Remember “I’m Back” from 2018? A conversion kit for transforming your analogue SLR camera into a digital DSLR. No, it isn’t a high-performance piece of gear for pixel peepers but it is a lot of fun to play around (and work) with! Now, almost a year later, I’m Back is back, with a new digital add-on for analogue medium format cameras! Samuel Mello Medeiros is a busy man. He is CEO of the company behind I’m Back and he seems to be a keen inventor and never-resting entrepreneur, indeed. After bringing the original I’m Back digital back for analogue (35mm full-frame) SLRs to market back in 2018 –read and watch our coverage here–, he felt that the family is still not complete. So he went back to the drawing board and, along with his colleagues, he created yet another digital back. This time for large, and undoubtedly professional-grade, analogue medium format cameras. the result is part of an Kickstarter campaign which is live as we speak. “I’m Back” Digital Back for Medium Format The concept behind this new line of digital backs is similar to the existing line for 35mm SLRs: Choose an adapter for your cameras make and model, attach the “I’m Back” digital back to that adapter and off you go! The build-in camera captures the image projected to the ground glass of the host camera through an attached lens. That way, all the grain and imperfection goodness of past days are being recorded to a SD card. This digital back was never designed to deliver perfect, high-res imagery. It was created to breath new life into long-gone tech while preserving its soul, so to say. Same goes for the new medium format digital back. Supported cameras include some famous medium format cameras such as: Rolleiflex Automat Mamiya RB67 Mamiya 645 Mamiya C330 Kiev 88 Hasselblad 500 / SWC / 1000 Bronica S Bronica ETSsi For each of these models (and more to come) there is a dedicated adapter, the digital back itself is the same for each of them. Technical Specs As stated before, the aim here is to create beautiful pictures and video, not to deliver high-end specs on paper. Having said that, the pure specs of this digital back are somewhat underwhelming but only on paper: The camera used for capturing the ground glass projection is build around a Panasonic 16 megapixel 1/2.33-inch sensor. It can shoot 1080/50p(60p) video or stills with a resolution of the aforementioned 16MP and that’s pretty much it. So you see, this is more about transforming old and dusty medium format cameras into digital cameras to have fun with but of course you can use this if you’re after that special in-camera look for a project. The “I’m Back” features a build-in touchscreen for controlling the camera settings and you also can hook up an external microphone and a USB battery pack to the unit. Furthermore, wifi is build in so you can connect a phone in order to stream a live feed to it and to control the digital back. Gadget or Creative Tool? The specs are not impressive. And that was never the goal for this device. It can’t compete with professional digital back add-ons such as the Mamiya Leaf Credo 50 Digital Back, selling for $ 19,995. It’s obvious that the “I’m Back” plays in another league well below professional gear. But still, in these days of pixel-count mayhem and overly sharp and clean imagery, a splash of vintage imperfection might be the cure. For us here at cinema5D this concept and Samuels presentation of the original “I’m Back” for 35mm cameras made such an impact, we just had to honor his efforts with a show award at Photokina 2018. Just like vintage glass, such as ARRIs signature primes or the freshly announced Sigma Classic Art Primes, this digital back has a certain look. As Samuel states, the “I’m Back” is dedicated to those who want to have fun and are tired to discuss about high resolutions and megapixels!!! And that’s it: Don’t pixel-peep but go out there and shoot something beautiful with all the imperfections and grainy oddities you might encounter on the way. The Kickstarter campaign runs until September 5th. All of the early bird tiers are already sold out but you still can get a digital back fitting your medium format camera for 399 CHF (roughly $ 400 / 360 €). You still need a SD card for recording stills and video since it’s not included, everything else you might need is. Just choose the correct adapter for your camera. Samuel with his new digital back. If everything goes smoothly, the new “I’m Back” adapter for medium format cameras should be shipped out by June 2020. Remember, this is a Kickstarter campaign, not an online shop. Things can go south pretty badly and your investment might be lost. However, since this is not their first product, you can expect some expertise and hopefully this new back will be delivered just as fine as the last one. Sample shot from the Kickstarter campaign (the resolution is not great since the uploaded photo was tiny already) Link: Kickstarter | Homepage What do you think? Is this digital back worth dusting your old camera again? Share your thoughts in the comments below!

Zacuto recently introduced a new baseplate system designed for mirrorless and DSLR cameras – or any camera up to 50 lbs – called the Zacuto Polaris. Zacuto Polaris Concept The Zacuto Polaris is a lightweight yet robust baseplate built around an Arca Swiss compatible quick release system. Otherwise, the Polaris plate and QR receiver are not a traditional Arca Swiss mount. To attach your camera, you first have to snap it in the QR receiver. To lock the camera down, the Zacuto Polaris uses a knob that you have to screw 1 1/4 turn. Finally, to release your camera, you have to turn the same knob 1 1/4 of a corner and pull the knob to release. Like every Arca Swiss system, it has safety locks so the unit can’t slide out if the knob isn’t all the way lose. I prefer the clamp locking system of the Kessler Kwik Release system which is – in my opinion – much faster, takes a smaller footprint, and less prone to operator’s errors. Zacuto Polaris Baseplate The Mirrorless Polaris Baseplate kit includes a camera plate, a mounting plate, a 15mm rod support base, and a set of 12″ rods. The rods are tightened with two mini ratcheting levers. The 15mm rod support base is height adjustable to align popular cameras to standard matte box height. Also, various accessories are available if you need to extend your rig, like a Polaris Shoulder Pad. You can purchase additional Polaris camera and mounting plates if required. Finally, some of the camera cages from Zacuto, like the GH5 Basic Cage will be updated with a built-in Arca Swiss compatible plate to be “natively” Polaris compatible. Other cages for the Sony A7 III/A7R III and A9, Blackmagic 4K Pocket Camera, Nikon Z7/Z6, Panasonic S1, and Fuji X-T3 should be updated pretty soon. Or, if you already own a cage, you can screw the camera plate at the bottom of your cage. Of course, the Zacuto Polaris is compatible with all 15mm rod accessories from Zacuto like the Z-Drive, the Tornado, and the Trigger Grips. Indeed, it is also compatible with every Arca Swiss and 15mm rod standard accessories you might already have. The Zacuto Polaris Shoulder Pad Pricing and Availability The Polaris Baseplate System will cost you $350.00, but there is currently an instant saving of $70.00 at B&H. Individual parts are also available for pre-orders. Shipping will start in about a week. What do you think of the Zacuto Polaris system? What type of quick release system do you use? Let us know in the comments down below!

FUJIFILM has made an interesting announcement yesterday, unveiling the GFX 100Megapixels Concept – a mirrorless medium format camera with a strong eye for video. FUJIFILM has announced a new flagship medium format camera for their GFX lineup. The GFX 100 sports a 100 megapixel sensor (!!), first-of-its-kind IBIS, and 10 bit 4K up to 30p video recording. The price of the new camera will be around $10,000 and availability is expected during the first quarter of 2019. Also announced: The new GFX50R, the successor of the GFX50S. This new camera is noticeably smaller and lighter than its predecessor, aiming to capture the attention of street photographers. (The R stands for Rangefinder). When it comes to video capabilities, the camera is able to record in 1080p and we were told by FUJIFILM that the video quality is the same as the one found in the GFX50S. FUJIFILM GFX 50R Body Size, Sensor Size and Specs We don’t have the final specs for the GFX 100 yet, but we were told that the camera will record in 4K, 10bit, 4:2:0 internally with the ability to capture video in 4K, 10bit, 4:2:2 externally via HDMI. From the mockup we have seen, the body size of the GFX100Megapixel is rather similar to the 50S meaning, having a resembling size and weight of a large DSLR, like the Canon 1D C. Add the vertical handgrip, and the GFX 100Megapixel becomes bulkier, with its square body shape. FUJIFILM GFX 100Megapixel The sensor is roughly 1.7x the size of a full-frame sensor, creating the much wider field of view traditional in medium format cameras. But this massive sensor also comes with a few potential drawbacks: For example, we are really curious to see how FUJIFILM will handle overheating. We can only assume that recording time might be limited in order to avoid any overheating issues. Innovations in Medium Format Shooting A large, high-resolution sensor will make every shake, stutter, and movement evident when shooting handheld. At 100 megapixels, that can become a major liability. Therefore, it is very exciting that FUJIFILM has – for the first time – introduced IBIS to medium format cameras. Combined with the body size and style, FUJIFILM is clearly sending out the message that this camera won’t just be cooped up in the studio. Behold the stabilized sensor of the GFX 100 This sentiment also echoes through their switch from contrast-detect to phase-detect autofocus. The new AF system covers 100% of the image sensor, which hopefully will dramatically improve accuracy and speed when compared to the GFX 50S and 50R. FUJIFILM says that this new AF system is inspired by the well-received X series. I can’t wait to see if it performs as well. GFX 100’s Video Features This is where this camera gets interesting for us filmmakers. The GFX 100 claims to record 4K, 30p, 10bit, 4:2:0 internally with the ability to capture video in 4K, 10bit, 4:2:2 externally via HDMI. That’s all we get for now. We don’t know if this is a full sensor readout or a cropped image, we don’t know if it is capable of F-log, and we don’t know if there will be slow motion options when shooting 1080p. Personally, I am cautiously optimistic that they will make an honest effort at catering to the video crowd. Just think of what you could do with the X Processor 4 There’s no Full Frame Camera? In a year when everybody under the sun – including SIGMA, of all people – is announcing a full frame mirrorless camera, it seems that FUJIFILM has decided to skip straight to medium format. I have a few theories as to why that might be. 1 – FUJIFILM believes that the trend towards bigger and bigger sensors will continue through full frame and right on past it. (They refer to the GFX as “super full frame”). In this scenario, they are laying the groundwork for a future that they see coming over the horizon, and maybe even encouraging it by integrating medium-format sensors with familiar body styles and feature sets. 2 – FUJIFILM believes that the full frame field is too crowded and they want to be distinct from others. Lens development is expensive and time-consuming. Canon, Nikon, and Sony deal in much higher volume and can therefore invest more in development. Owners of FUJIFILM’s APS-C cameras seem to be perfectly happy with the sensor size they have (FUJIFILM believe that APS-C is the best balanced system as you save 1/3 weight compared to FF), so why invest resources in a format that is going to get crowded? So what do you think? Is Medium Format the next Full Frame? Let us know in the comments!

Samyang (another branding of the filmmaker’s favorite Rokinon lenses) continues to broaden their skillset with their first Nikon AF lens – the full frame AF 14mm f2.8. An Intro to Samyang For many years, Samyang and Rokinon created manual focus lenses only. They built their reputation on mid-range primes that were priced very competitively. Over the past couple of years they have slowly added electronics to their lenses, bringing focus confirmation chips and electronic aperture to their lineup. Then, last year, they began introducing autofocus lenses. Performance and Quality While we haven’t gotten our hands on one yet, we can assume it will be very close to the Canon EF version of the lens (which we previously covered here). The AF 14mm f2.8 has also been released for Sony E mount as well, where the great bulk of their AF lineup currently resides. Test results and real-world results in the Canon EF version are very positive. It is very evenly sharp once stopped down to f4, and shows fairly minimal color fringing. With any luck, the Nikon edition will perform just as well. The Autofocus on the Canon EF model was acceptable, both in speed and accuracy, but without blowing any minds or setting any records. It isn’t silent, but isn’t necessarily noisy either. Samyang claims to have updated their design for faster, quieter, more accurate autofocus with this new Nikon F mount edition, though. Time will only tell, but I see no reason to doubt it. The depth of field on a 14mm is enormous – this was taken at just an f3.5 Who is This 14mm Lens For? The light weight and weather sealing make this lens an interesting candidate for travel or street photography, although it is a little bit wider than most would usually use. I would expect it to see the most traction in landscapes, astrophotography, architecture, and real estate photography, where wider is almost always bigger. It faces some competition from SIGMA’s 14mm f/1.8 DG HSM Art, which is faster, sharper, and built like a tank. But you will pay out the nose for that extra stop and a half – the SIGMA is more than double the price of Samyang’s newest offering. The Nikkor 14mm f/2.8D ED is undoubtedly sharper and has quicker autofocus, but it again costs more than double that of the Samyang AF 14mm F2.8. For what you get, the Samyang AF 14mm f2.8 is a steal of a deal. Stats and Specs: Aperture range: F2.8 ~ 22 Lens optical construction: 15 Elements in 10 Groups Special Lens: ASP 2, ED 1, HR 4 Coating: UMC Minium Focusing Distance: 0.20m (0.66ft) Maximum Maginification Ratio: x 0.15 Filter size: N/A Number of blades: 7 Mount: Nikon F Angle of view: Full Frame – 116.6 ˚, ASP-C – 92.8 ˚ Maximum diameter: Φ 90.5mm Length: 93.1mm Weight without Lens cap, Hood: 474g Weight: 523g Weather Sealing: Yes AF/MF mode switch: Yes AF Motor: Linear stepping motor Do you have any experience shooting with Smaynag’s other 14mm lenses, are you happy with with their optical and AF performance? Share your thoughts in the comment section below!

If your jobs take you into challenging terrain from time to time you might want to keep your hands free while still being able to have your camera ready whenever you need it. Cotton Carrier just launched a new Kickstarter campaign to fund their latest product: The SKOUT is a lightweight yet pretty strong and robust camera holster. SKOUT camera holster Sure, you can put your shiny gear into a dedicated backpack and off you go. There is a vast amount of brands and models to choose from. The same is true for camera straps. And, of course, it’s also true for camera holsters. There’s one more choice in the latter category, though: The SKOUT camera holster by Cotton Carrier is a lightweight camera holster with some neat features. SKOUT Camera Holster According to the creators of this Kickstarter campaign, the SKOUT can hold quite a bit of weight securely to your body: A 50-500 Sigma lens (4.33 lb / 1.96 kg) on a Nikon D850 DSLR (2.01 lb / 915 g) doesn’t seem to be a problem. Check out the official Kickstarter campaign video here: There are two different variants available: Realtree Xtra Camo or Charcoal Grey. These are just color variants but since camo is not for everyone it’s good to have a choice. Furthermore you have to choose whether you want a camera or a binocular mount (I assume the former). Speaking of the camera mount, this is one of the aformentioned neat features of the SKOUT holster. The camera locks into place by twisting it by 90° so it won’t snap out accidentally. And if it does, there’s a short quick-release safety leash in place which prevents your gear from dropping. The holster itself sports an additional flat pocket for documents or credit cards. The benefit of using a camera holster rather than a backpack or camera strap is that it’s tight to the body. So you can even run or climb without having the camera banging against your body. And, to make this a really outdoor compatible product, a slip-over weather cover is also included if you purchase the SKOUT. Pricing and Availabity The campaign has just started and will run until August 9th. The goal of CAD 8.000  (~$6.000) is almost reached (95% by the time of writing this). If you’re quick you still can grab one of the early bird tiers. One SKOUT holster is CAD 64 (~$49). Once the early birds are gone, the regular (Kickstarter) price is CAD 77 (~$60). Bear in mind that this is a Kickstarter campaign, not an online shop. Once the campaign is over, production will be ramped up and if everything goes smoothly, shipping should start in November. Since Cotton Carrier has a reputation of being a long-term manufacturer of camera holsters and accessories, there is no reason of doubting in the success of this product but in the end every Kickstarter campaign comprises some risks. Links: Kickstarter | Cotton Carrier Website What do you think of this holster? Could it be useful on one of your jobs? Share your experiences in the comments below!

Bridge cameras aren’t exactly the headliner topic ’round here. However, we have to make an exeption for the new Nikon COOLPIX P1000. Its massive 125x zoom range is just too impressive to ignore. So let’s dive in and explore this compact, yet powerful little camera! The COOLPIX P1000 is a so-called bridge camera. More than a pocket-sized point’n’shoot camera but less than a full blown DSLR. The Nikon sports a fixed lens but that lens is quite a piece of glass, indeed! Nikon COOLPIX P1000 The built-in lens offers a zoom range of 4,3mm – 539mm, that’s a factor of 125. Still not impressed? Well, these figures refer to the somewhat tiny sensor size of 1/2,3″. If we translate the numbers to a standard 35mm sensor, we end up with much more impressive values: 24mm – 3.000mm. That’s not a camera, that’s a telescope! There must be a catch, right? Well, there is: The F-stop drops from f/2.8 down to f/8 over the zoom range and the image circle is not the biggest since the 16MP CMOS sensor isn’t the biggest either. Such focal lengths scream for some kind of stabilization and that’s exactly what Nikon has put into the COOLPIX P1000: optical image stabilization. If you are serious about (distant) wildlife or plane spotting, you might want to add a decent tripod to your kit, though. In terms of video, this camera offers 4K (UHD – 3840 x 2160) in 30p or 25p and 1080p in up to 60 (50) frames. Effective ISO ranges from 100 – 1600. Furthermore, this little guy offers a clean video out via micro HDMI and an audio in for external microphones. But, as seen so many times before, no headphone jack can be found. That’s a pity and I really don’t understand why manufacturers continue to implement an external mic port but withhold the accompanying headphone jack. The 3.2″ screen on the back can be swiveled to your liking, just like you can with the Panasonic GH5, for example. If that’s not your thing, there is an OLED with a decent resolution of 2,36MP, too. The camera records to SD, SDHC or SDXC cards and videos are recorded as h.264 mp4 files. The camera weights around 1415g and that’s with an SD card and with a battery. That battery lasts for around 1:20 hours when filming. Pricing and Availability The Nikon COOLPIX P1000 will be ready for delivery around  September 2018. The price will be around $995. This is a pretty impressive piece of equipment. Especially if you want to get that perfect shot of a distant lion walking into the sunset but don’t want to bring tons of equipment. The image quality isn’t the very best compared to proper digital cinema cameras, obviously, but as they say: The best camera is the one you have with you. And due to its size and weight the COOLPIX P1000 might be just that camera. Links: Nikon.com What do you think of this camera? Is it worth a closer look? Share your thoughts in the comments below!

Tenba has expanded its Cooper bag collection. The bags-that-don’t-look-like-camera-bags lineup has expanded with two new backpacks, a smaller over the shoulder plus a slimmer 15” laptop shoulder bag. Tenba bill their Cooper line as a collection of luxury – fine materials including leather accents and trim are used to construct them. It seems something of a right of passage for all bag manufacturers – functional bags with more focus on stylish aesthetics; we did a whole article on the very subject back in November 2016. The Tenba Cooper line originally existed as a select few different-sized shoulder bags. The newly announced products are a more compact shoulder bag, a slim 15” laptop compatible shoulder bag and two backpacks. The Cooper 6 is now the smallest in line – it’s designed for mirrorless/rangefinder cameras with 2-3 lenses. Designed primarily for stills but really compact video systems could work with this. Like all the Cooper shoulder bags the Copper 6 features the prominent front designer zip. The Cooper 15 Slim is self explanatory – a slimmer version of the Copper 15. “An exterior built with military-grade CORDURA® canvas and waterproof leather delivers serious protection. CORDURA® canvas blends INVISTA nylon fibers with cotton to achieve an abrasion resistance four times greater than 100% cotton canvas. This gives the bags a long-term, allweather durability that is critically important to photographers and filmmakers. Hand-riveted leather zipper pulls add a distinctive touch.” Perhaps more importantly is announcement of the Cooper Slim Backpack and Cooper DSLR Backpack. The difference between the two is size – the Cooper Slim is designed for mirrorless/compact DSLR systems with 2-3 lenses. The Cooper DSLR Backpack is 20-30% bigger. Other than that the feature list is very much like for like. Both Backpacks are a split design – compartment at the bottom with dividers for camera kit plus a personal compartment at the top for everything else. The top compartment has the aforementioned Cooper designer zip; the bottom compartment is a single leather-look piece, overall contributing to quite a stylish look. What’s nice about the camera compartment (as with many Tenba bags) is that the dividers are removable, meaning in seconds you can take out your entire camera section to place in another bag, or make room for something else. The top compartment has built-in top access pockets, great for small accessories (pens, glasses, phone etc.); there is also space on both models for a 10” tablet. Specifications on all 4 new Tenba Cooper bags: Cooper 6 Weight: 1.1 lbs(0.5 kg) Exterior Dimensions: 9.75W X 6.5H X 4.5D in. (25 X 17 X 11 cm) Interior Dimensions: 9W X 5.5H X 4D in. (23 X 14 X 10 cm) Cooper 15 Slim Weight: 3.5 lbs(1.6 kg) Exterior Dimensions: 16W X 11.5H X 5.5D in. (41 X 29 X 14 cm) Interior Dimensions: 15W X 11H X 4D in. (38 X 28 X 10 cm) Fits a laptop up to 15 inches Cooper Slim Backpack Weight:2.4 lbs(1.1 kg) Exterior Dimensions: 10.5W X 17H X 5D in. (27 X 43 X 13 cm) Interior Dimensions: 9W X 5.5H X 4D in. (23 X 14 X 10 cm) Laptop Compartment: 10W X 8.5H X 0.25D in. (25W X 22H X 1D cm) Fits iPad or similar tablet up to 10 inches Cooper DSLR Backpack Weight: 3 lbs(1.4 kg) Exterior Dimensions: 11,5W X 19H X 6D in. (29 X 48 X 15 cm) Interior Dimensions: 10.5W X 8.5H X 4.5D in. (27 X 22 X 11 cm) Laptop Compartment: 10W X 10H X 0.25D in. (25W X 25H X 1D cm) Fits iPad or similar tablet up to 10 inches All these products are ready to ship, prices below.

The already very versatile Passport Silder from RigWheels just got better. With the introduction of the Passport 2 slider, which comes as a complete and travel-friendly system, RigWheels implemented lots of improvements based on user feedback. The RigWheels Passport 2 slider. The tracks are included! (but the AMIRA isn’t) They also introduced a so-called Magnetic Windshield Mounting Kit, which is exactly that: Mount any modestly sized camera to your car’s windshield, fuss-free. RigWheels Passport 2 Slider If you’re a working professional and thus travelling a lot with your gear, you’ll know the dilemma: A) Bring all the gear and risk unjustifiably high cost at the airport or B) Reduce your equipment to only the bare necessities but that way you might miss some of those nice shots on location.. So what do you do? When it come to tracking shots, the RigWheels Pasport 2 slider might be a reasonable compromise between cost/bulk and versatility. The whole system, 6.3″ (1,95m) of tracks, the slider carriage itself, end-brackets and ball-head adapters, comes neatly packed in a custom Pelican 1610 case. Shoving it onto an airport scale will result in a 50lbs (23kg) readout and happy faces on both sides of the counter. The new Passport 2 slider now sports a new baseplate, called the RigPlate Pro which enables easy mounting of dedicated 75mm and 100mm bowl adapters, as well as a mitchell adapter plate. This makes the whole system much more versatile in terms of mounting different types of tripod heads to the baseplate. It also reduces the footprint and lowers the center of gravity since the tripod head now sits directly on the baseplate itself. The new RigPlate Pro with various mounting plates for different tripod heads. If you need your camera to be at a certain height, just two tripods and mount the Passport 2 onto these. Otherwise you can use 2 cases (maybe another Pelicase 1610?) or just put the slider on the ground. As a bonus, the way the Passport 2 slider carriage is designed, it can double as a high-hat stand for your camera. Magnetic Windshield Mounting Kit Another neat addition to your kit might be this mounting kit. It enables you to mount your DSLR or other small(ish) camera to a car’s windshield with ease. No suction cups involved here.. and these can be nasty fellows from time to time! The whole system works with strong (and rubber coated) magnets in order to keep your valuable gear in place. These magnets, called RigMount 100, can hold up to 100lbs to a solid steel surface but this is the strength that was necessary to hold a DSLR through glass. The Kit contains several neat components such as the cold shoe adapter with a tiny version of a standard grip head attached to it. That grip head lets you position the camera where it needs to be and then it locks down to the windshield with one magnet inside and another one outside the car. To strengthen the whole setup and keep it in place even on the bumpiest road, another set of magnets attach to the 1/4″ thread underneth the camera using a small magic arm. Now you have to rock-solid mounting points which is enough to hold your camera in place, backlash-free. Originally this mounting kit was announced at NAB 2016 but according to RigWheels CEO Lance Lundstrom they were too busy developing the Cloud Mount and had to delay the production of the Magnetic Windshield Mounting Kit until now. Pricing and Availability Both, the Passport 2 slider system and the Magnetic Windshiled Mounting Kit are expected to ship early-mid April. The Passport 2 is $2.500 including everything you need (expect tripods) and it comes in a neatly customized Pelicase 1610. If you want to upgrade your existing Passport slider you can do so for $599. That upgrade kit includes the new RigPlate Pro, a 75mm, a 100mm bowl adapter, a mitchell adapter and a set of 4 3″ stand offs. The Magnetic Windshield Mounting Kit is $250 and includes 2 sets of magnets, a cold shoe adpater, a mini grip head and a magic arm. Links: RigWheels Passport 2 | Magnetic Windshield Mounting Kit What do think? Would one (or both) of these neat products be worth a closer look? Share your thoughts in the commetns below!