this new microphone? As RØDE founder and Chairman Peter Freedman AM puts it: It’s in the name. The VideoMic NTG is a hybrid microphone that brings the signature broadcast-quality sound of our NTG shotgun range to a compact, feature-packed VideoMic. Since it bears NTG in its name, this new mic offers the same annular tube technology as the NTG5 shotgun microphone. According to RØDE, this design offers natural, uncoloured sound and high transparency. Along with the new mic, RØDE offers a new shock mount with cable management and sliding rail to balance the mic on the camera. The new shock mount is included when purchasing the VideoMic NTG. Image credit: RØDE It features an auto-sensing 3.5mm output, so it works seamlessly with both, cameras and smartphones. No frankensteined (or purchased) TRS-TRRS adapter needed. Furthermore, it features a USB output for connecting the VideoMic NTG directly to a computer (or tablet). When using that USB output the freed-up 3.5mm port can be used to plug in a headphone for monitoring. With both analog and digital outputs, it becomes very clear that this VideoMic NTG is more than just a microphone. It sports a build-in ADC (analog to digital converter), a variable gain control for everything from mic level to line level, a built-in preamp with a dB peak warning light and, in order to power all this, a 350mAh lithium-ion battery which lasts for 30+ hours. Polar Pattern and Frequency Response This is a classic supercardioid on-camera microphone, since it is meant to be used as a on-the-go shotgun mic. It uses the pressure gradient electret condenser principle to translate acoustic waves into electrical impulses. image credit: RØDE Here’s a list of acoustic specifications: Frequency Range: 20Hz – 20kHz Frequency Response: 35Hz – 18kHz ±3 dB Output Impedance: 10Ω Signal to Noise Ratio: 79 dBA Dynamic Range: 105dB SPL (A-weighted, as per IEC651) Equivalent Noise: 15dB SPL (A-weighted, as per IEC651) Sensitivity: -26 dB re 1V/Pa (50mV @ 94dB SPL) ± 1dB @ 1kHz Input SPL at 1% THD: 120dB SPL High Pass Filter Frequency: 75Hz, 150Hz image credit: RØDE And a list of general specifications: Battery Life: 30+ hours Battery Capacity: 350mAh Output Connection: 3.5mm auto-sensing (TRS <-> TRRS), USB-C Bit Depth: 24-bit Sample Rate: 48kHz Weight: 94g Dimensions: 21.6mm (diameter), 171mm (length) image credit: RØDE The VideoMic NTG offers an auto-on mode in which it will automatically power on once the host camera is switched on. That way, you don’t need to worry about battery life since the mic will also automatically power-off once you switch off the camera. battery life is 30+ hours and you can recharge it within 2 hours using the USB-C port. The correct output level can be dialed in using the gain control on the rear of the microphone. Pricing and Availability At time of writing this article, there’s no intel about pricing, unfortunately. I’ll update this article once the information is available. Same goes for availability. UPDATE: The VideoMic NTG will cost $249 US and shipping should start very soon. image credit: RØDE This new VideoMic NTG seems to be much more than just a microphone. Use it with a camera, or a smartphone, or a computer using USB. Your choice. All the built-in tech is here to help but you really don’t need to worry about it, it just works. 3.5mm auto-sensing, automatic power-switching, built-in preamp, headphone out when using USB-C, variable gain control, high-pass filter, built-in ADC. When reading this, it could be the description of a dedicated audio breakout box, but it’s just a microphone. Pretty neat, I’d say. Link: RØDE website What do you think? Could this be your next on-camera mic? Share your thoughts in the comments below!

At this year’s Inter BEE, we had the chance to talk to Ryuji Nurishi, the managing head of the Canon Sumire Prime lens line. A perfect opportunity to chat a little bit about the idea behind this line of character-driven glass. What’s new and why soft might be the new sharp. Canon Sumire Prime Lenses kit – Image credit: cinema5D Canon Sumire primes are a newly developed line of lenses which, as opposed to the “original” CN-E cine primes, come with a certain character applied to their optical performance. They are a bit softer, yet deliver a very high resolution. They tend to flare a bit more yet these well-controlled flares add to the image rather than ruining it. And if you happen to wonder how to pronounce “Sumire”, Canon is here to help: Canon’s new line of cinema prime lenses named Sumire Prime (pronounced “Soo-mee-ray”) – associated with the beauty of a flower whose petals are open. These Canon Sumire Prime lenses seem to deliver what DPs and camera operators tend to ask for these days: character. It’s not about super high-resolution, ultra-sharp image rendition and zero optical “errors”. That’s upon the shoulder of modern digital cameras. But to tell your visual story you need more than technical superiority and perfect images. Canon Sumire Prime Lenses Character is the buzzword here and the Canon Sumire Prime lenses tend to deliver exactly that. However, character is not to be confused with inferior lens design here. These Sumire Primes are outstanding pieces of technology, no doubt about it. It’s just that Ryuji-san and his team managed to implement a certain look without impacting the quality of the lens itself. The promo video below was shot by Canon with a Canon C700 FF along with – of course – Sumire Primes. In order to create the Sumire lenses, Canon gathered a lot of feedback from pro customers around the globe. The clear trend was (and still is) the desire to deploy a lens as a creative tool that adds to a certain look rather than an optically perfect (as in neutral) piece of glass which sole purpose is to direct light towards the sensor plane. Canon Sumire Prime Lenses kit – Image credit: cinema5D The result of all this research is the Canon Sumire Prime line of lenses and as you can read (and watch) in our review here, the look and feel of these lenses are rather impressive. The Canon Sumire Prime line of lenses consists of the following focal lengths (for now): 14mm T3.1 20mm T1.5 24mm T1.5 35mm T1.5 50mm T1.3 85mm T1.3 135mm T2.2 Each lens covers full frame sensors and is capable of delivering up to 8K resolutions, yet adding a softer overall look to the image. According to Ryuji-san, contrast and resolution are not the same thing and therefore, the same lens can produce pleasingly soft contrast yet delivering very high resolution at the same time. Each lens, except for the 14mm one, accepts a 105mm front filter. All lenses sport a smooth 300-degree focus throw, a 11-blade aperture and a unified housing so focus and iris gears are on consistent positions. Same goes for the unified 114mm front diameter and the presence of focus and iris marking on both sides of the lenses. PL mount is standard but all lenses can be swapped for an EF lens mount. Pricing Cine lenses tend to be pricey pieces of kit and the Canon Sumire Primes are no exception to the rule. They aren’t uber-expensive, compared to other offerings but I think rental houses might still be the more likely customers rather than owner/operators. Additional information about the Sumire lenses can be obtained here. What do you think about the Canon Sumire Primes? Do you like the look or do you prefer other offerings? Share your thoughts in the comments below!

Wireless video transmission has replaced a good amount of SDI cables on film sets around the globe by now. It’s reliable, delay-free and it used to offer decent 1080p quality. At this year’s NAB show in Las Vegas, Teradek introduced their new line of Bolt 4K wireless video transmitters and receivers. Among them: the ultra-performing Bolt 4K MAX – which is now shipping. 4K 10-Bit 4:2:2 zero-delay HDR wireless video up to 5000ft, that’s the promise if you implement the Bolt 4K MAX system to your workflow. That sounds a bit like pushing the laws of physics but I must admit, it seems to be a very capable setup even for the most demanding setups. The MAX is, of course, the flagship product in the Bolt line of wireless video systems by Teradek and you get what you pay for. Teradek Bolt 4K MAX Teradek offers a kind of modular system in order to build your very own Bolt 4K MAX setup: both the transmitter and the receiver sport multiple antenna ports which you can fit with either vertically polarized omnidirectional antennas (“V” Antennas) or, in order to improve range and signal strength, you can attach two so-called horizontally polarized omnidirectional antennas (“H” antennas) to the outer ports of each device. To really push the system to its limit (and to the advertised 5000ft range) you’ll need an external dish antenna array to which the receiver module attaches. You’ll have to equip that receiver with a dual battery mount for this to work. For more in-depth intel about the correct choice of antennas, head over to Teradek’s knowledge base article here. The whole Teradek Bolt 4K MAX system is a no-compromise version of the company’s already very capable Bolt 4K line of wireless video systems. It really is MAX in range, MAX in performance and, you guessed it, MAX in price. In terms of connectivity, the Bolt 4K MAX offers 12G-SDI and HDMI 2.0 inputs plus a loop-through 12G-SDI out on the transmitter and two 12G-SDI outputs plus an HDMI 2.0 output on the receiver unit. Cross-conversion from HDMI to SDI is built-in and signals up to YCbCr 4:2:2, 10-bit/ HDMI: RGB 4:4:4, 8-bit can be processed with virtually zero-delay from TX to RX modules. When using SDI as an input, Bolt 4k MAX can transmit metadata, timecode, and start/stop flags from most camera manufacturers as part of the data stream. Specifications The 4K MAX can handle HD, as it can handle 4K. The following resolutions are being supported: 4Kp23.98/24/25/29.97/30/50/59.94/60 1080p23.98/24/25/29.97/30/50/59.94/60 1080psf23.98/24/25/29.97/30 1080i50/59.94/60 720p50/59.94/60 480p50 576p59.94/60 480i(NTSC)/576i(PAL) You also can cross-convert incoming HD to output 4K on the receiver or vice-versa, if your attached monitor can’t handle 4K resolutions. Embedded audio is supported too, up to 48kHz 24-bit PCM can travel alongside the video stream. In broadcast mode, a single transmitter can broadcast to multiple receivers and each RX unit can cross-convert the incoming signal to match the device downstream. You can control each device directly on the unit or by using the dedicated Bolt 4K app. Both, Gold mount and V-mount versions are available. The Teradek Bolt 4K MAX system leaves nothing to be desired but all that functionality comes at a premium and you’ll need (very) deep pockets to get it. Maybe one of the other tiers, such as the Bolt 4K 750 or the 1500 (feet, that is) might be a better, as in slightly more affordable, choice. But if you just want it all, a non-compromise powerhouse, the 4K MAX is for you! Link: Teradek Do you use wireless video systems? What do you think about wireless 4K video? Share your thoughts in the comments below!