Sony RX100 VII has been announced and we were lucky enough to take if for a short spin. It has been a bit over a year since Sony introduced its predecessor, the RX100 VI, and now they there’s a new member for its ever growing RX100 family, the RX100 VII. But is it any better for filming? Is the new camera worth being considered especially by Vloggers? Please bare with me while I’m exploring the video capabilities of this new tool.   Sony RX100 VII – Same focal length as before It’s almost the end of July and some of you lucky people already having a vacation (or are you just about to take one?). Now, we know how it is before leaving. You would like to take your trusted camera along, while for your life partner, it looks like a complete waste of time (and space), so it won’t be long before this question is asked: “Darling, don’t you have something smaller to take with you?” Now it looks as if Sony was aware of the situation and for that exact reason (or not) they created the RX100 family of cameras…Well, maybe I went a bit too far and this family of cameras was actually created to cater the needs of Vloggers. So let’s jump in and take a closer look at what is new. The Evolution – A slide from Sony’s presentation Sony RX100 VII Improvements Over its Predecessor Having a new CMOS sensor and a BIONZ X processing engine surly helped achieving a more precise autofocus performance. In addition, the 4K HDR video is achieved through full pixel readout without pixel binning. (With 1.7 times oversampling technology). On top, Sony enhanced the video stabilisation performance of the camera although I have to admit, I wish it was even stronger. Last but not least, you can now film vertically. When doing so and transferring the video to your phone (or editing system), the metadata will follow too so one can start editing vertically instantly if needed. Sony RX100 VII – The much requested mic input jack Sony RX100 VII new Features With its latest offering, Sony took another step forward in creating the ultimate Vloggers camera. The two major advantages over the RX100 VI are the 3.5mm microphone input, and the enhanced autofocus system. Now real time tracking and real time Eye autofocus are supported (Human/Animal). What wasn’t addressed is our wish for a headphone jack, internal ND filter and, easier menu to navigate with. Sony RX100 VII – Ready for vlogging Sony’s new accessory holder In the field In terms of ergonomics and lens focal lengths, Sony kept the same measurements as with the previous model. Some will appreciate the very long tele lens, others (like me) would have preferred to have a wider lens like the one Sony had in generation V. The camera itself is small and it always takes me a few minutes to adjust my shooting style when filming with it. The optical stabilisation mechanism is doing a fine job especial when you are NOT moving. When walking (and talking) “Vlogging style”, there is still room for improvement. The picture coming out of that very compact camera is fine. Also, because of its zoom range it is easy to  create a shallow depth of field when needed. The main obstacle when filming outdoor with this camera is again the  absence of internal ND filters. If you are a hobbyist, you will probably keep your exposure on automatic mode (but will you buy such an expensive camera just  to have one in your pocket?) and if your are serious about creating more engaging visual content, well, you will have to find creative solutions to work around this limitation. When it comes to audio (which is of course extremely  important when vlogging), I find the preamps too loud. Currently it is not so difficult to distort the sound. You will have to lower the recording audio levels quite a lot in order to achieve satisfactory results. On top, monitoring audio is part of our daily  filming  routine. I hope Sony will take a note of it when planning the next revision. Last but not least,  the menu structure of this camera (like with most other Sony cameras), is, simply put, dreadful. Sorry for the harsh words but we are at the point that the menu is simply hurting the functionality of the camera. Lots of useful features are buried somewhere inside and at times, to make one function work well (or as expected), one will  have to jump between few different menu categories in order to activate that. A real pity. Sony RX100 VII – The EVF is still there Conclusion The Sony RX100 VII is a fabulous technical achievement. It’s small and packed with technology inside it. Now the question is, can it serve vloggers well? It can, if one is fine to work in automatic exposure mode and risk not monitoring the sound output. Last but not least, one of my remarks when the Sony RX100 VI came out was about its price tag. Back then I was asking if  $1200 is not too high for the market Sony is approaching. (Vloggers). With the new model, Sony chose to keep the price the same so the explanation I can think of is that this type of camera is very popular among a certain audience who can justify it. Sony RX100 VII What do you think about Sony’s latest offering? Can the RX100 VII be your next vlogging camera? Please share with us your thoughts in the comment section below.   Music is courtesy of MusicVine. Get 25% off your next music license with code C5D25 (valid for one use per customer). Full disclosure: Johnnie and other media representatives were guests at Sony Europe’s RX100 VII launch event in Dublin, Ireland. Sony paid the transport and accommodation for this two-day trip, but there was no other payment involved whatsoever.

Filmora9 is a cheap alternative for editors who do not like subscription services. But is it a good choice for experienced editors to consider? Who Is This For? Watch the video above or visit the Filmora website and you will immediately realize something – this software was made for YouTubers. Content creators for YouTube and social media often want a simplified workflow, and Filmora certainly provides that kind of editing experience. But does that mean it’s something experienced editors should ignore? Not necessarily. Filmora9 does not have the features of professional software like Premiere, Final Cut, Media Composer, or Resolve. But if you are cutting a short film or documentary and have a limited budget it can get the job done.   The Filmora9 Workspace. Media bin and effects panels are on the top left, the panel on the top right serves as both source and program monitors, and the timeline is below. Features I downloaded the free demo for this review. Filmora’s timeline can handle up to 100 layers, so this isn’t exactly iMovie. Any editing program is going to have basic editing and transform controls, but Filmora9 also has basic compositing and audio tools. These audio tools are quite limited, but they can handle basic audio adjustments. If you like to use plugins for audio sweetening please note that Filmora9 does not support them. The program also features full 4K support (both UHD and DCI 4K). I found this pleasantly surprising since free versions of professional applications often are restricted to HD projects. Here are a few other features worth mentioning: Blend Modes Image Stabilization Chroma Key Basic Color Correction Tools The video panel includes basic transform controls but other features unexpected in a simple editing program like blend modes, image stabilization, and chroma key. Audio controls are limited in Filmora9. Third-party plugins are not supported. The color panel provides basic color correction tools, but does also feature 3D LUT (Look Up Table) support. The Editing Experience I tested Filmora9 on my 2017 iMac that I use for personal projects. It’s not a computer that I use for professional editing, so the specs are somewhat barebone. It can handle HD editing without a problem, but 4K footage does not play back smoothly on this machine. After I opened Filmora9 and created a project, I imported some HD DSLR footage that I shot in Russia years ago. As a professional editor, the experience was very intuitive. Whereas learning new professional editing applications often requires a tutorial or a visit to the help manual, using Filmora9 was fairly-straightforward. The interface is divided into three main sections. The panels on the top left are for media management, audio work, effects & transitions, etc. The panel in the top right doubles as a Source and Program monitor, which took me a minute to get used to. And the bottom of the screen contains the timeline. I threw a rough sequence of some b-roll together pretty quickly. I used the keyboard shortcuts for setting in and out points and performing insert and overlay edits. These keyboard shortcuts can’t be modified, so you would need to learn the preset shortcuts if that is your preferred method. If you prefer the drag and drop method, it must be noted that you can’t drag and drop from the source monitor directly to the sequence. You set your in and out points in the source monitor, but then you would need to drag the clip from the media bin down into the sequence. So for quick editing, keyboard shortcuts are definitely the way to go. For a simple edit like this Filmora9 did a decent job. But most of my work is documentary-style, so without more features to log soundbites and customize keyboard shortcuts editing more complex projects would take a bit of time. Supported Formats As you might expect the supported recording formats are quite limited. You won’t be editing RED footage with Filmora, of course. If you’re using a DSLR or mirrorless camera then you shouldn’t have to worry about supported codecs. Filmora9 does not support ProRes as a recording format, but it is listed as a supported export format. Here’s a list of all the supported recording and export formats, as well as system requirements. Price You can currently purchase an individual license for a one-time fee of $59.99. It’s worth noting that the individual license is for those editors who are not using the software for commercial purposes. If you are editing a personal project, perhaps for a festival or competition, then the individual license would work for you. If you are producing work for a client or your company then a business license would be necessary, and that requires a monthly subscription. Filmora 9 is an inexpensive alternative for editors who do not like subscription services. But is it a good choice for experienced editors to consider? The Verdict To be honest, initially I could not see a scenario where I personally would consider editing with Filmora9. After all, Media Composer First and Resolve are available for free, so why not choose one of those and have a more professional editing experience? Well, it’s worth comparing to the max resolution of those two programs. Media Composer First is limited to HD, while Resolve can handle UHD 4K, but not DCI 4K. Filmora9 supports both versions of 4K. If you are looking for inexpensive editing software and need to export in DCI 4K, then Filmora9 is something to consider.  What Do You Think, is there a scenario where you would consider using a simplified program as an alternative to more professional editing software? Let us know in the comments!

The Sony a7R IV was just announced and it might bring many enhancements for dedicated photographers, but for us filmmakers, it brings very little in comparison to previous Sony models. In fact, some of the video specifications found in this new camera – like color sampling, bit depth, resolution, frame rates, data rate and such – are exactly the same as those found in the ageing Sony a7S II, which was released almost 4 years ago! Sony a7R IV – still from the 4K timeline I know this is a bit of a harsh opening for an article, but I do have to express my frustration. Please don’t be mistaken, I have A LOT of respect for the people who are behind the new camera, and I can assume that many photographers will find what they were looking for in this new Sony offering – but, let me take one step forward and say that when it comes to the filmmaking crowd, Sony is risking to become less relevant, not taking action like other manufacturers do. When attending the press event in Ireland, I kept hearing that “the new a7R IV is a photo camera primarily, and that is why the video side of it is not enhanced”, but in all honesty, in my opinion this argument is not so relevant anymore. Look at what FUJIFILM and Panasonic (for example) are doing with their new cameras: By offering the best they can for photo and video performance in one shooting device, they are able to attract many. Now, I’m not saying that Sony should do the same, but at least the argument should be different or, better yet, a bit more clear about their future camera roadmap. Sony a7R IV Sony a7R IV – Video Highlights in a Nutshell Real-time Eye AF for movie recording and advanced Real-time Tracking APS-C crop mode (1.6x crop) 5.76 million dot UXGA (Ultra-XGA) OLED electronic viewfinder Full pixel readout with no pixel binning in Super 35mm mode Multi Interface Shoe with digital audio interface for high-quality sound recording with Sony’s new ECM-B1M Shotgun Microphone and XLR-K3M microphone adaptor Kit HDR recording (Hybrid Log-Gamma, HLG) S-Log 2 and S-Log 3 The 29 minutes recording limitation has been removed Sony new ECM-B1M Microphone Sony’s New Accessories Actually, what keeps me optimistic are the 2 new audio accessories. If those are anything like a commitment to the filming community, then the future is bright. What really captured my attention is the new ECM-B1M Shotgun Microphone. This new device is like having 3 different microphones (pattern-wise) in a single product. I must say that the demonstration I had was very convincing (it will be interesting to see how this microphone performs in the filed). In addition, the new Sony XLR-K3M now supports an additional 3.5mm stereo mini jack for microphone and line input. Both of the new audio accessories are designed to work best with the new a7R IV, as they support digital audio interface, meaning audio is directly transferred to the camera in digital form without noise or degradation. Sony XLR-K3M – Additional 3.5 input   Conclusion I guess this is one of the shortest hands-on articles I’ve ever written, simply because there is not much to highlight about the video capabilities of the new Sony a7R IV. The video output is nice, but video specifications-wise, this camera leaves a lot to be desired. On the positive side, I managed to write a short article and not mention the much anticipated Sony a7S III. Bravo Johnnie… Music is courtesy of MusicVine. Get 25% off your next music license with code C5D25 (valid for one use per customer). What do you think about Sony kind of neglecting us filmmakers? Are you still hoping for a better-spec mirrorless camera to arrive from Sony or have you moved on to use other manufacturers’ equipment? Please share with us your thoughts in the comment section below.     Full disclosure: Johnnie and other media representatives were guests at Sony Europe’s a7R IV launch event in Dublin, Ireland. Sony paid the transport and accommodation for this two-day trip, but there was no other payment involved whatsoever. 

A comprehensive review of the Kinefinity MAVO LF 6K (3:2) camera. “Large Format” is still the big thing as more cameras participate in the knockout process against the ARRI ALEXA LF and Mini LF. We have taken a close look at handling, ergonomics, functionality, tech specs and real-world practice experiences with it. How did the camera perform? Kinefinity MAVO LF operated by DoP Mark Zdunnek The Kinefinity MAVO and MAVO LF cinema cameras are built on the same image processing platform, use an advanced color processing architecture with the latest ColorScience and state-of-the-art CMOS image sensors. The MAVO is equipped with an S35 sensor, while the MAVO LF as a large format version is equipped with a 6K (3:2) sensor. Both cameras achieve very low noise and high dynamic range. My production company Altruist Films and I had the opportunity to shoot some productions with the Kinefinity MAVO LF and test it extensively. Production & Testing Environment We were able to test and evaluate the Kinefinity MAVO LF within multiple real-world environment shoots, ranging from music performances to image and product-related productions, over several weeks. We’ve been able to thereby test the camera in comparison or relationship to multiple cameras from Sony, Canon, Blackmagic Design and even action cameras. Essential Features & Large Format Sensor It was clear from the very first second I held the camera: with just less than 1kg (body only) it’s a real lightweight among the high-resolution cinema cameras, maybe similar to the Z Cam E2 (our review is coming soon) and future Z Cam models. The 6K and even the 4K image of the MAVO LF look very sharp – without being digitally resharpened – and deliver an organic-looking, pleasing image. Since there is always an extensive discussion of relative sharpness amongst cinematographers and some argue for more realistic or softer organic sharpness, while others rely on and favor more precise or even ultra-sharp images, everyone should, of course, make up his mind about this. I particularly liked that the 4K image looked sharper in a more subtle appealing way than other cameras. The MAVO LF with large-format sensor produces cleaner images, covers an extensive section of a 46mm image circle and, thanks to the large sensor, of course, offers less depth of field, which creates many aesthetic design possibilities with appropriate lenses. It should also be noted that the large-format sensor with its exact dimensions of 36mm x 24mm is now ~2.25x as large as a standard S35 sensor and the dimensions of the ARRI Alexa LF sensor of 36.7mm x 25.54mm are very close. Resolutions, Dynamic Range and Aspect Ratios According to the manufacturer, the dynamic range reaches more than 14 f-stops, which exceeds the performance of the Sony PXW-FS7 and was similar to the range of the Blackmagic Design Ursa Mini Pro 4.6K in my experience. (We haven’t put the MAVO LF through our rigorous cinema5D dynamic range and rolling shutter tests yet but will do that at a later stage.) In addition to the usual standard aspect ratios of 16:9 and 17:9 (DCI), a variety of other image formats, such as 6:5 S35 (for anamorphic recording), 4:3, and up to 24 MP at full sensor use in 3:2 image ratio can also be selected in the menu. One of the essential features is that the MAVO LF 6K (6016 x 4016px, native resolution with sensor format 3:2) can record HFR in 6K (Wide) at up to 75fps (from 6fps in 1-frame steps freely adjustable) and 4K slow motion up to 100fps (Wide, 4096 x 1720px) and up to 75fps (4K DCI, 4096 x 2160px) respectively. SideGrip, ergonomics, and connectivity on the backside of the Kinefinity MAVO LF Modularity, Handling, and Ergonomics The camera system of the Kinefinity MAVO LF is designed as a modular lightweight cinema camera system. The cube shape and angular construction are most reminiscent of RED cameras or the Z Cam E2 and are designed for a few control knobs only as well as a SideGrip with an essential steering wheel. A considerable advantage of the modular design is that the MAVO LF can even be used on light-built gimbals. In our case, it was used on a Zhiyun Crane 2 for many shots – without straining the engine too much. I have reduced the camera substantially for this purpose by detaching modules such as the handle, and attached the monitor via a video cable with a Magic Arm to an additional rod of the gimbal and was thus able to balance the camera well and move it quite freely. Split screen: MAVO LF on Zhiyun Crane 2 (left) and with 85mm T1.5 Walimex lens on a tripod (right) Controls, Symbols & Logic Anyone who has relied on established camera systems from major manufacturers for years or decades has become accustomed to the intensity, sensitivity, position, button types and inherent or learned logic of the symbols and controls. Those mentioned above are well-established manufacturers such as Panasonic, Canon, ARRI or Sony, which have extensive experience and knowledge in building long-lasting camera platforms, thanks to an army of engineers. They have built an enormous customer base with advanced academies or training platforms. On top of that, they have accumulated many loyal followers for their products and some are so attached to those brands that one could argue they even worship these manufacturers or their products. (The worshipping part is also true for “newer” disruptive brands like RED …) Of course, symbols, arrangement, and controls must first be learnt anew with the TERRA, MAVO or MAVO LF, but newbies to the Kinefinity system can also operate it after a very short time without any restrictions, and the desired selections can be made accurately and quickly. Kinefinity MAVO LF buttons and display (left side of the camera) Synchronization Options & Power Supply The MAVO LF offers Tally, AutoSlate, Beeper, Trigger and with KineBACK-W SMPTE LTC and 3D/Multi-cam Sync as options for synchronization in a multi-camera setup. With the SideGrip as an additional handle with battery slot “GripBAT” 45Wh (BP-U30 compatible) for power supply, the camera can reach a real operating time (standby and recording) of more than 1 hour. RAW, Compression and Codec Selection With the Kinefinity MAVO LF, you can use different codecs for recording and further processing in color grading suites like Blackmagic Design DaVinci Resolve. Especially the proprietary KineRAW 2.0 (.krw) (with a compression ratio of approx. 2:1 to 10:1) and CinemaDNG (.cdg) (compression ratio 3:1, 5:1 or 7:1) with 12 bit color depth should be mentioned. These formats – and especially the widely used CinemaDNG – initially offer maximum freedom in design and simplify the workflow through standardized processes, as they are also used for the further processing of material from leading cinema camera manufacturers. For my real-world recordings (apart from experiments and tests), I used Apple ProRes HQ4444 (12 Bit). As expected, the created files could be easily processed within the Adobe Creative Cloud. ProRes422HQ/422/LT/Proxy, ProRes4444 and ProRes4444XQ are available for selection in the camera. Kinefinity MAVO LF backside, connectivity and control buttons Dual ISO & ISO Values Essential differences to the predecessor model MAVO above all result from the new full-frame sensor. These also include that there now is a Dual-Base ISO: 800 ISO (under 2000 ISO as the base) and 5120 ISO (from 2000 ISO as the base). At the same time, the signal-to-noise ratio (SNR) has been improved. In my tests, ISO values of 800, 1600, 2560 and 3200 were pleasant to use. 5120 ISO should still be acceptable for some applications. Higher ISO values can also be used well if the target is a down-converted result (e.g. HD, 2K, 4K). Since the pixel spacing has increased due to the larger sensor (50% larger than with the MAVO) and thus disadvantages of too small and too close pixels have been improved compared to the predecessor, the MAVO LF has become more light-sensitive in relation to its predecessor. MAVO LF handheld with Movcam top handle accessory Media / Storage Solution Even without accessories and modular add-ons, recording on SSDs of all common brands can be started immediately. In the test, I used a Samsung SSD that was included but not certified by Kinefinity, as well as SSDs from other leading manufacturers such as SanDisk, Crucial and Transcend without making any compromises. Notable is that only SSDs up to 7mm height can be used. Relay and simultaneous recording are not possible inside the camera housing, because only one SSD slot is installed. If, however, the KineBACK-W is used as an optional add-on module, the signal can also be displayed externally on monitors via 2x 3G-SDI connectors and recorded with recorders in lower resolution (and limited frame rate). Therefore both backup and 2nd recording options in full quality are currently not possible. SSD stack with 1TB cards from SanDisk First Impressions from Post-Production Our first impression from the post-production is that the camera delivers pleasant skin tones, can be easily graded with the image material of different other cameras, and shadow details and highlights are well preserved in the shot with low noise and can, therefore, be edited suitably. Community: Questions on Errors and Crashes I have been asked via social media several times how many crashes and technical errors I experienced when using and recording with the camera. Although I recorded many hours of footage and used the camera on several days over long standby times – sometimes in a very dusty and temporarily heated environment, sometimes changing a lot in the menu and trying it out freely – I only had one non-reproducible problem. After switching on the camera again, it was suddenly not possible to record onto a SanDisk SSD with a displayed error message. We exchanged the SSD, and the problem was solved immediately. All data was entirely stored on the previously used SSD, no data loss occurred, and the error never happened again. For more security, the manufacturer recommends using certified KineMAG+ SSDs. The SSD workflow turned out to be speedy overall and very pleasant when offloaded or directly installed in a server and, above all, very inexpensive thanks to non-proprietary SSDs. I didn’t have any drop frames or other technical errors or missing files. KineMOUNT and Adaptors With a pretty short flange focal distance (FFD) or flange back distance (FBD) of just 15mm, it can be seen that the manufacturer wants to enable versatile adaptability to other common lens mounts. The proprietary KineMOUNT, which is at the same time the original lens mount of the Kinefinity TERRA, is used as the interchangeable mount. Thus, an essential and worthy discussion point about this camera is the lens mount. This mount is shorter than many standard mounts (e.g. Sony E-Mount – 18mm, Sony FZ-Mount – 19mm, Canon EF-Mount – 44mm, Nikon F-Mount – 46,5mm, ARRI PL-Mount – 52mm). Thus in the newly designed form, it allows that new PL mounting adapters with /i Technology and Nikon F adapter, new wireless EF adapters, EF adapter with KineEnhancer, EF/PL adapter with electronic ND (e-ND), new SONY FE/E adapters, and more are supported. In my tests I mainly used EF lenses from various manufacturers without any problems. KineMON black and white display on the Kinefinity MAVO LF Camera Operation: Wishes, Demands, and Expectations In my experiments and tests, I  was especially impressed with the useful focusing aid, a reasonable exposure function, additional control options via the SideGrip (optional) and a solid black-and-white display for accurate sharpness adjustment including color peaking. As a filmmaker, of course, you have many demands on technology nowadays, and many would undoubtedly wish for future Kinefinity cameras to have more functions, which are currently only accessible in the menu, moved to the outside of the camera via additional buttons. Another wish would be that the sensitivity of the click wheels, the control symbols, and logic could be adapted even more to known standards. Here the high sensitivity of the SideGrip wheel has been explicitly noticed, which could perhaps become even more sophisticated with newer firmware versions in the future or through constant further development of the pushbuttons, switches, and wheels. Sensitivities like these, which we have already experienced with other manufacturers and sometimes even over several version numbers, remained similar until a change was made much later. It would also be desirable to have (at least) a touchscreen control of critical camera functions using the monitor, which would increase the operating options and facilitate the speed of selection. Split screen: KineMON-5L HD (left) and MAVO LF on Zhiyun Crane 2 gimbal (right) Verdict The camera is suitable as a portable, lightweight cinematographer’s tool of choice and can be used in reduced camera setups with gimbals and bigger drones. Thanks to its high image resolution and sharpness, it can also be explicitly used for Visual Effects Shots, where the high resolution and the free selection of available aspect ratios can be of particular benefit. Therefore, the subjectively high-rated overall image quality can and should be emphasized again. A central aspect of the conclusion for me is to show here for which areas of application I consider the camera to be particularly suitable. These are independent productions, working in small teams or professional productions in which, on the one hand, sufficient time is available for the setup and, on the other hand, the highest degree of reliability is not necessarily required. It’s also suitable when conventional and fully established workflows are not priority factors. If you have to have more standardized workflows, KineRAW shouldn’t be used, and you can switch to ProRes, which of course simplifies the workflows a lot. Where 6K acquisition is used for 4K delivery and a budget for a suitable Sony VENICE or RED is not available, it would be an option to include the Kinefinity MAVO LF in the final selection round. The service from and contact to the European representation in Berlin should was extremely helpful and positive, but we of course always recommend to take a close look at the camera before a possible shoot. We recommend to shoot tests and get a better idea of the screen and controls to enjoy the best possible outcome from the first production. I didn’t have to exclude any filmed footage from post-production because of lack of experience, and with a little practice, I was able to create high-quality images with the MAVO LF. Links: MAVO LF – Kinefinity

The Sony Xperia 1 is now shipping in Europe and available for pre-order in the U.S – and we had a chance to test it together with Sony’s newly developed “Cinema Pro App”. This dedicated filming App is aimed at giving professionals a way to film with Sony’s new mobile phone in 10bit HDR internally with full manual control, and on top, output enhanced video quality, when compared to other phones. Is that so? Keep reading to find out.  Sony Xperia 1 – Cinema Pro App on Opening Phone Screen It’s no secret. The mobile phone industry is chasing around its tail as sales are dropping rapidly lately and new innovations are waiting to see the day of light when quality control assures they are ready to go prime time (flipped dual screen and true wireless charging). The situation of manufacturers who are not leading the sales charts is even more challenging. How to attract attention, grow sales and justify existence in such a competitive environment is a question that must probably be asked day in day out. The ability to take high quality PHOTOS with mobile phones has already changed the industry of photography forever. It has destroyed some well-known camera manufacturers, who were rewarded for making compact cameras, made others completely change their business strategy, offerings and marketing plans, or led to highlighting others. As a non-scientific test, I was one of the thousands of people who had gathered at the streets of Tokyo to watch the Kanda Matsuri festival and as crazy at it sounds, it was fascinating to see how many people were actually using their mobile phones to take pictures during the event. Now, when it comes to filming, the footprint of those mobile devices in our professional filming industry is still very limited. I’m not so sure how many of you guys actually tried filming something meaningful with your smartphone (or even do a paid job with it), but for me, it was always a very frustrating experience. Every single time I was attempting to use a phone for filming, it got painful. The process of rigging up the phone was time-consuming and the end results were fine, but not nearly as good as I wanted them to be. On  top, none of the phones I know have their own built-in App for advanced manual filming. All  the professionals I know are currently experimenting with filming, with Apps like Filmic Pro or the Moment Pro Camera App. Sony Xperia 1 Mobile Phone with Camera Pro App Sony Xperia 1 – Introduction Now comes Sony with their new Xperia 1 mobile phone, attempting to change it all. It is the first time that the Sony Mobile team worked together with the Sony Alpha and Bravia teams, in order to create a device that aims to capture the attention of filmmakers, and as a side note, I wouldn’t have taken the time to seriously look into this phone if it wasn’t thanks to Sony’s people themselves, who openly declared that this mobile device and App are aimed to target professionals. That’s where my curiosity rose – after all, it does not happen every day that a manufacturer uses the pedigree of its top cinematic trademarks (CineAlta and Venice) to promote a $1000 mobile phone device. Besides, the Xperia 1 is the first smartphone that can capture videos internally in 21:9 aspect ratio, 10Bit, 55Mbps/H.265, 4K HDR and 24fps. Sony Xperia 1 – The phone In all honesty, not much that I can contribute here for the following reasons: I’m the owner of a very old iPhone 5S and have never used a Sony Xperia or an Android phone before. (I simply don’t care about those gadgets). I couldn’t care less about the “phone side” of this mobile device… My interest was in the new “Cinema Pro App”, the screen, the overall video quality, and user experience when working with the phone. So, if you are interested to know how well the Xperia 1 does as a phone, sorry, I guess you will have to look for information elsewhere. “Creator Mode” – High Quality HDR Display Setting, activated Sony Xperia 1 – The screen This big 6.5″, 21:9 CinemaWide OLED 4K HDR 1644 x 3840 resolution display is truly impossible to ignore… (We have seen a similar screen size before with the Huawei Mate 20 RS,  but its specifications were inferior). Of course, this extra-wide format screen is especially useful when wanting to watch content shot in 2:35 aspect ratio (no black bars on your screen), but other that that, this OLED 4K HDR (BT. 2020 color gamut), 10-bit phone screen can display content with deep blacks and without any banding. If we take a closer look, within the phone settings under “Display” you can actually choose between two viewing modes: “Standard” for vivid images and “Creator” for faithful color reproduction. Note that when using the ‘Cinema Pro App’, the screen switches to “Creator mode” automatically, which is nice because of color accuracy. On the other hand, it makes filming outdoors under bright sunlight conditions almost impossible (screen is too dark). Another thing that puzzles me is the ability to change ‘White Balance’ settings while being in “Creator mode”. You have four options to choose from: Warm, Medium, Cool and Custom. In my opinion, “Medium” gives the most natural look, BUT to my understanding, the “Creator mode” with its ability to display faithful image reproduction, should NOT allow changes in the screen’s white balance while being in that mode. (The screen supports standards like DCI-P3, BT2020 colour space and D65 White Point, so I can’t understand why settings are not locked). Please see the images below. I’ve intentionally exaggerated the red display color in order to make a point. Xperia 1 – Creator mode Display WB setting – Medium (For keeping natural colors) Xperia 1 – Creator mode Display WB setting – Medium Xperia 1 – Creator mode Display WB setting – Custom. Intentionally exaggerated red color Xperia 1 – Creator mode Display WB setting – Custom. Intentionally exaggerated red color Cinema Pro App – Introduction I would like to start by taking my hat off to Sony’s engineers, who seriously tried (and are still trying) to tackle the segment of professional filmmakers with the development of this App in conjunction with the phone. After the RED Hydrogen One flop, it is refreshing to see a non “wait and see how good we are” approach, as it’s all done in a gentle and humble Japanese way. Sony Xperia 1 – Cinema Pro App layout As a professional user and a reviewer, I need to judge how intuitive and well thought-through the App is, and that’s where things get a bit more complicated. For the last few weeks, I was lucky enough to have the phone and run around filming with it, and one of the obstacles I’ve encountered in achieving convincing results is working with the new Cinema Pro App itself. Before continuing, let me clarify. The direction is absolutely right and I have no doubt that with time, most if not all of the “needs to be improved” points I’ll refer to, will be a thing of the past, but for now, the App itself is very restricting and even more so, complicating operational tasks that otherwise could have taken half the time with much less effort. So, what does this App offer in terms of camera control: Resolution: There are two different resolutions to choose from, 2K and 4K. Note that the latter is the preferred one quality-wise (4K native) FPS: 23.98 and 29.97. For film look, stick with 23.98. (Higher frame rates can be found when switching to the normal filming App, but I found those to be not so usable, so I definitely recommend avoiding them). Look: Here you will find 8 different looks. My advice, skip the gimmicky colored options and concentrate on the VENICE CS one for better look and possible grading. Lens: One can choose between three lenses. 16mm f2.4, 26mm f1.6 and 52mm f2.4 (more on that, below) ISO: Full manual control on ISO is available. (40-800 while 64 is the native). Mind you that this phone is not a lowlight filming monster and it is good to see that Sony actually limited its ISO value to realistic parameters. Also, this is the ONLY way to control the amount of light entering the lenses WITHOUT playing with shutter angle. White Balance: Five options are available. Tungsten, Fluorescent, Daylight, Cloudy and Auto WB. (No custom WB at that stage). Shutter Angle values: 1.4, 2.8, 5.6, 11.2, 22.5, 45.0, 90.0, 144.0, 172.8, 180.0 and 360.0 can be dialled. As far as I’m concerned, when filming on 24fps with 180 shutter dialled, the picture is strobing too much and motion blur looks wrong somehow, 172.8 gave me a bit of a better visual effect, but still, motion blur should be improved. Focus: Here one will be able to change between ‘auto’ and ‘manual’ focus  options. Please see my remark regarding autofocus at the lens paragraph. In regards to manual focus, unfortunately there is no way to zoom or enlarge the frame on the screen, so it is not always easy to judge the absolute focus point. By the way, although we are talking about a small sensor size, there is indeed a way to get a bit of a shallow depth of field by using the 26mm/52mm lenses and focus manually. Sony will do good if they can allow tapping on the phone’s touch screen in order to set focus points, in the future. “Grab”: Pressing this button will take a still photo while being in video mode. Other screen indications: Audio meters, counter, HDR (always on), Codec (always H.265), Battery status, available memory for recording, and frame guide lines are all there. On top, you can choose between accessing ALL recorded files, or any of the last six. What ever you choose to play, it will kick you out of the Cinema Pro App and you will have to ignite it again in order to continue filming (at least I did not find a direct way to go back from playback mode to record mode) and in order to resume recording, look for a tiny arrow on the down right side of the screen and click on it to ignite Cinema Pro again. Cinema Pro App – Strengths   When it comes to filmmaking, this App is the heart of the new Xperia 1 mobile phone. It is aiming to give professionals a familiar look and known terminology. This piece of software is acting as a hub, connecting between the phone’s built-in filming capabilities, the high-quality screen and user interface. The idea was to rely on Sony’s long time professional experience and create an App that brings the best out of this phone, when it comes to movie recording capabilities. Cinema Pro App – Every Action Needs to be Confirmed Cinema Pro App – Limitations: (In no particular order) Changing menu parameters: Currently ALL changes need to be confirmed in order to be executed and this is… not so functional and efficient…. If  you, as an operator, decided to change ISO, focal length or focusing method, why should you confirm what you’ve just decided for yourself? It is very time-consuming and not user friendly. From a documentary perspective, the changes should be done “on the fly” while dialling the wanted parameter. What I found interesting is that changing lenses while filming is possible when  using the camera’s “normal video App”, but not in its professional sibling. Speaking  of filming parameters, there is no way to change frame rates, resolution or look, UNLESS you start a new “shooting project”. Again, an unwanted stage in what is already a complicated workflow. Exposure: Unfortunately, there is NO way to judge exposure. Guess-work is the current way to get it right and, as noted  before, in bright sunlight (and deemed “Creator mode” screen), this essential task becomes almost impossible. Record button placement: When filming without a rig, and holding the phone with two hands, intuitively one would like to press the record button with his/her thumb. Currently, the REC button is  located on the lower right hand-side of the frame and I found myself training my thumbs to do the job, without shaking the phone. (There is a possibility to start recording while pressing on one of the buttons  located on the phone frame, but I found it not so convenient.) Horizontal levelling: Currently, there is no way to evaluate how levelled you are when filming. This may sound not so important for some, but for me personally, it is a great little function that helps  in constructing better images. Sound: We all know the importance of sound in productions. Currently, sound is set on “Auto level” without a way to change it. To conclude this section, if this phone is considered to be a professional shooting device, then a bit more work is needed to refine that App and give it better functionality and flexibility. I can also hope that proper S-log picture profiles will be implemented at a later stage (if doable at all). This will allow easier integration of using this phone together with other Sony cameras during common productions. Xperia 1 – Three Lenses and 58mm thread added with the use of the Phone Case Xperia 1 – Triple lenses: 16, 26 and 52mm Multiple lenses for mobile phones are becoming a popular solution these days and Sony obviously decided to go this way, too. The selection of focal lengths is fine, what really disturbed me is the non-equivalent f-stop. Both, the 16 and 52mm are at f2.4 while the 26mm lens is at f1.6, so practically, when changing lenses you will find yourself having to change the ISO value too, in order to compensate for light. There are two additional noticeable issue with those lenses: In consistency with autofocus performance Picture/Optical quality When using the wide 16mm lens, the focus is fixed and there is no way to alter it manually (which is OK most of the time). With the 26mm and 52mm lenses it is possible to switch to manual focus and, although not so intuitive, one should consider doing so for the simple reason of focus accuracy. The 52mm in particular is the one to perform less good between the two in autofocus mode, and occasionally, I found it hunting for the correct focus point. When it comes to picture/optical quality, the 16mm lens is the one to suffer most. I love wide angel shots, but with this lens, the edges are simply too soft. Maybe there is a way to enhance its performance, but for now, this phenomenon is really disturbing. Last but not least, the optical stabiliser will work fine when attempting to film static handheld shots. (It is automatically activated when using the 26mm and 52mm lenses). Xperia 1 – 16mm lens. Mind the soft edges Xperia 1 – 26mm lens. A bit softer on the edges Xperia 1 – 52mm lens. The sharpest among the three lenses Xperia 1 Dynamic Range test For  this test, I’ve asked Gunther, our Lab specialist to evaluate the phone’s Dynamic Range, and here is what he came up with: (To learn more about our Dynamic Range evaluation method please click here). 52mm ISO64 Shutter 360 52mm ISO64 Shutter 360 exposure boosted I got very inconsistent DR results for the Sony Xperia 1: the codec’s bitrate is so weak ([email protected] Mbps) that there is a lot of macro blocking in the shadows – macro blocking means that the shadows and therefore the noise is not represented accurately. Hence, when IMATEST calculates the root mean square of the noise levels, it would accidentally lump together the huge areas of macro blocking and therefore generate random and very inconsistent results. The two JPG’s above show the macro blocking, Demonstrating inconsistency in DR test results: The two above images show two very different results from the very same clip, just 1 keyframe apart (difference of 1 stop DR). Waveform, 52mm ISO64 Shutter 360 Judging from the waveform I would say that the Sony Xperia 1 has a maximum of 10 stops of Dynamic Range. Keeping Shutter Angle at 180.0 One of the biggest challenges when shooting with a mobile phone is to control the amount of light entering the lens WITHOUT manipulating the shutter speed. Thankfully, Sony is now considering making a simple yet effective camera case that will allow attaching a filter into it. The case filter thread is 58mm and when screwing a filter into it, it will cover all three lenses. I’ve used this case, and attaching a Variable ND to the phone was a breeze. By the way, when thinking of it, it will be interesting to attach the SLR Magic anamorphic adapter to the phone ((Anamorphot-40 1.33x). When setting the phone to 52mm lens it could work well… Sony Xperia 1, Filter Case and Vari ND Vari ND attached to the Sony Xperia 1 Xperia 1 – Battery Life, Storage Connectivity and Computer Transfer Software If there is a big plus when using this phone, it is its battery life. Truly remarkable. Maybe by having the phone on “flight mode” it helped a bit in extending the battery life, but all in all, it was very liberating not to think about feeding the phone with external power and charging it all the time. When it comes to capacity, the phone is being delivered with 128GB for non-Japanese variants. The Japanese version has 64GB. Sony Companion – Not a useful solution   When it comes to connectivity, I would like to touch two points: Connectivity to a computer: Being equipped with the latest USB-C socket, connecting between the phone and a computer is a no-brainer. Things get complicated when firing “Xperia Companion“, Sony’s own “All in one” software. Using it is a truly painful experience, as the Xperia 1 files won’t be recognised as visual thumbnails, folders or names (at least on my Mac), I mean, there are file names, but all you can see is “MOV_CINEM…” for all video files, as the generated video clip name is simply too long to be presented. Also, this software won’t recognise the phone as a USB device, which is a shame. Alternatively, I was using “Android File Transfer“.  The installation of this software is easy and straightforward, and moving clips from the phone to the computer just becomes easier. Sony Xperia 1 acting as a monitor for the Sony a7 III Connectivity to Sony’s cameras: One of  the strengths of the new Xperia 1 is the ability to act as a monitor for some of the latest Sony Alpha cameras. What you have to do is download and install the new Sony Imaging Edge App on your Xperia 1 phone. I must say that the installation was very straightforward and connecting to the Sony a7 III went flawlessly, too. Time lag is of course evident between the two devices, but depending on what you are filming, it might be acceptable. In addition, activating the Sony camera’s REC button remotely is possible by pressing on the Xperia 1’s own REC button. Xperia 1 – Image Quality I love the native 21:9 aspect ratio and for a phone, the video quality is just fine. The rolling shutter effect is being controlled well in most cases (just don’t get too wild)… and I would strongly recommend NOT to film in ISO 800, as the video gets noisy and blocky. Exposure is a miss-and-hit, so be prepared to adjust some of your images in post. In my opinion, the current data rate is too low and the images are a bit too soft. Sony Xperia 1 – Black color, 128GB, $950 Sony Xperia 1 – Final Thoughts By introducing Cinema Pro, Sony took the initiative to create something different and I salute them for doing so. In reality, it is nice to see that by using this built-in App, we finally got rid of the familiar yet unwanted “Plasticky video look” and automatic settings that all modern phones have (unless you are using an external App to eliminate those shortcomings). On the other hand, we are not where pros would want to be just yet. (Not that Pros will run to film on their mobile phones but future trends, price and market changes might force many to do so). Low data rate, small sensor size, limited lowlight capabilities, limited Dynamic Range, inconsistent autofocus performance, automatic audio and difference in quality of those fixed three lenses are all summing up to indicate that there is much to improve. More than 10 years ago, when the DSLR revolution erupted, I was there to witness the change and I’ll be here to welcome the next (mobile) revolution when it comes, but for now, I will have to accept those limitations and wait for a while before taking a phone out of my pocket and comfortably film my next gig with it. Xperia 1 on a rig The footage in the above video was NOT color corrected. Curve slightly added. Music is courtesy of MusicVine. Get 25% off your next music license with code C5D25 (valid for one use per customer). B&H is currently running a special promotion. When you pre-order the Sony Xperia 1 phone you get Sony Noise Canceling headphone for free! What do you think about filming with a mobile phone. Would you use it for a job? Are you looking forward to the day when such a device can output high-quality images? Share with us your thoughts in the comment section below.  Full disclosure: Johnnie and other media representatives were guests at Sony Europe’  Xperia 1 launch event in Venice, Italy. Sony paid transport and accommodation for this two-days trip, but there was no other payment involved whatsoever.