LENSGO is a Chinese company specializing in audio accessories, teleprompters, and smoke machines. Their Smoke B and Smoke S fog machines were released a few months ago and now they are planning on releasing the younger sibling, the Smoke S Mini. It is a smaller and even more portable option, made for those who are looking for a hassle-free, easy-to-use, and extremely small smoke machine. It shares almost the same functionalities as the bigger models but with less wattage and capacity, making it perfect for small shoots.

Both simple and varied

Filmmakers have used smoke, haze, and fog since the advent of making films, and not only for effects in horror films, music videos, or advertising. In many of the movies you watch, they are also used to add haze to create volume and shape in the scenes and reduce contrast while enhancing the lighting.

The LENSGO Smoke Mini S comes in a pouch with the central unit and accessories to shape the smoke in different ways. It also has a liquid refill bottle, a remote control, and a USB cable. The pouch size is small enough to put in your backpack if you are traveling with a single bag only. In today’s era of solo photographers, filmmakers, and content creators, this unit is a perfect fit for their needs.

The Smoke S Mini has 15W and a battery of 1000 mAh that, according to my tests, lasts for about 15 minutes when used continuously. When the battery is out, a red light will appear and the unit will turn off. In real filming situations, you will most probably be using it in short bursts, so potentially, the battery will hold for more than a shooting day. I could fill an average room with a decent amount of smoke within one or two minutes of fog release. However, keep in mind that the Smoke S Mini is not suitable for large venues, considering its limited capacity in comparison to the time and effort required to fill a sizable room with smoke.

The unit can be charged with a USB cable. LENSGO specifies two hours of charging time, which is more or less what it took me after fully emptying it. Refilling the tank is also quick and easy. To do so, unscrew the cover and open the little orange rubber seal. After refilling the liquid, close the seal, attach the tank to the main unit, and put the cap back for protection since the tank gets hot when releasing the smoke. I found the refilling process pretty straightforward, just like the overall functionality of the unit.

When I first saw the amount of liquid included, I was very careful not to waste it, but after one shooting day, the tank still had about 3/4 of the liquid left. I doubt you’ll run out of fluid anytime soon for your intended purpose, however, if you do, you can easily purchase more on platforms like Amazon, for example.

Real use scenario

The LENSGO Smoke S Mini worked pretty well and was easy to use in all the tests I ran. The unit only has two buttons, one for turning the machine on and off and another one for releasing the smoke (pressing twice), and stopping it (pressing once). LENSGO categorizes the included accessories in modes like ‘Portrait’, ‘Dry Ice’, and ‘Incense Burning’, so you get the idea of the different effects you can create. I used it for video and photography with different modes.

The first thing that caught my attention was how valuable the accessories are in shaping the smoke and getting different effects, as they are not only gimmicks but really helpful tools to create different smoke shapes. That said, the smoke effects take place in the first seconds of release, with a defined shape and density. After 15-20 seconds, the smoke blends and spreads evenly, like ambient haze. That will give you the best of both worlds: the smoke for precise and stylized effects and the atmosphere to create volume and separation.

The liquid, as advertised, has no smell, and it did not affect my eyes or my breathing. However, like with any smoke machine, it is advisable to ventilate the area after using the product.

The only thing I didn’t like about it was that some liquid leaks, especially if you release the smoke directly from the tank without any of the accessories. After using it for some time, I noticed liquid drops inside the pipes. However, this does not affect the unit’s functioning. I just cleaned the liquid before putting the unit away after I was finished.

The remote control is another helpful add-on for when solo shooters are doing all sorts of jobs on set. With a simple press of the button, you can release the smoke and film at the same time or even be in the shot if wanted. That also keeps you from wasting liquid since you won’t have to run to the camera and waste those seconds of smoke.

Conclusion

I liked this Smoke S Mini for my everyday use. It is small, portable, simple to use, gives lots of shaping options, and has enough capacity for a full shooting day. I see myself using it in food and product photography and videos, portraits, small documentaries to give the locations a film touch, and stock footage where the short length of the shots fits the output of the Smoke S Mini. The fact that you don’t need electric power to make it function is a blessing for my shooting style.

On the other hand, the features that make this unit shine are also where its limitations are. For bigger shots and locations or extended shootings, such as narrative scenes with dialogue and where one undoubtedly spends hours on a lot more takes, I would prefer a bigger unit, like the LENSGO Smoke B or even a bigger smoke generator unit. Also, the USB input is at the bottom of the unit instead of on the side, meaning that it can’t be charged standing in a vertical position. Other than that, this small Smoke S Mini offered more than I expected!

Pricing

LENSGO will sell the Smoke S Mini for $99, but during the campaign, they are offering the current specials:

Perk A: 300 units for $69, 500 units for $74, Limited exclusive early bird price $79

Perk B: Two units for $139

There are many other perks available on the crowdfunding campaign page, so please head there for additional information.

The LENSGO Smoke S Mini is now being featured on Indiegogo. As always, please take into account that backing a crowdfunding campaign has its risks. We encourage you to research and remember that there is a chance for delays and changes in the final models, and some products are never delivered. Please read Indiegogo’s terms and conditions carefully before backing a project. However, LENSGO is an established and trustworthy company in our industry.

For full disclosure: CineD receives a percentage of the revenue (affiliate share) made from backing up this project on Indiegogo.

What do you think about the LENSGO Smoke S Mini? Would you include it in your equipment for small shootings? Let us know in the comments below!

Disclaimer: Let me first say that I am not an iFootage Ambassador. However, the company sent us the product free of charge to review it. This review is my unbiased opinion, as iFootage did not modify, influence, or give input about the article before its publication.

A roller bag love/hate relationship

If you’ve been following us for the past few years and have read some of my articles, you should know by now that I’m slightly obsessed with bags in general, especially when it comes to carrying my filmmaking equipment. In case you missed it and want to get a sense of my fixation on bags, you can read my previous reviews on the PGYTECH OneMo backpack and the Manfrotto PRO Light Flexloader L – which I still consider one of the best all-around filmmaking backpacks to this day.

As someone who has used a wide variety of flight cases, handbags, backpacks, roller cases, and roller bags, my relationship with the latter has evolved over time. Indeed, when I was in my 20s, carrying heavy equipment on my back or shoulders for 10 to 12 hours was not an issue. I could move back and forth and choose rolling cases/bags depending on my mood and project. Now that I’m in my 30s, I can tell you that all my heavy camera kit lives in a – unfortunately, now discontinued – Manfrotto Roller Bag-70. Nonetheless, in my opinion, it remains one of the finest large roller bags available for local or national shoots that don’t involve air travel or the need to check my bag.

As I now mainly shoot as a one-man-band filmmaker, my quest these past couple of years has been to create an efficient shooting kit with everything needed for 90% of my most common shooting scenarios and talking heads: two cameras, lenses, two camera tripods, some LED lights, light stands, and so on. I aim to carry everything independently and make my life/day on set as smooth, efficient, and easy as possible. Indeed, I hate wasting time making multiple trips from my car to the shooting location and the other way around. Currently, I use one rolling bag for my camera kit and one backpack for everything else, i.e. lighting/accessories. While this setup works for me, there are still many times when I thought to myself “Two roller bags would have been nice and maybe easier to move throughout the day.”

With the introduction of their first lineup of bags in September 2023, iFootage has launched a seamless lineup, featuring two backpacks—the Beava Backpack 35 and Backpack 50—alongside a single roller bag. So, will the beginning of iFootage’s journey in the camera bag industry be as successful and prolific as its camera accessories and LED lights? Let’s find out!

iFootage Beava Roller 35 specifications

The iFootage Beava Roller 35 is a reasonably large bag that officially measures 61 x 36 x 35cm/24 x 14.1 x 13.7in (length x height x width) for an empty weight of 3.85kg/8.48 lbs. Based on my measurements, the external dimensions are a tad smaller than what iFootage claims. While the length is 61cm/24in, the height measures 36cm/14.1in when the bag is open, reducing to approximately 30cm/11.8in when closed, and the width is 32cm/12.6in.

As usual with camera bags, the internal dimensions are slightly smaller at around 46 x 23 x 26cm/10.2 x 5.9 x 18.5in from my measurements.

iFootage is not very specific about how much gear you can store in the Beava Roller 35, but according to the promotional pictures, the bag can take up to two mirrorless cameras with lenses attached, an extra telephoto zoom lens, and a small LED light with its ballast. Of course, it all depends on how you set up the eight included dividers. Furthermore, the Beava Roller 35 has an interesting two-stage design that allows you to put more small gear on top of the main compartment, but we’ll talk about that in detail later.

Design

The exterior and interior design of the Beava Roller 35 is austere; the outside of the bag is entirely black, and the company played on the different materials to give it some depth. The zippers have a light touch of red on them.

On the front pouch, you’ll also find the iFootage logo in red. Last but not least, the wheel safety covers are also bright red, but since these are made of shiny plastic, they don’t look very “high-end” to me, but it’s personal taste.

To summarize the design, the Beava Roller 35 doesn’t stand out much in a crowd, which is a good thing for any bag that you plan to use for carrying any kind of camera equipment.

Build quality

The outside of the bag is made of waterproof nylon. This kind of ripstop nylon fabric is used to make military clothes, and all the bags I have had over the years that used this material still hold firm. In short, I have almost no doubt that this bag should both age and survive life on a film set well.

Please note (and this is not specific to the iFootage bag), but bags made out of waterproof nylon easily attract dust and marks, and it’s no different for the Beava Roller 35. Even if I’m kind to my gear, I often shoot in dirty environments – i.e., industrial factories, cities, and streets – so my bags get sludgy reasonably quickly. When you’re back at home/office, a wipe with a wet sponge or microfiber cloth cleans the bag quickly and easily, but it is worth mentioning.

iFootage looks confident with their choice of the bag’s design and fabric, as the bag doesn’t have a removable rain cover. I did not stress-test the water resistance, but I had no issues under light rain and on wet ground. Like every bag and case, I would still be cautious under heavy rain conditions.

The bag’s flat bottom is made of a different rugged/reinforced waterproof material that looks very resistant. You’ll also find two round “feet” at the base so the bag is not in direct contact with the ground. Next to the wheels, the other bottom corners are reinforced for extra protection.

The iFootage Beava Roller 35 is built around an internal metal frame for the main compartment, which makes it a very rigid bag.

Some parts, such as the side handle and the wheels, are secured to the internal metal frame via large Philips screws, which feels reassuring.

However, out of the box, I was not overly impressed with the build quality of the Beava Roller 35. Don’t get me wrong, the quality of the fabrics employed look and feel great. However, the devil is in the details, and some parts, such as the retractable T-shaped handle, the magnetic handles, the wheels, and the zippers, did not impress me for a bag in this price category.

Zippers and shoulder strap

When I opened the main compartment, I instantly thought that the waterproof zippers – even if they are made by YKK (the zipper industry leader) – felt a bit stiff.

Also, on both ends of the main compartment zippers, the upper and lower zipper stops, and the bottom and top tape extensions are not sewn to the bag but just hang loose. This design was done on purpose so you can fully open and unfold the main compartment (more on that later), but it lacks rigidity when you reach the ends of the main compartment zippers. Furthermore, you cannot open it with one hand.

During my time with the bag, I stressed the zippers on purpose and did not have any issues, but they don’t “feel” perfect or as smooth as I would have liked.

Next, the bag comes with a removable shoulder strap that attaches to two plastic hooks sewn on the top of the main compartment. It means that when you open the main compartment, the shoulder strap attachment hooks open with the bag.

This is not an ideal placement, as this top lid is not the sturdiest part of the Beava Roller 35, and they change location when you open it. I would have preferred to have the shoulder strap attachment points located elsewhere – for example, on the left/right side of the bag.

The shoulder strap itself is well padded, and it is easy to adjust – no complaints there.

Handles and front pocket

To grab the bag, there are two handles: one on the left side (or top if the bag is sitting vertically), which is sewn/screwed, and two collapsible magnetic handles on the top. The left side handle, as mentioned before, feels robust and can take some weight. I felt that another handle was missing on the right side, below the wheels, which would be handy when grabbing the bag from both sides.

For the collapsible magnetic handles, it’s a different story. Despite their solid feel and smooth sliding action, the intention is for the two handles to connect when pulled out via built-in magnets in the handles. I loved the concept from the iFootage promotional video.

However, I can’t find another way to explain it other than to say that the magnets are not strong enough. When you join the two handles together, they barely hold. To give you an idea, a slight touch with one finger is sufficient for the magnets to disengage and the handles to open.

T-Shaped carrying handle

Like every roller bag, the iFootage Beava Roller 35 has a built-in carrying handle. Instead of going with a one-tube design like some Think Tank or Lowepro roller bags, iFootage went with a two-tube design, which is usually more rigid and sturdy. However, while most competitors space the two tubes of their handles quite a bit, iFootage took a different direction and went with reasonably close ones.

Press the button on the handle, and you can fully extend the T-shaped tubes.

When fully extended, the carrying handle is held in place with only one locking pin, which feels light to me. In addition, the carrying handle wobbles a lot and inspires little confidence regarding its long-term life. While the mechanism of the two tubes is metal/aluminum, the handle’s top is plastic. Also, the two metal tubes have some flex to them, and I would worry that if they took a fall or a hit, they could bend easily, meaning the folding system might not work as expected anymore.

Wheels

At the bottom of the bag, you’ll find two rollerblade-like wheels with an outside diameter of 85mm from my measurement, while iFootage claims a diameter of 80mm. According to iFootage, these “large rubber premium wheels absorb shock while eliminating sound to create a smoother travel experience and additionally decreases the rev speed which will produce less noise while in use.” I agree, the wheels are silent and pretty smooth from sidewalks which are smooth and easy for a rolling case, to cross/offroad terrains. With decades of skateboarding behind me, I would rate and compare the hardness of the iFootage wheels at around 100A, just a bit softer than Pelican case wheels. In contrast, I usually prefer softer 80A/85A wheels for camera equipment. Let me know in the comments if you get what I mean regarding the reference to the wheel’s hardness!

If you need to replace one of the wheels, it is doable by the end user. You’ll have to remove the bag’s internals, some screws, and the entire wheel assembly.

Pockets and compartments

The iFootage Beava Roller 35 is a simple bag and doesn’t have a plethora of pockets, which is handy if you want to keep things simple. Indeed, the roller bag only has one exterior pocket with two compartments at the front and a trolley sleeve at the back.

The trolley sleeve has a width of 23cm/9.05in and a velcro strip, which allows you to strap it to another trolley without having to make the entire bag slide through the handle.

The front pocket has a width of around 34cm/13.38in at its narrowest point. At the front of the front pocket, there is a little compartment that is a bit smaller with an opening of 30cm/11.8in and a height of 23cm/9.05in. There is nothing fancy about that little front compartment: no dividers or pockets inside, but it’s handy to throw cables or items you need to grab quickly.

Inside the front pocket, you’ll find two large meshed dividers and five small net ones to store pens, compact batteries, and small accessories. Lastly, there is a built-in detachable key ring.

If we want to be a bit picky, the Beava Roller 35 doesn’t have a laptop pocket/compartment, but I wouldn’t carry my laptop in a roller bag, so it did not bother me. Also, this roller bag has no tripod or light stand attachment points. I like to carry my tripod or light stands strapped to my roller bag: it gives me a free hand, saves my shoulders, and I can move everything at once.

Interior design

The Beava Roller 35 is built around a rigid metal frame that helps keep the bag in shape. Now, let’s move to the bag’s interior by opening the long waterproof zipper. Once you open the zipper, you’ll have to fully open the two sides, which are also part of the metal frame, revealing a large opening of around 18.5cm/7.28in. The opening mechanism feels very sturdy and reassuring; it’s a pleasure to open and close it. The inside of the bag has two layers: a top and a bottom/main compartment.

The top compartment is basically one giant removable divider velcroed to the inner liner of the bag. This top compartment has a maximum height of around 10cm/3.93in. Also, there is no way to put any divider on that top section.

However, the bottom layer has built-in velcro that can be used to strap/secure some gear and prevent them from moving around. You can use this top compartment to carry a gimbal, an LED lighting ballast, or small accessories you want to keep at your disposal.

As I mentioned, you can remove the top layer if you don’t need it and want to maximize the bottom/main compartment’s size.

When you flip open the top compartment, you easily access the bottom compartment, which measures around 49 x 24 x 14cm/19.3 x 9.4 x 5.5in. This compartment is where you’ll store your camera, lights, lenses, and all the critical pieces of gear.

Dividers

For the main compartment, the Beava Roller 35 comes with two full-length dividers, three medium dividers with a width of 9.5cm/3.74in, and three small dividers that are 7cm/2.75in wide.

The dividers have a thickness of around 0.7cm/0.27in and are pretty rigid. There is a stripe pattern on the dividers where the firm padding is. These thin dividers only take up a little space inside the bag, giving you more room to store camera equipment.

Once velcroed to the inner liner or full-length dividers, the dividers stay in place and don’t come loose. 

The full-length dividers have two small sections on each side that can be flipped. However, you can’t use one full-length divider as a full-width divider by flipping these two peripheral shorter sides. 

After using the iFootage Beava Roller 35, I found that I ended up not using the second full-length divider. It’s nice that the company includes two, and you might have a use for it, but considering the type of large gear I carried, I seldom used it. So, how much gear can you put inside the iFootage Beava Roller 35?

iFootage Beava Roller 35 – carrying capacity

One of the main reasons to choose one bag over another, except for its design and features, is how much gear you can throw in it. The iFootage Beava Roller 35 was primarily designed as an all-arounder to carry an entire camera kit, including one or two cameras, lenses, but also LED lights, a gimbal, and multiple miscellaneous pieces of equipment.

I would consider the Beava Roller 35 more suited for mirrorless or small cinema cameras. Indeed, the relatively “small” 14cm/5.5in height of the main compartment limits the amount of gear you can put inside if you don’t want to sacrifice storage space by removing the top compartment. The Canon EOS C70 is one of the tallest cameras that can fit. No problem either holding a RED KOMODO/V-RAPTOR or a Sony FX3/FX6, for example. However, don’t expect to store a Sony FX9, a RED DSMC2, a Canon EOS C300 Mark III/C500 Mark II, or a fully-rigged camera. The same height limitation applies to lenses, which are often too long to be stored vertically. This means you’ll need to store/carry lenses horizontally, which wastes space.

I tried multiple interior layouts, and here is what I was able to carry at best:

• One Aputure 200D LED light with the power supply and cables.
• A Canon EOS C70.
• One Canon RF24-70 F/2.8 L IS zoom lens.
• One Canon RF70-200 F/2.8 L IS zoom lens.
• Camera batteries and memory cards.

The top compartment could fit a DJI RS 3 Pro gimbal fully assembled easily.

While this is pretty decent, one main downside is that I felt I was wasting space and that the main compartment’s interior needed to be more versatile for my needs. Indeed, to get that layout to work, I had to combine multiple dividers to get to the reorganized width of the bag. I think it all comes down to simply having more dividers included or available to purchase separately to truly optimize what you can fit inside the Beava Roller 35. 

To give you an idea, my Manfrotto Roller Bag-70 – which is just a little bit bigger than the iFootage Beava Roller 35 – can carry twice as much camera equipment due to a more optimized divider layout, even if it doesn’t have two compartments. However, the Manfrotto roller is less suited to carry LED lights and gimbals. You can’t have your cake and eat it too…

Finally, I would say that for photography equipment, which is usually smaller than video gear, the original divider layout of the Beava Roller 35 could be okay.

Final thoughts

To summarize this review, after spending a couple of months with the Beava Roller 35:

• The bag’s design has many good ideas: removable shoulder straps, full-width openings like doctor’s bags, two compartments, large and replaceable wheels, etc.
• It has a pleasant overall build quality, but many details could be improved, such as the T-shaped carrying handle that wobbles, the feeling of the zippers, and the magnetic carrying handle that doesn’t stay in place.
• There is some room for improvement regarding the dividers’ layout, the number of included dividers, and their versatility.

For their first series of bags, iFootage did a good job with the Beava Roller 35. It ticks many boxes, but it clearly has some room for improvement: adding a handle at the bottom of the bag, and a way to securely close the bag with a TSA lock would be a great addition; fix the retractable handles’ magnets that are not strong enough, reinforce/change the design of the T-handle, as well as adding more pockets to carry equipment or handy accessories, to list a few. 

And now, for the important final question: is this bag for you, and should you get it? Firstly, if you’re a filmmaker, it will depend on what camera you use. As you can tell from my review, there are many points to consider, but as this is iFootage’s first attempt at creating a bag, I’d say they did fairly well. 

Personally, I would have loved to see a more robust solution and greater attention to detail, but all in all, it mainly depends on the type of equipment you carry around with you. I have no doubt that iFootage will do its best to improve this product in the future.

As usual, when buying new equipment, I highly recommend doing so at a place that offers refunds in case the bag doesn’t suit your production needs.

Price and availability

The iFootage Beava Roller 35 is available now for $319. As a direct comparison, the Shimoda Designs DV Roller retails for $339.95, the Think Tank Photo Airport Advantage XT is $349.75, and the Tenba Transport Air Wheeled Case Attache 2214W is $224.95.

For more information, please visit iFootage’s website.

What do you think about this roller bag? Do you often use roller bags to carry your camera equipment? What is your go-to bag? Would you like us to review more camera bags? Don’t hesitate to let us know in the comments below!

As an ICG Local 600 Director of Photography and a frequent camera operator, I mostly missed the first generation of the Tilta Nucleus. Not because I wasn’t interested – I was just using other solutions like a Preston, Teradek RT, or even a Canon LANC zoom rocker. Since I, or my ACs, were already long invested in other systems, I only started to see the Tilta Nucleus system slowly begin to arrive on set primarily as on-camera zoom rockers (devices intended to simplify smooth, mid-shot zooming for an operator) or as backups for more expensive FIZ (focus, iris, zoom) systems.

It was while working on a spin-off series for Paramount+ that a Movi Gimbal operator first introduced me to his 1^st Gen Tilta Nucleus-M zoom rocker setup. I was immediately impressed by the simplicity and overall cost. Fast forward a few years, and while working on Game Changer S7 for Dropout.tv, I needed a zoom rocker and wireless follow focus (for some specific promo moments), and it just so happened a Tilta Nucleus Nano II was in my set bag ready to go.

First impressions

The Nucleus Nano II ecosystem is made up of a handle, handwheel, and motor or motors. Notably, it doesn’t require a motor driver (typically a small box placed on the camera to help wirelessly control the motors on other systems). There is some crossover between the functionality of the handle that isn’t included in the base kit and the handwheel (both can control motors independently if needed). The handwheel (weighing a little over half a pound) even has a physical side switch called a “zoom rocker” in the menu, which complicates things because, technically, the handle wheel and handwheel knob can do the job of a zoom rocker, too. Confused? Don’t be! In short, whether you want to control your iris, zoom, or focus while holding the camera, or if you want an AC to do it — all are possible with this system. More on this later.

Having used significantly more expensive wireless focus systems, I expected something on the plasticky side with a significant wireless delay or perhaps a clunky menu system. I was wrong on all three points. If anything, the touchscreen is brighter, more responsive, and easier to navigate than its more expensive analog-feeling competitors. However, the on-screen buttons do tend to be on the smaller side, requiring a light and specific touch, or you’ll miss your intended input. I didn’t find it took long to get used to the menu screen, and the auto motor calibration is easily triggered by a long press on an exterior physical “Function” button.

Swiping left or right takes you away from the main FIZ screen to screens displaying different info where you can lens map to specific lens types and save that info for the future. Swiping up allows you to dive deeper into the menu. Accidentally swiping left or right mid-shot will disable the ability to use the focus knob. Still, a digital lock and unlock button in the bottom right of the touchscreen prevents you from accidentally opening another menu in the middle of filming.

A physical TF/DP button lets the knob spin indefinitely or allows you to set stops in either direction.

Typing out longer text on the handwheel (such as connecting to a Wi-Fi signal for Firmware updates) tends to take a while. Still, with patience, you’ll be able to type out even the longest passwords on the 1.6″ touchscreen, and the fact this even has built-in Wi-Fi and Bluetooth connectivity is pretty amazing.

Setting A and B focus points is easy (a single button press for each point), and you even get a haptic vibration response when hitting either point. I initially found the haptic response too distracting, but you can tune the vibration level easily with a quick hop into the menu.

Though the handwheel is plastic, it doesn’t feel delicate, and I’m not worried about damage during normal use. The motors are also light, and they’re easily installed on 15mm rods when powered by a USB-C cable (daisy chaining is possible, too, with multiple motors).

The rear of the handwheel has a locking nato system that is really intended for use only with a Tilta handle, or you might damage the electrical contact pins. But since I needed a zoom rocker solution on this show, I carefully used a small clamp paired with an articulating arm and a tiny nato piece from Wooden Camera to mount the handwheel to the tripod handle. Then, I used my thumb to control an S35 Canon Cine zoom.

Power

Each of the three components of the Nucleus Nano II system is powered in different ways, which annoyed me initially (standardization is always more user-friendly). Still, I quickly got used to the need for continuous USB-C power for motors, an internally charged battery (also charged with USB-C) in the case of the handwheel, and an NP-F550 / NP-F570 battery for the handle.

In my experience from on-set use, the handwheel lasts for about 10-ish hours (not constant use). At one point on a later shoot day, I even used a power bank dedicated to my iPhone to give it a quick recharge while on set.

One of the points of divergence between the Nucleus Nano II system and more expensive systems is the general use of USB-C cables. My Teradek RT kit relies on locking Lemo connectors that you really need to work to pull out accidentally. On the other hand, the included Nano II USB-C cables jut out significantly from the camera body. Perhaps a right-angle USB-C cable would be the way to go here, but I do appreciate how ubiquitous USB-C is, so replacing a broken cable would be simple.

My preferred way of powering the motors is with a D-Tap cable to USB-C, but Tilta makes a $49 power distribution plate that takes NP-F550 / NP-F570 batteries in a pinch. Tilta also makes a D-Tap to USB-C cable. Another accessories brand called Kondor Blue does, too, and both have worked for me without issue. In the case of a stage show with a stationary camera position, you could, of course, power everything off available wall power with long enough USB-C cables (the handwheel works while charging, too).

Setup

Charge the handwheel, add a battery to the handle (if you are using one), get your motors connected to your favorite power method, and you are ready to start. Power on the handwheel by long-pressing the record button (same for the handle), click on “connection” in the menu, and then go to 2.4 GHz to pick channels and assign them to various motors by clicking “search.” Double-click the single button on each of your motors to enter pairing mode, and you’ll see them pop up one at a time in the menu. Once they’re connected to the handwheel, you can assign one of four colors to each of your motors by clicking the button on the side of the motor. Pick the color that corresponds to the motor placement on your lens.

• Purple: Focus
• Blue: Zoom
• Green: Iris
• Other: Yellow (intended for the Variable ND Filter / Mirage Matte Box)

As I was initially using this system only for op-controlled zoom, I set the zoom to the large knob in the menu (normally devoted to focus in default mode) and messed with torque and sensitivity in the menu until I found a happy medium where I was able to dial in the smoothness of the zooms.

Interested in controlling additional menu settings of your camera using the handwheel? Several cameras support that functionality, and Tilta promises more are being added all the time. You can see the currently supported list for camera control HERE.

When power cycling the handwheel, it will remember the last settings and re-connect to both the motors and the Wi-Fi (if you had previously connected).

Calibration is simple, and auto-calibration worked fine for me while using lenses with hard stops. For calibrating lenses without hard stops, use the manual option. It requires you to move the motor to both close focus then infinity, and it asks for confirmation each time.

How affordable is it?

Tilta has a basic kit that includes a single motor and the handwheel for $299, and this really is enough to get you started (while being mindful of how you want to mount the handwheel. It could be hand-held in a pinch). Additional motors cost $119 (each includes a short USB-C cable and 0.8 pitch gear adapter for DSLR or Mirrorless optics).

A Tilta Nucleus Nano II Handle costs an additional $149. The handle is necessary for controlling a third motor (using the wheel), or you might find it necessary just to make it easier to hold the handwheel. The motor also charges the handwheel from the internal NP battery. Alternatively, you can use the handle as a zoom rocker, and the joystick and onboard wheel can control motors without the handwheel – all helpful for an operator.

You might consider an articulating arm, a nato rail piece for mounting the handwheel on a tripod arm, and a D-Tap to USB-C cable as additional costs.

Who is the perfect Nucleus Nano II user?

Tilta proposes in some of their marketing communications that the Nucleus Nano II be a “backup” focus system for professionals and we should unpack that statement a bit. For one, the Wi-Fi range of the Nano II system isn’t as good as the higher-priced systems I compared it to, so perhaps this isn’t the system to go to for techno cranes and car-to-car. When purchasing, consider your own needs.

The choice of USB-C comes with pros and cons. True, replacement cables are easy to source, but if an operator accidentally clips a door frame, you may lose a motor mid-shot in a situation where a locking cable would have been fine.

Each Nucleus Nano II motor provided a surprising amount of torque and worked fine with the Canon Cine series zooms, SIGMA Cine primes/zooms, and Atlas Orion Anamorphics I tested it with. I didn’t have a chance to test vintage optics with stiffer rings, but I imagine you would be in good shape there, too, given the amount of available power from these affordable motors.

If you’ve never worked with a zoom rocker or wireless follow focus, then this is the perfect starter kit for you. I also tend to agree with Tilta that this can be a perfect backup kit for professionals should a Preston, Teradek RT, or ARRI system go down on set. Also, not all cine zooms offer compatible servo units (for example, SIGMA Cine products) and this essentially turns cine zooms into servo-move-capable lenses if your project demands that type of look.

Firmware update

From the moment the Nucleus Nano II system arrived, multiple firmware updates were available for each of the handwheel, motor, and handle components. Initially, there wasn’t a ton of information about exactly what features these updates were adding, updating, or fixing, but Tilta now has a changelog giving users helpful info about each update HERE.

To update the handwheel and motor, simply connect the handwheel to available Wi-Fi, navigate over to “system,” and click “firmware update.” To place the motor in update mode, you should hold the button on the motor (while unplugged) and then plug a USB-C power cable into slot 1.

Updating the handle requires holding the power and “M” button while turning the unit on and connecting the USB-C cable to a computer. From there, drag the firmware .bin file onto the handle drive to begin the update. Alternatively, you can connect the handwheel to the handle over USB-C and click handle update in the firmware menu. In this option, the handwheel and the motors bypass the need for a computer.

Conclusion & pricing

The Tilta Nucleus Nano II system, in one of those rare times in the cinema tech industry, is priced in favor of the filmmaker – you are getting tons of bang for the buck here at $299 / €289.30. The bright 1.6″ screen of the handwheel (dimmable if needed) makes me wish other manufacturers would add screens like this to their FIZ systems, which cost thousands more.

With the Tilta Nucleus Nano II system, camera connectivity, a side effect of a 3rd party manufacturer interacting with multiple camera manufacturers, may vary. The torque is strong enough for most lenses, that is, if you aren’t too far from the camera. And the menu is easy to navigate.

Tilta’s consistent Nucleus Nano II firmware updates suggest they plan on supporting this system for years to come, and the fact that the original Nucleus-M was introduced in 2018 also supports that idea. The Nucleus Nano II is now a fixture of my DP/Operator kit alongside my Ultra 5″ SmallHD monitor, and my Ergorig.

What do you think of the Nucleus Nano II? Have you ever used one? Would you consider adding one to your kit? Let us know in the comments!

I love camera operating and try to do it wherever possible – even on larger sets where I wear different hats. There is something about the connection you get with your subject while operating that is unique and that doesn’t quite carry over to a monitor at Video Village. Towards that end, I am laser-focused on operating gear that works with me and doesn’t add pain or discomfort over long hours. Lately, I’ve been a fan of the Ergorig from Cinema Devices for support. Still, monitor placement is equally important (to avoid neck injury), and a quality shoulder rig is right at the top of the priority list. Your shoulder rig choice shouldn’t be an afterthought, and there are a bunch of affordable options out there, but keep in mind quality may vary.

Some shoulder rigs are specifically designed for a single camera system, but there are a few that could be considered “universal.” Here are just a few of the lower-mid-cost competitors:

• SmallRig Shoulder Rig Pro Kit – $335.00
• CAMVATE Pro Shoulder Mount Rig – $286.00
• SHAPE ARRI Dovetail Shoulder Mount with Handles – $666.75
• Zacuto ACT Baseplate – $295.00 (Handles sold separately)
• ikan Stratus Shoulder Rig System for Cinema Cameras – $299.99
• Kondor Blue Shoulder Pad Air Rig – $699.99
• 8Sinn Shoulder Rig Kiti with 15mm LWS Baseplate – $699.99

My history with Tilta as a brand began in the RED DSMC 1 era with a RED Epic Dragon rig. The price was competitive at the time, but it wasn’t my favorite rig overall. Since then, the brand has progressed significantly while sticking to affordable price points. I’m seeing Tilta products on larger and larger sets these days, and their Nucleus Nano II Follow Focus / Zoom Rocker is especially impressive. (Nano II review coming soon).

Tilta markets the Lightweight Shoulder Rig as geared towards “compact camera rigs.” I might be pushing the definition of “compact” a bit with my Canon C300MKIII and SIGMA Cine Zooms, but at about 5 lbs. (2.268 kg) for the body itself, this isn’t a particularly heavy camera. I just think Tilta intends this rig more for the likes of the RED Komodo, Sony FX3, Canon EOS C70, or even a Canon EOS R5 C with DSLR glass.

Either way, it works fine with my Canon EOS C300 Mark III, and I feel like other more mid-sized cine cameras like a Sony FX6 would do well, too. Moving on.

First impressions

It is hard to overstate how much I enjoy self-contained kits, and this shoulder rig comes in a semi-rigid hard case with plenty of interior room that suggests it could take a hit or two without damaging the overall rig. Having everything in a kit means I don’t need to dedicate the time to figuring out another solution. It’s also easy to throw in my vehicle for a shoot at the last minute while having the confidence it’s all good to go when I land at the location.

The main components of the Lightweight Shoulder Rig are the following:

• 15mm Rod Mounts (dual at the rear, and one near the front)
• Baseplate (Arca and Manfrotto compatibility)
• Quick Adjustable Rosette Arms (additional cost from the core kit)
• Shoulder Rig
• Back Shoulder Pad

Out of the case, everything assembles quickly. The first thing I noticed is an adjustable horizontal bar that allows the rig to be quickly set on a flat surface or for added flexibility with the two front handles. I do wish the locking screw for this bar had a safety catch element because loosening this screw while the camera is on your shoulder will tip the weight of the camera forward (something to be mindful of).

The handles are comfortable and feature a fully adjustable arm on either side, allowing for different operator body types and heights. Everyone wants their handles in different places depending on the gig, and this system lets you do just that. Add the quick-adjust rosettes (available as part of a more expensive kit), and this brings another layer of flexibility if you change your hand position often while filming. Some may prefer the locking knob over the quick-adjust rosettes. It just comes down to preference.

For power, you could install a battery plate like this one from Tilta on the back part of the rig itself, but my battery on the C300MK III affixes directly to the camera.

Unfortunately, the included camera plate only has 1/4-20 screws and not 3/8″-16 options, and it is designed in such a way that you couldn’t add 3/8″-16 screws even if you wanted to. Not a big deal for smaller cameras, but I appreciate combining both screw types for larger camera builds.

Everything is a stylish matte black made from aluminum alloy with rounded edges and no sharp points to catch on an operator or AC. A 1/4-20 mounting point on each handle gives you another spot to mount a small monitor or other accessories.

Tilta Lightweight Shoulder Rig – operation

Given the fact that “lightweight” is literally in the product name, you’ll be happy to hear that the overall rig is one of the lightest I’ve ever used. With the low weight, I was worried that corners might be cut in the strength of the overall material, but I didn’t see any sketchy bending or flexing despite having a camera rig at the top end of the overall system weight limits.

A useful design innovation here is the use of a back pad (see image below), an idea I would love to see find additional use in this accessory segment as a whole, and on future Tilta shoulder rig products – it’s that good. The back pad helps when you tilt down because it transfers weight to your back and not your biceps. If you have ever worked on a cooking show where you are often required to tilt from the chef’s face to the plate on the counter, you will immediately appreciate this design innovation.

There are also multiple mounting points on the back pad where you could add a counterweight like this one (designed specifically for this shoulder rig by Tilta).

Strangely, there isn’t a way to make this rig work with a VCT system, and that’s a bit of a bummer if you need to transition from tripod to shoulder and back. If you plan to live on your shoulder for the entire shoot day, then this lack of VCT compatibility won’t be an issue for you. Tilta, as a company, seems invested in the dovetail platform over VCT in most of their products.

And speaking of living on your shoulder – I love the cushion on both the back pad and the shoulder pad. It is incredibly comfortable and feels like you have a piece of memory foam between you and the camera: A+.

Quick moves and heavy use over a long shoot day didn’t loosen any of the knobs to the point where I felt like they were fighting my camera moves. At one point, I actually removed the left handle so I could just leave my hand on the lens barrel. Everyone is different, and having a shoulder rig that can keep up with different op styles is important.

I found the padded handle grips to be comfy, but you could upgrade one of these (depending on if you are right or left-handed) to a $157 Tilta Wooden Handle with Control Trigger – just double-check that your camera has the correct available trigger cable or the record button won’t work. The use of ARRI standard rosettes on this rig also opens up options from a few other brands as well if you want to mix and match components.

Tilta Lightweight Shoulder Rig – conclusion and price

The $339 / €344 Tilta Lightweight Shoulder Rig is priced competitively, takes lighter to mid-sized cameras, and, maybe most importantly, is very, very comfortable. The back pad is something I didn’t know I needed on a shoulder rig (can’t live without it now!), and the whole rig breaks down into a small kit for transport.

I find the adjustable horizontal bar to be a good idea, but in practice, the lack of a safety catch means it feels like a potential future failure point with extensive use – only time will tell there. The lack of a VCT mounting solution makes the overall rig a bit less flexible than it could be from job to job. The single 15mm rod mount is nice, but two would be better for lens support or additional accessories.

There are cheaper shoulder rigs on the market, but you’d be hard-pressed to find one that is this comfortable to film with. The Tilta Lightweight Shoulder Rig strikes the right balance between cost and quality.

What kind of shoulder rig do you use? Is there another one you could recommend? Let us know in the comments below!

H&Y, a company that specializes in making quality filter solutions, is now running a crowdfunding campaign featuring their latest invention, the EVO series filter system. There are two versions of this system – one for photographers and one for filmmakers. In this review, I’m looking closely at the video kit.

Filter solutions

It’s not that we lack lens filter solution systems. In fact, recently this specific market became saturated with many manufacturers trying their best to “reinvent the wheel”. 

And that is exactly the issue. Personally, I’m looking for a solid solution, yet one that can enhance my workflow when filming. 

So yes, there are great filter options out there, but innovation must be supported by “simplicity”, and while some filter solutions are potentially good, others are too unwieldy to use in the field. 

And this brings me to the H&Y EVO series filter combination. It is simply a great, easy-to-use system with a dual-mode design, which gives you the freedom to work in any way that suits you best. 

H&Y EVO series

The main selling point of this new system is its dual capability: filters can be attached to the lens either using a “magnetic approach” or, if you don’t trust magnets, it is possible to use the old “screw-in” method of attaching the filters to the lens thread. 

Why filters?

I can hear some of you asking why even bother working with filters at all. 

Well, there are a few solid reasons: 

If you are like me and enjoy spending your time behind a camera, you know the drill. Lens filters are an essential accessory to enhance images or help with telling a story. 

Regardless of this, there is also the technical aspect. For example, most mirrorless cameras don’t have a built-in ND filter to control and compensate for the amount of light entering the sensor, which is fundamental when filming and maintaining a certain shutter speed. 

This is when the H&Y variable ND comes in handy. When using it in “threaded mode”, it acts as a very versatile ND. But, in “magnetic mode”, it also acts as a circular polarizer. 

When it comes to lenses, many of the newer offerings are simply too sharp or lack identity to support the film look we are after.

In order to cut this “image harshness”, the H&Y EVO series includes Mist black and Mist white filters with a strength of 1/4. Depending on the look you are after, and your light setup, these types of filters are very welcome, especially in the age of digital filming. By the way, personally, I hope that H&Y will consider adding a 1/8 mist black filter for even greater flexibility. 

Last but not least, there are the EVO series effect filters. 

They consist of a streak blue filter imitating an anamorphic flare, and a short 4X Cross filter. 

Of course, it is a matter of personal taste if you’d like to use them or not. 

A well-thought-through filter solution

So to summarize: The video kit is very well thought through and includes all the essentials one might need when working in the field (ND3-1000+CPL, black mist 1/4, white mist 1/4, streak blue, short 4X cross, adapter ring, lens cap, and storage bag).

You’ve got to love the filter mounting flexibility and modularity, the filter glass quality and color neutrality, the super slim lightweight design, the durability, and the magnetic lens cap next to the storage bag. 

I didn’t test these filters on lenses beyond 400mm, but in order to keep sharpness, H&Y themselves are suggesting not to go beyond 400mm when using them.

One additional tip – in their Kickstarter campaign, H&Y is offering different filter thread sizes, like 67, 72, 77, 82, and 95mm. However, if you are already using lenses with different thread sizes but are interested in utilizing this 82mm filter system, you might find the H&Y REVORING variable adapter ring worth considering. This solution easily supports the new EVO filter system.  

When it comes to cost, during the crowdfunding campaign, H&Y is offering the new filter set at a very special price from $250 to $370, depending on the size of the filters. 

What do you think about this modular filter system? Does it ignite your curiosity to try it in the field? Please share your thoughts with us in the comment section below.

For the longest time, there hasn’t been much improvement when it comes to tripod legs. That is until a few years ago when Sachtler introduced the flowtech tripod, which was innovative because it has three plastic latches just below the head that allow for quick release of the entire leg by just releasing one latch per leg. You are still able to keep your hands close to the head to stabilize the camera.

Latch patent

As the flowtech turned out to be a great success, the patented technology prevented competitors from releasing anything comparable. Fast forward to 2023, and I was pleased to see the announcement of the new SIRUI SVT75 Rapid Tripod System, which, at first glance, looks like a product that has the same concept but in a more familiar shape. According to the company, the SIRUI Rapid legs have their own unique patents but use a similar latch design close to the tripod bowl.

SIRUI Rapid adjustment latches

The latches are made from aluminum, while the legs are made of round carbon fibre tubes. On the other hand, one of the downsides of the flowtech is the unusual profile of the carbon fibre legs, as they aren’t round in shape, which makes them wider, and also, impossible to attach accessories like magic arms. 

The SIRUI Rapid legs have a nice rubber attached to them, which makes them easy to grip and carry – similar to Miller tripods. But let’s stick to talking about the latch system for a short moment: the latches take quite a bit of force to release, which is probably my biggest complaint about them, but the overall built quality of the mechanism and the legs overall seem very sturdy; as if it could really take a beating.

Size, weight and maximum load capacity

When you release a latch, the other two stages of a leg below glide out easily – which makes the tripod just as easy and quick to deploy and adjust in their height as expected. 

A downside is that the SIRUI Rapid legs weigh 3.5kg/7.7 lbs without spreader, and the Sachtler flowtech is only 2.9kg/6.4 lbs without spreader. The SIRUI ones have a maximum load capacity of up to 25kg/ 55.1 lbs, which you will likely never reach even with a specced-out modern camera setup.

Mid-level spreader & angle adjustment

Staying on this topic, this mid-level spreader, which adds stability to the entire system and the length of its arms, can be adjusted to fit many positioning needs. The mid-spreader is attached to the tripod in a clever way using a hook system. By removing the mid-level spreader, you can also lock the legs at wider angles to get closer to the ground, at 50 and 78 degrees.

The lever to lock the legs at these positions is much better than on the flowtech tripods, which is quite small and flimsy.

For the leg adjustment itself, you need to use a bit of force, so I would always recommend doing this with both hands.

Minimum & maximum height

The SIRUI Rapid legs can put the tripod as low as 20cm/7.8 in above ground without counting the tripod head, which is extremely low and great for low-angle shooting. While talking about how low it can go – it can also go quite high with up to 153cm/60.2 in, which is the same height the Flowtech 75 from Sachtler reaches. 

Accessory mounts & sturdiness

Right below the 75mm bowl that holds the head, there are 1/4 and 3/8 inch threads to attach accessories like monitors with Noga arms, which are always great to have. 

The legs have spikes at the bottom, which is great for muddy grounds, and rubber feet are solidly attached for flat surfaces. I can’t complain about the rigidity of the tripod – it stands very solidly on the ground at any height I tested. 

SIRUI SVH15 – fluid head

This review is mainly about the new legs, but for the sake of completeness, let’s also mention the SIRUI fluid head that fits the legs: The SVH15 Drag-Control Video Fluid Head was introduced during NAB 2023. Make sure you check out our gear news video.

The head offers a stepless adjustment of both the pan and tilt axis using the turning knobs that read “Tilt Fluid” and “Pan Fluid”. This mechanism works quite well and allows for very detailed adjustment, and the movement remains quite smooth in all the settings I tried.

Counterbalance

The counterbalance knob has 7 steps which you set according to the weight of the camera rig mounted on top. This is also similar to Sachtler tripod heads. I love this feature, because you can remember the setting depending on the rig you use – whether it’s a really light mirrorless camera setup or a heavy rig. Just note that the minimum weight supported by this head is 4kg/8.8 lbs, so super light setups are not ideal – but you can go up to 15kg/33 lbs.

I noticed that when loosening both of the “Fluid” knobs all the way – and with the counterbalance set to the minimum setting of 1 – there is still some resistance in the pan movement, while it’s almost completely loose in the tilt. Not a huge issue, but just something to be aware of when you use a very lightweight rig. In general, it’s great to have some resistance in any case in order to be able to make smooth pans.

Pan & tilt brakes

The locking levers for pan and tilt work great and solidly lock both axes in place with a slight turn. The head can be tilted down 90 degrees which is great for top-down shots. It’s nice that the head comes with two handles, which is useful for broadcast-style operation, especially when you are using remote zoom rockers and a follow focus on the handles.

Tripod plate quick-release system

The plate is a quick-release system that is very well executed and I actually like it better than Sachtler’s quick-release plate.

All parts are made of metal including the levers, and the plate they are using is compatible with DJI RS2 / RS3 quick-release plates, so you can easily move a camera from one of those gimbals to this head. The length of the plate allows for easy adjustment of the center of gravity on the head depending on your rig. The head itself also features quarter-inch and three-over-eight-inch threads for accessories, like the legs. 

Tripod head quick-release

I love the quick-release half-bowl handle at the bottom because it can be released so quickly for balancing, and taken off within seconds if you need to remove the head. Once the head is removed, the half bowl can be taken off easily too, so you have a flat bottom head that can be directly attached to sliders, without having to use any tools.

SIRUI prides themselves that the head operates smoothly between minus 40 and plus 60 °C (or 104-150 Fahrenheit), which is indeed a crazy range. Of course, we weren’t able to verify this but it’s definitely impressive even if the smooth operating range is a little smaller. 

SIRUI SVT75 – summary

So, to summarize: what are the two things I love about this tripod and what do I hate about it? Well, I am simply amazed at how inexpensive the legs are! In its current crowdfunding campaign, the price starts at only $399. You can get a full kit including the head starting at $879. I also simply love the build quality – you can tell that a lot of thought went into this system. It feels very high-end and sturdy, and I think this can give a lot of more expensive tripod systems a run for their money, it’s just a tad heavy. But what do I hate about it? That it was only released now, in 2023, when I already have a bunch of professional tripods for all my productions, most of which cost a lot more money! But what can you do…

Final note: 

Although there is an established company behind this campaign, we feel obliged to say this at the end of every crowdfunding-related article: Please be aware of the risks when backing a project on a crowdfunding platform. Please read Indiegogo’s terms of use – especially the section about “Backing a campaign”. Keep in mind that there can be significant delays when delivering the product. Some products even don’t get delivered at all.

Guys, thanks for reading/watching this review on the SIRUI SVT75 Rapid Tripod System. Make sure to follow our socials and/or sign up for our newsletter to not miss any of the many reviews/videos coming your way. Let us know what you think of this tripod system and which one is your current favorite – down in the comments below!

Nextorage is a Japanese company that specializes in the development, design, and manufacturing of recording media devices. It was established at the end of 2019 by engineers and staff who previously worked at Sony.

B1 Pro Series vs. B1 SE

At the end of last year, Nextorage announced a couple of new CFexpress cards. The B1 Pro Series consists of four cards (165 / 330 / 660 / 1,330GB) and is aimed to serve those who are using the latest and greatest mirrorless cameras. Next, there is the B1 SE Series (128 / 256 GB) which is lower in capacity and is meant to accommodate the needs of photographers along with filmmakers with modest needs.

In my review, I’ll concentrate on the B1 Pro 1330GB card simply because it is the fastest and largest in the company’s arsenal.

Nextorage B1 Pro 1330GB – testing method

Testing media cards can be performed in different ways, and for those who are wondering, I won’t include card speed test slides simply because all those USB-C card readers are a bottleneck in achieving high data transfer rates. Currently, we are missing a Thunderbolt 3 card reader, so for our review, those won’t be relevant.

Saying this, who needs card speed tests if the actual testing is simply recording at the highest resolution, frame rate, and codec available?

This is why I’ve chosen the direct way. I simply took one of the most advanced mirrorless cameras on the market, the Nikon Z 9, and configured it to record internally in N-RAW at 8K/60p (highest data rate (5.8Gb/s). The card and camera might get hot, but I’m more interested in seeing if the card will choke at any point, or if it can actually record as long as the capacity allows. And by the way, 1330GB fits 30 minutes recording time of 8K/60p N-RAW. That means we had to record up to the card’s full capacity, then format it and repeat the recording again.

Now, this could be the shortest review I’ve ever done. Simply put, this card is phenomenal and did not stop me from recording at whatever resolution and frame rate I threw at it. I tried torturing it by recording N-RAW 8K/60p up to its full capacity, then immediately erasing the card and continuing to record on it as fast as possible.

The good news is that the Nextorage B1 Pro 1330GB card performed without any hiccups. The less good news is that the card and camera both got hot, but not to the point where they shut off immediately. In fact, it took a bit more than 1 hour and 45 minutes until the camera surrendered and showed us a black screen of death. Speaking of which, we also tried to record with the new Nikon Z 8 and the results were very disappointing as the camera got hot after 12 minutes and shut off completely after only 24 minutes. (In the above images we worked with Nextorage 660GB cards, so we erased the card after it was full and continued recording immediately afterward).

Next, we tried the card inside the popular FUJIFILM X-H2. Yes, the data rate the camera needs to record in 8K/30p ProRes HQ is lower than what the Z 9 just recorded in RAW, yet ProRes is becoming the defacto recording codec on these modern cameras so we wanted to see how well it worked. We recorded on the FUJIFILM X-H2 in 8K ProRes 422 HQ 29.97p = highest data rate (3.6Gb/s). The Nextorage B1 Pro 1330GB fits 42 minutes of 8K/30p ProRes HQ recording.

As you can see, it went rather smoothly up to 1 hour and 15 minutes of continuous recording before the camera overheated and stopped recording.

By the way, we decided to skip testing the EOS R5 C RAW recording as the Nikon RAW is more demanding.

Conclusion

The Nextorage B1 Pro 1330GB card is an extremely reliable recording media card. Is it the fastest out there? Maybe yes, but in all honesty, it doesn’t really matter because it can take whatever you give it. We never once had to stop recording because of the card itself, but rather always because of a camera limitation. Personally, I also like its capacity size. Many filmmakers are a bit concerned about using very large capacity cards due to the risk of potential data loss in the event of a complete failure. In my opinion, 1330GB is kind of the sweet spot between capacity and possible risk.

There are two points to consider when thinking about purchasing this card. The first point is the price. The B1 Pro 1330GB card will set you back $1,600. This is a considerable amount of money, but in this particular case, you do get what you are paying for.

The other thing to be aware of is that these cards are available for purchase primarily on Amazon. Is that a good thing or not – I’ll leave it up to you to decide. But, I would have loved to see these cards at other vendors like B&H and CVP.

Do you guys have any experience working with media cards made by Nextorage, and CFexpress cards in particular? If yes, please share your thoughts with us in the comment section below.

We have covered trade shows since forever and wanted to believe that we had learned a thing or two about how to bring the latest and greatest filming industry news to our audience in an unconventional way. Throughout the years, “things” of course have changed, but not fundamentally. When I say “fundamentally,” I’m referring to the core aspects of our workflow during show coverage. It starts with capturing footage and then handing over the recorded memory cards to one of our colleagues. They quickly rush to the press room to offload the card. Meanwhile, we have a dedicated editor stationed at the location, working diligently under time constraints to assemble video pieces. They also handle the task of writing corresponding articles and packaging everything for publication on our CineD website and YouTube channel. But then, the opportunity to work in a different way arose, and this is what I would love to share with you today.

Indeed, our team has been traveling to industry-related shows for years. Still, we never took the time to document ourselves on those costly long trips. For those who are interested in knowing how much effort goes into such excursions, here is a glimpse of our reality. After all, it is our duty to publish “polished” finished news pieces where videos need to be in focus, the audio needs to be clear, and maybe some engaging B-roll footage needs to be taken. Sounds easy, no?

Well, not so fast…What started years ago as a “stroll in the (show floor) park” became a demanding, structured task.

FUJIFILM X-H2/S cameras

FUJIFILM’s latest batch of high-end cameras, the X-H2 (review here) and X-H2S (review here) can shoot “directly to the cloud” thanks to the collaboration with Adobe’s Frame.io. In fact, the X-H2 was our camera of the year 2022, and along with the many reasons for liking it back then, being able to execute a Camera to Cloud workflow is another good reason to look at this camera again. Speaking of which, in our databases, you can find a lot more information about how the X-H2 and X-H2S performed in our lab tests.

FUJIFILM Camera to Cloud option for video

There is a FUJIFILM / Frame.io dedicated integrated Camera to Cloud option for photographers, but as the title says, I would like to concentrate on the Camera to Cloud option for video.

Let’s start by describing the basic idea and why it is so intriguing. Imagine the possibility of filming ANYTHING you want, and as soon as you press the stop button, files can be instantly uploaded to a “hub”. From there, your remote editor can actually start importing the footage directly to his/her timeline and start editing.

Well, we are still not entirely there as you will see later in this review, but the direction is certainly promising!

So we have the 2 FUJIFILM cameras, and in addition, one needs need to have a File Transmitter Grip, the FUJIFILM FT-XH to be exact. This device will improve the networking capabilities of the cameras with fast Wi-Fi (speeds up to 600 Mb/s) and wired LAN connectivity. Needless to say that the FT-XH is also serving as a much-needed battery grip, and can accommodate two additional NP-W235 batteries. (Believe me, you will need this extra power when leaving your camera “ON” for a long period of time while uploading the files).

Connecting to the Cloud and workflow

So, the first recommendation is to download the frame.io App. Then, set up your file transmitter (through the camera) to “talk” to your frame.io account and, of course, recognize the wifi network you are riding on. I know that one of the first questions asked is: “Is it secure enough to use”, especially when considering that the original video files are being uploaded? In all honesty, it is beyond my technical knowledge to judge if this connection between the camera and cloud (frame.io) can be hacked, yet both Adobe and frame.io are TPN certified (Trusted Partner Network – more about it, here).

Now that the FUJIFILM camera is connected to the cloud through a process that takes a few minutes, from that point onward, there is not much to worry about if all goes well. The thing is, every time there is an interruption in the connection, you will have to reconnect the camera again, but at least you won’t have to go through the entire setup process.

Seeing the “magic” happening is joyful. Stop recording, and the video will is displayed in your frame.io account almost instantly. This also means that anyone from your team, regardless of where he or she is, can see those files and immediately start working on them (watching, logging, or editing). One important thing to remember is that the uploaded video files are NOT full-resolution, in case you were filming in 4K resolution or above. Those will be recorded into the CFexpress card while what is being uploaded are 1080 proxy files. For some instant work, those will be enough in terms of quality to release on YouTube, but as we tend to upload 4K versions of our show coverage video, Rachael, our editor, re-linked the video files to the original 4K ones.

Like us, I guess that one of the first questions you are asking is: If the transfer of video files is interrupted, then what? Well, as Victor Ha from FUJIFILM describes it, the system was designed to pick up from where the interruption occurred. In reality, it worked out flawlessly, and we gained confidence in the camera and file transmitter knowing that even if we were not uploading any more “live” files, when the connection resumed and the camera was “ON”, the process of uploading would continue without having to worry about it.

Hiccups on the show floor

While FUJIFILM did everything they could to supply us with a dedicated wireless connection (next to a dedicated frame.io account that could handle the amount of footage we were uploading without any limitations), the NAB show floor is simply “hard to bite” when it comes to a smooth “wifi ride”. With so many parallel wifi setups and DMX controllers working in such a small, crowded space, in no time we started to face issues with uploading the videos. The good thing is that in our own “show job description” we were prepared for this, and as a result, we made two fundamental decisions:

• We were not competing with anyone but ourselves. So we took out the “competition” element.

• As this was our first engagement with a Camera to Cloud workflow, we could not afford NOT having an on-site editor, so if it all fell apart, we could always go back to the “running with the recording card to the press room” option. This was a wise decision (of course…:) ), and Rachael, our editor, was still getting the video files from the Cloud (when the connection resumed) and was able to delegate the editing work between herself and two more colleagues of ours in Argentina and Italy.

Any other options but a fixed Wifi network?

FUJIFILM was clever enough to bring to the show floor a few Sclera devices. This LTE “take it anywhere” bonded WiFi device uses multiple cellular carriers and custom high-gain antennas. This would have freed us up completely from the obstacles we encountered and described before, but even though it is relatively small, running around with another device (powered by a V-mount battery that adds weight) seemed like a less preferred option.

So we decided to use the Sclera outdoors. Together with the friendly people at DJI, we took out the newly announced Mavic 3 Pro drone for a test ride at the Seven Magic Mountains attraction on the outskirts of Vegas. And again, I couldn’t stop watching the clips mounting up on my frame.io App. Let’s face it, we were in the middle of “nowhere”, filming, and by the time we got back to the hotel, the news video was ready…

The aftermath

Michael Cioni, the person behind frame.io’s C2C sees a very defined future when in the early 2030s cameras will NOT contain internal recording media anymore, but rather have an internal satellite SIM card that will upload the footage directly to the cloud. Until this happens, we are very much restricted by two things that might be the Achilles heel of that engaging technology.

• Assuming you will not always be able to use fast wifi for uploading footage, the current actual LTE speed might be restrictive (not equal to all providers and countries).

• Data plans. Again, depending on where you are, if wifi is not available and you need to rely on your phone, for example, as the bridge between the camera and the cloud, the cost can be painful.

So in other words, as with many other emerging technologies (electric cars anyone?), it is the infrastructure that limits us from unleashing the full potential of what can be done with Camera to Cloud. Nevertheless, if you are a veteran of this industry, you might remember those big satellite trucks serving Electronic News Gathering crews at some events. Those big trucks got much smaller and were at times obsolete when replaced by LiveU units. I can easily imagine this happening to us filmmakers in the future. It is not for nothing that companies like Sony with their Creators’ Cloud or even Alteon are racing to capture the attention of users with cloud based workflow solutions.

Back to FUJIFILM’s X-H2 or X-H2S cameras and frame.io – I hope the following will be considered:

• The FUJIFILM FT-XH File Transmitter should find itself as a built-in inside of any (future) camera.

• Currently when working with Adobe Premiere and frame.io, one needs to “import” the footage from the cloud to the timeline. Hopefully, editing from “within” the cloud can become a reality soon.

• A better “viewing status” of the connection/upload to frame.io is needed.

• Currently, the white and grey indication on the LCD and EVF is very confusing. One really needs to look for it in order to know what’s going on.

• All related “Status/upload” and such needs to be grouped together and colored for easy viewing.

• There is a list (queue) of the files waiting to be uploaded in the camera menu. There was only an option to cancel (reset) all the uploading jobs, and I would like to be able to choose which ones I want to remove or which groups of files I want to remove from the uploading queue – for example only the RAW stills, etc.

• It would be beneficial if it was possible to choose exactly in which folder the camera uploads to in frame.io. I felt the camera was simply generating way too many subfolders.

Last words

A big thank you to the entire CineD team for making this documentary possible. Since NAB, we successfully covered Cine Gear but truly missed the Camera to Cloud workflow! Once you experience this, it is very hard to go back.

Do you have experience with working on Camera to Cloud workflow? If yes, how was your experience? Please share with us your comment in the section below.

All of us filmmakers working in the field know the drill – you generally shoot on multiple cameras throughout a shooting day. A main camera, a b-camera for interviews or on a gimbal, and a drone have become the standard everyday working equipment on my documentary shoots. But what’s happening when the long shooting day is over? Everything still needs to be transferred, labeled, and organized onto various SSDs or hard disks. It’s a lot of work that needs time and organizational skill, because there are often multiple cards from each camera, and you need to keep track of which one was already transferred and which one wasn’t … plus you need individual readers for each one. A sheer pain and it eats into your or your assistant’s evening after the shoot (or even worse, it forces you to stay on location to transfer data even after you’ve wrapped if you part ways with the producer/director and need the cards again on the next day.

Card reader stations – a possible solution

While we’re not talking about transfer management software here (yet this is something I highly recommend using to transfer data from multiple card sources and to multiple destinations at the same time), we will focus on the hardware side of things in this review. Using a combination of both transfer management software and a multi-card reader can make scenarios like the one I described above a lot less “painful” on a regular basis. Basically, it will take the stress out of your production when you are done shooting because you can plug in all the cards you shot at the same time with your computer and start transferring right away. 

There are multiple solutions on the market for card reader stations these days, but interestingly, most of them are either quite high-end (expensive) or quite low-end (inexpensive but low quality), with means that there was a gap in the market. And that’s exactly the type of gap that Pan seems to fill with their Pan’s Media Data Center. Let’s take a closer look.

Pan’s Workflow Station, a card reader hub with a small footprint

Pan’s Workflow Station Card Reader Hub is a modular card reader that holds up to 4 interchangeable readers at the same time. The station itself is built from a solid aluminum alloy shell, which gives it a nice sturdiness that surely can take a beating when shooting out and about, and at the same time, it’s reasonably light. The aluminum helps to dissipate heat that’s generated when high-speed cards are offloaded, which means it works without a fan that can generate noise and needs power, another plus. 

Pan’s will have 6 types of card reader modules available in total (they sent us 4, with two being released in the coming months). There’s a USB A+C module that gives you extra plugs for those two connectors (and essentially means you can plug in additional readers for other card types the reader doesn’t support). Then there’s a dual UHS-II SD card reader module and a separate Dual UHS-II Micro SD card reader module. Also available now is the CFExpress Type-B Card Reader module, and coming soon will be a CFExpress Type-A Card Reader – which is particularly good news for Sony shooters like myself because that type of card is the standard on Sony Alpha cameras as well as the Sony FX6 and FX3/30. They also announced a CFast 2.0 Card Reader, which should be coming soon, too. The only significant miss here for me personally is the lack of an XQD Reader – I shoot a lot on a Sony FX9, and there are also still lots of Sony FS7’s out there as well in everyday production, and it would be nice if finally, XQD would also be catered to with a dedicated reader. It’s not a huge deal though because I understand that it doesn’t make much sense to support a standard that is really on its way out now, plus, when using the USB A+C module, an XQD reader can simply be attached to the Pan’s Workflow Station as well. 

Not technically a card reader, but another module, is a small aluminum shell that allows you to mount a Samsung T7 SSD directly into the Workflow Station. A convenient solution that would also be great for other common SSDs from SanDisk, and so on.

The modularity of the system means that you can mix and match whatever combination of readers you need. For example, you might actually need 6 SD slots, and then you can simply use three of the Dual-SD readers inside the Workflow Station. Or combine it with any of the others. It’s straightforward, easy, and very adaptable to most work requirements. 

Each the module can be used individually as a reader as well – they all have a USB-C port at the back, which allows for direct connection to your computer using a USB-C cable. That, of course, makes it easy to hand off a reader to a colleague, if there’s an extra card that needs to be transferred elsewhere. If you need to work in a smaller space while on-the-go, simply bring the readers themselves, since they are so small. Plus, it allows you to connect extra readers to your computer on those rare occasions when you need more than four readers simultaneously with the Media Data Center.

Putting readers inside and taking them out of Pan’s Workflow Station Card Reader Hub is straightforward. There’s one button on the top with the “Pan’s” logo, which can be permanently illuminated by pressing a button on the back of the device. When you press it, any of the four readers can be removed from the Workflow Station. This is crucial information for anyone who is using the Media Data Center – I found myself pulling on one of the readers the first time I used it without knowing that the button on top is the release button, and I fear that the mechanism can be damaged if you pull hard enough. So the best would be to put a sticker with “Eject” next to that button to make it perfectly clear. 

Connectivity, write and read speeds, 100W power output

The Pan’s Workflow Station Card Reader Hub connects to your Mac or PC (or even iPad, for that matter) via USB 3, with the transmission speed of USB 3.2 Gen2, to be exact. It’s 10Gbps, downward compatible, which means it will work on all USB ports (even though you will need an adapter for USB-A, obviously). The Media Data Center does not work with Thunderbolt 3 or 4, which use the same USB-C-type connector, but different cables. That has some upsides and some downsides. The most obvious downside of course is that we cannot access the top speeds that Thunderbolt 3/4 allows, and Pan’s Workflow Station will practically provide up to 680MB/s transfer speeds, which is, however, fast enough for almost all kinds of applications. Also, and this is a big factor here as well, USB makes the device much more flexible than Thunderbolt: No extra power supply is required (and THAT is really so freeing for a card reader, exactly what you expect), and of course, the ability to use each and every reader individually with a USB-C cable is a big plus too. And there’s an extra bonus: Pan’s Workflow Station Card Reader Hub has an extra port that can output up to 100W of power to a connected device, which means you can power laptops or cameras via USB-C, for example.

I ran a few speed tests using various speed test tools with similar results, so I’m focusing on the results I got using the Blackmagic Disk Speed Test tool here. 

SD card reader test

With the Dual SD card reader mounted inside Pan’s Workflow Station Card Reader Hub, using an Angelbird AV PRO SD MK2 V90 card, I could get just over 250 MB/s for both read and write speeds on the card, with the read speeds reaching up to 260 MB/s. That’s very close to the card’s maximum speed of 300 MB/s. Connecting the reader only directly, without the Workflow Station, to my MacBook Pro M2 Max, the results were almost identical. It’s nice to know that the standalone reader gives the same results as the Media Data Center – great for portability. 

Apple received a lot of praise for finally putting faster SD card readers into their current M2 (and prior M1) MacBook Pro lineup, after actually dropping them completely on the last iteration of the Intel generation MacBook Pros. Prior to that, you were always much better off connecting an external reader to read your SD cards in terms of the transfer speeds you would get, rather than using the internal one. Not anymore. The current MacBook Pros actually give decent read and write speeds. But it was still interesting to compare to an external reader like Pan’s Media Data Center. Interestingly, the Workflow Station (and standalone SD reader too) were still faster than Apple’s built-in reader, which fell a bit short on write speeds at around 20-30 MB/s less, and read speeds around 10 MB/s less. Not a huge difference, but a noticeable one when you have to transfer a lot of data at once. And don’t forget that the maximum transfer speed of the Media Data Center is around 680 MB/s, which means you can transfer two SD cards (for example) at once using the dual card reader without hitting a bottleneck. You’ll even have room to spare for another transfer. 

CF Express Type B card reader test

Actually, after testing the CF Express Type B card reader mounted inside the Workflow Station, I have to revise what I wrote above: Yes, Pan’s claim that Pan’s Workflow Station tops out at around 680 MB/s, but in practical read and write speeds, we could get significantly more out of an Angelbird AV Pro SX 160 GB CF Express Type B card: 860 MB/s write and 800 MB/s read speeds! That’s a lot more. Again, results were almost identical when connecting the small reader directly via USB-C without the Media Data Center. Interestingly, it was even better: 870 MB/s write and 822 MB/s read speeds. Impressive.

Conclusion – Pan’s Workflow Station Card Reader Hub

Pan’s Workflow Station Card Reader Hub provides good value for money if you’re in the market for a professional card reader solution that allows you to transfer multiple cards at once. At around $350 including four readers, it’s cheaper than higher-end solutions on the market, but it’s more expensive than entry-level solutions. It finds a nice middle ground and so does its performance, which actually exceeds the manufacturer’s claims with a very fast card, which is a rare sight. Extra readers are around $50, and I think that’s reasonable given the performance you can get out of the solution. Great value for money, which will make many shoots less painful in their aftermath. 

Current discounts

Lastly, Pan’s currently has some discounts on their Workflow Station and readers running via Amazon worldwide, here are the links:

EU area 5%off: https://amzn.to/42JsRgp

JP area 20%off: https://amzn.to/3pyF3li

US 15% off：

HUB + USB + SD + microSD + CFB（5 pcs kit）  https://amzn.to/44RMLqG

HUB + USB + SD + microSD（4 pcs kit）   https://amzn.to/3pxGh0a

SD module:  https://amzn.to/42M1xxA

USB module:   https://www.amazon.com/dp/B0BSBJCFPB

Amazon Promotional code: 15DCFAUF (only for US areas)

What do you use as a card reader solution, and what do you think of Pan’s Workflow Station, can you see this solution being integrated into your workflows? Let us know in the comments below.

NOTE: This monitor is an updated version of the original Megamon 15 Monitor that had 800nits, which you can read about here.

A while back we reviewed the OSEE LCM215-HDR+ 21.5-inch production monitor, and now it was the time to take a close look at the Megamon 15. This monitor uses an LED-backlit 15.4” 1920×1200 Full HD IPS panel with a 1450:1 contrast ratio and a 178-degree viewing angle. You can compare the screen size to most laptop screens, but the bezels are much beefier (the monitor weighs 4kg or 9 lbs) to protect the monitor from damage. Even set at the highest brightness, the colors and contrast look pretty consistent.

This is a 10-bit panel (8+2 FRC) that covers 100% of the Rec709 color gamut. You can color calibrate the monitor using the newly announced OSEE calibrator software (Windows only for now), a separately available USB cable and an X-Rite calibration probe.

Connecting your camera

You connect your camera to the back of the monitor using 2x 3G-SDI Inputs or 1 HDMI Input. Unfortunately, you see two inputs side-by-side or picture-in-picture – you only see each individual input full screen.

There is also 1 SDI Output if you would like to send the camera signal to another device, but unfortunately, it cannot cross-convert the image from HDMI to SDI.

There is also an old-school “VIDEO-IN” BNC input, a 3.5mm “Audio In” jack, and a 2.5mm “remote” port.

Powering the monitor

You can power the monitor from an AC wall outlet or a battery via the 4-pin XLR DC-Input. The monitor ships with either a V-Mount or Gold-mount battery plate that attaches via a detachable P-Tap to a 4-pin XLR cable. If your cable breaks, it can easily be replaced.

Daylight viewable

The Megamon 15 has a maximum brightness of 1000nits, which is usable in many scenarios even without the included sun shade. Of course, adding a protective plexiglass in front of the panel makes it more reflective and harder to see your image in daylight.

Also included is a very convenient protection bag that doubles as a handy sun shade when you’re using the monitor in a bright environment. There is a very clever metal pass-through on the bottom of the bag so you can place the monitor on a light stand, even while it’s inside the bag. You can even store your power and video cables in the pouches on the back. This accessory has been well thought out, and it’s great that it comes with the monitor.

Light stand mount issues

Unfortunately, the included light stand mount on the back of the monitor loosens repeatedly after some use. I tried tightening the screws twice, but after you have moved the monitor a few times, those screws loosen relatively quickly. This appears to be the same issue that my colleague Jeff ran into while he reviewed the larger 21-inch OSEE LCM215 monitor – you can read/watch about his experience in his review.

Signal limitations

One problem I ran into while reviewing the OSEE Megamon 15 is that it only works with HD or 2K signals. When you connect a camera that outputs a 4K signal, nothing happens.

So you either use a camera that can output an HD or 2K signal, or you use a converter box or wireless video system that can convert your signal from 4K to HD. The SDI port can natively process 1080p signals at up to 60fps, and the HDMI port can process signals up to 1080p / 30fps.

In my opinion, this is the biggest downside of this monitor.

Menu operation

You control the monitor with 11 buttons on the front: 

• Input button to switch between SDI and HDMI
• 4 Function/User buttons
• 4 directional buttons to navigate the menu
• OK / Main menu button
• Power on/off button

Navigating the menus feels confusing with the directional buttons. The up and down buttons access a quick menu to change the backlight, sharpness, contrast and more. The menus themselves can get confusing, and you sometimes end up using the “back” arrow button instead of the “OK” button, only to notice that the changes you made were not saved.

Configurable function buttons

The Function/User buttons are a bit confusing at first. Here’s how they work:

The F1-F4 buttons can be configured with any of the following tools:

• Waveform – I wish it could go full screen with more value labels
• Histogram
• Vectorscope
• False Color
• Focus Assist
• Peaking
• Zebra
• Anamorphic De-squeeze (0.75x, 1x, 1.33x, 1.5x, 1.66x, 1.8x, 2x, 2x MAG)
• LUT
• Markers
• Audio meters

In the menu, you can change the size and position of most tools and configure all the tools to your specifications. One tool I am missing on this monitor is Focus magnification, which can hopefully be added in a future firmware update.

Powerful user buttons

When you long-press any of the Function buttons, you can select one of 4 available user presets. A preset is a monitor profile that saves your video input, functions, and settings.

You can, for example, have a USER 1 set up with aspect ratio markers, waveform, and false color programmed on a function button. USER 2 can be set up for pulling focus with focus assist, peaking, mono, etc. You simply have to long-press on one of the user buttons and the monitor is set up.

Cooling and mounting features

The Megamon 15 is passively cooled so there are no noisy fans. Hot air simply comes out through vents on the top of the monitor housing.

Also on the back of the monitor are two mounting positions for the included accessory mounting plate which you can use to mount components like wireless video systems. On the bottom of the housing are two openings to attach the included desktop stand feet, and there is also the aforementioned light stand mount included with the monitor.

There are mounting holes for a VESA mount, which I highly recommend you use. There are also alternative mounting holes for the battery plate when you attach the VESA mount.

Price and competition

The OSEE Megamon 15 retails for $899. and therefore lands in the budget category, compared to the higher-end alternatives from SmallHD, TV Logic, or Flanders. There are not many other products to compete with at this price and size of the monitor, but you have to compromise on ease of operation and input signal flexibility.

What is included in the package:

• Megamon 15 Monitor
• Portable Bag
• V-mount Battery Plate
• Light Stand Adapter
• Accessory Cheese Plate
• Desktop Stand Feet
• Power Cable

Conclusion

The Megamon 15 is a very solid monitor to have with you on set. It’s also nice to use it as a small reference monitor on your editing desk (as long as you feed it the correct signal).

The build quality is also very solid, so if you know how to color manage and down-convert your camera signals, then this monitor can last you a long time.

For more information visit OSEE’s website.

Have you used OSEE monitors on set or while editing? Which production monitor do you currently use? Share your experience and opinion in the comment section below!