Kodak has recently launched a preorder (of sorts) for its eternally developed Super 8 camera. The dedicated website lets you sign up to purchase the camera sometime in the future. It also specifies its most notable abilities, accessories included, with some sample footage. At this point, it’s hard to say anything decisive about the chances of the Kodak Super 8 ever seeing the light of retail, but at least there’s still some spark of life to cling to.

A different kind of hybrid – what is the Kodak Super 8 camera exactly?

Some aspects have changed since its 2016 announcement, but most core features remain. The Kodak Super 8 is an analog Super 8 camera with a digital twist. It uses 50ft cartridges of Super 8 film as its only visual recording medium. Omitting the audio channel on the Super 8 film, the camera uses an extended 14:9 gate, allowing for an 11% larger image than traditional S8 cameras. On the initial model, audio was recorded on a separate SD card. The camera supported an included mic that could detach from the top handle, vacating a 3.5mm jack that would then be used by other microphones. It seems as if the new iteration omitted it completely, as Kodak mentioned nothing about it, and it is not shown in the latest images.

The video side of things is even more interesting. As one may guess by its name (and related hype), the Kodak Super 8 camera is an analog device. The camera can only record video on a Super 8 roll. Alas – monitoring is done through a 4″ LCD getting its feed from a sensor. Though Kodak doesn’t specify the actual procedure, the light coming through the lens is split in one way or another, enabling excellent monitoring and control. Various shooting angles are now possible once the optical viewfinder no longer poses any constraint.

What’s in the box

The Kodak Super 8 is bundled with a kit that will let you start shooting on arrival. It includes a pelican case, a C-mount 6mm f/1.2 lens, a pistol grip with Micro USB charging cables, a USB power adapter, a cleaning cloth, and one KODAK TRI-X Black & White Reversal Film 7266 cartridge. Seems pretty generous, but wait until you hear about the price…

Price and availability

As of writing, we know very little about camera availability. Should you sign up to buy the camera, you’ll be given a choice of delivery time ranging from “ASAP” to “2025”. The camera is also listed at B&H, with no further details. However, no firm deadline is set. As for the price, the initial estimate in 2016 hovered around $400. By 2018, that amount had multiplied by about 5, reaching an estimated range of $2500-$3000, and today it peaked. The KODAK Super 8 Camera MSRP is set to $5,495. At launch (2016), Kodak planned a film development and scanning service. No details about any current option, but one must take the cost of the analog workflow into consideration.

Who is it for?

Ignoring the rather steep price tag, a Super 8 camera with a modern control scheme may appeal to a relatively wide audience. The C-mount will surely help get the vintage look with a plethora of affordable optics. However, this is hardly the case with a $5,495 camera. As Kodak no longer mentions any develop/scan service and no audio recording, I could hardly recommend this camera over various other vintage options. This price range could also get you a (very) good digital set with RAW capabilities that might allow some nice analog filters in post.

Have you been waiting for the Kodak Super 8 since 2016? Do you think it will actually hit the shelves this time? And what about the price? Let us know in the comments.

Insta360 entered the market in 2015 with interesting 360 cameras and gimbals, among other products. Now, they are returning with two new wide-angle action cameras co-engineered with Leica: the Insta360 Ace and the Insta360 Ace Pro. The Ace Pro is the flagship version of this new line, and the main difference between the two is the sensor size.

Well-balanced features in all areas

The first thing that calls our attention to the Insta360 Ace Pro is its lens (Leica Summarit) and sensor size: a 1/1.3” sensor capable of shooting 8K 24fps and 4K 120fps video, and taking 48MP photos (1/2” 48MP sensor in the Insta360 Ace). Action cameras have been used in all kinds of situations, but you could usually tell which camera was used by the image quality. This combo establishes a direct competition with modern action cameras and delivers an image quality that should narrow the gap between A-cams and action cams.

The second element that stands out is the camera’s physical design, with a 2.4” flip touchscreen perfect for vlogging, selfies, challenging action shots, etc., featuring live preview and camera control.

The body, as expected, is waterproof – up to 10 meters and 60 meters with the Dive Case – and uses a magnetic mounting system for faster workflow. Winter sports shooters will be pleased with these cameras since they can operate in extreme temperatures as low as -20ºC. Another selling point of the Insta360 Ace series is the FlowState Stabilisation technology. Features like the 360° Horizon Lock have been designed to ensure every shot is steady and leveled even in the most demanding action shots. 

When looking for an action camera, one of the characteristics to look for is its charging speed and the Ace Pro’s battery charges to 80% in 22 minutes and to 100% in 46 minutes. 

Two cameras packed with modern technology

Another remarkable feature is the technology the brand has put into the cameras to make the filming experience smoother. Aside from its physical design, which fits almost every situation, the Insta360 Ace Pro includes intuitive shooting modes and functions, a streamlined editing experience, and new AI functions. 

The series offers the typical shooting modes, including timelapses and hyperlapses; the AI Warp template allows users to use keywords to customize our creations and add effects to our videos, making the camera the first to generate AICG content from the mobile app; the AI Selfie Stick Eraser… well, I’m sure you already know what that does. 

The camera also features a Stats Dashboard, and it integrates with Garmin devices and Apple Watch, allowing remote monitoring. This characteristic lets us overlay GPS, speed, and more information in our videos.

When editing, we can go completely manual if we want to, but the camera comes packed with editing AI tools. For example, the AI Highlights Assistant helps with the edit by selecting the best moments in a video and merging them into a recap, speeding up the selection process and letting us delete the bad takes to save storage. The assistant can even edit the best moments for you into one video.

Practical solutions for action shooters

Insta360 has emphasized internal features to overcome the typical problems action shooters face. The Clarity Zoom function can zoom x2 without any quality loss. We can use hand signals to start and stop recording and to take photos with the Gesture Control. We can also cancel recording to save space and pause/resume recording inside the same clip for better file management. Finally, the Photo Grab function allows us to take a photo while recording video, in a higher resolution than we’d have with a video screen grab. 

When the first action cameras came out, it was more about getting the shot than anything else. However, image quality is now a common concern for action filmmakers, and the Insta360 team is well aware of this. The company has worked on offering an accurate color rendition, even underwater, and both cameras feature a low-light shooting mode called Pure Video. Their 5nm AI chip denoises the footage with a custom-trained AI neural network. The Insta360 Ace Pro’s bigger sensor offers a better dynamic range and brightness. The flagship model also features an Active HDR mode, which is helpful in high-contrast situations where we need detail in shadows and highlights. 

Insta360 Ace Pro’s main features

• 1/1.3’’ Sensor
• Co-engineered with Leica
• 8K 24fps + 4K 120fps Video (8K available at launch)
• PureVideo for Premium Low Light Performance
• Clarity Zoom
• 2.4” Flip Screen
• AI Highlights Assistant
• Gesture Control & Voice Control 2.0
• Waterproof to 10m (33ft)
• FlowState Stabilization & Horizon Lock
• AI Warp (New Shotlab template)

Price and availability 

The new Insta360 Ace series is available now worldwide. The Insta360 Ace retails for $379.99, and the Insta360 Ace Pro for $449.99. For more information please visit Insta360.com.

What do you think about the Insta360 Ace series? Will they break the market with these new cameras? Let us know in your comments!

Insta360 was founded in 2015 to seek a better way to share experiences, which led them to produce their first 360 camera. They have launched successful products like 360 cameras (the X3 or the ONE RS), action cameras, handheld gimbals or webcams.

They just released a teaser about an upcoming camera that will see the light of day on November 21, 8:30 am EST. This is the first public announcement of this new camera, and watching the teaser, we can see that it appears to have a Leica-branded lens and a flip screen.

Insta360 GoPro competitor teased in action cam market

What’s noteworthy is that Insta360 takes a direct stab at GoPro and DJI, quite clearly showing in the teaser video a GoPro and a DJI Osmo Action crashing, and the new Insta360 camera arising from those ashes. Users commenting on the video on YouTube are talking about what looks like a new action camera with flip-up display, teased AI (?) functionality, and possibly a modular design… but they are mostly users’ guesses and wishes, so we will have to wait till that date to see all the details. What’s certain that it will be a direct GoPro competitor from Insta360.

You can visit the Insta360 website for an exclusive sneak peek from the company. If you look closely under their countdown, you will see what looks like some footage (from the camera?), but it’s hard to see because of its size, and the teaser doesn’t show that footage once you click on it! I guess we will have to keep waiting for a few days!

CineD will release all the details the second the new camera is announced. Stay tuned.

What do you think of Insta360’s upcoming camera? What do you think this new release will be about? Please let us know in the comments!

When I started with videography back at the end of the last millennia, it was all quite straightforward. If it was a compact and mostly “horizontal” design, it was certainly a stills camera. If the design was bulky and elongated, the camera shot video. I started young and energized, so I haven’t complained too much about hauling those sVHS beasts around, but as time went by, I found myself leaning toward photography. But now it’s all very confusing. The concept of a “Stills camera” and a “Video camera” aren’t as firmly defined anymore.

Not a history lesson

This article will not go through the short and intense history of hybridizing stills-motion-capturing devices. I will mention some notable landmark cameras, such as the RED ONE, among the first 4K capable cameras. No discussion about hybrid cameras can omit the one that started it all – the Canon EOS 5D Mark II, the second in the series, the mother of HD-DSLR, and the breaker of chains. I find it somewhat ironic that a camera so groundbreaking was still designed like a 35mm film camera, but maybe that’s just me.

Sony has produced its fair share of innovative cameras. Some radical early designs challenged traditional camera design with the DSC-F828 or the Cyber-shot DSC-R1. Live-View was, in many respects, the first important step toward hybrid cameras. Sony was also one of the great pioneers of live-view cameras with its digital Single-lens translucent mirror (SLT) cameras, which ended the Sony-Minolta A-Mount. The Panasonic LUMIX GH series took advantage of its smaller sensor to overcome read-speed hurdles and provided cameras with ground-breaking specs at market-breaking prices. The GH4 was the first 4K capable hybrid camera, and the GH5 was the first to introduce 4:2:2 10-bit All-I capture to the segment, later followed by practically every other competitor.

OK, but why now? What happened?

Though it seems the most influential events have already happened, and the existence of the hybrid segment is an objective constant, some interesting shifts have taken place recently. None is specifically significant as an isolated event, but their culmination suggests a new frame of reference:

The BURANO – Pure cine, teeming with hybrid features

No one will argue that the BURANO is a dedicated cine camera. Among some awe-inspiring features, one stood out to me as an arguably “world first” among cine cameras. The BURANO has IBIS.

The presence of In-Body Image Stabilization (IBIS) in a purely cine-oriented camera was considered unnecessary, and even a problematic feature. Two glaring examples of it lie in two motion-centric versions of hybrid cameras: the LUMIX GH5s, which forego an excellent IBIS to stretch the sensor size and secure the sensor firmly to allow extreme vibrations (such as mounting the camera to an offroad vehicle). The Canon EOS R5C also omitted its hybrid sibling’s IBIS for even less, since the sensor maintained its size.

But with the BURANO, Sony decided not to heed traditional doctrine, and let loose its technological prowess. The new camera gained an IBIS but also added an electronic gradual ND, single-operator ergonomics, and the latest and greatest AI autofocus.

Another common claim suggested the impossibility of accommodating both IBIS and an internal ND system. While this may be true for some mounts, this is Sony with its rather compact a-Mount, which managed to cram both together. This does require some bulk though, so it might not trickle down to compact hybrids soon.

RED adds face detection to their flagship V-Raptors.

One can argue that the incorporation of continuous tracking autofocus into the Sony BURANO isn’t as groundbreaking, more like technology “trickling up”. Such an argument is quickly dissipated regarding the high-end-cine-only manufacturer – RED. With no enthusiast line, the company had to develop its face detection system on its own. This level of R&D probably doesn’t come cheap, so the company must see some significant relevance to such a feature. Though traditional cinematic work takes advantage of manual focusing as a medium of expression and usually refers to autofocus as a hobbyist’s tool, RED decided to take the road less traveled and invest in such ability for both its flagship V-RAPTOR and KOMODO lines.

FUJIFILM introduces motion-centric abilities in medium-format cameras

Digital medium format is the pinnacle of still capture – used by the most meticulous photographers on the most demanding assignments. Cultural heritage preservation, high-end landscape, architecture, or studio scenarios were the medium-format natural habitats. Those use cases rarely required speed, hence the entire R&D never delved into such matters. Those were lumbering beasts with modular design, slow and steady, measured in seconds-per-frame rather than frames-per-second. None were ever aimed at motion capture.

Winds of change started as CMOS sensors gained popularity. Without getting too technical, CMOS technology enables more energy-efficient sensors, capable of higher read speeds and higher ISO settings. The Pentax 645Z broke new ground with its 50mp CMOS sensor. The camera was way more affordable than most of its peers and the new sensor tech opened up so many new possibilities. Aside from the demonic speed of 3 frames per second and unheard-of ISO range, it also managed to shoot normal-speed Full HD video. Other manufacturers followed, incorporating various levels of video features into their systems, taking advantage of the large sensor and its respective unique look.

Not an afterthought

Sporadic video features paved the way for the hybrid revolution, but it’s the intentionally hybrid cameras that make it a true segment. FUJIFILM was the first to design a medium-format camera that did more than allowing some basic video capabilities. The FUJIFILM GFX100 was the first to include professional video specs, such as (relatively) high bitrate (up to 400Mbps), 10-bit recording, and many more video-centric tools, ports, etc. Not to steal the GFX100 thunder, I believe the GFX100 II is way more innovative, influential, and revolutionary. The list of features is awe-inspiring: Internal ProRes recording, RAW video output, various frame sizes, anamorphic assist, and various video resolutions up to 8K.

But it’s more than the magnitude of features – it’s the motivation behind them, and behind the camera as a whole. I wouldn’t go so far as to say that the GFX100 II is equally aimed at stills and motion, but it may just be the first medium-format camera designed for serious video work. Its price tag may buy you some nice video gear (especially considering GF optics) but it might be the first medium-format camera that won’t require an additional video rig to maintain a high level of video. That’s no small feat.

Nothing happens in a vacuum

The aforementioned innovations appear within context. Recent years have graced us with a growing number of very capable cameras. High bitrate and color depth trickled down to entry-level cameras. Log color space, external recording, and video-centric tools can be found in many new and affordable cameras. I would argue that this evolution is motivated by two major factors: Technological innovations in the fields of sensor technology, mainly regarding read speed and data transfer speed, and the growing pressure applied by ever-improving smartphones. We’ve just recently seen Apple shoot an entire event on iPhone 15s.

Hybrid extremes

Hybrid cameras were, in most cases, synonymous with compromise. Mostly occupying the beginner-enthusiast segment, most models had to prioritize stills over video, and some (LUMIX GH series, I’m looking at you) put video as their top priority, compromising stills performance. Only in rare cases were flagship stills cameras used as motion cameras (namely the Canon 1DX Mark II and III). High-end cine cameras never came close to shooting stills. Moreover, those cameras refrained from the slightest adoption of any stills-oriented feature. But no more. it seems as if niche cameras must broaden their scope of operation, and they are doing just that.

What is your opinion about the development of hybrid cameras? Let us know below in the comments.

Tradition of innovation

Sony is well known for its technological ingenuity and prowess. The first manufacturer to launch a full-frame mirrorless camera (the α7 in 2013), the first to incorporate a stacked CMOS sensor into a hybrid camera (the a9 in 2017), a market leader in the field of autofocus, and, as of yesterday (Nov. 8th, 2023) – the first manufacturer to put a full-frame global shutter sensor in a mass-market camera – the Sony a9 III. The new camera is undoubtedly impressive, but to reign supreme, it has to pass over some serious hurdles among its stablemates.

Power trio – the a1, a7S III and the new a9 III

Sony’s lineup offers many excellent video cameras catering to various use cases. Here we’ll discuss the aforementioned trio, which, in my humble opinion, represents the pinnacle of the Alpha line regarding motion capture. They all have significant features that render them all adequate tools for video. Among those we find:

Similar features

• 4K recording up to 120p
• 10-bit 4:2:2 internal recording, up to 600Mbps
• 16-bit RAW video output via HDMI
• Full-size HDMI-A port, mic/headphones 3.5mm jacks, and smart hot shoe connectivity
• In-body image stabilizer and electronic stabilization options
• Dual CFExpress type A / SD UHS-II card slots

Unique traits

Each of the trio possesses some unique abilities. The Sony a1 has a massive resolution advantage. Its 50mp sensor enables 8K recording at normal speeds. The 4K can be subsampled from the entire width of the sensor, or oversampled from a Super35 5.8K area. This allows for some level of flexibility, but may also degrade the full-frame 4K sharpness.

The Sony a7S III is the most affordable camera. The use of a relatively low-res sensor may render it unusable for many stills applications, but we’re talking video here. Though limited to 4K recording without much oversampling, the enormous pixels on the 12mp sensor create a satisfying 4K image that won’t change much when upping the frame rate. Those large pixels are also responsible for the impressive high-ISO capabilities the a7S III is famous for.

The new Sony a9 III is the master of speed. Its impressive abilities all rise from its core feature – the global shutter-enabled 24.6MP full-frame sensor. Its instantaneous read speed enables 6K oversampled 4K video up to 60p resulting in sharp, clean images. It also goes the extra mile with its uncropped 4K/120p. The autofocus system is Sony’s most recent AI-based algorithm, but I suspect that the faster readout flow will make it even better (is that even possible at this stage?)

Three different sensor architectures

As mentioned – the a1 boasts a 50MP sensor. The more pixels a sensor has, the slower its readout will be (as long as we compare equivalent sensor generation and architecture). This constant poses a challenge to a camera that aspires to rule both stills and video. The solution is a technological one: a Stacked CMOS. This specific architecture, which debuted on the original a9, speeds up the read speed, enabling quite a decent 16.6ms in 8K. While solving this specific problem, the use of such tech did result in one of the most expensive hybrid cameras around.

The a7S III takes the opposite route regarding resolution with its 12MP sensor. Having fewer pixels may seem like a disadvantage at first, but it makes the camera much more affordable and theoretically less prone to overheating. The fewer pixels the camera has to sample the less processing power it requires. Additionally, a low-res sensor reads faster since it has fewer pixels to read. The a7S III achieves very good read speed with a BSI CMOS. It’s actually among the fastest in the industry, all while omitting the higher, more expensive technologies, and significantly reducing the camera’s cost.

The new a9 III takes it one step further with the use of the “holy grail” of fast sensors – a global shutter. As mentioned before – the global shutter reads each and every pixel all at once. This unique chip architecture completely eliminates any strobe synchronization effect, flash sync speed, or the infamous rolling shutter effect. Working at extreme 120fps speed, this loads the camera’s processor with a constant flow of information, optionally improving other data-related abilities such as tracking auto-focus and subject recognition (though we’ll have to wait for an actual test to see if theory translates to practice).

What is the deal with global shutter in real life?

Few cameras use global shutters, and the a9 III is the first stills-oriented camera to use one (excluding Hasselblad’s mechanical global shutter, but that’s another story for another time). Regarding how unique this sensor is among stills cameras, it’s no surprise that Sony emphasized still imagery over video at its launch event.

When it comes to motion capture, there’s one clear advantage: no matter how fast the camera or the subject moves – no distortion will take place. No matter how flickery your light source is – no banding will occur. Global shutter provides some extra peace of mind and lets you focus on the creation itself.

But is it that good?

Well, it is. It’s that good. The advantages are absolute. But are they really necessary? Well, that’s a bigger question. First, let’s talk about the prices of a global shutter. The most obvious is, well, the price. The a9 III will set you back $5999. This kind of money could buy you about two a7S III cameras, or maybe a nice lens, some accessories, etc.

Other potential prices are speculative at this stage, at least until we get a production camera and run it through our rigorous lab tests. One may be the dynamic range. Sometimes faster readout speeds come at the cost of dynamic range. Other times, the results aren’t as decisive (as seen here with the RED KOMODO 6K, another global shutter camera). Another issue that can occasionally affect hybrid cameras with high data rates is the well-known problem of overheating. The amount of data crunched by the a9 III is extraordinary, and it probably uses some sort of passive thermal management. We can’t yet do the math, but I won’t be surprised to see some limitations regarding its high-speed settings.

TL;DR, which is the best?

Well, as always – it depends. The new a9 III brings some impressive features and abilities to the table, but when looking closely, most are quite niche. If your project brief includes extreme action shooting, fast-moving subjects, and chaotic situations, the a9 III may be the best camera. The a1 will provide better all-around features, covering most normal use cases for either stills or video (and then some). The a7S III is such a popular camera for a reason. It caters to most video needs and does so with excellent efficiency.

So are you excited about the new a9 III? Will it turn your creative process upside down? Or maybe another a7S III is a better option because if it ain’t broke don’t fix it? Let us know in the comments.

The original Sony a9 introduced the stacked CMOS sensor to the world. Though not common per se, stacked sensors carved their own niche among high-end speed-oriented cameras such as the Canon EOS R3, FUJIFILM X-H2s, and Sony’s own flagship – the Sony a1. Being a speed pioneer, the a9 series needed something new, and that turned out to be the world’s first full-frame global shutter sensor. This kind of sensor sets the stage for some awe-inspiring features, so let’s dive in.

The a9 III – a new standard for capture speed?

As the third iteration of Sony’s speed-oriented camera, the new a9 provides a record-breaking spec sheet:

• Blackout-free 120(!) fps with automatic focus and exposure
• 1/80,000 sec maximum shutter speed (1/16,000 during continuous shooting)
• Flash sync at every shutter speed
• 8-stop 5-axis Synchronized image stabilisation
• Improved ergonomics

Such impressive abilities come from the brand new 24.6mp full-frame stacked sensor, but this one is different than any other full-framer preceding it. It’s a global shutter.

Full-frame global shutter – first ever on a full-frame sensor

At the core of the Sony a9 III is the world’s first FF global shutter. “Global Shutter” means that all 24.6 million pixels capture light at the same time, completely eliminating any rolling shutter effect. For us motion creators, it also means no flickering whatsoever, which makes it a very capable extreme action camera or a crash cam.

With a new Exmor processing chip, the camera is capable of 120 14-bit RAW frames per second in stills mode. Though Sony emphasized the a9 III’s stills capabilities, it’s also an extremely capable video machine boasting some unique features and abilities:

• Zero rolling shutter effect at every speed and resolution
• Crop-free 4K 120p
• Oversampled 4K 60p
• Internal 4:2:2 10-bit all-I
• 16-bit RAW output
• S-Cinetone and S-Log3 color spaces

Improved ergonomics and indications

The Sony a9 III improves various ergonomic aspects by rearranging its button layout, improving the grip and overall user experience. The LCD gets an impressive upgrade. The new 2095K dots panel will support a wide color gamut (DCI-P3) and is now fully articulated. The EVF gets the industry’s high-end standard of 9.44 million-dot resolution, but most importantly, we can still get the highest quality at 120fps. The frame rate can be boosted up to 240fps, but that will lower the quality a bit. As a professional camera, the a9 gets an impressive array of ports, including ethernet, full-size HDMI-A, USB-C, PC-Sync, Mic, and headphone jack. all are encased within a rugged and sealed magnesium alloy chassis.

The world’s lightest full-frame 300mm f/2.8 – the FE 300mm f/2.8 GM OSS

The new FE 300mm f/2.8 GM OSS will tip the weights at 1470g, making it as light as a 70-200 f/2.8. Sony also emphasizes the exceptional balance of the lens that will make hand-held shooting a breeze. As is the case with most professional telephoto primes, the FE 300mm f/2.8 GM OSS boasts a plethora of control points for both focusing and image stabilization. A new function ring will let you switch between full-frame capture and APS-C capture for that extra reach. There’s no information about any other functions it might have at this point, but it’s a nice hardware improvement. Other functions could be added later through firmware updates.

The FE 300mm f/2.8 GM OSS is also compatible with Sony’s teleconverters, so it can function as either a 420 f/4 or a 600 f/5.6 with the 1.4x and 2.0x respectively.

The a1 and a7S III firmware update

The focus breathing correction feature, initially introduced with the a7 IV, will also be added to both cameras. It will allow automatic breathing correction for select FE lenses. The firmware update will also include C2PA format support to enable proof of authenticity. Final details about the countries and regions for this specific function are not yet finalized.

Price and availability

The Sony a9 III will hit the market in the spring of 2024 with a price tag of $5999. The FE 300mm f/2.8 GM OSS will also be available in the spring of 2024 with a price tag of $5999. For more information, take a look at the Sony website.

They say that “prediction of the future was given to fools”, so I’ll be very cautious here. Nevertheless, based on the video and operational capabilities of this new iPhone 15 Pro, I’ll let my thoughts run free. 

It’s not a revelation to say that over the past few years, mobile phones have taken the lead in taking photos, and by doing so, they have completely destroyed the entry-level camera segment simply because nothing beats their accessibility, connectivity, ease of use, and even (if I dare say it) image quality. After all, most of what’s captured on a phone camera is likely to stay inside the phone – and viewing the results on those high-quality phone screens always gives one the sense of “high quality”. 

While this all holds true, in many ways when it comes to taking photos, video capture has fallen short, especially when wanting to go beyond “filming the family” and such. 

“Back to the future”…

Together with Nino, my dear friend and business partner, we were among the early adopters of the DSLR revolution. As such, we adapted our working style, “daring” to offer broadcasters, alongside various other media outlets, the possibility of exploring the “large sensor look” on TV productions. (Heck, this revolution was the key reason why our site was born). And now, with the introduction of the new iPhone 15 Pro/Max, is it time to start all over again and convince our clients that the phone we have in our pocket is indeed the tool of future filmmaking and more? Let’s take a closer look.

Call me “old fashioned” when it comes to working with mobile phones for professional filming, as up until now I did not feel that any existing model on the market, with or without a third-party App (or accessories) was up to the task of offering me the flexibility, confidence, and peace of mind I needed to use it on a real job. (My definition of “professional” is a job I’m being paid for.)

Now, for complete transparency, I haven’t used the new iPhone 15 Pro for any professional assignment yet. But after exploring it inside-out, I can see clearly where the industry is headed – and this is the main reason I composed this article and am sharing my thoughts. (Click here to see how the new iPhone 15 Pro was deployed on the latest Apple announcement, and get a glimpse of what the future holds).

Potential competitors

A few years ago, I was lucky enough to work with early versions of Sony’s Xperia Pro phones (Xperia 1 to be exact). While the potential was there, I felt that the video performance delivered by this phone, as well as the subsequent models, was restricted. I wish the outcome would have been different as I know how much time and dedication Sony, as a brand, and the people behind this project have put into creating those phones. But back then, I felt this would not be the tool to divert me from using my iPhone or working with it in the field.  

Next came the Leitz Phone ONE from Leica. This Sharp Aquos R6 clone mobile device (same hardware /1-inch sensor size, customized with Leica software) raised my expectations. After all, a company that is associated with producing a capable line of SL cameras will pay extra attention to the video side of it, too. 

Boy, was I wrong. After working with the Leitz Phone ONE, I realized that it might be good for taking photos, but for video, A LOT was left to be desired. 

So for “family use” I found myself going back to using my aging iPhone SE (Gen 2). I didn’t go “wild” by purchasing something more advanced simply because A) the iPhone SE size was right for me, and, B) I was convinced that for “occasional use” (mostly taking family photos) it was simply good enough.  

For taking videos, I continued using whatever we had at the office, including the trusted FUJIFILM X-S20 (review here). This capable little beast has almost everything needed to make it a great family companion while doubling as a versatile tool for work, too!

Why am I picking on the X-S20? Well, earlier this year I took a few days off to travel with the family. Surprisingly, for the first time ever, I did not have a new camera or lens to test and take with me, and this led me to conduct a simple experiment. Next to my iPhone SE, I had the FUJIFILM X-S20 (together with a SIGMA 18-50mm lens for keeping a small footprint). I asked myself, “What will I use most?” – the iPhone, knowing its limitations for capturing videos, or the X-S20. 

Experimenting

I don’t know how many of you are still taking family vacations where you are directing your kids and wives, but as for me, long ago I found out that for the sake of keeping “in-house peace”, I better lay my “director/producer/DP” hat down and just be a “father”…

And this is exactly what I did. I lived the “vacation moment” not “directing” anyone, and the results were swift. 95% of the time I used my mobile phone as this was the “ultimate tool” for capturing memories without interrupting the flow. 

Fast forward to the time after my short vacation, and I decided to share my experience and thoughts with the various manufacturers I met right afterward. In my mind, I could easily see a “mobile phone-like” device that could act as a dedicated camera in a familiar package. It means, of course, utilizing a manufacturer’s strength; otherwise, what is the point of our efforts?  

I won’t bother you with the outcome of those talks, but can only hope that the core message of this subject has come through and hasn’t fallen on deaf ears.

iPhone 15 Pro/Max

Anyway, this was all before I got my hands on the new iPhone 15 Pro.  

Before continuing, I would like to make one point clear. No camera manufacturer can put the funds into R&D like big mobile phone companies do. Once they spot a potential for earning money, they simply “go for it” in full force and focus on executing their plan. 

Not that I know what Apple’s master plan is/was, but the new iPhone 15 Pro is a great example of what can happen when a manufacturer presses down on the gas pedal “a bit”. 

With internal (up to) ProRes HQ quality, recording to external media via the USB-C port, flat picture profile, LUT upload, and more, this phone is now screaming, “I’m serious about business”. Top this with the new Blackmagic camera App and here you have a camera that can be controlled manually and potentially be used on your next production. Mind you, this camera App/phone combination is far from perfect; yet, it’s the beginning of something! Something that traditional camera manufacturers will find hard to compete with if they don’t react fast, I’m afraid. (Please don’t look at the present – let’s refer to this article in about two years when some of the technologies we are seeing in this new phone are coming to fruition). 

The market for phone accessories will also not stand still. Lenses, filters, cases, cages, and so on will be adapting fast to what this 15 Pro can do, and beyond, supporting it in becoming even more capable.

Last thoughts

So, where does it leave us – the professionals? Well, remember the time when DSLR, and later, mirrorless cameras were not taken seriously for what they could do? I guess that’s the point where we are now. Give it two to three years, and I would love to pen this conversation again. Am I happy with what is coming up? Well, in all honesty, I have mixed emotions. Democratizing the field we are working in with such tools can be beneficial for many, yet at the same time lead to craftmanship loss. In an age where terminology like: “good enough”, “fast pace”, and “budget cuts”, to name a few, are increasingly common in daily production discussions, perhaps these types of tools are the most suitable.

With all that said, I’m actually encouraged to reach out to the distinguished camera manufacturers and urge them to look closely at what the new phone can do. Now, more than ever before, they should brainstorm ways to provide respectful competition for those mobile devices, keeping customer choice and, of course, their own revenue in mind.

As for me, personally, in the upcoming months, I will boldly dive deeper into the capabilities of the iPhone 15 Pro, exploring it inside and out to see what it can do. From what I’ve seen so far, the future is here. Stay tuned. 

Do you see yourself giving up on your camera kit plus expensive lenses and moving to film professional gigs with a mobile phone? Do you have the iPhone 15 Pro? If so, please share with us your observation in the comment section below. 

When Apple announced the iPhone 15 Pro and iPhone 15 Pro Max in September, we had already anticipated that the pro video world might soon see a similar shift to the DSLR revolution over a decade ago: the introduction of Apple Log. The Apple Log feature unlocks the full dynamic range of the phone’s sensors, providing a less processed image (without post-sharpening or algorithmic HDR effects applied). Additionally, it allows for shooting in ProRes format and external recording onto SSDs (or SD memory cards with a card reader), unlocking unprecedented visual capabilities of pro filming using a smartphone.

Yes, the sensor is small compared to most pro cameras. But, if you can work with that fact and mostly shoot with deep depth-of-field, it could mean that you can produce images that are hard to discern from much higher-end cameras in many scenarios.

Apple delivers the proof that it’s possible: the entire event was shot on iPhone 15 Pro Max

And now it turns out that Apple has provided the evidence for that theory themselves. Their latest Apple Event, dubbed “Scary Fast”, which saw the introduction of the MacBook Pro M3 and iMac M3, was entirely shot on iPhone 15 Pro Max. Here’s a write-up on their own site about the production.

iPhone is great new tool in the palette of filmmakers. Seeing it as any different is doing injustice to any of the other mediums that people bleed for as filmmakers. Everything is there to be an extension of someone’s vision or personality. The image quality of iPhone definitely democratizes the access.

Director Brian Oakes

Team used Blackmagic Camera app and Beastgrip accessories

Apple also just announced that the team used the Blackmagic Camera app and Beastgrip accessories in the production. We can also see a Spacecam gyro stabilizer and DJI RS 3 Mini three-axis gimbals used on the production, and they also mounted it on a drone for all the nightly drone shots.

Impressive low-light shots, even on drones

The production also proves how well the phones shoot in low light, as significant parts of the Apple Event were shot in very low-light conditions. For example, in the behind-the-scenes shot below, we can see that they used the main 24mm camera (“middle” camera) of the iPhone 15 Pro Max at 59.94 fps and 475 ISO.

In another behind-the-scenes shot below, we can see they went with the minimum available ISO in the Blackmagic Camera app: ISO 55.

Here you can see the resulting shot – graded, of course – as it appeared in the event stream (screenshot from the YouTube version). What’s apparent is that it’s “all about the lighting”, as usual with any video/film production. The best thing about the iPhone 15 Pro (& Max) camera is that it doesn’t draw attention to itself. In fact, it would be hard for anyone to identify this as something shot on a smartphone if they didn’t tell us about it.

The thing that impressed me the most about the iPhone 15 Pro’s footage was when we went through that comparison phase after we finished production. I was sitting with the colorist and it really was imperceivable the difference between what we would have seen from previous years using the professional level cameras like the Sony and Alexa.

Adam Watson VFX

Production Crew of Apple’s “Scary Fast” Event

• Director, Brian Oakes (RadicalMedia)
• Colorist, Stefan Sonnenfeld (CEO Company 3)
• Lead Editor, Elizabeth Orson (VFX)
• Adam Watson (Executive Creative Director at Method Studios)
• Advisors, Jon Carr and Jeff Wozniak (Apple Pro Workflow Team)

Coming soon: CineD Lab Test of the iPhone 15 Pro and iPhone Pro Max

Because CineD recognizes the immense potential of the video quality that is now possible with the latest iPhones, we have decided to adapt our Lab Test (dynamic range, latitude, and rolling shutter tests) to accommodate the testing of smartphones. We are currently in post-production of our Lab Test for iPhone 15 Pro and iPhone Pro Max and can’t wait to share the results with our audience. As usual, you can expect the most objective technical results possible. These tests will be published in November and will of course also find their way into the CineD Camera Database.

In case you missed the Apple event, here it is:

What do you think about the visual quality of Apple’s “Scary Fast” event? Do you think smartphones will take over some productions in the near future? Let us know in the comments below.

Leica’s venerable M line does not require much introduction. Like many other Leica M cameras, the M11-P is a high-end boutique garment, mostly aimed at those who value the highest form of manual craftsmanship, or those with deep pockets who can afford such luxury. The M-P series was originally aimed at photojournalists. The “P” cameras are a tad more robust and omit the famous “red dot” logo, replacing it with a simple screw and black paint for a lower profile. Famous for tradition and even Nostalgics, Leica’s cameras are rarely the industry innovators. But The M11-P has more than a refined metal body with stealthy aesthetics – it’s the first camera to incorporate a “digital watermark” following the Content Authenticity Initiative.

The Content Authenticity Initiative

The creative world is changing in front of our eyes. False and fake news have been there since the dawn of history (not to mention manipulative and biased history), but recent developments in the fields of generative-based algorithms changed the magnitude of such manipulations and outright lies. Amidst this turmoil, some initiatives are trying to regain basic trustworthiness. Such an initiative is the Content Authenticity Initiative. To put it simply – the initiative is set to form a platform that enables any user at any stage of post-process to trace the original image as it was taken. It also enables the tracing of additional imagery and other digital assets used in the process to maintain authenticity and proper credit for each and every creator taking part in the final graphic creation.

Will it protect my copyright?

The short answer is “no”. The platform isn’t designed to protect copyright, and can never prevent all forms of misuse or abuse. One can always go to a museum and take a picture of a Picasso, then illegally print and sell it. Or one can always take a screenshot. Content credentials are designed to allow those who wish to respect authenticity and copyright to trace the image pipeline back to its origin. Well, that’s the short answer. The long answer can’t yet be decisive because it depends on the organizations, institutions, and companies that will adopt the Content Authenticity Initiative and follow its workflow.

Who’s on board?

The members list on the initiative’s website is quite impressive. It includes camera giants like Canon and Nikon, esteemed news entities such as the BBC, AP, Getty Images, and more, and tech giants like Microsoft, NVIDIA, Adobe, and many others. The full list is impressive but the actual effect is heavily dependent on the manner of adoption and its magnitude – if most camera manufacturers incorporate content credentials within their products then every creator could embed their own encrypted digital watermark into every image (and some day video) file – if content credentials become the industry standard regarding reportage – if no media giant publishes any image or graphic creation lacking such credentials – if the commercial visual industries will adopt the standard and even base some sort of monetization upon it – the accumulative effect may be colossal and will change our industry.

Back to the Leica M11-P

As we hope to see more camera manufacturers join the fray, may we commend Leica for being the first to dip their toes into this new puddle. The M11-P would be an impressive camera on its own, boasting a 60-megapixel full-frame sensor, 256GB internal SSD, Leica’s legacy color science, and an extremely tough exterior, but I for one am happy that this traditional company went the extra mile here. Hope it will lead the way to a more trustworthy media.

Do you see how the Content Authenticity Initiative may be incorporated into your workflow? Will this kind of “digital watermarking” even be relevant for video and cinema? Does Authenticity concern you? Let us know in the comments.

The L-Mount Alliance is growing, as several manufacturers joined forces with the initial triumvirate of Panasonic LUMIX, SIGMA, and Leica. The Chinese giant DJI, known for its drones and gimbals, is among the newest members. The collaboration is bearing fruit, in this case regarding LUMIX’s MFT cameras.

How will it actually work?

The LUMIX x DJI LiDAR-based autofocus will only work with the RS3 PRO gimbal. The module will attach to the camera’s hot shoe, will connect to the RS3 PRO gimbal via USB-C cable, and the gimbal will connect to the USB-C port on the camera. The camera should be switched to “Tether” so the gimbal can take control. Once everything is set there’s no need for follow-focus drivers, lens gears, etc. The camera will power the lens’ internal motor (as long as it has a motor, but we’re talking autofocus here…) so no calibration is needed whatsoever.

LiDAR focusing, pros and cons

LiDAR focusing is the new player in the industry. Its operation is very different than current in-camera AF systems. To put it simply – LiDAR is a method of range measurement. It creates some sort of spatial awareness and transmits distance values to the focusing device, be it a camera, a follow-focus motor, or even a human operator. Being simple, the system has some pros and some cons but is best seen as another tool in your kit.

Pros:

• Relying on an independently emitted light source, LiDAR can work in extremely dark situations.
• A simple measuring system makes the information readily available.
• The aforementioned simplicity also provides reliability. Few variables can mislead the system.
• This one isn’t officially confirmed but I assume the external system will ease the load on the camera’s internal processor.

Cons:

• As an external system, no “smart” content and deep learning features are available. This means there is no face or eye detection, no subject detection, etc. Tracking is distance-based.
• Limited range. Since the system relies on its own light source, its range is limited to around 14 meters. It may vary a bit depending on ambient conditions, so it will work great at short or medium distances, but useless when subjects are far away.
• As of now, LiDAR is only possible with the RS3 PRO gimbal.

New powerful tool

LUMIX’s cameras’ autofocus systems have always been controversial. While clever and technically impressive, the DFD system could never catch up to other focus-tracking systems and so gained a fair amount of criticism along the way. The company has addressed the issue in two effective ways: implementing phase-detect sensors on its newer cameras (watch our Panasonic S5 II review, for example) and co-developing the LiDAR-based system with DJI. The latter seems to cover some of the main gripes we’ve heard regarding the DFD system. Speed, snappiness, low light, and reliability, which gained ongoing criticism, are paramount advantages of the LiDAR system. In that regard, it covers the main caveats of the GH6. While not a silver bullet that ensures 100% accurate focus under every circumstance (no system does), it is an extremely welcome addition. The GH6 usage envelope is substantially broadened.

What does the future hold?

Well, I don’t know what secrets Panasonic, DJI, and others hide, and what innovative R&D is done as we speak. I do know what I’d like to see coming to the LUMIX system and the industry in general. I hope the next step is an independent LiDAR system. The smart hot shoe may accommodate such sensors, providing power and communication. A welcomed next step may synergize the distance information with in-camera content analysis. Such synergy might converge both method’s pros into one powerful, smart, unified system.

What do you think about this update to the GH6? What would you like to see added to the LUMIX system? Let us know in the comments below!