If you don’t know MASV yet, it’s really easy to explain: Use it to transfer huge files over the internet. Any amount of GB you like. You only pay for what’s actually transferred, there’s no subscription. MASV 3.0 now enhances the already solid feature set by quite a bit. MASV is around for two years now (read our coverage here and here). The service has entered the market to solve an everyday problem in post production: transferring huge files globally and in time. Shipping hard drives abroad can be quite expensive and is by no means on the safe side. With MASV you can send virtually any amount of GB and the cost is reasonably low. So what’s next? Well, MASV 3.0 is here and it brings a bunch of neat updates. MASV 3.0 First and foremost, the whole underlying system is freshly built from scratch. This means improved performance and scalability for the future, but has a drawback that is somewhat annoying: You will need to create a new account, regardless of whether you already had an account for MASV 2.0 or not. David Horne, VP of Marketing at MASV on the matter: The reason is that this is an entirely new system built from the ground up and there was just no possible way to migrate the existing database to the new platform.  If any users want help in the migration however we are happy to get your accounts set up the same as they were configured in MASV 2.0 after they create a new account. On the backend MASV 3.0 now sports 160 servers globally instead of the former 10 so uploading and especially downloading huge files should now be even faster. Audi branded upload portal using MASV 3.0. The UI has been reworked and you can custom brand MASV 3.0 to your liking. If you have created a so-called portal for your clients to send files your way, you can seamlessly integrate that portal page in your existing website design. Multiple teams can be created to separate billing and data access by different groups. New Billing Model Another major change from MASV 2.0 to 3.0 is the new billing model: The old model is based around the following equation: GB uploaded x Number of recipients x $0.15 = billing amount. The new model is slightly different but it has a major impact: GB downloaded x $0.25 = billing amount. Sounds like a 66% increase in price? Not so fast. If I had used the MASV 2.0 (upload-based) model for transferring 10 GB worth of data to two recipients, I would have spend 10GB x 2 recipients x $0.15 = $3.00 But what if only one of the two recipients actually downloaded the files? Still $3.00. With MASV 3.0 that transfer would have cost me 10GB x $0.25 = $2.50 Thanks to the increased server count the transfer is completed in less time and the whole framework is more robust. I think this is fair play, even if it means that some transfers get a bit more expensive. In the end this is far more convenient and affordable than sending hard drives around. David from MASV again: The change in price and model is because we believe the value our service provides has increased since we started especially with a change from 10 servers to 160 servers globally and the change to download-based billing is to align our costs with how our cloud providers charge us. At these file sizes, additional downloads by recipients could make it so it actually costs us money on some transfers.  Some of our competitors subsidize this cost with ads or file size limits but we don’t think that aligns with the premium file large file transfer service we are trying to create. So, MASV 3.0 increased the price per GB, yes, but they also made the billing process way more transparent. A newly implemented delivery tracking shows you exactly the amount of data each recipient has accessed. Since the new model is based on downloading rather than uploading you now can restrict the amount of times each recipients can access the data. Password protection is also available, of course. Furthermore, MASV is GDPR compliant and uses state-of-the-art encryption for all transfers handled. Mobile Friendly & API Support MASV 3.0 now works on your mobile device, too. You can send files straight from your phone by accessing the photo library for example. Accessing files sent to you via one of your portals is also possible (if you have enough storage on you phone..). You can check your package history and browse through previously sent and received transfers. The interface clearly indicates if your client has accessed a package and how data each client has downloaded so far. The app (iOS and Android) also features all the benefits from the web browser version: Administrators can manage teams and user permissions, the UI is branded the same way the web browser version is. The freshly developed API (Application Programming Interface) on which MASV 3.0 is built will be made available for customers in the near future, too. David Horne again: We are also working on a desktop app which should further improve the reliability when used for particularly long transfers. The main reason we moved and rebuilt the product was to build it on top of a robust API so that we can create integrations with key services faster like a mobile app, desktop app, and even into popular NLE’s. A mobile app, a future desktop app, even integrations into NLEs. Sounds nice to me! No Subscription, Nice Support As stated before, MASV 3.0 is a pay-as-you-go service. No subscription necessary. If you don’t use MASV for a longer period of time, you don’t have to pay anything. For me, this is really nice since I don’t run a giant corporation and I don’t need to transfer huge files all the time. But from time to time I do need to transfer them and I’m happy to pay for this service. While testing the MASV 3.0 Beta version I encountered an upload error. The files simply didn’t get uploaded which was a bit annoying since I left the house after initiating the upload just to realize that it didn’t work out once I came home. On request, David from MASV contacted me, stating: From looking into your logs my first assumption was correct and the bug you encountered has been fixed so you should never run into a failed upload again.  The root cause was just some differences between how Azure storage and Amazon storage works with our uploader logic. The new system is entirely based on Amazon so we had a few little issues with how we handled soft errors that have now been fixed. With a nice customer support like that and a fast, reliable army of 160 servers, MASV 3.0 seems to be a worthy choice when it comes to transferring huge amounts of data around the globe. The new MASV 3.0 is available now, you can check it out over at their website. What do you think? Do you already use MASV or any other file transfer service? Share your thoughts in the comments below!

The BMPCC4K is a popular camera, no doubt about it. And a popular camera builds a market for third-party accessories. Just like many other manufacturers before them, Zacuto has just released their version of a dedicated cage for the Blackmagic Pocket Cinema Camera 4K. The Zacuto cage features a comfortable strap which keeps your hand snug to the camera. The trick is the “no-cage” design, you shouldn’t even notice that there’s a cage at all while holding the camera. Multiple 1/4 20″ threaded mounting holes can be found all over the cage for mounting additional accessories. The top plate incorporates a Z-Rail (read: NATO rail) which can be used for balancing a top handle for example. As a nice touch, the rail is embedded (but can be moved back and forth) in the cage so the top plate is completely flat. On the other side of this BMPCC4K cage there is another NATO rail that stabilizes the cage itself and allows a second handle to be fitted. The cage also comes with strain relief clamps and right angle adapters for both the USB and HDMI connectors. Please note: The images in this article show a 3D-printed prototype of the actual cage. The real cage will be made out of anodized aluminum. Zacuto BMPCC4K Cage For mounting this BMPCC4K cage to a tripod or rig the bottom of the cage offers two ¼” 20 threads and one 3/8″ 16 thread. This opens the door for either a third party tripod plate to be mounted but you also can use the built-in Arca Swiss plate to mount the cage to any Arca Swiss compatible quick release mounting base. The cage comes with a left wooden handgrip but you can mount any grip you like via the NATO rail on the left hand side of the cage – or no grip at all. An optional accessory for the BMPCC4K cage is the dedicated SSD holder which mounts to the top plate via two allen screws and holds a Samsung T5 SSD securely in place. Additionally the SSD holder offers a coldshoe for mounting more accessories. Another (future) optional accessory will be a rod support for attaching 15mm rods to the cage and build a fully-fledged rig from there. Other Options Zacuto is a bit late to the party here. Other companies already have their BMPCC4K cage offerings ready. Click on one of the following links for our corresponding article: 8Sinn (link) LockCircle HiPock (link) Tilta modular cage (link) Shape / Wooden Camera / SmallRig (link) Vocas C-Cage (link) As stated above, the popular BMPCC4K creates quite a market for dedicated camera cages and accessories. Which one is the best? I don’t know but I can tell from personal experience that Zacuto gear is well-build, rugged cleverly thought out. I like the “no-cage” approach but in order to really pick the best cage you have to try them all, which is not always an easy thing to do, obviously. Link: Zacuto Do you have any experiences with one of the above (or any other) cages for the BMPCC4K? Share your experiences in the comments below!

Today FUJIFILM released their new X-T30 mirrorless camera with APS-C sized sensor. While housed in a more compact and more lightweight body than its bigger brother, the X-T30 sport the same sensor, the same processor and the same film simulations from the X-T3. Even F-log is on board! The new FUJIFILM X-T30 comes in three colors. The one in the middle is called “charcoal silver”. The new X-T30 is pretty tiny and especially lightweight (383g) compared to the bigger X-T3 (539g). Yet both models share the same 26.1MP X-Trans CMOS 4 sensor along with the X-Processor 4 image processing engine. The X-T30 can record 4K DCI (4096×2160) or 4K UHD (3840×2160) at up to 30p @ 200Mbps in 4:2:0 8-bit internally. Externally, you can record 4:2:2 10-bit video via HDMI. All the proprietary film simulations such as Velvia, ASTIA, Classic Chrome or Eterna are available during movie recording. Furthermore, you can choose to film in F-log for a wider color gamut. FUJIFILM X-T30 This new model isn’t part of FUJIFILM’s premier league of mirrorless cameras. Its two-digit name puts it in the second devision, yet the pure specs speak another language: 4K 25p/30p, F-log, 4:2:2 10-bit output, FullHD 100p/120p @ 200Mpbs. Not bad! There’s a downside though as the recording times are pretty limited: C4K (4096×2160) // 29.97p/25p/24p/23.98p // 200Mbps/100Mbps // up to approx. 10min 4K UHD (3840×2160) // 29.97p/25p/24p/23.98p // 200Mbps/100Mbps // up to approx. 10min Full HD (2048 ×1080) // 59.94p/50p/29.97p/25p/24p/23.98p // 200Mbps/100Mbps // up to approx. 15min. Full HD (1920×1080) // 59.94p/50p/29.97p/25p/24p/23.98p // 200Mbps/100Mbps // up to approx. 15min. Full HD (1920×1080) // 120p／100p // 200Mbps // up to approx. 6min. Video is being recorded in MOV (MPEG-4 AVC/H.264) format. No H.265, unfortunately.. that’s another downside of this camera. The X-T30 features the same EVF of the former X-t20, a 0.39″ OLED with 2.36 millions dots and 0.62x magnification. The rear touch screen is a 3.0″ LCD with a 3:2 aspect ratio 3:2, approx. 1.04 millions dots and, according to FUJIFILM, with improved response performance. New omnidirectional control lever. The rear of the X-T30 features the “Focus Lever” from the X-T2 / X-T3, resulting in more grip space. The X-T20 had a 5-way control button but the new focus lever omnidirectional control is way better suited for quick focus point adjustments. Overall, the X-T30 has the same body as the former X-T20 but with an improved grip design hat makes the camera body sit comfortably in your hand. The “old” X-T20 rear design with 5-way selector button. Unfortunately, FUJIFILM communicates color subsampling and bit rates for 4K (DCI and UHD) shots, but there is no word about these values for FullHD. I’ll update this article once they surface. The autofocus capabilities have been improved from the former X-T20, since the X-Processor 4 is just much more powerful for calculating the necessary algorithms in less time. The AF detects faces and eyes and you can select a face if multiple faces have been detected within a frame. The low-light limit for phase detection AF has been extended from +0.5EV (X-T20) to -3EV. The micro USB 2 port of the X-T20 has been upgraded to a modern USB Type-C (USB3.1, Gen1) port on the X-T30. The micro HDMI (type D) is still the same, ditto the 2.5mm stereo mini connector for an external microphone. No headphone out.. Availability and Conclusion The X-T30 will be available from the end of March but the new color scheme called “charcoal silver” will take just a little bit longer to hit the shelves. This new X-T30 is far more a mini X-T3 than the former X-T20 was a mini X-T2. F-log, Eterna film simulation, 4K 4:2:2 10-bit output through HDMI, fast continuous AF, it’s all there. The X-T3 is the more capable camera, sure but this X-T30 is way smaller, lighter and more affordable without too many compromises to make.  So if you’re in the market for a solid entry-level filmmaking device: This might be worth a very close look! Links: FUJIFILM Website What do you think? Will you wait for the X-T30 or is the X-T3 the better camera for you? Share your thoughts in the comments below!

Today Canon has unveiled their latest addition to their new EOS R lineup of full frame mirrorless cameras: The Canon EOS RP sits below the already available EOS R in regards of both, features and pricing. This aggressive pricing might be a good thing, though: As a bottom line we get plenty of features for less money. Update: There are six new RF lenses in development, too. Canon’s transition from the legacy EOS D line of DSLRs to the EOS R line of full frame mirrorless cameras seems to be in full swing. Next up: The new EOS RP. It’s not the flagship R camera many of us are eagerly waiting for, though. If the EOS R is the middle class body, the RP is the entry level model. It’s less expensive and it has fewer features but it is based on the same robust platform. So what is the news with the new Canon EOS RP? Well, in terms of cost-performance ratio it might get the nod instead of its bigger brother, the EOR R (read our coverage here and here plus our full review here). Canon EOS RP First of all, the EOS RP is smaller than the EOS R, by quite a bit. Fact check? EOS RP: 485 g (with card and battery), EOS R: 660 g. The EOS RP lacks the top OLED status screen, same goes for the so-called touch bar on the back. Canon EOS RP (left) and EOS R (right). Both models share a weather-sealed body featuring a magnesium alloy chassis including sealing materials to provide dust and moisture resistance. So the EOS RP isn’t an entry level design in that regard, it’s a tough tool for outdoor work. The EOS R features a 3.0″ (7,5cm) flippy screen with 1.04 million dots we already know from its bigger brother (but slightly smaller in size) and a 0.39″ OLED electronic viewfinder with 2.36 million dots and 0.7x magnification. Both models share the same DIGIC 8 image processor but the EOS R fuels that processor with a 30.3MP full frame sensor while the RP has a 26.2 MP full frame CMOS sensor to offer. Same processor, same Dual Pixel AF complete with face detection! Also on board is the digital 5-axis image stabilization engine. Another thing the EOS RP inherits from its bigger brother is the lack of dual SD card slots, unfortunately. Only one UHS-II SD card can be loaded. Movie Recording The Canon EOS RP shoots 4k UHD, FullHD (1920 x 1080) and HD (1280 x 720). This is true when using RF or EF lenses (with a RF-EF adapter). If you are using EF-S lenses, your options are limited to 4K UHD and HD. No FullHD. Movies are being recorded as MPEG4 AVC/H.264 files with variable (average) bit rate. The following resolutions and frame rates are available (hint: no 4K/60p, no FullHD/120p slow mo): 4K UHD (16:9) 3840 x 2160 (25, 23.98 fps) intra frame 4K UHD Time-lapse (16:9) 3840 x 2160 (29.97, 25 fps) All-I Full HD (16:9) 1920 x 1080 (59.94, 50, 29.97, 25 fps) intra frame, intra frame lite (29.97, 25 fps) Full HD HDR (16:9) 1920 x 1080 (29.97, 25 fps) intra frame HD (16:9) 1280 x 720 (59.94, 29.97, 50, 25 fps) intra frame HD HDR (16:9) 1280 x 720 (29.97, 25 fps) intra frame No touch bar. These bitrates are available: 4K (16:9) 3840 x 2160 (25, 23.98 fps) IPB 120Mbps // 869 MB/min Full HD (59.94p/50.00p)/IPB Approx. 60 Mbps // 440MB/min Full HD (29.97p/25.00p)/IPB: Approx. 30 Mbps // 225MB/min Full HD (29.97p/25.00p)/IPB Lite: Approx. 12 Mbps // 87MB/min HD (59.94p/50.00p)/IPB Approx. 26 Mbps // 196MB/min When recording internally to SD card, the color subsampling tops out at YCbCr 4:2:0 8-bit. External recording through the built-in HDMI port is possible via an uncompressed YCbCr 4:2:2, 8-bit stream. Sound output via HDMI is also possible. When outputting to external monitor/recorder internal recording is disabled and Wi-Fi communication is shut down. Bad news: No Log-C and 4K recording only works with contrast detection AF. Furthermore, when shooting 4K you’ll end up with an approx. 1.6x crop factor. No OLED status display. Canon’s own Dual Pixel CMOS AF with face detection and tracking AF is available while shooting (DPAF only in FHD and HD), Other modes include movie servo AF, continuous eye AF and manual focus with focus peaking. The ISO value is selectable from 100 ISO all the up to 12800 (in 4K UHD) or 25600 (FullHD/HD). Furthermore, a build-in stereo microphone delivers 2 channels of 48 kHz, 16-bit audio. External microphones can be hooked up via 3.5mm jack and there’s a headphone jack for monitoring audio, too.The three already available mount adapters also fit the EOS RP, of course, so you can use your existing EF and EF-S glass with this camera. Read all about these adapters here. Six new RF Lenses in Development The range of readily available RF glass is not yet very extensive. Not any more! Today Canon has officially announced the development of six new RF lenses. They will become available later this year and there is no pricing yet but the specs come in pretty impressive: RF85mm F1.2 L USM RF85mm F1.2 L USM DS RF15-35mm F2.8 L IS USM RF24-70mm F2.8 L IS USM RF70-200mm F2.8 L IS USM RF24-240mm F4-6.3 IS USM The “DS” for the 85mm F1.2 stands for “Defocus Smoothing” which should make out-of-focus areas and bokeh even smoother and more appealing. Maybe this lens is your next dream portrait lens. Six new RF lenses! (The dimensions aren’t accurate). The three red ring zooms make the next generation holy trinity of zoom lenses, just as their former EF counterparts. And all three feature image stabilization, which is pretty cool! Lastly, the 24-240mm offers an impressive zoom range which makes this lens a perfect travel companion. It lacks a fast aperture, though. This is a compromise that most travelers will be happy to accept as it opens the door to a compact and relatively lightweight lens. Conclusion The EOS RP isn’t a groundbreaking camera but it seems to be pretty solid tool for enthusiasts and aspiring filmmakers alike. Canon’s new R mount opens the door for many new (and fast) lenses and the superb overall build quality of this new camera body is typical for Canon. Let’s wait and see how this EOS RP performs in hands-on and reviews but I think this camera is a solid release. Nothing miracle but really solid plus it comes with a very attractive price tag. We presume that the video performance of the new camera will be pretty much at par with the EOS R, so you can refer to Johnnie’s CanonEOS R review here. Let’s see if the EOS RP really performs at the same level which would be pretty cool, especially when considering its’ lower price. Product information: Canon USA What do you think about the new EOS RP in regards of the already available EOS R camera? Share your thoughts in the comments below!

Indie filmmakers, listen up! This is for you: Shoot a film on your phone and take part of the 4th Moment Invitational Film Festival. 100K in prizes and gear are waiting for 15 lucky (and talented) finalists. Deadline is March, 17th, so let’s make this a quick read in order to get you started! What is indie filmmaking about? For me it’s all about keeping things simple. Indie filmmaking kicks the dreaded gear acquisition syndrome (GAS) to the curb, it shows the door to statements like “If I had that camera, I could make the film”. It’s all about starting something regardless of budget, skill or gear. Thinking big but with just a small backpack full of gear. Or even a phone… a phone? Moment Invitational Film Festival Moment is a Seattle based company which is specialized in, well, mobile phone filmmaking. They sell gear such as lenses, phone cases and other accessories an upcoming indie phone filmmaker might need and they also have created the Moment app (read all about it in our recent article here). Real phone addicts, so to say. But in order to bring it all together, the gear, the app, your phone, they’ve created the Moment Invitational Film Festival and in its 4th year, the 2019 season is the biggest in prizes yet. Watch the video below for a full rundown: All you really need is your phone, any phone. Lenses, accessories, the Moment (or any other) app are not mandatory in order to participate in this contest. Just shoot up to a 3-min film and submit it until March, 17th. The 15 best applications will be chosen and each of them will get $1.000 in cash plus a free trip to NYC for the grand finale. Your film will be shown at the event, additional $25.000 in category prizes can be won and the 2 very best will get an additional $10.000 in cash. That’s a pretty penny for funding your next film, I’d say. Check out the official festival site here for full details. Submitting Your Film In order to participate you have to follow some rules: Pick one category, keep your film under 3 minutes and upload it to Youtube before March 17th. The available categories are: Narrative Travel Experimental Mini Documentary How To Next, label your uploaded video in order to be found: Title your film like this: “FILM NAME” | Moment Invitational 2019 Submission | by Filmmaker Name and use these tags: “Moment” and “Moment Invitational”. Additionally you have to submit a form (found here) and off you go! For all the intel regarding the submission of your film, watch the video below: The NYC event will take place on April, 13th, so make sure you can make it on that date! Links: Festival Website What do you think? What are your favorite accessories when shooting with just a phone? Share your thoughts in the comments below!

For their first X Summit event FUJIFILM had some surprises up their sleeve: Past GFX medium format camera concept ideas, along with a working prototype of their upcoming GFX 100 were shown. Furthermore, the FUJIFILM X-T3 will get better AF with firmware 3.0 later this year. FUJIFILM X-T3 and GFX 100. FUJIFILM has some reputation in delivering both, very capable APS-C mirrorless cameras and superb medium format cameras. If you’re in the market for sensor sizes between the two, namely full frame 35mm, you have to look elsewhere, though. Ditto micro 4/3. FUJIFILM: APS-C and medium format mirrorless cameras only. This X summit event was all about medium format and a little bit about the smaller APS-C format. Mockups of past suggestions for medium format cameras were shown alongside a look at the upcoming GFX 100 (June launch), a prototype of an upcoming GF 50mm f/3.5 lens and a few glimpses into upcoming X-T3 firmware updates (April this year). GFX Medium Format Camera Mockups Four earlier GFX medium format camera concepts were presented. But only one of them really stood out: it’s a cube-shaped camera body with a detachable side grip and an (also detachable) electronic viewfinder. The cool thing is: You can use just the core body since it comes complete with sensor, lens mount, battery, shutter release, some control dials and a rear display. Perfect for drones for example. Add a grip and/or EVF to taste for a fully-fledged medium format experience. The complete X Summit recording is rather long (yet very interesting), but the relevant part is this one: The 4 GFX mockups are shown from 59:43. As you can see three of the four mockups are pretty straightforward, although pretty small in size which is nice of course. The fourth and most radical approach is the one we’re discussing here: FUJIFILM states that they can’t bring this mockup to live just yet due to technical difficulties but the idea and possibility of having a modular medium format camera in the (far) future is a very appealing one indeed.   Masazumi Imai-san, FUJIFILM Product Designer presenting the modular GFX mockup camera Before any of these concepts become reality, FUJIFILM will release a GFX 100 camera (read our initial coverage here). According to its name it will sport a 100MP sensor and, as a industry first, will support IBIS (in body image stabilization). It will cost “under $ 10.000” and it will be available before or during June 2019. The upcoming FUJIFILM GFX 100. FUJIFILM X-T3 Firmware 3.0 Update Along with these impressive news regarding medium format, FUJIFILM finally rolled out an important update for their popular X-T3 mirrorless camera: Version 2.10 enables recording video files with a size greater than 4GB without splitting the files into multiple pieces. This requires SD cards with a capacity greater than 32GB (so 32GB cards will split video files). Although you won’t loose any frames while the camera splits the video into pieces it’s pretty annoying to paste the files back together in post. So it’s great that FUJIFILM finally fixes this. Read our in-depth coverage about this 2.10 firmware update here. AF performance with “old” firmware (Left) vs. new 3.0 firmware (Right). Furthermore, FUJIFILM use their X Summit to tease a future firmware 3.0 for the X-T3 which will be released in April. It will sport a much improved AF mode with enhanced face detection, improved tracking for both photos and video and better eye AF. You will be able to select a face for tracking if there are multiple subjects in shot and the touch operation will be more responsive and quicker. Watch the video above from 1:28:49 to learn more. It’s really nice to see that FUJIFILM keeps pushing their already available products. This camera won’t be obsolete any time soon just because the firmware is outdated. All in all FUJIFILM rolled out 250+ firmware updates since the debut of their original X100. Links: X-T3 product page What do you think about these updates and FUJIFILM in general? Let us know in the comments below!

Sony keeps on refining its flagship camera, the VENICE. With an optional HFR (high frame rate) license this beast will be capable of shooting 4K at 120fps. The firmware 4.0 itself will be free of charge but the optional HFR mode will require a credit card swipe. Both updates will be available in June 2019. When Sony releases firmware version 4.0 for its VENICE flagship digital cinema camera in June this year, it will come with an optional software module which requires some extra cash. While the cost is yet to be determined, the features are set already. Sony VENICE 4.0 Sony is working closely with James Cameron’s Lightstorm Entertainment on their upcoming extension system (CBK-3610XS) which basically splits the camera in two pieces: the comparably tiny camera head and the actual camera (read: recorder) itself, tethered together via a single cable and up to 5.5m apart from each other. The system is currently being used to shoot the AVATAR sequels. Firmware version 4.0 adds support for this upcoming tech plus some nice additions for pro shooters: Support for Cooke’s latest /i3 and ZEISS eXtended Data technology (which is based on Cooke /i Technology) 700 Protocol for remote controlling the VENICE extended Mask+Line setting in the Frame line set-up selectable functions for the assignable buttons of the DVF-EL200 viewfinder progressive HD-SDI output in 25p and 29p With the newly developed 700 protocol, Sony is further expanding the camera’s existing remote-control capabilities. The VENICE now offers paint control, iris control, recording start/stop and clip control. This could be useful for multi-camera setups as well as live events. Support for the Cooke /i3 and Zeiss eXtended Data protocols enables embedding the incoming metadata straight into a RAW/X-OCN/XAVC file or the HD-SDI output of the VENICE. Since there’s no need for dedicated metadata equipment this welcomed update helps reducing clutter around the camera on set. The embedded metadata speeds up and simplifies post production workflows for high end shoots. Optional HFR Mode – 4K 120p On top of the free to download firmware 4.0 there will be an optional HFR license key for purchase ($$ tbd). That HFR (high frame rate) key will unlock the following recording options on the VENICE: 120fps at 4K 2.39:1 60fps at 6K 3:2 110fps at 4K 17:9 75fps at 4K 4:3 anamorphic Originally Sony planned to release just a 2k 120p mode but, as Sebastian Leske (Product Marketing Manager, Cinematography) claims: Last year at Cine Gear Expo, we announced that Version 4.0 will include 120fps in 2K. However, we are excited to announce today that, as a result of the hard work of our engineering team, Version 4.0 will now include 120fps in 4K. All High Frame Rates support X-OCN recording including X-OCN XT (not available for 6K 3:2 50p/60p ). High frame rates up to 60fps support XAVC 4K and ProRes recording, too. Pricing and Availability Both the firmware update 4.0 and the optional HFR license will be available in June 2019. Pricing on the HFR license is yet to be determined, the firmware itself will be free to download. It’s nice to see Sony’s efforts in making the VENICE a better and more robust camera with every update. Other companies, however, like RED for example, deliver their cameras with everything there is (software-wise at least). No paid licenses are required in order to shoot 120 fps at 5K 2.4:1 with a RED Dragon-X 5K S35. Let’s see how much cash you have to spend for that HFR upgrade! Links: Sony What do you think? Share your thoughts about the Sony VENICE and this update in the comments below!

This is it, people! The brand new Panasonic LUMIX S1 and S1R are finally here and from what we’ve seen so far they look impressive. Let’s take a deep dive into the features and differences of these new mirrorless cameras! Panasonic LUMIX S1 and S1R The perfect camera has yet to be invented but it seems that Panasonic has taken this challenge very seriously with their new LUMIX S1 and S1R full-frame mirrorless cameras. The two new models tick a lot of boxes when it comes to both still photography and video features. Furthermore, the company has already gathered a ton of experience with their GH5 and GH5S in regards of usability, features and –most importantly for us indie filmmakers–  a clear focus on pro video capabilities. Panasonic LUMIX S1 and S1R Both models look identical from the outside, the only real difference is the red “R” on the S1R. Other than that both models share the exact same housing. Internally, it’s a different story, obviously. For starters, the LUMIX S1 sports a 24MP full-frame sensor while the S1R features a 47MP sensor. The S1 is more focused on filmmaking while the S1R is aimed at pro photographers. Spot the difference.. In regards to our industry, the LUMIX S1 seems to be very well suited to the needs of professionals and indie filmmakers alike: Full HD 180fps (4:2:0 8-bit) and 4K50p/60p 4:2:2 10-bit video is possible and this is a first in the full-frame mirrorless game! This feature comes with a few downsides, though: 1) 4K50p/60p is only available via external recording through HDMI. 2) A –paid– software key later this year is needed to unlock this (and other) features. 3) 4K50p/60p is limited to 15min (even less if the environment is very hot – the camera will stop the recording in order to protect itself). 4) Due to the different sensors used, the LUMIX S1 will switch to a 1.5x crop in 4K50p/60p mode while the S1R keep its 1.09x crop for video consistent throughout all modes (but offers 4:2:0 8-bit only). Speaking of that paid software key for the LUMIX S1: Along with the upgrade to 4:2:2 10-bit, a V-Log profile will be added, too. The following shooting modes will be enabled with that upgrade: 4:2:2 10-bit (internal) MP4 4K 25/30p 150Mbps (4:2:2 10-bit, Long-GOP, LPCM) MP4 4K 24p 150Mbps (4:2:2 10-bit, Long-GOP, LPCM) MP4 FHD 50/60p 100Mbps (4:2:2 10-bit, Long-GOP, LPCM) MP4 FHD 25/30p 100Mbps (4:2:2 10-bit, Long-GOP, LPCM) MP4 FHD 24p 100Mbps (4:2:2 10-bit, Long-GOP, LPCM) V-Log profile 4K 50/60p 4:2:2 10-bit HDMI output Furthermore, the S1 sports a Like2100 (HLG) profile which the S1R lacks. Both cameras share Cinelike D / Cinelike V and Like709 profiles. There is no 29-min recording limit anymore, the only limitation is heat and that’s why both cameras are limited to 15 min (or less) in high speed mode. The S1 is able to record 4k at 150Mbps and FHD at 100Mbps (this 100Mbps requires the optional paid upgrade, too) while the S1R tops out at 150 Mbps (4K) and 28Mbps (FHD). The S1 is capable of recording in MP4 HEVC (aka h.265) while the S1R only shoots plain MP4. Features of the LUMIX S1 and S1R So, what’s new here? Well, pretty much everything: New lens mount, new sensor(s), brand new viewfinder, new dual card slot (featuring XQD and SD), new body design.. Anything else? Yes! New Venus-Engine processor, new menu system, new autofocus system, improved IBIS, rugged design and improved weather sealing. The autofocus system has been improved, too. It now sports artificial intelligence to recognize people, faces and even animals. Also new: A small LCD status display on top of the camera. Nothing fancy but definitely helpful! Both models sport microphone ports and a headphone port plus a lockable HDMI port. According to Panasonic, the LUMIX S1R flagship camera with its 47MP full-frame sensor is aimed at pro photographers while the 24MP S1 is more tailored for the video crowds who doesn’t need the massive resolution of a nearly 50MP sensor. Simply put, the S1R has all the pixels plus lower end video features, the S1 has everything for video minus the megapixels pro photographers might be after. In order to fully utilize the potential of the LUMIX S1 (4:2:2 10-bit & V-Log), you must also take into account the cost of the software key that comes later this year. The next big thing the LUMIX S1 and S1R inherit from the GH line of mirrorless cameras is the superb IBIS (in body image stabilization). For the S1 and S1R it’s rated at +5.5 EV for the IBIS only and +6 EV when combined with the two-axis image stabilization with a compatible lens attached. This is really good news since experience shows that shooting handheld can be a bit tricky with a mirrorless camera which lacks weight and therefore normally does not rest on your shoulder. Dual card slots (XQD and SD). Both camera sport dual card slots. One classic SDXC slot and one XQD slot which will support CFexpress media in the future. The SD slot can handle read speeds of up to 300MB/s and read speeds of up to 260MB/s while the more advanced XQD slot features write speeds of up to 400MB/s and read speeds of up to 440MB/s. EVF and Display The EVF of these cameras sport a 5,8MP 3:2 OLED display with a refresh rate of 120 fps (60 fps can be selected, too). You even can choose from three magnification factors: 0.7, 0.74x or 0.78x. The 3.2″ (8,1 cm) touchscreen sports a 2.1MP LCD multi-touch display and features anti-fingerprint coating, just in case. The display is mounted on a triaxial tilt rear monitor that allows it to flip out for low or high angled viewing in both portrait and landscape orientation. Please note: Unlike the GH5, however, the display cannot be swiveled into selfie mode. New L-Mount Lenses The LUMIX S1 and S1R are Panasonic’s first cameras sporting the L-Mount. The newly formed L-Mount Alliance (read all about it here) is a consortium of Leica, Sigma and Panasonic. Right now, only Leica has some L-Mount glass on display, but Panasonic is following suit with three new lenses. New Lenses: 50mm, 24-105mm & 70-200mm. The three new L-Mount lenses are: LUMIX S PRO 50mm F1.4 LUMIX S PRO 70-200mm F4 O.I.S. LUMIX S 24-105mm F4 MACRO O.I.S. One neat feature is the newly designed focus ring which can be pulled back to reveal the focus scale (= manual focus mode) or pushed back to hide it (= autofocus mode). Furthermore, you can set the fly-by-wire focus behavior in camera: Nonlinear (focus change dependent on rotary speed), Linear (constant focus change) or set the desired rotation angle yourself, from 270° all the way to 360°. LUMIX S PRO 50mm F1.4 with newly designed focus ring. Both zoom lenses sport optical image stabilization, which –as stated above– can be combined with the IBIS of the body itself to compensate up to 6 EV. While the 24-105mm seems to be a decent all-purpose zoom range I personally would have preferred an F2.8 lens (which would have resulted in a very pricey lens, I’m sure). On the other hand, this lens is also a macro lens, which can be really handy especially when paired with such a versatile zoom range. LUMIX S 24-105mm F4 MACRO O.I.S. A ‘nifty-fifty’ is a must in any lens lineup so Panasonic delivered one with an impressive F1.4. And of course, a classic 70-200mm lens is among the first L-mount lenses by Panasonic. Again, ‘only’an F4 but with optical stabilization which is nice to have with such a long focal length. Panasonic claims that there will be at least 10 L-Mount lenses by the end of 2020. Furthermore, there are already 8 lenses available by Leica themselves plus three more by the end of 2020. Also, Sigma has already announced 14 L-Mount lenses and an EF adapter. As you can see, the L-Mount is not a dead horse at all! Let’s wait and see what new lenses come out over time. Into the Future These new mirrorless cameras seem to path Panasonic’s way into the future. Both models come with a really impressive set of features without too many compromises. The engineers tweaked the menus even further, making them easier to navigate. Video and still photography menu items are separated from each other more clearly and the physical buttons are highly customizable. Sure, some kind of internal ND system would have been nice but other than that there’s very little to ask for. Let’s wait and see how first hands-on impressions and reviews hold up to the expectations here. UPDATE: As per our own Johnnie, who has attended the Barcelona press event, the LUMIX S1 seems to be a pretty decent full-frame mirrorless camera. The IBIS seems to perform well and the overall build quality seems very robust and rugged. The autofocus, however, lacks a bit consistency. Hopefully this will be improved via firmware update. Note that Johnnie had a pre-production model so things could change until the release. Check out the above video for all his thoughts about the new S1 camera. A full review is coming so stay tuned! What do you think of these two new cameras? Are you going to invest in the L-Mount system? Share your thoughts int he comments below! Full disclosure: Johnnie and other media representatives were guests at Panasonic LUMIX S1 launch event in Barcelona, Spain. Panasonic paid transport and accommodation for this 2-day trip, but there was no other payment involved whatsoever.