During IBC 2019, we met Dimitar from CINE-X to talk about their new battery grip solution for the BMPCC 4K and 6K cameras. This CINE-X battery grip can be an excellent alternative to the official Blackmagic Design Pocket Cinema Camera 4K Battery Grip that was announced a couple of months ago. Indeed, the CINE-X version features additional D-taps and USB ports. Let’s take a closer look at it! The back of the CINE-X battery grip features two Sony NP-F slots. Image credit: cinema5D CINE-X Battery Grip The team at CINE-X developed their battery grip solution for the BMPCC4K and 6K cameras. The CINE-X battery grips get attached to the bottom of the camera, and you can put two Sony NP-F batteries in it. To power the camera, there is a dummy battery that goes inside the BMPCC 4K/6K. This dummy battery is then attached via a cable to the inside of the battery grip. Also, the Sony NP-F batteries on the back are hot-swappable, which means you don’t have to shut your camera off. Image credit: cinema5D On the back of the CINE-X battery grip, there is a little LCD. It shows you the state of each NP-F battery as well as how much remaining battery life you have. The left side of the CINE-X battery grip features one 12-V D-Tap output and two 5V USB outlets. Image credit: cinema5D On the left side of the CINE-X battery grip, there is one 12V D-Tap port as well as two 5V USB ports. You can use these ports to power accessories or charge your smartphone. Image credit: cinema5D On the front, there are some small wooden handles that give you additional grip, as the BMPCC 4K and 6K are relatively small cameras. Also, there is another 12V D-Tap port to power wireless follow focus motor, for example. Pricing and Availability The CINE-X battery grip is still in the prototype stage and the guys at CINE-X are looking at the possibility of starting a crowdfunding campaign soon. In terms of design, I think that the CINE-X battery grip is pretty similar looking to the Atomos power station. Also, you usually grab your camera with your left hand touching the bottom left, where the D-Tap/USB ports are located. Hope that won’t be an issue while filming. For more information, please head to CINE-X website. What do you think about the CINE-X battery grip? Do you consider getting it for your BMPCC 4K or 6K? Let us know in the comments!

Earlier this month, Laowa teased their new 1.4x full-frame expander and 1.33x rear anamorphic adapters explicitly designed for the much anticipated Laowa OOOM 25-100mm T/2.9 Cine Zoom lens. During IBC 2019, we met with Laowa to take a quick look at these new adapters and get an update about the Laowa OOOM. Laowa Full Frame and Anamorphic Adapters for the OOOM zoom lens. Photo credit: © cinema5D Laowa OOOM 25-100mm T/2.9 Cine Zoom Lens We already reported a few times about the Laowa OOOM 25-100mm T/2.9 Cine Zoom lens. As a quick reminder, this lens covers Super35 sensors, it features a constant T/2.9 aperture (with nine aperture blades), and a generous four times zoom. As the Laowa OOOM is a Cine Zoom lens, the aperture, zoom, and focus ring have standard 0.8 mod/32 pitch gears. That way, you can easily use a manual or motorized FIZ system to take control of your lens. The focus barrel has a rotation of 270 degrees. The Laowa OOOM 25-100mm T/2.9 Cine Zoom lens will be available in either PL and Canon EF mount. At IBC 2019, we had a chance to talk with Kevin from Laowa about this much anticipated Cine Zoom lens and get an update. In the previous prototype, the Cine Zoom was heavy at around 2.6kg, but they are now trying to improve the lens design to make it lighter. Also, there is now a new switch on the lens. If you press it, you can rotate the aperture and focal length marks. This switch is specially designed to see the correct aperture and focal length readings if you are using the OOOM lens with the Laowa 1.4x expander adapter. Laowa 1.4x Full-Frame Expander Adapter We were able to get a first look at the new Laowa 1.4x full-frame expander adapter. This rear adapter is made specifically for the Laowa OOOM Cine Zoom lens, but it should also be compatible with other lenses. This full-frame expander adapter allows you to expand the Super35 image circle of a lens so it can cover a full-frame sensor. With the Laowa 1.4x full-frame expander adapter you get a focal length multiplier of 1.4x, and you also lose one stop of light. If you pair it with the Laowa OOOM Cine Zoom lens, the focal lengths will transform from 25-100mm to 35-140mm with a constant T/4.0 aperture. This is why the new “switch” button on the glass is useful. Laowa 1.4x Full-Frame Expander Adapter. © cinema5D Laowa 1.33x Rear Anamorphic Adapter Another interesting rear adapter is the Laowa 1.33x anamorphic adapter. This rear anamorphic adapter is different from a more “traditional” front anamorphic adapter like the ones from SLR Magic for example. With the Laowa rear anamorphic adapter, you will get less “streak” lens flares, and the bokeh will also be less oval-shaped. Also, there will be a half stop light loss when using it. This anamorphic adapter is made specifically for the Laowa OOOM 25-100mm T/2.9 Cine Zoom lens, but it can be, in theory, be used with every glass. The unit you can see is a PL to PL adapter, but Laowa also plans to release a Canon EF to the Canon EF version. Pricing and Availability The Laowa OOOM 25-100mm T/2.9 Cine Zoom lens should be available before the end of this year for around $6500.00. The two Laowa adapters are still very early prototypes, but they should “cost no more than a few hundred dollars” according to Laowa. They should be available next year. What do you think of the Laowa OOOM 25-100mm T/2.9 Cine Zoom lens? Do you believe rear adapters are an excellent option to make a lens more versatile? Let us know in the comments!

Tilta have previewed the Tiltaing Z Cam cage, V-mount to Sony NPF battery adapter, and newly designed wooden handle grips at IBC 2019. As the popularity for the modular Z Cam grows, cage producers are quick to be the first to support new cameras. Tilta have introduced a range of new rigging and cage accessories, first up is the Tiltaing Z Cam cage. As the Z Cam is modular, the setup relies heavily on accessories such as monitors and mics to be mounted via a cage. With multiple 1/4 inch and 3/8 inch mounting points, the cage provides plenty of options for this. A number of plates will be shipped with the Tiltaing Z Cam cage; a quick release base, Manfrotto type plate and Arca swiss type plate. The package will also come with a 90 degree type-C cable for start/stop control, and an SSD holder for the Samsung T5 drive. The Tiltaing Z Cam cage is available in a number of packages; Tiltaing Z Cam Cage (on it’s own) Tiltaing Z Cam A – cage, top handle Tiltaing Z Cam B – cage, top handle, metal side grip Tiltaing Z Cam C – cage, top handle, rod block, metal side grip The new wooden grips have had a stylish re-design, and can be vertically adjusted for comfort. They protrude quite far our from the cage, and can be attached via the ARRI Rosette mount. Hidden inside the grip is an allen key to adjust the vertical position. Covert V-Mount Batteries To Sony NPF Another new product is an adapter that allows you to power the Z Cam with V-mount batteries via a V-mount to Sony NPF-970 type adapter. Lots of V-mount batteries are getting smaller, with higher capacities that would significantly out-run the lifetime of an NPF-970 battery. V-mounts often feature additional D-tap or USB outputs too, so this adapter could be very popular, not only with Z Cam owners. This adapter works without cables, and attaches directly to the camera, with screws to secure it in place. The Tilta cages and camera rig gear are very popular, but will the brand deliver their products on time? They have a track record of delayed shipping, especially with the Nucleus-M system. However, the popularity of the Z Cam, and necessity for rigging options could change that. We hope so. Are you a fan of Tilta’s products? How would you rig up your Z cam with the Tiltaing Z Cam cage? Let us know in the comments.

The Manfrotto 635 FST tripod is the start of a new generation of tripods revealed at IBC 2019, changing the design of traditional locking legs. The Manfrotto 635 FST (Single Leg Fast) tripod; constructed from carbon fibre, the tripod legs can be deployed quickly through the Extra M-Lock system. Twisting the locks release both the top and bottom sections, which can be extended by sliding the sections. Once the height has been set, the legs can be locked up just as quickly. Image credit: Manfrotto Unlock and Slide From using the tripod first hand on the show floor, the Extra M-Locks could do with being a bit larger, to get a better grip. The tripod feet are spikes, with rubber over shoes, rather than a solid rubber foot seen in older models. A spreader can also be used for stability, with this clipping onto the feet of the tripod. This has also seen a re-design, now with push-button release. Image credit: cinema5D For use with mid-size fluid heads such as the Nitro N8, the Manfrotto 635 FST is designed with a 75mm half ball, but is compatible with a 60mm half ball adapter too. Manfrotto have also announced the 645 FTT tripod, which we have checked out too, watch this space for that article and video. The key differences between the two are the twin leg and lock design. In a competitive market, does the Manfrotto 635 FST tripod stand out to you? Are you looking for a quick release solution for your tripod? Let us know in the comments.

The Sound Devices MixPre II are second generation audio field recorders, now sampling in 32-bit float for high dynamic range audio. Learn more about what that means by reading on. Sound Devices have introduced the next line of audio field recorders that are targeted at a wide range of users from one man band type videographers to professional sound recordists in broadcast and film. There are three new models available, from the MixPre-3 II with 3 XLR inputs up to the MixPre-10 II that features 8 x XLR/TRS combination inputs. Sound Devices MixPre II. Image credit: cinema5D The field recorders now include ultra-low noise preamps with analogue limiters, that can reduce sudden peaking before the audio is digitized. Moreover, 32-bit float bit depth recording at 192kHz sampling is included as standard across all three devices. In the circumstance you might miss the first few seconds as dialogue, the MixPre II devices have 10 seconds of pre-roll running too. “RAW” Audio With 32-bit Float Bit Depth 32-bit float recording means clipped audio can be rescued. Image credit: cinema5D One of the greatest advancements included in this device is the 32-bit float bit depth, enabling a dynamic range of 700dB+ to be captured. What does that mean? It means that with the ultra-low noise preamps included in the MixPre II series, you are able to record the loudest or quietest of noises without the audio clipping or distorting due to the noise floor. The gain of clipped audio can be reduced in post to reveal the regular (and audible) peaks and troughs of a standard waveform. This feature will be particularly useful in scenarios where setting the gain is unpredictable, or there are large changes in audio loudness. This is a real technological advancement in audio recording; clipped or audio recorded too loud can be recovered in post. Previously this feature has been held back by the hardware, but now this is possible in the latest MixPre II series. In regards to file sizes, sampling at 192KHz in 32-bit float results in 33% larger file sizes, that record onto SD card. A backup is also recorded onto a USB drive to immediately hand off for editing. Timecode and Trigger via HDMI and BNC For professional applications, timecode can now be generated in the device, as well as sent to all of the MixPre II devices. In the 3/6 channel models this is via HDMI and 3.5mm aux inputs. Start/stop recording can be triggered via HDMI too. The larger MixPre-10 II accepts timecode in and out via BNC, all of the devices can output timecode via 3.5mm stereo output too. The Sound Devices MixPre II field recorders are available in 3 different models; MixPre-3 II, MixPre-5 II and MixPre-10 II. The comparison chart below denotes their differences. USB Interface and App Control The Sound Devices MixPre II series can be used as a USB interface for capturing audio in Pro Tools, Audition and other computer based audio applications. Useful for ADR or podcasting applications. The devices can also be controlled via bluetooth to Apple and Android devices as well. Sound Devices App. Image credit: cinema5D We always report about developments in camera sensor dynamic range, but the introduction of 32-bit float bit depth (Especially in this price category) is a very impressive leap forward in audio recording, that enables every detail of audio to be captured and recovered if needed. Could this be the new game changing audio development we will see in audio recording across the board? Does the ability to record 32-bit audio excite you too? Are you after an audio recorder capable of handling many different production scenarios? Let us know in the comments.

A few days ago, ARRI announced a new high output directional LED fixture: the ARRI Orbiter. During IBC 2019, we had the chance to take a quick look at this new modular fixture that should come out next year. ARRI Orbiter – Image credit: cinema5D ARRI Orbiter – Main Features The Orbiter is ARRI’s latest modular and directional LED light that was announced a couple of days ago. You can read our full article here for more details about the technical specifications. In short, here are the main highlights of this new light: Features a six-color light engine for high color rendition and accuracy. It is possible to go from very warm color temperatures of 2000K up to super-cold 20.000K. You can also dim to light from 0 to 100% with no color changes. There is a built-in color sensor for matching ambient light. The light is also weatherproof. Thanks to the Quick Lighting Mount, you can switch the front optic. These lighting modifiers includes an open face modifier, a projection lens, a light dome, and light banks. According to ARRI, the Orbiter is a potent light; its output is superior to a 2K Tungsten Fresnel. 4” full-color display, quick navigation buttons, Also, you can remove the control panel and use it handheld with a 5 or 15 m (16.4 or 49.2 ft) control panel cable. Internal power supply, wireless DMX, and 3-pin XLR battery input. ARRI Orbiter – Image credit: cinema5D The idea behind this light is to buy a single point LED light and modify it via various lighting modifiers to change the beam of light. Whether you need intense hard light or a very soft diffused beauty light, the ARRI Orbiter can suit nearly every shooting scenario that you can imagine. Pricing and Availability Pricing of the ARRI Orbiter depends on the optics you want to go with it, but it starts at $7.200. The Orbiter comes in two versions: a traditional “manual” yoke version, as well as a pole-operated version. Also, it will be available in two colors: classic Metal/Blue or Black. The ARRI Orbiter should begin to ship during the first quarter of 2020, and you can already pre-order it. What are your thoughts around this new ARRI Orbiter eco-system? Do you think it could be a useful product in your kit/rental list? Let us know in the comments!

Cineroid has just announced a new RGBWW flexible LED lights: the Cineroid CFL800. If you often work in small environments or you are a documentary filmmaker that needs a versatile compact fixture, this new Cineroid fixture looks perfect for you. Let’s take a closer look! Cineroid CFL800 Features During IBC 2019, we met with SoonGi from Cineroid to talk about their new RGBWW flexible LED light: the Cineroid CFL800. The Cineroid CFL800 measures 460mm x 240mm for a weight of just 300 grams (without ballast). The Cineroid CFL800 features 2080 LEDs. Image credit: cinema5D The Cineroid CFL800 is quite bright with a light output of 3400 lux at 1 meter. You can dim it from 0 to 100%, and you can adjust their color temperatures from 2700°K up to 6500°K with a claimed CRI of over 95. As this light is an RGBWW fixture, it consists of 2080 LEDs that are split proportionately between red/green/blue/tungsten. That way, you can reach nearly every color that you want. As you can see in the video, the Cineroid team showed us how strong and durable the fixture is. You can roll the panel, bend it in any direction, walk on it, throw it on the ground and so on. The Cineroid CFL800 is made to survive life on set. Also, the fixture itself is waterproof – including the extension cord – but not the ballast. The LED light controller. Image credit: cinema5D Cineroid CFL800 Power Controller To power and control the Cineroid CFL800, the fixture comes with a rugged power controller made out of metal and a 2 meters long extension cord (that can be extended up to 10 meters). The power controller itself is quite large and heavy at 500 grams. It features a beautiful RGB display and some control knobs. The user interface is straightforward, and it is easy to scroll through the different menus to adjust the light output and numerous settings. Also, there is a couple of built-in light effects like firework, TV effect, lighting, and so on. You can power the ballast – that powers the light – via the DC input or a battery plate. Three versions of the power controller are available: V-Mount, Gold Mount, or no battery plate. The light draws 120W of power. The LED light controller. Image credit: cinema5D Also, there is an ingenious feature in this ballast; you can use it to charge your V-Mount or Gold Mount battery. Finally, a 5V USB output can power your smartphone or some accessories. On the sides of the power controller, there are a DMX port as well as RJ45 master/slave ports if you want to daisy-chain various Cineroid CFL800 lights together. The LED light controller. Image credit: cinema5D Pricing and Availability The Cineroid CFL800 is available now for $1199.00, and it comes with the LED Panel, the power controller, a soft diffuser, a bracket with a spigot, the AC adapter, a carrying bag, and a manual. A 3-set version is also available for $3380.00. The fixture that Cineroid showed us in this video is the larger CFL800 unit, but another smaller version, the CFL400 is also available. Both lights feature the same characteristics, but the CFL400 is a square light that measures only 240mm x 240mm. What do you think of the Cineroid CFL800? Do you think a flexible RGBWW light could be useful for your type of shooting? Let us know in the comments!

The Manfrotto 645 FTT is a new tripod revealed at IBC 2019. Manfrotto have evolved the traditional twin leg tripod to a faster, lighter solution. Regular twin leg tripods have two locks on the legs, it wasn’t possible to raise the tripod to full height without unlocking both sets of legs. A somewhat annoying design flaw, especially if you need to raise or lower the tripod with a camera on it. Image credit: Manfrotto The Manfrotto 645 FTT (Fast Twin Tripod) design features double tubed legs that can be released with a single release of the Ultra L-Lock. This design advances on the old double lock system found in other models of twin-leg tripods; raising the tripod from low to high can be done even faster without bending down. A similar feature to the Sachtler Flowtech. Image credit: cinema5D The tripod construction is available in aluminium or carbon fibre, with a 2 in 1 half ball; 100mm comes as standard, but this can be adapted to 75mm. This is beneficial for production houses or rentals that have different sized head pairings. Also at the show, Manfrotto previewed the 635 FST tripod, this model has a single leg design, but with a twist lock to deploy the legs. There is big competition from Flowtech, the innovative tripod design that is extremely popular in the video production industry. Can the Manfrotto 645 FTT break it’s reign? Will this new take on the twin leg tripod win you over to buy one? What kind of camera setup would you use with the Manfrotto 645 FTT? Let us know in the comments.