With the introduction of the Sony a6400, I had a chance to take the new camera for a short spin and after playing with it for a bit, I made up my mind. Sony’s latest offering is very different and interesting, BUT, is it worth the upgrade from its a6300 and a6500 siblings? (Same sensor but enhanced image processing engine). Is it really a Vlogger’s camera? What is its strongest selling point and last but not least, what is the real reason for Sony to introduce this camera in my personal opinion? Interested? Keep reading. Sony a6400 – The autofocus is a killer! It is the middle of January. My short (and yet to be disclosed) assignment in Japan is almost over but before going back home, I’m lucky enough to put my hands on the new Sony a6400 to take it for a short spin. At first, my plan was to shoot a short documentary with it and by doing so, explore its video capabilities, but after noticing that most features and even technical specifications are very similar to the Sony a6300 and a6500 (which I reviewed and tested before), I decided to scrap my original plan and concentrate on testing a single feature, the one that captured my attention most. Sony a6400 – An Overall Look Before talking about that feature, let me conclude and say that for the price ($898), the Sony a6400 is a fine camera. It accommodates an APS-C sensor, plus, has all the “normal” goodies we have been given by Sony for the last years now. Namely, S-Log 2, S-Log 3, high frame rate recording, different exposure measuring tools, REC-709 view assist function, proxy recording (unfortunately without matching file names) and even LCD and EVF guides (2.35:1, 1.85:1 and such). On top of that, Sony added HDR and time-lapse recording functions plus a 180-degree tiltable LCD monitor. On the less favorable side, the rolling shutter is horrendous, there is no IBIS (In-Body Image Stabilization) system, no headphone jack and the camera menu, well, what can I say, it is slowly but surely becoming one of the least pleasant camera features to deal with. So many possibilities and functions, yet so little sense (at least in my opinion), to why it is all there. If I’m in the video mode, all I want to see is the related functions – ONLY! Nothing more and nothing less. Sony a6400 – Try and see yourself in the tilted LCD screen now Is it the Right Tool for Vlogging? Now, somehow I got the feeling that Sony is kind of emphasising the advantages of this camera as a vlogging tool. In my opinion, it might be useful to promote this camera as a family companion or all the way up as an additional “throw in bag” filming device for professionals (to act as a secondary camera in addition to a more capable one). I think that the idea to push the a6400 as a vloggers device might prove to be wrong. Surely it can be operated as one but so many things might go wrong, especially when filming on the move. The absence of IBIS and the very noticeable rolling shutter effect might kill your shot. The exclusion of a headphone jack will make it hard to monitor audio levels, yet if you insist vlogging with it, don’t add a microphone on the available hot shoe mount and tilt your LCD monitor at the same time as the microphone will block the LCD view completely (the screen can only be folded upwards!) My review could end here, but there is one huge thing which I haven’t talked about yet: Sony added ONE KILLER feature. An autofocus function which has an algorithm that was fine-tuned to tightly work together with the Bionz X processor and as the results show, this is certainly worth writing about! Sony a6400 – a Superior Autofocus Function As an experienced shooter and camera tester, it is seldom that I’m being introduced to a feature that can change the face of the industry forever! The new autofocus system presented by Sony on the a6400 is exactly that kind of feature. It is not that we haven’t seen a good autofocus functionality before (Canon and FUJIFILM are a good examples), but now, Sony is certainly taking it to the next level. The reliability and consistency of the new autofocus was very impressive. True, it is not always 100% there, but, I was really challenging it and I was pleasantly surprised with the results. Back to the camera “vlogging option”, I set the camera in front of me and “talk to it” during doing my OLYMPUS E-M1X review, and for about 40 minutes of recording time in 2 different locations (lit very differently), it did not lose the focus on my face even once. Actually, the autofocus did not even “hesitate” or try to search for my face while filming. Later, when running with it on the streets of Tokyo, it continued to amaze me to the point that I was starting to believe that the days of manual focus lenses are numbered. Yes, you read that correctly (and I did not confuse taking the blue pill with a red one this morning) …. If this technology will be implemented on any of the more professional video orientated Sony cameras (mirrorless and beyond), there will be NO reason to use manual focus lenses for documentary shoots anymore, especially zoom lenses. Let’s think about it this way. There are a few reasons to why we are using manual focus lenses. One of them is the reliability in achieving constant focus. Now, imagine that autofocus lenses can do exactly that same thing, plus: Stay focused on the object while ignoring disruption like crossing people/cars/general objects Reliably track objects/people coming towards you Change focus from one object to another WITHOUT any noticeable breathing (also when using modestly priced lenses) On top, one will always have the possibility to change from this autofocus mode to the manual focus, if wanted. So after reading all of the above features, wouldn’t you choose this focusing option? If you would have asked me a year ago, I guess I would have dismissed this option especially as I’m a pro who is used to working with manual lenses, but now when thinking about how good and reliable this autofocus function is, there is actually no reason not to use it on everyday production(s). By the way, in regards to the Sony a6400, as this camera does not have a rear joystick, it is not so easy to place the desired object in focus while using the EVF. If you are using the LCD, it is much easier. With your finger, touch the screen where you want the focus to be, and voilá. It will stay there. I hope you can take a moment to look at the footage above which I’ve captured with the camera. In this case, an autofocused picture worth a thousand words… Sony a6400 – The price is very reasonable Conclusion Manufacturers often test new features in their professional lines first and then let them crawl down into their consumer/prosumer line – and it seems like this is what they did again on the A9, which is considered to have one of the fastest autofocus systems in the industry. (We haven’t tested Sony’s top-of-the-line A9 mirrorless camera simply because it’s not focused on video shooting at all – it lacks all Slog options.) So while the a6400 could have been that ordinary camera which resembles the a6300 and a6500, that autofocus killer feature alone is worth the extra look, especially as this is a glimpse to the future of all other cameras too! What do you think? Would you be able to rely on the functionality of this autofocus during your productions? Are you able to think “out of the box” and endorse new technologies as long as they are working well and enhancing your creativity? Please share with us your thoughts on the comment section below. 

In September 2018 I had the rare chance of working with a beast of a lens: The Canon 50-1000mm cine servo lens for s35 sensors. It’s huge, it’s expensive and it is quite heavy but for the provided focal range and overall performance it’s actually quite compact! This is my personal review of this impressive cine zoom lens. The Canon 50-1000mm is a strange lens. The story goes that one Ivo Nörenberg approached Canon with his idea of the perfect wildlife zoom lens which offers a vast focal range in a compact and somewhat lightweight design. Canon accepted the challenge and the 50-1000mm cine servo was the result. With a length of 15.9″ (40,4 cm) and a weight of 14.6 lbs (6,6 kg), this zoom lens is quite compact for what it has to offer: a 20:1 zoom range, servo motors for zoom, iris and focus plus a 1.5x extender. All this makes this lens a potential one stop shop for all your wildlife/nature needs. In our case, this lens allowed us to replace a traditional 2/3″ broadcast camera in favor of a camera with a more cinematic s35 sensor, namely the Sony FS7. In 16:9 mode a 23,087mm x 12,970mm (26,481mm image circle) sensor area needed to be covered which isn’t a problem for the 31,4mm image circle produced by the Canon 50-1000mm lens. Canon 50-1000mm Cine Servo Lens For our production in beautiful Andalusia in southern Spain, we deployed several Sony FS7 Mark II cameras, all equipped with prime lenses. A lot of Canon L glass, as well as several Sigma Art lenses, were used. The variable ND filter of the Mark II was perfect in order to get that gorgeous shallow depth of field shots we were after. For the Canon 50-1000mm, we chose to pair it with an FS7 Mark I and leave the lens attached to it at all times. Setting up this camera package with all the support, zoom handle and remote focus wheel did take quite a long time so it was easier to just let it live in one giant flight case for the whole production. The variable ND filter wasn’t necessary because this lens produces a nice shallow depth of field as soon as you get to a certain focal length anyways. The whole setup consists of a remote zoom handle and a remote focus wheel. Carrying the camera around was a two-person job but once it was set up a single operator could handle everything, just like with a ‘normal’ ENG camera. A close-up shot of a subject could be easily achieved from 35m away with the lens set to 1000mm (FS7 s35 sensor, 16:9/1.78). Sometimes we had to place the Canon/FS7 combo pretty far away on top of a nearby hill in order to get some shots without interfering with the other cameras. Performance of the Canon 50-1000mm Working with this lens requires some practice. Even the slightest shake will be fairly visible when working with such a long focal length. A decent tripod is mandatory and our Sachtler Cine 2000 legs along with a Studio 9+9 fluid head did a vey good job. Furthermore, nailing focus is quite a challenge! Trying to find the focal plane at all while operating the lens set to 1000mm is hard… but keeping a moving subject in focus really requires some ZEN-like abilities! The lens offers a T5.0 – F8.9 iris which is not perfect but quite impressive for such a compact lens. Due to the fact that the iris is not T5.0 throughout the whole zoom range, you’ll notice a pretty strong f-drop when zooming in. This can be avoided by setting the iris to T8 or even T11 in the first place. T8 might sound not very cinematic but since we’re talking about gigantic focal lengths here, I can guarantee you a shallow depth of field even when stopping down to a T11. That’s why the regular ND filter wheel of the FS7 Mark I was just fine. No need for the variable ND of the Mark II in order to maintain a certain (wide open) iris. It’s a parfocal lens which means that the lens maintains focus throughout the whole zoom range. This is particularly nice since you can use this feature to set focus on a subject at 1000mm and then zoom out for your desired framing without losing focus. However, the minimum focussing distance is 138″ (3,5m) which underlines the purpose of this lens once again: long distance coverage! For when you really need that extra oomph, the lens offers a 1.5x extender. This transforms the already impressive 1000mm focal length into an even more impressive 1500mm. Of course, the short 50mm end of the focal range also becomes a 75mm then. The lens handles optical aberrations very well and it delivers really nice image quality across the frame (including the edges). To me, this lens offers beautiful 4K optical imaging performance throughout the zoom range, even with the 1,5x extender engaged. Mounting the Lens The flange back can be adjusted which is a very useful feature when using this lens with different camera systems and therefore with different flange focal distances. This is a well-known feature of broadcast lenses and it’s nice to see this on the Canon 50-1000mm lens, too. Vocas E-mount/PL mount It comes with your choice of an EF or PL mount. The mount is exchangeable through a certified Canon service facility. We used a PL mount version along with a Vocas E-Mount to PL adapter in order to mount the lens on the FS7 camera. Speaking of mounting the lens: You really need some heavy duty 19mm rods in order to support this lens properly and avoid severe damage to your camera. The Sony FS7 is not exactly designed to support such a heavy lens and its lens mount chassis will break, no question about it. The Vocas adapter itself is supported by a top mount plate. Working with Servos The Canon 50-1000mm sports an ENG-style motor box on the side of the lens. Three servos are built right in: Zoom, iris, and focus. I used external controls for both focus and zoom while operating the iris manually. Note the two connected cables to the servo box for both focus and iris. A zoom servo handle is really mandatory if smooth zooms are required since the zoom rocker on the lens itself is really hard to reach when working from a tripod. A remote focus wheel also helps to maintain focus without reaching for the rather large focus barrel of the lens. By the way, the focus barrel offers hard stops and 180° degrees of rotation. Each servo can be switched to manual operation. The whole motor unit is detachable if you prefer working with a third party (wireless) focus system. Both 0.5 and 0.8 pitched gear rings are in place. Zoom and iris rings feature a 0.5 gear only. Since the lens requires external power for the servos when using it with the FS7, a standard broadcast 12-Pin camera interface cable runs between the lens and the Hirose connector of the FS7 extension unit. That connection also allows for triggering the camera. So I could use the start/stop button of the zoom handle to start/stop the camera. Specifications Here’s a full list of specifications for this lens: Model Name: CN20x50 IAS H/P1 or CN20x50 IAS H/E1 Mount Type: PL / EF Zoom Ratio: 20x Focal Length Range: 50-1000mm 75-1500mm (With 1.5x Extender) Maximum Aperture: T5.0 at 50-560mm T8.9 at 1000mm T7.5 at 75-840mm (With 1.5x Extender) T13.35 at 1500mm (With 1.5x Extender) Iris Blade: 11 Angle of View (Aspect Ratio 1.78:1 Dimensions 24.6×13.8mm): 27.6° x 15.7° at 50mm 1.4° x 0.8° at 1000mm 18.6° x 10.5° at 75mm (With 1.5x Extender) 0.9° x 0.5° at 1500mm (With 1.5x Extender) Angle of View (Aspect ratio 1.9:1 Dimensions 26.2×13.8mm): 29.4° x 15.7° at 50mm 1.5° x 0.8° at 1000mm 19.8° x 10.5° at 75mm (With 1.5x Extender) 1.0° x 0.5° at 1500mm (With 1.5x Extender) MOD(from Image Plane): 3.5m / 11.5′ Object Dimensions at MOD (Aspect Ratio 1.78:1 Dimensions 24.6×13.8mm): 139.3 x 78.1cm at 50mm 7.3 x 4.1cm at 1000mm 92.9 x 52.1cm at 75mm (With 1.5x Extender) 4.9 x 2.7cm at 1500mm (With 1.5x Extender) Aspect Ratio 1.9:1 Dimensions 26.2×13.8mm 148.3 x 78.1cm at 50mm 7.8 x 4.1cm at 1000mm 98.9 x 52.1cm at 75mm (With 1.5x Extender) 5.2 x 2.7cm at 1500mm (With 1.5x Extender) Pitch of Focus / Zoom / Iris Gear: Focus: 0.8/0.5 Zoom: 0.5 Iris: 0.5 Front Diameter: 136mm Dimensions (W x H x L): 6.89 x 6.72 x 16.27 in. (175.0 x 170.6 x 413.2mm) Approx. Mass: 14.55lbs (6.6kg) Some Downsides Because Canon has designed this lens to be as compact as possible, there have to be some downsides. It’s always about balancing features against some side effects since there’s no such a thing as the perfect lens, unfortunately. In regards of this Canon 50-1000mm cine zoom lens, the most visible downside is its focus breathing. When changing focus between subjects while shooting on a –say– 850mm, focus breathing becomes quite distinctive. Focus breathing results in a change of the field of view just as if you were zooming while pulling focus. In order to prevent this a much more complex internal lens design would be necessary which in return would result in a lens much larger and bulkier than this Canon one. It’s clearly all about the focal range here and the resulting focus breathing is a necessary compromise. Furthermore, this lens does not offer any kind of image stabilization. This would have been nice, given the massive focal length, but –again– would have led to a much bulkier lens overall. Sure, this lens is not exactly lightweight but for its performance, it actually is a really compact and, yes, lightweight piece of gear. Lastly, the lens is really expensive. It costs about 10 times as much as the Sony FS7 camera which we used with it. it really felt a bit like mounting the camera to the lens and not the other way around. Conclusion It was really fun to work with this beast of a lens. It requires some practice but once you are familiar with it it just works. The focal range and optical performance are really impressive. A razor-sharp close-up from 50m away? Not a problem. It’s Chuck Norris approved! It’s certainly not a lens for run and gun style projects but it really offers quite an impressive set of features without too many compromises. The focus breathing is not perfect but it really wouldn’t have been possible to have both, a 20x zoom range and a decently sized lens without making some compromises. Usually I’m not a big fan of zoom lenses and I prefer working with fast prime ones. But this Canon 50-1000mm monster zoom lens was really fun to work with. I never had any issues with it (other than the sheer size of the whole camera package) and I don’t know if we could have accomplished some of the shots with any other lens. Sure, it’s a lens for special purposes but it’s nice to have the choice of using such a lens and still being able to use it like any other lens. Very nice! links: Canon Do you think you’ll ever need such a lens? If yes, what are your thoughts about using an S35 lens rather than a ‘standard’ ENG setup? Let us know in the comments below!

The OLYMPUS OM-D E-M1X was just announced and we were lucky enough to get our hands on the camera well before the announcement. We filmed with it, tested it, and are now happy to share our thoughts about its video capabilities and overall performance. (All information is related only to the video functionality of the camera). Two years and a bit after their last major announcement, OLYMPUS can pride themselves with having a new camera – the E-M1X. As you can see, I’m very careful about NOT calling it the new “flagship” camera, as both, the OM-D E-M Mark II and the new OM-D E-M1X will co-exist in OLYMPUS’ portfolio, allowing them to target a wider variety of users with different photo/filming needs and budgets. OLYMPUS OM-D E-M1X – Overview Unlike Panasonic, who are chartering new (Full Frame) fields, OLYMPUS seems to concentrate on supporting their joint Micro 4/3 camera system. I’m not indicating that Panasonic is about to desert that camera format, but as a matter fact, they are now introducing the new S1R and S1 Full Frame cameras. It is yet to be seen how this is going to affect the development of their GH, Micro 4/3 camera line, but naturally, their resources are now being invested in an alternative direction. When talking to OLYMPUS, it is clear that their main focus/concept hasn’t been changed. Freedom to shoot and mobility are still the essence of the Micro 4/3 system and this is why I was so surprised when I first saw the new E-M1X. Unlike what one would expect, when looking at some of the previously leaked images, the camera is simply big! In my opinion, the advantage of the MFT format has vanished. The “Pro Look” takes its toll and maybe the biggest disadvantage (besides the added camera wight and size) is that you can’t be ignored. You will always be (suspiciously) seen as a “pro”. Maybe for some it is an advantage, but for me personally, it is not. I’m traveling a whole lot and “low key” filming is the essence of my work. The size of a camera and how it’s being perceived by customers (our customers, while in the process of working) is an entirely different subject to write about, but I’m fully aware that many filmmakers do have concerns about appearance, as they are being asked to appear on set with “professional looking” equipment. When it comes to myself, I like the freedom of being able to add a hand grip, rig, matte box and such when needed, but with this new camera, the built-in grip leaves me with no other option than looking like a “pro”.  The new added grip This grip accommodates 2 OLYMPUS batteries (the same that can be found in the OM-D E-M Mark II). The difference is that the camera comes equipped with 2 batteries and the grip itself will act as a charger. In fact, it will charge both batteries simultaneously and not one after another. On top, a relatively short charging time will bring enough juice to continue shooting that missing last take, so there is no need to wait for hours until they’re charged. I got around 70-80 minutes of continuous shooting from each battery and I like the idea of not needing a truck loaded with batteries… Was OLYMPUS Thinking About Us Filmmakers When Developing This Camera? The clear answer is YES and NO… Yes – because of of the following: The IBIS (In Body Stabilisation System) has been updated with the idea of improving the already unique, existing stabilisation system The autofocus system functionality has been enhanced in order to become faster and more reliable The much requested OM-LOG picture profile has finally been added (ISO400 native) The built-in camera “View Assist” gives a BT.709 standardised color space and not just a random “added color” when monitoring the OM-LOG picture profile An improved audio circuity for lower noise floor as been implemented (High Res. 96 kHz recording is now possible) Even routing the REC function from the not-so-convenient dedicated REC button is possible. One can assign it to the camera shutter release button for better functionality Many other new features were added, like the improved sensor Dust Reduction system (Lowering the risk of ruining a shot due to dust on the sensor), new heat dissipation structure (and indeed, I have’t encountered any overheating issues, but as always, more feedback from users is needed), USB Power Delivery allows the camera to be charged with an external battery, if needed. And last but not least, this camera can take a high level of “production strain”, as it is shock-, weather- and freeze-proof. It is also worth mentioning that OLYMPUS have kept some of the features already found in the E-M Mark II, like the swivelled LCD screen, 4K DCI (unfortunately in 24p only), and up to 237 Mbps, All Intra video recording. Routing the record button is possible No – because of of the following: It is 2019 and we have learned to expect more, especially from companies that have no higher video market to protect and sadly, OLYMPUS chose to deliver a camera that records 8bit 4:2:0 internally AND when recording to an external device! This is such a pity, as the absence of higher recording bit depth and color sampling will surely hurt camera sales and drive away potential new customers. Also, the camera’s price is just shy of €3000. When looking at what competitors have to offer and at what price range, it is hard to to see how this device will become a primary working tool for many. (I honestly hope to be wrong here!) I can only hope that this new camera has so much to offer for photographers that the price will be considered as perfectly adequate by them. Wobbly image – Look me at the video above In the Field – In Body Stabilisation System (IBIS) As a documentary filmmaker, the newly designed 5 axis stabilisation system ignited my imagination. I can’t even tell you how much I don’t like using gimbals during documentary work. Besides consuming extra set-up time and adding additional weight, a gimbal simply takes away some of the picture aesthetic and overall “feeling”, when everything suddenly becomes “too smooth”. (In other production scenarios, gimbals surely do have a place…) Anyways, I was hoping to have a camera that allows me to shoot stable handheld footage (also when using tele lenses) and on top, have the freedom to freely move and achieve nice looking, “on the go” shots. OLYMPUS fulfilled my wish just barely. While executing handheld static shots in up to 200mm is a breeze (sorry, no other longer focal length lenses to test), the new system heavily struggles when shooting while moving. When using the 12mm side of the (fabulous) M.ZUIKO DIGITAL ED 12-100mm F4.0 IS PRO lens (or my favourite, M.Zuiko Digital ED 12mm f/2 Lens), one risks getting very noticeable, wobbly images on both sides of the frame! This phenomenon can be partly avoided when shooting from a 15mm (approximately) and higher focal length. OLYMPUS is now aware of the issue and I hope it can somehow be solved with a firmware update. Autofocus OLYMPUS have worked hard in order to improve their autofocus system and all in all it shows, as it is very easy to track action/faces in most lighting conditions. I encountered issues with focus consistency only when shooting high or very low contrasty objects. Anything in the middle worked well. It is worth noting that “dragging focus” between objects on the LCD screen is also possible and the addition of a knob/nipple at the back of the camera is a very welcomed thing! Placing the focus where you want it to be can now be done with a move of a thumb. Very easy. Welcome OM-Log400 OM-LOG Picture Profile and the Supplied new Log to BT.709.cube File (The observations in this section are based on a Pre-production camera and early .cube file) What should I bring first, the good or the bad news…? The idea behind such a profile is to bring the most latitude to the image. While we were very happy to see OLYMPUS incorporating it, in our opinion, there is something wrong with the way it is being implemented. The curve is so strange that when using our software and method to evaluate it (DSC Xyla 21chart/IMATEST), we could actually not measure it, as the distribution of code values to represent the luminance is not smooth. I hope that the above photo can visually explain our issue. Please take a look at the place circled in red color. This type of “jump” should not be there, so for now, as we are not able to get meaningful results, we cannot come up with an appropriate Dynamic Range test.  Despite of the above information, I filmed in the new OM-Log400 picture profile and imported the footage into Premiere, in order to color correct it. My first step was to see what I get, when using the new OLYMPUS Log_to_BT.709.cube file. So I tried to import it, but to my disappointment, all I got was an “Unable to Load Selected File” error message. A closer look at the cube file revealed a header line that technically does not need to be there and when removed, it allowed me to load the cube file successfully. Please note that according to OLYMPUS, this cube file was designed to work well in DaVinci Resolve, and we were just notified by OLYMPUS that they will not leave users of other popular editing platforms in the dark. Oh, and although not difficult to adjust at all, I suggest waiting for OLYMPUS to come up with an officially working Adobe Premiere cube file. Problematic Log curve Picture Quality When it comes to picture quality, I have yet to determine if I like what I see or not… On one hand, when shooting in 4K DCI, the picture is very solid and detailed, but on the other hand, it tends to be too detailed (sharp). Unlike with other camera manufacturers, when shooting LOG with this new camera, one cannot change any values like sharpness, for example. This is my preferred way, as the manufacturer should know what values make their own LOG picture profile work best, but in this specific case, I wish there was a way to tune sharpness down. I couldn’t find a way to do so and I hope that the camera is not enhancing the picture in a digital way. New to the OM-D E-M1X is the ability to shoot in High Frame Rate (120fps in Full HD). I tend to avoid this option, as the results are just fine. Also, the crop factor when shooting in this mode is rather severe, but at least the autofocus function is working. Full HD 120p Image. Notice the crop As a side note: unfortunately, the new camera does not support shooting in 4K/60p mode. When it comes to Rolling Shutter, like with the E-M1 Mark II, it is well controlled. (Not surprising, considering the fact that both cameras are using the exact same sensor and processor behind it. The only difference is the addition of a second processor in the new camera). When it comes to lowlight performance, it is just fine. OLYMPUS never declared this camera to be a lowlight monster and as such, in my opinion, you can get acceptable results up to ISO 3200. Shoot above it and you risk getting a noisy video. One thing I noticed is the EVF turning “greenish” when shooting in lowlight. I have no clue why this is happening (it may happen only in my pre-production camera), but it is evident enough to report and share. Things to Note  I deliberately did not touch the subject of camera menu. What started out as a very difficult way of navigating, became better over time for me (obviously). But while it looked as if OLYMPUS genuinely attempted to cater our filmmakers’ needs by greying out photography related menu items, at some occasions I was left a bit lost… For example, if you are looking to engage the LOG picture profile, you will need to activate this mode as On at a different menu page first (Video Menu – Specification Settings – Picture Mode – On) and then go to: Shooting Menu 1- Picture Mode – OM-Log400. Another example would be the absence of a way to retrieve the “View Assist” function fast. I could not find a way to assign it to any button and ended up adding it to “My Menu”. This is an “OK solution”, as it requires quite a few button clicks in order to get there. OLYMPUS have kept their older “Flat picture profile” mode, so people working with  both, the new camera and the E-M1 Mark II, could match it. The red record indicator will appear on the bottom right hand-side. Even today – after spending some time with the camera – it is still hard for me to locate and notice it. I wish it would appeared on the upper right hand-side instead. Be aware of NOT buying the Lexar 128GB SD cards (2000x). There is a long, documented history of incompatibility between these card and OLYMPUS cameras, and they simply won’t be recognised by the camera. Regardless of “whose fault it is” (Lexar or OLYMPUS), after dealing with Lexar’s online customer service I decided to never buy their cards again! At times, when traveling, I’m using one of the new MacBook laptops for editing. As you know, there is no SD card slot on those new laptops, so I do appreciate the fact that when connected, the new E-M1X will appear on the computer as a drive, meaning copying and pasting the material is not so difficult. If you’re like me, as in more of an EVF user (over the LCD), then here is a thing that might drive you crazy: There is no way to start watching a clip on the LCD and then continue to look at it on the EVF, as the camera will immediately go to record standby mode. So you’ve started watching the clip on the EVF and moved your eye a little bit too far, and the playback function will automatically stop and the camera will return to REC standby mode. Why? No clue. Automatic audio level adjustment cannot be done by the camera. It is always on manual mode, yet the good news is that audio can be adjusted while recording on the fly. (Speaking of which, not all functions can be changed while recording, not even ISO when needed.)  Changing aperture when using the new camera with an OLMPUS lens is something to note on the positive side – somehow the action is very smooth and  graduated. Dare I say almost unnoticeable? I’ve already mentioned the EVF and “View Assist” earlier in this article, but it is important to me to emphasise that the quality of the EVF, when shooting in normal lighting conditions (inside or out), is nice and manual focusing is a breeze. Conclusion The new OLYMPUS OM-D E-M1X is a mixed bag camera. It has the potential to take handheld filming to a different level, but this can ONLY be done if the newly developed IBIS is fine-tuned. Although it feels as if OLYMPUS had us, the filmmakers, in mind when designing the camera, it is rather evident that they didn’t take the extra step in order to be on the same line with other camera manufacturers. When it comes to core technical specifications, they are a bit behind. As noted in this article, the price of this camera is somehow problematic (from a video performance perspective), especially when taking into account what others are currently offering for the same amount or even LESS money. What do you think – can this new OLYMPUS camera be the one for you? Please share with us your thoughts in the comment section below.

Following up our first GH5 cage review shootout with Came-TV, Movcam and Zacuto, here comes the second round featuring two more cages – by Chrosziel and Tilta. We have kept the same review structure, now let’s see how these cages perform, compared to each other and to the cages from the first shootout. To use the full potential of any camera, it is crucial to find the right cage in order to mount whatever third-party accessories you may need. And cages don’t just add several mounting threads and cold shoes, they also improve the protection of the camera body, usually add better grips and handles, and protect the HDMI connector and other ports. The first round of our GH5 cage shootout with Came-TV, Movcam and Zacuto was published more than a year ago. The Panasonic GH5 remains a very popular camera until today and it still sits on top of the line of the Panasonic mirrorless segment, together with the GH5S. Since the newer GH5S shares the same body as the GH5, every cage can of course be used for both cameras. Now, we had some further cages available for a review and decided to do a second round of the shootout. We’ll now place two camera cages for the Panasonic GH5 (and GH5S) head to head for an in-depth look, review and comparison: Chrosziel and Tilta. Let’s see how they perform and which one comes out better in this GH5 cage shootout! Structure of Each Review: Ease of assembly and disassembly How securely is the camera attached to the cage? HDMI cable protector design Do we have access to the side outputs, slots and all the buttons? Is it possible to use the Panasonic XLR adapter? How good is the included Rod Support? Quality of the Metabones Mount The top-handle design Overall ergonomics Conclusion At the very end of the article I’ll summarize the main pros and cons of each cage and announce our verdict. Please note that no cage is perfect and it’s up to each user to decide which cage better fits their needs and preferences. Chrosziel GH5 Cage The Chrosziel GH5 cage features a simple black aluminum design with a massive, but ergonomic handle and an included base plate rod mount. There are exceptionally many 3/8″ accessory threads. How well did the cage perform? Ease of Assembly and Disassembly It is quite easy to assemble and disassemble this setup. The cage is easily screwed on, with one screw at the bottom that goes into the camera’s tripod screw hole. The cage itself has a rather big opening for the lens, so even inserting the GH5 with a bigger lens mounted should not be a problem. How Securely is the Camera Attached to the Cage? In my opinion, the camera doesn’t seem to be very well secured. The cage doesn’t fit the sides of the camera very tightly and a single bottom screw is the only thing holding it in position. If not tightened properly, the camera has a bit of a wiggle room within the cage. The cage has quite a close fit to the front side under the lens mount, so if the camera does turn, it would be just a few millimetres. Attachment is not optimal, though. HDMI Cable Protector Design The Chrosziel GH5 cage does not provide any kind of HDMI protection. The plastic HDMI protector that comes with the GH5 can be screwed on there, but it only provides limited use with this cage, because the plastic clamp that holds the HDMI cable is too close to the side of the cage. Therefore, it might be nearly impossible to mount an HDMI cable with this clamp on this cage. Do we Have Access to the Side Outputs, Slots and All the Buttons? With this cage, we have good access to all the slots, buttons and outputs of the Panasonic GH5. It is not a problem to use the flip-out LCD screen either and rotate it freely. Is it Possible to use the Panasonic XLR Adapter? It is only possible to mount the Panasonic XLR adapter when the handle is not mounted on top of the cage. Fortunately, the cage has other mounting points for the handle on both sides. The plastic cable holder underneath the XLR unit has to be removed when mounting it. How good is the included rod support? The included 15mm rod support is quite simple, but good overall. There are two 8″ rods included in the package, which are made of aluminum. Metabones Mount Quality Unfortunately, there is no Metabones adapter support included with the cage. The Top-Handle Design I like the top handle design and ergonomics, I just wish there were more threads and mounting possibilities. It is a massive, all-aluminum handle with 6 threads on the top, which is quite comfortable to hold. There is, unfortunately, no cold shoe on top. It is possible to unscrew the bolt holding the handle and rotate it to 4 different positions. Good thing is, there is a 15mm rod mounting place on the handle. Note: Additional handles can be purchased and used in a variety of ways. They can be mounted either on the “mini NATO rails” on top or on both sides of the cage – or anywhere on a 15mm rod. Quite a nice addition to make it a flexible system that a lot of other manufacturers didn’t think about. Overall Ergonomics The cage features no cold shoes, which might be a bit of a downside for some users. On the other hand, apart from standard 1/4″ threads, it offers many 3/8″ accessory threads. That might be useful when mounting heavier accessories, for instance. The cage doesn’t fit too tightly, which might make it a bit uncomfortable to hold the camera with the right hand, when the cage is mounted. The bottom of the cage itself has the same dimensions as the Manfrotto 501 standard plate, so theoretically, it could also be used without any plate (it is quite short though, so only during emergency uses). Conclusion The Chrosziel GH5 cage features a simple and massive design with a few small flaws. It is not very suitable for people looking for a tightly fitted solution. However, it is suitable for a frequent mounting and removing of the camera. Also, it is possible to keep the neck strap mounts on the camera when using this cage and people who occasionally use their GH5 for photo work (like me) will definitely appreciate this. I like the possibility of mounting the handles on both sides and on the 15mm rods too. The lack of cold shoes and HDMI protection is a downside for me. Tilta GH5 Cage Tilta GH5 cage is made out of aluminum and features a matte gray design, plus a massive wooden side handle. It includes a base plate rod mount, and there are exceptionally many 1/4″ and 3/8″ accessory threads, as well as three cold shoes. How well did the cage perform? Ease of Assembly and Disassembly This setup is quite easy to assemble and disassemble – Tilta has developed a unique system, which consists of a separate quick release plate. The plate is simply screwed on, with one screw at the bottom, to the camera’s tripod screw hole. Then, the camera plus the plate can be inserted into the cage and locked in place with a lever. The cage itself also has quite a big opening for the lens, so inserting the GH5 with a bigger lens mounted should not be a problem. How secure is the camera when attached to the cage? The camera is well secured within the cage – no problems here. The quick release plate mounted onto the camera holds it well in position. HDMI cable protector design Tilta offers a unique HDMI cable protector design, which consists of two aluminum clamps and a piece of male-female HDMI cable. It locks the HDMI connection well in place, although the first assembly might require a bit of time. When using the HDMI protector, the other ports on the side still remain accessible. The USB-C connector, however, does get bent a bit when the HDMI clamp is tightened. In my opinion, the short HDMI cable is a bit too squashed and bent, which might lead to it getting damaged over time and cause some connection problems. Do we Have Access to the Side Outputs, Slots and all the Buttons? When this cage is attached, we have good access to all the slots, buttons and outputs of the Panasonic GH5. It is not a problem to use the flip-out LCD screen either and rotate it freely (without the HDMI clamp in use). Is it Possible to use the Panasonic XLR Adapter? It is possible to mount the Panasonic XLR adapter, even when the top handle is in its position. Tilta offers an L-shaped adapter, which positions the top handle out of the way of the XLR adapter. The plastic cable holder underneath the XLR unit has to be removed when mounting it. How Good is the Included Rod Support? The included aluminum 15mm rod support is quite well made. The cage slides in from the side, which is a bit unusual, yet the advantage of this system is that the cage can be moved left or right, when needed. A small lever on the rod support piece then locks it in the right position. There are two rods included in the package. Metabones Mount Quality There is a Metabones adapter support included on the cage itself, but to be honest, I am not too fond of its design. The screw used for this is quite long and it prevents the mounting or unmounting of the rod support, when the rods are in place. Although I found out it is possible to use it without the long screw just with the metal tube. The question is, however, how well the support functions then. The Top-Handle Design There are lots of threaded mounting options and cold shoes at the end of the handle. Also, it is possible to unscrew the bolt holding the handle and rotate it in 4 different positions. As a bonus, there is a separate aluminum clamp provided, which can be inserted into the handle, tightened with two bolts, offering an extra 15mm rod mount. Overall, I like the top handle design and its ergonomics, plus it is relatively long. The top handle is connected to the cage via NATO rail, so it can be moved left or right and then fixed in place with a dovetail screw. The NATO rail itself can be mounted either directly to cage, or onto an extra L-shaped piece to make place for the XLR adapter. Furthermore, there are safety knobs with springs on both sides of the NATO rail, so the handle will not fall off, even if it the screw loosens by accident. Overall Ergonomics Visually, the main part of Tilta GH5 cage is the massive wooden grip on the right side. It has a nicely ergonomic shape and even features a start/stop thumb button, which connects via shutter connector to the camera. The handle can be rotated, as it is connected to the cage through a rossette. The cage itself is not a tightly fitted one, so holding the cage with your hand might not be so comfortable, yet the provided wooden grip offers a comfortable holding option. Thanks to the quick release plate, it is very easy to take the camera out of the cage when you quickly need to switch to the bare-body photo setup. For me, the biggest flaw of Tilta’s cage is the fact that it cannot be used without the rod support base, at all. There is, unfortunately, no way to attach a tripod plate directly to the bottom of the cage. Therefore, this cage cannot be used during a very compact setup and the rod support base always positions the camera quite high, too. Another slight disadvantage I found is the fact that Tilta uses three different allen key sizes for the cage. All of the allen keys needed for assembly are included in the package, but one of them comes as a non-metric size – a 3/16 wrench (also used for the main screw on the quick release plate). In case you lose that key, it is not a very common thing to have as a spare one at home – at least not in Europe. I think using two different allen key sizes for all the bolts on the cage would have been simpler. Conclusion The Tilta GH5 cage features quite a sophisticated design with lots and lots of accessories. It cannot be used for a rather compact setup and is not really suitable for people looking for a tight fit solution. The cage is great when it comes to frequently mounting and removing the camera. Also, it is possible to keep the neck strap mounts on the camera when using it, and people who occasionally use their GH5 for a photo work (like me) will definitely appreciate this. I liked the wooden grip with the start/stop button and the long top handle, too. Chrosziel vs. Tilta GH5 Cages – Results For me personally, Tilta GH5 cage is the winner of this comparison review, despite being the cheaper option of both. The main advantages of this cage are: lots of accessories and mounting options, comfortable wooden grip, effective HDMI protector, modular and long top handle, and quick release plate for easy mounting/unmounting of the camera. Main disadvantages: It is not possible to use the cage without the rod support base. The second place goes to the Chrosziel GH5 cage. The main advantages are: massive top handle design, which can be moved on the mini rails on both sides, massive design with many 3/8″ threads and Manfrotto 501 style plate on the bottom of the cage. Main disadvantages: relatively high price, no HDMI support included, no possibility to mount an XLR adapter while the top handle is mounted. If I have to compare these two cages to the three cages from the first shootout, I have to admit that I still like the Movcam GH5 cage the best and it suits my needs better than all of the four other cages. Tilta comes close as the second place, because it offers the most mounting threads and possibilities. It cannot be used without the rod support base, however, and I often need a compact cage setup. On the third place, I would place the Zacuto tight fit cage, the fourth place would go to Chrosziel and fifth place to the Came-TV cage. It – of course – depends on the exact needs of every filmmaker, though. Did you ever use any of these GH5 cages and did you like it? Did this second round of shootout help you make up your mind about your future GH5 cage purchase? Let us know in the comments below!

FiLMiC Pro’s new LogV2 gamma profile is designed to encode the maximum dynamic range from Apple’s AI powered imaging pipeline. FiLMiC Pro have shown a solid 11 – 12 stops of dynamic range is possible with the latest generation iPhones using the new FiLMiC LogV2 and FiLMiC’s new “Cubiform” computational imaging process, according to their own dynamic range tests. The maximum bit rate of FiLMiC Extreme has also been increased from 100Mbps to 130Mbps. It’s Log, But Not As You Know It The new FiLMiC LogV2 is log, but not as you know it. The first thing to keep in mind when viewing the uncorrected vs. corrected video, is that the process creating the values that are encoded into the final file is computational. The luminance and chrominance are treated quite independently in the process. This means FiLMiC LogV2 doesn’t look desaturated as you would expect log encoded video to look. Luminance is in fact encoded logarithmically, resulting in extended overall dynamic range being recorded, but the saturation values are much higher than with most log encoded video. FiLMiC LogV2 saturation is also non-linear, it is highest in the midtones and drops off in the shadows and highlights, but the midtones in fact have quite high saturation levels. As you can see from the last frames in the video showing the ColorChecker, I’ve had to reduce saturation to line up the chart on a vectorscope. This is the complete opposite of correcting normal log encoded video. FiLMiC Pro made a lot of mobile filmmakers happy when they launched the first ever flat and log gamma profiles for smartphones. These profiles carefully remapped 8-bit RGB values coming from the camera before encoding back into an 8-bit container applying a modified gamma curve in the process. The first FiLMiC log looked like what you’d expect from a traditional log encoding, desaturated across the board and susceptible to banding and other issues once those levels are corrected. It is only 8-bit after all. The FiLMiC Flat profile worked quite well, extended the effective dynamic range to a useful degree and was easy to color correct. It was a good compromise, not as aggressive as log, but offering some extended highlights. This image processing worked on devices back to the iPhone SE / 6S Plus. FiLMiC Flat became my goto profile for pretty much everything. I wrote a hands on review of the first generation FiLMiC log here on cinema5D. Then came the iPhone XS / XS Max and XR, employing more aggressive AI driven image processing and dynamic tone mapping than any previous devices. For default camera users and average consumers, this technology works wonders out of the box, enhancing low light performance and generally optimizing an image on the fly to look its best without any manual intervention. The FiLMiC engineers realised they needed to take a different approach going forward, and this has lead to the launch of an entirely new computational imaging module custom built by FiLMiC called “Cubiform”, and two new profiles in FiLMiC Pro version 6.8.0, FiLMiC LogV2 and FiLMiC FlatV2. Introducing FiLMiC Pro LogV2 and FlatV2 Rather than fight Apple’s new dynamic tone mapping and smart HDR implementation in the latest generation iPhones, the new FiLMiC Pro image processing takes advantage of the extra processing power of the A12 chip, building a 64-bit, high precision space for internal computational processing of the incoming 8-bit luma and chroma data fed from the iOS pixel buffer. The source iOS image buffer data is only 8-bit, and final encoding is also limited to 8-bit, so FiLMiC have developed a custom processing pipeline that sits between the pixel buffer stream and the encoder, which does a lot of very clever math. This math builds a dynamic model with a higher computed precision than the individual RGB source data points, and ensures that an optimised range of values are output to the encoder. FiLMiC’s lead iOS imaging developer Chris Cohen explains. LogV2 is the culmination of years of work done on a proprietary computational-imaging module that we internally call “Cubiform”. Cubiform creates a mathematical environment where we can process the luma and chroma of an image with 64-bit precision. In the case of LogV2, we use this high-precision environment to construct a luma-map from the 8-bit source. Because the luma-map is derived from a flattened 24-bit RGB vector, the resulting fidelity exceeds the 8-bit precision of the individual Red, Green, and Blue elements. This high quality luminance information allows us to reconstruct the gamma of the identity image using a process called ‘gamma vectorization’. After this operation is complete, we map the 64-bit scalar representation of the image into an 8-bit container for publishing to our encoder. The result, as you have seen, is dynamic range and tonal coherence that seemingly bypasses the sparse data-point problems associated with traditional 8-bit gamma augmentations. With LogV2, we have chosen to abandon linearization and embrace the dynamic nature of the iOS pixel buffer stream. Instead of attempting to perfectly linearize the image, we modify the native gamma with a delta-augment that results in a spline that resembles a tradition log base 2 profile. Because iOS tone mapping is still active, the gamma spline will occasionally take on sigmoid characteristics. LogV2 produces an image with non-linear saturation: it is greatest at the mid-tones and progressively decays as the luminance approaches the back or white points. FiLMiC LogV2 Dynamic Range Tests Let’s take a look at the dynamic range test and the results. The description and details below of the test are taken from FiLMiC Pro’s own documentation. They used the Xyla 21 stop dynamic range testing chart to measure the FiLMiC LogV2 dynamic range improvements. All test footage was captured at 4k extreme (H.264) with a frame rate of 24fps and a manual white balance of 3800k. Electronic stabilization was disabled and testing was undertaken in a light sealed room. The testing methodology was as follows: The smartphone was held approximately 5-7cm from the Xyla chart with the lens positioned over the third f.stop, which was used to set exposure (we purposely chose to over expose stops 1 and 2). Digital zoom was then employed from the rocker so that f.stop 3 completely filled the frame to aid in setting exposure. Exposure was then locked, and FiLMiC Pro was zoomed all the way back out. They used their live analytics to confirm f.stop 3 was correctly exposed, with f.stop 2 and 1 clipping. Smartphone was then placed in a tripod approximately 2.5 feet from the Xyla test chart. A clip using the ‘Natural’ curve was recorded. A clip using the ‘LOG’ curve was recorded. Clips were imported to a computer using iTunes File Sharing to ensure a lossless transfer. Using Premiere Pro CC 2019, natural and log clips were composited on top of one another in a new sequence and exported as a still image frame. The latest generation iPhones have an impressive base dynamic range of approximately 9 stops (Natural). When FiLMiC LogV2 is employed we see approximately 2.5 additional stops enabling approximately 12 stops of dynamic range. The iPhone SE and 6s Plus see impressive dynamic range improvements. The native base dynamic range of approx. 8 stops sees an increase of 1-1.5 additional stops helping it approach 10 stops of dynamic range . The Samsung Note 9 has a native base dynamic range of approx 7 stops when HDR is deactivated. With FiLMiC LOG v2 they claim to able to offer approx. close to 9 stops of dynamic range. FiLMiC LogV2 Workflow Tips In the past few weeks I’ve been shooting a lot of test charts under a wide variety of lighting conditions, and analysing the recorded image in order to understand the optimal method and workflow to get the best performance out of FiLMiC LogV2 on the iPhone XS Max. It’s not as easy as it sounds because both FiLMiC and Apple’s own image processing algorithms are making adjustments as lighting conditions change. Tracking what one variable is doing is hard enough, but when multiple variables are changing concurrently, even if they work well together, it takes time to recognise repeatable patterns and predictable behaviour. Only then is it possible to understand and control what’s going on. Use the Exposure Reticle I would say the main takeaway I have, is to let the camera do its own thing when it comes to exposure. Don’t fight it. FiLMiC Pro does a very good job of finding optimal exposure all by itself, taking into account the effects of Apple’s local dynamic tone mapping and smartHDR. At this point, your iPhone knows more than you do about what it’s doing to the image. By placing FiLMiC Pro’s exposure reticle over the brightest part of the image (often the sky when outdoors) and locking it there, I almost always have the best dynamic range recorded for the lighting ratio of the scene. It will favor the lowest ISO and lowest shutter speed combination for correct exposure all by itself. In terms of white balance, I set it using the grey card and lock it. When using the PolarPro Iris ND 64, which is my goto ND strength for bright sunlight, FiLMiC Pro will automatically set the correct ISO for a 1/48th sec shutter, and even if this was above minimum ISO, it was always optimal, and I haven’t seen noise issues so far. I have yet to explore low light performance at the same depth I’ve been testing well lit conditions. So that’s another story for another time. Use of ColorChecker Chart for a Color Managed Workflow I highly recommend using an XRite Video ColorChecker chart at all times. In fact, I think this is an absolute must. In my experiences the past few weeks, the chart is critical for setting and locking white balance in camera, and for accurate color correction in post. When multiple variables are changing all the time in camera, including the gamma, you need some kind of a trustworthy reference providing a range of greys, black, white and color chips. The XRite Video ColorChecker Passport is ideal for using quickly on the go. Shooting the chart consistently provides the reference you need for correction and shot matching. FiLMiC have created deLogV2 and deFlatV2 LUTs which you can download for free and work well as a starting point to bring you back to near Rec.709 before manually tweaking curves, hue and saturation to get you perfectly lined up on a waveform and vectorscope. A combination of FiLMiC’s deLogV2 or deFlatV2 LUT on node one, plus a manual correction on node two allows me to perfectly align a Video ColorChecker chart on most shots under most lighting conditions. Sometimes there are problems, but often this is due to incorrect exposure. Below is FiLMiC’s own LogV2 demo video. How to Get FiLMiC Pro and FiLMiC LogV2 The FiLMiC Pro app is available on the Apple App Store and Google Play. For Android devices there is also a FiLMiC Pro Evaluator which will help you determine if your device can run FiLMiC Pro, and which features it supports. FiLMiC LogV2 and FiLMiC FlatV2 are part of the Cinematographers Kit, which is an in-app purchase for $15. Science or Snake Oil? After my tests over the past weeks, I can say that FiLMiC LogV2 does work, and it does preserve an impressive dynamic range from a smartphone camera, especially the latest Apple iPhones. However, a bit of a disclaimer, I find it takes a fair amount of work to get all the benefits. It’s not a point and shoot process. Shooting a chart is a must for post, and putting the time and effort into color correcting each shot individually is necessary to get the best results. If you’re into pushing smartphone imaging to the ragged edge, you’ll love FiLMiC LogV2, as long as your white balance and exposure are correct in camera, the files are lovely to grade, despite being only 8-bit 4:2:0, and resist banding and other artefacts you would normally associate with an 8-bit log gamma implementation. If you follow a color managed workflow, you’ll get some amazing results. Are you a FiLMiC Pro user? Have you already been using the Flat and Log profiles in the FiLMiC Cinematographers Kit? What do you think? Let us know in the comments.