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.

The X100 Phenomenon

We reported on the newly released X100VI at the top of the month, stating that pre-order sales were through the roof. This was, in no small part, due to the explosion of popularity of the X100 series on social media in the past year. But not to diminish the quality of design from the folks at FUJIFILM – the X100VI is a powerhouse when it comes to small, lightweight, walkaround photographic capabilities. Not to mention aesthetically pleasing with its retro design. But a welcome surprise was the video capabilities of this unassuming beast.

Just as a quick recap, the X100VI allows for 6.2K30P, 4K60P, and 10-bit 4:2:2 capture. It has a 40-megapixel BSI-CMOS sensor and X-Processor 5 found in the XT-5. Also new to this camera is “In Body Image Stabilization” (IBIS) providing 6 stops of stabilization. Lastly, it’s worth mentioning that it also features internal Neutral Density (ND) filters, which is almost unheard of for such a small form factor. It is, by all accounts, a stellar piece of photographic equipment – a camera for professionals and amateurs alike.

Limited “Limited Edition” coming very soon

With the X100VI already back-ordered and difficult to find, FUJIFILM tempts us again by celebrating their 90th birthday and releasing a special Limited Edition version. This version will feature identical technical specifications as the non-limited version, however, it comes with a few bells and whistles for hardcore fans. From FUJIFILM’s website:

To celebrate Fujifilm’s 90th anniversary year in 2024, “FUJIFILM X100VI Limited Edition” will be released in a limited number of 1,934 units worldwide.

These Limited Edition, numbered, X100VI units are packaged in a special box that includes a special strap, soft release button, and history cards.

The camera body is engraved with the corporate brand logo from Fujifilm’s founding in 1934, along with a unique serial number.

From Fujifilm.com

FUJIFILM emblazons their Limited Edition model with a vintage logo, randomly selected numerical value (out of 1,934) on the hot shoe mount, special carrying strap, and soft shutter release button. Along with these items, you also get cards explaining the company’s rich history and a special edition box to package it all together.

Apparently, only 300 units in total will be up for grabs for U.S. buyers. One hundred cameras will be sold daily from March 21st to March 23rd on a first-come, first-serve basis. The units will be available approximately around noon EST on each of the three days. So if you live in the United States and hope to collect one, we’ve armed you with all you should need.

While no price is listed on their website, initial reports priced the Limited Edition at $1,999. We will have to wait and see if that remains true when the Limited Edition becomes available on March 21st. Further details can be found on FUJIFILM’s Website.

Any thoughts on this Limited Edition X100VI? I’m still waiting for my pre-order to be fulfilled on the launch edition. I don’t think my luck is good enough to bag one of these. But hopefully, you can!

Some weeks ago, we interviewed Michael Cioni (formerly Frame.io/Adobe) about Strada, an AI-enabled cloud platform for content creators founded by him and his brother, ex-Netflix Peter Cioni. On their YouTube channel, they give information about technology and creativity for filmmakers, and in this episode, they wanted to push the iPhone 15 Pro filmmaking possibilities to see if it behaves like a cinema camera. 

The experiment – pushing the iPhone 15 Pro’s boundaries 

The video opens with a scene shot with the iPhone 15 Pro that looks impressive. Even if we don’t have an exact definition of ‘cinematic’, the scene fits the category. Of course, Michael Cioni and his team are fully aware of the iPhone’s limitations and that for a project like this, they would most likely use a solid cinema camera. Still, he wanted to experiment and see how far he could push the boundaries to come to his own conclusion.

We asked Michael, why he chose to route when it’s possible to achieve similar results with a more traditional setup, and this is what he answered:

When I do shoots like this I don’t shoot them with a clear objective in mind. Rather, I shoot them with an open mind and learn along the way. When the shoot is over and I look at the results, I start to get new ideas and draw conclusions as results (good and bad) unlock concepts I hadn’t considered prior to the experiment.

Michael Cioni, Strada co-founder

Cioni talks about the difference between shooting with the iPhone native lenses versus using a focal reducer and an anamorphic lens (in this case, Atlas Mercury 42mm and 72mm). Aside from a more controlled depth of field, the shots show the typical image marks of using ground glass, like some distortion, chromatic aberration around the edges, vignetting, and a light loss of about 1-1/5 stops.

Anyway, those are some of the features that we have in our unconscious mind when we judge if an image is cinematic or not. In contrast, when using the iPhone lenses, the result is a sharper, flatter image with a massive depth of field due to the small size of the sensor and the focal length. The separation between the elements is achieved mainly with good production design, lighting, smoke, and a carefully thought mise-en-scene.

The short film was shot with the Blackmagic Camera app and a custom LUT, and was finished with a 2.35 aspect ratio in post and suitable color grading. In the anamorphic version, we can see a shallower depth of field naturally occurring in the shots, more flaring, and a more pronounced blooming effect around the practicals.

A new test with affordable gear

As he says in the video, in a previous episode Cioni and his team shot a scene with the iPhone 15 Pro where they used AI to reduce the depth of field. As DOP Shannon Stutenroth says, they built a massive rig and used top-of-the-line accessories to create that image. 

The main criticism after publishing the episode was that the expensive gear overcomes the limitations of the iPhone. However, almost nobody questioned the resulting image quality, meaning that the phone can produce professional-looking images when surrounded by filmmaking professionals and professional gear. But what if they did not use professional accessories? 

When I realized what I think separates cinema cameras from video cameras, it has significantly changed over the past 15 years. The Oscar nominated “The Creator” was shot on FX3! To see that and Oppenheimer on IMAX proves what makes a camera a cinema camera has dramatically widened and 4K ProRes + Log + 10bit and the Blackmagic Cinema App has catapulted the iPhone closer to that arena. It’s not there yet because Apple has not yet built a camera with removable lenses – so this whole ground-glass approach is a significant work-around, but the rest of the tools behaved like a normal cinema camera. In fact, all the crew responded after the shoot by saying “this felt like a normal shoot”.

Michael Cioni, Strada Co-founder

Then, Stutenroth and Cioni decided to test again, this time with affordable gear and an anamorphic lens as one of the comments in their previous episode had suggested. They chose accessories available to anyone and rented the Atlas Mercury lenses used in the movie The Creator. What remained the same was their dedicated crew of professionals working on the shoot.

The total budget for rigging the phone was $1,852 – including the cage, a 2TB SSD, the Beastgrip MK3 DOF adapter, a Tilta matte box, the 2-day lens rental, etc. The cost of the iPhone is not included (remember, it is around $1,200). 

Conclusion: is the iPhone 15 Pro a cinema camera?

While filming the episode, Michael Cioni wanted to push the boundaries, learn, experiment, and have fun with his team. He also reflected on one question: Can the iPhone 15 Pro be considered a cinema camera? For him, a cinema camera has to fulfill five requisites:

• Cinematic resolution
• Intraframe encoding
• High dynamic range
• Wide color gamut (10-bit or more)
• Removable lenses

For now, the iPhone 15 Pro meets four out of these five requirements, all except the last one. But what will happen in a few years? Will future iPhones have a sensor big enough for cinema productions? We will see. For now, we must keep using ground glass like the Beastgrip MK3 DOF adapter. Anyway, judging from this experiment and the results, maybe we are not as far away as we might think…

What do you think of using the iPhone 15 Pro for professional productions? Would you consider it a cinema camera? Let us know in the comments below!

Over the last four years, Chinese manufacturer Kinefinity has introduced 4 new camera models, including their flagship MAVO Edge 8K (our review here) and MAVO Edge 6K (our first impressions here) cameras as well as the MAVO mark2 LF and S35.

All of these cameras are fuelled by the KineOS software which is continuously being updated with new features. KineOS 7.1 introduced new full-frame and S35 anamorphic recording formats and ProRes 4444 Efficiency Mode, while, fairly recently, version 7.2 brought improved pre-roll, support for Active E-mount, and ExFAT file system. Now KineOS 7.3 takes the stage. Let’s take a quick look!

KineOS 7.3 for Kinefinity MAVO Edge and mark2 cameras

To start, KineOS 7.3 brings a breath of fresh air to the playback interface, offering more controls and options when reviewing clips. Newly added features include a clip timeline for scrubbing, adjustable playback speed and reverse play, as well as a clip list view to quickly browse through the footage you captured. Most of these functions are accessible using the cameras’ physical knob or touchscreen control.

Additionally, the cameras can now display 4 different frame lines simultaneously, offering more control when framing your shot for multiple deliverables. Moreover, new aspect ratios and scaling options for frame lines, including 0-100% scaling, have been added.

The new software also expands the color temperature range of the cameras from 2,800-7000K up to 2000-11,000K and also adds a new KC709 LUT that aims at improving color accuracy when monitoring the image. Four user-determined color temperature values can now be accessed via a quick menu, while auto WB is also more precise and now offers 10K accuracy.

KineOS 7.3 also brings a series of usability improvements, including a new Wi-Fi AP mode – which essentially allows your camera to act as a hot-spot -, in-camera clip recovery to fix damaged footage, and an electronic horizon level that can be displayed over SDI.

Finally, the MAVO Edge 6K and MAVO mark2 LF cameras get two new S35 4K modes for 4:3 (4096×3072) and 6:5 (4096×3432) recording, which can be pretty helpful when working with anamorphic lenses.

Price and availability

KineOS 7.3 firmware is now available to download free of charge from Kinefinity’s website. Moreover, B&H is currently offering a $2,500 discount on the MAVO Edge 8K and MAVO Edge 6K (Cyber Edition). Pricing is as follows:

• MAVO Edge 8K – $11,999 $9,499 (savings: $2,500)
• MAVO Edge 6K (Cyber Edition) – $10,499 $7,999 (savings: $2,500)
• MAVO Edge 6K (Space Gray) – $9,999
• MAVO mark2 6K LF (no lens mount) – $5,999
• MAVO mark2 6K S35 (no lens mount) – $3,999

For the full KineOS 7.3 firmware release notes, please visit Kinefinity’s website here.

Do you own a Kinefinity camera? What do you think of the updates brought by KineOS 7.3? Let us know your thoughts in the comment section below!

It is not rare that camera companies promote their new releases with short pieces directed by renowned professionals, as happened with ‘Reverie‘ by Vincent Laforet, shot with the Canon 5D Mark II. A lot of water has flowed under the bridge since then. Apple’s strategy of showing what their latest smartphone models are capable of follows this trend with the release of ‘Midnight’ by Japanese director Takashi Miike. Miike is a renowned Japanese director with films like ‘Straw Shield’ and ’13 Assassins’ to name a few.

‘Midnight’, a manga story adaptation

‘Midnight’ is an adaptation of a manga story by Osamu Tezuka, one of Japan’s most influential manga artists. The film tells the story of a late-night taxi driver, played by actor Kento Kaku -My Family, Tokyo MER- who offers help to the ones who need it on the streets of Tokyo. One of those nights, he helps a woman, played by Konatsu Kato (‘The 13 Lords of the Shogun’), who enters a conflict with a local gang struggling to take over her deceased father’s truck driving business. The gang’s boss is played by Yukiyoshi Ozawa (‘One Last Bloom’, ‘Daimajin’).

Mr. Tezuka is something of a god among manga artists so it was an honor to take on the challenge of expressing his work using only iPhone. As we were shooting, I naturally began to challenge myself to think about how we could make a work unique to the iPhone beyond the usual approach to a film. I truly felt that the iPhone has the power to do things that a conventional movie camera can’t.

Takashi Miike

Making use of the iPhone features (and everything else)

Although a camera’s capabilities add weight to a video piece’s final quality, the reality is that what dictates a movie’s production value is precisely… the production value. Filming with an ARRI Alexa with no budget, lighting, etc., vs. filming with a phone with a high-end production value will balance things out, if not turn them around. That said, the iPhone 15 Pro is a complete filmmaking tool that showed us what it is capable of.

The film, shot exclusively with the iPhone 15 Pro camera, captures the car chase across Tokyo using all the phone’s video capabilities. The scenes were captured in low light using Apple ProRes log for a high-quality image and more flexibility in postproduction. Since the short film features a car chase, the director used the iPhone’s action mode, adjusting and correcting the shakes for a smooth-looking video. The 5x telephoto camera was vital while filming these scenes since it allowed Miike to capture Kento Kaku’s facial expressions. The lens’s optical stabilization and autofocus 3D sensor-shift module by Apple also made this scene possible, with quality you can see in the final film.

Also, Miike created and controlled the depth of field using the iPhone 15 Pro cinematic mode, allowing him to control the bokeh even after the filming process, as seen in the street restaurant scene between Kento Kaku and Konatsu Kato.

While Cinematic mode gives the film a more cinematic look, I was even more impressed by the ability to adjust the focus after shooting. You can focus on whatever you want, whenever you want. I hope that game-changing features like this that are impossible with regular photography equipment will be added more and more and that it will break the conventional thinking of filmmakers.

Takashi Miike

During the postproduction process, the team used the LiDAR scanners on the iPhone 15 Pro models for a 3D model-based creation of Midnight’s special cab with a “fifth wheel”. This technology also improved autofocus in low-light scenes.

Where to watch

You can watch Takashi Miike’s short film Midnight online by following this link.

What do you think of ‘Midnight’? Would you guess it was shot with an iPhone 15 Pro? Let us know in the comments below!

Recently, the Japanese camera manufacturer Nikon managed to fill the headlines of many media outlets worldwide when they agreed to acquire the US company RED Digital Cinema. If you are into the topic, make sure to read our opinion piece on what the acquisition could mean for the filmmaking industry, and also a wishlist of what a RED shooter would like to see in future versions of their cameras, by my colleague Francesco.

In the meantime, Nikon keeps improving their existing camera models with firmware updates. This time around, the Nikon Z 9 (announced in October 2021) will receive a new firmware update, version 5.0. Let’s take a short look at what is new.

Nikon Z 9 firmware update version 5.0

There are quite a few new functions and improvements with the new firmware v5.0, both in stills and video mode. Among the most notable ones are:

• Auto capture remote shooting enhancements – you can set a start date, time, and duration to preserve battery life. Furthermore, there are more frame rate options including C15 and C60, capture in DX crop mode, and more.
• More portrait features and picture controls – portrait Impression balance and skin softening, plus additional picture controls – rich tone portrait, flat monochrome, and deep tone monochrome.
• Separate shooting banks for video – separate from photography settings, you can recall resolution and frame rate combinations, RAW settings, file types, and more.
• More functions for Fn buttons – there are now assignable functions for focus position, skin softening, portrait impression balance, AF-area mode, playback speed, retouch items (like RAW processing and trim), and more.
• It is now possible to fine-tune fast shutter speed and create four presets to prevent banding from LED lights. For example 1/1919.1s instead of 1/2000s.
• The focus point border thickness can be adjusted for better visibility.
• Control playback speed – 1/2x or 1/4x speed for video – (5 fps, 15 fps, or 30 fps), and for stills.

To further explain the main new features of the firmware version 5.0, Nikon even created an informative landing page. The firmware update can either be downloaded from the Nikon website or via the SnapBridge app (from March 14, 2024).

Following is the full list of changes from firmware v4.1:

Firmware changes from 4.1 to 5.0 – still photography

• Added and changed the following functions to [Auto capture] in [PHOTO SHOOTING MENU].
  • Date and time to start auto-capture can now be configured in advance
  • Added [DX (24×16)] to image area options
  • Added [Airplanes] to subject detection type options
  • Auto capture is now available with the camera’s manual focus settings
  • The appearance and some item names in the settings display have been changed
  • The detection range available for [Advanced: Distance] has been extended
• Added a [C15] high-speed frame capture + release mode option.
• Added frequency setting mode to [High-frequency flicker reduction] in [PHOTO SHOOTING MENU] that allows frequency presets to be configured.
• Added [Rich Tone Portrait] to [Set Picture Control].
• Added [Portrait impression balance] to [PHOTO SHOOTING MENU].
• Added [Skin softening] to [PHOTO SHOOTING MENU].
• Added [High ISO NR mode] in [PHOTO SHOOTING MENU] that allows the selection of a noise reduction processing mode.
• New image quality options available for high-speed frame capture + shooting with [Image quality settings] > [Image quality (HSFC)] in [PHOTO SHOOTING MENU].
• Live view display zoom is now up to 400%.
• The Profoto A10’s continuous LED light can now be used as an AF-assist illuminator.
  Note: The firmware update is needed for Profoto A10. See Profoto’s corporate website for details.

Firmware changes from 4.1 to 5.0 – video recording

• Added and changed the following functions to [Auto capture] in [VIDEO RECORDING MENU].
  • Date and time to start auto-capture can now be configured in advance
  • Added [DX] to image area options
  • Added [Airplanes] to subject detection type options
  • Auto capture is now available with camera’s manual focus settings
  • The appearance and some item names in the settings display have been changed
  • The detection range available for [Advanced: Distance] has been extended
• Added [Rich Tone Portrait] to Picture Controls.
• Added [Portrait impression balance] to [VIDEO RECORDING MENU].
• Added [Skin softening] to [VIDEO RECORDING MENU].
• Added and changed the following functions to [Hi-Res Zoom] in [VIDEO RECORDING MENU].
  • The color of the in-focus AF-area brackets shown on the shooting display when Hi-Res Zoom is enabled has been changed.
  • Hi-Res Zoom operations can now be performed using the sub-selector.
• Live view display zoom is now up to 400%.

Firmware changes from 4.1 to 5.0 – playback

• Added [Playback speed] in the video playback “i” menu.
• Added [Customize retouch options] to [Retouch] in the playback “i” menu.
• Added [Auto image rotation] in the playback menu.
• Added [Auto series playback options] to [Series playback] in the playback menu.
• Scrolling through pictures now keeps current orientation even if the camera is rotated.
• The current playback speed is now displayed in the playback display while viewing a video full frame.
• Added [4608×3072; 14.2 M] to [Retouch] > [Resize] in the playback “i” menu when RAW images are displayed.

Firmware changes from 4.1 to 5.0 – controls

• Added to the custom controls and roles assignable via the following items in the [CUSTOM SETTINGS MENU].
  • f1 and g1[Customize <i> menu]- f2[Custom controls (shooting)] and g2[Custom controls]- f3[Custom controls (playback)]
  Choose [Prefer focus point (face priority)] for f3 [Custom controls (playback)] > [Main command dial] or [Sub-command dial] > [Frame advance zoom position].
  The settings for f3 [Custom controls (playback)] > [Main command dial] or [Sub-command dial] > [Frame advance] can now be applied while scrolling through pictures during playback zoom.
  Monitor mode selection can now be assigned to Protect/Fn4, and Audio buttons.
• Shooting modes now can be selected in photo and video mode individually.
  Note: The shooting modes in all shooting banks “A” through “D” are set to P right after the firmware is updated.
• Added [Focus point border width] to a11 [Focus point display] in the [CUSTOM SETTINGS MENU].
• Added a [Max. aperture Lv during MF] item to the [CUSTOM SETTINGS MENU] in position of a14.
• Added [Half-press to cancel zoom (MF)] items to the [CUSTOM SETTINGS MENU] in positions d19 and g17.
• White balance and exposure compensation can now be adjusted while shooting function settings are recalled with button press (hold).
• Changes have been made to how a full format is performed with [Format memory card] in the [SETUP MENU].

Firmware changes from 4.1 to 5.0 – displays, network, other

• Changed the position where the memory card high-temperature warning is displayed in video mode.
• A warning now appears when the connection to an ATOMOS AirGlu BT accessory is unstable or disrupted.
• Added [Wi-Fi connection (STA mode)] which allows you to connect the camera to the smart device via a wireless LAN access point.
• Port numbers can now be specified using [Connect to FTP server] in [NETWORK MENU].
• Added [Upload in HEIF format] to [Connect to FTP server] > [Options] in [NETWORK MENU].
  Note: Converted HEIF images are not stored on the memory card.
• ATOMOS AirGlu BT accessories and MC-N10 remote grips can now be used together.
• Automatically obtained IP address will be maintained after automatic IP addressing disabled.
• Automatically obtained gateway/DNS server addresses are now displayed in the TCP/IP edit display.
• File names of the image and audio now match if the file name of the image is renamed during transfer.
• When [AF-area mode] is set to [3D-tracking] and the human subject is large relative to the frame and multiple eyes are detected near the tracking focus point, the camera will assign priority for focusing to the eye closer to the point.
• The time the shooting display goes dark after shutter is released when [ON] is selected for [Photo flicker reduction] in the [PHOTO SHOOTING MENU] has become shorter.
• The RGB histogram is now easier to view when [Mode 1] or [Mode 2] is selected for d12 [Warm display colors] in [CUSTOM SETTINGS MENU].
• [SETUP MENU] > [Firmware version] now shows GNSS module firmware “G”.
• GNSS module firmware update is now available.
  Note: The second update is not necessary if the GNSS module’s firmware “G” is already 0.17, as with which version, the improvement has already been made.
  Note: Refer to “GNSS Module Firmware Update” for updating procedures.
• The firmware for the GNSS module has been updated.
  • Improved acquisition performance when used in certain areas where the quasi-zenith satellite “QZSS” can be acquired.
• Fixed the following issues:
  • Fine-tuning values set in [AF fine-tuning options] in the setup menu did not apply while the subject is detected with [Wide-area AF (S)], [Wide-area AF (L)], [Wide-area AF (C1)], or [Wide-area AF (C2)] selected for [AF-area mode].
  • Switching to the playback display and attempting to operate the sub-selector did not result as intended while the memory card access lamp was lit after burst shooting when [Series playback] > [Sub-selector displays first shot] in [PLAYBACK MENU] was enabled.
  • Optimal exposure could sometimes not be achieved in burst or focus shift shooting.
  • Shutter release was sometimes disabled when “Bulb” was selected for shutter speed.
  • Subjects could sometimes not be detected in the correct position when repeatedly shooting airplanes.

Price and availability

The Nikon Z 9 firmware update version 5.0 is now available free of charge directly from the Nikon webpage. The Nikon Z 9 camera body currently sells for $5,497.

Do you use Nikon Z 9 or any other Nikon mirrorless camera for your cinematography work? What is the best new feature added with the v5.0 firmware? What do you think of the recent development around Nikon? Let us know in the comments section underneath the article.

Debuted with the company’s cine-hybrid R5C, Canon’s Cinema RAW Light formats are compressed RAW formats, enabling more efficient recording regarding file size. This is achieved without any perceivable image quality loss thus making RAW recording more accessible and easy to work with. The files occupy approximately a third to a fifth of the storage space required for the existing “normal” Cinema RAW Light file. This also greatly affects writing speeds, making higher frame rates or slower cards a viable option.

This new addition of three new Cinema RAW Light formats further boosts the camera’s capture envelope. 12-bit files provide a significant advantage regarding color depth, with up to 68 billion available colors. Canon’s efficient compression now brings this level of color rendition to the camera’s high frame rates, but will also help to make mainstream speeds more manageable in terms of storage.

Elevated modularity

The Canon EOS C500 Mark II is among the most modular cine cameras out there. The camera is a bit boxy and quite compact. While its base configuration offers full operability, it may be transformed significantly. The lens mount is user-interchangeable, offering EF, PL, and full compatibility. The monitor unit and top handle can be mounted in various locations. The rear part of the camera houses a dedicated port for various modular units.

With the latest firmware update coming on March 21st, Canon is adding quite significant “modularity” to their available Cinema RAW Light workflow. The efficient file sizes will help more users take advantage of the 12-bit RAW quality, and the expanded frame rate will help action cinematographers. All those options, hardware or firmware-based, let the camera cater to various needs.

This significant update is only one piece in the Canon firmware puzzle. Cinema RAW Light has already transformed another camera via a firmware update – the Canon Cinema EOS C70. Equipped with dual SD card slots, the C70 was initially considered a “non-RAW” camera. Even the fastest SD UHS-II cards couldn’t come close to RAW writing speed, so this limitation seemed rooted in hardware.

With their reduced file sizes, Cinema RAW Light files could squeeze into V90 SD cards, completely transforming the C70 into one of the most influential firmware updates launched by Canon in recent years. Now coming to the flagship Canon EOS C500 Mark II, the three new Cinema RAW Light formats have a lot to offer to this already impressive camera.

Price and availability

The firmware update will be free to download and available from March 21st, 2024.

Will this update help you start shooting RAW video? Do you already shoot, whatever the storage space? Will you still go for XF-AVC? Let us know in the comments.

The Leica SL system was first introduced in 2015. The German company then released the SL2 in 2019 and the more video-centric version, the SL2-S, in 2020 that we reviewed here (don’t miss the rare occasion to see Johnnie wash his hair, and naked in a bathtub if you have never watched that mini-documentary).

Nearly a decade after introducing the SL system, Leica has just announced their new iteration: the Leica SL3.

Leica SL3 – exterior design

We can consider the exterior design of the SL3 as adhering to the principle of “If it’s not broken, don’t fix it.” Indeed, there are no significant changes on the outside, and the camera still has a minimalist look.

The camera measures 15.1 x 10.8 x 8.4cm/5.96 x 4.25 x 3.3″. It is made of aluminum and magnesium alloy and tips the scale at 769g/1.7 lbs. Also, it is IP54-rated so you can shoot in all weather conditions ranging from -10 to +40°C/14 to 104°F.

However, you can see that a new control dial is on the top left side of the camera. None of the top buttons or dials of the cameras have names/labels on them, as they are all user-customizable. I love that you can assign to every button and dial the function that best suits your shooting style.

At the back of the camera, Leica moved the only three assigned buttons to the right part of the touchscreen: the play, function, and menu buttons. Also, the power switch has been replaced by a power button. Regarding the touchscreen, the SL3 now has a new 3.2″ 2.3m-dot LCD that can (finally) tilt! The EVF has also been updated by a 5.76m-dot 0.78x OLED version.

Recording media and connectivity

The Leica SL3 has two memory card slots. It can record photos and videos onto CFexpress type B and/or SD UHS-II memory cards.

On the left side of the camera, you’ll find multiple input and output ports, including:

• There is one USB Type-C port for data transmission, tethering, and power supply. The Leica SL3 is also a certified Apple “Made for iPhone and iPad” accessory, so you can connect it directly via USB-C to your Apple device.
• One full-size HDMI 2.1 port. This port allows for external monitoring and recording (more on that later).
• One 3.5mm microphone input and one 3.5mm headphone output.

In terms of wireless connection, the SL3 has built-in Bluetooth and WiFi connectivity. You can connect the camera to the free Leica FOTOS app to download/edit your pictures, and also update the camera’s firmware wirelessly.

The camera uses a new BP-SCL6 battery, and an optional dual charger is also available. Leica also released the optional HG-SCL7 multifunction handgrip and a DC coupler designed for the SL3. The DC coupler enters the camera’s battery compartment and acts as a dummy battery.

Leica SL3 – new sensor and stills mode

The SL3 still features a Leica L mount, and behind it is a brand new 60MP full-frame BSI CMOS image sensor. In stills mode, you can select between 60, 36, and 18MP resolution in DNG Raw or JPG. According to Leica, the SL3 has a dynamic range of up to 15 stops, which is quite impressive.

The camera’s Maestro IV image processor powers it, and it can go from ISO 50 to 100,000. In stills mode, you can shoot at up to 15 frames per second. But as filmmakers, let’s talk about what matters most to us: video recording capabilities.

Video recording features

The Leica SL3’s user interface has been completely revamped, with red icons/menus for the photo mode and yellow ones for the video mode. The UI rotates as you turn the camera vertically, which is handy in stills mode or if you’re creating vertical content for social media.

In terms of video recording, the SL3 can record internally in DCI 8K 8192 x 4320 in H.265, H.265 Long GOP, or MOV in 4:2:0 10-bit at up to 30p, with a maximum bitrate of 300Mb/s. In DCI 4K, you can go up to 60p with a maximum bitrate of 600Mb/s. If you want to record externally via the HDMI output, the camera can crank up the resolution to DCI 8K 8192 x 4320 in 4:2:2 10-bit and DCI 4K in 4:2:2 10-bit. Lastly, you can record in ProRes 422HQ internally, but you’ll have to sacrifice the resolution to FullHD 1080p, with a maximum framerate of 60p. The entire list of available recording formats/framerates/bitrates is extremely long and available on Leica’s website here.

In terms of picture profiles, you’ll have the choice between Rec.709, L-Log Rec. 2020, and HLG Rec. 2020.

The SL3’s autofocus system has been completely redesigned with a new hybrid AF system. This system combines phase detection, contrast, and object autofocus for faster and more consistent performances. Leica says, “Thanks to advanced algorithms, these technologies work in harmony to produce a highly precise system.”

The cherry on top for filmmakers is that the SL3 has a 5-axis sensor-shift image stabilization system, also known as IBIS, so you can capture stable footage even if your lenses are not stabilized.

Price and availability

The Leica SL3 is available now for $6,995.

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

What do you think about this new Leica SL camera? Have you already shot a video project with a Leica camera? Don’t hesitate to let us know in the comments below!

The Sony BURANO is a special camera. This stems not only from its extraordinary specs and features but also from its rather fresh design philosophy. Most high-end cine cameras tend to walk a traditional path. Innovations manifest in sensor technology, higher dynamic range, or better colors, but rarely do these beasts incorporate new operational tools affecting the actual workflow.

Having been announced in Sept 2023, the camera is now shipping. With a price tag of $25,000, it probably won’t find its way to each and every content creator, but will appeal to some owner-operators, studios, and rental houses. The Sony BURANO fills a unique niche. The camera incorporates a class-leading spec list with a single-operator-aimed design. You can read all about the camera here but here’s a quick feature summary:

• 8.6K full-frame sensor with dual native ISO (800 / 3200 ISO)
• Same color science of VENICE 2
• World’s first PL-Mount camera with In-Body Image Stabilization (IBIS)
• World’s first camera to combine IBIS and built-in electronic ND (2-7 stops)
• X-OCN LT (Lite) 16-bit RAW
• New XAVC H codec extending H.265 beyond 4K and up to 8K
• First Cinema Line camera to record on CFexpress Type B cards (by the way, check out our recent interview with Angelbird on the future of this media standard here)
• Same advanced AF system as FX6 and FX9
• Smaller and lighter than VENICE 2

Sony BURANO, the best of both worlds

While the Sony BURANO is by no means a hybrid camera, it takes some significant notes from its mass-market stablemates without compromising any of its cine prowess. The combination of PL-Mount, E-Mount, built-in ND, and IBIS is a remarkable engineering feat. This broadens the camera’s operational envelope to new creative fields.

Price and availability

As for availability, the Sony BURANO is now shipping across Europe and will set you back €25,000 (or £21,490.77). The camera will cost $25,000 in the U.S. Actual stock may vary depending on specific dealers, but cameras are shipping.

Have you already pre-ordered your Sony BURANO? Will you opt for a rental or go full-on as an owner-operator with this one? Let us know in the comments.

Since its launch in September 2021, the V-RAPTOR platform has grown rapidly both in terms of hardware and software. This line of cameras now consists of 6 models, including the standard 8K Vista Vision (our Lab Test here) and S35 Raptors, their studio-oriented “XL” counterparts with a unified body, and the newly-launched [X] and XL [X] variants featuring an 8K Vista Vision sensor with global shutter technology.

Over time, many useful features were added in a back-to-back series of firmware updates, such as time-lapse and ProRes recording, ELQ setting for REDCODE RAW, Camera-to-Cloud, Gio Scope false color, face-detection AF, and more. But, apparently, there’s still room for improvement.

RED V-RAPTOR and V-RAPTOR [X] – Firmware 1.7.2beta

Firmware 1.7.2beta is compatible with all V-RAPTOR and V-RAPTOR [X] models. While it doesn’t bring any game-changing features, it focuses on the little things that can enhance your experience of operating a V-RAPTOR camera.

For example, if you unintentionally eject your media, you can now use the “Remount Media” option to avoid having to pull the CFexpress card from the camera and reinsert it. By the way, the ProGrade Gold 1TB and 2TB CFexpress Type B cards are now fully supported.

Additionally, it seems that RED is trying to equip their DSCM3 cameras with features that were previously available on their DSMC2 bodies, such as the horizon and tilt video overlays and the image flip options. You can check out all the new features in the official firmware release notes below.

Full firmware release notes

Added:

• V-RAPTOR [X] and V-RAPTOR XL [X] Support
• RED COMPACT EVF support
• Video Overlays
• Horizon and Tilt Video Overlay
• Calibrate Gyroscope function
• advanced Image Flip selection
• ASC MHL checksum option
• Function Toggle control
• Proxy Record Menu
• ProRes Proxy Codec
• Max Frame Rate Toggle Assignable Button
• Dedicated False Color and Peaking Assignable Buttons
• Additional Slate Fields
• Remount Media Command
• Operations Guide QR Code
• SmallHD RED Touch OS 5.5.3
• ProGrade Gold 1TB/2TB Support

Fixed:

• SmallHD ND Assignable Buttons (PageOS 5.5.3)
• Intermittent SDI Timecode with External TC
• Extended Highlights not achieving maximum fps (V-RAPTOR [X])
• incorrect 2K Format Heights (V-RAPTOR [X])
• incorrect Edge Timecode after exiting Playback

RED KOMODO-X – Firmware 1.2beta

Many of the above-mentioned functions are also now available for the KOMODO-X via firmware 1.2beta. You can read the full firmware release notes here.

Price and availability

Firmware 1.7.2beta for RED V-RAPTOR and V-RAPTOR [X] and 1.2beta for RED KOMODO-X are now available to download for free from RED’s website. Please keep in mind that these are beta releases, and upgrading your camera in the middle of a production is NOT recommended.

The RED KOMODO-X retails for $9,995 (B&H / CVP), while pricing for the V-RAPTOR cameras is currently as follows:

• V-RAPTOR 8K S35 – $17,995 (B&H / CVP)
• V-RAPTOR 8K VV – $24,995 (B&H / CVP)
• V-RAPTOR [X] 8K VV – $29,995 (B&H / CVP)
• V-RAPTOR XL 8K S35 – $34,995 (B&H / CVP)
• V-RAPTOR XL 8K VV – $39,995 (B&H / CVP)
• V-RAPTOR XL [X] 8K VV – $44,995 (B&H / CVP)

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

Are you a V-RAPTOR or V-RAPTOR [X] owner? What do you think of these new Beta features? Let us know your thoughts in the comment section below!