The new FUJIFILM X-T4 has just been released, promising to be one of the more interesting cameras to be delivered during 2020. If you are like me, an owner of the FUJIFILM X-T3 who wished for a little extra, then the wait is over. Enhanced performance, combining the advantage of the now discontinued X-1H (stabilised sensor) and articulating LCD screen, can now be found within this newcomer camera. Prepared to be impressed by what seems to be the best all around small and lightweight APS-C sensor camera that can shoot video, currently in the market?  FUJIFILM X-T4, currently the best APS-C sensor mirrorless camera that shoots video (Image: cinema5D) For the last few weeks, I’ve been running and gunning with the new FUJIFILM X-T4 camera, and let me tell you, the great X-T3, just got (much) better! If I have to summarise my experience while working with that new camera, I would write PURE Joy. It is not even about a specific feature or certain specification. It is about the overall usage and camera flexibility. Let me say it loud and clear, for documentary filmmaking, it is currently one of the best tools out there! If you want to watch my mini documentary “Arisa”, which was shot entirely on the new FUJIFILM X-T4, click here.  FUJIFILM X-T4 –  What is New (in no Particular Order) FUJIFILM have done their homework by listening carefully to feedback from the field. They have merged their two successful camera lines, the X-T3 and X-H1, into one winning product. I mean, I hope you can agree with me that both cameras where aiming to capture the attention of a similar audience, us the filmmakers. Each had its advantages and limitations, which – at times – might have caused a bit of hesitation in regards to which camera to get. On top, I can only imagine that like with so many other manufacturers in our field, resources at FUJIFILM are limited, so it is better to consolidate manufacturing lines and concentrate on bringing a winner product that combines goodies from both worlds to the market. So, what did FUJIFILM bring to the table, in order to make that camera so likeable? Well, first of all, they kept (almost) all the good stuff one can find inside the X-T3. Here is a short list of what is untouched: H264 / H265 encoding 4K (up to 60p) resolution and frame rate High data rate recording (Up to 400 Mbps) All Intra (Alongside Long GOP) compression 10 bit 4:2:0 color sampling Touch screen LCD Excellent audio performance (For a mirrorless camera) Joystick It is also worth noting that the the X-T4 inherits the 26.1 MP “X-Trans” sensor and “X-Processor 4” found in the X-T3. The difference in performance lies in the better configured written algorithm. So those are ALL there. But what really makes this camera even more capable is the inclusion of some new features like: A new excellent 5-axis IBIS (In Body Image Stabilization). Apparently this new IBIS unit uses magnetic force rather than springs. FUJIFILM claims that the IBIS unit is approx. 30% smaller and 20% lighter than the one found in the X-H1 Thicker camera hand grip. Even for my small hands, the X-T3’s camera grip was a bit too “thin” to hold. The X-T4 overcomes this issue by offering a slightly thicker grip. Those few mm’s made a big difference while running and gunning in terms of handling comfort  Swivel LCD screen larger size and capacity batteries Dual SD slot recording with the ability to instantly record a back up video at the same quality (not a proxy video file) Up to 240 fps in full HD including functional autofocus (x1.29 crop) The F-Log view assist function is now compatible with BT.709 standard (You can trust the image you see also for color and exposure, as it is not just a random overlaid color on top of F-Log). Mind you that switching between F-Log and view assist (and vice versa) while recording is not possible. Toggling between those two modes (F-Log and view assist BT.709) is only possible prior to pressing the REC button. After that you are “stuck” with your last selected option throughout the recorded clip Movie and photo modes have a separate knob position. Additionally, when dialling “Movie”, the menu ignores all the photo related functions. This is a great help and works fine, though NOT all the way down. The more you dive into the menu, the less it keeps the “video only structure” When recording while the camera is on Manual Focus Mode, it is now possible to press the S.S. button. As a result, the frame will digitally zoom so focus confirmation becomes easy. In addition, if you’ve started recording while in this “zoom in” mode, the camera will automatically reset to the chosen framing (finally) “MIC jack setting” added – Now it is possible to switch input level between MIC and LINE Different shooting modes might end up with different crop factors. If this is a concern for you, there is now a way to set the camera to a single crop mode (x1.29) New ETERNA Bleach Bypass picture profile added  (Low saturation/High contrast) EVF/LCD BOOST SETTING: It is now possible to choose between 3 different modes when shooting in different conditions  “LOW LIGHT PRIORITY”, “RESOLUTION PRIORITY”, or “FRAME RATE PRIORITY”. “Low Light Priority” will turn the white menu writing into red, making it easier to view in the dark Dedicated Time Code menu. (Functionality is the same as with the X-T3) “White Priority” Auto White Balance – For reproducing white better With the X-T3, when replacing the SD card the camera will turn off. This is not the case anymore with the X-T4 FUJIFILM X-T4 – Goodbye X-T3, welcome X-T4 welcome (Image: cinema5D) FUJIFILM X-T4 –  In the Field For the last few weeks I was lucky enough to work with the new FUJIFILM X-T4 and as I wrote above, it was pure joy. I think what makes this camera so special is its greater flexibility and performance (similar but in many ways better than the X-T3). Stabilization The real deal with this camera is to see how well the IBIS is functioning. Many current cameras are doing it right, but somehow, in my opinion, FUJIFILM is doing it a bit better. There are three stabilizing modes: Sensor shift and optical (For OIS equipped lens only) Sensor/OIS lens/Digital stabiliser (mind you that in this mode, the camera will crop the image, x1.29) “IS Mode Boost – on” – The performance of IBIS is enhanced by allowing it to move even more freely. This mode is supposed to imitate the usage of a tripod and I can report it is working remarkably Out of those 3 stabilization modes, my favorite is the “IS Mode Boost – on” for the following reasons: Image is not cropped Image is very stable In fact, despite FUJIFILM’s advice to use this mode when filming static shots, I decided to try it when moving, especially when following people. The results I got were promising. I would say that with a little practice, the movement fluidity can be almost “gimbal-like”, but with the twist of being a bit on the “rough side”. What I’m trying to say is that personally, I don’t like to use gimbals when filming documentaries, as the result are too smooth for my taste (besides the fact of having additional equipment). I’ll go even farther by saying that too smooth movement somehow contradicts my style of documentary shooting. I will always prefer rougher movements that synchronize nicely with the object I’m filming. The FUJIFILM X-T4″IS Mode Boost – on” is offering me just that. Combined “smooth” and “organic” movement. FUJIFILM X-T4. Finally an articulated screen (Image: cinema5D) Autofocus Autofocus will work fine MOST of the time UNLESS when shooting in low light with F-log turned “on”. FUJIFILM’s recommendation is to turn F-log “off” during lowlight conditions. From my experience, leaving F-log “on” and shooting in lowlight, might result in getting “microfocus movements” that can distract a lot! (Very noticeable mostly in the background of the filmed object.)  Lowlight performance In one word, excellent! One can simply use ANY desired ISO the camera offers and achieve absolutely acceptable results. The native ISO is still 640, and going all the way up to 12,800 is a breeze. It’s not that there is no noise at all, but in many situations, that noise won’t disturb and cause the footage to be unusable at all. Power and batteries More features (like IBIS) are always translated into consuming additional power, so FUJIFILM has decided it was the right time to move on and introduce new batteries to their up coming X-T4 camera. Those current new batteries are 2200 mAh (16Wh) as opposed to the older 1250 mAh (8.7Wh). In reality, the camera will run longer, but of course, consume more power. I can safely say that with 3 batteries, I could finish a “normal” shooting day (whatever “normal” is)… Talking about power, two points to remember: FUJIFILM will be separately selling a new charger that can charge two batteries simultaneously Like with the X-T3 and X-H1 cameras, there is an external camera grip that can be purchased separately, but unlike with the other FUJIFILM grips, this one is NOT a charger (additional information about that camera grip can be found in the “Sound” section Rolling Shutter Effect I was pleasantly surprised to see how well the new X-T4 handles rolling shutter. My opinion is based on what my eyes can see, and NOT on our lab test, so please stay tuned. Our X-T4 lab test will follow soon. FUJIFILM X-T4, USB C to 3.5mm headphone solution (Image:cinema5D) Sound The X-T4 keeps all the advantages of the X-T3 when it comes to sound quality, but brings one operational obstacle. The 3.5 headphone plug has been replaced with a USB-C connector. Needless to say that when I saw this solution first, I got uncomfortable about it, but what helped to “ease the pain” was the fact that FUJIFILM is including a USB-C to 3.5mm short cable in the box. As a side note, I found my own (non-professional) cable placement solution, and after plugging it into the camera, I never had the reason to disconnect it again. That solution held well from day one till today and I filmed with it in rain, sun, snow and sand. To cut a long story short: everywhere. By the way, if you ask yourself why FUJIFILM gave up on the 3.5mm headphone socket, it is not because they were not aware of our needs, but rather a physical placement issue after adding the IBIS to the camera. If you really miss this 3.5mm mini plug, you can find it in the camera grip accessory (sold separately). Personally, I wouldn’t invest in buying this grip as I didn’t miss the “in body” 3.5mm headphone jack at all and that grip cannot serve as a charger. Camera control Mind you that 2.5mm camera control has moved from the right hands side (X-T3) to the left hand side. FUJIFILM X-T4  – Concerns Like with the X-T3, one of my issues with this camera is the EVF. Move your eye a bit away from the center, and you will feel as if your focus has changed. Adjust the little diopter knob, and you will find yourself doing it again a few minutes later. I truly hope that FUJIFILM will move on by replacing this part of the camera with a more advanced solution. I’ve mentioned that possible autofocus hiccup farther up, BUT during a professional paid job, my advice is to do the obvious and shoot interviews in MF or AF-S focus modes and use AF-C  when necessary, like when following people and objects. The recording button (camera shutter button). Unlike with the X-T3, I found myself recording after pressing it, thinking that the camera has stopped recording (and more importantly vice versa, thinking I’m recording but actually not…) As I was working with a pre-production model, I hope that the sensitivity of this button can be fine-tuned. In full HD 240fps, the image tends to be soft and at times, not free from artifacts, depending on what your subject of shooting is and the way of framing it. This high frame rate mode does not like horizontal lines as it tends to “break” them apart. On the other hand, concentrate on a subject and blur the background, and you got a “free” ticket to the wonderful world of super slow motion. Pricing and availability The FUJIFILM X-T4 will be selling for $1700 ($200 more than the X-T3 when not discounted). Its availability is scheduled for March 2020. No word if the X-T3 will continue to be sold in parallel to the new camera. FUJIFILM X-T4. dedicated Still/Movie dial (Image: cinema5D) Conclusion The FUJIFILM X-T4 is currently the best APS-C camera that can shoot video in the market (and in all honesty, with its functionality and picture quality it can easily challenge many of the more expensive full-frame mirrorless cameras out there). This camera can be deployed in a large variety of productions, but if you are like me – a documentary filmmaker who travels a lot and has equipment weight and luggage size in mind – this camera might prove to be very useful to you. On top, having IBIS on board (and a really good one), opens the door for much more handheld work which was less possible before, with the X-T3. Even using FUJIFILM’s own MKX lenses seems to be much more attractive now. Long ago, I stopped encouraging others to buy new equipment, nevertheless, for me, it is time to say “goodbye” to my beloved X-T3 and say “hello” to the new X-T4. As a documentary filmmaker, this is the tool I’ve been waiting for. Small, lightweight, capable in producing beautiful footage, relatively affordable (for what it can do) and simply fun to use.  Watch my documentary shot on the FUJIFILM X-T4 here! All in all, well done FUJIFILM. FUJIFILM X-T4 A more comfortable camera grip Music courtesy of MusicVine.com – Get 25% off any Pay-Per-Use license with code C5D25 (valid for one use per customer). What do you think about the new FUJIFILM X-T4. If you are in the market for a new mirrorless camera that can shoot high-quality videos, will you consider getting it? I’m also very curious to hear from owners of FUJIFILM’s X-T3, in particular, if you’ve had some AF-C issues.

With a variety of professional features ranging from RGBWW modes to gels, effects, and waterproof aluminum construction, the Litra Studio is reaching for stardom. Yet, does the fixture hold up to the rigours of a film set? We took the Litra Studio out for a spin in the field.  Did I mention it’s waterproof? Image Credit: Graham Sheldon cinema5D reported about the Litra Pro back in 2018, but until now I hadn’t had the opportunity to work with any of the three main Litra fixtures: the Torch 2.0, the Pro, and the Studio. For me, the previous lights were – despite the large output – just a little too small for my usual projects and they seemed directed at on-camera adventure applications (not my background) or for accent or product lighting. However, the newer and larger Litra Studio recently became very interesting to me, for several reasons: It is RGBWW and includes onboard gels, plus it appeared to pack an amazing size to output ratio. The light promised the same indestructible design of its predecessors. An upcoming movie (a thriller) I was operating on required underwater cinematography and Litra claims the Studio could handle depths up to 30′. Litra Studio armed out over the water with softbox accessory attached. Image Credit: Graham Sheldon Simply put, the Litra Studio is a $649.95 light that, despite its small size (about the dimensions of a small paperback book), packs a punch in terms of output, at a high CRI (97 per Litra). It’s also built like a tank. In fact, the all-metal exterior light seems sturdier than any other fixture I currently own and I’m confident it would feel right at home in a high-volume rental house. Who is the Litra Studio meant for? The additions of full RGBWW, CCT, HSI, Gel, and FX modes translate into real value for professional video productions. Whereas some Litra products (Pro & Torch) serve the photo or studio video environment, the Studio is, to my mind, the first fixture from Litra that really excels in a wide variety of professional cinema applications. It appears the Litra Studio is aiming to be the go-to light for every production and what’s impressive is how close it gets to achieving that goal. Everyone wants a mobile, high CRI/high output, indestructible RGW battery-powered fixture, but actually finding one is another matter. Different lights do different things well and that’s one of the reasons why we have everything from Skypanel S60’s to 2×1 Gemini’s, Astera Titan Tubes, LEDGo AltaTubes, and Digital Sputnik Voyagers playing on this current film under the watchful eye of Gaffer, Heath Gresham and DP Madeline Kate Kann. Each of those lights accomplishes different goals despite being solid “RGB” fixtures in their own right. Before using the Litra Studio in the film, we did some quick tests at the pool to check how it handled being in the water and how it compared in output to the other RGB underwater option we had on set. From the start, it was clear that the Studio had what it takes to nail our underwater scenes. Controlling the Light The Litra Studio has one of the better control interfaces and navigating through the settings on the OLED display on the back of the fixture is quick and painless. While there are a variety of gel options, going forward it would be great to see the addition of Sodium Vapor. RGBWW and HSI mode really allow you to tune color choices by using the rear dials. Adding or removing green gives you the option to closely match available light when necessary. Find a favorite color and you can simply select the “P” button and save those exact color settings into one of the ten preset slots, returning to them later as needed. This can be very useful for maintaining continuity from scene to scene. Controlling the light through Bluetooth on iOS or Android devices is also possible by downloading the free Litra app. This app is excellent and if the Studio is powered on, it connects instantly, giving you full control of all the normal menu features, including 15 effects that range from “dance club” all the way to “television” and “paparazzi”. In fact, this app is one of the better applications from a lighting company that I’ve encountered. Best Boy Electric Arthur Garcia and Gaffer Heath Gresham take the Litra Studio for a spin during testing. Image Credit: Graham Sheldon Output The fully dimmable 1%-100% output is wonderful, given the size of the Studio, and you can even push the light into “overdrive” mode to get about 20 percentile points more out of the fixture. Just remember, doing this is at the cost of destroying your battery life. The softbox modifier is pictured upper right and the silicone diffusion is pictured bottom right. Image Credit: Graham Sheldon The light ships with following accessories: A handle that connects to the 1/4 20 screw threads at the base Silicone diffusion USB C charging cable Semi-rigid travel case (not pictured) We also had the opportunity to try the light with a plastic softbox accessory that did soften the light, but didn’t feel quite as indestructible as the light itself. Litra sells a modifier package and a honeycomb grid that would have been useful to refine the 50 degree beam, as needed in certain situations. At minimum, I would suggest picking up the honeycomb and plastic diffusion accessories if you decide to go with a Litra Studio. Power Good news! The included USB charging cable allows the light to be powered on during charging (not true for all battery-powered mobile lights in the market). When you crank the output out to 100%, you’re getting about 2 hours of battery life. The light did have a tendency to die while displaying 10% remaining battery life, so keep that in mind. As the internal battery degrades over time (normal with lithium ion), you’re also able to user-swap out the internal battery – which is a nice design touch. A quick note for underwater use: make sure to close the USB charging port when using the light underwater or you risk water entering the fixture housing. Back control wheel of the Litra Studio. Image Credit: Graham Sheldon Litra Studio Feature Recap CCT, HSI, RGBWW, Gel, and Effects modes 50° beam angle The company promises a 97 TLCI/CRI Aluminum body 2000K – 10,000K Adjustable Color Temp Conclusion I’ll admit that at the start we may have underestimated the Litra Studio. But with use, its mobile and rugged exterior combined with first-rate output and wide variety of color options turned us into believers. I’m convinced this light will continue to work itself into the professional production scene in new and interesting ways. What do you think about the Litra Studio Light? If you ever used it during your professional work, please share with us your thoughts in the comment section below

Because the Ergorig made such an impression during Cinegear 2019, I was itching for any opportunity to put the camera support system to the test. Luckily, during a recent Alexa LF shoot, I was able to get my hands on the new support rig to check out the impact when operating the 30 lb. camera. Details below:  Anyone who has spent hours working a large camera or even a medium-sized one knows the toll it can take on hands and shoulders. You may love the job and adrenaline might buy you time, but after a while, you’ll start to feel discomfort, maybe even pain. There are several devices on the market to help with this. They range from simple shoulder pads to the Ready-Rig, Iron Man, and Easyrig. All are designed to lessen discomfort, but each excels in a different area. Anyone who uses an Easyrig for long duration knows that when you move the rig, it tends to inject a bounce into the camera move. If you’ve used the Ready-Rig, you know you’re all set with a gimbal like the Ronin 2, but that’s where its usefulness ends. Ergorig has a “why didn’t we think of this before” feel to it. To some degree it resembles a Steadicam vest, but where a Steadicam vest moves weight to the waist from a Steadicam arm and sled, the Ergorig moves shouldered or underslung weight to the waist. A simple idea on paper, but as with any device it’s all about performance in the end. In my trial with the Alexa LF Ergorig delivered. If you’ve read any of my other reviews, you know I’m not prone to hyperbole so trust me when I say that the effectiveness of the Ergorig has to be felt to be believed. The Ergorig shoulder pad isn’t meant to connect with your shoulder. Instead, it floats the camera an inch or two above. Image Credit: Tiffany Murray During filming, your process might be something like this: a heavy camera like the Alexa LF has to be taken out of the case. Your arms take the whole weight of the camera and then, most likely with the help of an AC, you slowly transfer the weight of the now balanced camera to the shoulder pad of the Ergorig. It is at this point you will notice a big difference.  The type of operating the Ergorig works best for is shouldered and basic underslung using the additional accessory. For very low handheld you might find the Easyrig more useful, however if you are over 6 ft. tall, door frames may turn out to be a problem as they are for me with the Easyrig. Door frames are never an issue with the Ergorig as your physical profile isn’t expanded much by wearing it — which is not the case with nearly all the other camera support devices on the market. Alexa LF + Ergorig. Image Credit: Tiffany Murray The cost of the Ergorig ($1,850) and the undersling accessory ($750) mean you are going to obviously need to use the equipment enough to warrant the purchase. Not all shows have a shouldered feel to the cinematography, and if most of your work is with 5 lbs. DSLR or mirrorless camera bodies and not with camera systems over 15 lbs., you may want to rethink the expenditure. If production isn’t willing to rent the Ergorig for you (see rental options below) then consider making the purchase as an investment in your long-term health. This was my justification as I’d like to be operating camera for at least a few more decades. The Ergorig ships with a soft bag for storage and though I wouldn’t recommend checking it on an airline it’s easy to reduce the overall size of the rig for daily transport. You simply loosen the front and rear wheels and slide the ends of the Ergorig together to make it smaller. An added bonus is that the front, back, and lower shoulder pads are all detachable and can be machine washed — very helpful if you’re carrying the Ergorig in your rental house. 1st AC Tiffany Murray tries on the Ergorig. Image Credit: Graham Sheldon The rig itself feels durable enough to last for years. Sizing is easy and the “standard” size seems to work with most body types although a version is available if you have a torso under 21 inches in length as measured from front hip to top middle shoulder. For additional sizing information, go to the FAQ section of their website HERE. Panavision, AbleCine, ARC, HD Optics, Lightstone, Antagonist Camera, DC Camera, The Camera Dept., and Keslow all carry Ergorigs for rent and a quick search on Sharegrid and Kitsplit also reveals many Ergorigs available for rent. Unions and other industry groups spend tons of time disseminating safety and health information in various seminars, but it is rare that I see information specifically meant for operators. I’m not a doctor, but if you spend hours per day with a +15 lb. or heavier camera on your shoulder, then it follows that the Ergorig may be exactly what you’ve been looking for.  What do you think? Is the Ergorig the camera support device you’ve been looking for? Let us know in the comments below.      

Over a month ago, we published first footage from the affordable anamorphic lens from SIRUI, plus a written review which you can find here. After Johnnie looked at the FUJIFILM X-Mount version of the lens, I took the Sony E-Mount version for a spin on a Sony a6600 with in-body stabilization. Now I know what you are saying, Christmas images a month after Christmas? Yes you are right, I am a bit late with that, but the cinema5D beast never sleeps and there were many other things to take care of in the first weeks of this new decade (the results of which you will see on this site later this year!). I finally got a chance to sit down and edit the footage that I was able to film with my better half Anita during a stroll through Christmassy central Vienna in December, using a Sony a6600. SIRUI 50mm anamorphic lens on a Sony a6600   SIRUI 50mm Anamorphic on Sony a6600 Johnnie’s review and footage was based on the FUJIFILM X-Mount version of the lens, but there’s one downside with the FUJIFILM X-T3: It comes without in-body stabilization, essentially making a tripod necessary. Because SIRUI upon request also loaned us the 50mm version of their affordable anamorphic lens wonder, I decided to put it on a new Sony a6600, activate IBIS and see what kind of images I could get within an hour or so. Sony a6600 IBIS Unfortunately, after reviewing the footage, I have to say that the IBIS in the a6600 might have its troubles with an anamorphic lens, or, rather, the anamorphic squeeze might amplify handling jitter. Yet the biggest problem is the massive rolling shutter in this camera, which is something that any of the entry-level Sony Alpha series cameras have been plagued with since the very beginning. The readout speed of the APS-C sensors in these cameras (and that is also true for the a6600’s predecessors) seems to be way to low to avoid movement jitter of the CMOS sensor when shooting video handheld, and the newly added IBIS (in this entry-level Sony Alpha category) doesn’t seem to be strong enough to compensate for that. So I did what I had to do and added some post-stabilization in Final Cut Pro X in this quick edit, so you will see some warping problems here and there, but that’s the best that was possible given the starting point. Still frame from the video shot with the SIRUI 50mm anamorphic lens on the Sony a6600. SIRUI 50mm Anamorphic Lens Personal Impressions I agree with everything Johnnie said in his review of the lens – it’s a remarkable achievement not only for the price. The lens is very sharp, even when shooting wide open at f/1.8, which was totally unexpected for me. It’s well built from metal, and I can see this show up on a lot of low-budget anamorphic productions everywhere. Right now it’s a shame that there isn’t another focal length available, I would love to see a full set of these out now, but we are hoping that they will come. If there is one thing that I don’t like, it’s definitely the minimum focus distance of 0.85 meters, which prevents you from shooting anything up close. I think there’s room for them to even introduce a second version of this lens for macro shooting. Plus, if I am after that effect, I am actually missing more horizontal anamorphic flares from this lens … it’s almost too clean. Other than that, it’s simply a great offering unlike anything else in the market right now. Their Indiegogo campaign is running out today, so this might be the last time in a while when you can order this lens. I’m not surprised that the campaign is about to top $1 million considering how unique the SIRUI 50mm anamorphic lens is. Have you ordered a SIRUI 50mm anamorphic lens? What do you like about it, have you shot anamorphic before? Let us know in the comments below. 

I decided to test the compact cable cam Wiral LITE once again in its final production model to compare it with the prototype I tested more than two years ago. I tested it with more camera setups of various sizes and weight cathegories to see how Wiral LITE can handle them. Two years ago I tested the compact cable cam called Wiral LITE (link to my hands-on article with video can be found here). Back then, Wiral had an active Kickstarter campaign for the cable cam. Wiral LITE Kickstarter project was successfully funded and the portable cable cam has since made its way into standard distribution. I decided to take a look at it again and see if there are any improvements. Wiral LITE Compact Cable Cam Officially, Wiral LITE has a maximum payload of 3.3 lb (1.5 kg). I decided to test it with more different cameras from various weight cathegories and see how well they work together with the cable cam. The choice of tested cameras was simply based on what I had available to me at that time. I tested the Wiral LITE with following cameras: Panasonic LUMIX GH5 with LUMIX 12-35mm f/2.8 lens Samsung Galaxy S9 Panasonic LUMIX LX100 GoPro HERO7 Black Insta360 ONE X I tested both Samsung Galaxy S9 smartphone and Panasonic LUMIX LX100 camera with and without a gimbal. I used the Zhiyun-tech Crane M2. I tested the complete Wiral LITE package with all possible accessories, like the mobile damper mount, extended QuickReel rope (up to 330’/100m), and the travel case. Wiral LITE with GoPro HERO7. Image credit: Jakub Han Smooth Movement? One factor, which I think has the most impact on whether the footage produced with the Wiral LITE is useful or not, is how stable it is. The stabilization plays a vital role, because smooth motion is what you are mostly looking for when using cable cam. The whole setup is very compact and lightweight, so it means it is very sensitive to wind. This also depends on how long the cable is – longer setup means more sensitivity to wind. Wiral LITE with Insta360 ONE X. Image credit: Jakub Han In the end it comes down to how good the stabilization is in each particular camera. In this regard I have to say, that I loved GoPro HERO7 combined with the cable cam. It produces really good results straight “out of the box” with its Hypersmooth stabilization. Insta360 ONE X also has a very capable stabilization. They call it Flowstate. These cameras produced the smoothest results and the footage did not need any kind of stabilization in post production. The smartphone I tested, Samsung Galaxy S9, has some kind of lens stabilization, but it definitely was not enough to smoothen out the footage. There is a smartphone damper mount as an optional accessory for the Wiral LITE and I used it with the phone, but I found out it only helps a bit. The footage with this combo still needed some further stabilizing to be useable. Wiral LITE with a smartphone. Image credit: Jakub Han Panasonic LUMIX LX100 has a stabilized lens, but it mostly also was not good enough to compensate the swinging of the cable cam. The LUMIX GH5 setup I tested offered even a Dual I.S. (sensor+lens stabilization), but that was also not enough to create smooth result. Best solution for cameras that don’t have good enough stabilization, is attaching it to a gimbal. I tried the Galaxy S9 and LUMIX LX100 with the Zhiyun-Tech Crane M2 and it worked very well. The gimbal only supports very lightweight setups in underslung mode, but it is itself very compact and therefore ideal combined with the Wiral LITE. Wiral LITE with LUMIX LX100. Image credit: Jakub Han Improvements Two years ago in my article I pointed out Wiral LITE pros and cons, so I will address these again. All the pros are still valid for me: Wiral LITE Pros (In no particular order) Lightweight and easy to install even on thick trees Long cable – 50m (or even 100m) Can even carry heavier payloads up to 3.3 lbs (1.5 kg) It can be very fast You can set end points on both ends to avoid crashing against the mounting points When it comes to cons, I can say that Wiral LITE team addressed some of them and made the product a bit better: Wiral LITE Cons (In no particular order) It swing excessively under certain circumstances, causing the footage to require further stabilization – this still applies, because the setup is very lightweight. Not suitable for very windy conditions – this still applies, because the setup is very lightweight. Slowest “normal mode” speed is still a bit too fast – this was addressed and the speed is now adjustable better. It is not possible to control the camera’s movement while shooting – this still remains the same. It can be, however, partially solved by using a 360 camera like the Insta360 ONE X, because you can “shoot first and point later”. Remotely controling the attached gimbal could also be an option, but I think the range would be a problem in this case. Wiral LITE with LUMIX GH5. Image credit: Jakub Han Wiral LITE team also added Ping Pong Motion which provides automatic movement for Wiral LITE in Normal Mode. To use Ping Pong Motion for filming, you need to set digital end stops on both sides, control the speed with the remote as usual and when you reach the desired speed, press the Play/Pause button to start Ping Pong Motion between the digital end stop. Press the Play/Pause button once more to exit the Ping Pong motion. Do not forget to get your plastic endstops out of the way of the cable cam. Conclusion Two years ago I wrote: The Wiral LITE is good for places where drones can’t go. This could be either a drone-restricted area or very tight spaces, such as a dense forest. It has its limitations, of course: it is not possible to control the camera’s angle during filming, it only goes in one line (obviously) and it is not as stable as a drone. I think it is still a very interesting and portable piece of equipment, especially given its price. It is not a high-end tool for professionals, but is more at consumers or prosumers who want to give a new angle to their shots as it is very easy to use. I have to say I still agree with that. I would just add that the stabilization of the used camera setup is very important. I would especially recommend Wiral LITE in combination with a really good stabilized action camera, like GoPro HERO7 black, DJI Osmo Action, or similar, or with a stabilized 360 camera. Good combination could also be camera with a mechanical gimbal, like DJI Osmo line, or any smartphone gimbal. Zhiyun-Tech Crane M2 proved to be suitable too. Even though the maximum payload is 3.3lb (1.5kg), I don’t like using Wiral LITE with setups heavier than roughly 1kg. With shorter rope it is ok, but as the cable cam gets heavy, it is really hard to keep the rope tight enough and the setup looses altitude quite quickly in the middle. Price and Availability Wiral LITE cable cam along with all the accessories is available to purchase through their online store or at other retailers. Full price for the whole system (without extended 330’/100m cable, mobile damper mount, and travel case) is $399 in the US and €399 in Europe. Do you use Wiral LITE cable cam system for your projects? Which camera setup do you mostly pair it with? Let us know in the comments underneath the article.