Zacuto ACT Recoil is a new line of rigs for DSLR and DSLM (mirrorless) cameras. They consist of an Arca-Swiss compatible camera baseplate, Tactical Handle, Right Trigger Grip with flip-up quick-adjust joint, Axis Micro EVF mount, and ACT EVF Pro with a flip-up loupe. The rigs come either with a camera-specific cage, universal cage or without a cage. ACT Recoil rigs for DSLR and DSLM. Source: Zacuto The US-based camera accessories manufacturer Zacuto has been offering their Recoil Rigs for cinema cameras (like the FS7, EVA1, C200, and similar) for a while now. With the launch of the new ACT Recoil, Zacuto is aiming mostly at filmmakers working with DSLR and DSLM (mirrorless) cameras. Let’s take a short look at the features and specs of the Zacuto ACT Recoil rigs. Zacuto ACT Recoil Rigs The new ACT Recoil is not only one new rig. It is a new rigging system, that comes in ten different sets. The rigs are primarily designed for DSLR and DSLM cameras. ACT Recoil Rigs position the camera directly over the shoulder with the ability to slide it forward or back to find the best balance point. The handgrip and EVF are moved further forward for comfortable work. ACT Recoil Rigs are mostly comprised of six main components: ACT Baseplate with built-in shoulder pad – includes Arca-Swiss quick release plate camera cage – camera-specific or universal Tactical Handle – can be used as a top or side grip Right Trigger Grip – comes with a Zacuto flip-up quick-adjust joint Axis Micro EVF mount ACT EVF Pro with a flip-up loupe – 3.5″ LCD electronic viewfinder ACT Recoil rigs for DSLR and DSLM. Source: Zacuto Zacuto offers ready-to-shoot options with camera-specific cages (Sony a7R IV, Panasonic S1H, Z CAM E2 Series, Blackmagic Pocket 4k/6k, FUJIFILM X-T3, Nikon Z6/Z7) or with a universal camera cage. There is an option for all camera sizes – from tiny cameras like the SIGMA fp up to large DSLRs like the Canon 1DX series. There is also a cageless option of the ACT Recoil Rig. Instead of a camera cage, it offers the Axis Curve – a rod-mounting EVF Mount that attaches directly to the ACT Baseplate. ACT Recoil rigs for DSLR and DSLM. Source: Zacuto Extra accessories like a second grip, quick-release plates, and the run’n’gun Marauder Mini are available to round out the rigs. Price and Availability In total, there are ten different Zacuto ACT Recoil Rigs. They are all available for pre-order now, shipping is planned to start at the end of March. Price is from $850 for the basic rig without camera cage till $1,450 for the ACT Recoil Rig with camera cage. Do you rig your DSLR or DSLM camera for video work? What do you think about the Zacuto ACT Recoil Rigs? Let us know in the comments underneath the article.

A new announcement comes from within the Vitec Group: The new JOBY Wavo, a mic for Vloggers. This ultra-lightweight microphone (40g/1.4 oz), with compact dimensions of (HxD) 9.3cm x 7.1cm (3.6 x 2.8in) just entered the stage on February 29th and is available now. It comes with a one year warranty, has a frequency response from 35Hz-20kHz, and a 78db SPL Signal to Noise Ratio. The Wavo is supposed to reach Consumers, Mobile Creators, Podcasters, Vloggers and should combine well with mobile phones (like the Apple iPhone 11 Pro/Pro Max), legacy DSLR’s and mirrorless cameras. JOBY Wavo with GorillaPod flexible mount (Credits: Vitec Group / JOBY) JOBY Environment – Family & Pairing The Wavo (JB01675-BWW) Super-Cardioid polar pattern mic forms a new product family together with the Wavo Mobile (JB01643-BWW) Cardioid mic. There are various available pairing options with pod, rig and stand solutions that JOBY has to offer already. These include the GorillaPod Mobile Rig (JB01533-BWW), the GripTight PRO Telepod (JB01534-BWW) and every other product with a Cold Shoe attachment. It also comes with a 1/4 20 mount for direct attachment to audio stands. With two cables, TRS (Camera) and TRRS (Mobile) already in the package, the Wavo offers multi-device support, unlike some of its competition that sometimes only ships with one of these solutions. JOBY Wavo (JB01675-BWW) with family and pairing options (Credits: Vitec Group / JOBY) JOBY Wavo – Isolation, Materials and Directionality The Wavo consists of the materials Hytrel®, ABS (Acrylonitrile Butadiene Styrene) and PU (Polyurethane). The ABS body provides the product with durability. The Hytrel® Double Point Duo-Lyre® is a concept by a team within Rycote. Like Joby, Rycote is also a member of the Vitec Group and provided the product with this engineered design to isolate or diminish unintended vibrations or shakes. This Hytrel® Thermoplastic Elastomer thereby detaches the microphone a little bit from the camera or support that holds it, which would otherwise straightly transfer movement, handling noise or vibrations to the mic. For extended ambient noise reduction, a foam windshield that helps to reduce distractions and get a more precise reproduction of the voice is in the package as well. (By The Way, if you recognise this microphone shock observer part from Rode microphones, it is worth mentioning that Rycote is the one holding the patent for it and Rode is the one to licence using it). Some of the main aspects when using such microphones as a vlogger are its unidirectional and shock-isolated characteristics. Such a mic empowers the user not to rely on often spherical sound and potentially lower-quality in-built microphones that ordinarily capture more surrounding distractions and ultimately noise or irrelevant audio. It is principally aimed at focusing and isolating the vlogger’s voice from the crowd. JOBY Wavo attached to a headlight on Sony A7II (Credits: Vitec Group / JOBY) JOBY Wavo – Pricing & Availability The Wavo is available now has a price tag of $79.95, alongside the cheaper Wavo Mobile at $39.95 and offers substantial shock isolation as well as a tiny and portable size. JOBY thereby wants to compete with the already small and versatile RØDE VideoMic GO (73g; H 7.9cm x W 7.3cm x D 16.7cm; shipping for 65 EUR) and argues that the new Wavo is smaller and more compact in relation. The flexibility for interchangeable use within a wide range of JOBY products makes this product a viable solution for day-to-day vlogging in the entry-level arena. JOBY Wavo DSLR & mobile phone setup with headlight (Credits: Vitec Group / JOBY) What are your first impressions of the new JOBY Wavo? What are the types of projects you would use such a microphone in? Is this a product that would meet your expectations or professional standards?

We covered the Canon 1D X Mark III when it was first announced, but Canon USA has now released two incredibly detailed white papers outlining the still and video capabilities of the 1D X Mark III. And the details within? Equally incredible. Let’s see what we can learn! Canon 1D X Mark III – Top Line Takeaways To start with, the sensor itself is similar to the sensor on the 1D X Mark II. However, as I understand it, the processor and the storage media are the major upgrades. The new Digic X processor is roughly 3x faster than the dual Digic 6+ processors seen in the 1D X Mark II, allowing for higher resolutions and frame rates, obviously RAW video, noise and sharpness processing, battery life, and more horsepower dedicated to the new AF modes. Independent of any sensor upgrades, this should noticeably improve performance across all modes. In the video whitepaper, it also becomes clear that Canon intends to make the most of its two CFExpress slots. The Canon 1D X Mark III can record 5.5K RAW video, it can record oversampled, uncropped 4K 10-bit 4:2:2 video, or it can record BOTH, one to each card slot at up to 60fps. Canon Log, and WTF is an “OETF”? One of the big acronyms repeated over and over in this paper is OETF. It stands for “OptoElectric Transfer Function,” and is the very technical way of describing the systems and equations that convert light into an image. In whatever way Canon has designed the pipeline from the sensor to the memory card, they have made the specific logarithmic characteristics of C Log an integral part of the journey. This C Log OETF is the primary one used in photo mode as well as video mode. When you are shooting video with the 1D X Mark III, consider C Log your default setting, not an optional feature. You can record video without in regular REC709, abandoning C Log, but unfortunately, that means you will be recording in 8-bit. Otherwise, your options as far as frame rates and resolutions remain the same in either mode. To all of the technically-minded people out there More Miscellaneous details on RAW Video To quote Canon directly: “There are small differences between Cinema RAW Light of the EOS C200 or EOS C500 Mark II, and the RAW video of the EOS-1D X Mark III.” The exact nature of those differences remains unclear, but what we do know is that the RAW video here records in 12-bit depth, up to 2600 Mbps if you shoot 60fps. That is 2.6x higher than the Canon Raw Light output by the C200, which clocks in at merely 1Gbps. The lesson here: get big cards, and get lots of them. Read the Video Whitepaper here Read the Photo Whitepaper here Do these new details change your opinion of the camera in any way? What questions do you still feel are left unanswered? Let us know in the comments, and keep your eyes peeled as we get closer to the release date!

Nikon has announced an anticipated update to its most popular full-frame DSLR. The Nikon D780 arrives with 4K, 1080 120p and N-log & HLG support bringing it up to speed with their current mirrorless range. The Nikon D780 arrives as an update to the D750, which was announced way back in 2014. It’s an as-you-expect announcement in terms of video, simple adding features in current Nikon mirrorless camera into this new full-frame DSLR. The sensor is again 24 Megapixels, the processor gets an update to the Expeed 6 chip. ISO is increased through the sensor’s backside illumination, ISO is now 51,200 max (204,800 expandable). The D780 gets 4K video (UHD 3840X2160), up to 30p and FullHD up to 120p. 10-bit is available via output. There’s a headphone jack, mic jack, the HDMI is the Mini variety, it has USB-C, dual SD slots and the screen articulates up. N-log gamma is in there for log recording, as in HLG (Hybrid Log Gamma) for peripheral HDR support. You can shoot 4K in full-frame or DX (cropped) mode, you get zebra and peaking for exposure and focus assist. The announcement certainly doesn’t have the same impact as other current video DSLR news, it is clear that video remains as a consideration in Nikon’s second-tier full-frame line, not a priority. There are features in here that will excite some photos users I’m sure. The autofocus system is enhanced, live view now matches the Z6 with a 273-point AC system. Live View also supports continuous electronic snaps up to 12 frames per second (silent), as well as 7 frames per second mechanical. For video, it’s more of a bringing-up-to-speed affair, nothing new in terms of Nikon tech, but another full-frame 4K DSLR option, with improved low light performance and N-log/10 bit out. Pricing for the Nikon D780 below, full specification found here.

Today, Canon announced they are working on their new flagship DSLR camera, the EOS-1DX Mark III. On top of the improved photography specs, the new model will offer some impressive video capability too – 4K video at up to 60fps, plus the option of capturing RAW video or 4K 10-bit 4:2:2 video with Canon Log both internally to CFexpress cards. The new EOS-1DX Mark III. (Image credit: Canon) The EOS-1 has been Canon’s DSLR flagship line since the first EOS-1 was announced in 1989. That means this year Canon is celebrating the 30th anniversary of the EOS-1 line. How else can one celebrate a product line other than announcing a new addition to the line? Just today, Canon announced the development of the new Canon EOS-1DX Mark III. The last generation EOS-1 camera is naturally the EOS-1DX Mark II. Even despite being targeted mainly at professional photographers, it got fairly popular among filmmakers too. The video-oriented specs of the 1DX Mark II were and still are pretty impressive. Sure, the camera is really big and heavy, but it offered 4K up to 60fps high bitrate video, dual pixel AF, pleasing colors, and other useful features for filmmakers. You can check our previous articles about the 1DX Mark II: First impressions review, Lab test along with Canon 1DC comparison, and Second real-world review. Let’s take a closer look at the features and specs of the newly announced EOS-1DX Mark III. Canon EOS-1DX Mark III – Canon’s Flagship DSLR The EOS-1 line has always been about high image quality, ergonomics, and speed. It is very popular especially among sports and nature photographers and journalists for its unbeatable speed in continuous mode. The continuous stills capture will be really fast with the new Mark III as well. It will offer a 16fps frame rate with the optical viewfinder and 20fps using either the mechanical or electronic shutter in live view mode with full AE and AF. The new EOS-1DX Mark III. (Image credit: Canon) Talking about autofocus, according to Canon, the EOS-1DX Mark III features a brand-new AF sensor with more resolution than its predecessor, using advanced AF algorithms with deep learning technology for unparalleled focus tracking. In Live View and video, there’s the added advantage of Dual Pixel CMOS AF across approximately 90×100 percent of the sensor with 525 AF areas. The camera will offer a new full-frame CMOS sensor along with the new DIGIC processor, which will offer cleaner results in high ISO levels. In terms of connectivity, the EOS-1D X Mark III features Wi-Fi, Bluetooth Low Energy, and GPS. It also offers double the transfer speeds of the EOS-1D X Mark II via the built-in ethernet port or through the optional WFT-E9, and with a revised user interface. Video Capability – 4K 10-Bit 4:2:2 and RAW Internally When it comes to video specs, the new 1DX Mark III looks very impressive. It will be capable of recording 4K video at up to 60fps plus the option of capturing RAW video or 4K 10-bit 4:2:2 video with Canon Log both internally to CFexpress cards. It seems the camera will have two CFexpress slots. There are improvements in the ergonomy of the camera as well. It should offer improved battery life using the LP-E19 battery. It will have new illuminating buttons and an all-new AF point selection control within the AF-ON button in addition to the multi-controller. The 1DX Mark III will also have a new bright viewfinder. All these features will be packed in a magnesium alloy weather-sealed body. There is no information about the price or availability yet as this was only a development announcement. The EOS-1DX Mark II is currently selling for $5,500 after discount, so I expect the price of the Mark III to be somewhere above $6,000. According to Canon, the EOS-1D X Mark III will be on display at the Canon booth during PHOTOPLUS, the largest annual photography event in the U.S., held from October 24 to 26, 2019 in New York City. What do you think of the new EOS-1DX Mark III and its video specs? Do you shoot with the 1DX Mark II? Let us know in the comments underneath the article.

Tokina atx-i 11-16mm f/2.8 CF is a new ultra-wide-angle APS-C lens based on Tokina’s long seller – the AT-X 116 PRO DX II model. It comes in two versions to fit both Canon EF and Nikon F DSLR cameras. The lens features internal focus, water-repellent coating, one-touch focus clutch mechanism, and 77mm front filter thread. It offers overall good optical performance with a lightweight body at an affordable price – $449. Tokina atx-i 11-16mm f/2.8 CF Lens announced. Image credit: Tokina The original AT-X 116 PRO DX II 11-16mm f/2.8 lens from Tokina was the ultra-wide angle lens of choice for many filmmakers and photographers. It was a very good deal and especially filmmakers liked the lens for many reasons – it offered constant aperture f/2.8, front filter thread, lightweight design, and a friendly price tag. The new Tokina atx-i 11-16mm kind of builds on its success. Tokina atx-i 11-16mm f/2.8 CF Lens Based on the widely popular AT-X 116 PRO DX II, the model atx-i 11-16mm F2.8 CF is designed and optimized for contemporary APS-C sensor DSLR cameras in terms of improved specifications and renovated design. Together with its predecessor, it is the only f/2.8 fast ultra-wide-angle zoom lens for APS-C sized DSLR cameras in the current market. A constant maximum aperture of f/2.8 throughout the entire zoom range is useful for low light environments, like interiors. Tokina atx-i 11-16mm f/2.8 CF Lens – optical structure. Image credit: Tokina To achieve improved optical performance, two aspherical glass elements and two Super-low dispersion glass elements were used in order to minimize distortion, manage spherical aberration and astigmatism while achieving good edge-to-edge resolution and contrast of the entire image. Light fall-off is well controlled at all focal lengths as well. Anti-reflective multi-layer coating improves light transmission and minimizes reflections while water-repellent coating makes it easier to wipe and clean the surface of the front glass element. Tokina atx-i 11-16mm f/2.8 CF Lens is water-repellent. Image credit: Tokina Tokina incorporated a lot of metal parts inside the lens for a reassuring built quality and long-time utilization in different shooting conditions. The exterior design is specifically developed to match the design of contemporary DSLR cameras. The One-touch focus Clutch mechanism allows switching between autofocus and manual focus very easily. The overall length of the Tokina atx-i 11-16mm F2.8 CF does not change when focusing and zooming thanks to the internal type of focus construction. The Tokina atx-i 11-16mm F2.8 CF for Nikon F mount incorporates internal silent focusing motor in combination with precise GMR sensor to allow the lens to AF on Nikon bodies that do not have an AF drive gear and motor. Tokina atx-i 11-16mm Advantages for Filmmakers Tokina especially emphasizes that the new Tokina atx-i 11-16mm F2.8 CF lens qualifies as a very good ultra-wide angle lens for filmmakers. The main reasons for this are: 77mm front filter thread for ND filters (possible vignetting at higher aperture numbers at 11mm) Minimized focus breathing – the subject framing does not show any change with focus adjustment. Natural footage – the image is not distorted while panning due to almost zero distortion performance. Constant aperture to use the zoom while filming. Good lens for gimbal use – since the overall length does not change thanks to the internal type of focusing, there is no need to do gimbal calibration every time the angle of view was changed. It is also lightweight. Tokina atx-i 11-16mm f/2.8 CF Lens goes well with gimbals. Image credit: Tokina Tokina Specs Sensor size: APS-C Mount: Canon EF, Nikon F Color: Black Focal length: 11-16mm Aperture: f/2.8 – f/22 Automatic aperture: Yes Angle of view: 104°-82° Minimum focusing distance: 0.3m Macro ratio: 1:11.6 Focusing mode: Automatic Manual focusing ring: Yes Autofocus switch: Clutch ring Focusing type: Internal focus Filter size: 77mm Coating: Multi-coating Construction E/G: 13 elements in 11 groups Aperture blades: 9 Dimensions: 84 x 89mm (Nikon F), 84 x 92mm (Canon EF) Weight: 555g Included in the box: front lens cap, instructions manual, lens hood, rear lens cap, warranty sheet Price and Availability The new Tokina atx-i 11-16mm is now available for pre-order. Shipping should begin on November 8, 2019. Similar to the original 11-16mm from Tokina, the price is again very friendly. It has been set to $449. What do you think about the new Tokina atx-i 11-16mm f/2.8 lens? Do you have experience with the original Tokina 11-16mm? How did you like the lens? Let us know in the comments underneath the article.

After strong user feedback towards recently announced EOS cameras in which Canon originally ditched 24p recording, Canon promised to release a firmware update which will add 24p (23.98fps) video recording mode to these cameras. The update will be available for both Full HD and 4K UHD resolutions starting with the EOS 90D and EOS RP in late October, followed by PowerShot G7X Mark III, G5 X Mark II, and EOS M6 Mark II. Canon will update selected cameras with 24p mode When Canon recently introduced their new cameras with uncropped 4K UHD video, the EOS 90D DSLR and EOS M6 Mark II mirrorless, many users pointed out with disappointment that these cameras do not support 24p mode anymore (video recording with 23.98 fps). It seems that Canon listened to these numerous complaints, because they now promised to release a new firmware update, which will fix that and bring 24p to their cameras after all. The 24p feature will come via a series of future free firmware updates for selected models. Once installed, the cameras will be able to shoot 24p (23.98fps) in both Full HD and 4K resolutions. The first Canon models to benefit from the new 24p (23.98fps) firmware will be the recently launched EOS 90D and EOS RP in late October. The Canon PowerShot G7 X Mark III and G5 X Mark II will follow by the end of December and the EOS M6 Mark II update will be available during 2020. Canon will update selected cameras with 24p mode. Image credit: Canon This announcement comes after the recent availability of the new firmware version 1.3 for EOS RP and 1.4 for EOS R which further enhances the eye and subject detection AF performance of both mirrorless cameras. While Canon offers 24p in their older cameras, they somehow decided not to include it in the new releases. No information was given why. Thankfully, they changed their opinion after strong user feedback. What do you think of this step from Canon? If you use Canon for your video work, would you have missed the 24p feature? Let us know in the comments below the article.

Today, Canon announced two new cameras – a DSLR camera and a mirrorless camera. The Canon EOS 90D is a new mid-range DSLR with APS-C sensor and EF mount. Canon M6 Mark II is a new mirrorless rangefinder style camera with the Canon EF-M mount. Both cameras sport a new 32.5MP sensor and uncropped 4k UHD video recording up to 30fps with Dual pixel AF. New Canon EOS 90D and EOS M6 Mark II. Source: Canon Today’s Canon announcement included not only two new cameras: The Japanese electronics giant also announced new lenses for their RF mount and firmware update for Canon EOS R and Canon EOS RP cameras. We decided to write a separate post about the Canon RF mount news which will be online shortly as well. This article only covers two new cameras – Canon EOS 90D DSLR and Canon EOS M6 mirrorless. Canon EOS 90D DSLR Canon’s first announcement is the update to their mid-range APS-C DSLR line of camera bodies with EF mount. Canon EOS 90D is a successor to the 80D, which was announced in 2016 already (our article can be found here). What is new compared to the 80D? The new sensor still has the same APS-C form factor with a 1.6x crop, but the resolution has been increased from 24.2MP with the 80D to 32.5MP for the 90D (with the new DIGIC 8 image processor). There is still the great reliable autofocus for video with Canon’s 5481-point Dual Pixel CMOS AF. Canon 90D now also adds Eye-detect AF. The ISO maxes out at 25600 for photo and 12800 for video. New Canon EOS 90D. Source: Canon Video capabilities have also been finally significantly upgraded. While the Canon 80D maxed out at Full HD resolution with 60fps, 90D brings UHD 4K (3840 x 2160) video recording at up to 29.97 fps and Full HD (1920 x 1080) at up to 120 fps. Good news is that the UHD video is now uncropped (!) – finally we can record UHD video with a Canon DSLR camera using the whole width and height of the sensor. While we couldn’t find contradicting information anywhere yet, we assume that the Canon 90D and M6 Mark II both still record 4K and 1080p in an 8-bit 4:2:0 codec. New Canon EOS 90D. Source: Canon When it comes to camera body design, the 90D is not a revolution. It is very similar to the 80D. Only the buttons and the dial wheel on the back side were slightly modified. There is now also a new 8-way multi controller joystick. It still sports a vari-angle touchscreen LCD, monochrome status display on the top right hand side, optical viewfinder, and built-in flash. The Canon EOS 90D DSLR camera is available now for pre-order. The price for the body has been set to US $1,199. New Canon EOS 90D in use. Source: Canon Canon M6 Mark II It is quite interesting to see that Canon actually still updates their APS-C mirrorless line of camera with the EF-M mount, after they introduced the RF mount later on. The original Canon EOS M6 was announced in February 2017 (our article from the announcement can be found here). In July 2019 SIGMA announced to adapt three fast prime lenses for the Canon EF-M mount, so it seems like this mount is far from being dead yet. It simply seems strange to maintain two incompatible mirrorless mounts at the same time – this means headaches for consumers and an expensive lens strategy for Canon. It will be hard for people who start with an M-mount camera to upgrade to RF cameras easily – they’ll have to replace their lens collection. When it comes to the new mirrorless Canon M6 Mark II, it is again a very compact rangefinder style camera. It seems to share the same image sensor as the new Canon EOS 90D. The resolution is 32.5MP as well (the Canon M6 had 24.2MP). It also has the DIGIC 8 image processor. The ISO maxes out at 25600 for photo and 12800 for video recording. New Canon EOS M6 Mark II. Source: Canon The camera can shoot stills at up to 14fps with autofocus and up to 30fps RAW stills burst with 18MP resolution. The M6 Mark II also takes advantage of Canon’s 5481-point Dual Pixel CMOS AF, so autofocus for video should not be a problem. I hope the Dual Pixel AF will be finally available for all recording modes – in the Canon M50 it was not available for UHD (and it only was a cropped mode too). New Canon EOS M6 Mark II. Source: Canon While the original Canon M6 maxed out at Full HD resolution with 60fps, M6 Mark II brings uncropped (!) UHD 4K (3840 x 2160) video recording at up to 29.97 fps and Full HD (1920 x 1080) at up to 120 fps. It also has a clean HDMI output and a microphone jack. There is also a Bluetooth and Wi-fi connectivity available. There is no further info about the exact bitrates and codecs yet, although I expect it to be a H.264 codec with 8-bit compression in a 4:2:0 color space. The EOS M6 Mark II incorporates a 3.0″ touchscreen LCD, which has a 180° tilting design for front-facing shots. The camera does not have a built-in viewfinder. The auxiliary EVF-DC2 electronic viewfinder (which attaches via the camera’s hot shoe) is included with the camera when purchased with certain lens kits. Otherwise it can also be purchased separately as well. New Canon EOS M6 Mark II in use with the detachable EVF. Source: Canon The Canon EOS M6 Mark II mirrorless camera is available now for pre-order. The price for the body has been set to US $850. What do you think of the new Canon cameras? Would it fit well into your shooting kit? Let us know in the comments underneath the article.