Roughly three years ago, Kessler launched the kOS app for the first time to provide a control interface for their motion control products, such as the Kessler Second Shooter or the CineShooter. Now, the company has announced a new version v5.1 that brings a few interesting upgrades. Let’s take a quick look at what is new.

Kessler kOS v5.1

The new update of the Kessler kOS app follows the recent launch of the Kessler CineShooter+ motion control system, which introduced several improvements over its predecessor, for instance, an Unreal Engine tracker-less integration. This feature is also included in the recent kOS version v5.1. It will now be possible to synchronize the camera’s motion in the Unreal engine-generated scene with the Kessler motion controller without the need for a tracker. Kessler published a useful tutorial on how this integration works.

Please note that for the Unreal integration, the paid Premium kOS version is required. The full kOS v5.1 release notes include the following:

• Added support for Unreal Engine (see documentation in app).
• The horizontal location (time) of multiple key frames on the graph can now be adjusted simultaneously.
• Device names can now be changed by right-clicking (or long pressing) on a device button.
• When selecting a Time Lapse or Stop Motion Exposure amount, additional choices have been added in five-second intervals up to two hours.
• Added support for Logitech Gamepad 310 (Windows version only).
• Various bug fixes and UI/performance improvements.

Kessler kOS functionality overview

In case you are not familiar with the Kessler kOS app, here is a brief overview of the supported functions:

• Movement
  • Live Motion
  • Event Mode
  • Timelapse
  • MultiLapse
  • Stop Motion
  • GigaPixel
  • Analog Control
• Compositing
  • Repeatable Moves – CineShooter+ is a nodal head with accuracy and repeatability, suitable for visual effects.
  • Same Move, any Duration – You can play the same move for 4 seconds or even 4 months. The move will always be the same.
  • Audio Sync – Easily sync audio with your move with built-in visual features. 
  • Flash Mark/Bloop Align – Use visual or audio-based marks for aligning takes for visual effects.
• Interactive Graph
  • 20 Keyframes per Axis – With kOS Premium you can program up to 20 keyframes per axis/motor.
  • Bezier Curves- Add and customize ease-ins and ease-outs to every keyframe for smooth moves.
  • Precise Positioning – Input an exact position directly.
  • Looping – Simply select one-time or continuous looping.
  • Bump Buttons – Useful for quickly moving the motors into the desired position.
  • Scrub through Move – Scrub through your move live to preview or to go to a spot on the graph instantly.
• Other
  • Camera Control – control your camera’s shutter or start and stop recording.
  • Delay – add an amount of time before or after the move or set a specific start time/date.
  • Multiple Tabs – have access to more than one move at a time.
  • Pre & Post Roll – program your camera to start recording before the move starts or to keep recording after the move ends.
  • Load & Go – load your move so that it’s ready to start instantly.
  • Save Moves – save your move for future use.
  • Pre & Post Photos – program your camera to take photos before or after your timelapse move has started or ended.
  • Fast Mode – allows the motors to move at their maximum speed.
  • Quiet Mode – this option automatically limits the motors to run at a low RPM and be quiet when sound is crucial.
  • DragonFrame – Kessler CineShooter+ & Second Shooter Pro support DragonFrame stop motion and live motion.

The Kessler kOS app is available for devices running Windows, macOS, or iPadOS systems. It now also supports client mode. This allows CineShooter+ (or Second Shooter Pro, Second Shooter Plus) and your device to connect to a location’s Wi-Fi network rather than connecting directly to the hardware’s own network. This can extend the connected range, and (if your existing network is connected to the internet) allow for easier multitasking.

Price and availability

The price of the Kessler kOS app depends on the type of licensing:

• Lite version – completely free of charge, but imposes a few limitations (no multi-lapse, Event mode, or Gigapixel, no Dropbox support, a maximum of 1 tab, and others). For the full list of differences, please refer to the Kessler webpage.
• Premium version – priced at $9.95/month, $99.95/year, or $199 for a perpetual license. It is worth noting that with the purchase of a CineShooter+, you will get 1 free year of kOS Premium.

For reference, the new Kessler CineShooter+ retails for $3,200.

Have you ever used any of the Kessler motion control systems for your work? What do you think about the new CineShooter+ and the kOS app? Do you use Unreal Engine for your productions? Let us know your thoughts in the comments section underneath the article.

Chinese lens manufacturer BLAZAR started their journey in the world of budget-friendly anamorphic lenses back in 2021 when they announced the Great Joy 60mm T2.9 1.33x full-frame anamorphic prime. This was followed by a T2.9 1.8x full-frame anamorphic trio (35mm / 50mm / 85mm).

However, it was their recently launched Remus 1.5x series that sparked the interest of independent filmmakers. Indeed, these lenses offer a vintage-inspired look that is quite appealing, especially considering their size (under 110mm in length), weight (under 790g), and cost ($2,799 for a 3-lens set).

 BLAZAR Remus 35mm T1.6 1.5x – coming soon

The BLAZAR Remus 1.5x anamorphic series currently consists of 3 focal lengths: 45mm T2, 65mm T2, and 100mm T2.8. All of these lenses are designed to cover full-frame sensors, even when shooting in 3:2 Open Gate mode.

On the contrary, in BLAZAR’s own words, the upcoming 35mm is offered “as a wide-angle option exclusively for S35 users”. This means it can be a good match for popular camera models like the RED KOMODO/KOMODO-X or Sony FX30, but it’s a no-go for full-frame users who have already purchased the 3-lens set.

While this difference in coverage may sound a little weird for a lens that is supposed to fit in a set, the company also announced that they have something else up their sleeve that they will be showing at the forthcoming NAB Show in Las Vegas (April 13-17th, 2024). As usual, we will be on the show floor reporting back on the latest and greatest announcements.

With a maximum aperture of T1.6, this new 35mm is faster than its full-frame siblings. Now, while the company hasn’t released the full specs of the 35mm yet, I would expect it to have similar features to the FF lenses. These include a front filter thread of 77mm, a front diameter of 80mm, a user-interchangeable PL/EF mount, and blue/amber flare options.

Price and availability

There’s currently no official information regarding the price and availability of the BLAZAR Remus 35mm T1.6 1.5x anamorphic prime. For reference, the existing focal lengths retail for $999 each, or $2,799  for a 3-lens kit.

For more information on BLAZAR Remus, please visit the company’s website here.

Have you tried out the BLAZAR Remus series yet? How do you like their character? Let us know your thoughts in the comment section below!

NANLUX is a Chinese lighting brand whose parent company, NANGUANG, has been in the industry for more than 30 years offering lighting solutions for filmmakers. Not long ago, we reviewed the Evoke 2400B, a high output bi-color LED, and now they are returning with the FL-35E, a motorized fresnel lens for this lighting fixture. 

A powerful addition to the Evoke 2400B

The NANLUX FL-35E offers precise optical performance and beam angle control with a motorized adjustment function powered by the electronic contacts in the Nanlux’s NL mount of the Evoke 2400B. Once connected to the fixture, it can be controlled with a button on the lens or by the lamp head, the NANLINK App, a wired controller, or a DMX console. This flexibility is always helpful to perform in different lighting situations.

Like the Evoke 2400B, the FL-35E has an IP55 rating, which should protect the unit from dust and rain. This feature is expected in a lighting fixture like this one, which will be used in exteriors and challenging environments. 

In summary, the FL-35E adds control to the Evoke 2400B, creating a flexible combo for professional productions at a reasonable price considering the unit’s light output. 

Technical specs

• Beam Angle: 15°~46° 
• Compatible Product or Mount: NL mount lighting fixtures with electronic contacts 
• Product Size: 430.38 × 490.15 × 330.3mm / 16.94 × 16.94 × 13.00″ 
• Barndoor size: 525.61 × 399.21 × 39.15mm / 20.69 × 15.72 × 1.54″ 
• Trolley Case size: 600 × 400 × 520mm / 23.62 × 15.75 × 20.47″ 
• Product Weight: 10kg / 22.05lb 
• Barndoor: 2.3kg / 5.07lb 
• Trolley Case: 6kg / 13.23lb 
• IP Rating: IP55 
• Certification: CE, UKCA, RoHS, IP55

Price and availability 

The NANLUX FL-35E includes the central unit, the user manual, the barndoor, and a trolley case. The unit will be available soon at a manufacturer’s suggested retail price (MSRP) of $1190 without VAT.

What do you think about the NANLUX FL-35E? Would you like to use it with the Evoke 2400B? Let us know in the comments section below!

Ulanzi’s lineup of lightweight travel tripods, including the Video-Go, the F38, and the Zero Y, prioritized portability. Now, they’ve expanded their range by introducing a heavy-duty tripod with quick-release functionality, the VideoFast Heavy Duty Tripod.

The tripod has a maximum weight capacity of 25kg/55lb to handle various shooting equipment and long-lens setups. It folds down to 88.6cm/34.8in and comes with a carrying bag for easy transport.

One-click setup and 5 angles

The VideoFast tripod has a one-click setup process. With one click, the legs are extended and locked. The tripod has three leg sections, each measuring 51cm/20in, which can be independently adjusted at 21°, 24°, 27°, 30°, and 33° angles. The 5-section tubes and an expanded joint connection provide a high level of stability in various shooting environments, plus, there is a 5-step mid-level spreader to fine-tune angles and provide extra stability. Additionally, the tripod has interchangeable non-slip rubber feet, steel spikes, and a built-in bubble level. 

From tripod to handheld – a quick switch

There is a quick-release plate on the tripod and a universal quick-release plate on the head to attach and detach the camera quickly when switching between the tripod and handheld shooting. The secure locking mechanism can be disengaged with one press. The tripod also has a removable center column and adjustable leg angles via the gear mechanism.

The hydraulic head

The Ulanzi VideoFast’s hydraulic head features a dynamic balancing system, helping to minimize camera shake and smoothly return the head to a level position after pans or tilts. The 6+6+10 adjustment system allows for fine-tuning camera movement through 6 levels of damping (smoothness) on both the tilt and pan axes and the 10-level counterbalance ensures precise camera leveling after tilting. It also features 360° panning and +90°/-45° tilting. The ⌀75mm detachable bowl head has a load capacity of up to 10kg/22 lbs.

Ulanzi VideoFast Heavy Duty Tripod – Specs

The tripod

• Materials: Carbon Fiber or Aluminium Alloy
• Dimensions: 88.6x17x16.5cm/ 34.88 x 6.69 x 6.50in
• Net Weight (Carbon Fiber Versions): 4.8kg/10.5 lb
• Net Weight (Aluminium Alloy Versions): 5.3kg/11.6 lb
• Height (with the fluid head included): 78.5cm -164cm/30.9-64.5in
• Collapsed Height (with the fluid head included): 83cm/32.6in
• Load Capacity for Fluid Head: 10kg/22 lb
• Load Capacity for Tripod Leg: 25kg/55 lb

The hydraulic head

• Materials: Aluminium Alloy
• Dimensions (without the handle): 27x13x12cm/10.63 x 5.12 x 4.72in
• Handle Length: 40cm/15.75in
• Net Weight: 2.2kg/4.85lb
• Fluid Head Load Capacity: 10kg/22lb
• Bowl Base Diameter: 75mm/2.95in
• Counterbalance: 10 steps
• Tilt Damping: 6 steps
• Pan Damping: 6 steps

Price and availability

The Ulanzi VideoFast Heavy Duty Tripod kit includes the tripod with the fluid head, a carry handle, a pan/tilt handle, an Allen wrench, a storage bag, and a user manual. The carbon fiber tripod retails at $599 (Early-Bird price is $499 from March 25-April 8, 2024), and the aluminum tripod retails at $499 (Early-Bird price is $399 from March 25-April 8, 2024).

You can purchase the VideoFast tripod and find more on their website here.

What do you think about the Ulanzi VideoFast Heavy Duty Tripod? Could you use something like this in your kit? What tripod are you currently using? Let us know in the comments!

The iPhone 15 Pro was released in September 2023, and thanks to its switch to a USB-C port instead of the well-known Lightning port, it offered new possibilities for content creators and filmmakers. Indeed, the iPhone 15 Pro can shoot in Apple ProRes HQ internally, it has the Apple Log picture profile, you can upload a LUT to it, and you can record externally via the USB-C port.

With these new filmmaking capabilities, many camera accessory manufacturers launched handy solutions to make your life easier, including the MagSafe recording module by Kondor Blue and Angelbird, the Eon Electronics MagDisk, and the upcoming Tilta Khronos, to list a few. Another small American company is now joining the party: the Galileo MagDrive.

Galileo MagDrive – features

The Galileo MagDrive is a MagSafe-compatible clamp that attaches magnetically to the back of your iPhone. The beauty of MagSafe accessories is that they can attach to your phone regardless of whether you have a case on it.

The MagDrive is made entirely out of aluminum. At the back, on the MagSafe connector, you’ll find a USB Type-C port. This port is used to charge your iPhone.

On top of the clamp, you’ll find a cold shoe mount to attach lightweight camera accessories.

At the bottom, there is also a 1/4″-20 mounting point so you can attach the MagDrive to a tripod. There are also multiple 1/4″-20 on the left and right sides of the Galileo MagDrive.

The Galileo MagDrive is compatible with multiple SSD drives with a width ranging from 40 to 58mm/1.57 to 2.28in. It is compatible with the widely popular Samsung T5/T7 SSD drives.

The unit comes with a 20gbps data cable and one 1.5m/4.92ft charging cable to record 4K60p ProRes footage externally right out of the box. Indeed, the iPhone 15 Pro requires a USB-C 3.2 Gen 2×2 to record ProRes footage externally, so it’s nice that they include it.

Price and availability

The Galileo MagDrive is available now for €84,95/$84.99.

For more information, please visit Galileo’s website here.

What do you think about this MagSafe SSD holder? Do you often record footage externally with your iPhone 15 Pro? What is your go-to external recording solution? Don’t hesitate to let us know in the comments below!

With a large sensor, interchangeable lens system, compact, minimalistic design, and streamlined user experience, the Logitech Mevo Core brings together quality and ease of use. The new webcam is set to elevate streaming quality while maintaining hassle-free operation. All this sounds great, as all promotional texts do, but we’ll dive in a bit deeper and try to understand this webcam’s position in our field as compared to other options.

Is it a camera? Is it a webcam? What is the Mevo Core?

Coming from a filmmaker or hybrid content creator perspective, the Logitech Mevo Core may seem like a “baby BGH1“. It has the sensor and lens mount, it’s boxy, and it’s based on external connectivity. How different could it be? Well, the short answer is “a lot”. While it does tick some camera boxes, the Mevo Core is still primarily a supercharged webcam aimed almost entirely at streaming rather than filming. Perhaps the most obvious indicator is the bitrate. The Mevo Core tops at 40Mbps for 4K30P. With no other specifications regarding bit depth or sample rate, we’ll just have to assume the worst (or the best for the bitrate. Not a big difference). So, while it may be enough for a limited variety of filming scenarios – it won’t be my first choice.

Body and design

With minimalism at its core, there’s not too much to say. It’s a 700-gram plastic box with a Micro Four Thirds mount on the front. The camera also has four tripod mounts, one on each facade. An internal battery will provide up to six hours of 1080p at 60fps streaming, and there’s the USB-C power option, which I personally prefer. An array of three internal microphones is also available, and while not up to professional sound recording standards, these will probably satisfy the target user.

Connectivity

A fundamental part of a webcam, the Logitech Mevo Core is relatively well-equipped with external connections. All are located on the bottom back side of the camera and include the following:

• UVC-USB-C
• USB-C-PD
• HDMI-A
• 3.5mm audio input

The camera also includes a Micro-SD card slot and impressive wireless connectivity with WiFi 6E and Bluetooth 5.1. This system allows for various connecting options as well as multi-cam functionality.

Who is it for?

The Logitech Mevo Core aims to be both a high-end webcam and an acceptable camera. Theoretically, it has the specs for both with 4K30P recording, good connectivity, and 1080p 60fps streaming ability. The streamlined, easy-to-grasp user interface should help make it an easy system to slide into. Use cases that follow these lines might benefit from such a webcam – gamers, live-streamers, independent broadcasters, houses of worship, educators, lecturers, or teachers may find this solution attractive. For us professional or high-end content creators, filmmakers, etc., I believe this solution will prove sub-par.

Alternatives

Many cameras these days offer some webcam/streaming functionality. The best option is to check the gear you already have before buying into new solutions. Furthermore, an advanced smartphone, mainly the iPhone 15 Pro and above, provides a similar solution in most use cases. For a multi-cam system, I would go for the likes of the Panasonic LUMIX BGH1 or Blackmagic Micro Studio Camera 4K G2, which offer superior professional features.

Logitech Mevo Core – a jack of all trades? A master of none?

We may be easily tempted by the prospect of an all-in-one solution that will provide both high-end streaming and a nice recording option. But every jack of all trades is also a master of none, and in my opinion, the latter is the case with this supercharged webcam. As close as it might get, I struggle to call it a camera. I also struggle to justify investing $1000 in a webcam when my ancient iPhone 11 Pro can perform the same task adequately. Instead, I would likely opt for a dedicated camera with better recording options and controls for anything beyond streaming. Also, these days most professional cameras offer some sort of webcam functionality. I may not be the target audience, but I still find it pretty hard to justify.

Price and availability

The Logitech Mevo Core UHD 4K Mirrorless Streaming Camera will set you back $999 for the camera body. Other kits are available as well, and the webcam is in stock.

Do you see yourself getting into this system? What are the advantages you see for this unique offering? Let us know in the comments.

Japanese lens manufacturer Cosina was one of the first companies to start releasing “official” third-party Canon RF lenses that can communicate with the camera. Indeed, at the end of last year, Cosina launched the Voigtlander NOKTON 50mm F/1.0 Aspherical, which was quickly followed by the NOKTON 40mm F/1.2 Aspherical.

While these lenses – and all other third-party Canon RF lenses in general – don’t have autofocus capabilities, having a few more options as a Canon shooter is nice. Cosina is already back with its third Canon RF NOKTON prime lens: the Voigtlander NOKTON 75mm F/1.5 Aspherical.

Voigtlander NOKTON 75mm F/1.5 Aspherical – features

The Voigtlander NOKTON 75mm F/1.5 Aspherical is a compact prime lens that is only 7.1cm/2.79in long. It is made entirely of metal and weighs 525g/18.51oz.

On the lens barrel, you’ll find a manual focus ring and a manual aperture ring at the front. The aperture ring can be de-clicked by pulling and turning it, which is handy for filmmakers. Also, the NOKTON 75mm F/1.5 Aspherical, similar to the 50mm and 40mm, covers full-frame image sensors.

While the NOKTON 75mm F/1.5 Aspherical is not weather-sealed, it has electronic contacts on the Canon RF lens mount. The lens and your Canon RF camera will be able to communicate, but the day of third-party autofocus lenses has not yet come. Indeed, these electronic contacts transmit Exif information, in-body image stabilization (IBIS) if your camera has it, and manual focus support, including magnification, peaking, and focus guide.

Lens design

The lens design of the NOKTON 75mm F/1.5 Aspherical consists of seven elements in six groups. The aperture diaphragm features no less than twelve blades. The minimum focusing distance is 50cm/19.7in. Lastly, the front filter thread is 62mm, and the lens comes with a screw-in lens hood with a filter thread.

Price and availability

The Voigtlander NOKTON 75mm F/1.5 Aspherical should be available in April 2024 for around $900.

For more information, please visit Cosina’s website here.

What do you think about this Cosina prime lens for Canon RF cameras? Are you patiently waiting for third-party Canon RF lenses with autofocus capabilities? What prime lens are you currently waiting for in the Canon lineup? Don’t hesitate to let us know in the comments below!

The DJI Ronin 4D-6K was released in October 2021 – here’s our full video review in case you missed it – and it took the company an extra two years to finally launch the Ronin 4D-8K with the Zenmuse X9-8K camera. While this one-of-its-kind filmmaking device is impressive and can produce unique results thanks to its 4-axis stabilization, the Ronin 4D never really made it to Hollywood and feature films. Indeed, to this day, except for short films, commercials, music videos, and documentaries, the Ronin 4D is struggling to make it on large screens.

During South by Southwest (SXSW) 2024, screenwriter and director Alex Garland presented his new movie, “Civil War,” which stars Kirsten Dunst, Wagner Moura, Cailee Spaeny, Stephen McKinley Henderson, and Nick Offerman. Before diving deeper, let’s watch the movie’s official teaser, which will be released on April 12th, 2024.

Civil War – Shot on the DJI Ronin 4D

You got it; the story behind “Civil War” is easy to summarize: the movie follows a team of journalists who travel across the United States during the rapidly escalating second American Civil War. This anticipation/SF movie received good criticism during the SXSW world premiere.

In an interview with Empire, director Alex Garland revealed that they shot “Civil War” with the DJI Ronin 4D:

It does something incredibly useful. It self-stabilises, to a level that you control — from silky-smooth to vérité shaky-cam. To me, that is revolutionary in the same way that Steadicam was once revolutionary. It’s a beautiful tool.

Alex Garland

Alex Garland mentions that the camera was affordable at around $5000 – well, $6799 if we want to be precise – so we can deduce that they shot with the DJI Ronin 4D-6K. Since the movie will be available in theaters and IMAX, it tells us that Ronin 4D footage can go the extra mile perfectly.

Why choose the DJI Ronin 4D to shoot Civil War?

Every tool has its pros and cons, but Alex Garland found that the DJI Ronin 4D was the best tool for the job of shooting Civil War:

We knew we needed to shoot quickly, and move the camera quickly, and wanted something truthful in the camera behaviour, that would not over-stylise the war imagery. All of which push you towards handheld. But we didn’t want it to feel too handheld, because the movie needed at times a dreamlike or lyrical quality, which pushes you towards tracks and dollies.

The final part of the filmmaking puzzle — because the small size and self-stabilisation means that the camera behaves weirdly like the human head. It sees “like us.” That gave Rob (Rob Hardy B.S.C NDLR) and I the ability to capture action, combat, and drama in a way that, when needed, gave an extra quality of being there.

Alex Garland

The main selling points of the DJI Ronin 4D for Garland have been the flexibility and built-in 4-axis stabilization. Indeed, time is money on set, so the accumulated saved time on installing a dolly over several weeks can be huge at the end of the day. It also means that the team was faster in setting up and following the action, which can benefit the acting.

Will it be the beginning of a new trend and the start of more movies shot with the DJI Ronin 4D? Only the future will tell, but as Garland says, it is “not right for every movie, but uniquely right for some.”

Source: Empire

featured image credit: A24 / DJI (composition by CineD)

Did you already shoot content with the Ronin 4D-6K or 8K? Do you see yourself shooting entire projects with the Ronin 4D? Don’t hesitate to let us know in the comments below!

By now, CFexpress has become ubiquitous as the de facto memory card standard for professional photography and filmmaking applications. Last summer, this standard even got a boost with the introduction of the CFexpress 4.0 specification, which brings speed benefits to both CFexpress Type A and Type B cards.

A few months later, OWC seized the opportunity to update their Atlas Pro and Ultra CFexpress memory card lineup to the new 4.0 protocol. Now, the company is completing the series with a dedicated USB4 card reader. Let’s take a quick look!

OWC Atlas CFexpress 4.0 Type B card reader – features

According to the company, their new Atlas CFexpress 4.0 Type B card reader can ensure real-world offloading speeds of up to 3300MB/s, thus making it 4x faster than any USB 3.2 reader. Additionally, the reader is also retro-compatible with CFexpress 2.0 cards, which are supported at their maximum speed capabilities.

The device can be connected to a laptop or mobile device via USB-C and supports USB4 and USB3, as well as Thunderbolt 4 and 3 connections on Mac machines. Moreover, the reader is bus-powered, meaning it doesn’t require an external power source.

The device features a simple, portable design. The enclosure is made of aluminum, has anti-slip rubber feet, integrates a status LED, and packs a high-efficiency, silent heat sink cooling system.

Lastly, the reader is compatible with the company’s proprietary Innergize software (available for Mac and PC), which allows you to monitor the health status of your cards, clean and restore their performance, and update their firmware.

Price and availability

The new OWC Atlas USB4 CFexpress 4.0 Type B memory card reader is now available to order from B&H. The official retail price is $99.99.

For more information, please visit OWC’s website here.

Do you already use CFexpress 4.0 Type B cards? What is your go-to choice when it comes to storing your valuable files? Let us know your thoughts in the comment section below!

Times are changing and what used to represent a “clear job description hierarchy” is no more. Director of Photography/Cinematographer used to be a title given to those who work on set, working closely with a director, and at the same time “managing” the surrounding creative workforce. We were “innocent enough” to believe that a “Cinematographer” would work on films for Cinema (as the name hints), but boy, it looks as if we were wrong. Currently, there are many “cinematographers” out there who have not shot a single frame for cinema. So why is this happening? Are people looking for a shortcut to gain recognition? Alternatively, let’s phrase it this way: Can a particular title enhance your self-promotion? One thing is for sure. The title “Cinematographer” sounds much more convincing than “Youtubegrapher”. And let us be clear here, we are producing a lot of content for YouTube as well, and know how much effort it takes to produce it.

One of the issues here is that everyone (and his mother) can call themselves whatever they like, as there is no “unified certification or standard”. Is this good or bad? Well, as always, it depends on who you are asking.

By the way, the same goes for being titled as a cameraman/woman, as this seems to be an extinct profession (because everyone is a DoP now)…

A cameraman/woman (or a lighting cameraman) used to be a respected profession – one that allowed the power of storytelling by understanding the equipment and, of course, the lights you were working with. In the old days of film, this was even more significant. However, the shift to digital and the capability to “instantly see what you get” in the viewfinder, coupled with the ability to playback and review results, marked the beginning of the democratization of the profession, and the rest is history.

So who are you? Are you calling yourself a Director of Photography/ Cinematographer BECAUSE you are working on cinema sets, or, are you using this title regardless of what you film and where your project will be shown? Or, are you a cameraman/woman who is happy to hold a camera and create beautiful images sans the desire to work in Hollywood or Bollywood? Moreover, are you true to yourself with the title you are using?

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We would love to hear your thoughts about this topic so please be so kind and share it with us by voting in our poll, or better yet, leave a comment below.